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artist-issues · 20 days ago

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Sounds like Moana 2 felt like the rushed tv movie it was supposed to be.

THIS IS THE MOANA 2 CRITIQUE POST

I'm tired of excusing things with the word "rushed." If you have less time to produce, you should simplify what you're trying to say. That way, all your small amount of time can be spent on carefully building the best way to say it. Moana 2 felt very unfocused. It felt like it was trying to say:

"You Can’t Survive in Isolation" (but like why not? why do they need their neighboring islands? Don’t make up a reason—tell me the reason the movie showed you.)

"There's Always Another Way” (what? As opposed to what? One way? What One Way was Moana demonstrably sticking to before the not-really-villainess sang her song? Wasn’t finding that One Way ((“learning where to go by remembering who you are/where you’ve been”)) the whole point of the first movie? Now we’re throwing that out the window?)

"Together But a Little Different" ("Different" as in 'In-New-Circumstances' not "Different" as in 'We’re-Different-So-It’s-Hard-to-Relate-to-One-Another,’ which would've been the better, more cohesive sense of ‘Different’.)

“Something-Something Stories Are Important” (literally they just substitute the phrase “we’ll die” with “our story will end.” No mention of why that’s bad, or what makes a story a story, no reason why stories are important, or what for, just throwing the word “story” around vaguely.)

And none of those "themes" I listed just now had a lot of work put into them. That’s it, in a nutshell. But I can flesh-out my argument for those, and present what I think they could’ve easily done differently, if they’d just picked one and worked hard to make it simply good. SPOILERS BELOW.

“You Can’t Survive in Isolation”

We're told in a quick vision that Moana's people will die if they stay in isolation—but there's no showing us that.

In fact, what we've been shown is that they're thriving, they're fine by themselves. They were in the first movie. They are at the beginning of the second.

So we're not convinced that they need what the whole adventure is supposedly about. Compare that to the first movie! Totally doesn't measure up to the storytelling quality!

In the first movie, the whole first act sets up the idea of darkness reaching through the ocean from Tefiti's missing heart, killing everything. That’s especially bad for Moana’s people. We know that because we’re shown how Moana's people are so deeply connected to the ecosystem of their island, and how every part of it is needed for their way of life to continue—then were also shown that Moana has a deep, personal longing to leave the island. There’s a real connection to home and an urgent need to leave it, and that creates really good emotional tension.

So by the time we're shown (not told in one scene, or through snatches of overdone dialogue, but shown) how the darkness will destroy everything if she doesn't go, we really believe it. We have lots of reasons to empathize with and believe in Moana’s reason for going on this mission. We also feel for her having to make the big decision; we’ve been shown that she’s trying to live up to her responsibilities, and leaving the island would seem like a dismissal of those responsibilities, but we can also see how doing nothing and staying actually would be a dismissal. We feel that tension because they showed us several believable reasons to feel it.

But when Moana is singing “Beyond,” which is supposedly about her conflicting feelings about leaving, and the need to go? I’m just bored. Not emotionally invested. I just saw her going back-and-forth, leaving and coming back, leaving and coming back, one song ago, in “We’re Back.” And everything was fine during that song. Leaving-And-Coming-Back is the dream she’s been living as a voyager. So why is she suddenly convinced it’s a hard decision to…leave-and-plan-to-come-back?

“Because the last voyager died doing this mission she’s about to go on! She might die too!” Okay but all you did was tell me that. You didn’t show me Moana nearly-dying (like she did the first time she tried to cross the reef, or the first time she tried to tackle Te Ka on her own) and then realizing, “gee, oh no, I could die this time,” and then having to make a renewed decision to go anyway. You didn’t put work in, so I don’t believe it.

But the emotion Moana is feeling about leaving is also undercut, like I said, because there doesn’t seem to be a need for her to leave. All they did was tell me that Motunui is in trouble if it stays isolated. But no proof. They were fine isolated from other islands in Moana 1. They have been fine up until now in Moana 2. One random vision of an empty pavilion for three seconds isn’t going to make me forget that and believe that continued isolation will do anything negative to them.

And another thing, what does “uniting with other islands” even mean?” Why would it be such a good thing?

Nobody mentions trade. Nobody mentions learning from one another, or demonstrates learning from one another. Honestly, having Kele teach Moana or Moni or the Kakamora, an actual other-islander, about farming would’ve been a great demonstration of “why we need to meet new people and get out more.”

Having Kele LEARN TO SWIM would have been a SLOW ONE DOWN THE MIDDLE.

But nooo. They just half-bake suggest the idea that the old man doesn’t like leaving his comfort zone, but then never let one of the others have a real conversation with him about why he needs to learn new things from new people. NEVER. It’s just “bouncy vague song, almost-jump-in-the-water-under-coercion BUT NEVER ACTUALLY DO IT, banter and one liners” for the rest of the movie! (And don’t tell me Kele “learning to speak Kakamora” was an example of him “getting out of his comfort zone.” No. Kele never demonstrated a lack of desire to meet and learn new things from strangers. He demonstrated a hatred of fun and the ocean. All the others could also understand the Kakamora literally whenever they needed to, so that wasn’t a special-character-arc for Kele.)

Even though, my point is, they could’ve easily had a character arc for Kele. And that would’ve had something to do with “learn new things from new people, or die stagnant and stuck in your ways,” look, see, a mini-object-lesson in one character’s journey about the theme of the movie. But noooo

They could’ve done the same type of “learn-something-new-or-die” with Moni. Have him be convinced that doing things the “traditional Motunui Wayfinding Way” on this, his first adventure, is the ONLY way to do things. But he’s not good at it, no matter how much head-knowledge he has. And then the Kakamora (or literally any non-Motunui-character) could’ve shown him a newly-developed style for him to learn and grow.

They could’ve done the same type of “learn-something-new-or-die” with Loto. But nope. She just has a really poorly-done, poorly-written, poorly-performed snippet of a song where she mentions how… “perfection is a myth, the journey is just failing, learning, then death, no destination, ever.” But that ridiculous, absolutely absurd worldview is not portrayed as something she’s wrong about or needs to grow out of. It’s portrayed as a good, quirky, revolutionary thing.

But that’s not the same thing as portraying the value I’m describing. Loto just sings about it and invents-and-reinvents canoes. She does not learn how to make canoes from outsiders. She doesn’t learn anything from anybody. She is portrayed as a solitary genius with her own ideas who’s never once shown to be wrong about anything in the whole movie, and everything she tries works. She never messes up or makes a mistake, for all her singing about it. So she never actually “falls on her face, then gets up and learns.” Even though learning from others would be the literal only way for her character to portray the idea of this vague theme they throw out there, “You Can’t Survive in Isolation.”

The point is: there is no reason, in-movie, SHOWN, for the audience to believe that Moana should “re-unite the islands.” There’s no believable demonstration of why that would be a good thing, and no believable demonstration of why not doing it would be a bad thing.

So then why do we care if she risks her life and Maui’s life to re-unite the islands? For a bunch of nameless nobody background characters to show up for a five-second afterparty on Motunui at the end? Ridiculous.

Moving on.

“There’s Always Another Way”

So BUMP ALL THAT, I GUESS.

Matangi, everybody’s Cherished Hope for a New Villain, sings a song and it’s about “get lost, there is no one way, there’s always a different way.”

Fine. Cool. Whatever. The whole point of the first movie was that there’s this symbolic, ancient, WAY of sailing and living your life bravely. And Moana doesn’t know what that One WAY is because her tribe had forgotten it, so she has to learn it. It’s cool, because you navigate by looking at where you’ve been, to see where you’re going. It’s the whole “remember who you are in order to face life’s challenges, not hide from them.” That’s “the Way.” But whatever. Dump that down the toilet, new movie. You know why? Because everybody’s obsessed with “There’s No One Truth,” and “There Is No Right and Wrong,” and “Let’s Experience Things Just to Experience Them, the Journey is the Destination Because We’re not Going Anywhere!” Blah blah blah ridiculous inane sewage slop.

BUT whatever, fine, IF you mean it in a “There’s Lot’s of Ways to Solve Most Problems, Try Try Again,” sense, that’s okay. That’s true for most problems (not all, but most, certainly there are more than one ways to sail.) Sure. that message, if that’s what they mean, is fine. That’s the sense in which Moana takes it, at least, when she dives down to touch the Core Island and break the curse instead of it rising.

But you know what? Yeah. They don’t flesh it out. They don’t take time to show that that’s what’s happening. Moana doesn’t try to teach her new crew how to sail, and they suck at it, but if she lets them do it their own way or whatever, then they work—and she learns there’s “more than one way.” That doesn’t happen.

The Kakamora that joins their team doesn’t solve all his problems with blow darts, or violence, or whatever—and then Moana, or the kindhearted Moni, or the peaceful Kele, tells him, “no, there’s another way, you don’t always have to do things your violent way.” That doesn’t happen.

Loto has one moment where she applies the way she was already living according-to, from the moment we meet her, not a NEW way, to the canoe so that the gang can out-sail magical waterspouts. And it works for like twenty seconds, is played like a great triumph, before they all get smashed into the ocean anyway.

Kele, again, would’ve been a great example of “learn to do things in a different way, or problem-solve by try-trying again.” Because he’s old and they set him up as hating life for no reason and not wanting to do new things. But they didn’t do anything with him.

And guess what else—at the end—when Moana has her own demigod powers, and her own magical-arm-tattoo ripped off from Tears of the Kingdom—guess what her magic power is?

To stick her oar in the water, and light up one current or “path” for the boat to take to a new destination.

A Path. ONE SINGULAR SOLITARY WAY.

Not “a new way.” Not “all possible ways.” Not “multiple ways.” Not even two ways. One. Even though the big lesson she sacrificed her life for, even though the one and only song Matangi got to sing, was about how “there’s always another way.”

WHILE they’re singing a reprise of, “We Know THE Way.”

It’s like being in a conversation with someone who starts a sentence and then forgets what they were saying halfway through, and winds up saying worse than nothing.

“Together, But a Little Different”

Like I said, if you told me that the Main Point of the movie (not one of many vague ideas, but the Main Point) was “Together, But a Little Different,” I immediately would’ve said:

“Oh, so it’s about having to adjust to long-distance relationships. Maybe even death.” Or, maybe, because I saw the trailers, I’d go, “Oh, so it’s about keeping what makes us unique, but uniting when we need to, in spite of our differences. ‘Together, But a Little Different.’”

No. It’s not about any of that. It’s just a phrase the Grandma’s Ghost says whenever she hugs Moana to remind her that she’s still “with her.” She’s still with her; she just glows and can shapeshift into a manta ray now! That has tons of application for real life. 🙄

It’s supposed to be her words of comfort to pass on to Moana, who can then pass it on to the people in her island, so they know that she won’t “ever really leave them.” But like. Then why should I care that she’s leaving them? Why should that be sad? If there’s no sacrifice in being apart, in leaving for the adventure, then the adventure keeps feeling low-stakes and boring and kind of pointless.

If you tilt your head and squint, it’s also maybe-applying to Moana’s pointless ugly annoying Little Sister character, Simea. Simea is in the movie so that someone can be immature for three seconds about how Moana’s always gone from home. And I do mean exactly three seconds, that’s all the emotional drama we get, and it’s not built up to either. She says, “Never come back? -sniff sniffle- I don’t want you to gooo!” And then runs away and then Moana takes a break from singing the next day to briefly explain to Simea about how she can pass messages through the ocean. Then she’s fine.

But the way this theme is thrown around, you think it would mean, “Moana Has to Go Away Sometimes, But if You Remember Her She Never Leaves You.”

But seriously. Again I say to you, who cares? We know Moana is coming back. We know that. Nobody in the audience seriously believes she’s never coming back when she leaves for this adventure. If we did, maybe we’d care that Simea cares. But we don’t.

Even when Moana “dies,” and it’s the perfect time to be like, “seeee, what we feeeared has happened, she’s dead, she can never go home to Simea!” THERE IS NO FOLLOW-THROUGH. There’s not even a cut to Simea back on Motonui, feeling through the ocean or the Force or whatever movie mumbo-jumbo that her sister is gone. And there is not even a deadline, in the movie, for Moana to accomplish this mission, so it’s not like she could be running late and we could get some scenes of Moana’s family mourning. Simea having to do something, take some big step, that show’s she’s willing to go on even if she can’t be with Moana anymore because she believed Moana about how she’s always with her—something like that.

My point is, Simea has no real point, so she doesn’t add to this “Together, But Different.” idea at all. And we already know that it doesn’t mean, “overcome our differences” from what I said in the first Theme.

But what they could have done? They COULD have gone whole-hog and MADE MOANA A BELIEVABLE DEMIGOD. Instead of a vague joke about tattoos that leaves the question open-ended, a pointless and theme-breaking display of shiny superpowers, and no other change to the status quo—

—they could’ve shown that there are consequences to that action—maybe she’s a Demigod of Navigation, or something like that, and the condition is, she can sail around connecting islands, but she can never stay on one too long. So she’ll never be able to live with Simea and her parents again on Motunui, but it’s the price she has to pay to connect the islands. Then she’d have to show Simea how they can still be “Together, Just a Little Different.”

Or someone could’ve gotten hurt or disabled, giving off the idea that even though everything is “different,” they can still be “together.”

Maui could’ve died and passed his fishhook powers, AND MINI MAUI, on to Moni or Moana. “Together, but different.”

Nothing, nothing at all like that happens. It’s just a pretty phrase that could’ve meant something, but any meaning it actually has hamstrings the whole emotional weight of the story instead of fueling it.

“Something-Something Stories Are Important”

The thing here is. I already said it. You can’t just say words and expect them to be impactful, in a story. You’re supposed to show what they mean and why they’re true, and THAT’S what creates an impact.

So when you’re talking about “stories” in a story, you definitely should not have nothing to say.

And I can feel it. I’ve seen none of the promotional material, I don’t watch the interviews, I haven’t checked BuzzFeed or ScreenRant or the Disney Youtube page in a while, but I can feel it.

I can feel them trying to say, “Something Something, ‘Storytelling’ is a big part of Pacific Islander Culture!” I can imagine the headlines. “[Actor or Disney Exec Name Here] Invites You to Celebrate Your Story with Pacific Islander Heritage Month!” They’re so into “culture as a marketing tool” these days.

But they say it so lazily. Just repeating the word “story” over and over in the movie doesn’t pay tribute to how important “stories” are to Pacific Islanders. Or to anybody.

You know what makes stories impactful? They point at truth, when the darkness and misunderstandings and evil of the world threaten to distract you or hide the truth. That’s what makes stories impactful. I’m sure Pacific Islanders use stories in that way—to pass on what they believe to be true, in a way that can be retold and remembered.

So MAKE THAT THE THEME OF YOUR MOVIE. Instead of just having Moana replace “Nalo wants to kill us” with “Nalo wants to end our story” for Empty Effect—instead of having Grandma say something about “your e

Okay okay.

Nalo is a silly, lazy villain. He is clearly a Thanos rip-off in design and introduction in a literal post-credits scene, and his most-present form, in the movie, is just a big ocean thunderstorm. But the laziest thing about him is that he’s the Conflict that everyone is trying to rise up and overcome, and the whole reason he sunk the Island was “He gets power from humans being divided.”

That’s never explained. It’s never shown at all why he gets power from the vague “humans are divided” thing. He has no scenes. He has no interactions with other characters (till the end-credits scene.) A range of his power, like “here’s what it looks like when the humans are divided—oh, now here’s how much less-powerful he is when they’re together!” is never shown. So. No consequences if the heroes fail, no change to the status-quo, villain-wise, when they win.

If Nalo wanted to end their stories, though, that would be another thing.

Stories are meant to be told. They’re for the benefit of others. So what they should’ve done is made the secret key of Nalo’s power hidden. Unknown. Nobody knows how to beat him. And he’s not sinking some unfindable island in another dimension. He’s just devouring the resources of the weather with his ever-more-powerful storms, (kind of like the darkness leaking through the ocean from the first movie) and nobody can stop him.

But that’s because each island, around Oceania, has clues to how to beat him. Clues in their stories. But they can only sail so far from what they know before his storms kill them. So he’s literally making them weaker by using his power to keep them apart, and making himself stronger by defending his weakness. Now they can’t Wayfind to each other, and learn one another’s cultural advancements or stories or beauties, because Nalo is powerful enough to make storms that rip their boats apart. But if they could learn from one another’s stories about the things their ancestors used against him, they could get rid of him.

That’s what they should’ve done. Shown why Nalo was a threat and how the Main Theme was the key to overcoming that threat.

They did not do that.

They made stories just a hot button word to be thrown around with no impact. In a story.

The point of this post is that Moana 2 had a lot of potentially-good points, and it made none of them, so it was totally unsatisfying. If it had just focused on one, the other little benefits they were trying to fit in could’ve been mentioned more naturally.

The way that Beauty & the Beast is all about ONE theme: “True Love is Self-Sacrificial.” But because of the tools it uses to tell that story—a beast that it would take a lot of self-sacrifice to be stuck with forever—you get little side-themes thrown in, supporting and draping decoratively over the ONE theme: “Beauty is Found Within, So Don’t Be Deceived By Appearances,” etc.

Moana 2 should’ve just picked the Story One, and it could’ve had that theme, and it’s cultural-nod cake, and it’s unifying-effect cake, and EATEN IT TOO.

And we could’ve eaten it. And WE could’ve enjoyed it! But no. Money money money lazy lazy lazy.

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zer0pm · 2 years ago

Text

Imagine waking up with Luis sleeping on top of you while you both take shelter from the storm.

Warning: suggestive content 🤫

A/N: editted for mistakes and added upon by just a little for your reading pleasure ;) thanks for your time

“Think it’s safe?”

“Only one way to find out. ¡Vamos! Into certain danger we go!”

You pinch the bridge of your nose and groan. This man’s optimism was breathtaking, confident in his strides towards the abandoned looking house that you two discovered. You follow behind him, careful in your own steps and had your gun drawn at the ready in case of any unfriendly encounters. Thankfully, your entrance went unanswered and after a thorough search of the building, you both confirm that the coast is clear. Finally, a safe space to squat and wait out the storm.

Sighing in relief, you didn’t realize how exhausted you were until you took a seat on a rickety wooden chair in what you assumed to be the remains of a dining area. Running around avoiding countless plaga in the pouring rain took a lot of your energy and your weary state did not go unnoticed.

Luis speaks addresses you. “Why don’t you take a rest, my friend? There is a bed upstairs. I do not think the owners will mind it.”

Your brow lifts upon reflex, tempted by the idea of laying on something soft after hours of running for your life. However, the consideration of well-being for your present company outweighed your desire to address your own. So you counter him, “And what about you? You look just as bad as I do.”

The man dismisses your suggestion with a wave of his hand, “I’ll keep watch. Make sure no scary monsters come bumping in the night. No te preocupes, I’ll be fine.”

Always the gentleman this one.

Still, you weren’t going to let him get away with it. Especially at the sight of the dark circles beneath his eyes. Chivalry be damned. You take a moment to absorb your dusty surroundings and listen closely to the weather. The two of you were lucky to even find this place amidst the pouring rain and you were certain there wouldn’t be any uninvited guests coming in to hack you both into pieces anytime soon with how bad this storm is raging.

“Pretty sure we’re safe here, Luis. Can’t see anything in this damn rain and place looks like it hasn’t been occupied in ages. Plus, with Leon Kennedy roaming about, think Saddler is commanding his minions to focus more on him than us.” You wave your finger around the air, figuratively drawing the argument back at him. “So if you need some shut-eye too, I was told there’s a bed upstairs.”

Luis chuckles breathlessly, evidently amused at how you effectively countered him. He then hums aloud, seemingly taking your reasoning with careful consideration before a coy smile curves upon his handsome face.

“Qué lindo. So stubborn just to get me to lie with you.”

The color drains from your face in an instant.

“Now hold on a minute-“

The man cuts you off with a rambunctious laugh. “You’re much too easy to tease, my friend. Very well, then. You win!” he says with an affirmative clap before making his way to the stairs. Halfway up, he stops in his tracks to look down at you. “Well? You coming?”

You wait to see if he would follow up with further teasing. When he didn’t, you wordlessly got up from the chair and joined him. As he said, there is indeed a bed on the far wall of the room. Like the rest of the house, it looks like it had seen better days but neither of you were in a position to be picky especially when sleep was beckoning. You approach the bed and lift the sheets off, dusting as much as you can before setting it back down and doing the same for the pillows. The bed was big enough for two people, so it should be fine to share without worrying about bumping into one another in your sleep.

“There,” you huff, satisfied with how you prepared the bed. “Is there a side you prefe-“

Your voice catches in your throat when you turn around and take in the sight of Luis’ bare back. It was only when you see him fidgeting with the zipper of his pants did you find it again.

“What are you doing?!” you practically screech.

The dark-haired man glances casually at you over his broad shoulder, not at all bothered by your sharp tone.

“What does it look like? I’m making myself comfortable,” shrugs Luis. “I suggest you do the same. You’ll get sick if you sleep in wet clothes.”

The desire to argue for the sake of arguing was strong, but you found yourself distracted by his physique. For a man who claims to be just a “simple researcher”, he is pretty cut. The definitions of his muscles are both impressive and pleasing to the eye. It didn’t help that the man is devilishly good-looking as well, not that you will ever say that out loud. The man’s ego was big enough as it is.

If you were taking too long to speak up, Luis didn’t say. He turned his head away from your direction. “I won’t look, prometo. And I’ll take the left side. Muchas gracias.”

A man of his word, Luis did not once look your way as he wordlessly went to his side of the bed and slips himself beneath the sheets. After a moment of inner conflict, you heed his advice and strip yourself down to your underwear as well, taking your clothes and his to hang off the stair railing. Finally reaching the bed, you see that Luis was still lying on his side. The heavy breathing your ears pick up suggests that he’s fast asleep. Although your heart was beating frantically, you settle under the covers as well. Your form mirroring his with your back towards him. Sleep came quickly.

You’re not sure how much time has passed when you woke up, you only know that it is still storming outside… and Luis Serra is on top of you.

His whole body is practically draped over yours. He partially lied with his chest both against the bed and on your side. The heavy weight of his right arm was wrapped around your middle with his hand resting almost possessively on your hip. You can feel his breath fan against your neck, leaving warm, lingering tingles upon your skin. It suddenly felt impossibly hot in this chilly room.

You didn’t need to see the man’s face to know he is still sleeping, snoring soundly against your ear. Careful not to wake him, you tried to move away. However, the moment you fidgeted, Lus stirs and his hand moves from your hip to your shoulder, effectively keeping you in place.

Well, then. This is awkward.

The idea of waking him up came to mind but you thought better against it. Why embarrass you both and deny the other some meaningful rest? That was the excuse you came up with as you feel the man nuzzle against your neck and shoulder. The scratch of his facial hair feeling wonderful against your skin. An involuntary sigh of pleasure escapes your mouth and you had to bite your bottom lip to stop more from coming out. You needed to pull yourself together. The man is sleeping, for god’s sake, and here you were, getting hot and bothered.

Just as you were about to accept your situation with grace, you feel Luis move once more. Followed by a lethargic groan, he twists until he is on his back, withdrawing his hand from your person until it rested on his sculpted abdomen. His eyes are still closed. His expression is peaceful, absent of the coquettish mask he usually wears. The man looks impossibly beautiful like this and you found yourself reaching a curious hand towards his face. You manage to stop right before his cheek, mesmerized by his sleeping form. If lives weren’t on the line, you’d watch him forever.

“How long have you been awake?”

The sound of his thick accent made you jolt, retreating your hand back to your side. You almost thought you were imagining Luis’ voice until your eyes catch the flutter of his lashes. Grey eyes peeking in your direction.

Unable to think of anything better to say, you candidly answer back, “How long have you?”

The Spaniard grins wryly. “Tocado. Point taken.”

He turns his head, his expression telling that the man is well-rested and now focused entirely on you. There was something in his eyes that you cannot place. Or more accurately, there was an emotion within them that you recognized all too well as you were certain you had the same burning in yours but dared not to acknowledge our loud. You mimic his movements, ensnared by his magnetic gaze. When he turned his body so that he was completely facing you, you did the same. Neither of you have broken eye contact. In the corner of your vision, you see him lift his hand until it hovered over your hip at the exact same spot it was before. Luis doesn’t lower it, however, his eyes silently asking for your permission. A slight nod from you was the sign he was waiting for and you are graced by his warm touch once more.

His thumb caresses soft patterns against your hip bone, teasing the skin beneath the band of your underwear. Your breath hitches, his subtle touches already stirring something fierce inside you.

“¡Mierda! Don’t make that face.” the man growls, wearing a serious, pained expression. You blink in confusion. Instead of elaborating right away, Luis earnestly squeezes your hip, earning a wanton gasp from your mouth, and pulls you in against him by the curve of your back.

“If you keep looking at me like that, mi amor,” he says through gritted teeth, his hot breath mingling with yours. “I won’t be able to savor you slowly.”

That undid you.

You weren’t sure which of you two closed the distance. While the storm was pouring freezing rain outside, you and Luis kept one another plenty warm inside.

A/N: Thanks for reading. You can find the next (Rated M) part here ;)

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