#Federico Fell

[fenikorg-talks]

1910 (Intermedio)

Aquellos ojos míos de mil novecientos diez no vieron enterrar a los muertos, ni la feria de la ceniza del que llora por la madrugada,  ni el corazón que tiembla arrinconado como un caballito de mar. Aquellos ojos míos de novecientos diez vieron la blanca pared donde orinaban las niñas,  el hocico del toro, la seta venenosa y una luna incomprensible que iluminaba por los rincones los pedazos de limón seco bajo el negro duro de las botellas. Aquellos ojos míos en el cuello de la jaca,  en el seno traspasado de Santa Rosa dormida,  en los tejados del amor, con gemidos y frescas manos, en un jardín donde los gatos se comían a las ranas. Desván donde el polvo viejo congrega estatuas y musgos. Cajas que guardan silencio de cangrejos devorados.  En el sitio donde el sueño tropezaba con su realidad. Allí mis pequeños ojos. No preguntarme nada. He visto que las cosas cuando buscan su curso encuentran su vacío.  Hay un dolor de huecos por el aire sin gente y en mis ojos criaturas vestidas ¡sin desnudo!

Federico García Lorca, Poeta en Nueva York

[unabashegirl]

Vicious 10 | Mafia HS

After his father's death, Harry Styles must take control of the family mafia while dealing with his unpredictable brother, Silas. He meets Y/N Castellano, the daughter of an Italian mafia boss, and learns about their arranged marriage.

Author's note: hello everyone, I hope you are all having a wonderful week. Here is a new chapter enjoy! Let me know what you think :)

check out my patreon (starting at $2) and get full access to all 25 chapters, various one shots and much more :)

warnings: violence, abuse, cursing

vicious masterlist

Four days had passed since Harry had dragged her down into the darkness of the dungeon. Four long days since she had felt the warmth of the sun on her skin. The air down here was cold, damp, and heavy with the musty scent of stone and decay. Food and water were brought to her, but they did little to ease the weight of her confinement.

Y/N shivered as she huddled in the corner of the damp cell, the chains around her wrists and ankles digging into her skin. The darkness seemed to press in on her from all sides, suffocating her with its suffocating embrace.

Her mind raced with thoughts of escape, of freedom from this prison that Harry had condemned her to. But each time she tried to move, the chains held her fast, a cruel reminder of her captivity.

The days blurred together into a haze of fear and despair. She lost track of time, of how many meals had been brought to her, of how many times she had cried out for help only to be met with silence.

At night, when the dungeon fell into an eerie silence broken only by the distant sound of dripping water, Y/N found herself consumed by dread. The shadows seemed to come alive, twisting and shifting in the darkness, whispering taunts and threats that echoed in her mind.

But despite the darkness and the cold, Y/N refused to let despair consume her. She clung to a flicker of hope, a small ember of defiance burning within her. She knew she had to stay strong, to endure, until the day came when she could break free from these chains and the man who had put her here.

"How long are you going to keep her downstairs?" Charlie's voice cut through the tense air of Harry's office as he paced back and forth, his concern evident in his furrowed brow.

"As long as needed," Harry replied curtly, his attention focused on the packages that had arrived at the house. Some contained thinly veiled threats, others held payments or favors owed.

"Calm down, Charlie. She isn't dying down there," Lex interjected, his voice tinged with annoyance. "We've had people genuinely hurt, surviving for months in those cells."

"She isn't just anyone, Lex. She's Federico's daughter," Charlie retorted, his worry deepening. "Keeping her locked up down there only raises the risk of sparking a war with the Italians."

Harry paused, his jaw clenching as he considered Charlie's words. The implications of his actions weighed heavily on him, the potential consequences looming large in his mind.

"We can't risk it," Charlie continued, his voice firm.

Harry remained silent for a moment, the gravity of the situation settling heavily upon him. He knew Charlie was right, but his pride and anger clouded his judgment.

"We'll see," Harry finally replied, his voice hard. "For now, she stays where she is."

Charlie nodded, a sense of unease settling over him as he watched Harry continue to sift through the packages. Deep down, he knew that the longer Y/N remained locked away in the dungeon, the greater the risk of irrevocable consequences. But convincing Harry of that was another matter entirely.

“What the hell is this?" Lex exclaimed, his voice filled with disbelief as he pulled something out of the box addressed to Harry.

"It's a finger," Charlie replied grimly after examining the piece. The finger was meticulously manicured, adorned with a large diamond ring. Lex recoiled, dropping the grisly item back into the box and rummaging through the contents in search of a note. However, there was nothing to be found except for a phone.

"I don't understand. Is it a threat? Did they kidnap one of us? What is it supposed to mean?" Lex's questions hung heavy in the air, his confusion mirrored in the faces of the other men in the room. "Completely clueless about this one."

"Send the phone to be unblocked and searched. Get rid of the finger," Harry ordered, his voice hard and decisive. The situation was becoming increasingly unnerving, and he knew they needed answers quickly.

Charlie nodded, his expression grim as he carefully collected the items from the box. The severed finger, with its ominous ring, was a chilling reminder of the dangers lurking just outside their doors.

After delivering the phone to a member of the IT team, Charlie couldn't shake off the unease that settled in his gut. He knew he wasn't supposed to go down there, into the dark chambers where Harry kept her locked away. The risk was immense—being caught could mean facing the same fate or worse. But he couldn't bear the thought of Y/N suffering such harsh punishment for attempting to escape.

With a quick glance around to ensure no one was watching, Charlie made his way down the narrow staircase that led to the underground chambers. The air grew colder and damper with each step, the darkness enveloping him like a suffocating shroud.

Finally reaching the heavy iron door that sealed off Y/N's prison, Charlie hesitated for a moment. He could hear the faint echoes of her sobs from the other side, sending a pang of guilt and sympathy through him.

Taking a deep breath to steady himself, Charlie reached for the latch and slowly pushed the door open. The dim light of a single bulb flickered overhead, casting eerie shadows across the stone walls.

Y/N was curled up on the cold floor, her knees drawn up to her chest as she shivered in the dampness of the dungeon. The sight of her in such a vulnerable state struck a chord deep within Charlie.

"Y/N?" he whispered softly, his voice barely audible in the oppressive silence.

She looked up, her eyes wide with surprise and a glimmer of hope. "Charlie?" her voice trembled, tears glistening in the dim light.

Charlie knelt down beside her, ignoring the gnawing fear in the pit of his stomach. "I brought you something," he said quietly, holding out a blanket and a pillow.

Her eyes widened in disbelief as she reached out to take it. “Thank you…” she began, her voice catching in her throat.

"How are your wrists?" Charlie asked softly, his eyes filled with concern as he noticed the bruises and swelling.

"Painful," Y/N replied, her voice barely above a whisper, her gaze fixed on her injured wrists.

Charlie reached into his pocket and pulled out a small tube of gel. "Here," he said, offering it to her. "This should help with the pain."

Y/N took the tube gratefully, unscrewing the cap and squeezing a small amount onto her fingertips. The cool gel soothed the ache as she carefully rubbed it onto her wrists, sighing with relief as the pain began to ease.

"Thank you," Y/N murmured, her eyes meeting Charlie's with gratitude. "Why are you helping me? I thought you hated me.”

"I'll come down tonight if I have a chance," Charlie said, changing the subject. "Maybe I'll bring you something different than oatmeal for dinner."

A small smile tugged at Y/N's lips. "I'd appreciate that," she said, her eyes softening with warmth.

Charlie nodded, a sense of determination in his gaze. "Hang in there, Y/N. We'll find a way to get you out of here."

With those words of reassurance, Charlie turned to leave, his footsteps echoing faintly in the dimly lit dungeon. Y/N watched him go, a flicker of hope growing in her chest. Perhaps, with Charlie's help, there was a chance for escape after all.

Later that day, during dinner, Lex burst into the dining room where Harry was dining alone.

"Boss, the phone is from someone named Gianna Rossi. She recently got married to a guy named Augusto Rossi. Turns out he used to attend college with none other than Federico Castellano," Lex shared, handing over the papers to Harry. "There are multiple chats between Gianna and Y/N. They're apparently best friends."

Harry's eyes narrowed as he scanned through the documents, his mind racing with possibilities. "So... it's her finger? Gianna's?" he asked, a cold edge to his voice. “Why would he sent it here? We don’t even know her”

"Y/N and Gianna were planning to escape the night she went out the window and we found her in the woods. But after that night, they've had no contact whatsoever," Charlie explained, his eyes serious as Harry glanced up from his meal. "Apparently this Augusto guy is a real piece of work. I'm guessing she got caught, and things haven't been going too well for her since then.”

Harry's jaw clenched as he absorbed this information. He had suspected that Y/N wasn't acting alone in her escape attempt, but the extent of her connection to Gianna and Augusto surprised him. The thought of her planning this with her best friend, not for some lover, but for freedom from him, ignited a mix of emotions within him.

Regret crept in, unexpected and unwelcome. He had believed her escape was for a man, for love or desire, but now he saw the truth. It was about freedom, about escaping the life he had offered her. The realization hit him like a physical blow, stirring up a tumult of conflicting feelings.

Anger flared first, a hot surge of resentment at her betrayal. How dare she conspire against him with someone he didn't know, someone who could pose a threat to everything he had built? But beneath the anger, there was a hollow ache of regret.

Regret for not seeing it sooner, for not understanding her motives. Regret for chaining her in the dark, cold depths of the dungeon, treating her like a criminal instead of a woman he had cared for in his own way.

Harry stood from his seat, the chair scraping loudly against the floor in the silence of the room. He paced the length of the dining hall, his mind whirling with thoughts of what to do next. He couldn't let this betrayal go unpunished, but he also couldn't deny the strange mix of feelings that stirred within him.

The image of Y/N, defiant and vulnerable, haunted him. He could almost feel the softness of her skin under his fingertips, the warmth of her breath against his neck. The memory of their moments together, the stolen glances and shared touches, lingered in his mind.

"Find out everything you can about this Augusto Rossi," Harry ordered, his voice low and dangerous. “I want to know if he has any type of current business with Federico and find out about Gianna’s family and who they are” Lex and Charlie nodded before leaving the room.

Harry remained seated, his appetite gone as he pushed around the food on his plate. The conversation with Lex and Charlie had left a sour taste in his mouth, the image of Y/N chained downstairs haunting his thoughts.

He couldn't shake the feeling of regret that gnawed at him, each bite of food becoming more difficult to swallow. The realization of what he had done, of how he had treated her, weighed heavily on his mind.

The once appetizing meal now seemed tasteless, the clinking of utensils against plates echoing in the otherwise silent room. Harry found himself lost in thought, his mind drifting back to Y/N and the desperation in her eyes.

The image of her chained in the dungeon flashed before his eyes, the memory of her pleading eyes and muffled cries sending a pang of guilt through him. He had acted out of anger, out of fear of losing control, but now he saw the consequences of his actions.

Pushing the plate away, Harry ran a hand through his hair, frustration and regret mingling in his thoughts. He should have handled the situation differently, should have given her a chance to explain herself.

But now it was too late, and he was left with the weight of his decisions pressing down on him.

Harry walked with heavy steps, the weight of his actions pressing down on him like a leaden cloak. He couldn't deny the mess he had made, the damage he had inflicted on his relationship with Y/N, and the repercussions it would have on his awaiting marriage.

As he reached the door to the dungeon, his heart clenched with a mixture of dread and regret

---> chapter 11

[sulfies]

I got an idea for an art or story. Concept is this: Ezio finds a Piece of Eden that shaped as a necklace that is able to go back and time, so Ezio uses it to try and save his family. But there’s a cost to it, you can use the power of the necklace to kill and save whomever but the power is to strong that whoever wields it dies. Ezio accepts that price and uses the Piece of Eden necklace to save his family but soon after he dies. And Giovanni, Federico, and Petruccio mourn him. How’s that sound? 😁

Woahh what a bittersweet idea, but why would Ezio need to use it to kill if the necklace can just take him back in time? I think he would be able to do it himself :3

This is a bit of a long request, most of my fics are around 1-2k :,3 so I don't think I can write the whole fic but I could write a blurb (sorry about that)

-------

"Do it"

Ezio felt his vision go black and that was that. It was done.

It was Giovanni who woke up first, with a long gasp his hands around his neck eyes filled with tears, his hands rushed to pat the side of his bed finding Maria sleeping in the same position he always remembered her in. Droplets started to fall on his cheek. He knew why he was crying... He lost something. Something deeply important he will never get back.

It felt like his heart was ripped out.

Frederico woke up next in his room, bolting up coughing heavily as he fell to the floor.

"No... No no no" His hands fisted his hair "You did not do that n-" clutching at his chest he wanted to scream, he stopped as his ears picked up Petruccio's cry from the next door over. He got up and rushed in finding the boy hugging his knees bawling.

"Oh cuore mio... Its okay Im here"

The sobs only grew louder but the little brother let himself be embraced into a rocking hug. "Its... Its not okay- be- becau"

Frederico shushed... petting his brothers' golden locks "I know... I know"

"I want him back!"

"I know, I know... but-"

The two brothers looked up at the knock on the doorway that made his way in, crushing them in a hug. Faces muffled in each other's shoulders tears staining the expensive fabrics with choked breaths. Giovanni kissed each of the boys' foreheads one by one with longing. Inhaling the smell of home but missing one...

"So do I."

[smalltownstudying]

My old friend Valle-Inclán

27.09.2024; trcc readathon day 4 (this one is special to me)

What I'm about to tell you might make you see me as a bit of a lunatic, but you have to keep in mind that I am and kind of always have been a theater woman, so you can't expect much else from me. One school night, when I was around 17 years old, I was watching TV after dinner. In particular, I was watching a biopic about Ruben Dario (the Nicaraguan poet who pretty much started Modernism for literature written in Spanish) on some niche channel. One of the characters in the movie was the Spanish writer Valle-Inclán, a novelist and playwright whom I had grown very fond of during literature class (I don't exactly know why, but I think it had something to do with his personality and cool beard, or with the fact that he lost his arm because some other guy hit him with a cane during a fight in a social gathering/sort of academic debate). I soon fell asleep on the couch and started having a weird dream: Valle Inclán, with his slender figure, long beard, and funny glasses was talking to me from the TV. He told me: "don't believe everything you see on TV". To this day I don't know why, in my subconscious, I made the poor man say those words to me, but I guess it was kind of ironic because, well, he was on TV, saying those words. His works are immensely ironic, so maybe that had something to do with it. It was just a dumb dream, anyway, but I always laugh when I remember it. I had always been interested in literature, and I knew very soon that I liked theater best. I felt like the possibilities it offers can capture the reality of human existence more completely, even if plays are (usually) shorter than novels. They are more expressive, to put it that way. Mostly because theater has had to come up with different methods of condensation to compensate for said short duration of the plays. Everything is bigger on the stage. Everything is transcendental. I loved that, and I still do. That is what made me want to pursue a career in theater (academically, not an actor as many people first believe when I talk about this). I just finished reading Luces de bohemia, which is Valle-Inclán's most famous play (one of the most important pieces of literature in Spanish, actually), and I think to myself that maybe it all started at 17, when I first knew about the guy (I can call him that, he spoke to me in a dream). Luces de bohemia, like most of Valle's works, is incredibly parodic, caricaturesque, critical, and funny at the same time. He even invented a new genre, the 'esperpento', which kind of translates to 'grotesque', but I don't think that word does it much justice. In one of the final scenes of the play they talk about how the 'esperpentos' show reality like one of those mirrors that distort the image, and I think that is a good enough way to introduce the concept. I really, really enjoyed reading this play and obviously recommend checking Valle-Inclán out. I know many people know Federico García Lorca, but Valle was, along with Lorca, the other playwright who turned the Spanish theater scene upside down (personally my favorite of the two) and he doesn't usually get much credit out of Spain.

[noxusgrimm]

Yet another blorbo drops

This time drumroll

An Order heiress, because I thought it would be funny for Sanctus to depend on someone financially for his big bad evil plan oh no

To make her very much still in progress backstory simple, she's a childhood friend of Nero's and Kyrie's, she fell for Kyrie first and then bc her and Nero butted heads.. well. Shithead managed to catch feelings x2 electric boogalo.

Her family is kinda loaded on her dads side, because he is a descendant of one of the De Medici branches, big failboy that managed to snag Odessa (Dahlia's mom) and had Dahlia in Florence, before moving to Fortuna per Odessa's request as she was born there. Him and Sanctus are rat bastards and Federico (Dahlia dad) decided that he will indeed try to sneakily worm his way into the order (spoiler he was obnoxious about it) and try to take over as his last hurrah at having done literally anything in life.

Dahlia has to fight her parents in 4, aswell as she also makes a pact with a demon out of desperation. Her patron is demon Razikel, a Kar'niss bg3 looking ass, that asks her to be a vessel for him and to give her soul to him as pact terms, in exchange she gains knowledge and hybrid level stats.. and stronger magic. Why did she do it, I hear you ask, Nox why was she such a dumbass, well, it's because she is whipped for the KYYYYRIEEEE guy and Kyrie; she didn't want to feel useless and get Kyrie back, aswell as protecting Nero.

After the entire order shit goes down, Nero has to exterminate the spider but then all 3 realise oh shit, Dahlia nearly died fuck okay you know what, fuck it we a throuple now. So yeah, Nero and Kyrie have a goth gf witch, package deal babey, don't separate them.

Oh also snek familiar she summoned at a really low point in her life when she discovered witchcraft, that actually became her passion and genuine interest.

[teecupangel]

Which district would each assassin (including Haytham) be in the hunger games? What's their story? And which hunger games did they win? Was Altair the first winner in the 1st Hunger Games? Is Edward story similar to Haymitch's? Was Haytham born in the Capitol? I'm sorry! I'm genuinely interested in how this would go lol.

That really depends on what kind of idea what you want. For example, if this is meant to follow the beats of AC canon then Altaïr, Ezio and Ratonhnhaké:ton would be past winners that came from the same district as Desmond.

Unless you want a sorta screwed up ‘district tree’ where Ezio is from a different district who had an affair with someone from another district and that would lead to the Kenway bloodline while Altaïr is from the same district that would later ‘produce’ Desmond, his blood mixing with the Kenway blood later to ‘make’ Desmond.

Or if this is meant to be one big Hunger Games AU where the Assassins are alive (in a sense) and many of them are part of the Hunger Games then, on the top of my head…

Altaïr:

Winner of a previous Hunger Games, from District 2, known as the district that supplies the Capitol of its army, he has disappeared after winning and the rumors are he died (perhaps by his own hands). Reality is he was able to get into contact with District 13 and has looking for ways to take down the Hunger Games even though there have been a lot of ‘problems’ inside District 13 about how he’s not rational enough when it concerns the Hunger Games.

Ezio:

Tribute from District 8 (Textile and Clothing). He wants to protect his fellow tribute, Cristina, and is one of the more popular tributes because of his face and charm. They tried to use it by making him and Cristina ill-fated lovers. (similar to Peeta and Katniss but, in this one, they really are in love with one another). He’s so Katniss-coded, the reason why he’s the tribute is because he volunteered in place of his younger sickly brother. Federico would have volunteered as well but he was already ‘too old’.

Ratonhnhaké:ton:

Tribute from District 10 (Meat). His name was pulled from the lottery and he only learned of his parentage after it became part of his appeal. His mother was a past winner and the gossip is that she seduced Haytham Kenway. He gets angry with the idea that her mother would seduce someone to win (she didn’t, she and Haytham actually fell in love but she returned to her District because she couldn’t stand the Capitol no matter how much she loves Haytham). Edward coaching him together with the tributes of District 3 actually becomes a bit of a shock and a great deal of drama that the Capitol loves.

Desmond:

Tribute from District 2. His father pushed him into volunteering even if he didn’t want to. His ‘theme’ is Altaïr’s second coming because he bares a striking resemblance to the past winner and there are rumors that he may be Altaïr’s biological son or something. He’s not. He’s pretty sure his mother and Altaïr were like… distant cousins or something but the coaches and supporters are pushing for his ‘mysterious connection’ to Desmond to make him more ‘popular’. He has been trained to be a soldier since he was young and his friendly facade hides the fact that he had actually already killed someone before and felt nothing. His father believed winning the Hunger Games is something he can do and is the best way to protect him from becoming another soldier in the army… not that Desmond knows that.

Haytham:

He’s part of the Hunger Games ‘committee’, overseeing the entire ‘event’. He knows his son is a tribute but he promised the audience that he won’t help or hinder at all. It remains to be seen if this is true. He has never been part of the Hunger Games before and his view of the world is skewered by how he was raised in the Capitol. This is pretty much the main thing blocking any attempts to connect with his father. He sees Birch (who can be the President Snow of this AU) as his mentor.

Edward:

Past winner from District 4 (fishing). Won by killing his fellow tribute and best friend, Mary Read. He has nightmares of seeing Mary smile at him as he kills her and becomes an alcoholic to forget. He has a one night stand with a Capitol ‘influencer’ by the name of Tessa. He only heard that Haytham is his son decades later and their relationship is… more or less nonexistence. He becomes a coach when he heard one of the tribute is Haytham’s son.

Shay:

Career tribute, said to have been trained by Haytham himself (or so the rumors go). He likes to annoy Ratonhnhaké:ton and the Capitol believes this is a case of “biological son versus ‘adopted’ son” kind of deal. There are rumors that Shay is there to keep Ratonhnhaké:ton alive and for him to win but that’s ridiculous. No one would willingly sacrifice themselves for someone they don’t know… right? (unless, of course, it’s a child who was raised to be obedient to his savior). If you don’t want Shay as a tribute, he can be a past winner who has sided with the Capitol and directly works for Haytham.

Arno:

Tribute of District 6 (Transportation). Volunteered to protect Élise who was picked. Unlike the tragic love story of Ezio and Cristina, this one is more on the side of “does she love him or is he being a creepy stalker” with a side of “they’re stepsiblings oh the drama!” because Élise is cold to him. She’s trying to make him stop loving her so when it comes down to it, he will have the courage to kill her although… she’s also here to win to return to her father who only has her left so she’s also using this as a misguided attempt to stop loving him. In other words, tragic lovers route that the Capitol eats up.

Evie and Jacob

Tributes of District 3 (Electronics, Firearms and Mechanical products). Tribute of District 3. Evie ‘won’ the lottery and Jacob volunteered. Him volunteering has made their rocky relationship after their father’s death actually more strained. Evie is worried that Jacob volunteered to make sure she’ll live at the cost of his life and she would be right.

[requiescat-in-pace-bastardo]

Codextober Day 7: Ghost

Somewhere in the Gray, there was a group of Assassins. They all sat around together. It was therapy for them. The Assassins of the past would talk and they would mourn what they had lost. They would tell the stories of their ghosts.

Ezio often told the story of his family's massacre. He talked about how it felt to lose Federico, Giovanni, and Petruccio. "My brother, Petruccio, was so young. He was just a boy. Federico wasn't much older. He was only a few years older than I was. He was a young man with so much ahead of him. My father just inducted him into the Brotherhood. I still remember their faces! I remember that even though they knew death was coming, none of them screamed. The closest thing to screams was my father spitting curses. He used his last words to declare that he knew vengeance would come and that the Auditore family would not die with them, but that we would live on and get justice."

Ratonhnhaké:ton would often share his story of his village. You tell about the night of the fire. He would talk about how scared he was and about the last moments with his mother. "I remember rushing in," he said "I remember trying to find my mother as the building burned and as the trees fell. I remember that last moment with her. I remember seeing her eyes for the last time. I remember her last words. I remember that she wanted me to be safe and that she wanted me to run out of there because, in her last moments, all she could think of was me. All she could think of in her dying moments was taking care of me and knowing that I was safe. That's how she was. She would do anything to protect me. That's why she kept me away from my father. She knew that he would try to make me into a Templar and that he would make me like him. She didn't want me to have that anger in my heart or in my eyes that he had. My father had his own ghosts. He had lost his sister and he had lost my grandfather. Somehow my mother knew that he could not handle another loss."

Arno would often share his stories about the love of his life, Elise de la Serre. He'd talk about how they had first met the day that his father died. He'd talk about how her father adopted him because he saw the boy who had just lost everything and who had no father, no mother, and no home. He'd talk about how he spent his youth running through the streets of Paris with Elise by his side. He'd daydream as he remembered how they always made games and had fun chasing each other. He talked about how as they grew older, him and Elise got closer and closer. He talked about how their love had gone from that of friends to siblings to lovers. He'd reminisce about how he eventually started courting her because he loved her so much. "All we had wanted was a future. All we had wanted was happiness, but that wasn't meant to happen because Elise was the daughter of a Templar and I was the son of Assassins. Because of the war between our two factions, Elise died and I'm left alone again. The Creed is not a permission but a warning. It tells us that we have to be careful because if we get too overconfident or too comfortable, we will lose what matters most to us. For me, it was Elise."

Other Assassins shared the same stories. It was a common trait among their kind. Every Assassin had ghosts. Every assassin had lost someone. Some lost more than others. There were people like Edward who had lost their whole crew, people like Ezio and Arno who had lost their whole family, and then there were others who got lucky and only lost one or two people like the Frye twins.

[justforbooks]

In 1962, Federico Fellini placed advertisements in Italian newspapers seeking a woman to play the lead character’s mistress in his next film, which would eventually be titled 8½ and released the following year. The successful candidate, he wrote, should be “somewhat old-fashioned … with a pink-and-white complexion and a small pea-hen’s head on a Rubens body, very soft, flowery, maternal and opulent”.

The director auditioned as many as 5,000 applicants. “An interminable procession of ladies who had deserted their worried husbands and children came forward,” reported the writer Angelo Solmi in 1967. It was rumoured that the whole endeavour was merely a publicity stunt and that all along the role had been earmarked for Sandra Milo.

Milo, who has died aged 90, was a vivacious presence marketed as “the Italian Judy Holliday”. She and Fellini had met on a summer evening in the coastal town of Fregene; she happened to be passing a cafe where he was seated with his screenwriter, Ennio Flaiano, who knew Milo and called her over to introduce them.

Fellini was determined to coax Milo out of her unofficial retirement for the role in 8½ of Carla, mistress of the film-maker Guido (Marcello Mastroianni), who installs her in a nearby hotel while he is preparing his science-fiction epic.

When Fellini offered her the part, she reminded him she had quit the business, following savage reviews for her performance as an aristocrat’s daughter in Vanina Vanini (1961).

However the next morning, she was woken at home by the arrival of the director, his cinematographer and assorted technicians and make-up assistants, who had come to shoot a screen test. “They took me and put that famous little hat on my head,” she said, alluding to Carla’s fluffy white ushanka.

She was dressed in a black redingote festooned with violets; all at once, the lights were on her. “My God, what a thrill,” she recalled. “I felt like that was my world, and those were my people. I felt like I was flying.”

She signed the contract, agreeing to gain weight for the role. Shortly afterwards, she fell pregnant, though Fellini kept her chained to the trough all the same. “Every time Federico sees me off the set he tells me to go eat something,” she complained at the time. “I feel like a Strasbourg goose.”

When she finally emerged on set in costume at Cinecittà, Fellini and Mastroianni told her: “Welcome back. You’re home.”

To the ravishing dreamscape of 8½, which won two Oscars and is widely considered Fellini’s masterpiece, she brought an earthy vitality and rambunctiousness, as well as her unassailable beauty.

Fellini cast her again in his first colour film, Juliet of the Spirits (1965), this time in a tripartite role opposite his wife, Giulietta Masina, as the dissatisfied title character. Milo played Suzy, a hedonistic neighbour who hosts orgies, wears feather boas and plunging necklines, and cavorts in a treetop house where a slide connects her bed directly to a swimming pool. Milo is also seen as Iris, a spirit, and Fanny, a circus ingenue.

He sought to cast her a third time in the autobiographical Amarcord (1973), and even shot a screen test with her. But her husband, increasingly jealous of Fellini, forbade her from accepting. Milo’s declinature, the director said, left him with “an air of melancholy”. He told her: “I have something of a feeling we won’t see each other any more.”

In 1982, she published Caro Federico, a thinly veiled account of her time as the director’s lover. Fellini’s biographer John Baxter described it as “largely imagined”, and even Milo admitted eventually that it had been mostly a work of fiction. Fellini claimed never to have read the book. “I don’t even want to smell it,” he said.

Milo was born in Tunis, and moved with her family to Tuscany during her early childhood. At the age of 15, she wed Cesare Rodighiero, but the marriage was annulled after 21 days. She found early work as a model in Milan and began acting after moving to Rome, making her film debut in the comedy The Bachelor (1955).

Roberto Rossellini helped launch her career with General della Rovere (1959), which starred Vittorio de Sica as a Genoese con-man recruited by the Nazis, but Vanina Vanini was a notorious flop.

Fellini films apart, she gave her finest performance in Claude Sautet’s Classes Tous Risques (1960), in which she played an actor who becomes caught up with a gangster on the run. The film got lost in the shuffle at the time of its release, its elegant classicism upstaged by the more radical and irreverent Breathless, which had opened shortly before, though Sautet’s picture is recognised now as an exemplary policier.

Milo gave up acting for a second time in the early 1970s. Despite returning to the screen at the end of that decade, she was known latterly more for her appearances in gossip columns and on television as a presenter, talkshow guest or reality-show participant.

Reflecting on her time as Fellini’s muse, she confessed it had not always been easy. “Sometimes he’d make me feel indispensable, marvellous, as if I were the only woman he’d ever loved. And then he’d treat me like a nothing, a nobody.” She maintained that she loved him “truly, madly, deeply, stupidly”.

She is survived by three children: Debora, from her relationship with Moris Ergas, who produced films of hers including Generale della Rovere and La Visita (1963); Ciro and Azzurra, from her marriage to Ottavio De Lollis; and by a grandson. She was also briefly married to Jorge Ordoñez in 1990. All her marriages ended in divorce.

🔔 Sandra Milo (Salvatrice Elena Greco), actor, born 11 March 1933; died 29 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[arkipelagic]

Frederico Caballero, culture bearer and chanter of Panay Bukidnon epics, has died. These above photos have been shared by the National Commission for Culture and the Arts of the Philippines with the following statement:

The Panay Bukidnon community in Garangan, Iloilo, held traditional funerary rituals to honor Manlilikha ng Bayan Federico Caballero.

The rituals commenced yesterday morning with the Daray and Haya, which provided an opportunity for the members of the Panay Bukidnon community to gather and grieve at the wake of MB Federico Caballero. During this time, the preparation of Pangasi, a local rice wine, began for later ceremonial use.

In the afternoon, a traditional eulogy known as Paghanduraw was presented by a community leader, highlighting MB Caballero's significant contributions as a master epic chanter and as a leader and mediator within the community. This eulogy was succeeded by the Pamalasan, where community elders contemplated the lessons and inspiration derived from the life and legacy of MB Caballero.

As night fell, the previously prepared Pangasi was distributed among community members, serving as the principal drink throughout the ongoing rituals. The Pangasi was also offered to the spirits of the deceased and various classes of spirits, in accordance with the beliefs of the Panay Bukidnon.

The funerary ceremonies for MB Federico Caballero included a series of Binanog performances, honoring the departed. The rituals reached their peak with an extended epic chanting that continued until the break of dawn today.

Many thanks to the Caballero family for keeping Panay Bukidnon culture - and therefore, parts of Visayan and Philippine cultures - alive against all odds. May his chants live on in the generation that come after him.

[fromashesweriseuphiddenones]

Following isa-belle1367's post, I too have some head canon pertaining to our beloved assassins and their sexuality.

My pride month 2023 six first

Desmond Miles: bisexual, given how much we ship him with men and how in canon he's been interested in two women (Elijah's mother and Lucy).

Malik Al-Sayf: Asexual, this guy was accused of welding the Creed and The Tenets like a shield, suggesting that he doesn't find sex for the sake of sex appealing but Secret Crusade does reveal he has a son.

Kadar Al-Sayf: Lithsexual, there is not much in the way of information for this sweet baby but given how fans portray him, I went with him liking Altaïr but not necessarily wanting those feelings reciprocated.

Altaïr ibn-La'Ahad: Demisexual, preferring to get to know someone before sex enters the picture. Weather it's Maria Thorpe in canon, Malik whom he's known for years or Desmond/Vega in Eagle of Alamut Altaïr wants to know them before sex happens.

Ezio Auditore: Pansexual, the man usually at least until brotherhood is with a different woman. And by the end of two has been romantically involved with Cristina, Caterina, and Rosa, nevermind how many courtians. Then nevermind the fact that we ship him with Leonardo and Desmond.

Speaking of Leonardo Da Vinci: Homosexual, I think this one is historical fact. The reason he is well known to Paola is that he a) has pertook of some off screen male courtians or b) he's a good wingman.

Rosa: Sapiosexual: Rosa likes someone with more than two braincells to bang together. She fell for Ezio Auditore mind you. A man who is highly intelligent and has studied before becoming an assassin.

My pride month art always includes an Ally.

Maria Auditore: Straight and Cis, also warning heavy topic in bound, she has survived losing her lifetime spouse Giovanni Auditore and very likely having been raped. The thing that struck me is her silence. Sure the loss of her husband and two of her four children could do that but something Annetta said caught my attention "She’s in shock. They… When she resisted…". That seemed weird to me. So either they beat her, likely, or raped her, more likely. But to circle back to happier topics, she is supportive of her children and thus an ally.

Other assassins

Shaun and Rebecca: Straight (Married by Valhalla)

Evoir the Wolfkissed: bisexual

Federico Auditore: Homosexual

Claudia Auditore: Demisexual and Sapiosexual

Edward Kenway: Pansexual

Connor: straight

[celluloidrainbow]

A UN DIOS DESCONOCIDO (1977) dir. Jaime Chavarri José is a gay, middle aged magician who lives alone and has an occasional affair with Miguel, a young politician. José is a man romantically possessed and obsessed by his childhood in Granada during the outbreak of the Spanish Civil War in the spring of 1936. Now in his fifties, José returns to Granada and relives his youth there, a time when he fell in love with Federico García Lorca and had a dalliance with one of the poet's own lovers. Memories come flooding back, of Lorca's murder at the hands of Franco's agents, and of his own early affairs. José's entire life is colored by his obsessions with García Lorca, his unknown God. (link in title)

[world-cinema-research]

Fellini Satyricon (1969)

By Cris Nyne

A movie that I will never forget and would wind up influencing my taste in art and film as I grew into adulthood was Fellini Satyricon (1969). I was twenty one at the time in the year 2000 when my roommate brought home a copy and asked if I’ve ever seen it. I was immediately drawn in by the cover and the description of the film. It was suggestively maddening and hedonistic. At this point in my life, so was I. There was no way I wasn’t going to watch this film with him.

The film follows the journey of Encolpius, a young, handsome man that is lost in his quest to find himself as he searches for his young lover, Gitón. The taboo undertones of pedophilia will continue to rear it's ugly face throughout the film during a period of overtly decadent indulgence as Nero rule over ancient Rome was stretching society to it's brink of self destruction. Encolpius finds Gitón, only to lose him again to his old lover, part friend and part antagonist, Ascyltus. Ascyltus is the embodiment of an Alpha male that Encolpius is desperate to emulate, but he has become impotent. Fellini Satyricon follows Encolpius as he traverses through dream-like landscapes and obstacles in a hellish underworld to find a cure and regain his manhood.

During my formative years as a young teenager, my art hero was Salvador Dali. Upon watching Fellini Satyricon, it was as if this visual feast of a movie was directed by Dalí himself. As far as I can remember, my inclination towards the absurd and surreal was established. My parents were seventeen when they had me. My father was notoriously wild and provided no filter as to what I was exposed to at such a young age. By the time I was six years old, two of the movies that I remember the most detail of were David Lynch’s Eraserhead and Tobe Hooper and Steven Spielberg’s Poltergeist. I somewhat attribute this overexposure and visual imprint of ideas in my youth to the tastes that I have today. That, along with my appetite for psychedelics in my late teenage years as I made New York City my playground.

Original Italian film poster (1969)

The movie opened in Italy, to mixed but mostly positive reviews. At this point in time, Fellini was a well-established director, whose style was recognizable. Rotten Tomatoes lists Fellini Satyricon as having an approval rating of 76%. The total gross for its initial release was $1,138,108. The estimated budget for Fellini Satyricon was three million US dollars. This is not what one would call "financially successful." In comparison, the number one film in Italy that year, the spaghetti western “Once Upon a Time in the West”, generated $5,380,604, internationally. This film had some very well-known American actors (Charles Bronson, Henry Fonda) that would be a financial draw for the film. The cast of Fellini Satyricon were not very recognizable. Most brought onto the project were cast because of their look and how Fellini felt they represented a specific time during Nero’s Rome.

The scenes were strung together like a gaudy necklace of gemstones and beads; each one commanding attention to the smallest of details. Although Federico Fellini was a well-known director by this time, the color palette, out of synch dialogue, and ensemble of extras- some deformed, some staring straight into the camera as it pans across a well-curated alien landscape, made the film an enticing escape for unconventional film enthusiasts and artists. For some of Fellini’s fan base of his previous films, the trailers might have come across as more of a spectacle. The hard to follow plot and jarring visual images perhaps complicated the ultimate financial success of the movie. It would be three decades until the film was released on VHS and DVD overseas, where it would gain more notoriety as a film of cult status and see profitability.

Fellini Satyricon was based upon the incomplete novel by Gaius Petronius Arbiter. There were considerable gaps in the novel Satyricon, which gave Fellini the freedom to add his own fiction by filling in some of the spaces. It also comes across in the direction of the movie, as scenes seem to jump around in a fragmented way and lend itself to the feeling of surviving the earthquake that strikes towards the beginning of the film. Petronius was very close to the infamous ruler Nero and was known as his “Director of Elegance”. One could assume that parts of the novel were transcribed from real-life experiences and firsthand testimony, considering the reputation of Nero in an age of decadence and unsatiated desires. One of the earlier scenes showing the main character Encolpius and his young lover Giton, strolling past rooms of a brothel, almost seemed like it was taken out of reality, albeit distorted and dunked in LSD.

(Three days of peace and music, Woodstock, NY, aka the "Summer of Love". Three of the main characters in Fellini Satyricon were virtually unknown and cast from the hippie movement to better visually represent the atmosphere of first century Rome under Nero.)

I’m not sure if this film would be widely appreciated, or for that matter, even made in this current climate of selective morality and internet fanaticism. My taste in film and art in general has remained steady in style throughout the years. I love cerebral twists of overwhelming bewilderment. When I first saw the film 24 years ago, I was left with a disorienting cacophony of dialogue, music, and chatter. I found it as purposefully hard to follow and dark. An entangled, messy art film and that was that. I loved it. After watching it again, I still do. The only difference is, after growing more mature in age and researching the films historical relevance, this once confusing film now makes so much more sense.

[bluelolblue]

So umm does this mean federico x fem!reader head cannons? 👀😏

-news anon

Ofc it could mean that 😈

Federico x fem!reader

He is the type to be OBSESSED

The moment he fell for you, he is NOT letting go

You know, he's gonna appear out of nowhere and just be like "Hi! :D"

He can be creepy. Like... how does he always find you?

BUT at the same time... he's hot

He's hot, and he always brings something. Like, he showed up with a bottle of wine!

He likes wine :)

While he seems too obsessive, and that just makes him extra overprotective, so it can be a bit annoying, at the same time, he is sweet with you

I think he would love to cuddle with you, he just seems like he needs physical contact

Just chilling on the couch and he snuggles with you

Okay it's gonna get horny again >:]

He is damn good in bed

You like to play with his hair

He is kinky, very similar to Santino

Like I'm talking about being wild in bed

I mean, he is really focusing on your pleasure, but... it's Federico

I think he's really good at eating pussy

Oh and lots of kisses... with tongue

Y'all saw what he was doing in the movie hehehe

THANK YOU NEWS ANON <33

Federico is just special breed AAHH

[violettesiren]

June already, it's your birth month, nine months since the towers fell. I set olive twigs in my hair torn from a tree in Central Park, I ride a painted horse, its mane a sullen wonder. You are behind me on a lilting mare. You whisper--What of happiness? Dukham, Federico. Smoke fills my eyes. Young, I was raised to a sorrow song short fires and stubble on a monsoon coast. The leaves in your cap are very green. The eyes of your mare never close. Somewhere you wrote: Despedida. If I die leave the balcony open!

Central Park, Carousel by Meena Alexander

[denimbex1986]

'Tom Ripley returns. Disturbing character born from your pen Patricia Highsmith Despite its numerous adaptations for the big screen, it deserved to have its own television series. after it happened alain delon, Matt Damon, John Malkovich anyone Dennis HopperThe character returns to the screen thanks to Netflix. This time the player Andrew Scott The performance of Scott, who is tasked with giving life to an immoral, blackmailer, fraudster and psychopathic murderer in the version that is nominated to be one of the TV series of the year, is at the same level as his predecessors. This actor was already responsible for reinterpreting the evil Professor Moriarty in the Sherlock version. BBC starring Benedict Cumberbatch. Shooting the entire season in black and white is a risky and elegant artistic decision that underlines the classicism of the story. This is the new version netflix There are pure moments HitchcockA wizard of suspense who once made a great adaptation of another Highsmith novel. Strangers on a train.

At the beginning of the story, Tom Ripley is hired by a person. American millionaire so i go Italy He is looking for his son, from whom he received the revelation to devote himself to art. Painting, sculpture, literature… but he doesn’t seem to be good at any of them, so the ruler plans to send his friend to persuade him to settle down and return home to help run the family. business. When she gets there, Ripley, who is not much of a role model, finds herself fascinated by the bohemian life and will fight tooth and nail to protect this paradise that has fallen upon her without eating or drinking. If in White Lotus the landscapes, art and buildings of Italy shine with their own light, in Ripley they shine with wonderful black and white photography. That’s the way it is after all Federico Fellini He knew how to portray us Sweet life in Rome.

After dealing with minor shenanigans, this new job opens Ripley’s heart. Just as in France, the cliché was that aspiring painters would go to the Caribbean or some exotic island; Here our heroes fell I surrender to classical Italian art. Ripley was particularly impressed by this figure: Caravaggio. HE Baroque painter was as morally ambiguous as Ripleyand was even accused of committing murder during a fight.

Maybe the first two chapters may seem a little slow. The series takes its time to take us where it wants to take us, and that’s where it gets. Third part when the slowly developing intrigues begin to bear fruit in all their glory. There are these scenes great tension will leave the viewer glued to the couch even though nothing is happening not a single line of dialogue If I remember correctly, during a sequence that lasted about half an hour. From the moment the moment of crime entered the scene, The most Hitchcockian moments are coming. Inside PsychosisThe master of suspense managed to make the audience empathize with Norman Bates for a few moments after the legendary shower scene by showing us how the evidence of the crime refuses to sink to the bottom of the swamp. The Netflix series is full of moments like this, where the tension plays out when the killer thinks he’ll be surprised. Makes us empathize with the bad guywithout ever trying to justify or justify everything he did.

Black and white reminds us that we are in another time. Maybe it’s a step away from the technological sophistication of CSI. Ripley is not the perfect criminal, nor are the police immune from occasional screw-ups. with the crime scene. Even though we have a smart and determined investigator leading the investigation, we can’t help but smile when we see him do this from time to time. murder weapon right under their noses without realizing it. Some close-ups on the object serve to remind us of this. You will get the feeling that a part does not fit properly throughout the entire case, but That piece that completes the puzzle and allows the drawing to emerge in your mind in all its glory does not arrive until the last moment., in the scene that closes the series and when it’s too late to do anything. Caravaggio also fled Rome after the murder.

This may be considered a spoiler, but we should not forget this. Mr. Ripley’s talent It is the first of five that Highsmith wrote about the character. This An ambitious mini series that smells of awardsTherefore, it cannot be ignored that the aim of the platform is to adapt all the books of the character. It’s quite a wink that in the final episode, we get a cameo from John Malkovich, who has played the character in the past and here provides him with the documents that allow him to start a new life with a fake identity. art dealer in italyexactly the work that Malkovich did in the film in which he starred.

Black and white is not an unknown format for the person who made this adaptation. Steven Zaillian is an experienced American screenwriter and director whose work includes screenplays. Schlinder’s Listfilm Steven Spielberg The artist skillfully uses the absence of colors in his photographs. As in that movie, we have a scene in the TV series where color is used to highlight a particular object in the shot. How not? It was supposed to be red.

It is noteworthy that although audience data These are often one of the platforms’ best kept secrets, even here Ripley’s poor results were overlooked with a certain pride. Perhaps to attract the attention of an audience that cannot get enough of watching black and white TV series, but whose attention is attracted by baits consisting of comments such as “”.honey is not made for the bear’s mouth”. Let me briefly word of mouth does its magic and best of all, there will be another award, which will allow us to continue bringing the rest of the books to the big screen. Just watch it to see that these doubts about the chosen format are unfounded. One artistic decision This makes the series great. It’s a love letter to the monochrome format and the great classics, where the platform puts emphasis on quality and forgets that it’s not all about numbers. I doubt the final results will be this bad and that scribbled black and white might be the ideal way to go. To inform new generations about the novelist’s literary keys, One of the most important noir writers of the 20th century. Both Zaillian and Andrew Scott have already stated that they want a repeat, but for now we can say goodbye to new episodes until 2026. The wait will be long.'

[teecupangel]

Ezio and Federico share Desmond romantically in altered canon?

Altered Canon Federico x Desmond and Ezio x Desmond (aka Auditore Sandwich Combo FE):

So let’s set up the plot quickly: Desmond saves the Auditore, he starts ‘working’ with the Italian Brotherhood and that’s where he becomes close with both Ezio and Federico.

Federico would take the role of Ezio’s ‘senior’ seriously and would be a bit overprotective of his brother even though they’re both technically the same rank.

Desmond is more of a freelancer than an actual member of the Italian Brotherhood because the whole Medici loyalty isn’t really his cup of tea.

Desmond will be Ezio’s bi awakening. He wouldn’t even notice it at first. He’s oblivious to his growing feelings for Desmond as being romantic. As far as he’s concerned, Desmond is just being one of his most treasured… ‘friend’.

Federico fell for Desmond hard and fast. He has experienced a lot of things and he’s pretty open minded with a lot of ‘first hand’ accounts so he noticed the signs quickly.

It is for that reason that Federico also noticed that his younger brother is falling in love with the same man he’s in love with.

Federico will always prioritize his family over his own feelings so he becomes Ezio’s wingman and is actually the one who got Ezio to realize his feelings. He’s also the one who helps Ezio as he walks this unknown and, for Ezio, confusing path that he just opened.

On the other hand, Desmond is oblivious to their feelings. At first.

In Federico’s case, Desmond’s memories of him are vague enough that Federico felt more like a stranger. He cares for him because he remembers how his death caused Ezio so much grief.

But it’s because that Federico is a stranger to him that their relationship grows without any complication. Just straight up ‘colleague’ to friends to maybe-maybe-not something more.

In Ezio’s case, Desmond spends a lot of time looking at Ezio and seeing the Ezio of his memories. The man who had smothered his grief with rage and anger. The man who had to shoulder the responsibility of rebuilding an entire Brotherhood. The man so tired and looking for answers in a faraway place.

It would take a while before Desmond would finally see Ezio for who he is now. The Ezio standing in front of him.

Once he sees Ezio for who he is right now, he falls hard. Because this wasn’t the Ezio of his memories. This was his Ezio. The Ezio who smiles at him and says his name with such softness that it makes Desmond’s heart beat too fast.

But, at the same time, he knows he has growing feelings for Federico as well. And, now that his head is clear, he can see that both of them have feelings for him.

How’d they end up sharing Desmond? It could be that Ezio finally noticed Federico’s feelings and wished to bow out because he wants his brother to be happy. Federico tries to stop him because he wants Ezio to be happy. Claudia hears them arguing and tells them to just have Desmond pick instead of picking for Desmond. “Shouldn’t he have a say anyway? The two of you are arguing like Desmond’s feelings don’t matter.”

Desmond can’t choose though… so Ezio and Federico decided to try and compete for Desmond’s affection instead.

This only ends up with an unclear winner and, officially, Ezio and Federico are still competing for Desmond’s affection. Unofficially, it’s all for fun and they both agreed that they love Desmond too much to let him go. If they have to share Desmond with anyone, they’re just glad they’ll share him with someone they trust.

There’s no schedules or anything rigid. They invite Desmond whenever they have a plan or they just stay with him.

Federico is used to sharing his things to his younger siblings so he doesn’t mind if Ezio joins them whenever he’s with Desmond.

Ezio doesn’t mind if Federico joins them as well since he knows his brother would do the same for him.

But when they truly want some alone time with Desmond… well… they have a secret signal for that (“You waggle your eyebrows twice at each other.” “How’d you-” “Because it’s a stupid signal and I can’t believe I’m related to the both of you.”)

Ezio is the more romantic of the two, giving Desmond flowers (that he may or may have not picked from the ground) and expensive gifts. To him, seeing Desmond’s reactions to the gifts and the feel of possessiveness he would have when he sees Desmond use or wear his gifts makes him happy.

Federico, on the other hand, likes to bring Desmond to places he’s always liked or brings him food he enjoys. He wants to see Desmond experience the same things he experienced and to make the memories of his favorite things and places more precious because they contain memories of Desmond as well.

When it comes to sex, they rarely have any threesomes but they do have them at times. It’s just… Federico can be such a big brother and kept telling Ezio what he should do while Ezio can be a bit bratty whenever Federico is with them because Federico lets him get away with a lot of things.

But when they do have threesomes, it becomes a fun competition on who can pleasure Desmond more, complete with brotherly teasing and banter.

Between Ezio and Federico? Desmond is still the kinkiest. Although Federico says yes faster than Ezio. Ezio has Leonardo though and his best friend is more than happy to give him suggestions and ‘toys’ that he can use with Desmond.

They also have a thing for watching the other have sex with Desmond but it’s less of watching the other person but watching Desmond lose himself to pleasure.

Leonardo is living vicariously through Ezio’s stories.

Ezio doesn’t know it though but Leonardo is also living vicariously through Desmond’s stories who tells him everything.