#I feel this sense of belonging

[duckyfann9871]

Found a Pride Themed ™️ golf ball on my weekend walk today

[inkskinned]

you wanted to be a good friend, because you loved your friends, but the truth was that everyone else somehow had a pamphlet on being normal that you never received. most of the time you learn by trial-and-error. you are terrified of the next big mistake you make, because it seems like the rules are completely arbitrary.

you've learned to keep the prickly parts of your personality in a stormcloud under your bed - as if they're a second version of you; one that will make your friends hate you. it feels feral, burning, ugly.

instead, you have assembled habits based on the statistical likelihood of pleasing others. you're a good listener, which is to say - if you do speak up, you might end up saying the wrong thing and scaring off someone, but people tend to like someone-who-listens. or you've got no true desires or goals, because people like it when you're passive, mutable. you're "not easy to fluster" which is to say - your emotions are fundamentally uninteresting to others around you; so you've learned to control them to a degree that you can no longer really feel them happening.

you have long suspected something is wrong with you, but most of the time, googling doesn't help. you are so-used to helping-yourself, alone and with no handbook. the reek of your real self feels more like a horrible joke - you wake up, and, despite all your preparations, suddenly the whole house is full of smoke. the real you is someone waiting to ruin your other-life, the one where you're normal and happy. the real-self is unpredictable, angry.

your real self snarls when people infantilize the whole situation. because if you were really suffering, everyone seems to think you'd be completely unable to cope. but you already learned the rules, so you do know how to cope, and you have fucking been coping. it's not black-and-white. it's not that you are healed during the other times - it's just that you're able to fucking try. and honestly, whenever you show symptoms, it's a really fucking bad sign.

because the symptoms you have are ugly and unmanageable for others. your symptoms aren't waifish white girl things. they're annoying and complicated. they will be the subject of so many pretentious instagram reels. if they cared about you, they'd just show up on time. you care, a lot, so deeply it burns you. you like to picture a world where the comments read if they loved you, they'd never need glasses to see. but since that's a rule you've seen repeated - "one must never be late or you are a bad friend" - you constantly worry about being late and leave agonizingly early. there are no words for how you feel when you're still late; no matter how hard you were trying.

so you have to make up for it. you have to make up for that little horrible real you that you keep locked in a cabinet. you are bad at answering emails so every project you make has to be perfect. you are weird and sensitive so you have to learn to be funny and interesting. you are an inconvenience to others, so you become as smooth as possible, buffing out all the rough parts.

all this. all this. so people can pass their hands over you and just tell you just the once -how good you are. you're a good friend. you're loveable.

[otaku553]

Procrastination doodles of sabo for the king sabo au :)

[tesco-finest-aromantics]

To other sex-repulsed people: Please understand that your repulsion towards sex is your own issue to deal with. Understand that sex is important to a lot of people (you don't have to understand why, just simply that it is), and understand that it's not okay to treat sex as a bad thing simply because it exists and you're repulsed towards it.

It's completely fine to vent about your friend talking in great depth about their sex life when it repulses you (and maybe tell them that it makes you uncomfortable and you don't want to hear about it) or for any reason for that matter, but don't talk about how much you hate sex in front of the people who find it a positive thing because you'll just end up being seen as someone who kills the fun. It doesn't seem fair, I know, but there are lots of places you can talk about this without upsetting people who enjoy it.

And to non-sex-repulsed people: Please understand that we need a space to air our repulsion to sex. If anything we say isn't directly aimed towards you specifically and it upsets you, then maybe consider that this space just isn't for you. Not everyone has the same positive feelings towards sex that you do, and we have just as much right to talk about how we dislike sex as you have to talk about how much you like sex.

And everyone needs to understand that it's possible to have negative feelings about sex —and to talk about these feelings— without it automatically being sex negativity.

[athousandbyeol]

i can't stop thinking about this scene.

it was so light-hearted. sheng wang was all-smiley after finishing (perhaps multiple rounds) of revising and studying. but the lively atmosphere simmers down into this thick and stifling tension once jiang tian opens his closet.

honestly, if i were sheng wang, i would have so many questions too. why is he packing? is he going somewhere? but where? so, whatever sheng wang is thinking or feeling at the moment is valid (to me, at least, it is.)

i think it has so much to do with sheng wang's expression here (liu dong qin, the actor you are) that breaks my heart into tiny, million pieces.

it's in the way his eyes follows every movement of jiang tian, but particularly directed at the opened luggage, that has me thinking of sheng wang's fear of separation. the trauma he experienced when he was just a little boy.

i can't imagine how he felt when he saw his beloved mother collapsing to the ground—at the age so little to grasp the situation—to comprehend the meaning of sadness and grief and death.

he was broken. he was devastated. but those feelings as a child were just feelings. but the adult sheng wang now understood that those feelings come with bitter memories and realisations that death is inevitable, and death is permanent. his mother won't come back to him no matter how frequently she visits him in his dreams (and wake).

his heavy breathing. his fixated stare. that feeling of abandonment is washing over him again. they're coming in slow, steady and destructive.

so when jiang tian approaches him with the said book that has more extensive questions, he still can't look away. not until jiang tian realises that sheng wang's attention is now elsewhere.

and he finally asks,

i personally adore how benjamin acted this scene out. jiang tian immediately glances over at the luggage, somehow already knowing the context/direction of this conversation. (it's in the subtlety of benjamin's acting here that has me going nuts.)

when sheng wang asks this question, it reminds me of this scene in episode 1,

jiang tian was looming in front of sheng wang's house, wondering if he should stay or leave. possibly his only destination would be uncle ding's house. maybe he has nowhere to go, to be honest.

sheng wang immediately called him, voicing out his thoughts. and the context is similar—are you leaving?

although jiang tian answers sheng wang's question, not leaving him hanging the way he did in episode 1, it's still not enough. the reason being, as of right now, we're knowledgable of sheng wang's past. but what about jiang tian? we know nothing about him. we just know this boy is closed off and distant and cold and grumpy. but why?

these questions are the answers. but sheng wang doesn't know. not yet.

they could have just dropped the conversation here. but this is one of (the many) things i notice about sheng wang: he's always curious. always seeking answers. even in his studies, he would ask crab (i love you, friend) for the solution. and we saw some instances where jiang tian would share the method he used, etc, only to help him. and i think it's being presented at a different light here. sheng wang is waiting. he's waiting for jiang tian to give him answers.

as jiang tian says it's a habit, it might not be the answer sheng wang wanted, but it was needed, at least, only for the night.

it's so overwhelming to me how jiang tian has always been providing sheng wang with safety, happiness, anger, irritation, fun, answers and questions. how susceptible sheng wang is with everything jiang tian is. they are like mirrors reflecting one another. because for me, jiang tian is like a closed book, but i could understand him once i start reading. but sheng wang, he's more layered. he's open but also secretive. he expresses emotions, but not everyone reciprocates and understands him. not until jiang tian.

and i'm no longer sane in the head because of this.

[wigglebox]

He's considering leaving their annoying asses behind smh

[original] [follow up]

[chocmoon-latte]

There's this added layer of sadness to the Sole Survivor that I've never seen anyone talk about, and that's the fact you as the protagonist haven't just been stripped of your identity not just in a metaphorical sense, but a very literal one as well. Despite being frozen for 210 years, the world before would still be fresh in your mind.

Imagine walking down into The Third Rail for the first time to hear the angelic singing of Magnolia echoing throughout the establishment, and as you turn the corner to see her performing in the spotlight, your expression immediately changes as you realize... that's your dress she's wearing.

You're in Diamond City and head over to the office to talk to Mayor McDonough about asking permission to check out Kellogg's house, and when you're talking to Geneva at the front desk you notice she's wearing your mother's necklace. Or worse, you bump into Ann Codman and she's the one wearing it, and you barely get a chance to get a second glimpse at it before she huffily walks away.

You see old memories of yours for sale that you can't buy back because you don't have the money, finding belongings of yours in the most unlikely of places. Things of yours owned by people who can't be convinced that those items are still yours to you, because they can't believe you're really from all those years ago so they mock you instead.

Seeing old photos of you happy from your life before, being placed among photos of other people in buildings being used as some kind of decoration. A bitter realization and a constant reminder that you, the things you use to associate with and the people you use to associate with really are just relics of the past.

[fromtheseventhhell]

I love how people are only ever interested in defending Arya's right to be weird-looking. It's never defending her intelligence from people who claim she's incapable of thinking for herself, highlighting her importance to the plot and refusing to see her as just a prop, acknowledging how much of her story gets stolen and given to other characters, talking about her trauma or how often it gets erased and overlooked, seeing her as more than just an attack dog/bodyguard, etc. Nope. It's just a "why can't people let Arya be ugly/unconventional looking? :(" post every other week because people are, for whatever reason, obsessed with how Arya is visually perceived. One of the most misinterpreted characters yet the issue is only ever with her being portrayed as "too pretty" or the wrong "type" of pretty. This fandom will entirely rewrite a character's motivations, values, and role in the story to the point that they consider references to canon "hate" but! The true injustice to canon is we acknowledge that she is described as pretty several times. Arya simply existing as her pretty, important, and non-conforming self is too complex and confusing for people to comprehend 😔.

[morganafayes]

god im just thinking abt how. merlin is always saying that before he came to camelot he thought he was cursed and he hated his magic because he thought it made him a monster but it was also all he had. and then him telling lancelot in s4 that since he found the purpose of his magic (protecting arthur) he doesn't feel that way anymore. sigh. the way out is just another cage!!!

[yrlocalghost]

i feel like the thing that really gets to me personally about chara undertale specifically is that at the heart of the story, everything is happening because they were just so loved and nobody (except flowey/asriel) knows about why they died.

toriel visits their grave often, and has never really recovered from losing her children. she took their body and carried it all the way back to the ruins. considering monster customs, this is probably the first time she had ever actually buried someone. it’s grim, but it was out of love.

asgore essentially carries out the remainder of their plan, despite never knowing that there was a plan. he declares war on humanity in the name of both of his children. he has golden flowers everywhere, which only started growing after their death.

literally just. everything about flowey. flowey is the core driving force of the plot, and everything he does essentially comes down go being about his trauma and his grief. this should probably be an entirely separate post

AND ALSO the golden flowers are everywhere and so indicative of them and the grief surrounding that. toriel tries to move on, so you don’t really see many in her home but she visits the grave. asgore has them everywhere and when you get to the throne room, its covered. flowey just straight up IS a golden flower.

the other thing that is interesting is that nobody except flowey (and technically alphys) knows why or how they died. and honestly? it does not really matter. knowing wouldn’t change anything. they’re dead either way. asriel had to carry the burden of that knowledge alone, which is another separate post.

but Yes anyways this is getting Long but the point is that it just makes me insane that chara was just so so loved. it didn’t matter that they were troubled or came from a bad situation, it didn’t matter that maybe they “weren’t the greatest person” or anything. they had a place they belonged, they had it really good for a while and they couldn’t handle that but they were very loved and that is the heart and driving force of the story and i

[casualavocados]

If you've got something to say, just spit it out. Sorry. I should have visited you earlier.

KISEKI: DEAR TO ME Ep. 12

[mayomkun]

Rewatching dead boy detectives and I love the music box that starts playing when Charles started hitting the night nurse. Like, the haunting melody went so well with the shock of what we learned about Charles' past and his sudden outburst (spiralling out of control, the feeling of the world beating down on you over and over and even when you try your best, be your best self, it isn't enough and there isn't anything you can do). And then morphed to something more upbeat/thrilling when she fell into the sea, followed by complete silence with Charles' breakdown. Oughhhhhhhhh

[in-asterism]

a psychic and a clairvoyant walk into a room

'does it hurt, knowing what you know?' one asks

the other laughs, and says nothing at all

[i-may-be-an-emu]

wine under the bridge, the lion king and httyd are all so similar

[fumifooms]

Makima, devils and self-fulfillment

Dumping some Makima and CSM thoughts after a part 1 binge bc I think about her forever and ever. I’m sure I’m forgetting some devil lore, feel free to correct what i get wrong/what’s been confirmed. On the table of contents there’s why & how Makima got fixated on Chainsaw, her revealing liking for the country mouse and discussion of her nature & emotions & desires. Was the scorpion doomed to be a scorpion?

The most of this post was thought of during a conversation with @saccharineomens and I don’t think it makes sense to jump into the spiral it sent me on without first laying down the interesting groundwork theorizing she did:

"Thinking about how makima herself wants to be deified. I wonder whether she recognizes the difference between Love As Worship and the love that Aki, Power, and Denji had. She says she wants to help humanity by having Chainsawman eat the “bad” devils, but why does she want to help humans? Because she was ordered to by the Prime Minister? No, her drive seems much more personal than that, it seems like she teamed up with the PM for contractual reasons. (In the most recent chapters we see governmental members wanting certain devils to be eaten, too. What was Makima’s relationship with them? She’s too independent to just follow THEIR orders, she’s Control.)

So is she wanting to better humanity for the accolades, or out of the goodness of her heart? She sees the big picture. She sees any small sacrifice as worth it for the end result, and she’s ruthless. Perhaps she thinks that a more sedate human race would be easier to control? But Makima doesn’t loathe humanity. She never acts like she sees all humans as lesser. She loves humanity’s creations, like good food and movies. She just wants Good Things all the time

She says she prefers the country mouse BUT adds a story where she helps exterminate country mice like vermin. She likes the simplicity yet rejects the idea of being simple. Makima the complex individual you are"

~

The story itself seems to prefr the country mouse. Well- it strikes a balance, shows that a risk to live good & fully can be very worth it, but still that stability over ambition is preferable, proning having a simple happy life over fame, a simple job instead of a dangerous one, etc etc. And I do find Makima’s answer on this so so interesting, she prefers the country mouse, but this preference isn’t out of affection or sympathy but because of how relaxing it feels to exterminate them when they cause problems.

Order satisfies her. Her order satisfies her. She likes the action of rooting out disorder. Maybe this is the devil part, like how Power especially wants blood and drinking it, I feel there’s an itch to every devil, and for Makima it’s a very rigid world view/morality/standards & making things follow her rules and submit to her order.

And maybe this is why she’s attached to humans too, why she felt it was worth it to stick with the government- because devils are chaotic by nature (it’s a whole plot point that hell is essentially a free-for-all battleground for example), meanwhile humans are the species that universally rule Earth with systems they invented and instilled. They made then enforced rules, complex and intricate webs of them. She feels alienated amongst devils but she understands the humans’ need for an orderly organised society, and now she wants to be part of it. Control and conquest require social dynamics after all, requires civilizations or groups. War is chaotic while peace is, well, peaceful— Makima resents her sisters for being death, famine and war, things that throw the world in such chaos. She wants a world of perfect order, no matter how much collateral damage there will be if the end result is control.

This is even more interesting if you consider that yes, Makima is untouchable of her own design, she deifies herself with her omnipresent amount of control and the sway over others that she seeks and encourages— There is this urge to dehumanize her for it, that yes, she is the devil of control and that means she was never going to be any different, have any more feeling be any less uncanny. And I love part 2 so much for this, because it shows us the war devil and the famine devil and we see how frankly uncharismatic with poor self-discipline they are, Nayuta too, and it helps us realize just how much Makima’s success was self-made.

She admires Chainsaw Devil, the Hero of Hell, because he had his own code and his own rules and he made Hell, the chaos pit, submit to them unfailingly. Wherever he goes he decides what he does and what happens to the people he encounters but does so consistently, he has his mechanism and his rules that he always obeys, and he fulfills them every time. It’s still a mystery the why of Chainsaw Devil’s behavior back then and how it works exactly, maybe Pochita left hell because he was tired of these rules he lived by like chains, but still, he was a servant to his code. Makima would have been glad being killed and eaten by Chainsaw Devil because it’d have been becoming part of his design, his conquest, his domination, she’d have been part of that —his— order. Through her death she would be shaping his world and be part of a conqueror’s making history. Like how she appreciates the country mice that die for the sake of order. Like how sacrifices must be made to herself, like listing the name of every person whose life was lost to the Gun Devil— All for the ~greater good~, for her vision for the world. Conquest always thinks its reasons are justified.

And she does mention with the country mice thing that she goes out to a friend’s farm every year! She has a human friend?? That she visits yearly and she genuinely likes it?? Ultimately she lives a busy city life because of her goal and drive and her urge & satisfaction with overseeing shaping the world herself, but part of her, like so many characters including Angel and Aki and Reze, wishes she could live a slow peaceful country life. Moviegoing and dogs and mice in a farm- Wouldn’t it be so much simpler if Makima could find fulfillment and happiness in being a farmer, in keeping control of her own farm, getting satisfaction from exterminating vermin and expertly getting everything right, the right crops grown at the right time on the right soil? Here, too, in a way it’s trying to have full control of an ecosystem, but her goals would be easier to achieve and better, without ceaseless sacrifice or much pressure. But Makima wants grandiosity and her goal does matter to her on a fundamental and moral level, she does think she knows what’s best for the world, and with the power to change it why wouldn’t she strive to? Visiting the farm is just a break, just something she does in fall to help out and just in time to see the vermin extermination. It calms her, then it’s back to actual work.

In capitalism, even the one at the very top of the ladder is ultimately alienated from others and often unsatisfied by their lifestyle, always wanting more and more power because surely that’s the extra edge they must be missing to be content— like how Makima thinks she wants to dominate Chainsaw Devil instead of being his equal. And she says it herself too, she likes humans the way humans like dogs…….. And she keeps so many dogs :( Makima prefers the country mice because they’re calming to root out, maybe because she usually mainly deals with city mice. It’s very easy to equate humans to the mice in this allegory because it’s pretty direct and she’s already likened humans to lesser animals compared to her. She’s self-isolating by design for her design but she still craves relationships and contentment, and the dogs are the embodiment or her want for bonds and occasional simplicity because there is no possible ulterior motive, no way they tie back into her wider plan. They’re her personal life— something that feels so alien when speaking about Makima. Personality and individuality and likes and preferences and friends they visit every year. She likes how easily she can train a dog and how they become putty in her hands, at her beck and call, how much they love her and how much she enjoys their love. How simple and straightforward and easy it is. She keeps them because she likes being loved by them and loving them, and she’s gotten and raised so many. A conqueror always wants more and more and more, is never satisfied.

Devils and agency

Like Power the blood devil wanting blood and having a fixation on drinking it like with Denji’s, or how it was shocking that the violence devil was pretty tame and nice and how he himself theorized it was because he was a fiend and possessing a human body… There’s something to be said about nature vs nurture with the devils. The way they reincarnate and always embody their fear makes it seem categorically like nature, that they always always end up fulfilling the role they were named after and born to fill… Outside influence they’re helpless but to conform with. Like the humans accepting their spot in the social ladder and the shittiness of their living conditions and job under capitalism. Makima craved being equals with someone despite being the control/conquest devil, Angel Devil despite claiming to be a devil who likes to see humans dying was haunted by their deaths and wanted to avoid ones like Aki’s. The Ghost Devil being ironically haunted by Himeno, seemingly helping Aki in her memory out of… Lasting affection? Or maybe it was less about being haunted itself and more about it recognizing how Himeno haunted Aki, and acknowledging that, with the memento, paying her respect to the ghost of her. It’s Angel Devil’s devil nature that makes him like human suffering, so then is it his angel nature too to still care about their deaths? Is there truth to this or is that just personality, just our confirmation bias haunting every part of their identity like it might in their own view of themselves too? We do know different reincarnations of devils do have different personalities after all.

Yoru, war devil, is the most interesting one when talking about the nature vs nurture debate with devils. There is how through her we see the perhaps the most the consequences of a devil stopping being feared— we see a horseman for a concept as universal and horrifying as war be reduced to some bird who needs a contract with a human to have any power even just on the situation when meeting Asa. And through the story we get to know her better, and it becomes clear that her goal is fueled in good part by simply wanting to be remembered and respected through fear. Liked, validated, seen a powerful. But what is more isolating than war? Or control? We also see Nayuta accepting others’ house rules. If part 1 shows perhaps the futility of running away from the truth, with Denji’s memory, with escapist coping mechanisms, with passivity and denial under a corrupt system and with abusive relationships- running away from your own feelings and from the reality of things and from all that you are, more complex than simply human or devil or both or neither— part 2 builds upon the theme of cult of personalities, the chainsaw church, etc. The apocalypse is coming, but this celebrity superhero might save us all, or doom us all uh, dunno. The hero of hell reliving the cycle of pressure from responsibilities and expectations, maybe the part will end with Denji running away like Pochita did~

But yes, on the reverse, I think Famine is a very interesting example of how a devil’s namesake may be more innate than coerced by circumstances. One would think that a famine devil would only like inflicting famine upon others, not being famished itself, but Famine has a bottomless stomach that can never, ever be satisfied, sated. I struggle to find a psychological explanation for this, except that maybe instead of her being hungry it’s her feeling empty when she’s not eating, tasting and having that high sensory experience that releases serotonin in humans, sort of like drugs? But I do take this as a step towards the compulsion theory overall, feels like a reach in the consistency otherwise. And compulsion does not mean it’s something that they like nor that it’s something that they fight against, pretty neutral, just a nature that nudges you towards one path. Maybe it’s even just their go-to for entertainment. Maybe it’s the only thing that makes them feel right and whole. But still the debate remains, what is it, a compulsion or an urge or an itch or an active desire or a conscious chosen want? Does it change anything in practice?

And because of all of this earlier, devils being self-fulfilling prophecies with their role is not in unsignificant part nurture, because doing their atrocities is how they stay remembered— feared, powerful, known— hell and devils are a very isolating place and breed after all, and we do see devils can want companionship. Existentially, it’s their purpose and how they justify their place in the world, in the terrifyingly vast and unknowable cosmos.

We still know so little of what makes Chainsaw Devil so special, why his carnage is so self-controlled. Despite a chainsaw maybe being possibly one of the most "nature" thing you can be— a tool to cut things, a human tool that can be helpful for many things, something to be wielding by another at their judgement on what they decide, but mainly something to cut, a tool suited for carnage, to hurt and to destroy. A blade with a toothed chain, spinning around and around and around endlessly on the same road at the same pace. Such a…. Innately circular concept. And yet the Chainsaw Devil is his own, not driven by an urge or by chaos but his very own brand of order, his own unique assigned purpose, a "if you call i’ll come running to help" policy equalizing everyone. He chooses to withhold his destruction and interference otherwise, and then he chooses to be used. If it’s a choice, of course.

Maybe this is what inspired Makima so much, that Chainsaw Devil could decide what to make of himself despite expectations or innate role. Because even Hell he decided & managed to subjugate under his will and whim, with a precise vision and process. When Chainsaw Devil acts like Denji or is defeated, Makima clicks her tongue and loses her admiration and respect. Makima admired and liked Chainsaw Devil, but only as long as he matched her great image of him in her mind, as long as he followed he rules for what she thinks he should be like. She admired him for his unrivaled self-made success, but once he stepped out of that to truly embody self-fulfillment and agency, disappearing from hell to live on his own road at the beat of his own drum… Well. Surely that was a mistake she has to correct. However their second battle ends, the better conqueror will have prevailed and she’s happy about that, all in the spirit of domination and subjugation.

Imo Makima’s biggest tool, similarly capitalism’s most helpful effect for its own purposes, is complacency. Resignation and passivity helps uphold the system and go along the flow of the will of the people in power. Aki and Reze go along with orders even when knowing their job is trash, etc. In Angel Devil especially we see him go along with the flow uncaring about anyhing, and we discover it was in part due to Makima taking away memories that motivated him. If every devil decides this is just how things are and how things should be that’s what they’ll continue to be and do mindlessly, not pursuing a better life like Chainsaw Devil and Denj and not seeking to change the world like Makima. I think even Makima veils herself to a lot of things, she doesn’t like to think deeply about some things, like her desire for connection, or how making bad movies disappear is strenuous and unsustainable and requiring sacrifices at best— how her judgement is as subjective as anyone else. How liking the country mouse and her friend back at the farm and her dogs could be not devoid of sentimality. Wanting bad movies erased is her one biggest show of selfishness, of pettiness and individuality, it’s about her tastes, simple as. About how she can have tastes, and cry seeing a scene of people hug, and want things that aren’t logical, her ideology and mind twisted into a pretzel to avoid acknowledging that she doesn’t live and breathe purely for the mission she’s made a single-minded robot out of herself to accomplish. Nayuta is assertive and selfish and loud, Makima is manipulative and strategically both for her goals and for coping hollow.

Everything in her plans and goals she says is for the greater good, necessary evil, manufactured happiness the way she’ll have decided for people— and that’s the thing isn’t it, like with War, it’s the crack that shows it was all truly about herself after all. Her self-made deification still had the flaw that a self made it. Makima is not omniscient, and it’s not Chainsaw Devil the not-so-fellow-kindred-soul conqueror who gets the best of her, but a city mouse, a dog, someone she would have never thought to respect, Denji.

[elderberries-and-honey]

Autumn, 1900

For the rest of the day, Winifred worked quietly; still rather disoriented from her train being delayed that morning. Those sorts of things always seemed to put her in a strange mood, and Francis' genuine reassurance over her insecurities had only made it worse. She had never intended to lie to her coworkers about who she was; it was an honest mistake — when she filled out her application; she signed her maiden name, Monet, instead of Baudelaire and didn't notice until she was proof reading before handing it in; and she had truly had intended to change it. However, for a fleeting moment she thought, 'why can't I be someone else for a while? It would only be like playing a part,' and soon, she was posing herself as a 30-something year old spinster trying to make her own way in the world. There at the Windenburg Daily, she was not just Mrs. Baudelaire, a rich man's life, or a mother struggling to exist outside of that title. Of course, she considered the idea of explaining the mishap and coming clean. Except that, when she thought of how angry JJ, Terence, and especially Francis would be, she could never bring herself to try. As the years passed by, her double life had brought her the sense of self she'd been longing for. But she was no fool. She knew it was not a matter of if her folly would catch up to her, but when; and all she could do was hope that at the very least, she might publish a few stories beforehand and it would somehow be worth it.

next / previous / first

transcript below the cut

*click* *click* Winifred: oh, bullocks! *panting* I'm sorry I'm late, guys. My train was delayed Terence: Relax, Winnie; he isn't here yet Winifred: But, I hate- Francis: He's right, Win; you need to learn to relax a bit <the day goes on> *typewriter clicking* Francis: The days just get longer & longer. Winifred: Shhhh!!! Terenece: Here comes- JJ: *groggily* Good morning everyone. *in unison* Morning, JJ! Winifred: *mouthing* I forgot the coffee. JJ: Winnie, dear, my coffee? Winifred: Um, yes, I- Francis: She wanted you to try the coffee next door! Terence: She was just waiting for you to arrive. JJ: Ah, what a splendid idea! Winifred: Well, you know, I just thought with it being so chilly and all. JJ: Good thinking; Francis, go along with her. Francis: Yes, sir. Winifred: We won't be gone long. Francis: It smells so good in here. Two coffees, please. *liquid pouring* Winifred: I don't think I make a very good secretary. Thank you for covering for me back there. I don't know what I'd do without you and Terence. Barista: Two coffees, to-go! Francis: You know we like having you here, right? JJ, too. He likes you a lot. He's just... Winifred: Uptight? Francis: Well, I was going to say particular, but I suppose that is part of it, yes. And you're not a lousy secretary, okay? Terence and I understand it's a hard life for a spinster, but we don't see you that way. Always remember that. Winifred: Yeah...I-I will...