#a real person could do it for a second opinion

[amiaclone]

You asked I’ll write! Gender neutral reader if you don’t mind

Tw: cursing I guess? Squid game in general should be considered a trigger over all the murdering lmaoo

*In ho sighed for the what? Fifteenth time? He’s been counting it’s what he’s trying to focus on the other thing is well……*

*When he decided to participate in these games again it was to prove Gi hun a point and mess with him a bit so he joined his “team” which well….. they happened to be in*

You were apart of it a strong person filled with determination in debt to a lot of money…..honestly in ho was shocked with how much debt you were in I mean you seemed like someone who’d make it far in live would rule against the poor like he used to be…

But you weren’t you were *trash*

You were lower lower class you were nothing…..

Yet why couldn’t he stop thinking about you?

He had a wife who he fell out of love with before he even met you…..swore he’d never fall in love again after distancing himself with his family and starting the games…..

But you just had to be lucky star didn’t you?

You were “kind” and not in a pushover kind of way just….kind like kind that would not take shit from people but would help others in need….and didn’t hide your opinions from others that deserved it….

It was disgusting but…..In a good way? He wanted you not in a possessive way but in a way type of wanting to care for you and you care for him-

*He shook those thoughts off ugh. Why now? He’s usually so calm and collected…..at first he wouldn’t lie he was hoping you’d die in one of the earlier games but now….he isn’t so sure. Gi hun already has plans to take the guns and fight back he had a plan problem was…..you were apart of the main plan

He probably had to kill you it’s probably a good thing but…now he isn’t so sure he’s gotten along with you great and he has a tiny bit of hope that you even like him back so for you to find out he runs these games….he can’t risk it

You’ll find out anyway but he doesn’t wanna face you to your face he atleast wants to hide behind a mask atleast imagining what you’d say…..

Currently he’s trying to convince himself that these feelings aren’t real……maybe it’s just attraction? Of course you’re really good looking maybe it’s that!

“Uh In ho?”

*He turns around that voice dreaded him more then anything the voice he was ready to hear-*

“Are you okay In ho?”

It was Gi hun

*He unfortunately realised that after breaking out of his rare trance he blinked for a few seconds then nodded*

“What is it?”

*Gi hun shrugged* “Nothing you seemed out of it….” *In ho stared at the ground trying to seem calm but spoke in a bitter tone* “I’m fine…” *He let his eyes wander to you who was talking to he thinks Junhee the pregnant lady? Gi hun noticed and raised an eyebrow* “Maybe Y/n will cheer you up…..Hey y/n!”

*You raised an eyebrow nodding at Junhee before walking away up to the two men.*

“You guys need something?” *In ho sighed he’s been trying to avoid hearing your voice….and you in general.* “In ho seems nervous I thought you’d be better at calming him down…*

*As Gi hun left you leaned your back on the bars of the bed he was sitting on….he couldn’t even look at you.*

“So. What is it?” *You asked he didn’t look at you but he could tell you seemed concerned*

“……” “In ho?” “…….If somebody did something almost unforgivable in any way…..what would you do?” “……What?” *You were confused rightfully you knew he was like this but for the way he got was so….* “Just answer the question…..please.” “Well if we were close I’d….wanna know why. Depending on what they did it��s…..hard to say hey are you saying this cause you’re worried or something i understand i am too but…..don’t focus on the negative so much you know?” *As usual kind…..how could such a good human like you be in these games yet he knew…..He is the front man after all he decided to atleast “ask you” and bond maybe a bit before he has to let you go….*

“Yeah you’re right as logical as ever so why are……you in debt if you don’t mind answering?”

*He felt you rise up you stared squinting your eyes then smiling* “Damn didn’t expect anyone to ask me that….don’t think it’s important.”

*Oh he knows what it is why wouldn’t he a petty part of him felt betrayed some what you weren’t gonna tell him after how close you’ve gotten but he decided to keep his cool.*

“You don’t have to tell you i just asked since we might be leaving this place or if neither of us..make it.” *You groaned* “The pessimism again In ho? Jeez you could…..I’ll tell you though cause you do have a point.”

“Well i used to be pretty rich and well-“ *As you went into your story he already knew it but continued to listen you were rich worked in a high payed business workplace but like most work places favouritism is common. Which unfortunately lead to your downfall.* “Anyways one day I found out i was being underpayed a lot of money so I complained this and that and i got a warning complained again then got fired…..It was hard to find a job i didn’t pay the bills for a lot of things debt grew bigger and bigger then a man asked me to play a game one day and well…..here i am.” *Ah yes In ho nodded at your story he knew it all he was the person who called for you to be in the game….you were a wonderful person honestly what was he thinking you were too good for a game like this is something he of all people would never think he would say.* “Im sorry you don’t deserve to be here after all it’s not your fault you’re in debt…” *You shook your head* “Eh I didn’t have a good of a college degree anyway maybe if I studied more in college I wouldn’t be here but eh atleast i got to meet you?” *In ho sighed and he didn’t want to or realise it but he couldn’t help but let a small smile rise genuinely.* “I suppose it’s…..mutual.”

*You sighed smiling* “I can’t wait for tomorrow we’ll finally *maybe* get out of here right?” *He felt his heart stop for a second oh yeah…..that*

*He awkwardly cleared his throat* “Oh yeah I suppose this game will….end and we’ll probably never see each other again” *You snorted* “We can still talk, we can meet up together and talk and stuff it’s not like we need to forget each other…”

*”That’s right” In ho thought he needed to forget you maybe these feelings would go away….but the the thoughts came he didn’t want to but…..”I killed my brother damn it! I can do this I’ve talked to them for only a few days this is…”*

“In ho??” *He stared up at you instinctively like an animal almost he stopped himself and regained his composure.* “Jeez you seem tense maybe get some rest…” “No im…..just thinking….about all the bad decisions…..humans can make.” *You hmmd* “I suppose so humans can be evil if given the chance with such power.” *In ho nodded* “Have you ever thought of doing something regrettable?” *In ho wasn’t sure why he was asking these…..questions but maybe it was to see the inhuman side of them to make him disgusted in you? Maybe that’ll work.* “Well I’ll admit yeah…..I got bullied and when I found out there father had cancer i wanted to well bring it up tear them down….i think i was about 14.” *You didn’t seem shameful you seemed to regret it but not shamed it only made In ho admire you more as he hated it.* “So why didn’t you do anything?” *You laughed a bit* “I would of if it wasn’t for me asking my mom and telling her like i was about to do the best thing she got mad scolded me and told me a different way a better way to handle bullying……and I’ve used that advice since.”

*He quirked an eyebrow what would it be that he hasn’t heard ignore them stand up for yourself be the the bigger person?*

“Be better than them…..because bullies are the weakest of the weakest in society strategy they don’t want you knowing is you finding out you’re better then them.” *He knows that advice he’s never thought much of it but hearing it from you automatically makes him wanna know more…* “Well then your mom raised such a lovely person….you should be proud.” *You scoffed laughing a bit* “I made a lot of mistakes that i can’t even say thought of some weird stuff im glad i didn’t say or do anyways……yeah. We’re human everyone has made one bad mistake you’ll dwell on for the rest of your life my advice is well…..did you regret it?”

*In ho sighed smiling* “Thanks for the advice I’ll rest for a bit” *You got up smiling and leaving that’s it.* “Y/n you’ll always be in my memory….” *In ho didn’t know what to do with them maybe ask them to join him? No! That would be so idiotic they’d never agree….try to make them understand? Maybe let them go? Why doesn’t he want that…..he then smiled.* “I can’t wait for tomorrow y/n you’re so unpredictable maybe you could stay with me…..”

Anddddd a cliffhanger sorry if this is ooc i was halfasleep writing this 😭

[bearprofessorr]

a second chance.

sometimes getting stood up is the only way to find what you really needed.

ship: declan o'hara/fem!reader. tags/warnings: drinking, making out, no y/n. word count: 3.8k.

(crossposted on ao3)

---

The night was young, and you had plans. A date. One of the boys that helped out with the Cotswolds Round-up plucked up the courage to ask you out after a few weeks of idle chatter in the breakroom. You dressed up for the occasion - even if it was only for a drink at the one proper pub in the area. It wasn't often you would be asked out; normally you would be making the first move, hoping that it was reciprocated. Not tonight. 

You arrived slightly before you planned to meet him, wanting a drink to steady your nerves as the clock got closer to 8. you finished your first drink - a simple vodka coke - and looked back at the clock, now reading 8:15. Panic rose in your throat, but you kept it down by ordering another drink. Thankfully, there was a TV behind the bar that you could watch to pass the time, distract yourself and try and convince the other patrons of the pub that you were really enthused by... golf. 

The night continued to pass, and the golf blurred as you stared at the screen instead of watching it. The clock hit 8:45 and you had to swallow the pain of being stood up. You looked around the pub, seeing if anyone was looking at you - no one spared you a glance. There were faces you recognised, some from Corinium's other departments, but none that you spoke to at all; Until you looked down the bar, in a dim corner, noticing Corinium's prized jewel; Declan O' Hara, slowly nursing a glass of whiskey with his eyes just as glazed over as yours were, staring at the TV. Rumours had been circulating around the offices of Declan's wife being scouted for work in London after prized director Malhar Verma was spotted at the O'Hara's New Year's party. Although you knew nothing of Maud personally, she had been in some of your favourite films as a kid, and you were sure her return to the acting world would be well-received. However, from the looks of things, Declan wasn't taking the rumours too well, and from where you were sitting, it was unclear to you whether Declan was even sporting his wedding band. It wasn't as if you could go over and strike up a conversation, though. You had spoken to Declan in passing, mostly because your team helped Cameron with research and analytics - taking the analysis of audience retention and opinions off of her plate so she can do what she's best at. 

Whether he noticed you looking at him was another uncertainty - but you noticed his head move out of the corner of your eye, and you decided to act very interested in the golf again. When he stood up, you took no real notice, until he walked up next to you, got the bartender's attention and ordered another glass of whiskey. 

"Did Tony send you?" He leant his forearms on the bar, looking you over for anything he deemed suspicious behaviour, "'Cause if he did, tell him to fuck off, will you?"

"What?" You asked, more confused than defensive. 

"You work at Corinium, do you not?" Declan mirrored your expression, eyebrows furrowed as he waited for you to respond.

"Yeah, but I'm no spy - promise." You put your hands up in defence, giving Declan a weak smile and a shrug to try and calm his nerves. The bartender came over with Declan's drink before he could speak, so he quickly thanked him and took a long sip before continuing.

"So you just come to the pub - all dolled up and alone, for fun?" 

"I wasn't supposed to be. I got stood up."

"Oh. Sorry..." He awkwardly patted your shoulder, in some kind of apology - or sympathy. 

"Don't be. It was my mistake to assume he was being genuine."

"Men are cunts, take it from me - don't waste your time on them." His mind immediately darted to Rupert Campbell-Black, and his attempts to court his daughter. A small part of him looked at you, noticing you and Taggie appeared similar in age and he chastised himself for the thought. He went to say your name, but realised very visibly that he couldn't recall it, even though he recognised you. You noticed this and held out your hand, introducing yourself like you were taught to.

"I work with Cameron on research." You smiled, appreciating his gentle grip as Declan took you hand in his to shake it, placing his other hand on top to solidify the gesture. "We've actually been in the same meetings for the last month."

"Ah, that explains why I've seen you around - wait, are you-"

"Brainiac, yeah. Tony called me that once - probably not in the nicest way - and it just... stuck." You rolled your eyes at the memory, sighing, detaching your hands to run your fingers through your hair, "But I would prefer for that to stay at work. Obviously."

"Obviously," He parroted, "Of course." He noticed he hadn't reciprocated the greeting, and hated the fact he assumed people knew who he was, "I'm Declan."

"I know that." Declan winced ever so slightly at your response. You smiled without thinking, for the first time that night, "You're the golden goose of the network; and working with Cameron, I do research for your show. I think if I didn't know who you were through all that I'd be kicked to the street."

"Right." Declan chuckled, looking defeated as the conversation fell into a lull. "If you don't mind me asking," He presented the question, his journalistic instincts kicking in, "Who was it you were supposed to be meeting here?"

"Sebastian." The name rang a bell, with Declan recognising him for around the offices, mostly tailing Cameron wherever she went. Before he could make a comment, you spoke back up, "He... well- he said we would meet here and go for dinner, but that clearly isn't happening. I'd rather not dwell on it, if that's alright." You gave a flat smile, taking a long breath to stop the anxieties from crawling back into your mind. "I should have been realistic, he's... he's him, and I'm-"

"Don't sell yourself short. You're a beautiful woman, and it's a pity for him he hadn't recognised that." Declan cut you off, a stern look on his face. He took a moment to truly look at you then, in a way he hadn't dedicated the time to before - what self-respecting married man would spend his time gazing at the women he worked with? 

As much as you would have wanted to believe him, wrap yourself in his kind words, you simply couldn't. What did it matter if you were beautiful if no one was around to treat you as if you were? Actions and words meant very different things - both needed to be true if you wanted to believe it. This came across clearly on your face as you turned away to stare into your glass, both hands interlocked around it on the bar. 

"Thank you, but that doesn't change anything." You sighed, draining the last of your drink into your mouth, pulling your bag onto your shoulder, "I'm sure you didn't come here to comfort my bruised ego - I'll get out of your way so you can actually enjoy your night."

"And what enjoyment do you think I came here for?"

"I don't know," You shrugged, scanning the room before looking back at the TV, "Maybe you just wanted to watch the golf."

He laughed at that, raising his eyebrows in disbelief, leaning his back against the bar as you stepped away from it, "Really?"

"Look, what else am I supposed to say?" You looked down at his hand around his whiskey glass, noticing he was still wearing his ring, but the words came out of your mouth before you could hold them back, "That you've come here to drown out your troubles? I'm not like you, Declan, I don't pry."

He noticed your eyes dip from his, and a part of him wanted to hear you say his name again, in that perfect accent of yours. It was that same part of him that he kept locked away for fear of turning into the men he criticised. The small glint in his eye at that quickly disappeared, not without you noticing. "Maybe you should. You'd learn a lot about a person that way."

"You look like you're dying to tell me why you're actually here," You stood your ground, relaxing your posture, "so, go ahead."

"I wouldn't say dying to, but if you insist-" Declan teased, shrugging while he gestured with his glass for you to sit back down, but when you didn't, he nodded to acknowledge your lack of action and continued, "I came here to avoid Taggie sitting me down and trying to stop me from falling into 'old habits'." He exaggerated with the curl of his fingers. 

"Old habits like the one in your hand?"

"Bingo."

"Maybe you should listen to your daughter, Declan."

"Maybe you should mind your own business, darling." He mocked, enjoying the anger that immediately rose to your face, only to be concealed - except the lingering red around your ears.

"You're the one who-" You scoffed, noticing the smile playing on Declan's face and taking an audible breath, turning on your heel, "Forget it. Enjoy your habits, just try not to leave when the bar closes - makes you look like you have a problem."

"It's only a problem if I leave alone." Declan called out to you, and he watched as you stopped mid-step and placed your foot down delicately.

You paused, still facing the door, hands tensing as you considered your options. There were two ways this could go, if you stayed - and misread his signals, you go home disappointed. If you're right about the undertone of his words, and you stay, you can forget Sebastian and enjoy some good company - maybe more.  Already having been disappointed by one man tonight, the only way that has the potential to change is if you stay. 

"Is that so?" You turned, your head tilting to emphasise the playful nature of your question. "In my mind that would just be two people fuelling each other's addictions, but if you'd prefer I stay to make sure you get home in one piece-"

"I can take care of myself, you wouldn't need to carry me home." He paused, "If anything, the opposite's more likely."

"I think you underestimate how many people I've drunk under the table who've thought they can hold a light to my drinking prowess." You were bluffing - you'd only competed against one person, who was already pissed and was half-way to the bathroom after the first drink. 

"And you're the one saying I've got a habit? Looks like you've been practicing yourself."

"Only on weekends." You joked, and by the look on his face, it was clear Declan understood you were playing up your tolerance, and made space for you at the bar as you stepped closer.

"Right." He chuckled, "It's not for sport, then?"

"You could say it's more a hobby." You smiled, taking your seat facing Declan, while leaning an arm on the bar. "There's not much else to do out here."

"It's fair to indulge every so often." He gestured with his glass to the bartender for another round, taking the last sips from it, "Less destructive than hunting."

You rolled your eyes, the reminders of your summer job at a range leaving a sour taste in your mouth that was quickly replaced with a drink. "It's a hobby for assholes with delusions of grandeur, as far as my interactions with them have gone."

"So, the whole of Cotchester?" Declan raised an eyebrow, eyes following yours.

"Unfortunately so." 

"I'm certain you've heard everything there is to know, then?"

"Not that isn't already common knowledge."

"You'd be surprised - like how we all 'know' about Cameron and Tony-" The commonplace gossip slipped from Declan's mouth before he could think, but since it was only to another Corinium member, he realised it was safe to speculate. When you cut him off to fill the rest of his sentence, he breathed out a small sigh of relief.

"But his wife's none the wiser, yes I'm aware. I don't have the protections you do to go around telling everyone's business to any ears that'll listen." You shook your head, relaxing it to rest on your hand, propped up on the bar.

"Now, what's that supposed to mean?"

"You're Declan O' Hara. Your whole schtick is digging up people's pasts, making a living off of the skeletons in their closets." You accused with a flourish, taking a long sip from your glass.

"Not always."

"But you have, right? Like with Rupert - you didn't say what it was but I know for a fact you had something catastrophic." There was a sparkle in your eye at that, the thrill of the chase, Declan knew that tone - he used it himself when he knew he had someone pinned. Backed into a corner, ready to strike. "You reached for something. I saw. Twice during that interview when you were readying yourself for the question, you reached," You reached across, poking the side of his chest. "Right there, for your blazer pocket."

"I was bluffing - to throw him off, and it worked like a charm." Declan brushed your hand away, lightly closing his hand over yours. Your heart fluttered at the contact, "Now, if I did have something on Rupert, as soon as I made the choice not to say it on air, that information never really existed."

"Because of your daughter?"

The question caused him to pause, the words hanging in the air. 

"What?" He tried to regain his balance, his gut tossing itself to the side. Thankfully, you didn't notice, and kept talking to fill the silence. 

"I overheard people talking about her bursting into the building to track him down during the break - did she know?" You interrupted yourself, "Was that what you were going to expose him for?"

Declan shook his head, trying his best to mask the disdain he felt for Rupert's advances on Taggie, "No, there wasn't anything to expose. Rupert's life has been incredibly public, everything I said was already out there, public knowledge."

"Tony and Cameron public or actually public?"

"Front page of 'The Times' public."

"Hmm." You didn't look fully convinced, but dropped the subject simply because of the look Declan was giving you - stern, final. "You two seem... friendly."

"We are." Declan agreed, adding with a knowing smile, "He's better than people assume he is - once he comes back down to earth." 

You chuckled at that, knowing the stories that filtered through the area of his specific brand of ego. The alcohol had fully seeped into your bloodstream now, if the dull pulse of your heartbeat in the back of your head was anything to go by. The lights seemed to shine a little brighter, haloing Declan in a warm glow. You didn't say anything, didn't feel the need to. You simply stared, observing how in the silence, Declan turned to face ahead of him, leaving you with the side profile of his face. He was tired, that much was evident - the light beginnings of unshaved stubble rising on his cheeks, a similar shade to the bags under his eyes, half-hooded eyes that threatened to close without forceful blinks every so often. It was only once you hand made contact with the side of his face that you realised it had moved to brush against his cheek, a slow, soft movement with the backs of your fingers. Declan moved his eyes before his head, an equally soft look and light glisten of water in them as they noticed the touch. 

Your eyes widened, your hand froze, you took in a short breath and held it tight in your chest. As soon as your hand twitched to move back, his rushed to hold it, trying to form the sentences in his mind to express what had made his heart stutter. All that came out of his mouth, like a plea, was the simple question;

"Can I kiss you?" 

You barely had time to process your head nodding, your instincts answering for you, before his lips met with yours for the first time. The first thing you noticed was how he tasted, of whiskey and cigarettes, combining with the scents of cedarwood - it was addicting to say the least. He pulled back, Declan's hand lingering on your cheek. Your eyes looked into his to try and find any hint of hesitation, of regret, and found none.

It was the light jeering of a table off in the corner that took you both out of the moment, made you duck to hide your blushing face from the other patrons of the bar. 

"Don't listen to them," Declan used the hand on your cheek to guide your face to look back at him, "They're only playing around."

"It's hard not to, not when I can feel them looking at me-" You cut yourself off, draining the rest of your glass. It was almost abrupt, the way you stood, grabbing your bag. Declan put a hand on your arm, trying to slow you down, and you answered his question with your own before he was able to ask it, "Are you coming or not?"

It took a moment for his mind to catch up, but as soon as he met your eyeline again, saw the light reflect in them, he nodded and slid his hand down your arm to lace your fingers together - the bar had his card on file, they would charge what they wanted. Frankly, he couldn't give a shit about how much he had spent, all he wanted was to follow you wherever you decided to go. That was good enough for you, and the pair of you left the bar to light cheers from the same table as before. As soon as you were outside, as soon as Declan knew there were no more eyes on you but his, he pulled you closer, feeling the goosebumps from the chilled air on your skin.

Declan's eyes were focused on your lips, physically restraining himself from devouring you there. You took the initiative in a rare moment of confidence, hovering over his lips before pressing them together, breaking apart for a moment only to return open-mouthed, deepening the kiss; His hands rushed to pull you closer, tangling into your hair and around your waist, fabric bunching under his grip. You pulled away, the chill of the night forcing you out of the moment. Declan chased your lips with his, instead electing to brush their noses together before pressing his forehead to yours. "What's wrong, darling?"

You smiled at that, had to stop yourself from breaking down into a puddle of laughter at how soft the situation had turned, "I- We might freeze to death out here if every ten paces you stop and-" You dodged his lips again, turning your head so they pressed against your cheek, still giggling all the while "-God, if you don't let us actually get to where we're going, I'll never forgive you."

It was almost childlike, how Declan pleaded with you, how his round brown eyes tracked yours, "I'll keep you warm, sweetheart, I swear."

"Declan-"

"No-" He interrupted, running his hands down your arms, interlocking your fingers once he reached your hands.

"As much as I would love to take your word for it, I can't feel my hands right now."

"They're fucking freezing." Declan commented, pressing both of your hands together so he could cup his around them in some attempt to warm them up. 

And at that moment, the bright lights from the unfortunate turn of a car into the driveway of the pub caught you both off guard, and something in your gut felt the need to make significant distance between you and Declan. Luckily so, since as the car pulled up, Declan recognised it and winced, knowing what was going to happen already. Not Taggie, but Rupert stepped out of the family's car first, with his daughter in the passenger's seat. 

"Fuck."

"Declan! Man of the hour, thought I'd find you rotting away here!" Rupert cheerily leant on the bonnet of the car, a shit-eating grin on his face as he crossed his arms. "Look, I'm not one to judge what a man does with his time but-"

"Fuck off Rupert." Declan rolled his eyes, pulling his blazer across himself. You were glad you hadn't been noticed, and tried to just start walking home when Rupert lifted himself off the car and walked with a brisk pace to step in front of you.

"Not so fast, sweetheart." He placed a gentle hand on your shoulder, not quite meeting your eye, "I know the last thing you want to do is talk, but I'm not about to stand here and let you walk home by yourself."

He turned around to look back at the car, watching how Taggie had stepped out and was standing face-to-face with her dad, chastising him for staying out so late. Declan looked over for a moment, offered a small wave to you and Rupert and resigned himself to the justified beratement from his daughter - he knew in the bottom of his heart that she was right, but drinking was the easy way out and they both knew that. 

Taggie carted him into the front seat of the passenger's side, and beckoned Rupert over with a stern but tired look on her face. Rupert patted you on the shoulder, leaving you with a small, "Just one second, alright?" before jogging over to Taggie. You couldn't hear what they were saying, but with the vague gestures that Rupert made to you and the glances you caught from Taggie, you assumed they were talking about you. It made you want to dissolve, but that was the risk you took. And, at the end of the day, you were glad of the rest of the night you had, even if it ended prematurely.

Rupert, ever the gentleman, walked you the 30 minutes home, in relative silence. He broke it only to ask your name and if you were alright, both questions that you answered with the least information required. 

After a particularly awkward walk, you got to your door, and as you fumbled with your keys, you paused, took a breath and turned to face Rupert. "Look, I don't want this to become a whole ordeal-"

"Don't worry, I won't tell a soul." Rupert smiled, and it looked more genuine than the ones he flashed on Declan's show, "Your secret is safe with me." He reassured, nodding goodnight as you disappeared into your house to sneak into bed, alone.

[breadvidence]

I'm going to table a two-pole concept as a useful tool when evaluating what you're building when you write meta/literary analysis.

So: say there's a distinction between what you can read out of a text and what you can read into a text: or, I'm going to use those prepositions as convenient shorthands for this post as I talk about one of many patterns in literary analysis. Both are the bread and butter equally of the academic industry and fan work, though I'd bet the former would pretend it uses reading into texts less, and I've seen fan work fail more genuinely to see the difference.

When we read out of the text, direct quotes, context, historical facts, etc. come together into a more complex idea or conclusion: one of my favorites in Les Misérables is the murder-suicide implication of Marius bringing Javert's pistols with him to his final (missed) meeting with Cosette at the Rue Plumet. It hinges on the context of Romantic tropes surrounding the death of lovers, his direct association with Ulbach via the Lark's meadow, his insistence that death will follow their separation, the fact of there being two pistols, and answers the otherwise puzzling question put to us when the narrator says "It would be difficult to say what vague thought [Marius] had in his mind when he took [the pistols] with him." (4.9.2). Now, whether Marius would have shot Cosette—or solicited her to commit suicide with him—is beyond what we can read out of the text, in my opinion, but the potential is inarguable.

What we can read out of a text is, I will note, haunted by the question of authorial intent. There's this guy named Barthes, I think it is, who fucked us up on that one.

"Why are you bringing up prepositions to talk about basic literary analysis, Bread?" I hear you ask. But wait! There's more. A preface this with: per my opening, I'm laying out a concept with two poles, and there's a gradient between them, nothing fits perfectly-neatly, and any analysis might be a blend of in and out—and almost all things read into a text must somewhat come out of it. That qualifier being said, I'll still argue for:

When we read into the text, while quotes, context, historical fact, etc. may spark the idea, ultimately the analysis begins with its conclusion, and we are seeking to find material to shore up a structure we've already built. So, so much professional queer literary criticism of works created without explicit queer intent fall into this category, bless 'em, and so does a lot of fan meta. Reading into a text is the entire game of fanfic, and it's a space in which creators can enrich the works of others. Often, what we bring into the text is ourselves—which is neat as fuck, particularly for a queer person like myself whose understanding of the world radically differs from an author like Victor Hugo (though of the ideas that I freely admit to reading into the text, my real darling is fear as Javert's primary emotional motivator [Hugo tells us at length about Javert's emotional motivation: I just think it's neat to ask why do we hate?, and find an answer that is less painful than for its own sake]). Analysis that has been read into the text can be intricate, built upon extensive evidence from the text and history, but ultimately it varies from what can be read out of the text in being indefensible: some portion, however compelling, relies upon an element that cannot be found in the text and its context: if the analysis could not be independently built by every reader possessed of the same basic facts, you got something read in. What we build this kind of analysis with often includes, without value judgment, our emotion, identity, and personal investments (ever-present in analysis of all types, but in these specific cases structurally integral). For a second example: to me, it's incredibly important that the bourgeois marriage at the end of Les Misérables is meant as a failure of the sociopolitical ethical argument made by the book as the whole, but I cannot read that out of the text. Trust me, I have tried to build that analysis, and I always find myself having to lean on feeling and inference and implication in a way that's so much air. To make Les Mis meaningful for myself, I stick to this idea of that failure: but I can't defend it to someone else.

I can still write an analysis of Javert motivated by fear or bourgeois marriage as failure, share that, have people read and (hopefully) enjoy it—that's meaningful fanwork (or academic work, for that matter; that's a thin line in literature). What I won't do is defend those points as definitive readings of the text, and I definitely ain't going to argue back if somebody tells me they have a different reading. Sometimes analysis can tip-toe right along the edge of being out of and into the text, but I can tell you when I'm doing the latter.

There are times when you can read into the text in a way that is fully indulgent in fan work in a way that academia generally avoids (or pretends to avoid): take, for example, building trans Enjolras out of canon material. There is precisely zero way to read out of Les Misérables that Victor Hugo wrote the novel imagining Enjolras had anything other than a dick—I am not altogether married to the question of authorial intent, but me and it are on friendly terms, and I'm dead confident here—but as fandom has made abundantly clear, you can read transness into the novel (which is not to say Hugo doesn't play with androgyny and gender in Enjolras' character—he's just not flying the pink-periwinkle-and-white). This is something that means a lot to a lot of people, and that's valuable. The fact that it's not in the novel does not invalidate the meaning. It simply means it's built on different ground (and, when we talk about the ways in which a text lacks or fucks up or can do more, we find going into it results in a more fertile reading than simply getting out of it).

There's no have to in meta or literary analysis—it's a game we're playing with stories that are themselves games—but I think this framework has a couple benefits as a tool to analyze analysis, particularly in a social environment. (1) If your goal is to make arguments about what can be firmly concluded from a text, recognizing that reading into it is a different style of analysis with a different level of portability to others is useful and (2) recognizing that what you have read into the text is refutable and idiosyncratic strengthens your ability to remain engaged with others who don't share or agree with your analysis. Now, sometimes you think you're reading out of the text, and additional information or a counterpoint prove you wrong: that's fine, inevitable, we all got our days where we didn't know the historical usage of a certain word or something, eh? On the other hand, if you're perfectly aware you're reading into the text, if someone tables a counterpoint or additional information, you can say: Yeah, cool, thank you, my investment in this idea is playful or personal or what-have-you, and its defensibility is irrelevant to its existence.

From personal experience? All beneficial.

[weirdsociology]

ok but this is a wild over-simplification of the genre. second-chance romances between already married or previously partnered people are extremely popular, and the entire premise is "we already know we will, we've already learned we don't have the skills to make it work... so how will we change?" similarly, "your family hates me but it's a time and place where their opinion matters" is critical in regency romance, with lots of varying outcomes. navigating big life decisions like jobs and houses together is not uncommon in contemporary. needing to square political and class differences is also really common across all settings, to the extent that you have, like, explicitly marxist, labor-rights, and suffragette-based historicals as well as tooooons of contemporary. you could maybe argue that regency does the 'no real relationship until the end' but even that's not true: the keystone of almost all historicals is, how does a person who has never cared for another person learn to do so, and if that's not the work of a relationship i don't know what is.

i am begging y'all to take romance seriously as a genre. i'm not going to say every writer in romance does these topics well - any more than every writer in fantasy considers the racial implications of their work well. but to reduce a genre that grapples with vast swathes of the human experience and reduce it to one trope reveals an ignorance about the art form that echoes the same tired prejudicial stereotypes about women's media that are still plaguing us.

Saw these tags, directed at me, on my post about how the romance genre is almost always a bunch of drama and with no actual relationships until “the final moments” or sometimes never at all:

The ace/aro hate on this website is still thriving, y’all.

Anyway, time to go show this to my boyfriend of many years to let him know that Generic Tumblr User #8762901 says we’re not in a relationship anymore because aro people aren’t allowed to date…😔

[girlfriendsofthegalaxy]

helping

[unnerving-presence]

lowkey annoying how the same people who say “wesker would not say he loves you” and accuse people who say that of making wesker ooc are the same people who genuinely think he’d kill you for interacting with him, which is also ooc

[knxfesck]

Had an epiphany that the reason I find it hard to believe I lie often is that I don't even consciously notice half of it bc its so normal to me... all my data is fucked man I might have to do some reflecting 💀

[gentlemanjuniper]

If I could inject just a little positivity to the news...

Season 2 has a lot of filler and stretches out a pretty simple mystery to six episodes. That's the appeal to some, I get it. But tightness and focus was not its strong suit. I remember feeling like it wasted a ton of time on side characters and it's possible shaving the story down to 90 minutes will skim things down to its most essential beats and be stronger for it. Basically, S2 got a lot of time given to it, and this is obviously my personal opinion but I don't think it used all of it well. I think S2 itself could have been half the length simply by employing more efficient storytelling and we'd not mourn too much.

A lot of S2's weaker plotlines feel built around people that Neil wanted to work with again, with so many recurring actors (I'm thinking of the zombies specifically, when that minisode could have easily been tighter without them). A lot of s2 to me feels like Neil just making work for the people he likes and wants to work with and a movie has to be more accountable to things like that.

Lots of entire fandoms exist around single movies. 90 minutes is not nothing. It's enough for many, many films to tell a complete story with cute character interactions and satisfying emotional arcs, especially when A&C are the only real significant connecting threads between both seasons thus far.

I don't think there are as many loose threads that absolutely need resolving as people may be thinking. Would I like to know why Aziraphale did the '40s apology dance? Would I like to see his bookshop gun? Sure. Are either of those necessarily essential to closing out the story? I don't think so. Really, what needs resolving is the second coming and, directly connected to that, Aziraphale and Crowley's rift. To me, not knowing the story obviously, that seems super reasonable to do in 90 minutes?

I don't think anyone involved in the final season can possibly be blind to the appeal of the show being Aziraphale and Crowley over anything else. That's certainly the reason why their roles were expanded to begin with from the book and why the second season was, nominally, all about them. They also now have to pay MS and DT for appearing in a movie rather than an ensemble show, there's no way they won't be front and center. Amazon wants a show that will make money and market itself; there's a reason why all the promo material for S2 was of Crowley and Aziraphale, because people engage with that stuff, reblog it, make art that promotes the show, etc. It makes no artistic or financial sense to make a movie that sidelines them.

GO is at its best when it has Terry's voice most strongly in it. That's why to me, S2 was a weaker, more meandering season overall (that, and I think the minisodes, while fun, just make the season feel comprised of different voices not always working in tandem towards a common goal). If I was a writer hired to condense a season into a film, and one of the authors had been rightfully disgraced, I would go out of my way to ensure the clearly Terry stuff is most significantly emphasized. It's telling to me that the Pratchett estate is producing and it's possible that the end result will result in more Terry, less Neil.

Think of it this way: everything we've gotten after S1 has always been extra. Imagine telling a fan of the book in the 90s that not only will you get a six episode adaptation, you also get a totally new second season, AND a movie?

Basically: I know this is disappointing but I think a lot of the pleasure of the Good Omens fandom was ALWAYS people picking up on and expanding on details, and y'all managed to do that just fine when A&C were only ensemble members in S1. You can and will do that with a movie too. And this solution both a) ensures first and foremost that Neil won't be involved or the allegations swept under the rug, and b) gives an opportunity for the heart of the story to be emphasized with greater focus, clarity and less filler.

Will we lose good stuff? Probably. But it's also possible we will get a tighter, more condensed, focused version of the best bits, the Terry Pratchett-est bits. I can easily see a 90 minute movie that, knowing they HAVE to focus on the important stuff now, is more Crowley and Aziraphale centric than ever.

[astrxbtchs]

‧₊˚ ⋅* ‧₊ Astrology Observations II ‧₊˚ ⋅* ‧₊

✺ Pisces Mars are experts at ghosting. You guys take action in such an elusive way because you hate confrontation, or just unnecessary drama. If y’all are annoyed or feeling a way about something you don’t say anything right away and you only react when things boil over into the point where you can’t control it anymore and you explode. Then you immediately bad for getting so angry. Just work on communicating how you feel, when you feel it, sometimes other people won’t know how you feel until you express it.

✺ Mars in the 1st house synastry isn’t always as sexy and hot as people think it is. The mars person’s attraction could be so strong for the house that they come off too strong which can completely turn off the house person. (If there isn’t any other compatible synastry)

✺ The sign in your second house is usually the sign, or ones with those placements, that you feel the most possessive over.

✺ Also, the second house can explain your appetite and how you like to eat. For example, Sag risings having Capricorn in the 2nd house prefer home cooked meals over fast food. They are very strict as to what they put in their body and they won't eat just anybody's food.

✺ As of the other hand, Scorpio risings having Sag in the 2nd house go from extremes where they are either eating really healthy or just absolutely terrible. They love fast food and can tend to over indulge in these pleasures.

✺ In my opinion, 4th house synastry feels more like family or a really close friend than anything romantic (mostly just Sun and Moon) It feels almost weird to cross that line, like if you do things would turn awkward. OR if it is a romantic connection the planet person may have more feelings than the house person does.

✺ I will stand by this but 6th house synastry is SOOOO underrated!!! If you are looking for a long-term relationship with someone having personal planets here will really help the relationship last. Especially when Sun is there it’s almost like there is a never a dull moment and each and every day you guys are never get bored of one another. Venus here it’s like you guys find pleasure doing the small things together the most. You would even be happy doing things like grocery shopping with them, stopping by at your job to give you flowers, and makes living together very easy. Mars in ones 6th house is sending them to do things, and them not minding at all, they love to make you happy by doing things for you.

I do feel like moon in 6th house synastry would be a bit aggravating. Feeling like the person would rather intellectualize and nitpick your emotions rather than being the one to help you feel them. Almost feels as if you are being judged for any emotion you show. It might be annoying feeling like someone is constantly questioning you about how they feel or feeling like you constantly have to take on the baggage of what the other person is going through.

✺ It’s not said enough but Capricorn placements, especially mercury and Sun, are the most hilarious people ever. Their dry sense of humor and how sarcastic they are is UNMATCHED. They will say the things that other people are scared to say and you can’t help but to laugh. They have that dark humor that no other sign can replicate. It’s not everyone’s cup of tea but they are so real!

✺ Pisces Mars and Pisces rising’s are the ones who are attracted to people that u would least expect them to be with. Or they are attracted to the “bad boy” or the one people tell them to stay away from

✺ Sag rising don’t age! No matter how old they are they have this glow about them and always look so youthful.

✺ Aquarius and Sag Venus’ really don’t have a type. They just love someone who makes them happy and they can go adventures with . These people are attracted to cerebral people and anyone who can really expand their mind. You often hear these people say “I like who I like” or “I just love, love”. This could change if there is some Capricorn energy in the chart which could make someone value a more traditional approach to this fun loving placement.

‧₊˚ ⋅* ‧₊ Thank you guys for making it to the end of my post! ♥️if you have any experience with any of these placements/synastry above please comment down below your experience! I would love to hear you guys’ feed back. Please keep in mind these are just my personal opinions take everything with a grain of salt. Love youusss💋 ♡

[hyperfixatinator]

Where is the line?

In the comics, Tim Drake's moral code is an enigma to me, particularly his stance on the Batclan's no-kill rule. For all the fans who say he's always one step away from full blown villainy, there are even more saying he's a strict goody two-shoes who could never stoop that low.

Then there's the different takes on where Tim draws the line between these two extremes. Personally, I find that line hard to pinpoint. Digging for canon demonstrations of his morals has lead me to more questions than answers. My biggest question right now is:

What counts as breaking the no-kill rule in Tim's eyes?

Luckily, the Robins 2021 comics shed some light on this. In issue #3, "Tim", or rather an imposter of him, said that choosing not to save someone isn't the same as killing them, and that letting a villain die can be a way to get justice. Normally, this point would be moot since it's not Tim himself who said it. However, at the end of issue #6, the real Tim clarified that what the imposter said WAS his real opinion on the matter.

Not only that, but Tim has shown this belief through his thoughts and actions before. Twice.

The first time goes all the way back to Robin 1991 #5. During the fight against King Snake, Tim kicked him through a nearby window, fifty stories above the ground. As King Snake's life hung in the balance, Shiva appeared and commanded Tim to kill him.

Tim refused. He walked away, leaving King Snake entirely at Shiva's mercy.

What gets me is that Tim made no move to save King Snake from falling. And he made no effort to stop Shiva from committing the murder, either. His only thought as he heard the man's scream was "Fifty stories is a long way to fall."

The second time was in Red Robin 2009 #26. Tim orchestrated a whole plan to manipulate Captain Boomerang into getting killed by Mr. Freeze. The whole time, Tim blamed Captain Boomerang for making all those bad choices, despite Tim being the one raising the chances of them being made. Tim believed he was innocent because he wasn't directly participating.

Tim then stopped that plan, but not for any noble reason. He decided that he couldn't let anyone else kill Captain Boomerang but himself.

Tim couldn't bring himself to do that, either. So he had to spare his father's killer in the end.

This seems pretty cut and dry so far, right? Tim believing that letting villains die is alright as long he doesn't do the deed himself? I'd think so too, if there weren't other moments contradicting this.

In Robin #35, Steph insisted on leaving an enemy who got buried under the snow to die. Tim chastised her for it.

Neither of them were responsible for the snow, or for the enemy getting trapped in it. Plus, that guy tried to kill them with a chainsaw moments prior, so he's not exactly an innocent damsel in distress.

Maybe it was because this enemy wasn't a big enough fish to fry. We didn't really get confirmation that this guy has actually killed before, and he's around goon status at best.

But then in Robin #46, Tim chose to save another enemy who got himself into a deadly situation. That enemy was a murderer known as Young El. This time, Tim wasn't telling anyone else why they should save a murderer's life out loud. These were his private thoughts.

Notice how Tim's inner monologue sounded kind of on-the-fence. He contemplated justice finally catching up with Young El as the floorboards gave way, bringing a support beam down on him in the process.

However, Tim immediately switched gears to rescue Young El from under that beam before the water rose too high.

But Tim, as he told Young El the reasons he's saving him, asked himself "Do I even believe what I'm saying?" He could be asking this about two different things he said here. A) "Maybe it's not too late for you to learn something, Young El.", or B) "Death's easier for you when it's the other guy. Death's never been easy for me."

For Tim to doubt his belief in either of these statements is very interesting. He could be questioning if Young El is already too far gone for redemption, or he could be questioning if seeing someone die has never been easy for himself. For all we know, it could be both.

Unfortunately, Tim never got to see if his choice to save him would pay off. Tim wasn't strong enough to lift that beam, and Young El drowned.

There's a question on my mind as I read these pages. What makes this murderer's death different from when Tim let King Snake fall to his "death"? Sure, King Snake didn't actually die, but Tim didn't know that until later when the man came looking for revenge in Gotham.

Tim was once able to simply walk away from what he was certain would be a killer's demise. But then he's consumed by guilt over not being able to prevent a different killer's death down the line, to the point of hallucinating.

On top of that, what changed Tim's mind later? Red Robin #26 and Robins 2021 #3-6 still happened in the future. The only significant difference I can tell is that these two comics involved the killer's of Tim's parents, making it personal. But if the Imposter from Robins 2021 got his beliefs from his profile before his mother's killer got involved, then does that still hold up?

Maybe we should put a pin on it for now. There are other things Tim's done that brings the details of his no-kill rule into question.

Such as that one time Tim actually killed someone with his bare hands.

In Robin issues #51-52, Tim accidentally killed Lady Shiva while drugged on amarilla, a plant that enhances the user's speed beyond human limitations.

It may be argued if the amarilla altered Tim's mind enough to excuse him of fault or not. However, I want to focus on what happened after Shiva was revived. Here's another question to go with the first one:

Does Tim believe the kill still counts if the victim was revived afterwards?

From what I've gathered, yes and no. It's kind of complicated.

After Tim killed Shiva, he was understandably distressed about it, about how he can never take it back.

But after Shiva came back to life? Nothing. He didn't dwell on the fact he broke the vow to never kill. For something that devastating to happen in his life, it's odd that Tim didn't bring it up ever again, privately or otherwise. Especially considering what happened later in Robin #123, when Tim thought he killed Johnny Warlock.

Tim was utterly inconsolable. He lost all faith in his abilities as Robin, and in himself as a whole. It also contributed to his decision to quit being Robin after his dad found out. In general, he seriously dwelled on that "kill" for a much longer time than he had after killing Shiva. The difference being that he knew Shiva was resuscitated immediately afterwards, while Tim didn't know Johnny survived until issue #141.

But there's the fact that Shiva really did die. Her heart and breathing both stopped. So are we to believe Tim moved on from that so easily because she's alive now? What happened to never getting that back?

Come to think of it, not long after Tim killed and revived Shiva, there was someone else who landed in that same boat. Dick.

In Joker: The Last Laugh #6, Dick brutally attacked the Joker after believing he killed Tim. Dick ended up accidentally killing Joker instead, before the clown was resuscitated.

Here's the thing. While Tim was trying to comfort Dick, saying that it's ok because Joker's alive now, Dick didn't believe so. He was still distraught that he killed someone. The fact Joker came back to life afterwards didn't matter to him. To Dick, it still counted. So what does that say about Tim?

Before we move on, there's another person Tim knows who also died and came back from the grave. Jason.

Tim openly acknowledged Jason was killed before coming back, too. Multiple times. For example, when they met up in Red Hood and the Outlaws 2011 #8.

Tim hadn't shown any signs that he thinks Jason's murder doesn't count anywhere, except for maybe once.

In Knight Terrors: Robin #2, Tim and Jason had a heart-to-heart, and Tim said something strange.

"You survived."

Except Jason didn't survive. He died. To say Jason survived that night would've meant he never died to begin with. Him being alive now doesn't change that. Was this Tim telling a white lie to make Jason feel better? Or does Tim see being revived after death as "surviving"?

Ok, now we can move onto the next question. Or rather, bear with me as we go back to the first question. It's a broad topic with plenty more to talk about.

What does Tim count as breaking the no-kill rule?

We already asked how Tim feels about bringing villains back from the dead after killing them. And we asked how Tim feels about leaving a villain to die without getting directly involved. However, we still don't know how much involvement Tim needs to have in an enemy's death before he'll take responsibility for it.

We can confirm he won't mercy kill in Red Robin #21, even if it means giving someone a fate worse than death. No exceptions.

Tim also doesn't allow anyone he's actively teaming up with to kill, especially if he's the one in command. He's been amicable with known killers before (Huntress and Pru, for example), but only when they remain non-lethal while working alongside him.

Apart from that, though, it becomes less clear. However, I think this is a good place to expand on when Tim blew up a lot of League of Assassins bases in Red Robin #8.

I'm not going into whether or not those explosions actually killed anyone. I've seen evidence supporting both sides of this debate, so I'm just going to say it's up to interpretation. What I AM talking about is whether or not Tim would've felt responsible if they had killed someone.

Before overloading every generator in the LOA database, Tim gave a warning to the Wanderer. He told her that he couldn't be held responsible for what would happen to her if she didn't leave.

After initiating the explosions, Tim warned the White Ghost that they had fifteen seconds to leave before it was too late.

Fifteen seconds. That explanation on the mistake of letting him in might've taken roughly another fifteen to twenty seconds. Did the other bases even get a full minute head start? The way some of the people were already running away could imply they at least got a warning, but it's possible they might not have.

Even if everyone in every base received a warning, would that be enough for Tim to avoid holding himself accountable if they didn't make it out in time? Tim's the one who rigged the bases to explode, but I guess giving someone a warning means it's now their fault for not heeding it?

We can't be sure he even considered the possibility of those explosions killing anyone. Tim knew they were dangerous enough to bring the whole Cradle down, and the other ones we saw looked pretty powerful (except the ones in Ra's hideout). But Tim also called Ra's a murderer right after that happened, which would've been very hypocritical if Tim himself thought he committed murder.

So, my guess is either A) Tim relied on sheer luck for those explosions not causing any casualties and chose to believe they hadn't, or B) Tim didn't believe the deaths of anyone caught in them would be his fault.

Again, this isn't about whether or not blowing up the LOA bases killed anyone. It's about how willing Tim was to take that risk, and if he would've blamed himself for anyone getting killed from it.

Either way, it's canon that Tim had no guilt for the explosions he caused, or for anything he did before Red Robin #22. Just ask the Sword of Sin.

This is an exerpt I got from the Fandom DC Database on the Sword of Sin:

"The Sword of Sin can be ignited with the mind of the wielder, if the person is powerful enough. The sword has the ability to conjure in the mind its victims all of the sins for which they are guilty or have not atoned for."

When Tim was stabbed with this sword, he was immune. The Sword of Sin decided he was innocent. Although, I have to ask how reliable this sword was in making that judgement. If the sword is judging others based on its own set principles, then something's not right here.

The Sword of Sin was also used on Dick, and he wasn't immune. It dug into Dicks subconscious and unearthed memories he'd long since repressed. Memories of himself watching a boy get beaten to near death, and then doing nothing. He just walked away.

Now, tell me why the sword brought this to light, but not the time Tim left King Snake to die!

It wasn't an accident. Tim deliberately chose to leave instead of trying to save this man from the murderous Lady Shiva. Sure, Tim was no match for Shiva and he might've not been able to stop her, but the same could be said for an eight year old Dick not stopping a group of much older kids. Neither of them tried to stop the attackers.

Tim didn't atone for it, either. When King Snake returned in Batman #469, Bruce told King Snake that it wasn't Tim who left him to die. We know that's a lie, but Tim never corrected this. He let Shiva take all the blame.

We have two instances of a boy choosing not to prevent someone from having a near death experience. One guilty, and one innocent.

Did the Sword of Sin think Tim was justified because King Snake was corrupt? That doesn't sound holy to me.

Was it because Tim didn't feel any guilt over it, while Dick did? Can the sword's judgement be thrown off by the victim not feeling any shred of guilt over their actions, even subconsciously?

That could make sense given what we know Tim did in the past: King Snake falling, the vandalism (explosions), and ALL the lying over the years (Tim reviving Shiva might count as atonement, so I'm not including that). If the sword based its judgement on God's will alone, then odds are high it would've picked up on one of these.

Even so, I'm not going to sit here and say this is definitely the case. I'm not familiar enough with how the sword effects other characters to make that call.

If this is indeed false, then did the DC universe's version of God decide to pardon Tim of his sins when he prayed earlier that same issue, despite him not believing he had any? I mean, who knows, right?

You can probably see why there's more questions than answers. The point is Tim didn't have any guilt for the things he did before Red Robin #22. Tim was canonically convinced he had nothing to atone for.

So then why did he say the opposite later in Knight Terrors: Robin #2?!

In the heart-to-heart between Tim and Jason, Tim tells him this:

"You have a lot to atone for...We all do..."

Tim knows that the words "we all" include him, right? By saying this, Tim admitted to also having things he needs to atone for, right?

Is this another white lie to make Jason feel better? Is it one of those slight changes the New 52 made to the canon? If not, then why did he change his mind? Did his no-kill rule change and make him feel guilty for some past actions? Is it not the no-kill rule, but something else?

What changed?!

Where does Tim draw the line?

I don't know. We've narrowed it down to a general area, but it's kinda hard to see a line when it's so blurred it could be a gradient.

Tim baffles me. He acts as a steady moral compass for others when he can't even seem to stay consistent with his own. You're free to call it poor writing (and honestly, fair), but I find his hypocrisy fascinating.

That's what it is, isn't it? Tim's a hypocrite who's completely oblivious to being one. And it's not like this was never mentioned in the comics before. Damian called him out on it!

In Batman & Robin 2011 #10, Damian confronted Tim about his near-murderous reaction when Fist Point killed Artemis (Teen Titans Vol 4 annual #1). Damian then accused Tim of constantly rejecting him because they have more in common than Tim's willing to admit.

It's debatable how accurate that accusation was, but Tim had a pretty volatile reaction to it.

"I believe in every choice I make!"

Does he? I don't think someone who's so sure of what he believes in would contradict himself to this extent. Especially if he wasn't doing it on purpose.

He wouldn't vehemently push Bruce's no-kill rule onto others and berate them for bending that rule, only to go and bend that same rule himself when the Batclan isn't around. He also wouldn't exploit what he thinks are loopholes, decide later that those loopholes broke the no-kill rule, and then earnestly claim he never broke it.

Why is he like this?! He's had arguably the most normal childhood out of the whole Batclan before becoming Robin! What could've made him so fickle about this?!

Where does he draw the line? And how will he know when he's crossed it?

[p0orbaby]

Skeletons

summary: aitana has a secret that you’re reluctant to keep, but you do, because having her in private is better than not having her at all

warnings: angst, closeted relationship

a/n: inspired by this request ! fyi i’m not a massive fan of the ending so if you think it’s bad then your opinion is valid

word count: 4.9k

-

It’s been a long day, another day of tactical meetings and drills, the weight of another training session at Barça hanging heavy on your body. You sit beside Aitana in the lounge of her flat—everything pristine but minimal, almost impersonal, as if she's never spent enough time here to give it a real life. No personal touch to the decor, just basic furniture. A lamp that looks like it was picked because it was there and not because it meant anything. The kind of living space of someone who only ever comes home to sleep, or maybe to avoid something else. You think you know what that something else is, or maybe it’s just a suspicion that’s been gnawing at you for years, a quiet terror lodged deep in the center of you, almost as if it's waiting for something to happen. You’re pretty sure it's always been there.

You notice how she sits too close, legs curled beneath her on the sofa, leaning into you in that way she always does when she’s not really aware of it. Aitana’s always been like that—too close, too warm, her casual touches like a silent scream at the back of your mind—her fingers brushing your arm, her shoulder pressing lightly into yours, her laughter soft and private, like you’re the only one who could ever understand the joke, like she trusts you with something that’s too big for either of you to say out loud. It’s a proximity that drives you insane, but you’ve learned to live with it because there’s never been another option. Not really. Not when every look, every smile, every stupid moment of her being this…close keeps you on a knife's edge between bliss and misery.

She looks at you now with those eyes that you’ve memorised, those soft brown eyes that never stop searching, like she’s always trying to find the right words but can never quite get there. It’s a little terrifying, the way she looks at you sometimes. Like you’re the answer to something she hasn't quite plucked up the courage to ask yet.

“I’m glad you came over,” she says, her voice softer than usual, like she's thinking about something more serious but doesn't want to show it. Her hand is on your arm again, a casual thing, but it’s not casual, not to you. It hasn’t been casual for years.

You nod, biting back whatever sarcastic response you might’ve thrown out, because this—this moment feels like a delicate thread, as if one wrong move could break it. And you don’t want to break it. God, you don’t want to break it.

“Of course, I came over. You needed me, right?” you say, forcing a lightness into your voice that feels false, but you’re so used to this performance. It’s second nature. Being near her and pretending like it’s normal when your heart is pounding loud enough to deafen you.

“Yeah,” she says, but there’s something under that single word, something unsure. She leans back into the sofa cushions, and you feel the shift, the weight of her thigh brushing yours, your heart picking up speed even as you try to ignore it. You look at her, and she’s staring at the floor now, like she’s trying to figure something out but can’t bring herself to say it.

You’ve never been good with silence, not between the two of you, not when it feels like this, charged and dangerous, and you almost say something—anything—to break it, but she beats you to it.

“I’ve been thinking,” she says, her voice quiet, her gaze still on the floor. She shifts, her fingers tightening slightly on your arm, and your chest clenches, that familiar wave of something crashing over you. “About…stuff”

The vagueness of it should annoy you, but it doesn’t. Not when her voice sounds like this. Not when her whole body feels tense, like she’s holding something back.

“What kind of stuff?” you ask, keeping your tone casual, keeping the panic buried deep where it belongs. You can’t show it. You can’t let her see how much this is affecting you, how much every word out of her mouth feels like it could unravel you.

She finally looks up at you, and there’s something different in her eyes. Something you haven’t seen before, or maybe you’ve seen it a hundred times but you’ve never let yourself believe it could be real. Her gaze holds yours for a moment, and then she looks away again, biting her bottom lip like she’s nervous.

It’s not a look you see from Aitana often. She’s usually so sure of herself, so confident, even when she’s being quiet, even when she’s being thoughtful. But this—this feels different. She’s fidgeting now, her fingers tapping lightly against her knee, and you can’t help but watch her, trying to figure out what’s going on in her head, trying not to let yourself hope. Because hope is dangerous. Hope is a trap you’ve fallen into too many times, and every time you climb out of it, it feels like it just leaves you more bruised.

“There’s something I’ve been wanting to talk to you about,” she says, and her voice is so soft now, so fragile. It’s like she’s terrified of what she’s about to say, and that terrifies you because Aitana is never terrified.

You swallow hard, your mouth suddenly dry. “What’s up?” you ask, trying to sound calm, even though your heart is racing and there’s a knot forming in your stomach.

She hesitates for a moment, and then she reaches up, tucking a strand of hair behind her ear, a nervous habit you’ve seen a thousand times but never thought much about until now, when everything about her feels heightened, like you’re seeing her for the first time all over again.

“I…” She stops, her voice faltering, and then she takes a deep breath, forcing the words out like they’ve been stuck inside her for too long. “I think I might like someone”

Your chest tightens. This is it. The moment you’ve always dreaded. The moment where she tells you about some guy—some random guy she’s fallen for, the guy she’s going to love the way you wish she would love you.

“Oh,” you say, and it comes out flat, empty. You don’t trust yourself to say anything else.

But she doesn’t look at you. Not yet. Her fingers are still tapping against her knee, her eyes still fixed somewhere just past your shoulder.

“It’s… weird,” she continues, her voice wavering, and now she’s biting her lip again, harder this time, and you can see the tension in her jaw. “Because I didn’t think I’d ever feel like this about…a girl”

Your heart stops. You freeze. Every part of you goes still as her words sink in, slow and heavy, like they’re not quite real. Like they can’t be real.

But she’s still talking, her voice shaky, her eyes finally meeting yours, and you can see the vulnerability there, the uncertainty, the fear that she’s saying something wrong, something that’s going to ruin everything. And suddenly you’re not breathing, not thinking, not doing anything except sitting there, staring at her, because what else can you do? What can you say when the thing you’ve wanted for so long is suddenly, inexplicably, in front of you?

“I don’t know what to do,” she whispers, and now her hand is resting on your arm again, her fingers brushing your skin in a way that feels deliberate, feels like more than just a casual touch.

And you—God, you don’t know what to do either. You don’t know how to breathe, how to think, how to process what’s happening. Because this—this moment—is something you’ve imagined a thousand times in your head, something you’ve dreamed about but never really believed would happen.

But it is happening. Right now. Right in front of you.

You blink, your throat tight, your mind a mess of thoughts that don’t make any sense, and she’s still looking at you, still waiting for you to say something, do something, anything. But you can’t. You can’t because you’re terrified that if you move, if you speak, if you do anything, this moment will shatter and you’ll wake up and it’ll all be gone.

So you sit there, frozen, staring at her, trying to understand how you got here, trying to understand what this means, trying to understand her—Aitana, your best friend, the girl you’ve been in love with for what feels like forever.

And she’s looking at you like she’s scared. Scared of what you’ll say, scared of what you’ll do. But more than that, she looks scared of herself, of what she’s feeling. You can see the uncertainty in her eyes, the way she’s still not sure if this is okay, if she’s okay, if liking you—wanting you—is something she’s allowed to want.

“I’m scared,” she says softly, and it breaks you because Aitana doesn’t get scared. She’s brave. She’s fearless. She’s everything you’ve always wanted to be. And now she’s sitting here, vulnerable and uncertain, and you don’t know how to help her because you’re still trying to figure out how to help yourself.

But then she looks at you again, her eyes searching yours, and something shifts. Something clicks into place. And before you can stop yourself, before you can think about what you’re doing, you reach out and take her hand, your fingers lacing with hers, warm and steady and real.

“I’m here,” you say, your voice quiet but firm. “I’m not going anywhere”

And for the first time in what feels like forever, she smiles, just a little. A small, tentative smile, but it’s enough. It’s everything.

-

It starts slowly, like all dangerous things do. A late-night text that pulls you back to her place after training, her fingertips brushing your hand on the walk back from the gym, a lingering glance that lasts just a second too long when she thinks no one’s paying attention. You both fall into it like gravity’s pulling you, and for a while, it’s enough. Enough to have her behind closed doors, enough to know that, at least in those quiet moments between just the two of you, she’s yours.

But it’s also nothing like what you’d imagined all those years, lying in your own bed staring at the ceiling, wondering what it’d be like to have her next to you for real. It’s not perfect—it can’t be, not when everything has to be hidden. You’re still her best friend in public, the girl she spends all her time with, the girl who knows her better than anyone else. But not the girl she kisses when the cameras aren’t flashing, not the girl she pulls close when no one’s looking.

Those moments belong only to the nights when her guard is down, when her walls crumble and she lets you in, just for a few hours. It’s messy, but you’ve always known it would be. Aitana is nothing if not a contradiction—so sure of herself on the pitch, so certain of what she wants when it comes to football, but with this—with you—she’s hesitant. Insecure, even, and it’s a side of her you’re still learning how to navigate.

It’s late one night after another exhausting match, and she’s already taken her shower, her hair damp against the pillow as you lie beside her. Her apartment smells faintly of eucalyptus from the diffuser she never turns off, and the air between you feels heavy, like it always does after sex. Like there’s something unsaid just hanging there, but neither of you is brave enough to say it.

She’s resting her head on your chest, one arm draped lazily across your stomach, her fingers tracing absent patterns against your skin. And for a moment, everything is perfect. Just her and you, tangled together in her too-big bed, your bodies sore but comfortable in the way that only comes with familiarity. You feel her breath against your neck, steady and soft, and you close your eyes, trying to commit every second of this to memory. These are the moments you live for now.

But then she speaks, her voice low and hesitant, and you know what’s coming before she even says it.

“You know we can’t tell anyone, right?” Her fingers stop moving, and she lifts her head to look at you, her expression unreadable in the dim light. “Not yet”

It’s not the first time she’s said it, and it won’t be the last. You’ve had this conversation before, too many times to count. But each time, it feels like a fresh wound, like she’s cutting into you all over again with that same blunt blade. You want to tell her that it hurts, that it tears you apart every time she introduces you to someone as “just a friend” or dodges questions about her love life in interviews, leaving you wondering what it would feel like to be acknowledged, even just once.

But you don’t say that. You won’t. Because you know she’s scared. Scared of what it means, scared of what people will say, scared of admitting to herself that she’s not the person she thought she was. And you love her too much to push her. So instead, you nod, keeping your voice steady even though your chest feels like it’s caving in.

“Yeah, I know”

She sighs in relief, dropping her head back to your chest, her body relaxing against yours again. And just like that, the conversation is over. She’s yours again—for now, at least.

But there are moments, moments when the secret feels too heavy, too suffocating, and you don’t know how long you can keep carrying it without cracking under the pressure. It happens one day after a game, when the whole team goes out to celebrate a win, and you’re sitting at the bar, nursing a beer and trying to keep your distance. Because that’s what you do now. You keep your distance. You stay just close enough to be there for her, but never close enough to make anyone suspicious.

Aitana’s across the room, talking with a group of teammates, laughing at something Alexia says, and for a second, it’s like she forgets you’re even there. She’s in her element, charming and confident, the version of herself you’ve always admired. And when someone asks her about dating—probably joking, probably not thinking twice about it—you watch her laugh it off, deflecting like she always does.

“No, I’m not seeing anyone,” she says, so casually, like it’s the easiest thing in the world. Like you don’t exist. Like the nights you’ve spent together, wrapped up in each other, mean nothing.

It hits you harder than it should. Harder than it ever has before. And you know it’s not fair to feel like this—it’s not fair to her, and it’s not fair to you. You knew what this was when you started, knew that it wasn’t going to be easy. But that doesn’t make it hurt any less.

You drain the rest of your beer, the bitterness burning your throat, and get up to leave before anyone notices. Before she notices. You can’t sit there and watch her laugh and flirt with other people, pretending like she’s not going to go home with you tonight. Pretending like she’s not yours.

When you’re halfway to the door, you feel her hand on your arm, and you stop, turning to face her. She looks up at you, her expression soft, her eyes wide and questioning.

“Where are you going?” she asks, her voice low enough that no one else can hear. “You’re not leaving, are you?”

“I’m tired,” you say, not bothering to hide the edge in your voice. “I think I’ll head home”

Aitana frowns, her hand still on your arm, like she’s not ready to let you go yet. Like she can feel the shift, the tension simmering just beneath the surface. “I thought we’d—”

“I know,” you cut her off, not wanting to hear it. Not wanting to hear her try to make this okay when it’s not. “I’ll see you later, okay?”

You pull away from her, walking out into the cool night air, your heart pounding in your chest. You need space. You need air. You need time to remember why you’re doing this, why you’re putting yourself through this, why you keep coming back to her even when it hurts.

And later, when you’re lying in your own bed, staring up at the ceiling again, you remind yourself of all the reasons why. The way she looks at you when no one’s watching. The way she holds you close at night, like she’s afraid you’ll disappear. The way she whispers your name in the dark, her voice soft and vulnerable in a way it never is around anyone else.

She’s worth it, you tell yourself. She’s worth the pain, the hiding, the pretending. Because you have her. Maybe not in the way you always dreamed, but you have her.

-

It’s an away game in Seville, the kind where the atmosphere is tense but electric, the city vibrating with the weight of the upcoming match. The hotel isn’t much, just another chain where the carpets smell faintly of stale cigarettes and overuse. You’re in one of those rooms that looks exactly the same as all the others, sterile and impersonal—off-white walls, a single window overlooking the car park, a television bolted to the wall like an afterthought. But right now, none of that matters.

Aitana’s there with you, her back pressed against the cheap headboard, her hair a tangled mess around her face. She’s just come out of the shower, skin still damp and smelling like hotel soap, and there’s something reckless in her eyes tonight, something unspoken simmering between you both. There’s always been that quiet, dangerous tension with her, like you’re both walking a line neither of you knows how to stay on.

You hadn’t planned for this. Maybe you never plan for it. It’s just a hunger that’s become second nature, something that overtakes you both when you’re alone together, something neither of you can resist. Her lips had found yours the moment the bathroom door clicked shut behind you, the match tomorrow the last thing on either of your minds. You’re supposed to be resting, supposed to be saving your energy for the game, but there’s always this with her, this fever that takes over when you’re in the same room.

It doesn’t take long before you’re pulling her close, her fingers digging into your back, her breath hot against your neck as you press her against the mattress. The room feels like it’s spinning, like it’s just you and her and nothing else matters. And the noise—God, you can’t help the sounds she makes when you touch her, the way she bites back a moan, then gives up, letting it out like a release of all the tension she’s been holding in. The bed creaks beneath you, too loud in the silence of the hotel, but neither of you care. It’s too late to care.

You lose track of time. You lose track of everything except the feel of her beneath you, the way her body responds to yours, the way she whispers your name like it’s the only word she knows. And for that stretch of time—however long it is—she’s yours, wholly and completely. There’s no team, no match, no world outside this room. It’s just her, and you, and the way she looks at you when she lets her guard down, when she lets herself need you.

But then there’s a knock at the wall, followed by a muffled voice that snaps you both back to reality. You freeze, still half-entangled with her, your breath ragged, your heart pounding.

“Oye! Quiet down in there!” someone yells through the wall. The voice is too familiar—Pina, or maybe Patri—it doesn’t matter who it is. The point is, they’ve heard. The walls are paper-thin, you realise, and you hadn’t exactly been discreet.

You scramble off her, untangling yourself from the sheets, and for a moment, the only sound is your own breathing, loud in the sudden silence. Aitana’s eyes are wide, her face flushed, her bare chest rising and falling rapidly, and you can see the panic starting to creep in. Not panic because they know—no, they don’t know who she is. Panic because they think it’s just another random hookup. Another girl you picked up on a whim.

There’s another knock, louder this time, more insistent. “We get it! You’ve got company,” someone calls, laughing now, their voice tinged with amusement. “Didn’t know you’d have a guest tonight”

You let out a breath, already slipping into the familiar role. The one where you play it off like this is nothing. Like this is just another night, just another girl. You’ve done it so many times before—it’s a routine at this point. The jokes, the teasing, the knowing looks from your teammates when they hear about another one of your so-called conquests. It’s all part of the act, the persona you’ve built to cover for what’s really going on.

You flash a quick smile at Aitana, hoping to reassure her, but the look she gives you is anything but reassured. It’s tight, like she’s barely holding it together. You ignore it for now, your mind racing for the right thing to say.

“Yeah, yeah, sorry about that,” you call back, trying to keep your voice light, casual, like you’re not lying through your teeth. “I’ll keep it down. Promise”

There’s more laughter from the other side of the wall, some muttered jokes about your reputation, about your ‘lucky night,’ but eventually it quiets down. They’re not going to press you. They never do. You’ve always been able to laugh it off, always been able to make it seem like none of it matters.

But when you turn back to Aitana, you see the way her eyes have gone dark, her face tight with something that looks like pain, like anger. She’s pulling the sheets up around her, suddenly closed off, like she’s trying to build a wall between you both.

“You okay?” you ask, your voice low, tentative. You reach for her, but she pulls away, sitting up straighter, wrapping the sheet tighter around herself.

There’s a heaviness to the air that wasn’t there before, a weight that settles between the two of you. It’s in the way she’s breathing—slow, measured—like she’s thinking too hard, like she’s bracing herself for something. You glance over at her, half-expecting her to meet your gaze with that teasing smile she always gives after moments like this, but her face is turned toward the ceiling, eyes wide and distant, her lips pressed into a thin line.

“Aitana?” you say softly, your voice barely cutting through the thick quiet. You can feel the tension in your chest start to coil, tight and uneasy.

She doesn’t respond right away, and when she finally does, her voice is quieter than you expect, almost tentative, like she’s not sure how to say what’s on her mind. “You didn’t have to do that,” she says, still staring up at the ceiling, her fingers absentmindedly tracing patterns on the sheet.

You frown, sitting up a little, trying to make sense of what she means. “Do what?”

“Cover for me.” She says it so softly, like it’s a secret, like it’s something she’s ashamed of, but not in the way you’re used to. Not the shame of being found out. This is different, quieter, heavier. “I know why you did it, but… you didn’t have to”

You blink, thrown off for a second. “You mean… when they knocked on the wall?”

She nods, slowly, her eyes finally drifting from the ceiling to meet yours. There’s something in her eyes that makes your heart drop, something that feels like guilt, but not the kind that comes from getting caught. It’s the kind that lingers, the kind that’s been building for a while.

“I know it’s stupid,” she says, her voice barely above a whisper now, her fingers still moving in that absent way across the sheets, like she’s trying to distract herself from what she’s saying. “I know it’s just how it is. But… when you said that, when you acted like it was someone else, it just—it felt wrong”

You can feel your chest tighten, the words sinking in, slow and heavy. You want to tell her that you had to, that it’s how you’ve always handled it, that you were just trying to protect her. But the way she’s looking at you now, her eyes soft but resolute, makes you pause. She’s not angry. She’s not hurt, not the way you thought she might be. She’s just… sad. Sad that you feel like you need to keep pretending, like you need to keep covering for her.

“I didn’t think it’d bother you,” you say, and it sounds like an excuse as soon as it leaves your mouth, even though it’s the truth. You’ve done this so many times before, played it off like it’s nothing. It’s always been your way of protecting her, of protecting what the two of you have.

“I know you didn’t.” She sits up then, pulling her knees to her chest, resting her chin on them as she looks at you. Her hair falls over her face, messy and damp, and she brushes it aside absently, not really paying attention to it. “But that’s the thing. You shouldn’t have to. Not anymore”

There’s a beat of silence, the words hanging in the air between you. You sit up straighter, searching her face, trying to understand exactly what she’s saying. You’ve had this conversation before, or at least versions of it. But it’s never felt like this. It’s never felt like it’s this close to something real, something neither of you can take back.

“What do you mean?” you ask, your voice cautious, like you’re afraid to push her too far, to make her retreat behind that wall she’s so good at building.

Aitana lets out a slow breath, her eyes not leaving yours. “I mean… I’m tired of hiding. I’m tired of being a secret. And I’m tired of making you cover for me like you’re ashamed of what we have.” Her voice is steady, but there’s a vulnerability in it that catches you off guard, something raw and exposed. “I don’t want to do that to you anymore.”

You stare at her, your heart pounding, trying to make sense of what she’s saying. You’ve always been the one to take the fall, to laugh off the questions, to keep up the charade. You’ve always thought you were doing it for her—because she wasn’t ready, because she needed more time. But now, sitting here, looking at her, you realize that maybe you’ve been doing it for yourself too. Maybe you’ve been hiding just as much as she has, afraid of what it would mean to actually be out there, to actually be seen.

“Aitana…” you start, but she cuts you off, her voice soft but firm.

“I know it won’t be easy,” she says quickly, like she’s already thought this through a thousand times. “I know people will talk, and it’ll be… hard. But I don’t care anymore. I don’t want to hide us. I don’t want you to pretend like I’m just someone you picked up or some random girl in your bed. I’m more than that. I’ve always been more than that”

The words hit you harder than you expected, and for a second, you don’t know how to respond. You’ve spent so long keeping this part of you hidden, keeping this relationship in the shadows, that the idea of stepping out into the light feels… terrifying. But at the same time, hearing her say it, hearing her admit that she’s ready—that she wants to be open—it makes something inside you shift, something that feels like hope.

“Are you sure?” you ask, your voice quieter now, more careful. You don’t want to push her, don’t want to rush her into something she’s not ready for, even though every part of you is screaming to say yes, to finally stop hiding.

She nods, her eyes steady, her expression soft but sure. “I’m sure.” She reaches out then, her hand finding yours, her fingers threading through yours with a quiet certainty. “I don’t want to hide anymore. Not from them, not from anyone.”

You feel the weight of her words settle over you, and for the first time in a long time, it feels like you can breathe. Like the walls you’ve both built are finally starting to come down.

“I don’t want you to hide either,” you admit, the words coming out easier than you thought they would. And it’s true. You’re tired of pretending too, tired of covering for something that’s real, something that’s yours.

Aitana smiles then, a small, tentative smile, but there’s something bright behind it, something that makes your chest ache in the best possible way. She leans in, pressing her forehead to yours, her breath warm against your lips.

“So… I’ll tell them,” she whispers, her voice barely audible, but filled with a kind of quiet determination that makes you believe her.

“No,” you whisper back, your heart pounding, your hand tightening around hers. “We’ll tell them”

[brionysea]

when it comes to the umbrella academy, a lot of people seem to think that the first half is great and the second half is terrible. personally, I think only the first *season* is great, or even good. here's why:

the mission statement at the end of season 1 is fixing viktor, but viktor isn't the only broken one, so you can infer that they're all going to have to fix *each other* - as a family, the one thing their abuser never let them be. and the world's burning down around them because of the most dramatic sibling confrontation to ever grace the earth, but they're holding hands and escaping together and surviving the impossible with the intent to move forward, even if that means momentarily moving backwards. it's a masterful allegory for finally growing up, accepting responsibility for your personal trauma and tragedy and how they shaped you, and the moment you take that power back by choosing to heal your inner child, only after being slapped in the face with the fact that if you don't, it *will* destroy everything you've ever built, ever cared about, and ever could.

and then the rest of the show forgets all of it. as it were, it goes in the *exact opposite direction.*

on the surface, the second season isn't *as* bad as the subsequent ones are. but season 3 and 4's faults can be traced back to season 2 by how it pivoted away from the serious subject matter that the story (not the plot - the *story*) was heavily baked in, leaning hard into the goofier elements instead, without ever understanding the contrast that those conflicting elements served to highlight. it made them both more powerful; the jokes were funnier because you were just devastated, and the trauma was more devastating because you were just in tears laughing. the emotional roller coaster is key to understanding these people, and you *have* to take the serious stuff seriously for it to work. at least half of the show doesn't, and as a result, the emotional moments feel hollow.

controversial opinion: as a character, luther is better in season 1 than he is anywhere else. he's more unlikable, but that's because he's implicitly there to show what *not* to do - even if he'd succeeded narratively by locking viktor up and saving the world, he still failed thematically by emulating their father and continuing the cycle of abuse - so luther's a character that's being very effectively used to add to the core theme of the story. he feels like a real, frustrating person, whose brain chemistry got messed up by years of abuse and isolation, all for the crime of thinking his father loved him and wanted the best for him. not like a made up guy on your screen doing silly stuff solely for your entertainment.

season 2 was also the start of the characters getting love interests instead of storylines, which season 1 never would have *dreamed* of; klaus and dave's tragic romance only served to further klaus's character arc, viktor's creepy boyfriend was actually manipulating him the whole time, five's fractured-psyche-mannequin was a narrative tool to let us see into the head of such an emotionally reticent character, and so on. the romance served the character, but fairly quickly into the show's progression, it felt like the character started serving the romance. five was immune to this curse for a long time due to aidan gallagher's age, which is why he's (for the most part) the best, most consistent character across the show, because they had to use their *imagination* for him and actually *write an arc* instead of falling back on tired romance tropes that any selection of characters could slot into to fill the dead space.

after season 1, the umbrella academy is entertaining, but it doesn't have anything to *say.* which is extremely disappointing when the show initially made such a strong case for what it wanted to be.

[schoenpepper]

Despite Everything (It's Still You)

Intro: When he looks at you, he sees everything he could have been.

Warnings: bad grammar, awful writing, not proofread, kinda angsty, more platonic im pretty sure cus its not specified if ur lovers, might be ooc idk and idc, everytime i write idia i feel 10 years older because i cringe at my own internet slang

A/N: Done! Last request is finished, hope you like it worm anon. On my end, this is super rushed and it's not like, my fave ever so ehhhh.

Masterlist

Riddle thought he’d found a comrade in you. Out of everyone in Twisted Wonderland, he’d thought you would be the one to understand him.

He sees it in your posture, always straight and never slouching. You’re good with academics, a diligent student. Like Riddle, you’d gone through life with the iron fist of a well-meaning parent, so surely, you understand him, right? You agree with him. You believe that rules are important to be upheld lest society fall into chaos. It’s such a refreshing feeling to find a person who, like him, thinks that structure and stability are core values of a proper community.

But you don’t. You don’t understand. No one does. His consciousness is flickering between ink and reality. He’s slipping into the grasp of the phantom and he feels himself slowly being consumed. He’s being devoured. Right before the overblot, even you had stood against him. Why? Riddle wasn’t wrong, he was never wrong—the rules aren’t wrong. Because if they are, then what did he lose his entire childhood for? So you must be the one at fault. This is your mistake. You just don’t understand. You tell him that the rules and the competence and the structure matter less than people. You try to convince him that there’s a better way of living. Is there?

Riddle doesn’t know why. He’d thought you were a comrade because he saw his own experiences in yours, but he’d never been so wrong. While he was still caught up in the chains of his mother’s words, you’d already broken free from the cage. You help him to reclaim the shards of childish wonder he’d never been allowed to have. You help him learn how to breathe, how to relax. Little by little, you bring him onto your path.

He doesn’t understand you anymore.

Leona doesn’t have any opinions about you. You never really talked to him at first, and he can respect that; you don’t go out of your way for bothersome, meaningless things.

Every time he sees you, you’re sleeping or slacking off. Whatever, it’s not like he can judge you for it. You also have a real competitive streak for spelldrive, and your wit’s not half bad, especially when compared to the muscle heads in his dorm. Clever and snarky, talented and strong. He can respect you. Maybe just barely, and he’ll never admit it, but he sees a part of himself in you. So, a sort-of equal. He’s still better than you though.

The taste of sand lingers on his tongue as it swirls in the air through the storm. There’s a part of himself he can no longer control. It makes him wrap his fingers around Ruggie’s throat and Leona… He doesn’t want this. But he can’t stop. He can still recognize you on the edge of his vision. Weren’t you just like him? At birth, everything good was handed right over to your older sibling, leaving nothing but scraps for you. You found it unfair too, didn’t you? So why are you standing against him? This is his chance to be someone worth more than his birthright. Why…are you not agreeing with him?

Leona tried to stay away from you. But call it his instinct or whatever; he can’t seem to avoid you at all. The second prince of Sunset Savanna is awestruck by your words. You tell him that birth doesn’t determine everything. You tell him that you’d learned from your own past. That you can still make something of yourself without that which was given. You sure are chatty now, but who is he to stop you?

You’re not his equal. You’d long since left him in the dust.

Azul sees you as an opportunity. He likes you, really, because you know how to do business and you find a way to compromise that doesn’t step on either person’s lines.

It’s not difficult for him to find out about your past, and to be honest, he’s greatly delighted to find out about all that you have in common. Did you feel the way he did when he was isolated and bullied? Did you feel his pain? You were an outcast too, weren’t you? But wow, look at you (and him) now! It’s rare he sees someone as diligent as himself, as cunning and as smart. Resourceful and oh so benevolent, you’d fit right into Octavinelle!

He’d steered himself long ago; he would never be weak again. He had long, long since forgotten humiliation and defeat. But he’s here again. This time, defeat was brought by your hands. Azul had thought you were allies. Business partners, at least. Why betray him like this? Don’t you get it? He’s powerful now! Why try to stop him? Why did you succeed? He’s left in the aftermath of heartache and debris. He doesn’t know why he did the things he did, but he’s sure that he was so close to being all-powerful. Perfect. A being so beautiful and flawless and strong… You took that chance away from him.

Azul wants you out of his life—your presence now is only a reminder of everything he could have been, and everything he failed to be. Unlike him, you’ve already moved on. You’ve learned to forgive your tormentors, and most importantly, you’ve learned to forgive yourself. You tell him that it was never his fault, but that revenge was never meant to be the answer.

He finds that he had nothing in common with you, after all.

Jamil is perceptive. Next to the one who’s attracting the attention of the whole room with a bright smile and sunny disposition, he finds a kindred spirit in you.

You seem responsible enough, and like a mirror, he sees you taking care of that person the way he does with Kalim. It’s easy to pierce through your act because he knows how to do it too. Seemingly not too smart, not too dumb, not too strong, not too weak. You’re good at pretending to be average. Like Jamil, you’ve lived a life of servitude. Are you tired of forced humility? Of feeling like your life isn’t worth anything when compared to the one you serve?

He’s tired too. He’s so, so tired. Why was freedom unreachable to Jamil right from the moment he was conceived? Was he unworthy of a life unbound by shackles? You’re looking at him like he’s a stranger. Jamil looks at you like you’re a mirror. A mirror that’s shattered, and damaged, and every piece is covered with ink and regret. You know what he’s been through, so why are you in his way? You should be an accomplice. Do you not yearn to be your own person? The phantom is whispering promises he knows it won’t keep. But nothing is more tempting than just…one day of happiness. Of his own happiness.

Jamil is inevitably drawn to you. You live so brightly; you see your master as a friend. You tell him he doesn’t need to do the same. That the only thing he needs to do is find a way that works for him. And you’re asking about things he hadn’t thought of before. An employment contract? The legal status of slavery in the Scalding Sands? Wait, you’re serving that person out of your own volition in exchange for salary and other related benefits?

In you, he sees a light at the end of the tunnel.

Vil approves of you. Like looking in a mirror almost, he sees beauty and a passionate drive to remain beautiful in every single way.

You’re a person with a consistent goal and a persistent drive to do better and be better; a hard worker with tenacity like that of the Queen herself. You are no potato. You are a diamond that has found a way to shine uniquely, and like him, you are already a master at your chosen profession. And yet, he sees the trophies and the medals are all silver and never gold. It is frustrating, but Vil knows that you as well know what it’s like to always be second best.

He’d worked so hard. He’d tried his very best. Professional music and choreography, styling and costumes. He’d set up a multi-week boot camp for his team members in order to whip them into shape. It’s all swept away by that person. Again. And again. And again and again and again and— No. No more. He will take matters into his own hands. But you stand in front of him with a familiar determination, only this time, you’re determined to stop him. Rook had betrayed him and now, you do too. Is he not worthy of a victory? Not even once? The blot is so, so ugly. But if it means he’ll get to wipe out everything that’s opposed to him, he’ll take that blot and use it to his own advantage. Like the queen who’d disguised herself as an ugly witch in order to take down the princess; everything can be sacrificed for the sake of ultimate beauty. If you’re not with him, you must be against him.

Vil apologizes sincerely for his faults. He knows he was wrong, even if it hurts his pride to admit it. But you accept him so easily, so readily, he can’t believe you’re acting like he’d never even hurt you. You forgive him. You help him accept his losses and continue to strive. Because you’d been in his position before, but you’d grown to be happy and appreciate the wins in life instead.

You are no mirror image of him. You are better.

Idia’s never been this happy before; through his screen is someone who just gets him. You’re good at games, and an introvert too? Score!

It’s not like, ever, that someone who vibes with his genius just comes strolling through his life, so Magicord bears witness to long, late night chats about anything and everything. You’ve got some real fucked up childhood trauma too, big mood tbh. It’s easy to spill his guts out over the internet, because even then, you still don’t really know him. You like the games and animes that he likes, and he’s so glad that for once, there’s a person out there who’s lived through the same villain-arc that he has.

He can’t rebuild the world if so many noobs are trying to stop him. Why? What’s so wrong with wishing for a world that can fit him and Ortho right in? Why is that too much for him to ask for? Why are you, the person he thought was his cool moots, acting up too? Don’t you like Ortho? Bro…no…you’re not actually doing a protagonist monologue rn, are you? Seriously? You think you can defeat him and his phantom through the power of friendship? Lolz, you’re so lame. If the world was a fairytale, he wouldn’t have been born with this dumb curse. If the world was a fairytale, he would never have been trapped in STYX with no way out. If the world was a fairytale, Ortho would still be alive. But it’s not. So he’ll remake it to be the story he’d always dreamt it to be.

Idia thinks you’re 110% cringe, like actually barf-inducing. But you did kinda save him or whatevs, so he can put up with you. Like, begrudgingly yk. You’re just such a weirdo. He really thought you were just like him, but no. You’ve had therapy. That’s like, actually wild. You try to counsel him too, talking about feelings and whatnot, and how to move past grief so that it no longer consumes you from the inside out.

So it turns out you didn’t have a villain arc like Idia did. You’re the main hero.

Malleus finds you absolutely delightful. To see another who can speak to him without fear or nervousness is a marvelous thing that he cherishes.

You are no fae or long-lived species, but he finds you fascinating. You are intelligent and wise beyond your years. You are powerful in your own right. You are familiar, in every sense of the word. Even your experiences seem to be shared. You’d been orphaned too, and experienced loss and grieved. You’d mourned for far too many loved ones who have left before you. Do you see the present as he does? Do you embrace the past as he does?

The world is a sad, sad place. He would like to change it. Into one with happy ever afters, into one where there is no hunger and no poverty. There will be no suffering. In his hands, he will mold the world into one that is kinder to its people. There will be no death and separation. He’s had far too many of those, enough to last his long lifetime. He’s not wrong. So why…why do you stand against him, weapon pointed towards him? The only thing he wishes for is permanence. Do you not see the vision? There is so much sadness in the world, why do you choose to wake from your beautiful slumber and face it head on? No matter. He will help you, even if you deny him.

Malleus is more than happy to take your hand when it is outstretched towards himself. You teach him so many things he hadn’t realized before, like how to cherish the present and treasure each memory more than attempting to find a solution to make them everlasting. He had believed wholly that he was right; that the answer to death was a long period of dreams in which everyone lives in a happy ending. He had believed you to be similar to himself—he is wrong about many, many things.

You’ve always looked to a brighter future than he could even imagine.

[moonlit-imagines]

Headcanons for being the Justice League’s computer intelligence

Justice League x reader

warnings:

a/n: THANKS BABE. this is such an old request i am so freaking sorry

prompt: anonymous: “Hello! I would like to request a Justice League (DC Extended Universe) + Reader who is sort of their 'Person in the Chair' - helping behind the scenes to keep their weapons/powers/skillset in tact, but is not afraid to fight back if necessary? I would like these to be a set of headcanons, please? Thank you and Happy Writing! P.S. You're writing is incredible!”

you and alfred got along well

“glad i’m not the only one doing the grunt work anymore” -alfred

“and i was under the impression you loved this job” -you, sarcastically

you could frequently be found switching between important sites that actually helped during missions and reddit

“alfred hang on i want your opinion on this: ‘am i the asshole for trying on my bosses suit? i (25m) work with some pretty famous people and my boss (45m) has a really cool suit. it’s a little stiff but i think i like it. anyways, there’s a matching hat (if you will) and it smells AWFUL, so i sprayed it with febreeze but it only made it worse—’” -you

“hang on. this cant be…” -alfred

“HOW DID YOU FIND MY REDDIT ACCOUNT?!” -barry, over comms

“your name is scarletspeedster, and we’ve been trying to wash that febreeze smell from the cowl for weeks.” -you

“my god, barry. next time, just use an old suit” -alfred

“really?!” -barry

“no” -you and alfred

you do a lot of gadget/weapon design with JL members

“it’s acceptable” -bruce

“wow, thanks” -you

“it’s…it’s good work. i mean it” -bruce

diana sits with you and tells you stories, sometimes theyre very informational

“so if you ever do end up fighting, you’re going to want to craft a very nice sword for yourself. i know you’re good at that, you’ll do just fine” -diana

barry nerds out with you sometimes

he gets real excited when he sees you designing stuff on the computer

and tries to be helpful

“wind resistance might be a problem with this design, you should go sleeker” -barry

“hey, barry? if you don’t let me do my job im gonna design a tool specifically to shut you up” -you

“harsh!” -barry

“sorry, maybe a little too far. but let me work” -you

arthur wanted cooler clothes

“can i get you some material from atlantis so you can make me a nicer suit?” -arthur

“only if you bring me extra so i can have fun with it” -you

“not a problem for the king, its a deal” -arthur

clark didn’t really need/want much

but he was a great help when testing new weapons and suits

“can you just…laser vision that target right ahead. new suit material” -you

“yeah, stand back” -clark

it held for a good 20 seconds

“better than i thought” -you

you were their eyes in the sky on missions

directions, lookout, enemies, obstacles, detours, you name it

and yeah, maybe victor could also do a great deal of this stuff, but you got to do it behind the scenes and you actually got paid pretty well for it

but occasionally you did ask him for tech support

“victor, the batcomputer froze” -you

“i know, i did that on purpose” -vic

“can you unfreeze it so i can see what’s going on?” -you

“what’s the password?” -vic

*sigh* “ilovevicstone123” -you

diana let you spar with her sometimes

which honestly scared you every time bc you know she could kill you if she wanted to (but you knew she would never)

(but she could)

you’d never be apart of the justice league, which was very okay with you because you loved being behind the scenes and not being shot at

and so long and you had tea with alfred while the rest of them were kicking ass, you’d manage

taglist: @locke-writes // @captainshazamerica // @summersimmerus // @deanzboyfriend // @zoeyserpentluck // @mr-mxyzptlk-1940 //

[soullessdianthus]

𝐘𝐨𝐮 𝐛𝐞𝐥𝐨𝐧𝐠 𝐰𝐢𝐭𝐡 𝐦𝐞 | 𝐘𝐚𝐧𝐝𝐞𝐫𝐞!𝐌𝐢𝐠𝐮𝐞𝐥 𝐎'𝐇𝐚𝐫𝐚

Warnings: yandere themes (manipulation, kidnapping, imprisonment), smut (overstimulation, dubcon/noncon, breeding kink if you want to interpret like so)

Word count: 1.6k

A sound of pouring rain tapping over the window kept you awake. You glanced over the glass and saw the same image as for the days before - dense, forest line cutting the grassy, wild meadow off. The temperature inside and out was warm and it almost felt like summer in the countryside of your homeland. But it was all an illusion.

A high-tech screens had been put inside the window frames to imitate your well known surroundings. He put an effort to make this place look like a decent place. Somewhere you would feel comfortable. But this wasn’t even a real home, it was your prison. 

After you interfered a little too much with the canon events in one of the spider-verses, Miguel O’Hara visited your world in person. He demanded an explanations from Peter Parker, a friend from college, about your doings. 

Because you two learned lately about the up-coming death of uncle Ben and tried to avoid it by all means. And you almost succeed. Almost.

Miguel, a tall man with a dark look on his face, threatened Peter about the consequences of avoiding such occurrences. Parker appeared to be frightened of the stranger as Miguel’s eyes seemed to glow brightly red from frustration. 

Those piercing eyes finally found your form, standing still behind your Spiderman and only then you processed what you just heard. 

━ Wh-What? It was OUR idea to save your uncle! ━ You interrupted those two men, gesturing with your hands. But Peter didn’t even bother to look at you, he didn’t have enough courage to do so. He tried to frame you and put all the guilt on you. Which in the end, somehow worked out. 

He agreed to that mysterious spidey-guy from another universe that someone had to bear the consequences of messing up with the timeline. And Parker pointed at you. An ultimate betrayal, ripped your heart apart. 

Soon after you found yourself in that damn prison with a bracelet over your wrist to “stop you from glitching”. Whatever that was supposed to mean. 

Miguel was some kind of boss around the place you found yourself in. At least that's what Lyla told you, a artificial intelligence present in the technology around you. It was him who was responsible for you from now on as he visited you every day. 

At first, each time you saw him, you tried throwing things at him purely out of rage - a book, a small picture frame or a chair, but each time he managed to catch or turn down anything you tossed. He kept trying to explain to you what was happening and why he couldn’t let you go back into your world. Miguel stated that it was dangerous enough when a non-variant person was messing up with the timeline. 

But was this all true? There was no one else you could ask for a second opinion, you had to believe, everything Miguel told you was the truth. Obviously, you questioned everything about him and this place. It felt like you were losing your sanity and a part of yourself. 

The well-built man with brown, combed hair was very patient and understable with your rage and sorrow. Until he was not. 

O’Hara had enough of your tantrums and one time he scared you truly. Eyes turning bloody red, his veins popping out and his teeth turning into long fangs. He charged at you, shoving your whole body to the wall behind. When your eyes were filled with fear and lungs emptied themself due to the force he pushed you, Miguel contained himself and moved away quickly. 

You rarely saw him in this form, but when you finally did - you kept behaving well, not wanting to anger him again. Because you knew nothing about him. What if he was able to hurt you? Or even murder you? 

Since then, you tried to suppress any anger and try to figure out how to return to your world, your life. And the brunette kept coming back, each day just to visit you. In the end he was your only company. 

Miguel brought you new books or art supplies if you asked Lyla or him directly. The man would spend some time with you - cooking, watching movies, anything you liked to do. But it was months ago. 

For the last couple of weeks, you were practically silent and apathetic. Curling inside the armchair near the “window”, napping or sobbing quietly. You’ve been in this prison for too long and it began to crush your spirit. 

He acknowledged the change in you and tried talking about it. He kept assuring that he has to keep you here for the world’s sake and balance. Because if someone messes up with the canon again, the universe will collapse. You reprimanded yourself for leaning into his chest when he offered you a comforting hug. Because how could you ever want solace from your captor? 

That evening was no different. Miguel visited you after work and found you sitting in silence on that damn armchair. When he crouched down, trying to catch your sight, you scooted backwards in the seat. 

━ What’s wrong, cariño?

━ I want to go home. ━ Your voice full with sorrow gained his attention. Where was your spirit he adored so much? The pain in your voice almost made him feel bad. Almost.

Miguel reached towards your exposed calf and started rubbing it with his pointing finger. 

━ This is your home, tú lo sabes. [sp.: you know it] ━ His voice sounded peaceful when he reached both of his arms in your direction. His embrace was welcoming, but you knew better. It was like a sweet flavored poison, spreading slowly under your skin, killing you slowly. ━ Come here.

You pushed firmly against his shoulders as you jumped out of the chair and took a few steps back. 

━ Miguel ━ you said his name loudly, gaining his full attention. You were being hysterical again. ━ I’ve been here FOR MONTHS. I had life before, I had A PURPOSE. You took it from me!

He tried, he really tried holding himself back this time you talked back. But your whining became annoying and Miguel just knew what would make you feel better. 

He stood up to his full height, easily towering over you. Brunette came closer, taking each step slowly, like he was giving you time to calm yourself or at least apologize. But you didn’t even back out. 

Miguel was leaning to look into your glimmering eyes and he saw how much you hated him at that moment. “We need to work on that temper”, he once told you, but you thought nothing of it. 

His little, feisty nymph. That’s what he liked to think of you. 

━ Fine ━ he growled right in your face, before grabbing your arm. ━ I’ll give you a purpose. 

The sound of your heavy panting echoed through the room. You tried straightening your hands again, but unsuccessfully as your muscles gave up a long time ago. Only his strong hands kept your ass higher than your head, by the tightening grip over your already bruised hips. 

Miguel kept thrusting into your tight cunt until you were a sobbing mess. He already pushed you over the edge at least three times, devouring the little noises you made and how your pussy clenched around his swollen shaft. 

Brunette kept one of his palms spread between your shoulder blades, keeping your upper half down, making your spine arch better. 

The sweat covered the back of your bent knees, him sliding in and out of you with ease, because of your wetness. Miguel certainly knew where to touch you to make you break into pieces between his fingers. 

━ See, doesn't that feel good to be by my side, cariño? ━ He leaned over your puffing frame, cheek dipped in the sheets while he kept fucking you stupid. 

━ Mig-Miguel… I can’t… n-no more…. ━ You whispered to him, feeling as each thrust of his hips pushed his cock deeper inside of you. The coiling sensation started to build up again between your trembling legs and in stomach. ━ Please!

━ Just one more, darling. ━ He heard you clearly, but yet he kept sliding in and out of you violently, chasing his own sweet release. 

Miguel took his hand away from your back and sneaked between your puffy lips. He spreaded them, opening you up and making it easier for him to find your clit. And when he finally did so, the brunette started rubbing it in a rhythm that quickly made you reach your another orgasm that night. 

Your body tensed suddenly and then collapsed into his pelvis, sinking his swollen cock deeper. When your cunt fluttered around him uncontrollably and your eyes rolled backwards, he came inside you, clenching his teeth. 

He tilted forward and placed both of his strong hands on each side of you, while coming down from his high. He noticed your grip tightening over bed sheets and smiled, before giving you a tender kiss on the temple. 

━ Mi pequeña ninfa. Do you understand now, that only I can protect you? [sp.: My little nymph]

Miguel loved his girl no matter if she had a bad day or not. He was going to make sure, no one will ever take you from him. You’re his precious troublemaker, aren’t you?

━ You belong with me. ━ He growled into your ear.

[beansprean]

WHAT WE CLUE IN THE SHADOWS: A FINALE CONSPIRACY BOARD

So. WWDITS may have the actual balls to do this to us. and I for one am INCREDIBLY excited for the possibility. If you're a WWDITS fan and haven't seen Clue (1985), I highly recommend taking 95 minutes to do so before the finale. Just in case.

Clue is my favorite movie, I have probably seen it upwards of 100 times for real, and I can recite it from memory with 90% accuracy. I also have the pleasure of owning and playing the WWDITS-themed Clue game, which is centered around finding out who stole the witch's skin hat and where in the house they hid it. I don't know if that will play into the finale at all, but it's something to think about.

The thing about Clue (the film), if you aren't aware, is that there are three different endings. On the vhs/dvd, you see all three in a row between 'that's how it could have happened, but what about this?' title cards. In theaters, there were three versions of the movie (labeled A, B, and C) that were dispersed to different theaters, so depending on where and when you went to see it you would see one of 3 endings. (It's kinda unclear which letter corresponded to which originally, so my labels will be assuming a 1:1 comparison between the order of the home version of Clue and the airing order of the WWDITS episodes.) The Clue endings are not all made equal, and on the home version, the final ending is announced as 'what really happened.'

So allow me to take a moment to talk about how the different endings work in context to each other and the film, and how that could translate to three different endings for WWDITS.

CLUE SPOILERS UNDER THE CUT (for real, go watch it)

(last chance to watch Clue go)

Ending#1: "Communism is just a red herring"

In this ending, the first one that plays in the home version, Miss Scarlet is revealed to be the murderer. She is a snarky, sarcastic madam who runs a "hotel and telephone service to provide men with the company of a young lady for a short while" and has policemen on her payroll. This is what I would consider the expected ending, the one that makes sense for most viewers. It's not shocking, but it's funny and well acted and it makes the most sense. Miss Scarlet has the right personality for murder, was in the most convenient area of the house to commit them, and had Yvette (the maid, formerly one of Miss Scarlet's call girls) committing some of the murders at her direction, so she had enough alibis to not make her too obvious. Many people watching this movie for the first time will have her high on their suspect list.

This ending also dismisses the idea of 'dangerous communism' that had been a thread throughout the film (as it is set in 1953 during the second Red Scare) as a misdirection. Miss Scarlet isn't stealing government secrets to betray the US; she's doing it to make money. The real danger all along was capitalism, something that s6 of WWDITS has said repeatedly.

So, to recap, this is the Standard Ending. The Second Best ending. Version B.

Ending #2: "Mrs. Peacock did it all."

This one, played second in the home version, is in my opinion the weakest ending. It reveals Mrs. Peacock, the neurotic, hysterical, and allegedly politically corrupt wife of a senator, as the murderer. She's hilarious and fantastic to watch throughout the whole film and I love her, but this charm drops after the reveal and she becomes cold and drab as she threatens her way to safety. She committed all the murders herself, which would be very difficult to achieve with the tight timing and her position in the basement during the search.

She ends up being caught outside the house by a police inspector, who had earlier shown up disguised as an evangelist telling her to "repent, the kingdom of heaven is at hand." Interestingly, they originally filmed him immediately shooting her dead without provocation, but they thought that was too dark and edited it into an arrest instead (which is why there is such a quick cut after he pulls his gun, and we only hear her rather than see her after that). This is the 'repent for your sins' ending. You do bad things, bad things happen to you.

The obligatory "it's always who you least expect" ending. The Still-Good-But-Not-The-Best Ending. Version C.

Ending #3: "You're Mr. Boddy!"

This is "how it really happened" - the twist ending! The hero was the villain, the villain was just a pawn, and everyone committed a murder in the house to cover their own asses. Prof Plum killed the fake Mr. Boddy, Miss Scarlet killed the cop, Mrs. Peacock killed Mrs. Ho (the cook), Mrs. White killed Yvette, Colonel Mustard killed the motorist, and Wadsworth/Mr. Boddy killed the singing telegram girl.

Mr. Green, who reveals he works for the FBI, kills Wadsworth/Mr. Boddy and arrests the rest of the cast. Understandably the best and most exciting ending (though not without some plot holes) that everyone loves. We get a surprising reveal from two of our main characters that not only changes the context with how you view them, but informs aspects of their character that have been there throughout the film! Now we understand why Wadsworth retained control of the house and the timeline of events, why he was so familiar with the house, and why this entire thing was orchestrated in the first place. We also understand why the cowardly and clumsy Mr. Green was consistently the first to jump to help and defend the other characters, even when it meant putting himself if physical danger. Unfortunately this ending also suggests that he was only pretending to be gay (wouldn't that be a twist for Guillermo lol), but he could also just be in a lavender marriage which is what I choose to believe.

This ending also has the iconic 'flames on the side of my face' scene and repeats 'communism is a red herring', this time in the context of Mr. Boddy's intention to continue blackmailing them all now that they have taken care of anyone who could have pointed the finger at him.

This is the True Ending. The twist you didn't expect but are delighted to find. The 'nothing was as it seemed' endng. The ending that is the most intentional and complete, where everyone gets to shine. Version A.

So what will we be doing in those shadows?

We can assume that e11 will not revolve around finding a murderer, but it does, from what we've seen in the trailer, revolve around making a wife for the monster. Do we get three different wives? Three different actors to play her? Three different superhero identities for Nandor and Guillermo? Three different levels of nandermo: one with a handshake, one with a hug, one with a kiss? Three different explanations for the origin and/or purpose of the documentary? (this is my personal favorite) Or is each ending entirely divorced from the other? Only time will tell.

What I'm leaning toward is that each episode will come up to the same turning point - a decision, a reveal, etc. The first two versions will have reasonable possibilities, the first less surprising but more enjoyable than the second, and the third... The third will be what really happened, and pull a twist no one saw coming. Perhaps even a character will reveal a hidden identity. Maybe, just maybe...we get Simon the Devious.

I only hope the order of the episodes doesn't change between channels or time zones because that will make things very confusing when liveblogging it in the group chat lmao.