#Change pas de main

[sacredwhores]

Paul Vecchiali - Don't Change Hands (1975)

[the-offside-rule]

Charles Leclerc (Scuderia Ferrari) - Friends?

Requested: yes

Prompt: 18) "My mom thinks we're dating."

Warnings: not really? Just fluff tbh

Charles nervously led Y/n into his family's vacation home, where his parents and siblings eagerly awaited. "You stay here every year for the summer break and you never invited me?!" Y/n exclaimed, looking all around as Charles carried her suitcase in. "I thought you didn't like the whole glamour of Monaco." He teased. "That was before I saw your holiday home." She chuckled. Y/n couldn't help but feel a mix of excitement and confusion, having been invited on this family vacation without much explanation. "We're all going to have dinner at around 8 so I will leave you to unpack. I have to go help my mum with the cooking."

"Can I come? I haven't seen your mum in ages!" Charles swallowed the lump in his throat, earning a concerned look from Y/n. "What did you do?" She interrogated. "What? Nothing! I've done nothing!" Charles replied in an attempt to defend himself. "So why are you suddenly being so....unlike yourself?" He shrugged. "I'm not sure. Maybe you've changed since she saw you last? I-"

"Y/n!" Charles stopped his talking as he heard his mother Pascale entering the room. Y/n's bright smile returned to her face as she spotted the wonderous woman walking towards her with open arms. "Oh, I've been waiting for Charles to bring you! I haven't seen you in a while!" She grinned, kissing Y/n's cheeks. "It's good to be here. I can't believe I haven't been invited sooner." Y/n and Pascale both looked over to Charles who stood by the suitcase. "Charles, it's wonderful that you brought Y/n along." She paused, looking to Charles and switching to French. "Est-ce qu'elle sait que je sais?" Charles shook his head. "Non, maman. Elle veut toujours que cela reste privé pour le moment."

"Eh bien, privé ne veut pas dire secret." Y/n looked between the pair, slightly confused as she didn't speak the language. "Mamon, s'il vous plaît-" He began, but Pscale began to walk away, waving her hands in the air. "Non, non, Charles. Je vais partir et aller cuisiner. Je m'occuperai de mes affaires et je te laisserai aider ta copine à s'installer." She turned back to Y/n. "Bisous!" She smiled, before closing the door. Charles let out a sigh of relief. "What was that about?" Y/n asked. "Just dinner. I will- Yes. I'll let you change for dinner and I'll see you at 8."

As the Leclerc family gathered around the dinner table, the atmosphere was filled with warmth and laughter. Charles Leclerc sat beside his friend Y/n, stealing glances and sharing smiles throughout the meal. Pascale, Charles' mother, couldn't help but notice the chemistry between the two. During the delicious main course, Pascale set her fork down and looked at Y/n with a twinkle in her eye. "Y/n, dear, Charles will not stop talking about you." Charles sighs as Y/n grins, highly amused. "Oh really? Isn't he just so sweet?" She teased.

"And Charles, how long did you say you two have been together?" Pascale asked, her eyes twinkling again with curiosity. Y/n's gentle expression had turned into knotted brows, confusion clouding her mind. She stole a glance at Charles, who offered her a reassuring smile before answering. "Oh, we've been together for a while now." Charles replied smoothly, his tone tinged with amusement, before reaching for Y/n's hand beside him. Y/n's mind raced as she tried to make sense of Charles' response. She had never considered him anything more than a friend, and now she found herself unwittingly caught in a web of deception.

"So, Y/n, what made you and Charles decide to start dating all of a sudden?" Pascale inquired with a mischievous twinkle in her eyes. Y/n nearly choked on her wine, as Charles masked a laugh. "Oh, you know Pascale, sometimes these things just happen." Y/n replied, trying to play along. Pascale's eyes sparkled as she nodded knowingly. Charles nodde too, playing along with the story Y/n had come up with. "That's wonderful! I'm so happy to hear that. I am so happy none of the journalists have found out yet. You two must be discreet." Y/n chuckled nervously, "Yes, we like to keep things private. At one stage, we were so secretive, I didn't even know we were together." The family laughed along as Y/n kicked Charles under the table. A silent wince left his lips.

"Well, I think I should go and clean these dishes. How about-"

"Charles and I will do them, Pascale. Honest." Pascale smiled approvingly of Y/n. "If you insist." Y/n nodded, grabbing Charles quite firmly to make him follow her to the kitchen with various plates. Once the door had closed, Y/n turned to Charles, frustration evident in her eyes. "What on earth was that, Charles?" Charles placed the plates into the sink. "Oh by the way, Y/n. My mum thinks we are dating." His poor attempt of a joke didn't land too well, but the tea towel Y/n had thrown at him did. Charles sighed, scratching the back of his head nervously. "Look, I didn't know how to explain why you're suddenly here, so I may have mentioned we're together." He explained. "What the hell, Charles? You didn't tell me about this plan! I thought we were just friends!" Y/n whispered, trying not to let their ruse be overheard.

Charles had stopped thinking of the plates now and had instead turned his focus to trying to stop Y/n from telling Pascale the truth. "I know, I know. My mom can be relentless with her questions about my love life. I didn't want her prying too much, so I improvised. Sorry about that." Y/n sighed, holding the bridge of her nose. "Well, it's a bit late now. We need to figure this out before it gets more complicated."

Charles nodded, engulfing her in a hug and resting his chin on top of her head. "Agreed." They pondered for a moment, before Charles came up with a plan. "How about we make a deal?" Y/n looked up to him, almost as if to tell him to continue. "We'll keep up the charade for a while, and I promise to come clean with my mom when the time is right. In the meantime, we can use this to our advantage somehow." Y/n raised an eyebrow, intrigued. "Alright, but you owe me big time for this. What's the plan?"

Charles smirked. "We can use this 'relationship' to our advantage. You get to spend the summer here, and it'll keep my mom off my back for a while. Deal?" Y/n sighed again, running her hands through her hair. "Fine, deal. But this better not turn into a soap opera. We're just friends, got it?" Charles chuckled, reaching his hand out and shaking hers. "Got it. Just friends."

[burntheedges]

Pas de Deux Chapter 1

Din Djarin x f!reader | 2.9k | fic masterlist | main masterlist | ao3

fic summary: When Din Djarin – principal dancer at Concordia Ballet Company and generational talent in the classical style – suddenly left CBC and joined the Nevarro Ballet Theater mid-season, it shocked the ballet world. You never would have guessed that he would change your life, too.

a/n: here we go! Chapter 1 starts sometime in late fall, November-ish. See my notes on the masterlist about reader in this fic and ballet in general. Thank you @katareyoudrilling for being the best beta, as always!!

chapter tags/warnings: gen, ballet terms (see end notes and the masterlist for definitions), a bit of angst

Chapter 1

“‘In a surprise move that shook the dance world, the Concordia Ballet Company announced yesterday that they have parted ways with principal dancer Din Djarin.’”

You could hear the sudden gasps through the open door of the large studio as you walked towards it. You recognized Clara’s voice as she read the news aloud, you assumed from her phone. 

“‘Djarin, 27, who trained at the rigorous Concordia Ballet School from a young age, has been with CBC for 10 years and is in the prime of his career. He was promoted from soloist to principal two years ago, as is the norm at CBC, where they do not promote dancers younger than 25 to principal. His performances have been highlights on the CBC schedule over the last two seasons, earning many rave reviews.’” 

You turned the corner to enter the studio and found most of the company class crowded around Clara as she looked down at her phone.

“‘The CBC press release did not indicate the reason for the split, which only makes this mid-season decision more disconcerting for fans and donors alike.’”

The group around Clara murmured and shifted their weight. You had just read the article on the bus and knew what was coming next. You slid down to sit against the wall by the door, watching.

“‘This decision comes amidst the company’s preparation for spring and for the last show on their fall schedule, Don Quixote, with no explanation as to how their roster of principals and other dancers may be adjusted to compensate for this enormous loss. Djarin is well known for his powerful physique, technical mastery, and classically perfect performances.’” Clara paused, and then continued, “then it talks about some of his work, we know all of that already, blah blah blah, ok whoa!” She gasped. “Ok. Listen to this – ‘Djarin has not been available for comment, but was seen boarding a flight to Nevarro two days ago before the announcement was made public!'”

You started to put on your shoes for barre and watched as everyone else in the room started to completely freak out.

“Here?!” Owen exclaimed, hand thrown over his mouth. “Is he coming here here?” He gestured around the studio as he asked.

Clara shrugged. “It doesn’t say, look, that’s the end of the article.”

Sophie had started rising up and down on the balls of her feet by one of the barres and you weren’t sure if she was aware she was doing it. Her tone was excited as she asked, “would he come here? Why? We’re, like, not his style.”

The room broke down into several noisy conversations at that point, and you felt your friend Adrian slip down the wall to sit next to you. “So, what do you think?” he asked, nudging your shoulder. 

You shrugged. “No idea. I can’t see any reason he’d even want to come here. CBC is so…” You trailed off, but he knew what you meant.

“Yeah. Traditional. Rigid. Not like us at all.” Adrian waved his hand towards the mismatched group of dancers in front of you and you both smiled. The Nevarro Ballet Theater was different from the Concordia Ballet Company in many ways, and the diversity of dancers in the company was one of the things that set NBT apart the most.

You nodded. “Right. If his flight destination even means anything.”

“If it does, what would that mean for us?” Adrian looked around the room. “We already have a full roster of soloists and principals.” He bit his lip. He looked nervous, and he wasn’t the only one — you noticed Sasha, Lu, Carlos, and Isaac were huddled around the bar, clearly worried. All principals, you assumed they were nervous about losing out on parts. For Adrian, you knew it was because he had just made soloist at the start of the season. A new superstar coming in might shake things up too much.

You nudged his shoulder with your own. “I was thinking about that when I read it on the bus. I don’t think you have anything to worry about. I heard what Karga said, about how good you are.”

He nodded, but didn’t look reassured. “At least you don’t have anything to worry about, Ms. Soon-To-Be-Principal.” 

You rolled your eyes and shoved down the anxiety lurking in your stomach. You’d made soloist a couple of years ago, and then first soloist this season. There were some people (including Adrian) who seemed to think you’d be promoted soon, as early as the end of the current season. But there were at least a few critics who disagreed, and for months you’d been having trouble putting the words of one in particular out of your mind. You could quote it from memory:

“While her lyricism and skill are undeniable, one wonders if she has the artistry or stage presence to carry a narrative. She more than deserves the promotion to first soloist, but is this her ceiling?” 

You wished you’d never read the article, but it had seemed to be the usual season preview and you hadn’t been expecting the targeted commentary. You’d spent the last few months trying not to think about it too much, or you knew you would get all in your head about it.

“Shut up.” You nudged him again and he laughed.

He opened his mouth to respond, but he was interrupted by the door opening next to you. It wasn’t your teacher who walked in, though, and once you saw who it was you both leapt to your feet.

Greef Karga, director of the Nevarro Ballet Theater, looked happy, but then he usually did. 

“Good morning, dancers!’ His voice was deep and loud and you all scrambled into a semi-circle facing him at the door, where your ballet instructor, Alexa, followed him in. You chorused a “good morning” in response.

“I’m sure you’ve all seen the news,” Karga continued, with a knowing smile on his face. “And you must be wondering why I’m here!” You glanced in the mirror and noted that everyone did indeed look both curious and a little wary. “Well, I am very pleased to confirm that Din Djarin will be joining us for the rest of the season here at NBT.”

There was some general murmuring and shock in response, but he was not deterred.

“I know we’re in the middle of the season, with many roles already planned. Din and I have agreed to try not to disrupt that too much this year. We’ll be adding some things to the anniversary gala and the mixed programs.” That made sense — the latter were showcases of the work of different composers and choreographers and could be more easily rearranged to include a new dancer. “We won’t be making any changes to Midsummer, Swan Lake, or Cinderella, which I know we’re already planning for and rehearsing.” You felt Adrian take a deep, relieved breath beside you. He was supposed to be Puck this year for the first time and it sounded like that wasn’t going to change. 

“Din will start joining your classes and the rehearsals for the gala and other programs over the course of the next two weeks. Please introduce yourself and welcome him — we are very excited to have him join us.”

You all nodded, of course, even though you knew a lot of your fellow dancers would be wary of the newcomer. 

“Well!” Karga clapped his hands together and smiled. “I’ll let you get started. Continue with your rehearsals as normal unless you hear otherwise. Have a wonderful day, everyone!”

Alexa moved towards the stereo system in the corner as Karga swept out of the room, and you turned to look at Adrian. 

“Well,” he said, turning towards his usual place at the barre. “This should be interesting.”

You nodded as Alexa turned on the music and you took your usual spot next to him at the barre. It definitely would be.

…

After all that excitement, you didn’t even see Djarin for a few days. He didn’t join the morning company classes right away, but you couldn’t really blame him — moving suddenly across the country wasn’t easy. It didn’t stop you from glancing around every room as you entered, trying to catch sight of your elusive new company member. 

You heard from the others that he’d dropped by a couple of rehearsals, and they’d overheard him talking about plans for the mixed programs with some of the choreographers and other staff, including Talia and Jee. You wondered if he’d ever met Kuiil, the current guest choreographer in residence, who traveled and usually worked with different companies every few years. You somehow doubted it — Kuiil’s style was much too contemporary for CBC.

You’d been in rehearsals for Nutcracker and Midsummer all week, though, so you weren’t really surprised that you hadn’t run into him yet. 

Finally, on Friday morning, you arrived early for class to find a group of your fellow company members huddled by the mirror and staring awkwardly across the room. You followed their gaze and found Din Djarin, in the flesh, warming up at the barre. For a moment you couldn’t reconcile the sight of him in your familiar space. He was tall and imposing, and dressed all in black — black ballet shoes, black tights, black sweats that cut off below his knees, and a tight black long sleeve shirt that showcased the breadth of his shoulders and just how strong he was. His curly brown hair was tousled. His signature mustache, somewhat uncommon in ballet, was in place, though you knew he often shaved for performances — there had been articles about his daring breach of the Concordia status quo when he didn’t. At least at NBT he’d be allowed to keep it, you thought. His face was blank, completely expressionless as he stretched. 

You knew he had to know the rest of the group was watching him, and when you glanced back and found them still huddled you sighed. You felt someone step into the room behind you and turned to find Adrian taking in the standoff. 

He shook his head. “Great start.” His tone was dry, and you laughed under your breath. 

“Should we say hello?” You sat to put on your ballet shoes and Adrian sank down beside you.

“Who, us?” Adrian raised an eyebrow at you. “Do I look brave to you?” 

You laughed again, and were about to suggest going together for moral support when Alexa walked in. She took in the situation and sighed, shaking her head as she crossed the room to where Djarin was still warming up alone.

“Look! Alexa took care of it.” Adrian nudged you and smiled. “No need for us to take one for the team after all.”

The two of you watched as she spoke with him, though you couldn’t hear what they were saying. He nodded at her, and she smiled before walking towards the stereo.

“Alright, let’s get started!” She called out without looking to see if anyone listened, but you all did. You realized as you took your normal spot that you were diagonal from Djarin across the space between two of the barres in the middle of the floor. You’d be able to see him whenever you were working your left side, and somewhat in the mirror on your right. You resolved not to stare.

You only sort of succeeded.

The problem, you quickly realized, was that his movements were beautiful. Even while doing simple pliés or tendus you could see the power in his body, the strength in his muscles, the rigor of his training. Every movement was precise, clean, and perfectly placed. The elegant line of his arm and the curve of his hip drew your gaze like a magnet, over and over again. His effortless coordination and control were mesmerizing. You watched the slow extension of his leg into grand battement until you had to force yourself to tear your eyes away.

Well, you thought, he certainly lives up to all of the hype about technique. CBC had a reputation and he more than exceeded it.

It made you painfully aware of the limits of your own abilities. You knew you were good – you’d made it this far, of course, and now you were first soloist, despite having what was seen as a late start in ballet (at age 7). And despite what the critics said, you were considered to be one of the better technicians at NBT. But you were no match for his level of skill, for the rigorous training you’d heard about at CBC. That much was obvious just from looking at him. 

You tried to clear your mind as the class continued, knowing your worries would start to show in your movements if you let them. It was hard to do that when so much strength and technical perfection stood only five feet away from you, demonstrating the ideal version of every move and transition that you attempted.

As you finished at the barre and quickly put on your pointe shoes to work in the center of the room, you finally put it out of your mind. There was no use in comparison, you’d learned that a long time ago. In the end, the only dancer you could compete with was yourself. And NBT was not a company that encouraged that kind of competition among dancers anyway.

You found your feet going across the floor, letting yourself sink into it as you moved through some jumps and short combinations. You tried to feel nothing but the pull in your muscles and pattern of your breath. By the end of the class you felt a little steadier, a little more centered.

Alexa dismissed the class, and you started to gather your things. As you slipped off your pointe shoes, you felt someone brush past you, heading for the door — Djarin didn’t look back as he crossed the threshold into the hall. You realized as he did that he hadn’t spoken a single word for the entire class. You wondered if he was unhappy to be here, after all. 

By the time you stepped into the hallway, he was nowhere to be seen.

Adrian fell into step next to you as you walked towards the larger rehearsal studios at the other end of the building. He hooked your arms together and looked around quickly to see if anyone was nearby. He leaned in to whisper, “did you see that? He was amazing!”

You nodded. “I know. I didn’t think anyone could live up to all that hype, but he does.”

Adrian shook his head, looking dismayed. “I know they said some roles wouldn’t change but, ugh. I wouldn’t blame them.”

“Hey,” you elbowed him lightly. “Don’t. You’re going to be amazing as Puck. And you know that role plays to your strengths. I don’t see him taking that one from you. It’s not really his style.”

He sighed. “Yeah, I guess. Ok, let’s hurry, I need to tape my knee before Nutcracker.” You winced in sympathy, knowing how much he’d be jumping in practice for both the Russian dance and the jack-in-the-box roles. But his words jogged your memory.

“Shit.” You froze in the hallway. “I left my tape in the studio. Go ahead, I’ll meet you there.”

He nodded, but you were already turning as you said it, waving him on.

You heard him jog off towards the rehearsal rooms behind you as you walked quickly back the way you’d come, turning past the bathrooms and the administrative offices. It didn’t take long and your tape was right where you’d left it. 

Tape in hand, you turned around again and started walking back down the long hall. 

As you approached the offices, though, the sound of Karga’s raised voice stopped you in your tracks, just around the corner from his office door.

“We talked about this, Din. It's part of this company’s identity. You want to break away from them? You need to make a statement.” You heard the slapping sound of one hand against another and imagined Karga hitting his hand with his fist for emphasis. 

“No, Greef, listen. I don’t—“ You startled. It was the first time you’d heard Djarin’s voice and it was much deeper and more pleasant than you would have imagined. 

Karga interrupted him. “No, you listen. Din, you can do this. I know you can. And it will show them everything they’re missing, everything they let slip through their fingers. They are so stuck in their ways, they have no idea what you can really do. What you’re capable of. Let me help you get there.”

You heard Djarin sigh. “This will go badly and I’m going to blame you.”

Karga chuckled. You tried to picture Djarin looking amused, too, and failed. All you could conjure was the expressionless mask he’d kept in place for all of class that morning. Karga continued, “I’ll take it happily. This is going to be great, don’t you worry! We’ll ease you into it. Now, let’s go share the news.”

You heard them start to move around in the office and startled into motion. As you turned the corner, the door to Karga’s office swung open in front of you and Din Djarin stepped out of it. He was moving quickly, shoulders hunched, brow furrowed. He barely glanced in your direction, but when he did, you took a surprised step back at the fierceness of his glare. It was the most emotion you’d seen from him so far, and it wasn’t exactly pleasant. He didn’t stop, though, and quickly turned away from you to move down the hall towards rehearsal. You blinked, frozen mid-step, unable to shake the look he’d just given you. What was that about?

...

| next

a/n: sooo what do you think? ballet terms in this chapter:

see the masterlist for principal, soloist, class vs. rehearsal, season

plié - a bending of the needs (you've probably seen dancers standing at the barre and bending their knees -- that's a plié)

tendu - tight or stretched out - stretching one leg out long, often in brushes along the floor

grand battement - the leg is raised from the hip into the air and brought down again, both knees straight (with apparent ease)

barre - the rail that ballet dancers use in class (don't lean on it!). usually you'd wear normal ballet shoes at the barre and switch into pointe shoes (toe shoes) to do exercises in the center or go across the floor

and if you'd like a visual aid, one of the dancers I'm mentally modeling Din after is Carlos Acosta, who you can see in this compilation (~6:49) doing a variation from Don Quixote.

tag list coming in a reblog!

[slytherinshua]

ROMEO AND JULIET

genre. ballet au. fluff and a lil drama. warnings. shotaro has a bit of an annoying ex. reader has hair long enough to put in a bun. ballet terminology that you may or may not understand sry </3. pairing. professional ballet dancer!shotaro x professional ballet dancer!reader. wc. 2k. request. no. a/n. i had a lot of fun writing this since i used to dance as well, tho the drama i added was a bit unnecessary. i kinda didn't want to lean into the toxic ballet environment stereotype cause honestly it's just not true?? but anything the get the wc up 😭😭😭

You could feel Shotaro’s hot breath on your neck as he set you back down from the lift, waiting for you to catch your balance for the arabesque before he let go and you did your final sequence of pirouettes to end the first pas de deux. Romeo and Juliet was one of your favourite ballets to perform, but god was it tiring. You could feel your legs and feet screaming for rest, but you prepared for the turn sequence nonetheless, knowing you had no time to rest.

Your body went into autopilot as usual, and you pushed up onto relevé for the fouettés, ignoring all your body’s signs for rest. You felt Shotaro’s hands come back to your waist after the 5th turn, holding you steady for the last 3. You ended as gracefully as you started, with a practiced smile before the music ended and you were able to relax finally.

You heaved in a few breaths, Shotaro doing the same next to you. He gave your shoulder a quick squeeze, something that would go unnoticed if you weren’t looking for it. 

You listened to the director’s few corrections and praises before making your way off stage and into your private dressing room. It was the first stage rehearsal before shows started tomorrow. There was a full week of night time showings and 2 afternoon ones as well. At least you would be getting a good pay check for this season. 

You had just finished changing into your regular clothes when you heard the familiar knock on the door and sighed in relief. Shotaro opened the door slowly, smiling at you fondly through the mirror. He had already changed as well, and splashed water on his face and hair to cool off, it seemed. He was always faster than you were. He came up behind you, draping his arms over your chair and around your chest, chin rested on your shoulder.

“Tired?” You asked him, reaching to take out the bobby pins in your hair. He nodded and nestled further into your neck. You scratched his head gently on your way to get another bobby pin, and he sighed.

“So tired. I shouldn’t have signed up for those early morning classes tomorrow. I’ll barely have time to sleep tonight, and then the first show is tomorrow.” He complained. You were about to respond when you heard a knock on the door and straightened. Shotaro quickly jumped back a safe distance from you, crossing his arms in front of him and leaning on the wall. You were both used to the routine of hiding your relationship at all costs.

Your heart sank when you realized it was Haeun, your main understudy for the show. Your life when you joined the ballet company had been fairly easy and drama free, until you somehow got on her bad side. You were always competing for the main roles in shows, and you hated the pressure. You had worked extra hard to earn the role of Juliet in this ballet particularly, since you knew Shotaro would already be cast for Romeo. 

It was a romantic ballet, and there were quite a few kisses on stage for the purpose of the story. Of course you knew it was all acting even if he had to kiss someone else, but you really didn’t want it to be Haeun. She seemed less than pleased that she only got understudy for Juliet, and kept bothering you every day after rehearsals were over. 

She looked shocked as soon as she saw that Shotaro was in your dressing room as well. You hoped she wouldn’t mention it, but, of course, she did.

“Osaki. I didn’t expect to find you in here as well.” She gave a forced smile that you saw through the mirror. 

“I was just talking to Y/n about some details for the pas de deux.” He said smoothly, diverting any suspicion. “She was amazing during rehearsals, don’t you think? So perfect for the role of Juliet.” He smiled adorably, looking at you fondly. Haeun looked less than happy about him praising you.

There was a moment of silence, and you were sure she was about to protest Shotaro’s words, probably making up some criticism about you dancing badly during rehearsals. You knew you hadn’t. Shotaro was right; you had danced near perfectly. Haeun always pulled something out of thin air just to degrade you. You had learned to not listen to anything that came out of her mouth, but you were slightly worried with Shotaro still in the room.

She seemed deterred from saying her usual rude remarks when Shotaro was there to hear them as well. She agreed quietly before leaving the dressing room. You felt some weight lifted off your chest as your boyfriend closed the door again. You rested your forehead against the desk of the vanity, hoping that that was the last time you had to worry about Haeun bothering you before the fight for main roles in Alice in Wonderland.

“What was that about?” Shotaro asked curiously, quirking a brow at you through the mirror.

“She usually comes to bother me after class, rehearsal, shows— really any chance she gets. I guess it’s entertaining for her.” You shook your head, grabbing your hair brush as you pulled the bun net off your hair and let it fall free.

“She’s not very nice.” Shotaro said quietly, taking the brush from your hand and running it gently through your hair for you.

“I know. I don’t mind that much anymore. Don’t worry, okay?” You smiled at him through the mirror, adoring his shiny eyes and button nose as he beamed back at you.

“All done.” He kissed your temple. “Let’s grab food on the way back.”

You packed up quickly and followed Shotaro out of the building, carefully making sure you didn’t hold his hand until you were 2 blocks away from the theatre. At this point, you weren’t even worried about the company finding out about your relationship, but you were sure if Haeun got word of it, she wouldn’t let it go.

You nudged your boyfriend’s shoulder, “Taro.” He hummed, happily accepting one of your earbuds that you were offering. You turned on his favourite playlist and walked hand-in-hand to a good Japanese restaurant. 

//

The show was going absolutely perfect— if you ignored how Haeun glared at you backstage. You weren’t sure why she was making so much effort today of all days. She had her own roles in the ballet to focus on, and you wished for once she would focus on being as professional as possible instead of picking a fight with you.

It was during the first intermission that she finally spoke to you. You had just gotten off stage after your scene with Shotaro; Romeo and Juliet had professed their love for one another. You had a longer break than just the 20 minute intermission, as you wouldn’t be needed on stage until after the first scene of Act 2. Haeun seemed eager to take a hold of this break. She quickly found you in your dressing room after you had slipped into your stage outfit for Act 2.

“I knew you were always brazen, but you’ve certainly outdone yourself this time, haven’t you?” She snapped.

“Haeun, what are you mad about this time? Now is not the time to bring up some petty complaint-” You got cut off by her before you could finish.

“Petty? Don’t you think that’s a bit hypocritical coming from your mouth? There’s nothing pettier than dating just to get back at me. You thought it would affect me, didn’t you? Well, it didn’t. You can stop the act now.” She sneered, and you were half certain she was critically insane at this point.

“What are you talking about? I’ve never done something like that.” You probably shouldn’t have engaged in the conversation in the first place. It was smarter to ignore her and not give her the attention she wanted, but you were genuinely bewildered as to what she was talking about this time.

“You thought I wouldn’t know that you started dating Shotaro? Why else would you purposefully date my ex boyfriend?! You’re determined to steal everything from me, aren’t you?” She raised your voice louder than you would have liked, the ringing getting to your ears before she left the room.

You weren’t even sure you had heard her right. Shotaro? Ex boyfriend? It was probably the most absurd thing to ever come out of her mouth, but what scared you was that she sounded genuine this time. All previous attempts to get under your skin were so obviously ridiculous, that you weren’t willing to spend even an ounce of your mental energy on it. But the honesty in her voice threw you off guard. Was she being truthful about dating Shotaro?

There was only 5 minutes to stage and you still hadn’t done your hair. You decided you would circle back to the topic after the show. For now, you had to focus on getting ready before you had to be on stage.

The rest of the show went smoothly, and even Haeun didn’t seem to bother you on or off stage. All of it was rubbing you the wrong way— her previous words, her sudden disinterest in bothering you, and how genuine she had sounded. It didn’t excuse all the times she had picked a fight with you for no reason, but maybe in her mind you had actually wronged her.

The company had always been competitive for lead roles, and you were confident that you were only cast because you fit well with the production. You did better in classic ballet roles, and were often only part of the company group during more modern ballet showings. You had seen Haeun get cast as the lead for many shows, so her obsession with you getting lead roles always seemed to confuse you.

Romeo and Juliet, Swan Lake, Giselle, even Cinderella. All of these ballets you had performed alongside Shotaro, even long before you had started dating him. Maybe that was why she was upset over it; because you were the one performing alongside him instead of her.

Shotaro came to your dressing room after the show as usual, his usual bright and bubbly energy so contagious that you couldn’t help but smile at him. You had only one thing to ask of him before you let the topic rest.

“Hey, Taro?” You wiped off some of your makeup as you spoke.

“Hm?”

“Did you date Haeun?”

He laughed a little at your question and you threw him a questioning glance through the mirror, “Yeah, for like 2 weeks. She really liked me, but I didn’t really like her back much. I think she still likes me even though I ended it so long ago. We haven’t spoken at all outside of work for 3 years now. Why do you ask?”

“She just brought it up with me earlier. I was just wondering since you had never mentioned it before— but given that it was so short, I see why. I think that’s why she’s been bothering me as well.” You explained, much more reassured than you had been before.

Shotaro scrunched his nose, “She knew about us dating? I’m surprised she didn’t say anything to the director… I would’ve expected her to make a bigger deal out of it.”

“Me too. I’m guessing she couldn’t say anything because it would harm you and not just me. Either way, I’m not too worried about hiding our relationship anymore.” You grinned at your boyfriend and how his face lit up at your remark.

“Really?”

You nodded, “Now that she knows and still didn’t say anything, there’s no risk. No kissing me during rehearsals, though.” You clarified.

Shotaro frowned, “I wouldn’t be that unprofessional. I’ll only kiss you when there’s no one else around.” He smiled, leaning in to press a quick peck to your lips just to prove his point.

Your lips formed a loving smile, thankful that you were able to stay next to Shotaro, both onstage and off.

↳ riize taglist (bolded could not be tagged): @eternalgyu,, @kangtaehyunzzz,, @weird-bookworm,, @haecien,, @seolboba,,

@blossominghunnie,, @cosmicwintr,, @evalevaeva,, @lecheugo,, @wccycc,,

@seunghancore,, @planetkiimchi

[mariacallous]

For Bezalel Smotrich, the head of Israel’s far-right Religious Zionism party, these are heady times. While the rest of Israel is preoccupied with the fighting in Gaza, the fate of the hostages held by Hamas, and Hezbollah’s pummeling of the country’s north, Smotrich has been realizing his dream of creating the conditions that will bring about Israel’s annexation of the West Bank. Indeed, the war has in many ways facilitated his plans.

The word “annexation” is rarely, if ever, uttered by Smotrich—who serves as a senior member of Prime Minister Benjamin Netanyahu’s cabinet. Without a shred of doubt about the Jews’ God-given right to the land between the Jordan River and the Mediterranean Sea, he regards the West Bank not as territory to be added to the State of Israel but as an inheritance that need only be claimed. As he told the Haaretz newspaper in an interview over seven years ago, a Palestinian state would be tantamount to partitioning Israel; absorbing the West Bank into Israel is “unification.” To talk about Israel annexing the West Bank would be like telling the North it was annexing the South after the Civil War in the United States.

In any case, the legal formalities involved in annexation are less important to Smotrich than creating the conditions that will bring it about. To do that, he is employing a two-pronged strategy that on the one side involves changing laws and creating a settler-friendly bureaucracy and on the other helping to foment violence and anarchy in the West Bank. As Smotrich has indicated many times, the signal event in the process of “unification” will be the collapse of the Palestinian Authority (PA), leaving Israel with no choice but to fill the vacuum and reassert control over the entire West Bank.

Smotrich’s main job in the government is finance minister, a powerful post that he has used to implement his policies. But he has a second and, for his purposes, far more important post as minister in the defense ministry, a job he was promised by Netanyahu when the current government was formed at the end of 2022. Smotrich is in effect minister of settlements with powers that extend, to a degree, over the lives of West Bank Palestinians as well.

Since it captured the territory in 1967, Israel has exerted control of the West Bank through a military occupation. The Israel Defense Forces (IDF), through its Civil Administration, has been responsible for the administration of justice and other civilian matters in the 60 percent of the West Bank not under the jurisdiction of the PA. The Civil Administration has long favored settler interests over Palestinians, but officially it remained a part of the military and made at least some effort to consider Palestinian needs. All that changed in February 2023, when a new Settlements Administration was formed with broad powers—including the authority to expropriate Palestinian land, to approve housing construction in settlements, to condemn Palestinian construction as illegal, and to retroactively authorize settlements that were built without government approval, popularly known as “outposts.”

As a civilian body, the Settlements Administration’s job is to promote the interests of Israeli citizens—which means the settlers. And the chief interest of the settlers is speeding up the pace of building and expanding settlements. More than that, the transfer of authority from the military to civilians amounts to a quiet and creeping de facto annexation. “It will be easier to swallow in the international and legal context so that they won’t say that we are doing annexation here,” Smotrich said in leaked remarks from a June 9 meeting with supporters, first published in the New York Times.

In recent weeks, Smotrich has cemented his control further, having Hillel Roth, a resident of the extremist settlement Yitzhar, made deputy head of the Civil Administration with authority over a grab bag of areas ranging from building regulations and water infrastructure to parks and outdoor public bathing locations.

Control over public bathing may seem like a minor business on par with dog catching. But it is not: A big part of the contest for the future of the West Bank is about demographics—increasing the settler population—and control of land. The Settlements Administration is meant to give the settlers the tools to do that more effectively. The natural springs that dot the West Bank serve Palestinian farmers as well as Israeli bathers and constitute one of many battlegrounds for control of the land and its resources.

But Smotrich’s campaign isn’t limited to the niceties of accelerated planning approvals: He has also used his powers to turn a blind eye to construction by settlers. A document obtained by the New York Times summarizing a March meeting of the IDF’s Central Command, which is responsible for the West Bank, warned that enforcement of construction regulations for settlers had all but disappeared since the establishment of the Settlements Administration; even court orders are ignored. Less than one-tenth of the 395 recorded cases of illegal construction last year resulted in a building being taken down, and nearly all of those involved a single case at an illegal outpost, the memo said. And that probably understates the extent of the problem. Because so many inspectors have been called up for reserve duty due to the war in Gaza, suspected violations are not even being investigated. Violators, the memo said, feel free to act knowing that there is no accountability.

The lawlessness among settlers in the West Bank has not been confined to illegal building. The most extreme of the settlers have taken advantage of a government dominated by the far right and the military’s preoccupation with fighting in Gaza to engage in unprecedented vigilantism. The U.N. Office for the Coordination of Humanitarian Affairs (OCHA) counted 968 attacks on Palestinians involving serious vandalism and injury in the months since the war began on Oct. 7, 2023. There have been only 10 confirmed cases of Palestinians killed in these incidents (compared with more than 500 in clashes with the military), but the pace if far faster than at any time since OCHA began keeping records in 2008—and the real number is likely higher.

While some of the settler violence has been about vengeance following Palestinian attacks, much of it has been about land. Especially in the Jordan Valley and in the area south of the city of Hebron, extremist settlers have seized control of large swaths of Palestinian pasture land by setting up roadblocks, erecting fences, and harassing shepherds. In many cases, whole communities of Palestinian herders have been forced to abandon their homes.

To be sure, Smotrich is not responsible for policing settler violence. The responsibility for that is shared by his far-right colleague, Itamar Ben-Gvir, who as minister of national security oversees the police—and by the military.

The police have never made much of an effort to investigate settler violence, but under Ben-Gvir all pretense of enforcement has been dropped. Ben-Gvir has been seeking, with a large degree of success, to politicize the Israel Police, pressing it to crack down on anti-government protesters while demanding that it stand aside when right-wing extremists attack trucks carrying aid to Gaza. In the West Bank, Ben-Gvir’s policies have given violent settlers carte blanche. A recent investigation by the New York Times found that of the three dozen cases it had looked into since Oct. 7 involving crimes ranging from theft of livestock to assault, not a single one had led to a suspect being charged.

As for the military, soldiers have been busy fighting in Gaza and on the northern border, as well as cracking down on Palestinian violence in the West Bank. The military says it doesn’t have the manpower to stop vigilante settlers. But the truth is, many of the commanders and soldiers in the regular and reserve military units stationed in the West Bank are sympathetic to the settlers; often they are settlers themselves. Moreover, after the Hamas attacks of Oct. 7, some 5,500 settlers were called up for reserve duty to protect their own communities. Many have taken advantage of the arms and uniforms they were issued to go beyond their official duties to set up roadblocks and attack Palestinians.

An incident near the Palestinian town of Aqraba in April captures the current state of lawlessness. Following the killing of a 14-year-old Israeli by Palestinians, settlers rampaged through the town and surrounding area, killing two residents (two more were killed later). The military initially said there were no soldiers present, although a Haaretz investigation said troops were there and didn’t intervene. Defense Minister Yoav Gallant later issued warrants putting five settlers into administrative detention—prison without trial—for periods ranging from three to six months. In response, Ben-Gvir railed against “Gallant’s persecution against the settlers.” The police have arrested no one.

For Smotrich, however, the collapse of the PA is his biggest priority. Here, his job as finance minister comes into play because the strategy is to strangle the authority financially. Smotrich has the power to do that because approximately 60 percent of the revenues the PA relies on to pay salaries and provide services come from customs and other taxes Israel collects in the PA’s name, transferring the money to Ramallah every month.

For some time, Israel had been deducting from these “clearance revenue” transfers the money that the PA spent supporting families of Palestinians held in Israeli prisons. Shortly after the war in Gaza began, Smotrich tripled the monthly deductions to as much as 600 million shekels—about 60 percent of the overall monthly transfer. In protest, the PA refused to accept any money, forcing it to cut civil servants’ wages by as much as 70 percent.

In late February, a face-saving formula was found under which Norway agreed to put the withheld funds in an escrow account, thereby giving the PA an excuse to take the money still available. Last month, however, Smotrich renewed his pressure campaign, calling on Netanyahu to stop all transfers and demanding that Norway return the escrow funds to Israel. More recently, he demanded steps be taken against the PA leaders, including expelling those found not to be living legally in the West Bank, restricting the movements of others and preventing them from traveling abroad—and charging some with incitement or support of terrorism.

Smotrich is no less determined to exacerbate the troubles of an already depressed Palestinian economy. That not only further pressures the PA financially but also may have the added benefit of coaxing Palestinians to emigrate. To that end, he and Ben-Gvir have also been able to block efforts to allow the approximately 150,000 West Bank Palestinians who had been working inside Israel before Oct. 7 to return to their jobs. By Palestinian standards, those jobs pay well, so their sudden disappearance has an outsized effect on household incomes and the economy.

Smotrich is now threatening to deal another blow to the Palestinian economy by halting the issuing of what until now were routine letters of indemnity to Israeli banks. The letters provide a legal shield to Israeli financial institutions working with their Palestinian counterparts in case some money ends up in the hands of terrorist groups. This correspondent banking relationship is critical to the Palestinian economy, enabling the annual flow of $10 billion of Palestinian exports and imports, all of which go through Israel. If Smotrich acts, it will bring the West Bank economy to its knees.

The defense establishment is opposed to most of Smotrich’s measures, worrying he is fanning the flames of another intifada, or Palestinian uprising. But it is largely helpless to prevent them so long as the political echelon doesn’t act. Even if Netanyahu wanted to stop Smotrich, he needs his ongoing support to keep his governing coalition intact. Smotrich’s party accounts for seven seats in the 120-member parliament. If he withdraws from the coalition, Netanyahu’s government would no longer have a majority.

Smotrich thus has a relatively free hand from his boss.

What he doesn’t have is a public mandate to pursue his program. His main annexation constituency is the settler population, which makes up no more than 10 percent of Israel’s total, and even its support for his annexation project is hardly wall to wall. Much of the settler population is made up of people who moved to the West Bank for economic reasons, including many thousands of ultra-Orthodox Jews. They are not thought to be wedded to the idea of Greater Israel. Among the overall population, support for annexation is far from overwhelming: A recent survey by Tel Aviv University found only about 38 percent of Jewish Israelis supported the idea (and only 14 percent very strongly); a majority opposed it.

Even far-right voters are seen to be unimpressed by Smotrich—preferring Ben-Gvir’s loud-mouthed thuggery over Smotrich’s careful (and often behind-the-scenes) calculations. If elections were held today, according to the most recent polls, Ben-Gvir’s Otzma Yehudit party would win nine seats in Israel’s 120-member parliament; Smotrich’s Religious Zionism wouldn’t receive enough votes to enter the Knesset at all. But then again, for him, the only vote that counts is cast in heaven, and Smotrich is confident he has it.

[suburbangothic-rp]

suburban gothic;

inspiré par twin peaks, desperate housewives, six feet under, hereditary, welcome to nightvale, euphoria, totally fucked up, american beauty, pretty little liars, murder she wrote, east of eden.

Par où commencer pour présenter ce monde? Pas de contexte déjà rédigé pour le moment, l’idée n’est que latente; si les rues ne se remplissent pas, à quoi bon y bâtir des maisons? Mais l’idée se fait pesante, lourde de ses possibilités.

Pennsylvanie, au pied des Appalaches, la rouille industrielle qui se bat contre la nature sauvage, elle-même lacérée par le tracé méticuleux de l’asphalte. Le long de l’une des ces longues routes, une ville. Une parmi tant d’autres, des milliers comme elle. Plantée sur une grille qui structure l’espace; au centre-ville et à ses bâtiments denses succède l’harmonie de la banlieue résidentielle. L’ordre s’y confond avec la monotonie, le charme se dilue dans l’ennui. L’architecture humaine se révèle creuse, les fissures laissent s’en échapper les échos de complaintes qu’on aurait voulu recouvrir de béton, de gazon ou de peinture fraîche. L’horreur s’excite avec chaque désillusion, secret, péché, danger, crime, frustrations. Le futur est riche en promesses mais demain n’est jamais un autre jour, inéluctable répétition d’hier. On enterre ses rêves sous un lit de bégonias dont on prend soin avec fureur et hystérie, dans l’énergie du désespoir, jusqu’au jour où une bande d’adolescents les piétine pour s'amuser.

La ville est séparée en quartiers; #1 est un petit centre-ville, le lieu des rencontres fortuites, main street, le cœur administratif et commercial du lieu. #2 est un ancien village rattaché à la ville, avec ses rues pittoresques, ses habitants qui n’aiment pas les visiteurs, le calme acheté à prix fort, les fermes reconverties. #3 est l’ancien bassin minier, abandonné, peuplé de mythes et de terreurs, peu à peu remplacé par l’industrie forestière. #4 est la banlieue résidentielle, le théâtre principal de notre jeu de dupes.

L’horreur vient de l’intérieur; du plus vaste, l’intérieur des frontières nationales, au plus intime: le foyer et l’individu. L’extérieur projette: un pays puissant et prospère, des rues propres, un voisinage aimable, des bonnes manières et de jolies choses. Le tout tient du mirage. À l’intérieur, rien ne va, on est à deux doigts de tomber dans le ravin. Les valeurs fières et heureuses sont corrompues; la communauté devient une prison, la religion devient une manipulation, le politique s’achète, la propriété creuse les dettes, le couple se brise.

Tout ne va pas mal; même si le gothique est souvent très sombre, il y existe aussi une place pour d’autres histoires. Edward Scissorhands est LE film du suburban gothic et c’est loin d’être un film d’horreur. Twin Peaks et True Blood mélangent un ton mystérieux avec des moments plus légers. L’excentricité ou la bizarrerie des personnages est d’ailleurs souvent un symptôme des rouages sombres qui font tourner l’histoire. Les tags associés au gothique sur Tumblr mènent à des contenus sinistres, mais chacun.e est libre d’aller un peu plus loin. À titre personnel par exemple, je pense que les Sims 2 est un jeu à l’ambiance gothique (: On fait ce qu’on veut avec le concept de gothique, et ce sera pareil sur le forum si le projet séduit et intéresse. (si besoin, je peux rédiger un texte un peu plus élaboré sur l'american gothic et ses déclinaisons régionales/thématiques)

Les années 2010; LA décennie des différentes gothic aesthetics. L’une des pires crises financières de l’histoire est passée par là et a fait beaucoup de mal au rêve américain. Le traumatisme est bien là, encore aujourd’hui, chez les individus comme dans les sociétés dans lesquelles ils évoluent. Le paysage de certaines régions change durablement; dans le Midwest, dans le sud, dans la Rust Belt. Une nouvelle tâche sur la mystique de l’Amérique. The American Nightmare.

J’ai beaucoup écrit et si vous avez lu jusque là – merci vraiment, et euh, pardon. C’est avant tout une bouteille à la mer, ce post. S’il trouve sa destination, alors on en fera germer les prémices. Il y a de quoi faire je pense. Les remarques, questions, suggestions, toutes bienvenues, j'ai envie de lire un peu après avoir autant écrit.

Contenu additionel; sera posté s'il y a de l'intérêt – le contexte, évidemment – mécanismes de jeu, animations – les postes vacants, leurs dynamiques – la ville, son monde, son histoire – les racines, l'inspiration – aes

un dernier mot: le tumblr n'est pas encore complètement fonctionnel, la plupart des liens est sous construction.

photo: edgar martins, éditée pour suburban gothic.

[walidgoldpreppy]

Good Golden morning for Anthony

The next morning, at exactly 7am, Anthony is woken from his sleep by a notification on his phone. A message from Waltergold containing a video. Still half asleep, he unlocks his phone and opens the video. The screen flickers with a strange mix of white and Gold lights, hypnotic. The soundtrack, a low, repetitive melody, fills his ears as he instinctively puts on his headphones.

He hesitates for a moment. He knows the video is an hour long, but he can't help but stare at the screen, fascinated by the Golden sparkles dancing before him. "It's just a video," he tells himself. Yet something about the flicker captivates him more than he would like. Gradually, his eyelids become heavy, and his mind blurs, as if he's dissolving into the Golden flow.

Lorsqu’il cligne enfin des yeux, une heure s’est écoulée sans qu’il ne s’en aperçoive. Il regarde l’horloge de son téléphone, incrédule. Il est 8h15. « Merde, je suis en retard ! » Son cœur s’emballe. Il sursaute, se précipite vers la salle de bain. Sous la douche, une pensée étrange lui traverse l’esprit. Il se souvient d’un détail presque oublié ; lors de son entretien d’embauche, son patron avait évoqué un code vestimentaire au travail. À l’époque, Anthony n’y avait pas prêté attention, préférant ses vêtements décontractés. Mais aujourd’hui, pour une raison qu’il n’arrive pas à expliquer, cette règle lui paraît soudain indispensable.

En sortant de la douche, ses mains s'attardent plus longtemps que d'habitude sur son visage, son menton, ses cheveux. Il se sent étrangement préoccupé par son apparence. Il ouvre son placard et, au lieu de prendre sa tenue décontractée habituelle, il se retrouve à chercher des vêtements plus formels. Son esprit est embrumé, mais une certitude émerge : il doit se conformer. C'est comme si une voix intérieure lui disait que suivre les règles est la seule option.

Il sort une chemise en coton blanc immaculé. La matière est douce, presque soyeuse sous ses doigts. Il la fait glisser sur son torse, ajustant chaque bouton avec une précision méticuleuse. Puis, il attrape un pantalon gris anthracite, en laine légère. Il ne se souvient même plus pourquoi il a ce pantalon, mais il le trouve parfait aujourd'hui. Enfilant de fines chaussettes noires et des chaussures de ville en cuir noir brillant, il est surpris par la sensation du cuir sur sa peau, raide et structurée, à l'opposé du confort de ses baskets habituelles.

Devant le miroir, il hésite avant d’ajouter une cravate bleu marine, à peine texturée. Il l’enroule autour de son cou, serrant le nœud avec une précision surprenante pour quelqu’un qui en a à peine porté une. La soie de la cravate glisse doucement entre ses doigts, et il ajuste le nœud jusqu’à ce qu’il soit parfaitement centré et serré. Un dernier détail saute aux yeux : ses cheveux. Il ramasse un pot de gel qui traînait dans son tiroir, se demandant brièvement pourquoi il fait ça, puis l’applique généreusement, en peignant ses cheveux sur le côté avec une raie parfaitement visible. Le gel brille à la lumière, fixant ses cheveux impeccablement. En voyant son reflet, il se sent à la fois étrangement satisfait et troublé. Pourquoi cette obsession soudaine ?

As he leaves for the office, a feeling of absolute control washes over him. The tight, well-fitting clothes reinforce a sense of discipline he has never felt before. The wool of the pants gently rubs against his legs with each step, the collar of his shirt is slightly tight around his neck, and the knot of his tie exerts a constant, almost reassuring pressure.

At the office, reactions are quick to come. As soon as he walks through the door, his colleagues look up, surprised. This sudden change in style does not go unnoticed.

“Wow, Anthony, this is the first time I’ve seen you dressed so smartly!” exclaims one of his colleagues.

“Do you have an interview with the bosses or something?” jokes another.

Anthony sketches an awkward smile, his cheeks slightly red, not really knowing what to say. He shrugs, mumbling something unintelligible about a “change of mood”. But that’s not the real reason. He knows it. There’s this inner voice, this impulse that pushed him to put on these formal clothes. He has a hard time understanding it, but it’s there, still echoing in his head.

Throughout the day, he receives compliments on his appearance. He finds himself enjoying the admiring glances. Yet, every chance he gets near a mirror, he can’t help but check his hair, running his hand through the gel to make sure his parting is still well defined. His tie knot becomes a silent obsession, which he adjusts constantly, even when no one is looking.

Despite the remarks and questions, Anthony easily focuses on his work. His thoughts also often drift to that morning video, to that strange feeling of obedience that now seems anchored in him. A part of him still resists, trying to understand what is happening, but another part, deeper, feels good in this new version of himself, more disciplined, more compliant.

The day finally ends. Anthony quickly greets his colleagues, escaping their curious glances, and goes home. He breathes a sigh of relief as he closes the door to his apartment behind him, but even at home, he cannot get rid of this strange feeling of discomfort and satisfaction mixed together.

(End of Part 3)

(Part 2)

[real-reulbbr-band]

The Reimagining of Cats Undermines Female Characterization

My anxiety's going to eat me alive if I keep being chicken about posting this so here's my more in depth feelings regarding what I mean in this post. All opinions expressed are my own and based on what I know of pac. Anyone is free to disagree with me. and thank you to @pinkieclown and @per-the-jellicle-magician for proof reading!

I”ll keep this simple cause I don’t want to get ranty on Tumblr, but by removing and cutting so many aspects of the show out they’ve lost key characterization for the female cast and replaced them with virtually nothing.

My problem isn’t that the characters don’t resemble their stage counterparts; that was expected. The issue is that they aren’t given much of a character at all. You could switch their names, and nothing would change. This problem isn’t apparent with their male counterparts with previously established on-stage storylines. 

Male characters in the reimagining, such as Munkustrap, Rum Tum Tugger, and even Macavity, retain or gain distinctive characteristics and storylines. Munkustrap is portrayed as an MC not a leader but still very much leading the show, it’s the same general role; Rum Tum Tugger as a charming rogue though slightly more akin to his 2019 movie counterpart except he still manages to ‘save the day’ at the end, and Macavity, despite his thievery, is given a more comical persona with a deeper relation to his now fellow jellicles.

 In contrast, female characters are stripped of their individuality and reduced to plot devices or mere extensions of male characters. Victoria doesn’t experience a coming-of-age or even touch Grizabella here. (It’s old Deut pretty sure which…I have problems with) She’s simply another attendant at the ball with a solo at the start that lacks deeper meaning. She’s portrayed as a ‘drag baby,’ and as stated by her actress  this isn’t even her first ball. No pas de deux or additional solo is performed to further her importance in the narrative. This reduction strips Victoria of her journey and her role within the tribe or in this case community. 

Demeter and Bombalurina have no dark history with Macavity, which affects Demeter’s characterization more than Bomb’s. They are reduced to his drag daughters and are merely other competitors at the ball who further Macavity’s story by being the ones he steals for. This change eliminates the layers of trauma and complexity in Demeter’s character, reducing her to a plot device for Macavity’s storyline.

If the female characters aren’t given distinct roles, their characters end up heavily associated with male counterparts: Jellylorum with Gus, Jennyanydots with Munkustrap, and of course, Bombalurina and Demeter with Macavity. They don’t exist as individuals without these associations, as their typical roles are relegated to the background.

In the original stage show, despite its issues in instances, female characters like Demeter and Bombalurina exhibit significant agency and emotional depth. Demeter’s fear of Macavity and Bombalurina’s protective nature towards her and the kittens add layers to their characters. The reimagining erases this agency, reducing them to passive participants who exist only to further male characters' narratives. Namely Macavity’s here.

Now, it is important to note that a lot of characterization happens outside of the character’s main numbers. Things like who they interact with in their down time, what they do when they’re not actively participating in a song besides simply watching and waiting for the next que; that’s when the actors are given time to just be the character. The actors don’t have as many opportunities to do that here just due to the formatting of the show with the runway catwalk and walking space outside it. During which they’re mostly interacting with the audience or reacting to what’s happening on stage. They don’t have a lot of moments to just interact with each other to give the audience a better feel of who they are. 

The reduction of female characters in 'Cats: The Jellicle Ball' reflects broader patterns of misogyny in the media. Historically, female characters have often been sidelined, their stories minimized, and their roles diminished to support male-centric plots. This reimagining perpetuates this problematic trend by failing to provide female characters with the same depth and development afforded to their male counterparts.

I know what you’re going to say ‘but Grizabella���. Yea, Grizabella has fifteen minutes of stage time and she’s the character who resembles her stage counterpart the most. That’s why these issues negate her and she’s of the few I don’t have this problem with, the others being Rumpleteazer, Cassandra, and Skimbleshanks as her role has never had a deeper narrative meaning outside of reflecting the behaviors of the tribe as a whole.

In conclusion, the reimagining of 'Cats: The Jellicle Ball' is a missed opportunity to reframe and enrich the narratives of its female characters. Instead, it falls into the trap of diminishing their roles and individuality, perpetuating a longstanding issue in media representation.

[cringefailvox]

hi, i'm bay or spoon (they/ze)!! i'm spoondrifts on ao3 and i'm currently writing for hazbin hotel :] if you want to see non-hazbin or more personal stuff from me, my main is @spoondrifts!!

i also have a ko-fi if you'd like to spare a broke college student a few bucks, but no pressure; i write for fun, not for money, though it can be a great motivator!

my inbox is always open, so don't be shy to shoot me a question or anything you want me to see / talk about!! i'm always down to chat :] love u guys!!

fanfic directory under the cut:

our lovely company appears so entertained — alastor/vox, rated M, 2.6k. complete. one-sided bdsm torture session where vox is into it, sexually, and alastor is definitely not

The Diving Bell — charlie/vaggie, rated T, 9.5k. complete. a pre-canon character study of their relationship progression

riding out the drop — valentino/vox, rated E, 4.3k. complete. val gets fed up with vox's fixation on the radio demon, they fuck about it

to slip such carrion ties — alastor & rosie, rated G, 1.7k. complete. missing scene between episodes 7 & 8, rosie character study

sometimes you scrape and sink so low — alastor & husk, rated G, 1.8k. complete. missing scene post-ep 5 where alastor and husk work things out

time has changed the metaphor — alastor/rosie/vox, rated T, 15.2k. complete. first installment in my meteor shower au series where alastor, rosie, and vox are in a qpr together

Featherstone — valentino & velvette & vox + valentino/vox, rated T, 7.8k. complete. accidental baby acquisition with the vees

dragging its tail in the sea — alastor/rosie/vox, rated T, 15.4k. complete. second installment in the meteor shower qpr series

pas de deux — carmilla/velvette, rated E, 4.7k. complete. plotless smut where carmilla teaches velvette a lesson about respect

ET TU, ALASTOR? — angel/lucifer + husk/lucifer + niffty/lucifer + alastor/lucifer, rated M, 4.8k. complete. crackfic of charlie gradually losing her sanity as lucifer rebounds with 80% of her staff

oleanders in june — alastor/vox, rated T, 6k. complete. pre-canon, alastor and vox share a meal and some uncomfortably intimate sadistic tension

spiraling down thy majesty — lucifer/vox, rated E, 7.1k. complete. lucifer and vox decide to vent their mutual frustration about alastor by fucking each other

the world we knew (over and over) — alastor/lucifer + lucifer & charlie + alastor & charlie, rated M, 7.9k. in-progress. time loop fic in which charlie dies during the final battle and lucifer and alastor relive it again, and again, and again

Trust Us With Your Stress Relief! — valentino/velvette/vox, rated M, 2.5k. complete. in which the vees use their monthly vacation day to blow off some steam together (read: torture their employees)

strange perfections in any stranger i choose — alastor/vox, rated G, 3.6k. complete. a take on pre-canon radiostatic's first meeting

i want your violence, your silent sedation — alastor/vox, rated M, 5.8k. complete. in which radio isn't as dead as you think, vox is an irresponsible pet owner, and alastor gets attic wife'd

even now you mark my steps — alastor/vox, rated T, 5.2k. complete. alastor, vox, and an improvised waltz at a plant nursery

come and kiss me, pretty baby — alastor/vox, rated G, 3.3k. complete. drunken queerplatonic radiostatic shenanigans

when the flies fell — alastor/vox, rated E, 32.9k. complete. human(ish) au where weird shit happens when they try to summon a demon together

a putrid feeling that i've addressed — valentino/vox, rated T, 5.1k. complete. helluva boss full moon, staticmoth edition

undone, undress — angel/valentino, rated E, 7.5k. complete. the vees have been defeated, but angel and val aren't finished with each other just yet

volta; you woke the world inside of me — alastor/vox, rated T, 9.6k. complete. queerplatonic t4t radiostatic where vox has a gender crisis and alastor handles it shockingly well

the invitation to happiness — alastor & rosie & vox, rated G, 3.5k, complete. precanon rosemedia celebrating hanukkah together

verbatim — alastor/valentino, rated E, 8k. complete. vox is unavailable for alastor's heat, so valentino steps in to help

scatterbrain — alastor/vox + alastor & rosie + alastor & lilith, rated T, 6.8k. complete. in which alastor's seven-year absence was spent catching some z's

nobody as sweet as you — lucifer/vox, rated T, 8k. complete. sequel to "spiraling down thy majesty" where lucifer and vox follow through on their fake dating plan

jeepers creepers! — alastor/vox, rated E, 8.1k. complete. precanon hypnosis practice gone sexy

all scotch, no soda — angel & husk + angel & alastor, rated M, 5.1k. complete. precanon au where angel and husk are both owned by alastor, based off of this post

thus always to tyrants — alastor/valentino/velvette/vox, rated T, 3.7k. complete. after 7 years off the air, alastor comes home to his partners

[readerofthrillers]

La Mort d'Ace

Je l’ai vu, là, Son corps percé, son sang étalé sur mes mains. Je n’ai rien fait. Je n’ai pas pu bouger. Impuissant, comme un gamin face à l’horreur. Ace est mort.

Ses yeux se sont fermés, Et dans ce silence, Un vide immense m’a dévoré. Le monde n’a plus de sens. Rien ne compte. Pas sans lui.

J’ai crié, J’ai hurlé jusqu’à m’en déchirer la gorge, Mais ça ne change rien. Le corps de mon frère est froid, Et moi, je ne suis qu’un déchet, Vivant alors que lui, non.

Pourquoi c’est lui? Pourquoi je suis là, à respirer, Tandis que son souffle s’est arrêté? Je donnerais tout, Ma vie, mon rêve, Pour que ce jour n’ait jamais existé.

Mais il est parti. Et moi, je suis seul, Avec cette douleur qui ne partira jamais.

[sacredwhores]

Paul Vecchiali - Don't Change Hands (1975)

[kiddressources]

Hello les petits chats ✨

Comme j'ai changé de thème, je change aussi de pinned post mais je ne veux pas que vous pensiez que j'ai oublié les suggestions laissées sur le dernier!

Sous le divider ci-dessous seront les noms que j'ai noté pour les faire par la suite, quand le temps et l'inspi me le permettront. Vous pouvez continuer à poster des suggestions sur ce post uniquement, pour que j'y vois plus clair! (les suggestions faites ailleurs ne seront pas prises en compte). Si vous en avez une sous la main, n'hésitez pas à drop une petite galerie également. 💖

Bonne journée à vous ✨

Suggestions: Clément Penhoat (Hatik), Colman Domingo, Emily Blunt, Glen Powell, Havana Rose Liu, Jess Glynne, Keke Palmer, Isabelle Mathers, Lizeth Selene, Michelle Yeoh, Miriam Leone, Nicholas Galitzine, Park Eun-bin, Rachel Brosnahan, Rachel Weisz, Rami Malek, Taylor Lashae, Vinetria Chubbs

[burntheedges]

Pas de Deux Masterlist

Din Djarin x f!reader | 18+ | ~40k words | updates on Wednesdays main masterlist | ao3

summary: When Din Djarin – principal dancer at Concordia Ballet Company and generational talent in the classical style – suddenly left CBC and joined the Nevarro Ballet Theater mid-season, it shocked the ballet world. You never would have guessed that he would change your life, too.

full fic tags/warnings (spoilers!): modern AU, ballet AU, fluff, angst, flirting, dancing, lots of ballet terms (I’ll define things/link videos/etc. -- see below), misunderstandings, character study, romance, pet names (sweetheart, beautiful), lots of tension, later: smut, kissing, grinding, fingering, p-in-v sex, creampie, each chapter will have its own tags, Din lifts reader (see note below about reader)

a/n: welcome to the Din ballet fic!! I started writing this in April and it’s finally finished! I’ll post a new chapter every Wednesday, there are 14 total. There’s some smut coming but it’ll be a while, folks. See my notes below about reader in this fic and ballet in general. Thank you @katareyoudrilling for being the best beta, as always!! This fic is so much better because of you. 🧡 And thank you to @almostfoxglove for reading over it and confirming I didn't forget all my ballet, lol. 🩰

note about reader: in this fic you’re a ballet dancer, first soloist at Nevarro Ballet Theater company. I haven’t mentioned the reader’s body size or shape (or hair) basically at all, even to the point of avoiding clothing (except for costumes), but I understand the image that goes along with ballet – I danced for almost 20 years. Din does lift you many times. Please feel free to picture whatever you want, but I know that this might seem more limited. You also have a best friend named Adrian who is in the company with you. I never specified age, but to make first soloist most would be in at least their early 20s. Din is 27.

Chapter list and notes about ballet under the cut! Comment or reblog to join the tag list. 🥰🩰

Chapter List

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5 - coming Wed 11/13

...

some notes about ballet: I will share links to videos and such as much as possible, but here are some definitions to get us started – principal, (first) soloist, corps de ballet, variation, and class vs. rehearsal:

Principal - this is the highest level a dancer (of any gender) can reach in a company. Dancers are ‘promoted’ through the ranks. Principals usually have exceptional technique and artistry and can perform solos, pas de deux (partnering), headlining and/or the most challenging roles, etc. (e.g., the white (Odette) and black (Odile) swans in Swan Lake, both usually performed by one principal). Sometimes dancers are hired directly in as principals (like Din, in this fic). Smaller companies might have 5-6 principals, while larger ones could have as many as 20. Nevarro is somewhere between medium and large and has around 14 principals, including Din.

First Soloist - not every company has this rank, but it’s in between principal and soloist. Nevarro has 4 but they are counted among the soloists (12-14ish total). Soloists are often understudies for larger parts, and first soloists would do the same. In this fic reader is a first soloist, just promoted at the start of the season.

Soloist - this is sort of a middle level, for dancers who are doing very well and have proven themselves capable of taking on bigger roles. Many ballets have multiple roles, including supporting roles in the narrative, for soloists and principals to showcase many dancers’ talents. A smaller company might have 5-6 soloists, and a larger company might have as many as 20. (Larger companies also do more shows.) Nevarro is somewhere between medium and large and has around 12-14 soloists, including first soloists.

Corps de ballet - this is the lowest/starting level in a company. It’s where most would start from and has the largest number of dancers – these are the dancers who come out on stage in large groups or form the background unnamed roles in narrative scenes (like a party). Reader started in the corps and was promoted to soloist and then first soloist.

Variation - a solo dance, usually a piece from a larger ballet (e.g., the Sugar Plum Fairy in the Nutcracker). We say ‘variation’ because there are many ballets that have been choreographed differently by multiple people in the ballet world (e.g., there are famous versions of the Nutcracker by Petipa, Gorsky, Balanchine, Nureyev, Baryshnikov… and more). So there can be multiple variations of a solo from a single ballet, and more can be created or altered, etc. But in general the term just means solo.

Class vs. rehearsal - most companies distinguish between ‘class’ and ‘rehearsal’. Class is for the whole company and focused on improving technique. It’s quick and often repetitive and everyone sort of knows what to do. Most people would have ‘their’ spot at the barre and fall into a typical order for going across the floor. After class, most would go into multiple hours of rehearsal, PT, strength training, etc., depending on whether it was a performance day or not. Most companies are rehearsing for more than one performance at a time, so they might have a longer rehearsal for the show coming up this or next weekend, and a shorter one for another performance a bit farther away. But in the days leading up to a show, that show’s rehearsals would probably take over. This can vary by company. On show days, most would have fewer rehearsals with a 1-2 hour break before the call time to get ready.

Season - companies have 'seasons' which just refers to their plan for shows/schedule for the upcoming year. They might refer to like a fall season and a spring season, or the might have a full year schedule with different parts (fall/winter/spring), or they might have only a spring season that runs into early summer. It depends on the company and the size! In this fic Nevarro has a fall season and a spring season, but they tend to think about it as a full year for contracts/etc. They would have 3-4 big shows planned (think Nutcracker, Swan Lake, Giselle, Onegin, etc.) in each part of the season (so, 3-4 in fall and 3-4 in spring). And then they'd fill in the gaps in the schedule with "mixed programs", which are programs with multiple smaller ballets or pieces that feature a lot of dancers. So a mixed program might have a 20 minute Balanchine ballet, a pas de deux, a full corps piece from a larger ballet, and a piece for like 8 dancers. or something. Mixed programs are often when choreographers-in-residence and on staff get to debut their own work.

[kilfeur]

D'une certaine manière, on voit justement comment Aurora serait si elle était reine. Elle parle mal aux servantes contrairement à Amalia qui justement les respecte et les chérissent. J'imagine que ça doit être quelque chose de similaire dans son royaume à elle pour qu'elle se comporte ainsi. Et justement on voit une relation plus cordiale entre son père et elle que j'avoue avoir été agréablement surprise. Car je trouvais que son père semblait l'utiliser comme un pion. Mais non bon après il y aura peut être d'autres choses qui nous seront révélés par la suite.

En revanche, le dialogue d'Armand m'a fait tiquer dans le sens que je pense qu'elle aimait l'Armand qu'elle voulait voir. Je crois que toujours que leurs affections étaient sincère à leur manière mais qu'à sa mort, ça l'a secoué un bref instant ! Voulant tendre sa main vers la graine d'Armand mais en voyant le geste d'Amalia, comme si elle l'empêchait de s'approcher (bien que je pense pas qu'Amalia s'était rendue compte qu'elle était là) elle a choisi de fuir, préférant suivre l'ordre de son père. Selon elle, elle est la reine légitime par le feu d'Armand mais aussi par le bébé qu'elle porte. Surtout que vu qu'ils parlent de leurs grossesses quand ils sont seuls montre qu'il y a des chances que cette grossesse soit vrai.

Sinon j'ai bien aimé le mariage car ça symbolise justement la possible réconciliation des deux peuples suite au conflit ! Le changement pour les deux peuples étaient brusque et je pense que ce mariage aide justement à mieux installer ce début d'entente en douceur cette fois ci. D'ailleurs mon ami avait justement ajouté que ce conflit est surtout amené par les vieux et non les jeunes adultes comme on peut le voir dans ce chapitre. Par contre la scène, de l'empoisonnement ouais je le voyais venir. Bien qu'Amalia, j'imagine que le fait d'avoir été empoisonné en saison 1, lui a permit de l'empêcher de l'être à nouveau.

In a way, we see precisely how Aurora would be if she were queen. She speaks ill of the servants, unlike Amalia, who respects and cherishes them. I imagine it must be something similar in her kingdom if she behaves this way. And we see a more cordial relationship between her and her father, and I must admit I was pleasantly surprised. I thought her father seemed to be using her as a pawn. But no, well, maybe there'll be more to come later.

On the other hand, Armand's dialogue made me tick in the sense that I think she loved the Armand she wanted to see. I still believe their affections were sincere in their own way, but when he died, she was shaken for a brief moment! Wanting to stretch out her hand towards Armand's seed, but seeing Amalia's gesture, as if preventing her from approaching (although I don't think Amalia realized she was there) she chose to flee, preferring to follow her father's order. According to her, she's the rightful queen not only because of her late husband, but also because of the baby she's carrying. Especially since the fact that they talk about their pregnancies when they're alone shows that there's a good chance this pregnancy is real.

Otherwise, I liked the wedding because it symbolizes the possible reconciliation of the two peoples following the conflict! The change for both peoples was abrupt, and I think this wedding helps to establish the beginning of a gentle understanding this time. Moreover, my friend had just added that this conflict is mainly brought about by the elderly and not the young adults, as can be seen in this chapter. On the other hand, I could see the poisoning scene coming. Although Amalia, I imagine, had been poisoned in season 1, which helped prevent her from being poisoned again.

[elmaxlys]

could you look at the translation differences for "It's better to be hurt than to hurt people?" it's kind of basic, but i've always found it to be a heavy line, though imo it sounds kind of awkward and clunky in english

Good old classic!

After googling for hours I could not find a single source for that phrasing. Even when I checked the anime, the subs I got were (albeit extremely similar) not a word for word of this infamous quote that gets reposted along with extremely wrong quotes like "why should I apologize for being a monster". The dub is different as well - and the manga is another beast entirely.

For the sake of context - as it explains the phrasing - I kept the lines around it. When it comes to the manga, I took the entirety of what Mrs Kaneki says in that first page of ch61. As for the anime, I also grabbed the two lines that come before, spoken by Mrs Kaneki, as they're what comes in the middle of the two famous sentences in the manga, but right before in the anime.

Here are the different phrasings I found:

The Repost: It's better to be hurt than to hurt people. Nice people can be happy with just that.

The line in the manga:

Viz Media: Be somebody who knows pain instead of somebody who hurts others. You don't need to be rewarded if you have love and kindness in your heart, Ken. That's all kind people need to be happy.

Twisted Hel Scans: Instead of a person who hurts others, become the person who gets hurt. It is okay if you lose because of your love and kindness, Ken. A kind person only needs those things in order to be happy.

Leo Scans: Rather than a person who hurts others, become the person getting hurt. It's all right to lose out with love and warm feelings, Ken. A kind person finds happiness in just that.

Glénat: Au lieu de blesser ton prochain, essaie plutôt de comprendre sa douleur. Tu auras tout gagné si tu fais preuve d'amour et de gentillesse, Ken... même si cela semble aller contre tes intérêts. Car à elle seule, la gentillesse permet de connaître le bonheur. (Rather than harming your neighbour, try to understand their pain instead. You will have won everything if you show love and kindness, Ken... even if it seems to go against your own interests. Because kindness on its own makes you able to know happiness.)

The line in the anime:

English subs: (Mrs Kaneki) Ken, it's okay to feel loss. Nice boys like you can be happy with just that. (Ken) It's better to be hurt than hurt others. People who are nice can he happy with just that.

English dub: (Mrs Kaneki) Ken, it's okay to feel sadness from loss. As long as you remember to stay kind, you'll find joy again. (Ken) It's far better to feel pain yourself than to inflict it on others. As long as you remain kind, you will find joy again.

French subs: (Mme Kaneki) Ken, tu peux être perdant. Les gens gentils sont heureux comme ça. (Ken) Il vaut mieux être blessé que blessant. Les gens gentils sont heureux comme ça. (Ken, you can lose. Nice people are happy that way. || Being hurt is better than being hurtful. Nice people are happy that way.)

French dub: (Mme Kaneki) Ken, ce n'est pas grave de perdre. Les garçons gentils comme toi peuvent vivre avec et être heureux. (Ken) Il vaut bien mieux être le blessé que celui qui blesse. Les gens gentils l'acceptent et sont heureux comme ça. (Ken, losing is not a big deal. Nice boys like you can live with that and be happy. || It's way better to be the hurt one than the one who hurts. Nice people accept that and are happy that way.)

So as you could see, they all talk about loss, pain and their relation to happiness - but they do so in different ways. Sometimes the change is subtle, sometimes it's glaringly obvious and makes you wonder if they're translating the same text (looking at Glénat).

To hurt, or not to hurt, that is the question:

This is the main point. What drove Mrs Kaneki to overwork herself, what pushed Ken to accept abuse from her and everyone else. What if he hurts their feelings if he speaks up? Better to shut up and endure. Again. And again. Until he can't anymore (Shironeki). Until it's back (Haise). Until he can't anymore (Black Reaper). Until it's back (Kingneki). Until he can't anymore (Dragon). Until he doesn't care anymore.

The panel will be relevant in the analysis, you'll see! Because both this quote and this panel fuel my understanding of Kaneki's character journey: freeing himself from motherly teachings (all mothers)

[readmore because what the fuck did this become holy shit]

The repost, "It's better to be hurt than to hurt people.", is concise and straight to the point. This is, after all, what makes the best repostable quotes as they're easy to remember. I am unsure where this phrasing began but it's no wonder it's the one that took off and remains in the collective mind The Quote associated with Kaneki (other than made up quotes RIP). This conciseness is probably what makes it come across as clunky: no space for weaving words into something pretty. I want to say it's boring but there are the opposition between the passive and active voice and the comparative that are worth looking into.

For people who don't know anything about grammar or don't have that stuff in their language, in the active voice the subject acts the verb, while in the passive voice the subject undergoes the action of the verb. When transposing a line from active to passive, the subject of the passive is the object of the active.

Example: Donato kills children. -> active voice. Subject: Donato. Object: children. VS Children are killed by Donato. -> passive voice. Subject: the children. Donato? the agent (aka the one who actually does the action of the verb)

You get it? Now let's go back to our sheep goats:

What this sentence says is that, above the verb of "hurt", it's more advantageous to be passive in your own life. Action incurs risks beyond your direct control - but by being passive, you know exactly what's coming at any time.

The comparative is interesting too. It's better. It's a comparative of superiority. There are three forms of comparative: superiority, inferiority and equality. Here, equality wouldn't work anyway as a hierarchy is established between the action and the passivity. But what's interesting about the use of the comparative of superiority here is that it puts passivity on a pedestal, lifts it above the action. It paints it as good. And more than good, better. With a comparative of inferiority, "it's worse to hurt than being hurt", it says that both actions are bad but one is clearly under the other and therefore you should prioritize the 2nd, aka being hurt. It would acknowledge the bad parts of the passivity while saying that there are more bad parts in the other option so better choose that one. Here, it goes the other way around. Being hurt is pushed onto the reader and Kaneki, it's not a reluctant choice by deduction of what's the least bad option here.

Kaneki has no choice here. He didn't even actively choose passivity, it was pushed onto him: that's saying how passive he is.

I'm gonna jump straight at the English subs. Why? Because the phrasing is very, very similar. Probably where the quote originates. As a reminder, "It's better to be hurt than hurt others." What differences? 1) no "to" in front of hurt -> I admit I do not know enough about English grammar to comment this, but I'll still comment the effect it has aurally. 2) "others" and not "people".

Let's start with the first difference. I said I'd comment on the sounds so here goes: "to" is a word comprised of two letters, one vowel and one consonant. That consonant is "t", which is an occlusive (or plosive). An occlusive is a sudden, more or less brutal sound, that cannot be maintained. As a result, it sounds harsh. Consonants work by two: one voiced (using vocal cords), one voiceless (without using vocal cords). Voiceless consonants tend to sound harsher. Compare g and k. Compare t and d. Compare b and p. These are the plosives. K, T and P sound harsher. So let's look at the sentences. I'll put the plosives in red. Repost: It's better to be hurt than to hurt people. EN subs: It's better to be hurt than hurt others.

Do you see where I'm going with this? Removing a "to" and swapping "people" for "others" removes a brutal aspect. And see in what part of the sentence it happens? In the part about not being the one to hurt. Even the language adapts to that. Beautiful.

That overabundance of plosive in the repost probably contribute to the clunky feeling but can also be seen as alliteration to represent the hurt, like it definitely in the subs version, since they disappear when we move from the self onto others.

Speaking of which, what about "others"? The way I perceive it, "others" puts a distance between the enunciator and whom they're talking about, while "people" is just completely general. You mustn't hurt people: don't hurt anyone. You mustn't hurt others: don't hurt people who are not you. So of course, on top of going well with the softening of the sounds, it enhances the message wonderfully. It's okay to be hurt but people who aren't you better not be, you hear me? Don't retaliate.

Additionally, I can't help but think, when I seen "than to hurt people", about what Kaneki says when fighting Furuta: he'll save people, and ghouls too. In which case, people means humans - and that'd go for the repost as well. After all, Kaneki never had much trouble decimating ghouls!

Now we're moving onto... The French subs! as a reminder, "Il vaut mieux être blessé que blessant", aka "It's better to be hurt than hurting." We're starting with a complaint about the English language because hurt can both mean something and its opposite. For real this TG sentence could be "it's better to hurt than to hurt" and I hate that I love that it's a possibility. Language is amazing. Parenthesis closed, let's move on. The first part can be analyzed the same as before with the comparison. But there is more and there are subtleties that make my brain sparkle tho so let's dig!

Literally, "valoir" (conjugated here as "vaut") means being worth. We use it with the impersonal and comparative to mean basically the same thing as "it's better" but the literal translation of "it's better" is "c'est mieux". "ce" -> neutral demonstrative, "est" -> is, "mieux" -> comparative of superiority of bien (good). So why use "valoir", here? Because, unlike "c'est" which comes across as objective, "il vaut" introduces subjectivity. It is worth for the person talking.

Now onto my favorite part of that sentence: the polyptoton!! For people who don't know it's the repetition of the same word root but with a different ending/form/nature. Here? "blessé" and "blessant". They are both forms of the verb "blesser", which means "to hurt" (as in "inflict harm" and not "suffer"). Both are in the participle form: blessé is the past participle and blessant is the present participle. Used with the verbe être (be), they are verbal adjectives (basically adjectives but coming from a verb). And as verbal adjectives, the past participle expresses the action as passive while the present participle expresses the action as active. We already talked about the active and passive so it's the same thing here as before, really, but with a wonderful aural addition, the polyptoton.

Did you notice something with the French subs? There's no object to that second "hurt", blessant. Unlike with the conjugated verb blesser which takes a direct object, here, a complement would have to be introduced with "envers" (toward). There is none. The sentence ends here. So what effect does that have on our sentence? It makes it general. In general, it's worth more being hurt than hurting. No exception. No precision. It sounds like a proverb (which the polyptoton really helps btw lol).

Now that the anime subs are out of the way, let's look at... the anime dubs! French dub first because it's very similar to the subs. "Il vaut bien mieux être le blessé que celui qui blesse." So what differences? 1) the intensive adverb "bien"! 2) substantivated past participle 3) relative clause as a circumlocution of sorts.

We'll start with the intensive adverb "bien". Bien can mean a variety of things and can even be various natures. Most of the time, as an adverb, it tends to express the manner, and as such it can be translated as "well". But here, it's an intensive. It reinforces the adjective that follows it and can be translated by "far", "much" or "way" when followed by a comparative like is the case here (and as "very" when a positive, if you're curious). This sentence is strong. Not only does it use the verb valoir and its subjective lense but also it accentuates it with the intensive. We're not in the proverb category anymore, we're in the moral lessons.

Now for the next change. Remember past participle of blesser? "blessé"? Can be used as adjective and therefore becomes "verbal adjective"? Well this bad boy can also become a noun. This procedure is named substantiviation. It serves to designate a general category of people doing or undergoing the action of the verb. "le blessé" therefore means "the one who is hurt". Now why use that? See, with the definite article, we're reducing the range, we're saying there's only one. We know the conflict we're talking about, we know the kind of person we're talking about. It's no longer a state you're in at that precise moment like with the adjective: no, the noun reduces you to that specific state of being. If you are "le blessé", there's no getting out of that label. You are hurt and you forever will be because it is now your core qualificative.

This is particularly interesting when paired with what comes right after: the relative clause to designate "the one who hurts". A relative clause can be either descriptive or defining: here is clearly the second. But while it does put a label on "celui" (the one), it is not inescapable like a substantive, this is - albeit a defining one - an add on to who you are. You can stop hurting other people, but you can't stop being hurt by others.

This is interesting because "celui qui blesse" and "le blessé", both singular, one substantive, the other demonstrative pronoun, create a dichotomy, but the relative clause can make you question the legitimacy of this dichotomy.

Now, are you getting tired of the passive VS active opposition? Fear not, the English dub doesn't use that! "It's far better to feel pain yourself than to inflict it on others." Two active verbs, we love to see it!

We still find the usual comparative of superiority with the intensive "far", nothing new, so I'll be fast: comparative of superiority paints the action as positive, pushes it onto the viewer, doesn't acknowledge its negative aspects. The intensive pushes that three notches upward and basically paints it as the only viable option, pushing the sentence into the "moral lessons" category.

Okay now let's look at the novelty! "feel pain". There's nothing passive about this. Sure, it's not an "action" as we would ordinarily describe it but the voice isn't passive and that's important. You cannot "be hurt" without an outside force, that's the nature of the passive voice. Here, feelings can happen on its own. It is not necessarily something caused by outside factors, it can be sadness, it can be sickness, it can be twisting your ankle, it doesn't matter anyway: what's important is the resulting action: feeling.

Feeling is something personal, subjective. You can't physically share your feelings. Every individual will feel differently. Dumb example but I'm thinking about the "menstrual cramps simulators" where people who were used to them were like "whatever" while others were writhing on the floor in agony. This idea is reinforced with the pronoun "yourself".

Here's what's fun about "yourself": it implies that the pain you would have inflicted onto others is now inflicted on you and if you don't feel the pain yourself it gets thrown onto others, and not necessarily the people who've cause you this hurt (aka vengeance), no we're looking at the cycle of violence here.

And while "feeling" is a pretty neutral verb, "inflict" is very much not! It's not even trying to be subtle, especially paired with the comparative etc we talked about before. This is a strong sentence, every bit of itself reinforcing the others, this sentence is unshakable, I love it in its structure and the implications are lovely when it comes to characterization: if Mrs Kaneki isn't hurting, it's her sister who is - and the pain she gives Ken is her failure to feel that pain herself. It's the cog of the vicious circle expressed wonderfully in this sentence.

We're now done with the anime, which is the way most people saying that sentence experienced Tokyo Ghoul. But what about the original? By original I mean manga - and not Japanese, that I haven't learnt in the time between starting this post and writing these words.

We're starting with my favorite scan group: Twisted Hel Scans. Here is what they write: "Instead of a person who hurts others, become the person who gets hurt." Boom, we're entering something entirely new and all the manga translations follow that: "instead of/rather than" and not a comparative of superiority. Did the anime not use the line from the manga? I wonder. But this is not our topic. We're discussing the impact of each of them.

What does "instead" bring that the comparative doesn't and vice-versa? "instead" acknowledge the other option. It's redirecting. It sees the path laid in front and says "hey look at that other path over there". It's guiding but not forceful. It gives you a choice by putting the two options on the same level. No moral value put on one or the other.

It's guiding in the sense that it uses an imperative. "Instead" brings to the imperative the notion of tip or counsel, and not an order, especially when we look at the verb used. It's not a random imperative, no! It's "become". It's a stative verb, not an action. It's a change of being. You have the choice to change or not. You currently are either "a person who hurts others" or at the crossroads to decide which one you get to be.

Now here's what I love with this translation: the articles. "a person who hurts others", "the person who gets hurt". There are countless people hurting others, they are faceless, indefinite, we don't care. But there is only one person getting hurt. Implied here is the people who hurt inflict that hurt on The Person. Everyone is hurting the same person, who then becomes the victim, the recipient of everyone else's violence, like a scapegoat. Someone will have to suffer anyway: choose on what side of that suffering you want to be.

Leo Scans says almost the same thing: "Rather than a person who hurts others, become the person getting hurt." The differences are "rather than" and the gerund instead of the relative clause. As far as I could search I couldn't find any difference in meaning between the relative and participial clauses in such cases so that's that.

However, unlike THS, Leo says "rather than" and not "instead of". As I said, "instead" offers you the choice to change - "rather", on the other hand, expresses an opinion, and even more than that: a preference. Indeed, as you can see from the -er suffix, rather is originally a comparative. And what did we say about the comparative? That's right. Subjective. It doesn't behave like "better" we saw earlier, though. In fact, it does the opposite: it pushes one option down, puts it in negative light before elevating the other. Leo phrasing has contempt for the people who hurt others while THS phrasing sounds more neutral.

Are you ready for the official translations? I'm starting with Viz Media because Glénat is pretty different from all the translations until now. Viz Media's phrasing was as follow "Be somebody who knows pain instead of somebody who hurts others." Aah~ do you see it? Difference.

Starting with the first word, because that's how sentences work: "be"! Wonderful, wonderful "be"! Imperative! Stative verb! But not one that expresses a change, like "become" we saw earlier, no! no, it's the OG. It doesn't accept a previous state of being nor a state of becoming, no. This imperative is doesn't call for growth or change, it calls to be. Static, unchanging. Definite.

This time, no substantivation, no article: only indefinite pronoun + relative clause, both times. No difference of treatment grammatically between the two options. Both options are equally represented: there's no power imbalance, no change of meaning hinging on the smallest word, no. The frequency of both parts is the same. The parallel construction is gorgeous and the balance is completed with the somewhat neutral "instead of": giving a hint, maybe already placing you in the other basket and telling you to get out, but placing no preference grammatically.

Another big change is "knows pain" and not "gets hurt" and variations. This one is no passive action: on the contrary it's a call to reflection and knowledge, an invitation. Is the knowledge physical as implied in all the other phrasings we've encountered? Is it an academic kind of knowledge as Mrs Kaneki cultivates her son's love for reading? Is it a matter of empathy?

While Viz lets us ponder the meaning of that "know", Glénat is definite in its answer: "Au lieu de blesser ton prochain, essaie plutôt de comprendre sa douleur."

We immediately focus on the second part of the sentence "comprendre sa douleur" (understand [your neighbor]'s pain) because that's what we stopped on the previous one. Glénat doesn't give Mrs Kaneki the benefit of the doubt: it makes her completely reasonable. She insists on empathy. She doesn't mean "oh yeah go be bullied no problem", she says to try to understand people, what makes them the way they are, what is hurting them to cause them to act that way - and so Ken understands his mother's pain and therefore understands why she's so violent with him. This one is not a call to passivity at all. Interestingly, it doesn't actually say anything about action.

"au lieu de" is "instead" pretty much word for word, but it's paired with "plutôt" which is "rather" pretty much word for word again. So there is an insistance on the imperative.. And what does that imperative say? "be"? "become"? No. Not a stative verb this time. No passive either. We have "try". This is important as it allows failure. You can't always understand people who hurt you and that's okay but you should always try to understand what hurt them. Active and, I want to say, way more difficult than the passivity the other ones called for.

Then there's "ton prochain"... I translated as "your neighbour" as "ton prochain" is almost only ever found in religious context nowadays "aime ton prochain comme toi-même" for example and the way I keep finding that sentence in English is "love your neighbour as yourself". So Glénat's translation is loaded with religious subtext. And may I remind everyone what a religious "neighbour" is? The one who helps you in your time of need, the one that takes pity. This is no random "others" or "people" like the English translations, no this is very specific: don't hurt people who mean you well.

Glénat's translation is diametrically opposite to the others, as Glénat does: no notion of experiencing the hurt, no notion of not hurting anyone, no absolutism. Basically love your neighbour 2.0, with a added subtext that mommy is the neighbour and if she hurts you then you'd better try to understand why before you make it worse.

Glénat's translation is the one that made me add this picture of Kingneki talking to Furuta, dismissing his hurt, his reasons, to act the way he does: in that moment, Kaneki discards the motherly teachings and doesn't try to care anymore. He doesn't care to be hurt either. He doesn't care not to hurt others. He's already killed countless, what's one more. He takes priority on his "neighbor" indeed but he doesn't try to understand them and their pain either (leaving Touka on the sidelines again and again and over again for example).

This feels a tad jumbled for a conclusion but hey! this is a conclusion jumbling all 9 translations, give me a pass, will you?

[sillygoose067]

Charles’s Angel(s)

Ch.19

Charles Leclerc x Reader

The boys end up ordering fried chicken to refuel during the break. You call Charles over to join the haphazard circle on the floor. The members of SKZ do their best to welcome him to this niche little family, and discuss the subtleties and specificity of each other’s occupations. “Wow, you are a racer?! What car do you drive?”

“Actually, I am a driver for Ferrari”

Collective gasps. Everyone knows what Ferrari’s are and how big of a deal they are. “So do you drive a Ferrari around the track?”

“No actually. All of us F1 drivers get motor vehicles put together, somewhat personalized. The car is much, much smaller than a normal, commercial vehicle. It only seats one person, and we need to follow lots of weight protocols and barely drink water…” Charles goes into the many specifics of being an F1 driver. The members tell him that maybe, sometime during his stay, he can join them in the gym and show them what his routine is (of course Changbin asked that). Then, the subject switches to the music production process and how each of the members got to where they were currently.

When the food arrives, you turn to Charles. “I swear to every god there is, this Korean fried chicken will forever change your life. You will never look at fried chicken the same after this. Are you prepared?”

Stricken by your sudden change in behavior, he agrees. Everyone watches with a bated breath as he takes a bite out of his first piece. The moment the chicken makes a delicious crunch and reaches Charles’ tastebuds, his eyes widen and he almost moans. Putain de merde (Holy shit).

If this was fried chicken, what the hell had he been eating when he got KFC all these years? KFC?? Kentucky Fried Chicken? Fuck that. KFC as in Korean Fried Chicken was by all means superior.

Once he gets over the shock to his taste buds, Charles tells the three people who he learned were the main producers of the group, 3racha, about his ideas and compositions, inquiring about whether or not they could help. “Of course man! What do you need? Han here is a genius lyricist, as is Changbin, but he and I mainly produce the actual music”, says Chan. “Tell you what. Why don’t you come join us in my studio tomorrow and we can experiment with some of the stuff you have”.

Charles checks-in with you quickly, then agrees. 

…

When you finally arrive at the hotel, you block out your surroundings and immediately get into the shower, feeling icky with sweat. Charles however, takes a step inside and notices that there was only one bed. Uh oh. This felt too much like one of those disgusting Hallmark movie plots. When you come out of the shower, drying your hair with a towel and in a bathrobe, you finally see the problem. “Ummm, je peux prendre le canapé (Um, I can take the sofa)”, volunteers Charles, scratching the back of his neck and trying to keep down the blush crawling up his cheeks.

“Non, non, ce n'est pas la peine de faire ça. Ce serait vraiment mauvais pour ton dos... C'est bon, je suis d'accord pour partager le lit…(No, no, no need to do that. It would be really bad for your back... It's ok, I'm ok with sharing the bed…)”

Charles just hmms in acknowledgement and rushes off to take a shower of his own. 

…

When he returns, you’ve already blow-dried your hair and are sitting at the vanity doing some skincare. From your peripheral, you see that he’s only got a towel around his waist, held by an arm, and is drying his hair with a smaller towel. Quickly, you avert your eyes and continue to do your skincare as you hear him rustling around his suitcase and grabbing some clothes. 

“What are you doing there Chéri?”, you hear Charles ask from behind you. You deduce that he’s changed by now and look up through the mirror. “Just some basic upkeep for my skin. I wasn’t born this flawless, you know?”, you flick your hair sassily. 

“Hmm, but I beg to differ, love”.

Flustered by the sudden flattery, you scramble around the table, knocking over some of the products, and desperately trying to find your moisturizer. When you look back up through the mirror, Charles is smirking at you successfully. You grab a small hand-towel on the table and throw it at him, aiming for his stupidly handsome, dimpled face, but of course, his quick driver reflexes kick-in and he catches it before impact.

He comes over and stands over your shoulder. “Mind if I join you?”

You turn to him and he bends down to your level. Scooping out some of your moisturizer, you rub it on his face, taking your time to trace the arch of his nose and over his cheekbones. Charles watches as you gently massage the product, his eyes never leaving the concentrated look on your face. When you’re done, you break this intimate moment by stretching your neck up slightly and leaving a light kiss at the corner of his lips.