#I do desperately love this show and this idea.

[woso-dreamzzz]

Pup's Halloween

Lucy Bronze x Ona Batlle x Child!Reader

Summary: The fourteenth of my Halloween-centric fics

Lucy loves her family.

Her parents. Her brother and sister. Her aunts and uncles and grandparents. All her cousins and everything in-between.

But she loves, most of all, this little family in Spain she has.

With Ona tucked under her arm in bed and the baby in their new bedroom just down the hall and the even more excitable child that she shares with Keira and Laura.

She loves Keira too, to an extent. Not that romantic love that surrounded them when you got adopted but still a deep love that comes with being co-parents to an excitable little girl that's up way too early to be healthy.

"Pup," Lucy groans, voice still thick with sleep and unbelievably groggy as she hears the familiar pitter-patter of feet on the carpeted floor," It's too early."

"No," You say," Mummy says when the clock says nine and five-zero. She says that's wakeup time."

"I'm not Mummy, Pup," Lucy reminds you," This isn't Mummy and Mama's house. It's Mum and Mami's house."

"With Baby Sibling, yes, I know. Still, wake up time. Pumpkin day."

Lucy's eyes crack open, lifting her head off the pillow and astounded by the way Ona's still fast asleep throughout this whole exchange.

"Why don't you just get into bed with us?" Lucy asks, weary and still heavy with sleep.

You point to the tv mounted on the wall. "Paw Patrol?"

"Mami's still asleep."

"I wake her."

Lucy fights back a groan. "No, Pup. We can watch Paw Patrol but it has to be low, alright? Mami deserves to sleep."

"Okay."

Lucy helps you into the middle of the bed, letting you drink from her water and turning on your favourite episode of Paw Patrol before you speak again.

"Baby Sibling awake too," You tell Lucy.

She screams into her pillow - her lay in well and truly forgotten.

By the time she gets back to the bedroom with the baby, you've successfully woken Ona who looks a little dazed and confused but happy nonetheless.

"And Mama take me climbing at rock wall with funny thing around my legs," You're telling Ona when Lucy comes back in.

"I told her not to wake you."

Ona laughs, bundling you closer as she raises her arms for the baby. "I have no problem being woken by Pup kisses."

You grin at her, showing off all your pearly whites before clambering over to Lucy to give her kisses too.

"Pumpkins now?"

"Later," Lucy corrects," Let's get through breakfast first."

The idea of pumpkin carving had originally been Keira's idea but it had only been in passing but you'd really taken to the idea, insisting that you actually get to do it with at least one of the couples.

At seeing the slight look of disgust on Laura's face at the idea of rummaging around in pumpkin guts, Ona offered up her and Lucy as the sacrifices.

Which is really the reason why Lucy's sat at her own kitchen table trying to dig a knife through the stubborn pumpkin sat in front of her.

The baby babbles happily in their highchair as Ona stands at the kitchen sink, supervising your hand washing.

"Do you need any help, Luce?" She asks.

"No!" Lucy insists," I've got this!"

She very much doesn't have this but Lucy isn't about to let a stupid pumpkin beat her.

Finally, after several desperate moments, she manages to cut through and breathes a sigh of relief as you come over, dressed in your puppy costume.

"Alright, Pup," Lucy says, hefting you up onto her lap," We're going to take this pen and draw what we want to cut out."

You take the pen, nodding seriously. "I draw puppy."

"No, Pup," Lucy says gently," It's Halloween. Remember those designs I showed you? Something like that."

Ona chuckles from her seat across the table with her own pumpkin.

"No," You say," I want puppy."

"I-"

"If she wants to draw a puppy then let her draw a puppy," Ona laughs," It'll make her happy."

"But I'm the one that has to cut it out."

"Then you'll make her happy," Ona says.

Lucy sighs again and you look up at her.

"Mum?"

"Alright, Pup," Lucy says," Let's find some pictures of a dogs on a pumpkin to get ideas, alright? Let's see if we can copy one down."

Ona, like Lucy predicted, finishes her pumpkin much quicker than you and her and you leave Lucy to cut out the picture in favour of watching Ona place a candle into her pumpkin, showing you the way it lights up the scary face she's cut out of it.

"Do you need any help?" Ona asks.

"No! I've got this!" Lucy insists as she gets through a particularly tricky curved area of your puppy drawing," I'm nearly done."

But it seems Lucy's version of nearly done is different to Ona's definition of nearly done because times passes and your baby sibling gets put to bed and you have your bath time.

"Mum," You call, toddling towards her in a different puppy onesie," Night-night."

"Night, Pup," Lucy says on autopilot, leaning down to drop a soft kiss to your crown," Sweet dreams."

"Sweet dreams!" You says back, slobbering all over Lucy's cheek in your own version of a night time kiss before hurrying back to Ona for your bedtime story and a glass of warm milk.

"Done!" Lucy announces, putting down her tools to triumphantly look around," I did it!"

"That's nice." Ona's head pops around the door frame. "But can you be a bit quieter? The kids are asleep."

[rizsu]

ꪆ୧ ── REAP WHAT YOU SOW ┊ LOVE TO LOSE ﹑ JJK. ⤿ starring: gojo satoru x fem!reader.

꒰ heart to none ﹢ if only he knew karma would come back to bite his ass a few years later. now he misses his ex while she's moved on.

𖧷 · love, ‘su: nothing much!! just moments of him suffering

co-parenting with satoru truly isn't all butterflies. as reserved and respectful as he is (to a selected few), satoru never hesitated to taunt you whenever you mentioned going on dates.

“a date? hmm, good luck with that.”

“if it happens to kick off, good for you, but i don't want him near my child.”

“how exciting! i hope it fails.”

those are just some examples of his behaviour. he's vocal about disliking you and the idea of sharing you. had he known beforehand he'd become slightly possessive, he would've avoided you and relationships altogether.

loving someone his mind hates but his heart longs for isn't an experience he'd wish upon his worst enemy — it's too much. the wretched feeling in his chest deepens whenever he's with the kid; scenarios of you being beside him at that very moment flashes before his eyes, but his pride's too high to crash whatever you're doing.

that doesn't stop him from texting, however. he never had an issue with double—triple texting you. if he had something to say (which is never anything important), he'll say it.

satoru: hey.

satoru: did you forget you have a family at home?

satoru: my child's asleep btw, we had fun all day.

you: my* child. not yours.

satoru: so what am i, an elf on babysitting duties?

you: sure if that's what you want. now stop texting my phone.

satoru: what if i'm dying?

you: i'd pop some champagne. throw something on the grill. light up a cigarette, even.

satoru: you don't even like cigarettes.

you: exactly. now bye i'll be there for six.

yeah, there's no doubt that you'll never entertain him again. he, too, wouldn't entertain himself if he was in your position. sure, he was an ass in the relationship but— you're both older and wiser. maybe you can put the differences aside and come together? a flat no is what you'd answer.

satoru doesn't even hear from you often; most of your activity reports come from your child who excitedly tells their father the details, wishing he was there.

“you guys had fun. i wish i was there too, bub.”

a sentimental tone settled in his voice. he's suffering the consequences of his actions, and he desperately needs you to help him through it.

just like old times: you'd be there for him, going along with whatever he needed to calm down. whether it's wanting to be in you or on you— as long as your arms were wrapped around him.

but it's all a memory now. a bitter one.

do you show your vulnerable side to the guys you date, too? do you hold them the way you held him? do they even know what you like? do they know you the way he knows you?

jealousy, regret, longing— everything mixes in his mind. his stomach aches. it feels as though his insides are hollow.

he adores your child. they look mostly like him, but the personality stems from you. the attitude, tantrums, even the way they hold things — it's all you. he guesses the kid's observed you and eventually picked up your habits. satoru relates; after all, he still has some of your habits he picked up.

as the clock ticks on, his fingers hover over the keyboard on his phone. somehow, he found himself in your pinned chat— debating whether he should text or not. he's been typing and deleting for the past ten minutes. unless you're not on the app, there's no way you didn't notice the ‘typing...’ under his contact name.

satoru: i've been thinking.

(message deleted)

satoru: fuck your date let's get back together.

(message deleted)

satoru: or whatever you're doing right now. let me apologize — it's been years. our baby's four now.

(message deleted)

satoru: hey.

you: what's with these deleted messages?

you: are you okay?

he wonders. is he okay? would you come over if he said no? are you going to be mad if he re-sent what the deleted messages said?

satoru: uhhh yeah. everything's fine.

satoru: i'm bored that's why.

satoru: you should totally come over.

you: no.

you: talk to you later.

satoru: please? i'm serious.

you: fine.

satoru: might as well spend the night.

(message deleted)

satoru: thanks.

(message delivered)

“well fuck...” he sighs, raking his fingers through his hair. he doesn't have anything to say nor do with you. actually, he does — he has quite a few, but he wouldn't push your buttons. he'd love to, but the chances of him receiving a slap is high.

[twilightkitkat]

Logan is often seen as the jealous one in his relationship. And yes, Logan would get jealous at first when Wade got too close to other people. However, I think his jealousy would eventually fade and be replaced with possessiveness. This distinction is important.

Jealousy is the feeling of insecurity, of feeling like you aren't enough and that you're losing someone because of it. Logan is used to being the second choice, to being seen as the "dangerous guy" people flirt with but never take home, to being seen as a monster. He doesn't understand why Wade wants him or why he ever asked Logan to come home with him.

Logan is insecure and thinks that Wade has so many better options than a tired old stray like him. But he wants Wade so desperately, wants a home so desperately, that he clings to what he can get while he can. He lashes out from a place of fear because he can't handle the idea of losing the only thing he has. He's uncertain and wary because he doesn't know how to act when Wade acts like he genuinely just... loves him.

(It's unheard of for Logan. "Love" was always conditional. There was always a catch, something he needed to do or someone he needed to be. He's floundering, now, out of his depth because Wade won't tell him what he wants. Won't tell him what Logan has to do to stay here.)

But Wade chooses him. Every time, without fail, he chooses him. Logan was used to fighting for people, to keep their attention and earn their affection. He thought he'd have to convince Wade that he could do more for him than Vanessa, make a case for himself as to why he's more reliable than Cable. But... Wade just gives him his full and undivided attention without even asking. He gives him affection and doesn't make Logan work for it. He never gives Logan room for doubt. His eyes never leave him.

And Logan... doesn't know how to deal with that, at first. But he slowly begins to acclimate, to learn how to accept and even expect the easy affection. Learns to lean into it and give it in return. And something deep and buried and broken inside of him begins to heal. A deep wound he'd ignored for so long finally begins to patch itself up.

And Logan lets himself relax, for the first time. Contents himself with the knowledge that Wade loves him and would always choose him over and over. Logan bares himself, open and vulnerable, to Wade in full and lets himself be treated with a gentleness he didn't know he could have. Lets himself melt into the warmth and relish in it.

Now, when he snarls at people who get too close, it isn't out of fear. When he wraps an arm around Wade when someone gets too chatty, it isn't out of insecurity. He knows that if he wasn't there, Wade would still put him above all else. Instead, he does it because he wants to. Because it's nice to show off his relationship with Wade. Because Logan loves him with a ferocity that he didn't even know he was capable of.

Logan allows himself to be possessive because he's proud of his relationship with Wade. He has nothing to fear, it's secure and stable, but it's freeing to flaunt it. It gives him a sense of animalistic satisfaction to claim Wade as his. He was never allowed to publicly belong to someone before, let alone publicly show they belong to him. He indulges in it and savors the sweetness of Wade leaning back into his arms.

[ghostchems]

infernal - terzo x f!reader - part seven

and now... a flashback chapter

art by the always amazing @piaart

author’s note: i feel like shit but it helped me finish this up. plenty of terzo pain here meanwhile reader is home, blissfully unaware. i also have no idea if my writing is good at this point but here ya go! part one/two/three/four/five/six. ao3 link.

If you could see the wreck I am these days, you’d have new reasons to stay away. Just hold my hand for a little while —

Misery never goes out of style.

Terzo traces a delicate finger along one of the bags under his eyes, no longer concealed by the dark eye paint he once wore. His brows furrow at the sight of himself in the mirror. The wrinkles have deepened since he left the stage. His hair, now less lustrous, betrays gray strands emerging from his roots and sideburns. All those years spent cultivating his image, trying to become the perfect imperfection that Lucifer himself boasted—only to unravel after one fateful show. He grits his teeth, his mismatched eyes sharpening in his reflection.

With all the glitz stripped away, he loathes how much he now resembles his father…

Terzo forces the thought out of his head. His days are spent analyzing his time as Papa and what went wrong. He wouldn’t do anything differently but it still stung, especially after the new heights and exposure he had achieved for the Ministry. Somehow, it was not enough. His father was never proud of him, a theme that stretched throughout his entire life. Terzo was only ever the Third to him, the third son that would serve his purpose and then be pushed aside for whoever was next. While this had been the typical progression, Terzo was the fool who thought he would be different — even after being warned by Secondo.

Secondo.

“Cazzo.”

He’s late for Uno Night.

The once-revered Emeritus brothers now find themselves relegated to a desolate corner of the abbey with their only entertainment being a silly card game. Their influence wanes with each passing day. Terzo can't help but sneer at the irony of their situation - former leaders now barely more than forgotten relics, with only each other’s company. There was a time when the Emeritus brothers were revered as gods among men. Crowds would surge forward at their concerts, desperate to touch the hem of their robes or catch a glimpse of their painted faces. Devotees would line up for hours, sometimes days, just for the chance to receive a blessing or a fleeting moment of attention. Their every word was treated as gospel, their gestures analyzed and imitated by legions of faithful followers.

In the halls of the Ministry, their presence commanded instant respect and adoration. Ghouls and Siblings of Sin alike would bow their heads in reverence as they passed. Their chambers were filled with lavish gifts from admirers - exotic incense, priceless artifacts, and fervent love letters. The very air seemed to crackle with power and dark allure whenever they entered a room. Now, that electric atmosphere has faded to a dull static. The gifts have stopped coming, the adoring crowds have moved on to newer, shinier idols. The once-mighty Emeritus brothers find themselves grasping at the fading light of their former glory, clinging to memories of a time when they were worshipped as the embodiments of their infernal master.

He used to delicately paint his face for each meeting, a ritual of devotion to himself and his roll as Papa. But now, as he stares at his bare face, he feels a bitter resentment towards the being he once revered. The paint feels like a mask of lies, concealing the growing doubts and anger festering within him. Lucifer's promises of power and glory now ring hollow in his ears, leaving only the taste of ash and disappointment. Terzo exhales through his nose and tears himself away from the mirror, satisfied with his appearance but frustrated with the progression of his thoughts. He had grown more disillusioned by the day with the cause he so passionately promoted, the being he worshipped. Lucifer, once his guiding light, now seemed like a cruel puppeteer, manipulating him for some cosmic joke.

Omega did not like these thoughts. In fact, Terzo has begun avoiding him and instead has been seeking the company of his brothers. Perhaps the one silver lining in all of this is that he is closer than he ever has been with his true family, minus daddy dearest, of course. They had grown up together, with Primo practically raising him and Secondo after they had come to the ministry. Back then he was a true zealot - a satanic lunatic whose fervor for the dark arts knew no bounds. It was from him that Terzo learned the intricacies of their infernal faith, absorbing every ritual and incantation with wide-eyed fascination. Yet, somehow, both Terzo and Secondo emerged less fanatical than their older brother.

But still competitors, nonetheless. Secondo and Terzo had been born to different mothers three months apart so it came naturally. The more time spent together now, the more they realize how similar they can be and deep down, Terzo wishes they had not been so combative. It was encouraged, though, fed and grown by the higher ups in the ministry and their father. Maybe they feared they would be too powerful if they were close.

Now all they care about is Uno.

"Fuck!" Terzo exclaims again, his voice tinged with frustration as he runs a hand tiredly over his face. The weight of his thoughts bears down on him, but he knows he can't afford to dwell any longer. With a deep sigh, he forces himself into action, slipping his feet into his shoes - the familiar spats clicking as he gets them on. Just as he reaches for the door handle, a sharp knock echoes through the room. Terzo pauses, his hand hovering in mid-air. Irritation flashes across his face.

"Enter," he calls out, his voice tinged with impatience.

The door creaks open, revealing a young Sibling of Sin. Their face is pale, eyes wide with fear and urgency. Terzo's irritation gives way to curiosity as he takes in their disheveled appearance.

"What is it?" he asks, his tone softening slightly.

The Sibling swallows hard before speaking, their voice trembling. "Papa, I... I have news. It's about Omega."

Terzo's eyebrows furrow. "Omega? What about him?" He nonchalantly goes back to adjusting his outfit, wondering if this is another plot from the ghoul to try and make him listen to “reason”. He certainly has stooped rather low, almost as low as Terzo.

The Sibling takes a deep breath, as if steeling themselves for what they're about to say. "He's been banished, Papa. Omega has been cast out of the Ministry."

The words hit Terzo like a physical blow. He stumbles back a step, his mind reeling. "Banished?" he repeats, his voice barely above a whisper. "But... how? Why?" Pain is etched across his face.

The Sibling shakes their head, clearly as confused and shaken as Terzo. "I don't know the details, Papa. It happened so suddenly. They're saying it came from the highest levels of the Ministry."

Terzo's mind races, his emotions threatening to overwhelm him. Shock, confusion, and a sudden, unexpected pang of loss all vie for dominance. Despite their recent disagreements, Omega had been a constant in his life for so long. The thought of him being gone, cast out... it's almost inconceivable.

Terzo's composure shatters as the weight of the news crashes over him. His eyes flash with unbridled fury, causing the Sibling to take an involuntary step back. "Get out!" he roars, his voice reverberating off the walls. "Leave me! Now!" The Sibling, wide-eyed with fear, scrambles to obey, nearly tripping over their own feet in their haste to escape. Terzo slams the door with such force that the entire room seems to shake, the sound echoing through the corridors like a thunderclap.

As soon as the barrier between him and the outside world is secure, everything crumbles. A primal roar of anguish and frustration tears from his throat, echoing off the walls of his private chambers. In a whirlwind of unbridled emotion, he lashes out at his surroundings. His fist connects with the ornate mirror adorning his vanity, the impact sending a spider web of cracks across its surface before it shatters completely. Shards of glass rain down, glittering in the dim light like fallen stars.

But Terzo's rage demands more destruction. He overturns his meticulously organized desk, unleashing an avalanche of papers, pens, and trinkets onto the floor. Books, once neatly arranged on shelves, are torn free and flung across the room, their pages fluttering like disoriented birds. His wardrobe—a carefully curated collection of robes and suits that once symbolized his power and prestige—falls victim to his fury next. Garments are ripped from hangers and strewn about haphazardly, silk and velvet mingling with the debris below. Spotting one of his Papal robes, an early prototype, he seizes it and tears, splitting seams and fabric into pieces with savage force.

He could kill them. End the reign of his father and Sister Imperator with a knife to their throats, a hammer to their heads. He’s capable and he’s angry.

But that’s not who Terzo is.

His appetite for destruction is as swift as it is thorough. When the storm of his anger finally subsides, Terzo finds himself standing amidst the wreckage of his once-immaculate quarters. His chest heaves with each ragged breath, his knuckles having bloodied his gloves from his outburst. The room, previously a testament to his refined tastes and exalted position, now lies in utter ruin around him. He closes his eyes, drawing in a deep, shuddering breath as the full weight of what has transpired begins to settle upon him.

The dust settles around him, both literally and figuratively, as his mind wanders to Omega. Their relationship, once the core of his existence within the Ministry, had deteriorated over the past several months, transforming into a strained and tenuous connection. The rift between them had widened, growing into a seemingly unbridgeable gap that threatened to swallow everything they shared whole. Omega, ever faithful of their infernal master, had persistently begged Terzo to embrace what he perceived as a well-deserved retirement—a supposed reward bestowed upon them by Lucifer himself for their years of unwavering service and dedication.

"Papa, you've more than earned this rest," Omega would implore, his eyes blazing with sheer intensity behind his cool mask that Terzo found increasingly difficult to look at. "Our Dark Lord Lucifer, in his infinite wisdom, has granted you this period of rest and reflection. Why do you persist in resisting? Can you not see the honor in this gift he has bestowed upon you?"

But for Terzo, the notion of settling into a life of idle luxury felt suffocating—a gilded cage that threatened to strip away everything he had fought so hard to achieve. The very thought of turning his back on the empire he had painstakingly built, nurtured, and expanded over the years felt like a betrayal of who he is and what defines him. As time wore on, his arguments with Omega grew increasingly heated and frequent, his frustration mounting with each tense exchange, threatening to boil over into hostility.

"You call this rest, Omega?" Terzo would retort, his voice rising with each impassioned word, hands gesticulating wildly to emphasize his point. "This isn't rest—it's nothing short of exile, a banishment from everything I've ever known and loved! How can you, of all people, expect me to sit idly by, content to watch as everything I've dedicated my life to—my very existence—crumbles around me like dust?" The air between them would crackle with tension during these confrontations, an electric charge that made it increasingly difficult for them to occupy the same space without the risk of conflict erupting at any moment.

Now, with the shocking news of Omega's sudden and unexpected banishment reverberating through the chambers of his mind, Terzo finds himself consumed with emotion. Relief, guilt, anger, and a profound sense of loss intertwine in a dizzying dance, each vying for dominance in the turbulent landscape of his mind. Despite their recent differences and the ever-widening divide between them, Omega had been a constant, unwavering presence in Terzo's life for longer than he cared to remember—a touchstone of familiarity. His abrupt absence leaves a gaping void in the fabric of Terzo's existence, a wound so deep and raw that he isn't certain he possesses the means to heal it.

Even with the turmoil raging inside him, Terzo finds himself drawn to the familiar comfort of his brothers' company. With a heavy sigh, he straightens his posture and smooths down his attire, a reflexive gesture from years of public appearances. He may be struggling, but he'll be damned if he lets it show—at least not to them. They have all had their hardships. If anyone knows and understands what he is feeling right now, it is his brothers. Terzo’s steps are heavy, using his feet to clear a path forward amidst everything now on the floor. He reaches the door, hesitating for just a moment. There’s a weight pressing down on him that threatens to crush him, to break him down until there’s nothing left.

He won’t let it.

Terzo opens the door and leaves his room. As he makes his way towards the small room where their Uno nights are held, his mind goes blank, going numb to the intense feelings that are simmering beneath the surface. He trudges down the dimly lit corridor, his footsteps echoing off the ancient stone walls, focusing on that sound to keep him grounded. As he rounds a corner, lost in the maelstrom of his thoughts, a familiar voice catches his attention, causing him to halt abruptly.

Turning, he sees Cardinal Copia emerging from his office, a stack of papers tucked under one arm and an Uno card inexplicably held between two fingers of his free hand. The Cardinal's painted face breaks into a warm smile as he spots Terzo, oblivious to the storm brewing within the former Papa.

"Ah, Papa, on your way to Uno Night, yes?” The cheerful greeting hangs in the air, a stark contrast to the darkness swirling within Terzo.

Terzo's entire body tenses, his jaw clenching so tightly he can hear his teeth grind. The sight of him, so content and oblivious to the turmoil raging through the Ministry, ignites a fire in Terzo's chest—one that he had hoped was extinguished following his outburst in his room. His eyes narrow as he regards Copia with barely contained irritation. "Uno Night," he repeats, his voice low and controlled, though tension radiates from every syllable. "Mmm… yes." He takes a step closer to Copia, his presence suddenly looming and intimidating.

Copia's smile falters slightly, but he presses on, still oblivious and sweet. "It's become quite the tradition with your brothers, hasn't it?" He hesitates for a moment, then reaches into his sleeve and pulls out a blue reverse card. He holds it out to Terzo, a tentative peace offering. "Here, Papa. I always keep this one for luck. Perhaps... perhaps you'd like to have it for tonight's game?"

Terzo's gaze sharpens dangerously as he struggles to maintain his composure. His arms are crossed tightly over his chest, fingers digging into his biceps. The sight of that blue card in Copia's hand—a symbol of the carefree life he now leads—causes the fire to spread inside him, consuming him yet again. Terzo’s voice, when he finally speaks, is low and menacing, barely above a whisper.

"Tradition?" His voice is guttural and rough. "You dare speak to me of tradition when everything is crumbling around us? When the very foundations of our world are ripped away from us?" His words are full of anguish and rage, each one striking Copia like a physical blow.

The Cardinal stumbles back, his expression morphing from confusion to outright fear. "P-Papa, I... I don't understand-" he stammers, his voice trembling.

"Of course you don't understand!" Terzo cuts him off, his composure shattering completely. "You're nothing but a pawn, a naive fool dancing to their twisted tune!" He gestures wildly, his movements sharp and erratic. "Do you have any idea what's happening beyond your little bubble of blissful ignorance? Omega is gone! Banished! Cast out like yesterday's trash! And here you stand, grinning like a fool, oblivious to the chaos swirling around you!"

Copia's eyes widen in shock, the full weight of Terzo's words finally sinking in. "Omega? But how- Why-" he begins, but Terzo is far from finished.

Terzo snatches the blue Uno card from Copia's hand, gripping it so hard it begins to crumble in his grip. "And this?" he spits, brandishing it like damning evidence. "You think this changes anything? You think a game can fix what's broken? This card, this... this mockery of what we once were!" His voice rises to a near-scream. "Do you have any idea what this represents? It's not just a game, you fool! It's everything we've lost, everything that's been taken from us!"

With a primal yell that seems to shake the very stones of the corridor, Terzo tears the card to shreds. The pieces flutter between them like confetti, a mockery of celebration in this moment of utter despair. Copia flinches, raising his hands as if to shield himself from the physical manifestation of Terzo's rage.

"P-Papa, please," Copia stammers, his voice barely above a whisper, a plea for understanding, for mercy. "I didn't mean to-"

But Terzo is beyond reason, beyond mercy. His voice drops to a low, dangerous hiss, each word dripping with venom. "Get out of my sight," he commands, his tone brooking no argument. "You don't belong here. You never will. You're nothing but a pale imitation, a cheap replacement for something you could never hope to understand. And take your pathetic games with you!"

As Copia retreats, practically running down the corridor, Terzo stands amidst the scattered remains of the card. His chest heaves with each ragged breath, anger and grief warring within him. In the sudden silence, the weight of his actions begins to settle upon him. He knows, in some distant corner of his mind, that he's overreacted, that Copia isn't truly to blame for the chaos engulfing their world. But in this moment, all he can feel is the crushing weight of loss - of his position, of Omega, of everything he once held dear. And that damned Uno card, now in pieces at his feet, seems to mock him with its cheerful blue color, a stark contrast to the darkness consuming his soul.

If only he could reverse being removed from the Papacy.

With a deep, shuddering breath, Terzo straightens his posture and adjusts his shirt in an attempt to calm himself. He struggles to push down the turmoil within, determined not to let his brothers see his inner struggle. As he approaches the card room, he steels himself, forcing his face into a mask of nonchalance.

Opening the door, he finds his brothers already seated. An almost startling wave of relief washes over him. He allows a scoff to escape his lips at the sight of Primo, face fully painted and wearing a Burberry scarf. Before he can comment, Secondo interjects.

"Already gave him trouble for it, stronzino. If you'd been on time, you could've joined." There's a glint of mischief in Secondo's eyes.

Terzo rolls his eyes, a smirk tugging at the corner of his mouth despite his best efforts to maintain his aloof facade. He saunters over to the table, pulling up a chair with dramatic flair. "Well, shall we begin? I'm feeling particularly lucky tonight." He shoots a pointed look at Secondo, silently accepting the challenge in his brother's gaze.

He settles into his seat and the feeling of relief continues to spread through him. Here, surrounded by his brothers and the familiar rhythm of an extremely low-stakes card game, he can momentarily push aside his anger and frustration. In this room, he's not the fallen Papa or a disappointment to the Ministry - he's simply Terzo, the youngest of the Emeritus brothers, ready to lose himself in the game and forget, if only for a while, how far he has fallen.

On this particular evening, Sister Imperator and Papa Nihil would make an unexpected appearance, delivering news that would leave the brothers startled and confused.

They would be unable to continue their card game.

Terzo is deep in his desk chair, his body nearly slipped from it onto the floor. His gaze is locked on the the hell phone which has been ringing nonstop since you left for the night. Your taste is still on his tongue, your scent clinging to his robe. He’s afraid to move to disturb the haze he’s settled into, even though you would be back bright and early for work the morning after next. Fingers fall to his temples, rubbing them with each piercing ring of the phone.

He wouldn’t answer. He doesn’t want to face who is on the other line.

Was it Omega? What could he possibly say? He would only complicate matters—as he already has. The hell phone materialized before you, and you listened to the sounds of the abyss. It drove you into Terzo's arms and bed, but... you didn't deserve to experience such terrors or feel so frightened in his home. Or at least, if anyone was going to frighten you it should be him. His fingers drum along the arms of the chair, a deep grumble vibrating from his chest. The goal is to get you to stay, to devote yourself to him and only him. Yet the fear gnaws at him. What if the terrors you've witnessed push you away? The thought of losing you to the very darkness he once revered sends a chill through him. He wants you by his side, but you have to want to be there. Perhaps, he muses bitterly, this is another of Lucifer's cruel jokes—dangling happiness before him, only to threaten it with the very forces he once embraced.

Maybe the imp who fixed your tire that Terzo had shredded was calling. What was that all about? He didn’t have time to mull that incident over earlier while you were here. Is he manifesting things?

The memory of when he had accidentally shocked you resurfaces, Terzo's frown deepens. He recalls the pain on your face when he zapped your wrist. His gaze drifts to his hands, studying them as if they belong to a stranger. These hands that once commanded crowds, that channeled unholy energies with precision and purpose, now feel like unpredictable weapons. He clenches his fists, feeling the familiar tingle of power just beneath his skin. What if he hurts you again?

Another memory flits to the forefront of his mind — when he screamed at you over his relics being displayed causing a lightbulb to shatter. He remembers the fear in your eyes as it happened. It wasn't Lucifer's doing—it was his own power, his own lack of control. The realization hits him like a punch to the gut. Perhaps the true threat to your happiness, to any chance of a future together, isn't some external force or cosmic joke. It's him.

The silver lining is that you had seemed to be… into it. But what if next time, it's worse than a small shock or a broken bulb?

The thought sends a wave of despair crashing over him. Is he doomed to be alone, forever isolated by the very gifts that once made him special? The irony isn't lost on him—he who once reveled in his dark powers, who used them to seduce and enthrall, now fears them as the very thing that might drive you away. Terzo slumps further in his chair. The illusion of his perfection continues to fade but he’s stubborn. Unwilling to change his ways even though he knows he can be cruel and difficult.

He originally expected you to just deal with it.

Terzo rises with a frustrated growl, letting the hell phone continue its incessant ringing. He stalks over to his liquor cabinet, hands trembling slightly as he pours himself a generous measure of whiskey. What have you done to him? How dare you make him want to be better? He decides he must, at the very least, attempt to protect you from whatever hell seemingly has in store for you. This includes tempering his emotions, an obvious factor of his otherworldly abilities. Seriously, how dare you?

Taking a long swig, he savors the burn as it slides down his throat. It's a familiar comfort, one that does little to reduce the budding anxiety he feels. With a heavy sigh, he turns his back on the still-ringing phone and retreats to his bedroom, drink in hand. The door closes behind him, muffling the sound of the hell phone but he can still feel its presence. Terzo takes another sip, hoping to drink himself into unconsciousness.

Only two sleeps until he sees you again.

[i-am-the-oyster]

Seeing Ian Leslie's new book, I've been reflecting on the recent shifts in the Beatles' narrative. I believe that Paul is intentionally driving these changes, whether it's regarding the reasons behind the band's breakup or the heightened focus and discussion on the Lennon-McCartney relationship. However, I don't think Paul is deliberately trying to alter anything; I sense that he simply wants to leave behind his version of the story before he passes, and dictate how he wishes to be remembered. This also explains why he continues to mention John in various ways—he wants to be remembered alongside John. Paul's actions seem to be perpetually questioned and misunderstood. Perhaps many people still believe that when he highlights his contributions to John's achievements, it's because he wants to prove he's better than John. But I think it's more about him wanting to demonstrate his influence on John, to share with everyone the memories he and John shared. Before John became Yoko's John, he was first and foremost Paul's John.

Hi anon

I'm not sure what kind of response you're hoping for, but I'm in the mood for Thinking About Other Things, so here's everything your post made me think of.

"Paul is intentionally driving changes to the narrative" is such a funny concept to me. He's not Kingpin, sitting at the head of a conference table, surrounded by his daughters and all the reporters he has in his pocket, cooking up book deals and magazine articles.

Paul has always been a relentlessly optimistic person. (Optimistic, not just in the sense of hoping for the best in the future, but interpreting the best from the present). He ignores and avoids negativity (sometimes to his very serious detriment) and focuses on the positive. As he gets older, and further away from the terribly painful aspects and phases of his relationship with John, he thinks more and more about the beautiful broth of a boy, who loved him and worked so well with him.

The idea that Paul would ever try to show that he's better than John is hilarious. John is the one person in the whole world the Paul doesn't think he's better than. He's always seemed to me to be desperate to prove that he was *good enough* for John.

I'm sure he wants to see the narrative change, because it has got him so wrong for so long. But (except for a brief period in the early 70s) his strategy has always been keep your council and the truth will out. He's spent his life doing what he wants to do, saying what he feels like saying, and patiently waiting for his reappraisal. I for one am glad he's still around to see it.

[nicohii]

fortnight.

Pairing: Bokuto Koutarou x Reader

Genre: Angst, Hurt to Comfort, Mutual Pining, Friends to Lovers (as usual)

Summary: you love him, it's ruining your life. inspired by taylor swift's fortnight.

Sometimes you think to yourself how you caused your own misery. It's not like anybody forced you to come clean with your feelings with him. And it's not his responsibility to return your feelings either. You promised yourself you'll tell him and deal with the consequences maturely - that went well- because now you can't even be in the same room as him. Trying to escape the corridors the moment you see a flash of white hair.

What can you do? There's still a sliver of pride in you that doesn't want to show him how fucking miserable you are in the aftermath because god knows he'll feel so bad about it and that in turn will be another weight in your chest.

Your phone buzzes against the lacquered wood. Vibrations echoing against the smooth surface, flashing a familiar number that you practically memorized by heart already, yet had not called for a while. You let the call die out on its own not bothering to pick up.

Ever since that honest, rejection, per se, a rift started to form, try as you might not to. It's your fault and you know it, but you want all your feelings to at least settle down before properly facing him again. Damn, you fucking loved that dude since you can remember, why couldn't you just have swallowed it down.

"I'm really sorry. I think... I just don't see us being more than the best of friends, you know? "

The way he said it didn't help too. His golden eyes were actually pleading, like he didn't want to even say what he said. His breathing uneven. His hands, as big as they were, fidgeting. He has that look on his face like he wants to take back all he said just because of the look on your face. So you put on your face together in a way that will make him at ease. Make him believe that it's fine (it fucking hurts a lot). And you pat his back (it stings).

"I understand, we'll always be the best of friends."

---------------------------------------------------

Life goes on after that. A few years maybe. Some friends go on to other countries, some friends go back to rest roots and settle. He goes on to compete in a few Olympic games and international competitions.

He still calls from time to time, tells you how he's doing. You see some tabloid news about him, different models. They look good together. He looks better. He's an Olympian, of course he does.

You realized that in the moments that everyone had been moving on, you're stuck. Spending the years being faithful even if there is nothing promised, following Koutarou's footsteps, that you have dedicated everything for him; that you have forgotten what it's like to live not for him.

That plans for Koutarou aside, you don't have a single plan for yourself. In a desperate cry in a temple on a quiet holiday, begging for a sign, bargaining, and promising to listen (as if that rejection wasn't a clear message enough back when you were in high school); a call for a work overseas arrives. You take it without any hesitation. Taking the earliest flight, taking whatever life you have left here, very few shreds of dignity, and a somehow healing heart.

---------------------------------------------------

He still reaches out, small talks, asking how you have been. You learn how to forget replying. It's work, it's the time zone. Little by little. Maybe life isn't all about him.

You still see news, less tabloids and papparazzi shots, and just more on campaigns and game updates. Tetsuro and Akaashi rarely mention him too aside from necessary.

In the rare days where he managed to catch you online, and you respond, he mentions the idea of a visit when you mention having no time to go home. It has been a long time.

"Maybe I can go see you? "

You're far too busy to hear any undertones than the usual him. Innocent Kou, you muse, and rest assured that whatever you might respond will just be taken as it is and no hard feelings.

"I'm not sure Kou. Depends on the schedule. I may not be here always."

(You're on remote work and flexitime but he didn't need to know that)

It's a decline he knows. Sucks really, he was hoping you'd say yes. You usually say yes.

What happened to 'You're always have a home here' ?

What happened to 'You're always welcome here'?

Sometimes, in the days when he feels a little bit to much, overstimulated and tired of the life of fame he has chosen, his mind automatically thinks of you. Phone involuntarily in hand and scrolling to a familiar number. Tries to call it (even if overseas call cost a lot, and that's fine he can pay) but feel a pang of something unexplained when the call is not picked up.

"Oh yeah, yeah I get it. It's fine you must be busy."

He tries to counter himself. Bullshit, he can book a tour if you were busy, you can go to work, and he'll wait for you to get home, nothing wrong with that.

You tells him you need to go. That you can continue to catch up soon. But you both know if he doesn't start, nowadays, you never do.

Maybe that's what distance does, he thinks.

Maybe that's what trying to get away from the masochistic tendencies for him meant, you think.

---------------------------------------------------

It's the off season months. News of MSBY players not renewing their contracts has been dominating the news. Hinata Shoyo opts to play for Brazil. Sakusa opts to sign with Italia. No news of other starting players -- and Bokuto is still at a cross roads. He has a few options-- to renew of course, a position with another European team (Italy with Kageyama and Sakusa; Poland with Ushijima) , and an offer from a country where you, but you don't need to know that too. No one does.

He remembers asking his sister. If she has been in contact with you. Apparently she does. He is not that dumb to not be able to put two and two together.

"Maybe she's making her own peace, you know?" She lightly says.

Still, he stares at their conversations, not really as long as they were before, only sometimes when you wished him luck. Other than that, it's like... What? One sentence answers before you say good bye for work?

He wants to feel betrayed and mad. Was it really that unforgiveable not being able to reciprocate to be punished like this? But is he really the only reason? People just drift apart, he guesses.

"I just thought it would be a better closure than this. Like I'm not some dude you just cut off that easily, because we're different", he types one day, out of frustration when he saw Akaashi's phone screen notify of a familiar number.

He deletes the message on his own phone before he even has the balls to send it.

---------------------------------------------------

Life is better. You tried to bargain, got what you wanted and you're doing better. Walking alone with zero thoughts but dinner is refreshing. How long was it? You hate to admit it, but, you're starting to forget his face now or at least the little details of it. You can't forget that day of course, but it doesn't really hurt like before. You've learned to forgive, you love him of course, you never won't, but you've also made peace with it. You're here if he needs you, he's there when you do, you'll stay whatever he wants to be and life will be life.

You spoke to soon apparently.

Because the oxygen feels a little too scarce, your chest banging when you see a familiar mountaineering backpack and tufts of hair facing away from you and checking back and forth on what seems to be an address from his phone. He's bouncing on the balls of his feet in front of your apartment door. He's bigger; still has his passport on his hands.

He just got here. That's obvious.

"Kou? " You softly call and he turns around. Eyes wide, and you hug your groceries tighter, gripping your keys tighter. He's here. You want to deny it but the swelling in your chest becomes obvious. You miss him. A lot. So much.

"Hi." Is what he only says before pocketing his passport in a desperate attempt to move because your eyes are freezing him. Maybe he shouldn't be here. Maybe he should have called first.

"I just.. I was just passing b- I really didn't think... I... Japan has really been overwhelming."

There is a sound of defeat and sadness in his voice and you feels sorry for him. But how about you? He overwhelms you but at the same time, you know that deep down you would have done the same. You place your groceries down the hall and open your arms to him, he looks like he's about to cry, the wetness in his eyes are obvious as he goes to you, trying to tuck himself in you. You feel wetness in the sides of your neck and a sniffle. He almost squeezes the life out of you, breathing you in. There's a lot of things he wants to say but all that comes out are hiccups muffled by the collars of your shirt. He feels you hug him back tighter, trying to soothe his back and rocking him back side to side.

It goes on for a couple more minutes before he subsides, but he doesn't budge. You gently pry him off of you, his face in both of your hands, his eyes red, puffy and tired looking at you tenderly,

"I get it. Come on in. "

[doverstar]

I'd love to defend Gilmore Girls: A Year In The Life for a minute (I don't usually make long posts and may delete this later for that reason) because I feel like writing something inconsequential.

Other people get lots of comfort watching the original show (especially in the fall). I feel cozier watching AYITL. The characters are much older; the dizzy, flighty, still-growing-up feelings for Lorelai and Rory have faded, and it's full of moments that make it clear that certain things in their lives are definitely always going to be there. Constants. Luke, Stars Hollow, family, Kirk, Taylor, the changing of the seasons. Now - for my defense. (I'm rambling.)

Okay, many, many people don't like the revival. I understand. It's different in a lot of ways from the original show, and lots of expectations were not met. When I first saw it, it threw me too. But I didn't dislike it. In fact, the more I rewatched it, the more I thought it was almost better than the first show. The leading ladies are not flashy young stars anymore - Rory is Lorelai's age when the OG show first began, and Lorelai is gracefully and fabulously careening toward grandma times with all her wit and charm, all her most comfy habits, and it makes me want to hang out with her more than Season 1 of the show ever did. And I think the fact that ASP came back to write for these characters again and end it on her terms, at last, was an absolute win, and I love how she did it because it fixed so many things I thought were wrong in the show.

Lorelai is self-centered, terrified of commitment, and has no idea how to put others before herself and not run away during the hard times - unless something involves Rory.

Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family.

Emily is self-centered, desperate to be in control, and finds her worth in what other people think, in how things look, and that includes what Richard thinks.

In the show, Lorelai has moments where she learns to stay and learns to put other people who are not Rory before herself. Those moments don't last. She definitely has good intentions, but they're all conditional. She only has good intentions up to a point - and that point is usually when someone or something threatens her happiness and feeling of safety, or Rory's happiness and feelings of safety (understandable; that's her child).

In the show, Rory is told she is the sweetest kid in the whole world. Rory is told she'd never do anything to hurt anybody. Rory is told she's special, she's smarter than her peers, she's not like other girls. Rory 100% believes that. She also probably has a bit of a problem with living up to that image - she wants to be all of those things, and thinks she is, and can't handle it when it seems like people think she's not. (That may or may not have something to do with Christopher, who always had somewhere more important to be, or with Lorelai, who was so cool and strong and sure of Rory.)

And the show has moments, too, where Lorelai has to face the music and see that she's screwed up or is hurting someone with her behavior (Max, Chris, Luke, Jason, Emily, Richard, Sookie), but very very often, Lorelai breezes her way through that music and keeps moving, and flits to the next thing or person that will make her happy, because she does not know how to stay and stand and fix what she's broken. Because it only matters if she is happy and if Rory is happy. (The same thing goes for Rory in the show - consequences come, but Rory rarely has to properly deal with them herself. She is coddled and propped up the whole way.)

Now, to my point!

I watched AYITL and noticed something was different right away. Lorelai is with Luke (she should be), who is the opposite of her - constant, loyal, selfless, determined to stay no matter how hard things get. But they're not married. Lorelai is scared to really commit, and marriage is one of the hardest things you can commit to - ever. And Lorelai is not happy. Rory, for her part, is not perfectly settled as a reporter or a journalist or any of the things she was always told she could be. And she's not happy. And Emily, bless her, has lost her husband and her false sense of control is spinning away, and of course, she is not happy.

And A Year In The Life takes the show's clumsy half-arc of these three Gilmore women and perfectly completes it.

Lorelai's fear of commitment and habit of bolting when things get hard drives her to push every new chef out of the Dragonfly, refuse to expand the inn to better accommodate Michel's needs, shun Rory's tell-all of her past mistakes, shame Richard at his funeral and break Emily's heart, and worst of all, nearly wreck the closest thing to a proper relationship she's ever had: the one she has with Luke. She can't face that she misses her father, loved her father, and that maybe her mother is right about her relationship status. She can't face that people might read Rory's writing and see all her flaws and all her mistakes growing up in printed ink, and she can't run from that. And when Rory insists, Lorelai cuts ties. Lorelai has spent years avoiding marriage with Luke. She has spent years hurting her mother in an effort to defend herself at all costs. And she has spent years ensuring the Dragonfly Inn is exactly what she wants it to be; because changing it would be uncomfortable, and as a result, she won't commit to a new chef, she won't expand, and she's about to lose Michel the way she lost Sookie.

Rory's bubble of self-centeredness and assurance that she's special is popped with the needle of reality at last: she is not special. She's a young woman who has to actually work hard to find a job and make some money, like everyone her age. She is talented and she is smart, but she's not God's gift to journalism, and people keep saying no, and people keep asking her to prove her skills and her merit, and she doesn't know how to deal with that because everyone has always told her she can do anything she wants and she's the best. She wants a distinguished career and can't find anyone who will take her on; she tries to write for a raging batty feminist (hello Alex Kingston I love your work) and that goes sideways; she wants Logan Huntzberger but she turned down his proposal and now he's engaged and it has to be a secret; she wants somewhere to live - just not Stars Hollow because she's better than the thirty-somethings stuck back home. She wants Lorelai to approve of her book and insists her mother give her this, as if Lorelai hasn't always given her whatever she could. And when Lorelai says no, Rory does what she wants anyway and almost fractures their relationship over it.

Emily's control is completely gone - she can't control her emotions, she can't control her tongue, she can't control her maid or her maid's handy family, she can't even control a stupid painting of her late husband. She's on a downward spiral and her anchor is dead. She tries to regain a sense of worth, because surely that will bring happiness back. She tries to gain it from how many possessions she has, that doesn't work. She tries to gain it from Jack, who is not well-suited to her but he makes a matching accessory to the life other people will see. That doesn’t work. She tries to gain it from therapy with Lorelai, control her daughter at last, that doesn't work. She tries to control Richard's headstone, that doesn't work. She even tries to find solace with her beloved D.A.R, and she finds that emptiest of all.

A Year In The Life has these women finally face their flaws head-on and grow. The way characters should.

Rory: Rory is confronted with the fact that she is not special and has to move home like everyone else her age and get a job she does not want, because that's life, and that's what everyone else has to do in the real world. And when she's at her lowest, pouting, she gets advice from someone who has faced his own flaws long ago and has grown and who knows her at her best, and encourages her to get up and work hard (Jess Mariano, ladies and gentlemen). And she does. Rory hits bottom and takes Jess's advice and works at understanding her mother, who is not perfect, and even goes to interview her father, who is also not perfect. She fights with Lorelai over the book and insists on her own way, and when Lorelai refuses, Rory can only blame herself. She has a rabble-rousing night with her LaDB boys and winds up sleeping with Logan in one more bubble of fantasy, one more umbrella-jump of escapism, like the old days, because Logan is her weakness. And when she wakes up the next morning, Rory turns and walks away from Logan and the affair and her insistence on having what she wants regardless of who she hurts (hello, Dean Forrester and her affinity for taking spoken-for men) for the final time. And the consequences of her desires? She’s pregnant. (Come on, we all know the baby is Logan’s; Rory’s life rhymes with Lorelai’s.) She goes to Christopher to interview him for the book and is subtly asking her father why he wasn’t in her life, because she needs to know what to do with her baby and her lover. She didn’t go to Lorelai to figure that out. She went to her dad, because the truth is, Rory didn’t have her father, and part of dealing with the consequences of her actions is to work out how to take care of this baby and whether or not that means involving the father. She’s owning up. She goes to Lorelai and offers to give up this book; she doesn’t make excuses or whine, she wrote the book anyway because she believes in it, but when she’s gotten three chapters in, she respectfully goes to her mother and asks her to read it and then, for the sake of Lorelai, not herself, Rory promises to quit and throw the book out if Lorelai does not approve. Because Lorelai is more important to her than herself. Rory has worked hard and made mistakes and gotten pregnant and she has stared the world in the eyes and seen she’s not special. And she has to deal with that. And she does, finally, deal with it. And she’s happy.

Emily: Emily is confronted with the fact that nothing is inside her control—except what she does. Worth does not come from what she owns or who she’s with or what she’s wearing, and it didn’t come from her marriage, either. That wasn’t why she married Richard anyway. She is miserable and alone, and part of that is her fault. She married Richard because she loved him, and she keeps coming back to Lorelai because she loves her, and she opens up her house to Rory when Rory needs a place to write because she loves her. Emily looks around at what she has and recognizes what has worth and what doesn’t, maybe for the first time, with clear vision. She recognizes that she can’t control everything. At first, that fact keeps her down. She forgets what day it is, the curtains are closed, and she doesn’t get up in the morning. No Richard, no Lorelai, no reason to move. And then Lorelai calls her, and tells her about who Richard was and what Richard did and how it mattered, and that inspires Emily. She can get up. She buys a place on Cape Cod, totally opposite of the sort of life everyone admires and expects to have worth, and she does what she’s really always been best at—she loves. She takes care. She took care of Richard, she took care of Lorelai and Rory when they needed it, and she takes care of Berta and her wonderful family, instead of having a maid take care of her needs. She packs up and moves out, she sends Jack away, she reveals the D.A.R. for what it is and quits them forever, and she takes a job at a whaling museum because she just likes it. It’s nothing fancy, and neither is her oceanic house or the music she plays in it or the clothing she wears, because none of that is worth anything anyway. Her family is. Her friends are. She gets the painting of Richard done right and brings it with her, and she gives up attempting control of everything and only takes control of how she behaves. She gives Lorelai what Lorelai needs for the Dragonfly, and her only stipulation is that she gets to spend more time with her daughter and Luke. She loves, she takes care of others, she helps. And she’s happy. And now, the best for last. The star.

Lorelai: Lorelai sits in that stupid Stars Hollow Musical and hears a song that perfectly describes her problem—it’s never or now. Make a commitment. Do something hard. Make your life about something other than your momentary present happiness and comfort, the way you do with just Rory, sometimes, but make it a permanent change. Make change permanent! Don’t run away! …And then she runs away. She’s been miserable, she’s hit bottom, like her mother before her and her daughter after her. She’s losing friends, she’s losing Luke, she’s losing Emily, she’s losing Rory over the manuscript, and it’s all her fault. Lorelai tries to breeze past it. She does Wild. She does what she’s never done before, she does something hard and uncomfortable, but she does it for herself, and therefore it doesn’t quite work. She tries to hike, Dipper Pines won’t let her hike, she meets other women her age who think this hike is gonna fix things, it doesn’t, and she gives up and goes to get coffee because that’s her go-to. (Coffee is speedy, bad for you, and only a temporary rush—kind of everything Lorelai clings to, actually.) But the coffee shop is closed, and when Lorelai is denied that allegorical Band Aid, she goes around back and sees a great view and finally finds clarity. She didn’t need the hike—she needed to think. She needed a moment of silence and introspection to gain the insane courage to finally stop moving, stick around, and face her fears. To put her eyes on herself and then take her eyes off herself and onto other people—namely the people she loves. Lorelai calls Emily and cries, because it’s hard to do this, it hurts, but with one story, she proves she loved her father, and she knows her father loved her, and the fact that she’s calling shows that she knows Emily loves her too, and she loves Emily, and has loved them both all along. It gives Emily the strength she needs to get out of bed. That was hard, but Lorelai did it. And now she’s going to do more hard things—she’s going to commit. It’s never or now, and Lorelai chooses now. She goes home and the first thing she does is propose to Luke and become Lorelai Danes overnight. Hard. Scary. Just right. She patches things up with her daughter, and chooses Rory over herself—for the hundredth time, yes, but when it’s at its hardest for her to do. “I’ll read it when it’s done.” Lorelai expands the Dragonfly using one of the biggest monuments to her fear of commitment – the Twickham House. She goes to Emily for help, which is also super hard, but this time it’s not for Rory – it’s for her, and it’s for Michel, and it’s for the Dragonfly. And she accepts Emily’s affectionate terms. Lorelai chooses Rory, Luke, Emily, and Michel over herself, and commits, and she doesn’t run away. And she’s happy.

And all of it is earned. Finally earned.

I could talk more about the incredible writing, about ASP at her best, about the perfect themes and scenery and the very intentional end to Paris, Lane, Kirk, Taylor, Dean, Jess, Logan, Chris, and the general cast’s stories, but I’ve already rambled for too long.

Suffice it to say: A Year in the Life is my Gilmore Girls. It’s best version of the story. I think it was expertly done. Not perfect, but an ending that was earned.

[turtleblogatlast]

I am once again reiterating that Leo could and should be a figure skater because what are ice skates if not twin blades? What is dual blade swordsmanship if not a dance-like performance? Using the skates as blades themselves could let Leo make portals be his ice rink no? I rest my case. ⛸️

[thesilverlady]

saw a post about Ryan Condal's take on Aegon's relationship with his son and I want to vent because I really don't think the man has even bothered re-watching s1 to recall what he made.

Quote:

This is the thing that Viserys never did for Aegon. And Aegon did not study at the feet of his father. His father had his male heir and then essentially said, “Well, that box is ticked,” he was ill. I think he enjoyed having a son but didn’t put in the work the way he did with Rhaenyra when he was a younger man. And I think Aegon resents that and feels that part of the reason that he’s not seen as being suited for the crown or the throne is because he didn’t get that training from his father. So now he’s going to make up for that tenfold with Jaehaerys.

Let's start with Viserys' parenting, shall we?

"Viserys never did for Aegon"

In ep2 we saw a then healthy Viserys parading baby Aegon with pride and joy. It has been the only "good" scene we had between them because it's also the only time we see Aegon as a child. It's safe to assume that he continued to dote on his son during his toddler years and only stopped when Viserys became too sick or when Aegon started developing a personality.

Viserys had no reason to bring Aegon to council meetings, had no reason to groom Aegon as heir because he wasn't. That's the entire point. We also never saw him putting any work on Rhaenyra besides her serving as a cupbearer in ep2.

"He enjoyed having a son but didn’t put in the work the way he did with Rhaenyra."

What kinda of work did he put exactly with Rhaenyra? Rhaenyra already felt inadequate in the first episode because her father desperately wanted a son, when he murdered his wife and his newborn died, he named her heir. In ep2 when Rhaenyra makes a suggestion about how to handle the situation with Daemon Viserys dismisses her and it's Corlys who supports and backs her up.

In ep3 when celebrating Aegon's birthday, it's established Rhaenyra has been once more isolated at court. Viserys never cared about the gap he created between her and alicent when he decided to take his daughter's friend for a bride and unlike Alicent, he didn't even reach out when she was lonely.

In fact, in the same episode we see he's in a hurry to marry Rhaenyra off and he publically berates, scolds and humiliates her in front of people at court. In private, he still doesn't understand her nor does he try to.

The only time viserys was "good" to Rhaenyra was a) in driftmark during the fight between the kids and b) when he spoke in favor for her against Vaemond.

And those scenes aren't even in character for show Viserys if we're gonna be honest. They only happen because they must. The plot couldn't move forward otherwise.

"He [....] didn’t put in the work the way he did with Rhaenyra [...] And I think Aegon resents that."

Except he doesn't.

Aegon doesn't resent that because the show has never established any feelings of rivalry or jealousy between Aegon & Rhaenyra and that's because we didn't have a single scene between the two.

In ep6, a very sick Viserys is seen watching fondly both Aemond & Aegon training with Jacaerys & Lucerys.

It's conveniently forgotten that in the context Viserys enjoys watching all boys together. And he takes their "fighting" as something boyish and playful. He visibly gets upset when Harwin and Criston throw punches at one another.

The only time Viserys is shown to be taking a side between his children is in the Driftmark episode when Aemond loses his eyes. And while in that context he's protecting his grandsons and to an extention Rhaenyra herself. There are more reasons to feel disdain towards Viserys; like how he particularly talks to alicent in that episode, how he's rough with Aegon himself etc. Viserys is incapable of handling the situation. Even when his daughter who is also his heir gets injured, his solution is for everyone to go to bed and for tomorrow to depart.

It makes sense that Aegon would become resentful of Viserys as he grew older but that resentment has to do more about how his father treated his side of the family rather than how he treated Rhaenyra (who he has history of treating like garbage as well btw)

"So now he’s going to make up for that tenfold with Jaehaerys."

Y'know... I gotta love how people rant about the show making both sides neutral in order to 'show depth' and then you get their interviews and you see that depth is merely fans headcanoning.

Let me explain. At first glance Aegon looks nice with Jaehaerys. it's the first time we (viewers) see the kid and it's the first time we see Aegon fully happy. it's nice. Out of context.

Now let's take the context, a joyful Aegon walks into the chamber, he asks where his son is, he goes to check the blond one that sits few feet apart from her mother because Aegon can't tell the twins apart. He quickly realizes that's his daughter so he asks again. Helaena informs him their son is at their library, doing his custom and gently reminds him Jaehaerys shouldn't be disturbed. Aegon ignores that. He tells her the reason he wants him is because he wants to take him in the council meeting and "start his training", Helaena poses a question; what if Jaehaerys doesn't even want to be king - like Aegon himself hadn't wanted to - Aegon acts as if he didn't hear and he still seeks the boy out, forcing his son to attend the meeting upon finding him.

In the council meeting, Aegon's attention is mostly on Jaehaerys who seems to be annoying Tyland. Aegon encourages that behavior and seems to take joy from it. To the point where he (rather stupidity) almost humiliates Lord Lannister by making him act as a pony for his son to ride.

This is not Aegon being affectionate to Jaehaerys. This is Aegon acting the way he probably wished Viserys had acted with him; encouraging of his rebellious/misbehaving attitude, dismissing his council and putting down important people in favor of his son.

He's not breaking the circle of neglect; he continued it in a similiar pattern. Jaehaerys is incredibly young and easy to entertain. The exactly way baby Aegon was in ep2. Aegon already ignored the possibility his heir might not be interested in his so called duties in the exact way his own mother had ignored and kept pressuring him to take a role she was molding him for.

So, similiar to Viserys, Aegon might have adopted a different attitude with his son as soon as he'd develop a persona of his own. The seeds were already there.

Saying that Aegon was simply trying to be a good dad because Viserys was shit and he was only good to Rhaenyra and Aegon felt jealous of that ignores every single time of Viserys was a walking human garbage to everyone.

[chilicheesecreampuff]

To everyone commenting "this isn't true, fuck you for supporting Kamala/Trump and Fandom is a safespace for everyone, except you cause fuck you"..... You're just proving my point. You guys can't stand the IDEA of somehow, someway, having something in common with someone the media told (who is paid to push a agenda, and this goes for both sides) told you to.

Do you realize that? You are following the rules of a person on a screen BEING PAID to push a certain view. You are being told that everyone who disagrees with you ON ONE FUCKING THING wants to hurt/kill/erase you. I disagree with my grandma politically, but I fucking love her, and would never want her to be hurt.

You can't stand the idea that someone on the other side of a political aisle (created to divide) also has feelings, and has really shitty days, and need something to help them relax, and a show you love might happen to be the thing that helps.

I sincerely hope that the people like this don't realize that they also share the same air, same planet, same towns, same states, same need for food and water with people they disagree with, because I fear they might actually explode with rage.

Just a reminder: YOU ARE MAD BECAUSE YOU AND SOMEONE YOU DISAGREE WITH LIKE THE SAME FICTIONAL CHARACTER, AND YOU ARE NEARLY IN TEARS BECAUSE OF THAT FACT. Are you that sensitive? Really? In this world? You are not ready for anything if this shit bothers you.

Get over yourself. You look and act like a privileged toddler who just got told "no" for the first time. Falling to the ground, and rolling around in tears because someone said "I think differently from you, but I'm happy we have something in common."

If anyone should be pushed away from fandoms, it's you.

For some people, these fandoms help them just as much as medications help illnesses.

You're telling me you would keep medications away from someone who desperately needs it JUST BECAUSE they disagree with you?

I pray that if something ever happens to you, and the only person who could help you is a person who votes differently than you, you would decline the help because that's what you would in the same situation to the other person. (I hope that all made sense)

Characters and fandoms save lives. Lives belong to everyone, liberal or conservative. And if you're more than willing to take that away from them because YOUR FEELING GOT HURT, truly, block me. Go fuck yourself. I hope all your chocolate chips in cookies turn to raisins. I hope no one ever closes your door all the way. I hope the remote is always just an inch too far from you. I hope everytime you shit, there is no toilet paper left. I hope your charger is shorted, you have to hold it any certain way in order for it to charge your phone.

...and also, thank you to the people liking this post. I hope you always get an extra nugget at McDonald's and a free drink. You're awesome (regardless if we agree politically or not). ♥️♥️♥️♥️♥️

Edit: Again, sorry for the grammar. It's just unfortunate to see my faith in humanity decline. 😔😔😔

⚠️⚠️⚠️Quick PSA for every single Fandom on this website⚠️⚠️⚠️

Fandoms are NOT political parties. Fandom is where people go to escape all the real life bullshit. Don't include or exclude people from Fandom just cause they vote different from you. You're just being a bigot if you are. Yes, people can disagree, but saying shit like "You can't be here or like this person cause you have different life experiences than me, and those experiences caused you to have a different view than me, but I'm too fragile to recognize that, so I'm gonna bully you into leaving" is so FUCKING CHILDISH. We are all adults here (or should be. Kids, go back to dancing to TikTok or whatever the youth is doing now), act like it. Just because you can hide behind a screen doesn't mean you can be a lowlife worthless piece of garbage. Inclusive mean EVERYBODY is Including, even the people you don't like. I don't like spiders, but I don't follow them and comment on their page about how "braindead" and "worthless" they are for not agreeing about how creepy they are (Pretend spiders have a Tumblr page for me, it goes with the point I'm making).

It costs nothing to be nice, and if you're going through someone's blog and trying to find something you can bully them on, I hope you find some light in your utterly dark and cold life. Must be hard being so hateful to seek out things to comment on.

Sorry for the rant, but I'm seriously tired of seeing people say shit like "your shirt says Kamala 2024/Trump 2024, so your obviously a (insert meaningless insult here), and you need to go hang yourself, and these characters would never associate with you blah blah blah". You don't own them. They belong to everyone. Even the people you don't like.

Thank you.

Edit: Yes, I made a LOT of Grammer mistakes, but I'm too tired to fix them and I'm Dyslexic. Just be glad I spelled "PSA" right.

Edit 2: I'm not saying you can't post political things, it's your blog, do what you want. Just don't bring it into Fandom related things.

[holland-vosijk-antari]

I've been thinking about how white london probably has different kinds of physical affection to red and grey, I can't imagine hugging being common among people who are casual friends like it is in a lot of places here (I'm talking from the pov of someone from an area not too far away from real london so i get that this isnt the case everywhere lol) hugging requires a certain trust that the person you are hugging is doing anything nefarious with their hands - like stabbing you in the back for instance... so i like to think that in white london where trust is about as thin on the ground as magic, hugging is a massive declaration of trust in which you may as well tell the other you love them.

on an additional note it makes me wonder about what affections would be commonplace, would a kiss on the cheek be a more common greeting to someone you care for? would people give a short bow as a greeting towards an acquaintance? (both things very common in many places in this world too so not exactly strange?) or are people simply all-or-nothing with their affections, giving all their affection to one or two people who have their absolute trust and not showing any at all otherwise?

when it comes to greeting a stranger i was taught in my martial arts classes to introduce myself with both hands visible and to shake hands with both of my hands as a sign of respect within the culture so i wonder if that kind of action would be common in makt - dont hide your hands when trying to gain someones trust or they will think you are hiding something...

[vendettasfanfictioning]

Hello, would anyone be interested in a destiel index of sorts, a text/list version of every destiel moment ever with episode and/or time stamps, ideally including subtext, though my main goal is to compile snippets of dialogues for reference purposes.

[moe-broey]

Textpost redraw that only works in a modern setting, so. I gave them silly outfits (and a little bit of lore!)

Some zoom ins on the illusts!

And Lore

Moe is like. A SHUT-IN shut-in. So in any modern setting that isn't "Hey wanna visit my hometown for a sec (events so far have followed canon at least loosely)", it would have to meet Alfonse under Extremely Specific Circumstances.

And finally! Textpost under cut!

[idle-flower]

Amy Madison is one of those things which, like some of the subplots of DS9, I assumed that I'd missed something the first time around and that there was a lot more to it, and was disappointed on a rewatch to find that... no, not really.

Like, I thought it was super-cool that there was this tiny minor character with stuff going on in the background who would resurface seasons later instead of a "remember the new guy" plot! And obviously Willow cared about this girl and there was a whole story there, right? I wasn't religiously watching the show when it first aired so I'd probably just missed whatever her story was!

So then I did a big rewatch with a friend who'd never seen Buffy before and... ehh.

(Now, I never watched season 7 and have stricken it from my personal canon, so that already limits me.) I want Amy to make more sense and to have more story. In those few appearances there are just enough threads of a story that I can totally build a bunch of ideas, but they rapidly diverge from canon.

Because yeah, there's the "Amy decides to delve into witchcraft". Many good reasons why she might, protection from someone messing with her again being an obvious one, dark fascination and love/hate with her mother being another, but she's never given the chance to tell that story.

There's the "Amy back from the dead" which was HORRIBLY disappointing how glossed-over it was. Amy's real-world situation is more fucked-up than Buffy's was! Was she declared legally dead? How many people had any idea what had happened to her? (What happened to that Michael kid who was also in their witch circle? He knew, right? Did he used to visit Rat-Amy?) When she finally went to find her father how did she explain this to him, or did she panic and mind-whammy him because she *couldn't* explain? There could have been more detailed connections here with both Buffy's problems and Willow's problems, without having to go the ridiculous route of...

"Amy's magic druggie problem" Even leaving aside that this entire plotline is horrible, stupid, and horribly stupid, I don't for a second believe that a girl who's been stuck as a rat for years could instantly find the super-secret floating lair of the local druglord. She clearly didn't have that sort of hookup before and it wouldn't be that easy for her to find it now. She's years out of touch! And she should be struggling with magic now. She was not as powerful as fully-juiced Willow to begin with and the trauma of being ratted ought to be giving her the yips. Even if she knew this guy existed and never told Willow about it in high school for some reason, it ought to be a difficult quest on her part to find a way in.

"Amy wants revenge on Willow" A perfectly good plotline idea if they'd actually worked with it in the show, which would require making her more of a major character for a while. Because yeah, getting mad at Willow for 'ruining' her life is plausible, but we need to see Amy's life falling apart first. Even if it's almost-all offscreen because she's not a Real Scooby, it should take time for her to develop this hate-on for Willow. Because at first she'd be grateful for being saved, and then as she slowly realised how screwed she was, then she becomes resentful. Sort of an inverse of Buffy who wasn't happy about being saved and then comes to terms with it, Amy slowly gives up on trying to have her life back and decides to throw in with the dark side.

Just spitballing here. Willow, desperate to prove that she can do good things with her magic powers, de-rats Amy. Amy is thrilled at first but becomes more and more distressed as she realises that life has left her behind. How's she going to fix things with her dad? And Willow suggests magic. Willow takes her home, makes her dad accept everything with a mind-whammy, zap-zap-zap's Amy's long-turned-into-storage bedroom into something cool and modern and witchy, and leaves Amy there, feeling super proud of herself. See, it's easy! Magic really can fix everything! Cut back to Amy, alone in the dark, twitching in terror at the sounds of cats, trying to cast little spells and having them go wrong...

Reverse Unpopular Opinion: Amy Madison

[Reverse unpopular opinion meme.]

This is an interesting one because I think there’s a solid argument to be made that the character of “Amy Madison” does not, in fact, actually exist on the show Buffy the Vampire Slayer.

By which I mean … look, okay, yes, obviously, there is a character in an early Season 1 episode called Amy Madison, played by Elizabeth Anne Allen.  And there’s a character with the same name in a Season 2 episode, and [in an admittedly weird coincidence] she’s also played by Elizabeth Anne Allen.  And there’s one in Season 3, and a one in a few episodes of Season 6, and one in an episode of Season 7, and all of them are played by the same actor.

But … I mean, come on.  There’s no way these can all be the same character, right?  They don’t have the same basic back story or the same relationship to magic or to Willow; they certainly don’t have anything resembling a definite personality or set of motivations or a consistent character arc.  No, surely what’s going on here is that there are several different “Amy Madisons” in Sunnydale – just like there are several different characters called Anne or Nancy on the show – and in a bizarre in-joke the writers simply decided to cast the same woman to play all of them.

Now, ordinarily, simply being written inconsistently over a handful of episodes and not having anything resembling the same personality from week to week would be no obstacle to having a few die-hard fans.  But – as far as I can tell, anyway? – there’s no “fandom Amy” either.  She never really gets mentioned when people want to talk about how all the Scooby Gang had awful mothers [even though Amy actually did, explicitly and inarguably, have a very, very awful and openly abusive mother!].  There’s very little in the way of Amy/Willow shipping going on here or on AO3 [even though witchcraft is heavily coded as a metaphor for being a lesbian and Amy, one of the first witches we meet on the show, is repeatedly linked to Willow throughout the show’s run].  There are no adorable drawings of Amy as a rat staring out of her cage at Willow and Tara (or if there are, they aren’t getting as many notes as they should be getting).  

No, it looks like most people who are still watching and talking about the show twenty-five years later have about as much interest in poor Amy Madison as the writers did.  She’s a plot device.  A punchline.  A cipher.  A blank slate.  She’s whatever the plot requires her to be to further the stories of the actual characters on the show, and she’ll never ever be anything else.  Which is a little sad, if you think about it.  I think Amy – or, well, most of the different Amys: The Killer In Me’s smirking evil-for-evil’s-sake Amy I’m not so sure about – deserved better.

[As I write this the thought occurs to me, belatedly, that I might be one of Amy Madison’s biggest fans.  Pretty grim news for her if so.]

OK. Enough stalling.  Five positive things about Amy Madison [with, as ever, the usual caveat about the comics, which I’ve still not read anything about and still don’t exist].

Witch, Amy’s debut appearance, is a solid episode!  One of that season’s best, I think (though not, of course, one of its very best).  And I think the duo of Elizabeth Anne Allen's Amy Madison (and Robin Riker as her mom Catherine) is a big part of why that episode works: no, they haven’t got a huge amount to work with, but I think they both do a pretty good job switching between evil witch Catherine and innocent victim Amy.  Catherine’s bodyswap spell foreshadows (albeit unintentionally) the bodyswap artifact that the Mayor gifts Faith in This Year’s Girl / Who Are You? and I’ll always have a soft sport for it because of that.  And I really like that the episode ends with Amy alive and hanging out with Buffy in a way that suggests that they are going to stay friends, even if we don’t see any evidence on screen that that happened.

Sarcasm aside, I’m really glad the writers brought Amy back in the second season.  To me, part of the appeal of the high school years are the recurring minor characters – I talked about Principal Snyder before, but also Jonathan and Devon and Percy and Harmony and … yes, Amy too.  The show obviously doesn’t care about her very much, and you have to do a lot of mental gymnastics to fill in the missing pieces of her story and make her arc make sense (why is she starting to do magic in Season 2?  When does she start hanging out with Willow?), but … well, I do care and I have done those gymnastics.  At least Amy didn’t end up like Marcie Ross or Buffy’s old flame Owen or any of those poor kids who must remember eating Principal Flutie. 

I’ve been reading a few old interviews Elizabeth Anne Allen gave recently (here and here, for example) which I think have some pretty interesting insights into how the character of Amy developed.  Had you ever heard there were persistent rumors at one point that Amy was going to be one of the starting regulars on Angel?  It’s mind-boggling to think about a world where that happened.  Allen seems to have put a huge amount of thought into her character, too, at least for her first few appearances, which … uh, I guess makes me feel a bit shitty about those opening paragraphs. [Not enough to delete them though…]  Also in one of the linked interviews she says that she “hopes she won’t be a rat much longer” – and that’s an interview she gave before the Season 3 finale had even made it to air, which made me pretty sad to read.  Forget appearing on Angel, imagine if Amy had been de-ratted in Season 4.  Imagine if Superstar was about Amy instead of Jonathan.

There is a second or two in Season 6’s Smashed – no more than that – when Buffy and Amy are catching up again (“How have you been?”  “Rat.  You?”  “Dead.”  “Oh.”) and you can, if you’re quick, delude yourself into thinking that the show is going to do something interesting with the obvious parallel it’s just set up. Willow has now not only brought Buffy back into the regular human world [and left her struggling to live and find meaning as a college drop out with a dead mother and an absent father last seen on screen about five years ago], she’s also brought Amy back into the regular human world [and left her struggling to live and find meaning as a de facto high school drop out with a presumed-dead mother and a presumably-now-absent father last mentioned about five years ago].  Surely this must be deliberate?  Well, no: the show doesn’t do anything with this idea ever again, because Marti Noxon had very different [worse] ideas for Amy’s character this season, but if you pretend it might be about do something like that it’s a pretty exciting couple of seconds.

The fact that “Amy Madison” exists as a (technically!) canon character means that I can write (or daydream about writing) fanfiction in which Willow has a friend in high school who is also a practising witch. One with a vague but miserable home life, who is secretly in love with Willow but too afraid to admit it (and so she keeps professing to be interested in men who she can’t possibly ever expect to date, either because they’re unpleasantly vile toward women or openly gay or both). And I can do that while, just about, pretending that I have not created the most embarrasingly psychologically revealing OC you ever heard about in your life.  Thanks Amy!

[robotpanties]

uuuuuhhh no reason just wanna see the robot get preggers because nobody is really taking advantage of the narrative consequences of the robots of ULTRAKILL having fleshy bits inside them (in my humble opinion hahahaha...hahaha....hah....). Anywhosen also a sucker for general Bad End especially when it involves a psycho-sexual (breeding) binding to a greater entity but also I wanna see the murder-robot get knocked up. And the galaxy brain bit of this is instead of calming down they just get Worse.

YEAH NO ONE REALLY TAKES ADVANTAGE OF THAT. and well i mostly assumed a very small percentage of people actually want to breed the robots like that which is why.

also i don't think this as a bad end, but a bad path that can lead to some other.. inch resting things (my stupid ass is trying to craft a plot with horror and drama from this path and how it'd change the story slightly despite knowing I will never get around to writing it in fic form except tiny excerpt ideas and art)

also i have so much to say abt the 'it doesn't calm down it just gets worse' bc its So true

[thedrotter]

Do any of you remember a Youtube video about Re:Kinder talking about how the game is seen and percieved by some people (mostly touching upon and arguing against how it has been treated insensitively as some sort of weird legend like "ooo disturbing game with a hidden truth behind it" due to it's creator being dead), as well as talking about the charm of the game (even mentioning it's art at some point) and sadness of the themes without spoiling anything at the same time?? I remember the video avoided saying any spoilers at all and only touched on the literal plot as the kids being stuck in a dire situation in the town with all the adults dead without really getting into the why (it didn't even say one of the kids themselves was the cause— as thus, spoiler free), other than that it just touched on the emotional side of it and vaguely mentioned some scenes.

i also remember at some point the later half (at the very least if not in all of it) of the video, music by Siinamota was playing in the background. Does anyone remember seeing a video like this?

I can't seem to find it anywhere and don't even remember the exact year I watched it.😭 It was the way I found out about this game a while ago, which eventually ended up in me playing it, and I really wish I could watch it again. I thought it was a deleted video by someone called hazel as it was mentioned by a lot of people, but I found that one and it isnt it.😓 I'm wondering if anyone remembers watching something along the lines of what im describing and knows if it's still up.