#Jeremy & Astrid

[anthonysfingerlessgloves]

sooooo i saw beetlejuice beetlejuice in theatres earlier and i actually really liked it, but like... did anyone else notice that tim burton just sort of copied tyler galpin and pasted him in the form of jeremy? similar personality, similar role in the story (love interest who is then revealed to be a murderer; the only difference being that tyler is a sympathetic character and jeremy is not), very similar voice, similar style of dressing. even jeremy’s MANNERISMS were just like tyler’s. hunter and arthur also look a lot alike (nose, lips, hair type, smile, etc etc), especially their side profiles. not only all of that but jeremy and astrid’s kiss was shot the same way as wednesday and tyler’s. they’re literally the same character in a slightly different font 😭

[the-marshals-wife]

Betelgeuse and Astrid "Death" Parallel

I'm not sure what else to call this observation/rambling, but I've been thinking a lot about the events of Beetlejuice Beetlejuice, and on my most recent viewing, I noticed something super satisfying about this scene. You know, other than the obvious.

We all know Beej is not one to turn down a deal, least of all when it involves his own self-interest. And of course, it's very advantageous for him to rescue the daughter of the woman whose heart he's trying desperately to win. But there's another delicious layer to him being the one to personally dispose of Jeremy Fraizer...

Betelgeuse knows exactly what it's like to be manipulated by love, only to then have your life taken from you.

Delores manipulated him under the guise of love to steal his life (and his soul) to gain immortality, the same way that Jeremy pretended to care for Astrid so that he could ultimately take her life for his own.

It's think pretty accurate to assume that neither Delores nor Jeremy felt anything genuine for their victims. They were a means to an end. But where Betelgeuse had to defend himself on his own, unable to reverse what had been done, Astrid was not alone. While she was preoccupied with running from the afterlife authorities, reuniting with her father, and getting some much-needed family closure, there was someone else looking out for her.

Enter our anti-hero.

We don't get any direct insight into Beej's thoughts on the Jeremy situation, but it probably struck a nerve for him. He would never admit it, but how could it not? We already know he's privy to Rory's manipulation of Lydia and is eager to expose him, but this is not about a toxic, gold-digging relationship. This is literally life and death. It follows that he would be just as if not more upset to learn that a murderous wolf in sheep's clothing was trying to kill Lydia's daughter, especially given the nature of his own death.

(I mean c'mon, he used his one PG-13 ordained f-bomb on the guy. I think it's safe to say he felt pretty strongly about Jeremy's villainy.)

We all know how it plays out in the end, but I think it's rather poetic that Beej is able to avenge his 'would-be stepdaughter' and save her from a devious scheme very similar to the one that he fell prey to.

He couldn't get his own life back from Delores (though arguably he does, at least metaphorically, in the finale), but he was able to give Astrid back hers.

So there you have it. Now that I see the parallels, it's ten times more vindicating that Betelgeuse was the one that got to send that slimeball to hell. And let's be honest: Beej would probably agree.

[webbluvrsugar]

making out with Jeremy Frazier and he’s trying so hard for you to keep believing he’s a human

I imagine you’re in his room, this time sitting on his bed because the last time you were standing and he kissed you, you were both floating before he could even notice, and well, he doesn’t want to take that risk again, but he underestimated what his paranormal nature could do when he was with you.

One hand of his is holding you gently up your throat as he moans against your tongue while the other stops whatever object is coming in your direction to hit you right against the face, his eyes are closed but open from time to time to grab a piece of candy from your view, the moment that he grabs another thing, you notice it this time, slowly parting away and opening your eyes.

“What was that?” You ask, pink lipstick messy and now all over his lips.

“Nothing,” he whispers, leaning into you, two of his fingers push a few strands of hair behind your ear revealing the piece of candy in his hand and masking it as a simple magic trick. “Candy?”

You smile, a glint in your eyes as you take it from his hands and analysing it with your fingers, as if not even believing your very eyes. “Didn’t know you were a magician.”

“There’s a lot of things you don’t know about me.” He smirks. It comes out as playful to you, specially because of the condescending tone he puts on, but he’s serious about it, and maybe you would’ve notice the truth behind his words if you weren’t so down bad.

“Impressive.” You tease, placing the sweet on his bedside table. “But I prefer some other kind of treat.”

He raises a brow at your behaviour, and before he can stop you, — mainly because he knows that one of you will end up flying off his window — you’re already pushing him down on the sheets, his head hits the fluff of the pillow as you straddle him, and really, he should stop you, but he’s addicted so he can’t, he can’t make a move to stop what you’re doing so he lets you.

He just hopes one of his records won’t hit you on your way.

[lirarey]

Kisses' parallels

In the film we see three impressive kisses. But they're impressive in different ways.

Rory and Lydia

What do we know about their relationship? They have been dating for a long time. He is the producer of her show. Rory supports her after Richard's death. It would seem that he is the ideal man. But Lydia feels uncomfortable around him, allowing the wedding to take place two days after her father's funeral. And the wedding no longer seems such a desirable event. Rather, it seems like a necessity. We see them kiss at the very beginning of the film. Lydia is worried and vulnerable at that moment. What would a good boyfriend do? At least reassure her. Give her time to come to her senses. What does Rory do? Pretend to help her. After helping like that, you feel guilty. And then the kiss happens. At first glance, it seems passionate and full of feelings. After such a kiss, a human usually feels a great surge of happiness. In reality, Rory seems to take away her life force. Not allowing her to escape from his control.

Jeremy and Astrid

The relationship between Astrid and Jeremy is reminiscent of the 1995 film "Casper." A girl whose one parent died, and the other believes in the existence of ghosts. There is even a family reunion (it's a pity that in "Casper" Kat never met her mother). And a lonely ghost guy. There is also a Halloween celebration and a "flying" kiss. Only if Casper sacrificed his resurrection for the sake of Kat's father... Then Jeremy almost got rid of Astrid. Their kiss was also insincere due to the lack of feelings of one person.

Beetlejuice and Lydia

Throughout the film, we've been watching Beetlejuice's feelings for Lydia. And it seems like the same situation here as with Rory... But no. First, Beetlejuice gives much more than he takes. Not only does he keep his promise by saving Astrid, but he also gets rid of Jeremy and finds Delia. Second, his intentions are pretty clear. And, as others have noted before me, Beetlejuice hears Lydia's wishes for a quiet wedding with her loved ones. And he's the only one in this film who doesn't kiss anyone on the lips. Kissing the back of the hand has many meanings. In my opinion, the most appropriate here is an expression of deepest sympathy, respect and affection. And it's incredibly amazing.

[darklinaforever]

I hate that some people who have seen Beetlejuice 2 take the case of Astrid and Jeremy as a representation of Wyler at face value to argue that Tyler is indeed a pure villain. Okay, me too, when I saw the film I joked with my friend about the superficial resemblance between the two, and that's how I understood that there would be a twist on Jeremy. Except that none of it was of the first degree. The similarities are purely superficial, and what's more, Jeremy serves as a foil to Beetlejuice, to put him in a more positive light for his own character and his relationship with Lydia. But just because Tim Burton is linked to these two works does not mean that resemblance = same thing, and so that Jemery = Tyler. Absolutely not. The characters have nothing to do with it. And frankly, Tyler's haters are really desperate to make this type of comparison, just to push the character down and try to make him a pure villain ? It's ridiculous.

[mzradyer]

lisichka X the overlord

cecily knight and jeremy volkov from god of wrath (legacy of gods #3) by rina kent

[iz1331]

The DVD artwork for Beetlejuice Beetlejuice!!!

Look at how Betelgeuse, Lydia and Astrid are together and separated from the others 🥹😭 The happy family 💜 Kinda wish Delia is down there with them too, but I'm taking what I can get.

Foreshadowing that Beetlejuice 3 would have them three front and center next time? 👀 I hear Warner Bros. are trying to push for Beetlejuice 3 already

[raining-anonymously]

since you all liked the Rory Hate Club so much…

BONUS:

[likemonstersinlove]

tim burton when he sees a tall cute curly haired boy: must make him jenna ortega's love interest immediately

[apara-dise-penguin]

— Jenna Ortega as Astrid Deetz & Arthur Conti as Jeremy Frazier .. in Beetlejuice Beetlejuice

[miss-galaxy-turtle]

I fucking loved Beetlejuice Beetlejuice. It was such a fantastic movie and fit in so well with the first.

But like...Beetlelyds shippers...did we watch the same movie?

Lydia's whole arc dealt with how the first movie's events traumatized her. If you pay attention to her expressions throughout, whenever Beetlejuice is brought up or they interact, she's either disgusted, terrified, or both.

Especially in the wedding scene. That's not romantic, it's creepy, and it's deliberately played as such.

"Oh but he kept a picture of her at his desk for 30 years!"

Yeah...a picture of her teenage self...

"Oh but Winona Ryder ships it!"

I don't care. I love Winona Ryder, but her stance on it doesn't change my opinion.

There are even parallels between Jeremy (who is explicitly a villain and tricks Astrid) and Beetlejuice: Jeremy's outfit color scheme matching Beetlejuice's wedding outfit, Jeremy and Astrid floating like Beetlejuice and Lydia in the wedding scene, etc.

I know I'm probably not gonna change any minds here, but like...media literacy is so important and Beetlelyds shippers are proof

[alexiethymia]

just watched beetlejuice beetlejuice at the theaters, and can I just say, I loved it! it definitely didn’t disappoint and was a zany adventure, just like the first one.

and it kinda added layers to betelgeuse in a way. because spoilers I definitely thought they would go the same route for astrid and jeremy, the same way they did for lydia and betelgeuse in that what jeremy wanted was for astrid to marry him so that he could get out. instead it was a more sinister method, and it makes me wonder why betelgeuse never tried it. it can’t be because he doesn’t know about it, because he’s the type of ghost to read the handbook backwards and forwards just so he can find every loophole to exploit. like my head keeps going in circles. especially for the first movie where lydia had initially wanted ‘in’ while he wanted ‘out’, the switcheroo method that jeremy tried with astrid would’ve been perfect then. even in this movie where he already has experience of lydia backing out of their deal, he could have had lydia promise to exchange her soul for his. with how much she wanted to save astrid, I’m sure lydia would have agreed. instead, he just wanted to remarry her. it’s interesting because it means betelgeuse, as putrid, crass, disgusting, and opportunistic as he is, actually seems like he has lines he won’t cross.

[katoska]

Theory why Betelgeuse left Lydia's side to "go to the little boys' room" and took over for Richard at his booth for a bit:

Yes, he could have dealt with Jeremy without playing dress-up and taking over Richard's job, and didn't have to enable Richy to get a little more family time in the process. They could have saved Astrid just fine without that, so it seems unnecessary, for him to do that. OOC, even. Except

2) Richard wouldn't owe Betelgeuse a big favor for said taking over of his job and enabling the extra family time with Lydia and Astrid. Also, ofc, for saving his daughter from trading places with Jeremy. Betelgeuse did all that at great cost to himself: A Code 699 violation (see screenshot of transcript from reddit below) gets you extra time working as a civil servant, it gets your topside privileges revoked, and it voids any marriage you entered into, so his contract for payment from/marriage to Lydia was meaningless (well, if it had been a marriage certificate rather than just an agreement to get married in the future. and if he'd actually signed it. and then possibly only if he'd signed it before entering the Netherworld so there'd be a marriage TO void, rather than... not signing it at all... *sigh* he totally burned that half-signed and not-yet-binding contract himself bc he understood she wasn't ready to marry him yet, is what I'm saying, but I digress).

1) Lydia wouldn't have gotten closure for her ex's death without it. Closure which she sorely needed, because the fact that Richard's body was never found plus her seeming inability to see his ghost (Richard: "I know you two can't see me, but I check in on you all the time") add up to her having been in denial of his death. She couldn't see his ghost because she really really did not want to see proof that he was dead. So now she gets to move on from him. Which is very convenient for B. Especially as Richard is unlikely to be able to visit her anytime soon even now that Lydia has accepted his death and should be able to see him again, but I'm getting to that.

Still 2): Anyway, B doesn't do favors. He does business. If people are allowed to take over for others at their jobs in the afterlife, but those jobs are also a form of punishment where you have to "do time" at them for a specific duration, then those work hours are a currency that you can give away or trade. You can, if you find someone who is willing, get someone to do your time for you (hell, you can even get a naive Breather to trade their actual Life for your afterlife existence).

So yeah, I don't think Betelgeuse took over Richard's booth just out of the goodness of his heart. I think they made a deal, one that means that B will be topside again much sooner than the Deetz' will expect so he can get back to trying to seduce Richard's ex (hey, Richard always supported lost causes, so... 😆), while Richard will be stuck at work, unable to visit the Living for a long and unspecified amount of time. Not that his family's gonna notice, bc they never used to see him visit them, anyway.

And yeah, according to someone from reddit who decyphered that page in the Handbook, there's a bit about how the Deceased who violated Code 699 has to cease Trading, if applicable.

But I think that only goes for post-conviction of the crime, not as an automatic consequence of the crime, as B was also still able to visit the Living World to attempt the church wedding. Which, actually, is yet more evidence that this latest marriage attempt was more for the sake of declaring his feelings and testing the waters (and showing off, and getting rid at the competition) than him trying to actually get, and stay, married. Cause the church wedding would have been voided by a conviction, too.

Anyway, that's my theory on B's incredibly considerate, and therefore incredibly suspicious, detour to Richard's booth and letting Richard have his heroic moment.

And tbf, Lydia and Astrid are Richard's family. So it wouldn't even be unreasonable to expect Richard to pay for the legal trouble B got into from saving them. Like, I'm sure he'd have done it anyway, but if B can pass on that buck then ofc he's gonna.

[ameagrice]

The Wanderer

jeremy frazier x fem oc.

chapter one: hey, sadie, it’s 1999.

From Jeremy’s window, you get a good view of the town. The trees all turning brown and gold, the leaves which fall from them in varying shades of reds and yellows. Some are dead, with only branches to spare. Then there is the winding road, of course, and the small stores that tunnel it.

From Jeremy’s window, people are putting together Christmas decorations on their houses, string lights in multicolours, and Santa Claus signs in the yards.

From Jeremy’s window, she stares down into his backyard. Her backyard. Their backyard, as it has been for so long. There’s the stolen bike propped up on the inside fence, waiting for the cops. There is the eyesore pile of leaves laying crisp in wait for the kids from next door to come and dive into when they’re feeling daring. There is Jeremy’s childhood treehouse, its paint red and faded but standing strong. And sitting at its edge, strumming a guitar, is Jeremy himself. His long fingers dance along the guitar strings, long legs hanging over the edge of the doorway he sits in. Today, Jeremy’s dressed in her favourite teal sweater of his, and black jeans. His head is bent over the guitar ever so slightly, ebony curls brushing his eyes. It’s strange, how she gets the urge to grab his curls and slam his face into the treehouse wall. Strange indeed.

As if he can sense her watching, Jeremy raises his head and tilts back, lifting a knee up to his chest under the guitar. Milky skin is unchanged in the cool weather, darling pink lips turning up to a smile. A set of dark brown eyes meet her’s, and they set there. He’s calm today, apparently. He’s kind.

Sadie isn’t.

Today she feels…angry. They’re always conflicting emotions, the two of them. A match strikes inside her, and she raises a confident hand to her neck, swiftly moving it across in a slicing motion.

Jeremy’s mouth only tugs upward, perfect white teeth on display. He tears his eyes away and down to the guitar strings, and begins to play again. The song is familiar, but she’s never learned its name. He won’t tell her. She can’t help but latch her eyes on his hand, strumming the strings like they’re the most delicate things in the world. Memories cast phantom fingertips along her wrists, searching somewhat softly for a pulse. She’d had one, then, at that particular moment in time.

Which was why he’d swung the bat again.

“You should come down!” His voice calling pulls her from the past. It’s like honey, not at all uncaring, and it does the trick. “The fresh air’ll do you some good!”

Sadie scoffs harshly. Fresh air…Is he trying to be funny?

“Move away from the window, Sadie,” he chastises, he advises, he urges.

She folds her arms and waits heavily on one hip, tapping her fingers along her arms, and steps backward until she’s definitely out of his vision. The street is busy, today, but the treehouse is just behind the fence and out of sight. She could really annoy him and open the window, throw herself out—that usually gives him a bit of a shiver, at least. Or maybe—

“I know what you’re thinking, Sadie! Stop plotting and come down!”

He knows her too well. Being house-bound for twenty years will do that to a person.

Tilting her head, she allows herself to consider the options:

One—leaving their room today would be a nice change of scenery. She hasn’t left it in exactly a week, rotting in desperation and depression. Eyeing the movie posters on the walls, Sadie thinks of all of the things that could go wrong by going outside. Absolutely nothing, to be real. She just risks blowing up on Jeremy for the third time this week.

Two—Jeremy would try to serenade her with a sweet word and deescalation techniques, and she couldn’t promise that she wouldn’t try to throw herself and him out of the treehouse.

“What do you think, Prisoner Panda?”

Sadie turns to their bed. There are Jeremy’s old plushies of course, only an alien from the movies in Montana, and a blanket. But there is also her panda, a small and ragged thing left here by chance many moons ago. He’s cartoonish and limp, now the stuffing has moved so much. But he’s still smiling, and he smells like home. Prisoner Panda is Prisoner Sadie’s only best friend.

The other one killed her.

Prisoner Panda does not answer her.

“I should go out, right?” Sadie nods to the inanimate object. “A change of scenery will make me feel better, huh? Yeah. I think so, too.”

She takes a jacket from the back of Jeremy’s desk chair and pulls it on over her outfit of red dress and tights. The next step is getting out of the bedroom. Jeremy’s music is still playing away from the yard, as Sadie slips through the hallway. The yellow patterned wallpaper smells faintly of cigarette smoke and baking, the smell of which only becomes stronger the closer she gets to the ground floor and the kitchen.

The staircase is somewhat creaky, the banister painted dark brown, like old varnished mud, and the steps are the same. She can’t count the times she fell on these stairs, all the times Jeremy’s mom would help her with an ice pack to the knee, or the head.

As if she can sense Sadie thinking about her, Jeremy’s mother comes hurrying by the staircase just when Sadie reaches the bottom. Her long blonde hair is tied up today in a pretty bun, and stuck through with green sparkling pins. She has a rag and a bottle of cleaning detergent in her hand, peering at Sadie with her one good eye. She bursts into a bright smile exactly like her son’s.

“Morning, Sade.” Her pale hands wipe down every inch of the walls. Always cleaning, is Sara. Obsessively so.

You’d deduced together, you and Jeremy, that his parents were completely unaware that they were dead. To them, it was just another day. The kitchen utensil sticking through Jeremy’s mother’s eye was nothing to her, and the same for the one in his father’s head. The weapons their son had used didn’t phase them in the slightest, because to them it never happened. Life went on as normal. Was it a coping method, she wondered? Or hadn’t they reached the level of self-awareness in the afterlife of which she and their son had?

Passing by the living room, Sadie clears her throat. “Morning, Ted.”

Ted Frazier is by all means, a couch potato. While Sara cleans, Ted hogs the television. “Mornin’. Think Jeremy’s outside…”

Through the homely hallway, decked in frames of she and Jeremy in Montana, the last one at their graduation, and snapshots of Ted and Sara’s life together, including small images of baby Jeremy, and other family members Sadie only met the once. It smells strongly of lavender and lemon cleaning products, like a little trail of Sara.

Through the dining room, past Sara stress-polishing the table, Sadie strolls to the open back door, and out into the world.

There’s the plain garden fence, encasing the small bench on one side (where Jeremy can’t reach), the red treehouse, and down to the open driveway.

The wind blows firmly today, but not enough to put her off coming outside. It kisses her skin like she’s still alive, and the grass is cool under her feet, bare beside the material of her tights. Jeremy’s coat blows, forcing her to wrap it tighter with her arms crossed around the front. Sadie raises her gaze to the sound of strumming, the high notes blending softly together.

“Hey, Sade,” his voice comes down, gentle, like he’s approaching a frightened animal. “It’s a nice morning.”

Across the damp ground she approaches him, staring from the bottom of the ladder at first. She wishes to scare him, get her own back. Not that she hasn’t done so in the past twenty years, but it’s long overdue since the last time. Two weeks, exactly, since she’d tried to throw him down the stairs. Jeremy had the upper hand, and pushed her over the banister instead.

“If you came here to stare at me and say nothing I’d say just go back inside,” he drawls. “You’re being boring.”

“You’re an asshole.” She spits, full of spite.

“You said that last week. And then you couldn’t get enough—”

Quickly, she raises her hands and claps them around his thin ankle, feeling the bones grind beneath her fingers. And she yanks, hard on his weight. He shifts only once, enough to be startled, the guitar falling hard to the wood beneath, and then she pulls again, unforgiving this time. Jeremy yells in surprise and pain, body landing with a thump on the thick tree roots at the base. Groaning on his back, a hand stronger than it looks takes a fistful of her hair and twists, as her own balls up and pounds into the junction at his neck—right where he broke it.

“Get off!” He’s angry, now. And good, she thinks, he deserves to feel what she is feeling, and slaps her palm across his face. It’s only eleven in the morning, but they’re about to have many, many fights today. “You little psycho, go back inside!”

Sadie laughs, and then cries out. Jeremy slides his fingers through her hair to her temple, digging firmly into the place of injury.

“Ow! Ow, fuck!” She lets go of his collar. Jeremy wrenches himself from her grip.

They’ve had this particular back-forth situation happen a million times. She knows how to hurt him—digging into his broken neck—and he does her—by pushing on the spot of impact.

“You told me to come out!” She manages to yell, pushing a hand free between them both to take a dig at his bruised neck. “You—told—me!”

“I thought you were feeling angry, not murderous! I can deal with angry.”

“Shame I had to deal with murderous!”

She bites at his wrist, grazing it, and Jeremy laughs like he can’t believe it, taking a handful of her hair to pull her away. They’ve done this a million times, and he still acts shocked.

It makes her think of his twentieth birthday back in 2001, play-fighting in the front room. They’d just watched a rerun of some army movie and tried to replicate their moves. Surprisingly, she’d had him on his back, watching in glee as he wrestled her over, hovering carefully between her knees and complaining about a girl being stronger than him.

Such a shame things went the way they did back then.

She doesn’t stop fighting him because she wants to; they stop because of his mom. She yells from the doorway.

Sara sighs heavily. “Jeremy! Not again, guys! Back To The Future is playing in five, don’t you want to watch it?”

The two of them are quiet, just breathing hard, adrenaline running. Jeremy moves away slightly, giving her space. He lightens the hold on her hair, brushing the bloodied dip of her skull from the incident so long ago. His thumb brushes over it, a loving touch and a tender warning all the same.

“Yeah!” He calls, stumbling back to his feet. “We’re coming now.”

“Well, don’t be late for it! You know what your dad’s like.” Sara laughs nervously, tittering in place. “I’m going to get started on lunch!”

Lying on her back watching the clouds float by, Sadie waits to catch her non-needed breath. After a few seconds, she sits upright, and uses the tree to get to her feet. Jeremy stands a little way off with his hands in the pockets of his jeans, observing her.

“Feel better, psychopath?”

She nods her head, and hums. “A little.”

Jabbing his thumb to the house, he lets that smirk appear. “Can we go watch a movie now? You’re not gonna smash the television over my head are you?”

Sadie pushes him aside, passing. “Don’t push your luck.”

They settle on the couch for the movie, and stay there until it’s nearly time for dinner. There’s no benefit of eating in the afterlife—the food is nice, but pointless. It has no nutritional value whatsoever, but Sadie does it to appease Sara, who has never known she’s dead.

That night, in the dark coziness of their bedroom, tucked under covers and blankets galore, Jeremy presses a mirage of kisses along the impact zone on her skull, raining love along the violence. He noses at her neck, and breathes in the flat of her collar.

“I’m tired,” mutters Sadie, laying a warm hand against his bruised neck. She feels the blood pooled under his skin, tiny fragments of bones dancing around under there.

“So sleep,” he says.

For the first time in weeks, she does.

—

“We really should put out the Christmas decorations. I’ll ask Ted and Jeremy to go get them down from the attic later…”

It’s raining hard this morning of December seventh. The sky cries, presenting itself in dark blue. The stand mixer whirs, and so does Sara, spinning back and forth around the kitchen for the things she needs to make cupcakes. Sadie’s supposed to be helping her, but the Vogue magazine from 1999 that she has read a million times is just so damn interesting…

Rain cracks down on the windows. Lifting her eyes, she watches the droplets slide down the glass, and pool at the dip in the window ledge.

“What do you think, Sade?”

She looks to Sara, now. The cooking utensil sticking out of her face used to bother Sadie greatly, but now it’s like looking at a friend—the abnormalities don’t bother her much anymore.

“What?”

Sara smiles but rolls her good eye. She waves the bowl of batter. “I said, vanilla or strawberry flavoring?”

“Strawberry,” she decides, looking back to page four. “We had vanilla last week didn’t we?”

“Right we did, Sade. Right we did…”

It’s boring, being dead. Trying to find ways to pass the time when you’re aware that you’re no longer living is difficult. At first, they tried everything, she and Jeremy. Football games in the yard (once they got past the initial hatred stage); moving household furniture around; and other things. But there’s only so much time that being intimate and pushing furniture pieces around can fill.

They started to get creative.

By trying to kill each other again.

“Bet this isn’t what you thought came after death,” she told him once upon a time, trying to gather a bit of broken skull off of the floor.

“Not. One. Bit.” Jeremy seethed, trying to crack his neck back in place.

It’s been twenty-two years since this Vogue magazine came out, but when she looks out of the window, the style is coming back around. The two-thousands never dies, it seems. She’s seen it come back about five times, now.

The chair shrieks across the tiles when she stands up. Sara grimaces and casts a look to the hallway, where Ted’s programme can be heard. It hasn’t gone amiss that there’s been a lack of arguing on Ted’s part this past week—he’s bound to blow up anytime now. Every little noise Sadie makes is like pulling on the tense wire that is Sara’s nerves.

She leans down to the windowsill, her head down on her arms, watching the world go by. School kids wait for the yellow busses, a couple of teens bike on by, laughter high on the rain. The headlights on the newer cars shine down the street, whizzing past at a speed waaaaay over the limit. Longing pulls at her heart.

A shuffle somewhere behind her draws her eyes up, refocusing on the reflection of the lit kitchen in the glass.

“Morning,” Jeremy sighs, pulling a chair from underneath the table and sitting heavily. He’s in black pyjama pants and a loose-fitting red sweater, and he takes the bowl of cereal his mom offers him, digging in straight away.

Ugh. Sadie looks away, out of the window again. This time, she swears a kid looks right at her. Probably not—Jeremy’s always said living people can’t see them one bit. Unless they’re Lydia Deetz, but she’s a bit of a folk story in their world. A could-be, whom people want to believe can give them a way out. There are whispers, and shouts, but nobody has proven her to be the real deal yet.

“Did you get a good sleep?” Sara lays a gentle hand in her son’s curls, shifting them. “Your father and I didn’t keep you awake yelling did we? I tried to tell him to quieten down; that he’d wake the two of you. But…well, you know how he is.”

As a matter of fact, yes, Ted did keep them awake. Something about slipping on the stairs because they’d been polished too much. Unable to sleep, Sadie had turned on some alternative rock from Jeremy’s player, and watched the world go by all night at his desk chair, contemplating life and the afterlife. Nearly twenty-three years of the same posters on the walls, nearly twenty-three years of Ted and Sara, twenty-three years of Jeremy sleeping with his back to her, tossing and turning, like he can’t face the consequences of his actions.

In the middle of the night, governed by moonlight, she had even dug out Jeremy’s copy of the Handbook for the Recently Deceased and had a good old flick through. Hers had been thrown under the bed when she missed her target of Jeremy the week prior, and she couldn’t be bothered to go crawl under there and grab it.

Seven-hundred pages of illustrated explanations, incantations in different languages of all kinds. Nothing particularly helpful, besides the whole ‘draw a door!’ thing it offered, for those who wanted to talk to a case worker.

They’d done that in the early days, when the desperate need to escape became too much for even him. See, Jeremy’s death had been an accident. Hers, an unfortunate consequence. Wrong place, wrong time. In another life, she might have stayed home. Jeremy wouldn’t have come out to the garden to find her. The cops would have found him in the house and arrested him before taking him to prison, and her life would have continued in a decent deal of shock, but at least it would have continued.

Jeremy had drawn a messily-etched door on the wall, tearing down his precious posters, and knocked three times. It materialised and opened up into winding hallways passing grotesque endings and frightful things. It was a whole city—dry cleaners and police forces in terrible hues of reds and greens, dirty and depressing; a waiting room, and an immigration centre, for those wanting to reach the Pearly Gates, the Fires of Damnation, Elysium or the Great Beyond, governed by the dead. Their case worker, Juno, in her last year working, sat them down and explained the basics.

They were dead. This was the afterlife. No, Sadie, there hadn’t been a mistake. No, Jeremy, he couldn’t go back. But the good news was that they weren’t stuck forever! Sadie blew her nose noisily at this on a tissue Juno handed over the desk as Jeremy side-eyed her, clenching his fists. This was not what he’d hoped for.

“One-hundred-seventy years for you!” Juno slapped a stamp down on a business-like card, a bit of slip with Jeremy’s name in blood-red ink looped along the top line. “For soul redemption, and per the guidelines.” She slapped it down in front of him. “Don’t lose that, young man!”

She turned to Sadie next, human-looking with permed blonde hair and kind eyes. “Sadie, darling, I know this is hard to comprehend.” She touched Sadie’s hand, before offering a glance to Jeremy, as if willing him to understand. “Murder victims are often the hardest to console—the shock.” She picked up her pen with the other hand and began to write out another card.

“Only fifty years for you, my dear. Your life review deemed it unfair to have you repent for his sins. But, per the guidelines, you also have a lot of reviewing to do.”

“What happens after the time is up?” Snapped Jeremy at her side. His foot tapped anxiously at the ground. “What does it mean?”

“You’ll come back here and head on over to immigration! Show them your passports—they’ll arrive in a few days, so not to worry about that. You’ll have a choice: reunion at the Pearly Gates with other family members. Damnation if the council decides you have more repentance to continue. Or the Great Beyond, if you would like another shot at life. We give significant wait times between your death and your departures overall to allow those who have passed into our current side the opportunity to really think through their choices.”

Jeremy shifts, leaning forward. When Sadie shifts her gaze away from Juno to her boyfriend, there’s this look on his face. Anger, shock, mixed with a bit of terror that this is what the afterlife is.

“So this happens to everyone?” He asks.

Leaning back, Juno shakes her frizzy hair. “Not everybody, no. Some people become ghosts, others don’t. Luck of the draw. We aren’t completely sure why only certain people end up in our state, but it happens more often than you think. The live people think it’s down to unfinished business. But you’d know all about that, wouldn’t you, both? You’re very new here. And oh, so young! Twenty…what an age! Not to worry—we have some pamphlets I can give to you. We run acceptance classes on a Thursday night, all about accepting you’re dead. It helps some dead to make peace with their circumstances. And of course if you ever have any queries or complaints, we’re always here to help!”

Thunder cracked, and the book in Sadie’s hands slid from them, falling to the floor with a heavy thud. It fell open, face-up. She leaned down to it and examined its pages contents. The book only displayed the contents when it deemed the reader ready for them. The pages her book showed would not necessarily be the same ones as in Jeremy’s.

SO YOU WANT TO EXCHANGE YOUR AFTERLIFE FOR ONE OF THE LIVING? READ ON NOW, WE CAN HELP!

The bed sheets ruffled, Jeremy rolling over in his sleep. Ted screamed at his wife two floors below, and Sara’s words came through among the sobs.

Creeping across the room on light feet, she sat down at her boyfriend’s side. “Hey, Jeremy…you’ve got to get up.”

He opened his eyes, seriously unimpressed, rubbing them.

Sadie leaned down, smugly smiling. “I’ve got an idea.”

The following afternoon, residing in the same chair after a fight with Jeremy and an aching heart, Sadie thought back on her whole twenty-two years in this house. Her parents were somewhere out there in the big wide world, in their sixties. Her sister would be grown with a family of her own, having been to college, or travelled. Maybe she became a sad reminder in a photo frame on the mantelpiece somewhere, or a candle lit in memory every anniversary of her death, or her birthday. She might be a story shared at Christmas, replayed every few years on the news. She missed them terribly.

She thought long and hard about the lead up to her death, and spiralled. For the rest of the afternoon and well into the night, curled up beside him, she thought over first encounter with Jeremy in the town, and a long drive into what became her new home.

She thought way back when, to 1999.

CHAPTER 2 -> to be published.

[kokichidemon]

I do believe Astrid was very stupid for immediately going with Jeremy when she JUST MET HIM but Ngl I would. Probably go with the cute dead boy too.

[mzradyer]

goth barbie x devil lord

mia sokolov and landon king from god of ruin (legacy of gods #4) by rina kent