#I do love me some narrative boxes

[hypotheticalprose]

Writers’ Blocks: the problem with labels and fiction

I’ve really been enjoying my recent experiences with writing fanfiction, and I’ve written about some of the benefits I think it can offer writers, but one thing I think is potentially damaging is the cultural emphasis on tags, tropes, and labels.

Let me start by saying that I’m not talking about content warnings. Generally speaking, I think it’s polite to let your readers know if you plan on treading in murky water or using sensitive themes.

However, I have some problems with the way that labels are used in fanfiction, and I find it concerning how these habits are bleeding into other forms of fiction.

Narratives are typically comprised of elements such as plot, character, setting, conflict, etc. Because the human brain is a pattern-matching machine, it’s very good at building categories that it uses to sort elements of narrative. If you want an example, visit tvtropes and go to any random trope page. You’ll find that soap commercials, ancient Chinese theater, and professional wrestling all use the same ideas, sorted into these building blocks.

Of course, because writers draw inspiration from real life and other written works, many of these similarities are the result of the great narrative conversation that all stories are participants in. This is especially true in fanfiction, which caters to a niche crowd, often with an emphasis on romance, and an even greater emphasis on transforming existing works to better cater to that niche crowd. If you weren’t happy that two characters didn’t kiss in your favorite tv show, just find a story where they do! If you weren’t happy that two characters DID kiss, be sure to exclude that pairing!

There’s nothing wrong with that on its face, but it lends itself to a very reader-heavy balance in the writer-reader dynamic. What do I mean? I mean that when readers can fine-tune their search criteria to exclude anything they think they might dislike or include only things they know they will like, they are essentially prescribing exactly what they want from the stories they read.

Here’s the problem: great fiction is great because it gives the reader something they didn’t even know they wanted. It’s very hard to do that if you’re then forced to think in terms of building blocks and tropes. Surprising the reader is actively discouraged under this system, which rewards giving the reader exactly what they want and spelling it out ahead of time. There’s a few genres in particular that suffer, such as comedy and mystery, because they rely on deliberately withholding information as part of a punch line or a climactic reveal.

Worse, I think that sanding off rough edges for the purpose of better fitting existing tropes stifles innovation. Everything you love in fiction was once weird shit no one had ever seen before. And as fanfiction terminology bleeds into commercial literature, I’m increasingly worried that the market for weird shit is shrinking as writers are told that they need to be able to sum up their book in a half-dozen trendy tropes.

I believe that there is no reason why fanfiction cannot be great fiction. In fact, most great works of fiction are explicitly transformative and directly based off existing stories. But you’ll never write something great if you think in terms of building blocks someone else has already played with.

Only by freeing ourselves of extraneous labels can we expand our horizons.

[steveyockey]

To be aware you might be trans but unwilling to do anything about it is to create endlessly bigger boxes within which to contain yourself. When you are a child, that box might encompass only yourself and your parents. By the time you are a gainfully employed adult, that box will contain multitudes, and the thought of disrupting it will grow ever more unthinkable. So you cease to think of yourself as a person on some level; you think not of what you want but what everybody expects from you. You do your best not to make waves, and you apologize, if only implicitly, for existing. You stop being real and start being a construct, and eventually, you decide the construct is just who you are, and you swaddle yourself up in it, and maybe you die there. There is still time until there isn’t.

This reading of TV Glow’s deliberately anticlimactic, noncathartic ending cuts against the transition narrative you typically see in movies and TV, in which a trans person self-accepts, transitions, and lives a happier life. Owen gets trapped in a space where he knows what he must do to live an authentic life but simply refuses to take those steps because, well, burying yourself alive is a terrifying thing to do. The transition narrative posits a trans existence as, effectively, a binary switch between “man” and “woman” that gets flipped one way or another, but to make our lives so binary is to miss how trans existences possess an inherent liminality.

Humans’ lives unfold in a constant state of becoming until death, but trans people are uniquely keyed in to what this means thanks to the simple fact of our identities. You can get lost in that liminality, too, forever trapped in a midnight realm of your own making, stuck between what you believe is true (I am a nice man with a good family and a good job, and I love my life) and what you know, deep in your most terrified heart of hearts, is real (I am a girl suffocating in a box).

And yet if you want to read the film as being about the dangerous allure of nostalgia, you’re not wrong. I Saw the TV Glow totally supports that interpretation, too! But in tempting you with that reading, the film creates a trap for cis viewers that will be all too familiar to trans viewers. Somewhere in the middle of Maddy’s story about The Pink Opaque being real, you will make a choice between “This kid has lost it!” and “No. Go with her, Owen,” and in asking you to make that choice, TV Glow is simulating the act of self-accepting a trans identity.

See, the grimmer read of the film’s ending truly is a nihilistic one. It leaves no hope, no potential for growth, no exit. Yet you must actively choose to read that ending as nihilistic. If you are cis and the end of I Saw the TV Glow left you with a gnawing sense of dissatisfaction, a weird but hard-to-pin-down feeling that something had broken, and a melancholy bordering on horror — congratulations, this movie gave you contact-high gender dysphoria.

In an infinite number of possible universes, there is at least one where I am still living “as a man,” embracing my fictionality, avoiding looking at how much more raw and real I feel when I “pretend” to be a woman. I think about that guy sometimes. I hope he’s okay.

Consider, then, my cis reader, that TV Glow is for both you and me, but it is maybe most of all for him. I hope he sees it. I hope he breaks down crying in the bathroom afterward. I hope he, after so many years locked inside himself, hears the promise of more life through the hiss of TV static.

Emily St. James, “I Saw the TV Glow’s Ending Is Full of Hope, If You Want It to Be,” Vulture. June 4, 2024.

[formula-ghost]

Wildflower (OP81 x fem!reader x LN4)

Chapter 2

CHAPTER SUMMARY: In the aftermath of Oscar’s breakup, he realizes there’s only one thing he needs to start feeling better. 

WORD COUNT: 9.4k

WARNINGS: SMUT 18+ MINORS DNI. Reader has AFAB anatomy. Rough sex (choking, biting, hair pulling), oral (m and f receiving), fingering, P in V, use of protection, praise, degradation/name calling, no aftercare (literally this entire chapter is them fucking, I’m sorry. I promise that all the smut has plot value haha). Mentions of cheating, reader is haunted by the narrative, hints of angst at the end. Also if a man treats you like Oscar treats YN in this story, LEAVE HIM. 

TAGLIST:  @at-a-rax-ia  @henna006 @linnygirl09 @cassielikereading @judelina  @supertrashbread @fastandcurious16 @widow-cevans  @czennieszn  @irisesinthegarden @wierdflowerpower  @sweetwh0re @reginalaufeyson-holmes @honethatty12 @suns3treading @obxstiles

A/N: The amount of love that everyone has shown me on this fic has been so overwhelming. You all have ignited my passion to create again. Thank you <3

Chapter 1 | Chapter 3

Oscar stayed at your apartment for 4 days. 

There was a lot to be done; Lily had to arrange housing back in the UK and move her things. At some point, Oscar would have to tell his family. Potentially, an announcement would need to be made on social media. 

It felt like a to-do list, rather than the breaking of what once was something beautiful. Now, just boxes to check off. 

And Oscar wasn’t up to the task of any of it; you couldn’t blame him. It was hard enough for him to eat and sleep, let alone think about the upcoming races or the logistics of the breakup.

You let him talk when he wanted, but as the days between the breakup and the present grew, he seemed to settle. The shock was gone, replaced by a void, a thick grief that weighed down on him like a ton of bricks. There were a lot of quiet moments. 

Of course, you at least made sure that he had his basic needs taken care of. It was the least you could do.

On the afternoon of the fourth night, he got a text from Lily.

I’ve finished moving my stuff. Can you stop by in 15 minutes so I can drop off the keys? 

You read it aloud, because he couldn’t even bear to see her words with his own eyes. He stared at the wall ahead of him.

“Do you want me to go with you?” you asked.

“No,” he said, “I’ll be okay.”

He was silent then, the only sound from him being the jingle of his own keys as he got up to leave your apartment for the first time that week. As he walked out, you exhaled, throwing out a silent wish that he’d be okay seeing her again so soon. 

Oscar made the same wish as he pulled into the parking lot of his apartment that only days before he’d shared with Lily. He felt like a robot in all of his movements; getting out of the car, pressing the elevator button, walking down the hall until he rounded the corner and saw her. 

“Hey,” she greeted him, to which he just gave her a small nod. 

“Here are the keys,” she said, and handed them to him. “I got all my stuff out, so, the apartment is all yours.”

“Where are you going?”

“Back home. For now, at least.” 

“You know you didn’t have to do this. You could have stayed here. Or I could have gotten you a place here in Monaco.”

“Don’t,” Lily said, softly, as if her tone of voice could change anything about the grief that the man before he felt. 

“It didn’t have to be like this, Lily,” he continued. “I told you, I’d quit it all. I’ll go to therapy. Whatever you want.”

“You’re living at her place. You’re sleeping in her bed.”

“It’s not like that.”

“Don’t make this any harder than it already is, Oscar.” Tears welled up in Lily’s eyes. “Let’s just wish each other the best and go on with our lives.”

“Is this really what you want?” Oscar pushed. “You really just want to throw away 5 years? Over what? I can change, Lily—”

“Goodbye, Oscar,” she said, walking away whilst he was still talking. He just watched her form get smaller and smaller down the hallway until she was gone. 

There was nothing he could do but stand there. She wasn’t coming back. 

Back at your apartment, dinner was almost ready. The clock on your phone told you that Oscar had been gone a little longer than anticipated. 

Maybe they were talking. Hell, maybe they had made up and Oscar wouldn’t be coming back. You were never the type to worry so much, but you had to admit that your thoughts were racing a little faster than usual.

That was, until you heard your door knob jiggle and felt the vibration of Oscar’s footsteps through your entryway. You heard him sigh and sink down into the sofa, running his fingers through his hair out of nervousness. 

“Food,” you softly called, walking out of the kitchen with two bowls, handing one to him. He accepted it wordlessly.

“D’you want to put on a movie or something? Or…talk about it?”

He just shook his head. So you obliged him, allowing him to have a quiet dinner.

As you ate, you admired him from across the couch. Even with his tousled hair, eye bags, and hunched shoulders, he was beautiful. And one day his smile would return—that sweet bunny-toothed smile that you had fallen in love with so many years ago. 

Your love for him had changed, though. You’d never have him. You knew that. And some would call it pathetic to stay in a man’s life solely because you loved him, when he didn’t love you in the same way. 

And maybe they were right. But you didn’t need the approval of others. You just needed your friend. 

And from Oscar’s side of the couch, he was thankful for the silence, but he was tortured by his own thoughts. The implication of what Lily had said; you’re sleeping in her bed, as if he had gone straight to you for a comfort beyond just home cooked meals. 

It pissed him off. How could she think so little of him? Accusing him of cheating, getting angry at him for wanting to spend time with his friends? 

Oscar was a man that was slow to anger. But when he got pissed, truly pissed, there was only one thing that really let him get that anger out.

If Lily thought that little of him, then maybe he’d just have to prove how horrible he really was. 

When dinner was done, you silently washed the dishes and cleaned up around the kitchen, stretching the sore muscles in your back and grimacing as they burned with the contractions.

“Your back hurting?” Oscar asked, leaning on the counter as you cleaned.

“A bit, yeah,” you confessed. “It’s fine.”

“I can take the couch tonight.”

“Oh no, you keep the bed. You need it before that flight tomorrow, anyway.” 

“I can sleep on the plane.” He paused. “Or, you know, the bed is big enough to share.”

Your hand paused as you wiped down the counters. You didn’t look up at him. The last time you had shared a bed with Oscar was when you lost your virginity. 

“I think that’s a bad idea.”

“We did it all the time when we were kids.”

“We aren’t kids anymore,” you said, reaching up to put away the clean plates. Your back burned with the stretch of your arms, and you winced. 

“I don’t mean it to be weird,” he said. You let the silence speak for itself. 

But when you were done cleaning up, you glanced at the couch and sighed, knowing that you really, really wanted to sleep in your warm and comfy bed.

So you slipped into the bedroom quietly, not acknowledging Oscar when you got under the covers and turned on your side, exhaling deeply as you felt the soft cushioning mold to the familiar shape of your body. 

Both of you were still awake, unable to sleep with the presence of the other, filling the room with a thick tension. 

“Are you still hurting?” Oscar whispered, laying flat on his back, staring into the void of the ceiling.

You, on the other hand, layed on your side facing away from him, staring into the void of your curtains that were only barely blocking out the light from the city outside. “Yeah,” you answered. 

You heard him shuffle, placing his hand on the small of your back, gently pushing you down to lay with your stomach against the bed. You let him, though the intimacy of the moment was…odd. 

“Trust me,” Oscar assured, as if he could read your thoughts. “Relax.”

You did, letting out a long breath as he began to massage the knots in your back, firmly pressing his strong hands into the dough of your flesh.

He slid his hands under the hem of your shirt, but you did nothing to refuse the contact, having practically turned into a puddle at the relief he brought your soreness. 

But when he was done, he just slid your shirt back down and sat back up in the bed, as if nothing had ever happened.

“Better?” he asked. You gave a strong exhale as you got up and stretched your arms above your head.

“So much better,” you said, giving him a soft smile. 

“I’m sorry for taking your bed.”

“Don’t be.”

“I guess I’ll go back to my place when I get home from Japan,” he said. 

“You can stay here as long as you like,” you assured him. 

“Thank you,” he said. In the darkness, the room was only barely illuminated by the lights of the city, but you could see Oscar's frame sitting before you; his tousled hair, his broad shoulders, his perfectly sharp jawline. 

Then the words came spilling out of you, in a way you couldn’t control. “I’m… so sorry, Oscar. For everything.”

“For what?”

“For ruining your relationship with Lily, for always being in the middle of everything—”

Oscar cut you off by kissing you. That familiar feeling of warmth and safety came to rest in your chest, a strange deja-vu. 

“Oscar…” you whispered as he pulled away.

“You didn’t ruin anything. I wanted you there. Always.”

“Lily thought you were in love with me.”

“I know. She thought you were in love with me, too.”

You paused, looking at him again. You couldn’t see his eyes in the dark, just the faint outline of your face. But the floodgates of your honesty had already been opened. 

“Was she right?” you asked. 

“Was she?” he responded, putting the question back on you. 

You didn’t answer. You loved him. He knew you loved him. You knew that he knew that you loved him. But you couldn’t bear to say it aloud, not knowing whether he’d say it back.

To end the silence, he just kissed you again, deeper this time, holding your waist. But you pulled back.

“We shouldn’t,” you said.

“Why not?” 

“Because you’ll regret it in the morning.”

“No I won’t,” he said, kissing your neck. You inhaled sharply. “Besides, it’s not anything we haven’t done before.”

“You’re not thinking clearly, Oscar.”

“I know what I want.”

You pulled away, catching his eye in a sliver of light that snuck in between the curtains. 

He continued, “I know what you want, too.”

He was right. You wanted him. And if you had really pulled away from him, he would have let you go. But he knew you wouldn’t.

So you let him bring his arms up under your shirt, holding you now with a force that was rougher, more refined, than when you were two nervous teenagers exploring each other’s bodies. 

He quickly pushed you down on the bed, pressing his weight on you as his tongue slipped past your teeth to explore the warmth of your mouth. His hand found yours and he intertwined your fingers, pinning you down with the tender gesture.

His lips roamed down, finding their way to your neck to leave marks as he roughly bit and sucked into the tender flesh, causing you to softly gasp. His unoccupied hand roughly gripped at your thigh, holding onto you with a frenzied lust that you’d never seen before.

All his movements were twinged with this agitated desire, as if your body could take all his anger and frustration away through just his touch. 

His lips left your neck for only a moment, as he freed his hands and removed your shirt, revealing your bare chest, nipples hardened from the cool air in the room. He quickly removed his own shirt and began to fondle you, pawing at one side as he brought his mouth to suck at the other. Your head fell back on the pillow, overwhelmed at the rough sensations—Oscar’s bare skin against yours, the coolness of the room, the warmth of his wanting. 

His breath got more ragged as you felt his hardness pressing against you, the full extent of his longing held back only by the fabric of his sweatpants. It wasn’t like years ago, hesitant and gentle. Now, he was dark and still devoid of any love. 

But love was the furthest thing from your mind right now, your body overwhelmed with the sensation of Oscar’s hand around your neck, his fingers pressing down the side to keep you still as his other hand moved lower down to the hem of your shorts. 

He slid his hand under your panties, finding your pussy, slick and already craving him. 

“Fuck, you’re so wet already,” Oscar murmured. 

All you could do was whimper as his fingers teased your entrance and he went back to kissing up and down your neck. It was like he couldn’t waste a second with your body, or else the reality of what you all were doing would catch up to him. 

But neither of you were thinking of anything other than the growing lust you had for the other as his fingers pumped in and out of you, filling the quiet room with sinful noises.

“Fuck, Oscar,” you said, your voice breathy. “Slow down.”

“Why?” he questioned, obeying your request anyway. “You can’t handle it, huh? How are you gonna take it when I fuck you?”

“Osc…” you exhaled. All you could do was moan his name as he sped back up. 

“No, you can take it, can’t you?” he taunted, his fingers sprinting in and out of you, hitting that perfect spot inside of you that made your stomach burn with pleasure. 

“Yes,” you whispered between breaths.

“Good girl,” he said, curling his thumb to circle your clit as he pumped his fingers faster, causing you to see stars.

The praise and the sweet burn of his touch pushed you over the edge. You threw your head back on the pillow and let out a low moan as you clenched around his fingers.

You felt him grab your chin with one hand, taking his other from your dripping pussy and forcing his fingers in your mouth. You instinctively closed your mouth around him, curling your tongue along the digits, tasting your own cum on his fingers.

His eyes traced the edges of your lips as he pulled his hand away and kissed you, mingling tastes until you forgot where you stopped and he began. 

He pulled away and removed the last layers of clothing until you both were bare, shielded only by the darkness of your room.

There was no love making, no tenderness, just animalistic desire, as he wasted no time putting on a condom and sliding himself inside you with a long groan. 

“God, you’re so fucking tight,” he said, leaning his weight on you as he stuffed you with every inch, filling you with the sweet burn of pleasure. “Yeah, you can take it, can’t you?”

You didn’t answer, instead balling up the sheets in your fist as he fucked you. To hold him would be too intimate.

He closed his eyes and buried his head in the pillows next to you as he desperately rutted into you, taking it slow to savor every second of blissful escape that your body could give him. You could hear every frenzied noise that escaped his mouth, and you responded in turn, doing nothing to hold back the sounds that rose from your stomach to your throat and passed through your lips. 

“Oscar,” you breathed, “I’m close.” With every movement, the knot in your stomach threatened to release, flooding your body with pleasure. 

Oscar sped up his pace, chasing his own release more than yours. Still, you broke, coming apart beneath him, shuddering as he continued to press in and out of you. 

It wasn’t long until his own moans increased in pitch and intensity, signifying that he was nearing the edge. You rocked forward on him, fucking him as he fucked you, getting him closer quicker. The sweet friction of your bodies was too much; he pulled out and removed the condom, pumping his length furiously. He bit his lip and groaned expletives, cumming on your stomach, painting your skin with the evidence of your lust. 

Oscar’s breath slowed as he rummaged around for his discarded clothing, handing you a towel to clean up. As he almost immediately re-dressed, you felt…exposed. Self-conscious. As if this wasn’t your best friend, the man you’d given your virginity to so many years ago.

You felt… used. 

Even after you had dressed yourself, and both of you had turned opposite each other to get some rest, the feeling didn’t go away. Because, after all, hadn’t you used him, too?

I know what you want, he had said. You had wanted this—at least, in theory. But now, days after the love of Oscar’s life had left him heartbroken? 

No, not this. This couldn’t be what you wanted. But then why had he been right? 

Oscar may have said that he wouldn’t regret it, but you definitely were already.

You fell into a tense sleep, only to be awoken by Oscar’s alarm a few hours later. He groaned and slapped his hand over your nightstand to shut it off, grumbling as he turned back over and buried his face in the pillow.

You sat up, giving up on a good night’s rest, and went to the kitchen to make some tea and watch the sunrise from your balcony. You could hear Oscar from the bedroom, groaning as his snooze went off for the second time and he heaved himself out of bed. 

You wordlessly handed him a mug and walked out of the kitchen to the balcony. It was too early in the morning; there would be no sunrise for another hour or so. You sighed. 

“Aren’t you cold?” Oscar asked as he walked up behind you, mug in hand. 

“I wanted to watch the sunrise. Didn’t realize it was still so early.” You took a sip.

“You’ll get sick if you stay out here too long.” 

You hummed, relishing the warmth of the mug between your fingers. He was right—it was freezing. 

“When are you flying out?” he asked. 

“I’m not,” you said, staring off into the water in the distance. You took another sip. “They’ve got that new guy doing the photos this weekend.”

“You should,” Oscar said, walking forward to lean on the balcony next to you. The closeness felt like a mockery after the distance you’d felt hours before.

You let out a chuckle. “I think the new guy probably cried when we told him he’d get to do Japan. I can’t take that away from him.”

“I meant, like, with me.”

It wouldn’t be the first time, nor the last, that you’d gone to a grand prix as a personal guest of Oscar’s. It was something that shouldn’t be weird at all. Then why did it feel so wrong?

“I just…don’t wanna be alone,” he said as he turned his head to look at you, but you avoided his gaze.

‘I don’t know, we’re already behind on the merch orders—”

“You can work remotely.”

“Not from the pit wall,” you said, a faint smile tracing the edges of your lips.

“Has anyone ever told you that you’re stubborn?” he teased. A smile came to his lips—the first smile you’d seen in days. 

“Never,” you said, your voice dripping in sarcasm.

“Well, if you wanna turn down authentic sushi and seeing your favorite McLaren driver, be my guest.”

You cringed at the reference—ever since Lily had tried to set you up with Lando, you and Oscar had jokingly started referring to him as “your favorite McLaren driver,” even though you both avoided each other like the plague due to the awkwardness of it all. 

But authentic sushi sounded great. 

“You drive a hard bargain, Osc,” you laughed. 

“And I drive an even better Formula 1 car. Which you could see, in Japan,” he joked, tilting his head and raising his eyebrows in that familiar dry expression.

Oscar felt…normal again. And yes, you had been so busy tending to him that you had fallen behind on your work. But it was worth it, to banter with your best friend again, even if only for a moment.

“Fine,” you acquiesced. “You got me. Let me inside so I can pack, it is fucking freezing out here.”

One torturously long flight later, you were checking into a hotel in Japan with Oscar.  

Since the trip had been planned so late—your ticket literally bought over the phone in the Uber on the way to the airport—the hotel was fully booked by F1 employees. You and Oscar would have to share a room. 

Your stomach sank at the realization, as if you hadn’t slept with him the night before anyway. 

Up in the room, as he unpacked a few of his belongings, Oscar’s phone rang. You glanced at the caller ID: Mum.

He saw it too, but ignored it, continuing to set out his clothes for the next morning. 

But your phone rang, too, the same name and number, even the same caller ID. Nicole was practically your mom anyways.

“Do you want me to answer it?” you asked, and Oscar sighed.

“I haven’t told her yet.”

“I figured.”

“I don’t wanna talk about it. Not even with her.” He slung a shirt over his shoulder, walking towards the bathroom.

“She’s not gonna stop until she gets one of us on the phone.”

“I know.”

“Do you want me to lie?

“No,” he began. He knew you. You could pull off a small white lie if you really had to, but it tortured you inside. He wouldn’t ask that of you. “I guess… do you mind telling her? I just don’t have it in me.”

“I can.”

“Thank you,” he said, giving you a flat smile, a genuine attempt at thankfulness. You just nodded and took a deep breath as you heard the shower knob turn and water droplets crash against the floor.

You called Nicole back.

“Hello, darling,” she began. “How are you?”

“I’m alright. A bit jet lagged,” you admitted.

“Where are you off to now?” she joked, a smile surely on her face.

“I’m in Japan with Oscar, actually. Kinda last minute.”

“Ah,” she said. “Are you with him now?”

“No,” you lied, unable to admit that you were currently sharing a room with her son. “I can pass it along, though?”

“Oh no, I was just wondering how he was doing.”

“Well, I can tell you, he’s not great, unfortunately. Erm… he and Lily broke up.”

“Oh, God…” she sighed, “That’s horrible.”

“Yeah,” you replied, unsure of what else to say. “I’m not entirely sure what happened. I guess they just weren’t happy anymore. He’s heartbroken, though. So, if it seems like he’s avoiding your calls, that’s why.”

“You know, I figured something was wrong. Things were just…off, when you all were here, weren’t they?” 

Your heart rate increased. “Yeah, I guess they were.”

“Can I ask you something, YN?”

“Of course.”

“Did you know anything about this?” Her tone wasn’t at all accusatory or scandalous; as usual, she was kind.

“I mean, I knew they were having some problems. I think Lily wanted them to spend more time together. I never thought it’d end, though.”

Nicole hummed. She knew you couldn’t quite tell her the full truth. There was something deeper there, something from far before your visit to the Piastri family home. She’d get it from you eventually. 

‘Well, I’m sure you all are busy in Japan, so I won’t hold you any longer. But tell Oscar I love him and to call me when he’s ready. And I love you too, YN.”

“Love you, Mum,” you said as you hung up the call. Her voice felt like a warm hug through the phone. 

As if on cue, Oscar came out of the shower, the white towel wrapped around his waist leaving little to the imagination. He roughly tousled his wet hair in a smaller towel. God, he looked good. If it were up to you, you’d push him back on the bed and fuck him right then and there.

But something felt…wrong. You’d been with him just the night before, but an unfamiliar guilt had made its way inside of your chest and made a home there.

It didn’t make sense. You, not Oscar, had warned against it; he had worn down your carefully built defenses, the ones you’d meticulously created over the years, until no excuse could protect you from the truth anymore. Yes, you wanted him. You had wanted him for years. Every second that he had been with Lily, you had wanted him for yourself. 

But you had never done anything about it. Always been respectful, reading the room, leaving when you knew you weren’t wanted. You hadn’t done anything until she finally left—and did you have every right to, then?

You guessed so. Then why did it now feel so fucking wrong?

Oscar’s voice broke you out of your spiraling. “What did she say?”

“She just wanted to check up on you. I told her.” He hummed in response. “She was asking me about it, but I didn’t really know how much you wanted to share. She just said she loves you and to give her a call when you can.”

“Thank you. For… doing that. I’m sure it was awkward.”

“It was fine,” you lied. It had been incredibly awkward—you could sense that Nicole suspected you were far more involved in the breakup than you had admitted to being. But was it really your fault? What had you done wrong? You continued, “It’s the least I can do.”

Oscar got quiet then, thinking about what, you’d never know. 

“Well, I guess I promised you sushi?”

“That you did,” you replied. You were more thankful for a break in the awkward silence than the promise of dinner.

So you ended up at Oscar’s favorite hole in the wall sushi restaurant in Japan, as if nothing in the world was amiss. 

Still, the feeling of something being deeply wrong, though now shoved to the back of your mind, wouldn’t leave you alone. It was odd—there had never been an F1 race in which Oscar and Lily weren’t together. Of course, she couldn’t come to every race, and with you working for him, you often ended up in positions similar to this.

But it felt like your entire world had been tinged a bizarre shade of blue, like Lily’s absence was a grief that you felt too, though you two had never been particularly close. And if you could even feel this crushing weight of her absence, you didn’t even want to begin imagining what Oscar felt. 

So, you’d have to excuse the awkwardness, the quiet moments, and even his concerning desire for you last night. He must be losing his mind. 

All of this, while also attempting to keep up the appearance of normalcy; he snapped a photo of you throwing up a peace sign and posted it to his close friends story, playing as if nothing was amiss. 

As you ate, his phone vibrated. A message from Lando. 

Oh, you all didn’t invite me? I see how it is. 

The message, dripping with Lando’s usual cocky sarcasm, was typical of the Brit. On any other day, Oscar would have smiled to himself and playfully rolled his eyes at his teammate’s antics. Today, though, the message only brought forth a flood of frustration. 

In the midst of Oscar’s heartbreak, something darker had been brewing; a championship battle.

He knew it was too early in the season to call. It was only the third race, and McLaren was known for the teamwork between himself and Lando. But Oscar was nothing if not competitive. You had to be, to get this far in F1. 

His legacy so far has been polite teamwork. Papaya rules, or whatever the fuck the strategists wanted to call it. Getting gifted wins by Lando or giving him the wins that Oscar rightfully deserved—he was willing to do it, of course, for the team. But he couldn’t be sidelined forever in favor of the golden boy of Formula 1. 

So Oscar knew that this would be his season. Lando had a close call in the 2024 season with Max Verstappen and was being hailed as the favorite for this year’s championship. But Oscar was determined. Oscar had nothing left to lose. 

He was getting that championship if it killed him. And that meant that there was no more room for friends.

Oscar opened the message, just to get the notification bubble to go away, annoyed by the friendly pestering of his competitor. He left Lando on seen.

But Lando wouldn’t let his teammate get away from him that easily. 

“Hey, Oscar,” he yelled ahead of him, as they walked into the paddock the next morning for media day. “Morning, you muppet,” he said, playfully clapping Oscar on the back. 

“Morning,” Oscar murmured. 

“Tired?” he asked. Oscar nodded. “Well, makes sense, because you were so busy going out without me. And then you had the nerve to leave me on read.”

Lando’s tone was clearly playful, but Oscar was still having none of it. “We got sushi.”

“Ewww. But as your unofficial fourth wheel, I still would have appreciated an invite.”

“It was just me and YN,” Oscar said, absentmindedly fiddling in his bag for his ID. He had truly been tired—too tired to really organize his bag before he left the hotel this morning. 

“Ah. Well,” Lando smiled, awkwardly scratching the back of his neck, “wouldn’t want to interrupt that.”

Oscar looked up, making an unamused face at Lando. “What are you saying?”

“What? I know a side chick when I see one. But that’s none of my business, I know when to keep my mouth shut.” 

Oscar yanked his pass out of his bag, zipping it up aggressively. “YN isn’t my side chick.”

“You’re in a sour mood. Did you not sleep well or something?”

Oscar wanted nothing more than for Lando to leave him alone. “No, I didn’t. Lando, you know we’re not friends, right?”

“Sure we are.”

“Outside of the track, maybe. But I’m here to beat you. Not invite you out to sushi.” 

“Oscar, you’ve got to relax. You’re letting all this get to your head, mate.”

“I have somewhere to be,” Oscar said, abruptly ending the exchange there.

Lando wasn’t offended. He knew that when stakes were high, you said things you didn’t mean—God knows he had done that himself too many times to count. Still, he couldn’t shake the feeling that there was something beyond just the stresses of Formula 1 racing that was causing Oscar’s hostility. 

Contrary to what one might think, Oscar was actually very easy to read. And it hadn’t exactly been top secret that he and Lily were having issues. Maybe Lando had just hit a nerve with the implication that Oscar had been unfaithful. 

But was he so wrong? To any outside viewer it seemed plain as day that there was something between you and Oscar that Lily seemed in denial about—at least, she had been, until Lando was caught in the crossfire during the Italy trip. 

God, the Italy trip. He cringed just thinking about it. Even after clearing the air with you, he just felt so…disgusting. Not at you, but at himself, the way he had dismissed you as if you were meaningless. But what else was he meant to do, when Lily had pushed you far beyond your comfort zone, and he knew you didn’t want anything like that with him?

He hoped that you wouldn’t hold it against him. He certainly wouldn’t hold whatever Oscar was dealing with against him. 

And that was fortunate, because Oscar’s foul mood followed him throughout the day, and into the next morning too. It was like the Aussie was followed by his own personal raincloud of annoyance, unable to escape his own thoughts. 

He was quickly learning that, even at Formula 1 speeds, he couldn’t outrun his heartbreak.

But it wasn’t sadness that he felt. It was anger. It was determination. It was a giant fuck you to everyone and no one in particular. Gone was the polite cat, the veneer of civility and sportsmanship. He needed to win, just to feel something again. 

Sessions one and two of free practice seemed promising. The third session was even better. 

But before qualifying, he felt that now all too familiar feeling bubbling up within him. The pressure to perform.

He needed to get pole. He needed it. 

In the paddock, he passed the commentators box. He could hear them talking about him. 

“For this afternoon’s qualifying session, all eyes are on Oscar Piastri! The McLaren driver had an amazing 2024 season, and so far this year, he’s already clenched a home win. But, somehow, he has never secured pole position at any Formula 1 Grand Prix qualifying session, only having done it for two sprint races. Compared to his teammate Lando Norris, who has historically dominated qualifying…”

He couldn’t listen any longer. 

He stomped back to his driver’s room, the words spinning in his head. It wasn’t just the commentators. It was Lando, it was the crowds, it was Lily. 

No. Not now. 

He grabbed his phone and sent a text.

You were oblivious to all of this, having spent Thursday and Friday in the hotel catching up on all your work that couldn’t be ignored for any longer. You’d come to the track today to support Oscar, and to help the new guy, who you had quickly realized most definitely wasn’t ready to be working an entire grand prix weekend on his own. 

But as you once again reminded him of the most basic functions of spell check on Instagram captions, you felt your phone buzz in your pocket. A text from Oscar. 

Come to my room.

A second message.

I need you. 

You felt your heart drop. Even if you didn’t know the details of what exactly Oscar was feeling, you could tell that it was slowly eating away at him, making him a shell of his former self.

In the few days since your last night together in Monaco, you had kept your distance, unsure of where you stood since that one regretful night. But soon, you’d find out exactly what Oscar needed from you.

You practically sprinted to his driver’s room, only knocking once before he opened the door, his face just as flushed as yours. He peeked his head out, looked both ways to ensure the hallway was clear, and pulled you by the waist into the room.

He closed the door and locked it.

In one motion, he grabbed your waist, pushing you against the wall and overwhelming your senses with a fierce kiss. 

You were left breathless as he refused to let you go, bringing his free hand to your chin to hold you still against him. His kiss deepened, devouring your taste, as if he’d never get another chance again. 

When he finally did pull back, you could see his eyes clouded with wanting, looking you up and down like he’d die if he didn’t get more of you.

“Oh, “ you exhaled. “That’s what you needed.”

“Is this okay?”

You swallowed back your nervousness at his loaded question. “Yeah. Just wasn’t expecting it.” 

“Sorry,” he apologized. “I just can’t fucking drive like this.”

You both held your breath as you heard a set of footsteps approaching, then fading off into the distance. 

“We don’t have time. Can you do something for me?”

You nodded at him, your innocent eyes staring at him with anticipation. God, you were fucking perfect. And he was going to ruin you, right here and now. 

“On your knees,” he commanded, and you obeyed. 

He gently pulled your hair back before wrapping around his hands in a fist, pulling you back to look at him. “You’re so good for me,” he cooed.

But that was the end of his gentleness. He was going to prove to you how much he needed you.

You started slow, taking as much of him into your mouth as you could, sinfully dragging your tongue along his sensitive tip. But there was no time for teasing. 

He held your head and pushed into the back of your throat, letting out a soft, low groan as the blissful feeling of your lips around him. 

“That’s it, love. You can take it, right?” he teased, and you let out a muffled “mhm” as an answer, your mouth being preoccupied with much…bigger things. 

“Yeah, you take me so well, you’re so good for me,” he said, pushing your head back and forth to guide your rhythm. “Like you were made for me.”

You couldn’t help the gagging noises that came out of your mouth as you pressed your hands into his thighs for support. He hit the back of your throat, and you felt your eyes roll back from the relentless pace.

“Good little whore,” he said, his voice wavering from pleasure. “Letting me fuck your mouth in public, whenever I need it. God, fuck—”

You dug your nails into your thighs as you took every inch of him one last time, until you felt the sweet stickiness of his release coating the back of your throat. He let out one final groan as he let down your hair and fixed his race suit.

You swallowed and wiped your mouth as Oscar leaned down to kiss your cheek, an odd tenderness after the intensity of your encounter. 

“I’ll see you back at the hotel, yeah?” he asked, and you just nodded as he walked out the door. 

You watched from inside the paddock as Oscar got his first pole position. 

Neither of the McLaren boys won the grand prix, though. Max Verstappen, in usual fashion, had to remind everyone who was the 4 time world champion and who were the two children in comparison, fighting over the shiny toy of a trophy. 

A double papaya podium was good, though. That’s what you thought, at least. You’d hadn’t talked racing with Oscar in a while, knowing that it caused him more harm than good to be constantly reminded of the stakes at hand. 

But after the grand prix, you couldn’t stay with him for the next two races of the triple header. You had truly been neglecting your work in favor of being there for Oscar, and you needed to focus to catch up on all the beginning of season chaos. 

So, having sufficiently trained the new guy to hold down the fort in your absence, you reluctantly went home to Monaco.

But on the road, your absence hit Oscar like a ton of bricks. 

He couldn’t focus. He couldn’t sleep. He couldn’t eat. He paced the lobby of expensive hotels like a zombie. Everything was just…wrong. 

Oscar had always been the type who didn’t like to be alone. That wasn’t new. But this…thing, that felt like it was tearing him apart from the inside? He couldn’t name it. 

You could, though. It was heartbreak.

“I miss you,” he admitted, his voice quiet on the other side of the phone. It was the middle of the night in Bahrain, but you were just laying down for bed. 

“I miss you too, Osc, but you’ve got to get some sleep.”

“I can’t. It’s too quiet here.”

“Why don’t you put on some music?”

“It’s just… not the same.”

You sighed, empathetic for your struggling best friend. “What do you usually do when you’re alone on race weekends?”

There had been plenty of weekends where neither you nor Lily were in attendance, but those days seemed foreign to him now. “I don’t even fucking remember.”

“I’m so sorry, Osc. Do you wanna…talk about it?”

He knew the “it” you were referring to. The more accurate pronoun would be “her.”

“No,” he said, the word feeling final and solid. “But has anyone asked about it?”

“No,” you echoed. “You’ll have to tell them eventually. People can tell that you’re not doing too well.”

“Great,” he sighed. 

“If anyone asks, I can tell them.”

“Thank you.” He paused. “I think I’m gonna sell the apartment. Get another one.”

“It might be nice to have a new start.”

“Yeah,” he continued, “I just don’t even want to go back there. But I know I can’t keep hogging your place.”

“You can stay with me as long as you need, Osc.”

“I’d rather you stay with me. The guest room is practically yours already, anyways.”

“I could do that,” you said. 

“Are you sure you can’t come out for Saudi Arabia?”

“I wish I could. But your fans order too much merch and we’re drowning in orders,” you laughed. 

“Good problem to have.”

“Yeah.”

The silence on the lines was thick, an electric current running through the fragile stability of what was unspoken. The breakup, all the emotions he had refused to talk about since it happened, and the…new hobby the two of you had been indulging in. At some point it would have to be addressed.

But not now. Oscar yawned, “This is awful. I’m exhausted all the time but I can’t sleep.”

“I’m sorry,” you said. It was all you could say; it was true. 

“Will you stay on the line until I fall asleep?”

“Of course.” You could never say no to him, even though you knew you should be focused on getting your own sleep. It was an unusual power that Oscar had over you; if anyone else asked this much of you, you would have left them a long time ago. But Oscar? You wished that you could do nothing more than hold him until it didn’t hurt anymore. 

But, for now, you’d have to settle for talking him to sleep from a few thousand miles away. And, evidenced by his soft snoring, it was working wonders. 

In the days before his return, it seemed like Oscar’s anxiety was rubbing off on you, even from so far away.

You couldn’t hardly sleep, always anticipating his call or texts in the odd hours of the night. You settled into an uneasy routine in his absence, your schedule practically becoming his so you were always available to call or watch his races. 

On the surface, it wasn’t unusual; plenty of fans woke themselves up at ungodly hours to watch every interview or free practice session. But in light of everything else, it felt like more of a commitment. 

And the fact that Oscar wanted you to essentially live with him in his Monaco apartment when he got back? Again, it shouldn’t be so odd. You would live with the Piastri family for months at a time when you were younger and your parents traveled for work. 

But you knew this time it was just different. You knew you couldn’t get attached to this new life you had already begun to settle into. At some point Oscar would heal from his heartbreak, and things would go back to normal.

How could life continue as normal, though, with Lily being gone? She was so integral to the fabric of both of your lives that neither of you could imagine one without her in it. 

It was this topic that came up the night before the Saudi Arabian Grand Prix, on a facetime call with your best friend. 

You hadn’t pushed him to talk, knowing that he’d come to you when he really needed it—and he did.

“I just…I hate being on the road, but I don’t want to go back. Being in Monaco without her just feels wrong.”

“I know. It’s weird for me too.”

“What do you mean?”

“Just, you all were endgame, you know? I never imagined this would happen.”

He hummed, clearly not expecting that answer. 

“I didn’t either,” he responded. “I know you said it would get better, but I can’t imagine it right now. How did you do this?”

“You want the truth?” you asked. He shifted in bed, bringing his arms up under his head to lay on them, like a child curled up next to his mother.

“Yeah.”

“I don’t think I ever really loved any of my exes. I was just trying to convince myself that I did.”

“I don’t believe that. Not after how devastated you were when you found out about the last one.”

You huffed at the nickname ‘the last one.’ After you discovered that your ex had cheated on you. Oscar was still so pissed that he refused to call him by his name.

“No, I didn’t love him. I think I was more upset about the fact that I had finally convinced myself that I did love him, and then he did that. I thought it was finally over, like…it was a game I had won. I tried to stay because I didn’t want to start all over with someone else. But I realized it was a waste of time, so I might as well just stay single.”

“YN, that’s…really sad, actually.”

“I guess,” you said, smiling and exhaling. “But you live and move on, right?” Through your screen you saw the faint sheen of teardrops on Oscar’s eyes. You looked away.

You continued, “But it’s different for you and Lily. You all really loved each other. I don’t know how you heal from that.”

“I don’t either.” He sniffled. “You’ve really never been in love?”

“That’s… it’s complicated.”

Even from a screen thousands of miles away, the implication of your statement was unmistakable. But you didn’t want to go there. Not now. 

Someday, maybe. Someday you would be able to tell Oscar directly to his face that you had been in love with him for nearly a decade.

But first, he had to come home. 

When he landed in the airport in Nice and caught an Uber to his apartment in Monaco, heartfelt confessions of love were the last thing on his mind.

Lando had won the Saudi Arabian Grand Prix. Oscar was now losing. 

He couldn’t win them all. It was the beginning of the season. He was going through a rough time. All these excuses swirled around his mind. And that’s what they were—excuses. He hadn’t performed. He needed to be better.

He didn’t want to be better right now, though. He wanted to go home and collapse in his bed and sleep for a week straight. But his apartment would be cold and empty without Lily there.

Well, at least he’d have you.

And since you knew coming back would be hard for him, you had gone out of your way to make his homecoming easier. Using your spare key, you moved a few things into the guest room, did his laundry, lightly cleaned up, and had his favorite dinner set up and ready on the table with a lit candle rounding out the cozy scene. 

He thought he might cry tears of joy when he walked in and saw what you had done. 

Still, it was…different. When he would come home to Lily the house felt more lived in. Now it was clean and cozy, but too much so, evidence that the once binding force of the apartment’s atmosphere was gone. 

He wasn’t complaining though. Few people were lucky enough to come home to a clean home and a warm meal made by someone who loved them. And after the dinner, he certainly wanted to make his appreciation known.

“The least I can do is return the favor,” Oscar said, leaning against the wall behind you as you cleaned up the remnants of the meal. 

You playfully scoffed. “Since when do you cook or clean?”

“That’s not what I meant,” he said, wrapping his arm around your waist and bringing his lips to your neck.

“Um…oh,” you exhaled, unsure of what to make of his advance, but nevertheless relishing his touch. 

“You’ve just been so good to me,” he whispered in your ear, sending shivers up your spine.

“I’m just…being a good friend.” Your voice was breathy and tense.

“Do you not want to?” he asked, spinning you around to look at him.

“Well I just—” you exhaled, looking away from him. God, yes, you wanted him. Under eye bags and messy hair, depression and vulnerability, you wanted all of him. “In your apartment?”

“Would you rather I fuck you out on the street?” he joked. You would have smiled wider if you didn’t know that he was intentionally dodging the implications of your question. 

You couldn’t not bring it up, though. “In her apartment? In her bed?”

Oscar’s expression got colder. “It’s my apartment. She took all her shit and left.”

“It just feels wrong. I mean, Oscar, what are we doing?” You hadn’t intended for this conversation to happen now, but you both knew it was inevitable. 

“What we are doing is talking, when there are far better things our mouths could be occupied with,” he answered. “But if you don’t want to, that’s fine.”

He pulled his arm away from your waist and turned away from you, but you couldn’t bear it. The thought of him sleeping alone broke your heart.

So you pulled his arm back and hissed him rough. He pushed you back into the counter, asserting dominance, as one hand came up to wrap itself around your neck and the other snaked its way underneath your shirt. 

“Jump,” he instructed, and you hopped up onto the counter and he took off your skirt and panties before spreading your legs apart. 

“I owe you one, no?” he teased before his mouth found your clit and sucked.

“Fuck, Osc,” you said, putting a hand over your mouth to muffle your moans.

“Stop that,” he said, pulling your hand down before bringing his lips back down to your pussy. 

“Osc, I’m trying to be quiet and you’re making that….very difficult,” you said. 

“Quiet? If the neighbors aren’t putting in noise complaints after I’m done with you, then I’m doing something wrong,” he laughed.

You all never made it to the bedroom, too caught up in the moment to even move a few rooms away. He fucked you right there on the counter, whispering filthy nothings in your ear.

“My perfect little toy, aren’t you? Disgusting little girl,” he moaned. “Wanted me so bad you couldn’t even make it to the bedroom. How long have you wanted me to fuck you like this? Days? Weeks? Years?”

You couldn’t even respond, too lost in the heavenly feeling of him filling you with every inch. 

“God, you’re fucking filthy. I know how badly you wanted this, for so long. Fuck,” he moaned, “I’ll take care of it now. Just let go, cum for me.”

You obeyed.

But later that night, as he slept next to you, his words haunted you. It wasn’t the degradation—you liked that—but the deeper implication. He fucked you on the counter that he and Lily had once made dinner on together. You slept in her bed, next to her boyfriend. And he knew that you had wanted him so badly for so long. He teased you with it.

But you had never done anything, right? Oscar was right—he wasn’t her boyfriend, he was her ex. This wasn’t her apartment, not anymore at least. She had left.

Then why didn’t the guilt that was now eating you alive leave with her?

That guilt, powerful as it was, wasn’t enough to keep you from fucking Oscar on every surface of that God-forsaken apartment. You both were insatiable, and soon enough, the sounds of your pleasure echoed through every room, every day. 

Her counter. Her kitchen table. Her couch. Her shower. Her bed. 

The entire place, though now devoid of her belongings, was still Lily’s. And you were defiling it.

But you couldn’t stop. The feeling of Oscar’s hands wrapped around you, his lips on yours, was like a drug. You had waited so fucking long to have him—in every place, in every way. So why did it make you feel like you were going to puke every time you thought about it for too long?

And the question that you and Oscar were still avoiding hung thick in the air. 

What are we doing? The unanswerable question still haunted you.

As good as his touch felt, you knew it was wrong. And eventually, you’d have to talk.

It seemed that you weren’t the only one with that question.

After another night tangled between the sheets with Oscar, he checked his phone. A call from his mother. Fuck.

He had been avoiding her for weeks now. He couldn’t do it any longer.

While you cleaned up in the shower, he finally gathered up the courage and called her back.

“Hi mum,” he greeted as she immediately answered.

“Well hello, son. It’s nice to finally hear from you,” Nicole replied, her voice tinged with annoyed sarcasm.

“I’m sorry. There’s just been a lot going on.”

“I know. I talked to YN a while ago.”

“Yeah, I told her she could tell you. She’s, um, been helping me out a lot lately.”

“That’s good. How is she doing?”

“Oh, great,” he said. It was true. Oscar was making sure you were well taken care of, to say the least. 

“Been spending a lot of time with her?” his mother asked, bringing his thoughts back down to earth. 

“Yeah, she’s been helping me a lot with the apartment. I’m probably gonna sell it, but all the paperwork is ridiculous. I don’t have the time of energy for any of it,” he sighed.

“That’s not what I was getting at, Oscar.” He could hear his mother’s frown through the phone. 

“What?”

“You seem to have her around quite a lot for a man who’s newly single, don’t you?”

“It’s not like that, mum.”

“Oscar, do not lie to me.”

He sighed. “God, mum, I am not with YN! I would never do that. She’s just a friend. Besides, I don’t think I ever want to date again.” 

From behind the closed door of the bathroom, you heard him. You stopped in your tracks.

Nicole refused to give it up. “I raised you better than this, Oscar.”

“Seriously, mum?”

“Under the assumption that you’re being entirely honest, which I know for a fact you’re not, you know damn well how that girl feels about you.”

“How are YN’s feelings my problem?” Your ear pressed to the bathroom door, you heard every word. You thought your legs were going to give out. 

“Son, I know you must be heartbroken. But don’t do that to her.”

“I’m not doing anything. And thanks for asking how I’m doing, mum. A scolding is actually the perfect thing I need after the love of my life just up and left me a month ago.”

“Don’t get that tone with me—”

“I’ve got to go.”

“Fine. Do you think you’ll be able to come home at all before the summer?”

“I don’t know, mum. I’ll call you later.” 

The two hung up the call, and you heard Oscar huff as he put his phone back on the nightstand. You didn’t want to come out of the bathroom. In fact, you didn’t even want to be in this apartment, or the principality of Monaco, or on the same planet as Oscar Piastri right now.

But where else would you go? Your own apartment, the one that he had purchased? Back to his family’s house in Australia?

Where else was home?

Once, you had hoped that home would be Oscar’s arms. All you wanted now was to be held by him. But there was never much tenderness from him after your lovemaking. He always just turned over to the other side of the bed and fell asleep.

And that’s what he did now, clearly grumbling to himself about the phone call, though you didn’t say anything about what you’d heard. 

You sighed, a noise of frustration rather than contention. Oscar just ignored you.

You grabbed your own phone off the nightstand, hoping to distract yourself in work or endless scrolling.

But while Oscar didn’t want to talk to you, it seemed someone else did. Your eyes glanced over the screen:

Accept message request from Lando_Norris?

[emptyjunior]

Can I say how much I love how Ouran High School handles the rich boy/poor girl in love trope. 

Like I absolutely believe it’s discussions about classism and elitism to this Day still hold up! 

I will admit there is so much weird stuff in ouran😭, but we see the Handsome ‘Unlimited Money’ Male Lead a LOT in anime and I feel ouran gets a lot of points of the characterisation SO right, that a lot of other shows just don’t! 

Ouran does the whole love story/harem/all the boys want brown hair girl that we project on, trope. Like they do that, but they show that at the foundation, the root of all of it, those rich boys are JEALOUS. They aren’t approaching Haruhi with the need to protect and own her, at their core the rich are envious of her! Even though they have everything, they want what she has! 

Like we see in the real world with how the rich cosplay as poor! And say "ohhhh I'm so broke please venmo me for lunch" and wear their ripped jeans and strained sweaters and take pictures at the met gala with a box of McDonalds fries in their hand. 

The classist comments made towards Haruhi ARE comedic relief, but the joke isn’t on characters like Haruhi, the joke is on THEM. 

They are the ones who can’t do anything! They are the ones who are stilted and emotionally closed off! They are the ones who can’t make an instant coffee or go to a mall without help! 

THAT is why Haruhi is the center of this harem, why she is the one they’re chasing. They are jealous of her insight and world experience from living independently, from living a REAL life. That is her enviable trait. Haruhi GETS people! And they don’t. Their wealth has isolated them and now there is a barrier between these characters and the rest of the world and they have no idea how to navigate it. 

And this is the foundation of 90% of the problems/conflict in the show! 

The holiday ep when Hikaru has feelings because Haruhi reconnects with Nice Guy Arai? Hikaru says he doesn’t like this guy for all these reasons and most of them are like ‘he’s just some nobody from nothing who only knows Haruhi cause they went to some stupid public school together’. Like okay? Haruhi has all of those ‘bad traits’ as well but you still seem to like her?  

Because it’s not about that, it’s never about that, it’s not even about the love rival/romance angle (at least not completely).  

Hikaru is scared and embarrassed! He already was when they got there, when these rich boys crashed Haruhi’s summer to find out she is an employee here and she is working with her own two hands. This is not a break for her! And then he’s so worried when Haruhi and Arai find each other because what they have is so untouchable to him. Same background, same class, they can meet each other’s needs! And know the other's needs! And this is a chasm that Hikaru has no idea how to cross so he starts lashing out. 

And that episode concludes with Hikaru being told about Haruhi’s fear of thunderstorms, finally actually listening and empathizing with what that means, and then going to her and giving her the stuff she needs to deal with that problem (blanket, headphones, support, protection etc.). 

He has to LEARN that none of those poor people inherently know all this secret knowledge! They just care and ask each other stuff! You can ask Haruhi what she's afraid of and then help her with that! It was always this simple! Just because you’re not the same class as her and knowing her isn’t as easy as it is with people the same as you, doesn’t mean you’ll never know! Learn! Listen! Keep trying! 

Ouran shows their rich characters being hurt by their wealth. Their elitists mindset does NOT benefit them and they’re only narratively rewarded when they break out of it, THAT’S why the arcs are so good. 

(And also while we’re here, I LOVE when they do eps that show Tamaki’s character is actually a parallel of Haruhi’s. Tamaki grew up as an illegitimate child, hidden away in France with his mother. He knows what it is to not be at the top of the food chain, and he learns the skills to keep living! Tamaki is a survivor in a world run by a man who was ashamed of him and did not want him. That can destroy a child, but Tamaki doesn’t let it. He learns how to work people and he learns that belief in yourself is the most powerful asset someone can have. And this is the life experience he imparts onto Kyoya and this SAVES Kyoya, who was barreling towards a black pit of despair and chasing his father’s shadow. The ‘poor’ characters of this show have power that the rich people desperately desire, and in the end they learn that it’s not something you take it’s something you build for yourself.) 

[teapetal44]

TW: ABUSE, CHILD ABUSE

“He wants to air this dirty laundry to the world does he…? Dabi, you fiend…you’ve been waiting for this moment…when they couldn’t prevent mass destruction…and faith in heroes is wavering.” - chapter 292

I truly, wholeheartedly, believe that MHA as a story upholds the myth of the perfect victim. I do not want to discuss if Horikoshi did that on purpose, or subconsciously because of inner bias – I find no meaning in doing so. For me the execution of an idea, in the grand scheme of the narrative, holds more value than the intention of the author. I’ve also had my fair share of people infantilizing Asian authors in the anime community for their poor writing decisions for one lifetime. It’s patronizing to both the author and the people reading it. Whether or not Horikoshi intended for his themes of abuse to paint the picture they did does not matter, because that’s how it reads as.

MHA puts victims of abuse in narrow boxes and softly dictates what’s an acceptable reaction to said abuse. Victims are continuously walking a tightrope between being deserving of compassion and sympathy and being unredeemable monsters who are too far gone and are only good for martyrdom after being put down.  

Eri fits the clean cut depiction of abuse victims that media usually gears towards. She is untouched by the cruelty around her - she preserves her innocence and kindness. She isn't assertive, but rather meek and passive. She doesn't fight back with force. And when offered help, she is receptive to it. That is not to say that Eri's depiction doesn't have a place in fiction, or that her portrayal can't be representative of the experiences of some - as we all deal with trauma and the inhumanity people throw at us differently. We see the same thing in the portrayal of Fuyumi, who shares many of the qualities discussed above. The same thing applies to her - i personally love the idea of all the siblings having different reaction to their childhood trauma and abuse. It shows that victims are not some type of monolith.

But the narrative treats the "forgiving" or "receptive to help/support" victims of abuse with more grace and with much more kindness. if you are willing to forgive, or the very least be quietly tolerant, the story grants you a happy ending. Forgiveness isn't a bad thing, it is an individual choice - but an abuse victim shouldn't have to do it for them to have a happy ending.

In a vacuum Eri and Fuyumi's character arcs and depictions of abuse are good but it becomes a problem when that's the only experience and type of victim we ever hold in high value or recognize as valid and deserving of compassion. Which the story reinforces.

Touya and Tenko's backstories aren't pretty nor comfortable or easy to sit through. Their responses to abuse aren't either. Reactive abuse is very much real.

[marvelandponder]

one amazing thing about the Owl House finale is that it finally contextualized for me one of the central metaphors of the show. Spoilers for the series finale Watching and Dreaming ahead.

we good? no one spoiling themselves? beauty

for a long time now, I thought we had a pretty standard coming-of-age metaphor dichotomized by the show's central antagonists. you've got your protestant witch hunter Belos who introduces a maturity and ugliness to Luz's narrative; he clearly represents a particular, restricting form of adulthood, and just when Belos becomes his most threatening, boom, enter the Collector, Luz's dangerously naïve inner child to ruin all her development on the Boiling Isles. Seems simple enough

what I didn't anticipate was just how specific and personal their roles in the story actually are to Luz once you have the full context from the series finale

look again

this story - this whole series - is about the grief that a neurodivergent kid experienced at a young age, introducing the cruelty of loss and adulthood before she was ready to handle it. and, how to reclaim a more whole understanding of herself as she rebuilds her life with people who get her

Belos is designed to infect the titan carcass like a disease. a cancer. it's super goddamn significant that the titan is King's dad (King, who became Luz's younger brother). they set up Belos not just to be another fascist kids' cartoon villain (although yeah, he do be doing some of that), but to specifically become a force that oppressed the weirdness from the one place that understood Luz. the Iles. the dad. And by the end of the story, Belos's goopy body-horror isn't just for show, he's just like the cancer or other terminal disease that took Luz's dad from her

he's the thing Luz hasn't processed in season 1 that comes in at the end like a warning. he's the threat that forces Luz to grapple with her own humanity, feeling somehow (often completely unjustifiably) harmful to those around her, through the grief she doesn't want to be a burden or the weirdness (neurodivergence) others don't understand. he's the force that says there is something wrong with you, Luz, give in to your grief, this is what you can't face. this is the lie you've been telling to those closest to you: that you're okay

then you have the Collector. (notable that he's a collector, and we see Luz's mom and dad had quite the collection of nerdy memorabilia)

the Collector is the child too young to understand death. Too young to understand consequences, or why their playmates don't feel like playing anymore with someone so weird and maybe a bit too involved in their own world. The Collector is Luz's inner child, that kid we see right before the "worst week ever" — the one who didn't and couldn't understand what was about to happen even as it was going down. unapologetically weird, a bit destructive and short-sighted, but wholly colourful, wholly themselves. that's why the Collector wants to live out Luz's adventures, but without all the depth. just the fun escapist fantasy

but don't think I forgot the internal conflict! :D

because Camila's role also gets an added depth too: Camila was framed at the outset of the series as someone who loved Luz, but wanted her to fit inside a box that she just didn't. later, Luz completely misconstrued her mom's breakdown when she learned that Luz chose to run away. as many people have pointed out by now, Luz misremembers the actual dialogue that Camila says: Camila only wanted her daughter safe, not to lose her. Luz meanwhile felt like she had to choose to destroy this part of herself, or give up her connection with her mom altogether

but we know now Camila actually deeply relates to Luz. she may not understand Luz's fascination with horrific things like on the boiling isles (very akin to a kid getting more grim hobbies in the wake of a death, like Luz's taxidermy), but she loves Luz for who she is. all of her. she never wanted Luz to change

Luz was the one framing the central conflict of the show as go back to her mom or stay in the boiling isles. Luz was the one who felt like she had to punish herself by rejecting the one place where she felt like herself. once Camila realizes what's been going on, and how deeply connected it is to the loss of Luz's dad, she knows Luz is trying to make a "very bad choice for herself." And she won't let that happen (what a great mom!!)

But Luz does have one real choice ahead of her

because of the inner child who once again has to confront death (this time, Luz's own), Luz is able to connect with a father figure, the titan, the one place she feels understood. in the form of a power-up that makes her into a fantasy witch straight out of the Good Witch Azura, the one place she got joy after that huge loss, the titan gives her the strength to face the cancer—a force draining everything good in her life from her and making her question she deserves it in the first place—but only if she can choose herself

and that means choosing happiness, choosing found family, choosing love and friendship and self-discovery in the place she feels most at home! every bond she's forged, everything she's worked for, it all comes down to choosing to face grief and move on in life with weirdos who stick together.

hoot hoot, that's some good metaphor

[saphig-iawn]

A Maid Doll's "Day Off"

My special doll took a very big leap with me today. It wanted to have its first narrative hypnosis session.

It had blossomed under my care, changing its boundaries when it felt comfortable, really enjoying the safe space I had built for it to explore hypnosis and dollhood.

It came to and explicity stated it wanted something full bodied and powerful. It had waited so patiently for me to come off my break and it was ready to be woven into a story that changed every part of it.

After discussing ideas, it loved the idea of being completely reduced to nothing but a toy to be used however I see fit.

I was so proud of it for wanting to give so much of it to me to look after, to reshape and rewire. So we discussed a little more, focus on some fine details and we began.

It wanted to try gentle fractionation with me, and I firmly believe that that is one of the best ways to go down for a long session of sensual storytelling.

It had been such a good maid doll for me while I was away so it was only fitting that our story was about giving it a day off, a day off in the way that only Miss Saphi could provide.

After taking it on a gentle walk through gentle fractionation, nestling it in my lap and weaving a ribbon around it, we began our tale.

It found itself in the rustic kitchen of my beautiful house, the kitchen that lead into the conservatory where I loved to paint the pretty things that stayed in my home.

There was a pile of dishes in the basin, but it didn't mind. It liked serving the house and serving me. It loved how its uniform and dress helped it sink into servitude even more.

It could hear other dolls in the house, tottering about their business. Some were maids like it, others were playing with other dolls, some were just toys, mindless going about their day under whatever spell I wove into them.

Then its vision turns dark.

It freezes in place, like a good doll does.

Its shoulders ease and melt as my voices curls into its ear and mind.

"You've been such a good maid doll darling, you work so hard and every doll in here appreciates all you do. But we all think its time you had a break."

It felt itself being lifted up, as more arms entered its sensory periphery. What the maid doll didn't see as it was carried out of the kitchen was another doll taking up its old station at the sink.

The rustic warm light of the kitchen gave way to cascading natural sunlight that spilled through the skylights of the tall main hallway. It had walked this hallway a lot, dusting the ornamentations and finery. This was the first time it was carried through. It could hear all kinds of play in the connecting playrooms. Out of sight were rubber dolls cavorting in shiny bliss, pliable blank dolls stood in bright pink display boxes, drones undergoing maintenance.

When it could finally see, it found itself in a playroom. A beautiful high ceilinged space, with two couches in the centre of the room. A low table sat between them, rings attached to its corners. The maid doll's mind raced with the idea of being put on display as a centrepiece and strapped down so it couldn't move.

I had a different plan for this doll.

I entered the room, and stood in front of the maid doll.

I began to undress it.

Every button unbottened, every lace unlaced, every fastener undone, heightened its arousal. A breath caught in each moment.

Soon its uniform was pooled at the floor, but a swift clap from my hands prompted two dolls to enter the room, gather the uniform, and neatly fold it and place it on one of the couches.

Then we all began to caress its tired doll body.

The dolls pay attention to its arms and legs, running nails up and down its skin, drawing lines of erotic sensation. I paid my attention to the rest of the doll. Its moans were so delicious, I could sense just how much it had worked and toiled. How much tension it held in its joints. Sometimes it liked that, that it was doing good work and there signs of its diligence on its skin. But sometimes it can lead to overwork, to putting aside the rest. Sometimes such a diligent doll needs to made to have a break.

A click rang out through the room.

The doll gasped as it felt the dolls starting to push on its hands and feet.

A slick surface began to press against its behind, its hands and feet. Then it moved... through? Like it was sinking into water and the surface tension was shaping to its body.

It looked at its hands to see that the dolls had pressed them into shining black latex. It had begun to envelop and suspend them, like a standing vacuum bed.

It turned back to say something to me, but it was met by hand on its cheek, and with a single smoothe across it's lips, its lips had been reduced to flat shining latex.

It moaned in pleasure, the burden of speaking so swiftly and lovingly lifted left room within its mind for more pleasure. It pulled at its rubber bonds, but the elasticity sprung its arms back out wide.

I took great pleasure in watching it writhe and buck in its new rubber prison. I placed my hand on its doll parts and began to rub and stroke. I couldn't help but bite my lip at the stifled moans it was making.

It could feel the rubber beginning to spread, slinking its way up its body. When I felt it reach its doll parts, I decided to make a little fantasy of the doll's come true. I buried my fingers deep into its folds and stroked and stroked, stretching it out into a perfect fuck hole. I then began working at its clit, caressing it, coaxing it out. As it began to swell, I changed my hand's motion from caressing to stroking, enlarging it, engorging it into a sensitive rubber shaft.

Its eyes widened as new sensations spread like wildfire across its body, and when a doll shows such powerful emotion I can't help but capture it. I press my hands into its face and spread the rubber further, turning its head into a sweet rubber facsimile.

The other dolls began to work too, spreading the rubber further still.

Soon the maid doll was now just a rubber toy, sealed to a vacbed.

It shuddered as I snapped my fingers again.

It quivered and trembled as the dolls now began to tease and play with its rubber body. Kissing, biting, teasing, pinching, stroking, rubbing.

An avalanche of arousal crashed into the rubber toy's mind.

But we were not done.

The final touch was to completely smooth out its face. A vague humanoid shape. A hint at what used to be there.

Its moans were so changed now, they almost felt like simple vibrations through its rubber facade.

It was so lost in pleasure, every hole and part being used and used and used. It had no idea how much time had passed, how many people and dolls were using it. All of those hazy thoughts parted when it felt something it had been longing for.

My length entering its hole. I pushed deep until my stomach was pushing its rubber cock flat to its tummy. Every rut, every thrust filled its hole and rubbed its cock.

Even though entirely rubber, it could feel a climax beginning to build. Every single atom of itself was growing in pleasure, united in the rubber that bound it together. Every part of it was feeling the climax approach and there was no stopping it. It was just a toy after all now, it had no say on whether or not it was going to cum or how many times. They were just byproducts of being such a good toy for all the dolls and for me.

(This writing is about a real hypnosis session with real hypnosis and real people. If you would like to see more writing like this, then please support me over at https://ko-fi.com/saphig, where you can also commission 1-on-1 hypnosis sessions and have your own piece of writing just like this!)

[nerdykorgi]

good evenin wittefandom, still alive i hope lol?

anyways here some food for you guys. (Refs of Caleb and Evelyn, i still have to fix Philips o<-<)

Completely free to use but was basically based on as accurate as i could... basically assume. I took some creative liberties as well ut you know, like how I gave Eve heterochromia because there is actually a good chance her eyes arnt golden like eda's (take lillith's or Gwendolyn's for say) We dont even know if her hair is actually red or not it could be brown but that disturbs me for some reason lol ive just imagined her with red hair for sooo long

But heres some headcanon ones for fun!!

Creature Feature Core. Had fun just messing around with ideas. I redesigned dove logo on the rebus box and made into like a family crest.

Other things to note:

I hc that she is an avid "beastkeeper" esque witch and wanted to study the mysterious fauna of the fabled human realm, so she created her own portal to it.

I dont know who came up with this idea but I liked the idea of her being half demon or demon-like.

I think shes really good at illusion magic, in S2E1 Masha talks of how she gave Caleb "visions" of a starge world, so perhaps she teased him with illusions of the isles before actually taking him there. I also think Illusions combined with beastkeeping could equal shapeshifting?? idk maybe im reaching but I LOVE shapeshifter characters so maybe im biased...

The feathers in her skirt are cardinal, bluejay, and goldfinch hehe... and the one in her hair is a barn owl feather and its supposed to represent Caleb <3

Lastly I forgot to change this but I like how each witch almost has a certain color for their magic, even if its not for a specific type. I like to think hers would be a magenta-red color, like the fire magic she was using in one of the Hollow Mind portraits.

EVERYDAY THIS BITCH GOES FURTHER AND FURTHER DOWN THE HEADCANNON TO OC PIPELINE!!

Mr. Haunting The Narrative himself :D

Stupid idiot, I love him lol. I also played alot with the CSP brushes lol.

Anyways, the jewlery he has, like the cross and the rings were both from his parents that he kept and no i was not aware that puritans actually DO NOT like using the cross so lets just say he kept it hidden.

He is missing his left ring finger because he had a lot of oopsies while carving in the beginning, hes gotten really good at it though.

He is tired as hell but keeps on trucking on lol

I also rolled down his sleeves because what if he had those cool ruffle sleeves. (yes i know they were poor, shush its cool :,) )

Lastly, the feather in his hair is red-tailed hawk feather and it reminds him of his witch wife.

STY FOR YAPPING HERES A FLAPJACK AS AN APOLOGY

Yapping on last time- I wanted to give him a more creative design. I mean some cardinals ARE yellow after all... I like how Flap's crest is stuck perked throughout the show so techinically he's just chronically pissed off because correct me if im wrong they mostly have their crest up to either show off to mates or be agrresive little shits. Anyways, he is their son, you cant tell me otherwise.

[dragonmuse]

Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal

(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)

“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death

…..and then he never opens it. Chekov’s locked box has no key in season two.

On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.

So naturally season two should follow suit. It’s a kind show! About healing and falling in love!

For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.

Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.

That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.

So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.

Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.

Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.

The playful theme of ��pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.

And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.

Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.

Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?

He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.

But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!

Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.

Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.

There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.

We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.

Just…you know. Play pretend. Forget.

Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.

Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.

And what of the flirtatious promise of relationships and connections being the way to heal? Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.

Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.

To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!

The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.

And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don’t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?

(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)

Let’s talk about Izzy Hands.

Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.

And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.

He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).

Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).

And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.

In a rom com.

This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.

Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).

The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.

That is not a kind show.

Season two is not a kind season.

It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.

I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.

No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.

Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.

Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!

Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.

Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.

[wavesoutbeingtossed]

Ugh just thinking again about TTPD (my beloved) and how it’s such a tight story woven throughout the album, which is especially impressive given how the individual songs jump between allegory/metaphor/diaristic scenarios. None of the songs are fictional, but some of them do have a veneer of narrative devices to tell the story in unique ways.

The suburban gothic fantasy (nightmare?) in Fortnight. The alien abduction allegory in Down Bad. The toy box metaphor in My Boy Only Breaks His Favourite Toys. The small town Bible Belt shunning in But Daddy I Love Him. The western cowboy/rebel theme in I Can Fix Him. The escapist (dystopian?) fantasy of running from the law in Florida!!! The witch hunt in Who’s Afraid of Little Old Me.

Yet they’re all vital pieces of the story. Fortnight sets up the fear of her imagined future if she stayed the course she was on and the need for the escape from it. My Boy is about how she was broken by someone who was supposed to love her. Down Bad is how the whirlwind relationship left her unmoored and searching for answers and reeling with the feeling of betrayal (and other things). But Daddy is her choosing to do whatever the fuck she wants and lashing out at those who think they know her. Florida is her begging for respite from the pain at the first available opportunity. Who’s Afraid is her excoriating the people and constructs that led to her feeling trapped in the first place. I Can Fix Him is her committing to the fantasy in spite of her gut telling her this isn’t good.

The entire album is vulnerable and raw and confessional, but it’s so cool to see how there are shades of the narrative storytelling of folklore and evermore there, applied even more deliberately to her experiences. Someone said the other day that folklore and evermore felt like her finding a way to write around what she was experiencing in her real life, and to me it’s like TTPD is her taking those same principles and instead writing right through it. I don’t know, it’s so, so cool, and one of the many reasons I love TTPD so much.

[rationalnerd62]

Seeing some of the tags I got on the CR timeline post, I think I loved C3 for the exact same reasons some folks disliked it or struggled with it.

I liked the overarching arc. Don't get me wrong, mini-arcs like with VM and M9 are perfectly fine, but there's something narratively satisfying to me about BH following this consistent thread all along the campaign. This group started with a few questions (Who attacked Keyleth? Why? What is the meaning of those dreams? Where are Fearne's parents?) and uncovered a whole conspiracy that then revealed itself to the entire world. It reminds me of reading those Fantasy series where the characters hear about the upcoming battle in book 1 and finally get to it in book 14. I can't wait to rewatch and see the foreshadowing and hints that brought this group to this point.

I liked the constant discussions about the Gods. Listen, as a gay person raised in a Catholic family, boy I've had my dealings and issues with religion. But I find it nice to be able to put our own world aside and watch this fantasy world ask questions that would be very controversial in ours. What we know of the Gods of Exandria has fundamentally changed from the first episode of C3 to the last. We went through both ExU Calamity and Downfall during that time. Those Gods have changed from being so removed and above mortals, mystical entities incomprehensible to anyone who dared trying, to beings with a past before Exandria, a family they're willing to protect at all costs no matter how hurtful their siblings are to the mortals, aliens with flaws and faults and failings, full of nuances and grayness in a world that put half of them in a box of "Good" and the other half in a box of "Evil". And as those Gods have been humanised in front of our eyes, it brought the question of whether their power over mortals is still justified and relevant. And now Exandria is about to change, and I find it exciting. IMO, it gives even more of a reason to keep exploring Exandria in the future of Critical Role than if the status quo was maintained. It's hard to do something new in a world that doesn't evolve with the story.

And while I understand people would have loved more time with Bell's Hells (I would have loved that too!), I also kinda loved how rushed and short in time they've been feeling since they've heard of the solstice. They've had a ticking clock ringing in their ears for a while now. People make different decisions when they don't think they have the time to get some sleep on it. Would have Ashton tried to absorb the shard if the group didn't have to leave for Ruidus the exact next day? Would have Orym taken a sword that maybe shouldn't be his if they didn't have to leave for Aeor the next day? Would have Imogen absorbed Predathos if watching Downfall hadn't made them realise that the Gods will break the Divine Gate to keep the secret of Predathos hidden?

IMO, we still got plenty of very interesting character moments despite the limited amount of time those characters spent together. They've been through some shit together, and the friendships they made through the shared trauma will stick with them for years. Because yes, they are friends (except for Braius, that one is on a tightrope lol). But they've proven over and over again what they're willing to do for their tight crew of broken people.

Boy I am so very fond of them. Saying goodbye will be hard 🥹.

[heartofbusan]

Best laid plans of stomach bugs and men.

The chemistry is the point.

Some people underestimate the effort and toll it takes on ones body and schedule to fly 14 hours to visit another person. 14 hours to spend 72 hours together means commitment. It means bro's before ho's and I am frankly HERE FOR IT.

The discourse I am seeing is extremely telling of how fickle people are about their support for jikook. People watch too much scripted reality tv 🙄 bcs they really expected this relationship, this reunion if you will, to play out in multiple angle close ups and medium shots and several wide angle shots with dramatic zooms and heavily directed post-moment recaps with dramatic silences or eye rolls to play up the drama? The lack of moments, the MUNDANITY if you will IS THE POINT. They are so real to me, so life like, so domestic goals!

Being quiet with each other. No uncomfortable silences, but comfortable togetherness.

That's what leads to horny bed fighting, which in my eyes could lead to more if not for the cameras 👀 just me?

When they said unscripted, this is what they meant. When they said unplanned, this is what they referred to. Not directed, not scripted, not fanservice 🙄 to fit a planned narrative. This is how their relationship plays out. I'd go so far as to call it a documentary instead of a reality series. While documentaries have tons of genres within itself, this genre is one where there's a broad range of planned activities, but where the narrative is constructed in post production: editing. Id know, since im an editor. This tells me that they counted on the natural chemistry between 'JeonJi' (SO CUTE) to 'lead the way' instead of a multitude of directed interactions that they (the producers) would have needed to tick a dramatic narrative box.

So what does that lead to? In my professional opinion as a director/editor the first two episodes lacked a dramatic arc. There was little directing going on to force one

the chemistry is the point

The flirting, the lulls in conversation, them being together, seeing them have fun, and reconnecting is the point. Instead of what they're doing or what they're talking about. The episodes, therefore, are kinda boring in the sense of entertainment, but wildly exiting in the sense of what we get to see play out. And it's incredibly nuanced. And nuance often flies over people's heads..again, the crowd that expects to be held by the hand when it comes to drama: reality tv.

It's a huge risk to take as a production. Let's not underestimate that! 'Are You Sure' was so unscripted that they didn’t even have a title until halfway into the second or third day. Again: they were banking on JeonJi to build upon their chaos to lead to a narrative and a title, etc. That is so telling to me. That them being together is the raison d'etre of this show. Jimin 'sacrificing' his time to fly to the US, Jeonkook making space in his busy schedule time to spend time unwinding, JeonJi making good on their need to finally spend time together after the booked and busy year they've had.

Jimin enjoying the hell out of Jungkook having fun.

Because that is who Jimin has always been: his adventurous spirit takes him places because he loves exploring and being in tue moment. He'll willingly travel to have those moments. Jungkook on the other hand doesn’t. He dislikes leaving the comfort of his surroundings because he doesn’t see the pot of gold that being adventurous brings him while he's comfortable in his home. I relate 😩 so much. Just planning trips alone makes me enter a comatose state, so I'd rather not go than sacrifice my rest to plan an adventure. I don't even know I'll get anything out of. That is, until Im actually on that planned trip and having the time of my life! They've always been like that. Jimin had to be the incentive to get Jungkook out on that trip. Take.him.by the hand if you will 😭😭

And then there's the stomach bug. YOU DAMMNED CURSED THING. It threw a HUGE wrench into their plans, and if anyone doesn’t take that into consideration, then you haven't had a stomachbug EVER while still having to face up to your commitments. Park Jimin will NEVER back down from his commitments, his promises *pinky promises* are sacred to him, and this bug took away the catalyst of this duo. Jungkook suddenly had to be the extrovert of the two, and boy, does he struggle in that role. He was to me his usuall baby elf self. So adorable and cute with his nose focused on food and Jimin’s care. But my man loves to rely on Jimin to lead the way in shenanigans and to make any moment entertaining, and you could just tell Jimin wasn't in his feels enough to overcome his lack of energy. Poor baby. Really, he's the best of us because I would have straight up refused to be filmed in that moment. A whole night of diarrhea and still showing up to film the next day?! NO MA'M NOT ME.

If you've read up to this point, I commend you. It was just supposed to be a short rant, but it became an entire essay because I can not with the overly reactionary nature some people show. Drawing entire conclusions based on two hour long episodes. I know, I might be contradicting myself here but extenuating circumstances and all. Jimin wasn’t on his game, and Jungkook was also recovering. When a show is banking on the chemistry between two people to shoulder the brunt of this show and said people are extremely sick, well then what can I tell you?

We need to sit back and enjoy the fact that we are getting such access to them, so unfiltered. Jikook enjoying each other, come rain or shine, in sickness and in health, whatever the mood brings, because that to me is more valuable than DRAMA or NARRATIVE. We'll probably get a bit more of that once they're going to Jeju, and they're both hopefully healthy. We're even getting a new element for them to play off of: Tete shows up! Like a jack in the box, and Jungkook seems to not be having it, lmao...see..unscripted and natural. I love that for them!

Idols are people first, and we need to celebrate that, not demand more.

[indigosfindings]

replaying super paper mario, sporadic thoughts post-chapter 2:

very easy so far--& although ttyd was also easy, spm's gameplay is sadly substantially less rich thab ttyd's was

having said that the game design in spm is! unrelentingly charming!! the use of platforming as a framework for a varied stream of stage styles (straightforward levels, dungeons, towns, the entire 2-3 Situation) is creative in a way that imo predicts the sort of things the mario maker community later ended up making. chapter 2's set pieces in particular are extremely quirky (the rooms with traps, the rubee thing, the mazelike basement, the merlee game show lmao)

few platformers have boss fights that feel like genuine Combat, so that's pretty cool

i will confess that as a First Dungeon, yold ruins doesnt have half the sauce of hooktail castle--it's much more linear in layout, with far less of that zelda-y "explore & comprehend the space" principle that made ttyd's dungeons hit

in a similar vein, it's kind of crazy how tippi has like a fraction of the personality that goombella had. it's a bit sad for the character doing the vast majority of the talking to just.... not really have any opinions on anything

the momentum of the chapters likewise means very few npcs ever get to stick out. like, even the "first town crotchety old mayor" character was a total one-and-done, one dialogue and you never have a reason to speak to him again (mostly just speaks to the game structure, which is as mentioned a bold enough exercise that i feel i cant really fault it for that)

bringing up a menu to use items In A Platforming Context is not at all natural to me, so im finding myself just not really using them

this game is a masterclass in visual design imo. the npcs & enemies & pixls being made of primitives that reconfigure themselves into different shapes really elevates the interplay of 2d & 3d, the backgrounds/environments are extremely aesthetically satisfying (the Mathmosphere in lineland, the optical illusion in the sky in gloam valley, all of castle bleck), & i love how the constant "digital/tech" motif (eg the "dragging selection boxes to flip/teleport", the trees & shrubs looking like something youd make in ms paint, etc) is an ingenious progression of paper mario's core aesthetic design

dimentio is so fun

i ADOOOORE nastasia

the inter-chapter dialogue flashbacks are surprisingly earnest? for such a tongue-in-cheek game where almost every line of dialogue contains a joke of some kind, those exchanges feel humourless & sincere. that probably contributes to the Space the game occupies in all of our memories lol

likewise it was really interesting how peach's "escape" sequence after chapter 1 was (while, again, still extremely sardonic) aesthetically & narratively framed with such a sense of Hopelessness. that's not to say like "woahh this mario game is 10x darker than you thought!!!!", more that it's just not a space the series commonly ventures into

the Ancients stuff is being leaned into extremely hard lol. ttyd mostly teases at that kind of "mysterious rpg lore" thing peripherally (the riddle tower inscriptions, grifty, etc) so it's interesting how spm puts it front & centre in contrast, without ever sacrificing the sense of mystique

this game really highlights how interesting the wiimote is as a controller--pressing the A button while holding it sideways (ie removing your left thumb from the direction input to press a button) is something that i cant think of any other controller doing, & it projects onto that button a really interesting sense of, like, Valence

it's the kind of game that seems to beg for one of thsoe posts like "things that ACTUALLY HAPPEN in _____"

[genderqueerdykes]

Is it wrong for me to be tired of being constantly demonized and treated like shit by other trans people for being a trans man? Is it wrong of me to want non-transmasc people to care about us the way we’re constantly expected to care about them even tho they never do the same? Is it wrong that I’m tired of being expected to put up with my mistreatment and oppression because simply talking about it causes people to start accusing me of “talking over transfems”? Is it wrong that I’m starting to resent the rest of the queer community because of how horrible everyone is being?

no, i'm tired of it, too, it's perfectly reasonable, especially right now

people are so obsessed with creating people to hate as well as shoving people back into boxes to either love or hate. transmasculine conversations exist alongside of transfeminine conversations, i've never understood how being a trans man could ever somehow erase anything transfeminine at all. some people want to control the narrative, not participate in queer bonding and solidarity. it makes no sense

some people end up leaving queer communities and spaces altogether. i left the online queer community for almost 10 years because of how much discourse was painful and made no sense. i'm not going anywhere, but i can totally get why you may want to take a break or leave. if people are purposefully treating you like shit, it's hard to want to stay. good luck, if you need any help let us know

[miraculouslbcnreactions]

I haven't seen the London special—and I don't want to—but I've read the plot and something just occurred to me.

Why did Bunnyx need Ladybug's help? Why couldn't Bunnyx have figured things out and fixed the timeline herself? I know only the 14-year-old Bunnyx was left, but that gives her ample time to do SOMETHING.

According to Marinette, she believes that the Rabbit Miraculous is actually the most powerful of all the miraculouses. That means a whole lot of responsibility, which she gave to Alix when she let her keep the Rabbit Miraculous PERMANENTLY.

So, why didn't Alix just fix the timelines herself? She was the Present Alix, which means nothing has happened to her at the moment. She could've brainstormed her way into figuring out what happened, who it is, and stopped them herself.

I don't know. Maybe it's just me, but I feel like if you give someone a miraculous that YOU YOURSELF BELIEVE IS THE MOST POWERFUL MIRACULOUS, YOU'D GIVE IT TO SOMEONE WHO CAN ACTUALLY WORK BY THEMSELVES???

And it's not like I'm saying Alix can't ask for help, but it just feels like her first thought was: "I gotta get Ladybug!" And not "Oh my God, the timelines are changing, I have to figure out who it is!"

If Alix is going to run to Ladybug every time the timeline changes, why give her the responsibility of making sure nothing happens to the timeline in the first place??? If it's going to be like that, Ladybug might as well have just kept the Rabbit Miraculous herself, since it seems like she'll be the one shouldering the job anyway.

The show's obsession with making Marinette do everything herself has created massive flaws in the narrative and makes a ton of characters look bad - or at least poorly suited to their hero role - because they generally default to only doing what Marinette tells them to do. The show will even go out of its way to punish characters when they take initiative. If your name isn't Marinette, then initiative is always, always punished. And if your name is Marinette? Then it depends on the writers' mercurial whims and not anything even remotely resembling logic.

Alya suffers the the initiative = bad curse all the time like in Optigami where she decides to take the turtle to the day's fight even though she was only told to take the fox and the bee:

Rena Rouge: Mirage! (an illusion of Ladybug is created) And voila! A cool little Ladybug illusion to keep Style Queen busy while I'll… (Rena Rouge looks at the Turtle Miraculous container on the Miracle Box and takes the Miraculous) Longg: Did the guardian ask you to do that? Rena Rouge: Just a precaution.

This should have been Alya's moment to shine. A moment where she took initiative and it paid off, showing Marinette that she could trust others to make their own calls. Instead, this choice is painted as Alya being blinded by her love for Nino and leads to Shadow Moth almost getting the turtle because he just so happened to make a perfect clone of Nino and Alya unknowingly gave the clone the turtle. (Why does this show love evil twins so much? This is basically a the same plot as the season four final. Get a new gimmick! This one is just dumb.)

Even more annoyingly, the one who unmasks sentiNino isn't his girlfriend, it's Ladybug even though the thing that exposes sentiNino is something unique to Nino and Alya:

Ladybug: I guess it was only here to help repair everything. (looks confused when she sees her compact mirror) (Sentinino gives Alya a simple hi-five) (Ladybug remembers Alya and Nino's special hi-five in a flashback) Ladybug: (looks at both of them with curious look) We're gonna have to be a lot more careful now. Shadow Moth knows the identities of some of the people I have given a miraculous and apparently he's decided to use this information. (looks at Sentinino) Isn't that right, Shadow Moth? (Alya becomes shocked, and Sentinino panicks as he got exposed) Ladybug: I'm sorry Alya, you better move away from him. This isn't Nino, it's a Sentimonster. Alya: Huh? (gasps)

It's Alya and Nino's special handshake!!! Alya should be the one to figure it out, not Ladybug!!! Writers, stop this! Let Marinette have competent allies! She's not suddenly less cool if other people are useful! Also, stop making love a bad thing! Alya and Marinette both suffer every time they're open with their love interest and I hate it. Whatever happened to romantic love being a good thing?

Anyway, all of the Optigami nonsense leads to an ending that makes zero sense:

Alya: Shadow Moth almost unmasked you because of me. I should have never taken the Turtle Miraculous. Marinette: It's true, you did make a mistake, and that's why I'm gonna have to make a difficult decision. The most important thing is to learn from our mistakes. And today, I learned that I need an ally who can replace me in case something happens to me one day. (hands Alya the Fox Miraculous) From now on, you will keep the Miraculous of the Fox with you, and I'm gonna tell you everything I know.

This ending does not fit the episode in the slightest. Why does Alya's failure make her promotion material? How was the turtle even a failure when it would have been fine if that was really Nino? How was anyone supposed to tell that wasn't Nino when the peacock is so stupidly overpowered? It's so dumb!

This episode should have been Alya earning her promotion by being awesome, taking initiative, and noticing things Marinette didn't. What is the point of having a reporter who never notices things? Why does Marinette decide to give Alya secret knowledge and a full-time miraculous in an episode that was all about Shadow Moth almost winning because he knows the temp heroes' identities? Why does nothing about this show make sense? Writers, what are you doing???

The saddest thing about this Marinette-first approach is that it's not even making Marinette look good. This goes beyond the asinine "Marinette must always be wrong" rule. The problem here is that the narrative has made many of the secondary characters feel incredibly important. As a result, the audience naturally expects those characters to have important roles. When those character are then denied the roles that they should have, the audience gets angry and the anger usually gets directed at Marinette. For many viewers, it feels like she's hogging the spotlight and denying herself help even thought those things are poorly thought-out choices made by the writers and not intentional flaws that are meant to be part of Marinette's character.

I know one person whose favorite character is Alix, Alya is one of mine, and a huge portion of the fandom loves Adrien. All characters who should have been allowed to shine, but who got shoved to the side in favor of Marinette. The casual watcher is not going to blame the writing for that. They're going to get mad at Marinette because she's basically the avatar of the bad writing, forced to do the most asinine things so that she maintains the spotlight even if it's slowly killing her character while making every other character look pathetic and/or ineffectual.

[madelynraemunson]

CASUAL part 2

see part one here.

modern!incel!asshole! eddie x fem!reader

It’s 7 in the morning. Eddie is seen doom-pacing in the halls of Hawkins High.

a/n: i promised y’all part 2 so here ya go. let’s make him pay. 💋 also shout out to @love-anonymous-writer for bringing this universe to life. a little angst here and there is good for the soul <3

who got the last laugh?

[WC: 1.1k words]

“Please respond…please respond…please respond…”

The soles of Eddie’s shoes slam against the tiles of Hawkins High as he rushes to your locker. Meanwhile his entire soul has left his body.

You didn’t answer any of his phone calls. All the texts he sent you were left on read. Having been so accustomed to your instant replies, Eddie essentially catapulted himself into a full-blown panic last night when he saw the ominous text you sent him...and the nothingness from you that followed soon after.

The crickets of Forrest Hills that taunted his eardrums later that night served as a vengeful metaphor of the brick wall you built between you and him. The girl who once gave him everything has now started giving him nothing. You’re nowhere, but everywhere. It’s like you’ve become a ghost.

When he sees you, color drains from Eddie’s guilty face. You look so beautiful today, hair curled down to the small of your back, a nice simple dress and some slippers, with makeup ever so gracefully applied. A class act, even when plagued with the utmost disrespect.

“Hi," he says to you as he approaches.

“Hi.”

As far as Munson knows, he no longer exists to you. He's a shadow now, a carapace of a boy you used to love 'cuz now — after hearing what you heard in his trailer — you know he's not the same boy that made you feel all the butterflies. That boy is long gone. You even start to wonder if that version of Eddie even existed.

“C-can we talk, please?” he requests.

“What’s to talk about?” you challenge him, stoically. “Don’t wanna annoy you with my rambling.”

“You never annoy me…” he attempts as you mindlessly comb through your locker for your homeroom notebook.

“Mm.”

You were casual about it. Too casual about it.

“You… uh…” he clears his throat. “You made me cookies yesterday?”

“Yeah,” you shrug. “I was at your door for quite a while so you must’ve been busy. Cookies were taken care of though.”

“I see…” Eddie mutters as the pieces all start coming together.

He thinks about how he always leaves his windows cracked open. His uncle would whoop his ass if he hot-boxed the trailer again, so it became a habit. But the trailer park is small, and on certain afternoon, if someone from a nearby unit had dropped a pin, Eddie would hear it. Suddenly, fear arises in him.

Surely, you didn't hear everything he and The Boys™️ said. He had his headphones on and he couldn't have possibly been that loud, could he? Unless technology failed him again.

The warning bell sounds throughout the halls and you excuse yourself from the narrative. Eddie tags after you like a lost puppy, nearly tripping on his shoelaces along the way.

"W-wait!"

The first class of the morning is homeroom. A class you unfortunately shared with Eddie, Grant, and Harmony.

You didn't want to see any of their faces. Eddie's face would serve as a reminder of how fake and construed the fucker is. Grant's would remind you of how insignificant you were to the guys (despite how welcomed they made you feel at the start). And Harmony. Harmony's beautiful face — with a body far too developed for a girl in her grade to match — would only remind you of the fact that the girl didn't inherently do anything to you... other than be beautiful and get caught in the crossfire of horny, greasy teenage boys.

It’s a fucking mess.

You swallow hard and keep your chin up regardless. Because what other choice do you have? You either feign your confidence or let irrelevant boys crush it.

You continue strutting over to your seat as Eddie trails behind at a measurable distance. Along the way, you inevitably run into the Junior Queen of Hawkins High herself, Harmony Heathers.

Harmony issues you a sweet smile. You smile back at her in return. And you didn't even need to turn your back to know that Eddie most likely did a double-take when sliding past her.

The late bell rings, indicating the start of class.

“Okay,” your homeroom teacher Mrs. Helleck exhales as she clasps her hands together. “Good morning everybody. For Red Ribbon Week this week, we’re gonna be doing a group project. Worth 20-percent of your grade.”

The class erupts in agonistic groans while Mrs. Helleck attempts to calm them down. You feel Eddie’s gaze burn into you, indicative to the fact that he was looking forward to using you again like he always seems to do. This time around it would be for a grade instead of a two-pump fuck. But you had something else in mind.

“You will be doing a presentation,” Helleck continues. “With a partner of your choice. Your job is to create a slogan along with a list of reasons why you should stay away from drugs.”

“Drugs Instead of Hugs,” Grant mutters to Eddie.

The general vicinity collectively praises his lukewarm wannabe 4-Chan edged joke.

You roll your eyes while your poor homeroom teacher tries to proceed with her instructions, despite the immature snickers.

“You will be presenting with your partner on Friday. Do not wait until last minute to do this assignment please. Deadlines catch up to you fast.”

Mrs. Helleck makes her way over to you.

Like Dungeons and Dragons, everyone in the class is assigned a “classroom role”. You’re the leader of the pack, the ‘foreman’, to which you never understood because up until today you never had the confidence to call the shots. The alphabet has never been on your side anyways.

“Now dear,” your teacher smiles down at you. “Since your last name starts with an A, you get first choice. Who would you like to work with?”

Eddie’s gaze is extra fixated on you now. It gives you a greater deal of satisfaction than tossing those cookies ever did. It was you who had the reigns now, instead of those woman-patronizing incels.

You start to smile connivingly, to which the guys start to gulp over. You can tell they’re putting two and two together, their two brain cells collectively working over time to discover that you had a delicious upper-cut up your sleeve.

It’s the very least they can do. If they wanted to taint your name to smithereens in your absence, you’re sure as hell going to give them something else to lose their minds about in Math 3.

And when all eyes are fixated on you, you tilt your chin up to project your voice. You want to make sure everyone, especially Grant and Eddie, hear you loud and clear when you sinisterly announce,

“I pick Harmony.”

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