#also we lose out on all the tension and build up of these stories????

[dear-mrs-otome]

So given that his story is in Part 3 of the anniversary, and that the maid story event comes after the anniversary stuff (unless they change the order and somehow cram it in before the 7th which I doubt) ...basically they won't be doing any of the pre-relationship events for Silvio before his actual route releases?? That's pretty friggin lame.

[eloise175]

I love these panels so much, I’m never getting over them not only because of how beautiful they are, but also due to their meaning and how it perfectly shows the characters' feelings.

It’s the part where Penelope tells Callisto she doesn’t love him and his face crumbles, he’s so taken aback by it but for all the wrong reasons, let me elaborate;

(contains some novel spoilers!!)

From the beginning, Callisto knew that Penelope’s confession about how she fell in love with him at first sight was bullshit.

He knows she lied to him on multiple occasions but doesn’t mind at all; it’s stated later on in his pov that despite all the rumors and her deception, Callisto too found it surprising how he didn't get angry.

They also had this conversation in the cave and many other occasions when he teased her about it and she kept on saying that she wasn’t in love with him anymore.

However each time Penelope claimed to not be in love with him, Callisto was either amused or grumbled about it playfully.

It’s the setting that changes things. Back then it was all teasing and her getting fed up with him and his successful attempts at eliciting some sort of reaction out of her.

As the story progresses, their interactions become more tense due to the friction and tension being products of their feelings for one another.

We can see the first signs of Callisto ‘wavering’ during his birthday banquet as Penelope is about to reject him.

He looked crestfallen when she brought up love because he still can’t make sense of it, convinced that his feelings of fondness can’t be related to love—or more like, he’s trying to convince himself it’s like that.

Knowing what is about to come, he shushed her, while admitting to the fact that he knew she was going to reject him, hence why he told her to give him an answer on her coming of age.

It’s all because Callisto hoped she would change her mind and her answer would be the one he hoped for, basically her accepting.

Then in the greenhouse things become more serious. The talk about Penelope’s condition had an impact on the build-up of it.

Penelope is completely serious and firm about her rejection, she is more apathetic due to the impending deadline of hard mode’s ending and things falling apart continuously.

She doesn’t have any control of the things happening around her and it makes her grow more and more anxious, to the point where it all becomes too much and it leads her to resign to her fate.

Callisto’s reaction to it is so strong not only because Penelope kept on pushing him towards another woman (which he doesn’t even know) when all he wanted was to be with her, but because she disregarded his feelings in the process as well.

Penelope goes on to say that she doesn’t love him, and that’s the real nail in the coffin, Callisto is actually in love with her but fails to realize it, but his subconscious seems to be aware of it given his reaction.

It’s a “…she doesn’t love me?” slap in the face realization.

I’m saying this because later in the novel, Callisto reveals that he hid his desire to be with Penelope behind the guise of an arranged marriage because he was afraid to admit being in love with her due to what happened to his parents. You could say he has always loved her from the moment they first met.

➺ chapter. 201 from the novel:

Anyhow, Penelope talks about her circumstances and past, saying how while wanting love she also needs and wants someone to take her out of the hell she’s in.

She tells Callisto he’s not that person and he’s absolutely devastated by that statement. He even gets described as dazed in the novel when this scene happens.

It’s a point of no return for Callisto because he still refuses to acknowledge his feelings as love for Penelope.

He can’t have her unless he admits to loving her, but he’s afraid to do so due to his past, he's convinced that if he confesses then she would end up like his mother.

Callisto needs a push, and that push is the fear of losing her forever which comes in the form of Penelope’s poisoning on her coming of age ceremony.

It all boils down to “don’t make any assumptions about my feelings” and “you don’t know what/how I feel” but we don’t get that since Callisto is suppressing it.

He’s angry and rightfully so and Penelope’s earlier apparent indifference doesn’t help either.

But yes, Penelope’s rejection hurt him so much because loves her.

Callisto is conflicted and in denial. It’s like he’s already having an inner battle about his feelings and then Penelope comes and deals the final blow, stomping all over his heart while pushing him away.

"I chose you, Penelope Eckhart. Not your household." and “Does my proposal mean so little to you?” are so telling because it’s clear that he’s been strongly impacted by all of this.

Callisto genuinely wants to be with Penelope and get her to the safety of the palace but went about it the wrong way.

They’re so miscommunication, it will be so long before they get to talk properly about their feeling and we get that love confession I’m not okay T_T

Thinking about all the things that will happen before that is making my head hurt, I’m going back to reading my comfort fanfics…see y’all tomorrow when the beginning of the end begins with more yearning and angst as Callisto will come back :,)

[its-avalon-08]

the paths we didn't take (cl16)

part2!

multipart story! part 1

Summary : Years ago, Charles Leclerc and Y/N promised to let each other go—for his dreams, for her freedom. No calls, no texts, just memories they buried deep. But when fate reunites them in Monaco, old scars and unresolved feelings resurface. Some loves are unforgettable, but can they find their way back, or is it too late?

✦ pairing - charles leclerc x female reader

Chapter 2: "The Time We Have Left"

It was the end of March, and the air had already started to feel like summer in Monaco. The nights were warmer, and the stars glistened in the sky as if they were the last thing that still made sense. Charles and Y/N sat on the roof of his house, the same place they had spent so many evenings, but tonight it felt different. There was a tension in the air that neither of them wanted to acknowledge, even though it had been building for months.

Charles had been getting busier with his racing commitments. He was training, traveling, and constantly surrounded by the pressures of his growing career. Y/N had noticed the distance creeping in—the long hours of silence, the days when he wasn’t there, and the phone calls that turned into brief texts. They had both pretended it didn’t matter. But now, as graduation loomed closer, the question was hanging over them: What comes next?

“So, you know what Charlotte asked me today?” Y/N’s voice broke the silence, her words soft but heavy, as she stared at the sky.

Charles turned his head toward her, his brow furrowing slightly. He knew the question was coming. He had been dreading it, but he also knew it was inevitable. “What did she ask?” he replied, though he already knew.

“She asked if we’re going to try to make it work after graduation,” Y/N said quietly. “Like, what’s the plan for us when school ends?” She took a deep breath, her heart sinking as she said the words out loud. “I didn’t really have an answer.”

Charles’ heart tightened in his chest. He’d been avoiding this conversation for so long, but the truth was that it had been growing between them for months. He could feel it in the way she looked at him now, the way she was no longer laughing at his jokes the way she used to. He ran a hand through his hair, struggling to find the right words.

“I don’t have an answer either,” he murmured, his voice distant. He didn’t want to hurt her, but he knew he had to be honest. “You’re going to college, Y/N. I’ll be traveling constantly, focusing on racing. It’s not fair to you... to us.”

Y/N didn’t look at him. She couldn’t. If she did, she feared the tears she was fighting would spill over. Her eyes were burning, but she kept them trained on the night sky. “I know,” she whispered. “I know it’s not fair. But it’s not like I expected everything to be perfect after graduation. We both have our dreams, Charles. You’ve worked your whole life for this, and I can’t be the one to hold you back.”

Charles looked at her, his throat tightening. She was being so strong, so composed, but he could hear the pain in her voice. She wasn’t guilt-tripping him; she was being realistic, and that made it all the harder.

“Y/N...” His voice faltered, and he reached out to take her hand, but she pulled away just slightly, not wanting to break down in front of him. “I don’t want to lose you. But I know I will.”

Her breath hitched. She didn’t want to lose him either. How could she? But the truth was, they had already started to slip away from each other. She could feel it in every goodbye, every unanswered text. Racing was consuming him, and she wasn’t sure where she fit into that world anymore.

“I don’t want to lose you either,” she said, her voice trembling. “But I also don’t want to stand in the way of your future. And I don’t want to drag you into something where I’ll just end up being resentful and hurt because you’re too busy for me.”

Charles closed his eyes. This wasn’t how he imagined their last few months of high school to go. They were supposed to be making memories, laughing together, not preparing for the inevitable.

“You’re not going to be a burden to me, Y/N,” he said, his voice raw. “But I don’t know how to do this. How do we stay together when everything around us is pulling us apart?”

Y/N swallowed, trying to fight the tears that were threatening to spill. She turned to look at him, her heart aching as she saw the pain in his eyes. She wanted to tell him that they could make it work, that love could overcome all things. But they both knew that wasn’t the reality they were facing.

“I think we both need to live our lives,” Y/N said softly, her voice breaking. “We can’t pretend like we have all the time in the world anymore, Charles. The world is changing, and we’re changing with it. It’s not fair to either of us to keep holding on to something that might break us in the end.”

There was a long pause, the only sound between them the distant hum of the city. Charles squeezed his eyes shut, fighting the knot in his throat. He didn’t know how to do this, how to let go of the person who had been his constant, his strength.

“I don’t want to say goodbye,” he whispered, his voice barely audible.

“I don’t want to either,” Y/N replied, her tears finally spilling over. She wiped them away quickly, not wanting him to see her break. She wasn’t strong enough for this, not for him, not for them.

“Just because we have an expiry date in a few months doesn’t mean we can’t enjoy what’s left,” she said, her voice steady, though her heart was shattered. “We have the time we have, and we should make the most of it. We deserve that much.”

Charles nodded slowly, his heart heavy in his chest. “I want to make the most of it,” he whispered. “But I can’t promise what happens after.”

“I know,” Y/N said, her voice quiet but sure. “Neither can I.”

They sat there in silence for a long time, staring at the stars. Their fingers brushed together, a fleeting touch that felt like the last thread connecting them. Neither of them spoke again, but the weight of the conversation hung in the air between them. The future they had planned for so long was slipping away, and all they could do now was hold on to what they had left.

And as the night stretched on, they both silently wept, trying to be strong, trying to believe in the time they still had.

🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️

taglist : @jenxjar @noam-rosier-icr @prttylight @gluecksbaerchieee

@janeh22 @tobucina @ihtscuddlesbeeetchx3 @weekendlusting

@wisestarfishbouquet @ricciardosheart @leclercdream @sltwins

@vyctorya

[onskepa]

Yay requests are open!

What about a platonic Ronal x scientist? Yes they study the planet but ronal cannot help but like them because they respect the culture, her medical skills and only seems to find the silver lining in her stiff comments. Like come on human I am trying to make you leave through the power of rude and you just gave me a freidnship bracelet? Wtf I imagine tonowari just snickering every night as she complains about her new best friend

Hellooooooooo darling~!!

Yes! Another ronal fic! Thank you for requesting and I hope this cute fic will satisfy you and everyone else! Enjoy~!

Irayo pt2

-------------

Irayo

“You are good to go, if anything goes wrong or if they are not very welcoming, just say the word and we will get you” the head director of the ocean na’vi program says. In front of him was the new girl. Determined and open minded to learn new things, and was given the ultimate task. 

Make the first human contact with the reef na’vi. 

Nodding in excitement, the new recruit gets into a canoe with her prepared items. Making sure she is set for sail, she looks at her comrades. “I will let you know everything. Hopefully, this can go well. If doctor Agustine has faith in us, we can't lose” she says with optimus in her voice. 

Saying her last farewell, she sets off to the Metkayina island. 

“This will be good, I can feel it!”

She arrives at the island, her eyes in awe as she gets closer to the shore. So many na’vi! They all stare at her, many in fear, others in curiosity, and many ready to fight her. Raising her hands, she gets out from her canoe and displays she is of no harm. 

“I come in peace, I bring no harm” the human girl announces in perfect, fluent na’vi. 

Many, from what she suspects are warriors, stare at her in surprise. 

“You are a sky demon! Leave or we will not be easy on you!” one of the warriors warned her. Another warrior follows after. 

“We heard what you did with the forest na’vi, leave! You only bring death and sorrow wherever you go”. 

The tension was building fast among the other people. Mothers protecting their children, might warriors standing in front of the weak. Any wrong move and she might end up dead. Which is a high factor. 

The crowd breaks as two significant looking na’vi walks through, from how they are dressed and the others willing to step aside, the human knew exactly who they were. 

And it gave her excitement. Already the first and she is seeing so much! 

The human was quick with the traditional na’vi greeting of “I see you”. In hopes that the tension can lessen if she displays their ways. 

The Tsahik and Olo’eyktan looked at her carefully. Observing her every move and detail. Small hint of disgust but also confusion as to why a human is here. 

“Hello, I bring no harm. I am here to learn your ways. Allow me to prove myself to you, perhaps you have heard of the dark stories of what the humans did to other na’vi, but I promise you that I only bring peace. Please, teach me your ways”. 

Ronal doesn't know what or how or even why. But after a lengthy discussion with Tonowari, they granted the human permission to enter their home. And learn their ways. As best a human can learn. While Tonowari was more loose on letting the human in, Ronal felt different, at first she came defensive and was always on alert should the human do something that seems bad under her eyes. 

But the human was aware where the line drew, only did what she was allowed to and dared not to push boundaries. Ronal wasn't making it any easier for the human. None whatsoever. In fact, Ronal planned to make things so difficult for the human that she would have no other choice but to leave. 

Now if only it worked that, and not Ronal making it harder for herself. 

 “Put more strength in your arms. It must be thinned out and easy to separate. Any thicker and it will be difficult to mix” Ronal instructed the human with a harsh tone. She was teaching the human how to make crushed, thin, dust-like green material. Very dry leaves that were thoroughly picked from their small forest.

The human woman smiled and obeyed, “alright tsahik”. Doing exactly what she is being told. That is the thing that irks ronal. The human doesn't fight back. She doesn't do anything! 

“A child can do a better job than you,” Ronal says with a snarky tone. The human just takes it, “I don't doubt it. This is more of their ways” the human replies with such calmness in her voice. Not a hint of anger, impatience, nothing. 

“Dont think this will be enough, there is still much more to grind down” Ronal says, as she places a lot more dried grass in the already big pile. The human stops for a few seconds to look at the bigger addition. Ronal smirks, surely this will be it? “Guess I better grind faster to finish all of these” the human says in glee and continues to grind. 

Ronal’s smirk left her lips, fine then. Tomorrow will be worse. 

Harsher insults, harsher training, harsher practice. Ronal threw everything at the human, but nothing breaks the human girl. And it infuriates her to the core. Why wasn't she fighting back? Why was she accepting everything? Why was she letting ronal belittle her? 

Ronal’s anger grew to where Tonowari had to enterfier. 

“Ronal, perhaps you are pushing her too far?” he asks her one day. Ronal scoffs as she does her small tasks in their home. “The human can bare it. Anything I give her, she accepts. That utter fool” she replies. Annoyance heavy on her tone. “She won't break so easily. Not made of sea glass” she continues. 

Tonowari sighs, walks up to her and places a hand on her shoulder. “Perhaps not, but your tolerance is thinner than these fibers. Perhaps by surprise, it will be you who will break first”. 

The human began to make and wear her na’vi like clothing to fit in more. And as she talked more with the other clan members, more began to welcome her with open arms and even into their homes. Adapting more into their culture and ways of life. They began to accept her. 

Ronal wasn't so ready to accept the human. 

Not yet at least. 

One night, after the communal dinner, Ronal took the human away from the noise and into a more quiet part of the small forest. Yet, along the way, the human not once asked where they were going. Never questioned ronal’s actions, her odd behavior. Nothing. 

When they arrived at a beautiful blue glowing waterfall, Ronal kept a bit of distance from the human. 

“Tell me human, why do you accept?” Ronal asks after a few minutes of silence. 

The human blinked once, “accept what tsahik?”. 

Hissing in frustration, Ronal turns to look at the human in anger. 

“Why do you accept everything?! I keep pushing you to do beyond what you physically can. Accept any insulting word I give you. Force you to do things clearly you are not very comfortable with. Why do you accept my harsh treatment towards you?” 

The human sees Ronal and sees how she truly feels. Taking a deep breath, relaxing her shoulders, the human does what she does best. 

Give her an honest smile. 

“You have every right to treat me that way. While I am not personally responsible for the thousands of killings of the na’vi, I still feel ashamed and guilty as if it were my own crimes. My kind has treated your kind terribly. So, I understand if you feel any anger or hatred towards me for simply being human. But I accept, I accept it all. If it means to be part of your world, your clan. I would gladly accept anything you throw at me. This is a dream come true for me. This planet, the life it holds. The environments, plants, animals, you. I love and respect everything about your world. All I desire is to learn how things are. From learning about Eywa to learning of the na’vi ways. My only desire is to learn. To have you personally teach me, it is a high luck I could never get anywhere else. So that is why I accept all that you give me. A price to pay for the things I can see and experience. So Tsahik, that is why I accept it. As my way to thank you” 

Ronal saw the human, looking deep into her eyes to detect any lies, but all she saw was the truth. 

“You fool…”

“Irayo, just in time for breakfast” Ronal welcomes her human friend. Irayo, that is what Ronal calls her ever since that night. It's been stuck to her ever since, not that she plans to defy the tsahik wishes. 

Irayo sits in the home of ronal and tonowari. Accepting the food, she begins to eat. But not soon after, she felt a little tug from her wrist. Looking down, Irayo sees little tsireya playfully tugging at her bracelet. Taking it off, she hands it to tsireya who tries to bite down on it. 

“Has tsireya began teething?” Irayo asks, ronal nods but gives a disapproving look.

“She will rip off the beads. You worked so hard to make it for us” Ronal says as she points to her own matching bracelet. Irayo laughs, “that is fine. It will give me an excuse to make better friendship brackets for us. I will even make another for cute little tsreiya” Irayo replies as she playfully pinches tsireya’s chubby cheeks, making the child squeal in delight. 

Tonowari sits down to join them. 

“Today irayo and I will attend to the elderly, tsireya will be under your care until noon” Ronal says to him. 

Tonowari nods, but couldn't help but smirk a bit. Leaning in, he whispers into Ronal’s ear. “Your friendship with irayo has improved greatly. I still remember when you called her many foolish names”. 

Ronal rolls her eyes and taps his forehead lightly. 

“I recall no such things. Irayo has been my good friend from the start”

Aaaaaaaaand that is all for this one! I hope you all enjoyed this fic! Until next time, see ya!

-------

Irayo = Thank you

[alexwritingspot]

hii!! I was wondering if you could write percy jackson x reader with prompt 3 or 7? I know that you wrote an enemies to lovers recently but those are the vibes that these two prompts give me. maybe it can be something else! feel free to do whatever you're comfortable with!! love you, thank u!!

Hidden feelings…

An unexpected convocation from the gods leads to a messy confession behind the closed doors of a elevator…

Prompts 3 and 7: “Wait- are you jealous?” “You wanna kiss me so bad~”

pairing: Percy Jackson x reader

word count: 1.4k

Warnings: none

————————————————————————————

A/n: Hi darling! I deeply apologise for making you wait so long! 😓 In the start I had promised myself I would have written your story pretty early, but then I didn’t have a scenario in mind! So I’m really sorry if you waited like- two months, before getting your request done, hope you won’t unsubscribe because of this 🧡😭 anyway, enjoy your reading!

P.S. I tried making this a bit longer as an apology

————————————————————————————

You couldn’t believe it. You were walking to the Empire State building with Percy Jackson, the famous son of Poseidon, the hero of the Olympus and also your enemy. You didn’t really hate each other, you simply couldn’t stand him because he always took the spotlight on himself, leaving the others with no time to shine. Even if he claimed that he didn’t want all the attention for himself and that he even tried to hide from the spotlight you didn’t quiete believe him. But here you were, walking by his side after a flash convocation from the Olympus, what did they possibly want?

You had tried to figure that out since Chiron had called you over at the big house, but you didn’t give yourself a proper answer. You kept walking and you tried to ignore the glances that sometimes Percy sent your way. “Today the sky is really cloudy” he said in a attempt to try and make conversation “I bet the king himself didn’t wake up with the right foot” he joked, trying to ease at least a bit the palpable tension between the two of you. “I bet that he’s going to fulminate you one day if you keep talking about him like that” you said with a sharp glare threw in his direction.

After walking for about ten minutes more you both arrived at the entrance of the enormous building. “Here we are” you said, and before Percy could add anything else you were already inside the skyscraper.

You entered the building and went straight to the receptionist “600th floor” You simply said, giving the poor employer a death glare. He looked back emotionless “we don’t have a 600th floor” he was doing his job, you didn’t really blame me for it. “Look, you’re talking to a child of g/p and a son of Poseidon so you better let us in-“ before you could finish Percy stepped in, gently pushing you aside.

“Sorry for my friend here, but you see, they are having a bad day and a convocation from the gods really was the cherry on the top, but we need to get on Olympus as soon as possible, you wouldn’t want Poseidon or g/p mad at you because you didn’t let their children up, would you?” He pulled out a confident smile and you rolled your eyes.

The man looked between the two of you before stamping something on a paper sheet. “And what might your names be?” He asked, and you were starting to lose it “Listen here you little-“ but before you could add anything else Percy pulled you back again “Percy Jackson and Y/N L/N, now may we enter the elevator… please?” He looked at the employer expectantly.

He stamped something else before getting up and starting walking “this way” Percy let out a sigh of relief. You and the son of Poseidon followed him until you were arrived “Have a nice trip to Olympus” he said flatly, before walking back to his desk.

The two of you entered the elevator and when the door closed leaned over the mechanical box’s “wall” to catch your breath.

”I’m not your friend” You suddenly blurted out “I didn’t come here to keep you company or anything, I came here cause I was summoned by Zeus himself, so don’t make up strange ideas in that head of yours.” You warned and crossed your arms.

He looked at you slightly hurt “Has a manticore stung you or something? You’re more bitter than usual.” You shot him a death glare but said anything, his eyes had caught your interest, they were beautiful… For Hades, what were you thinking?!

You quickly looked away and waited as it played in the background an old song named “You make my dreams (come true)” by some old singer you couldn’t remember the name of. You wondered who had chosen the elevator playlist, it had probably been Apollo or one of the muses.

You glanced around and found Percy staring over at you, he had a strange look on his face, and you couldn’t quite place the emotions he was feeling. “What is it? Do I have something on my face?” You asked, not because you were actually worried about your appearance, more to break the strange atmosphere that was building up.

He quickly shook his head “no no, I was just looking at you… you’d be even prettier if you smiled more sometimes” he stated, and you looked at him, your mouth slightly agape. You tried to hide the forming blush of your cheeks, but you failed miserably. At that he let out a chuckle.

That only made you blush more, the tips of your ears red from embarrassment. “I…” you tried to come back at him with something, but you just couldn’t, he was too handsome in that moment. “Just shut it, would you sushi prince?” It was meant to be a sort of mocking insult, but it came out cuter than you expected.

You saw Percy take a step closer “Sushi prince?” He ask, trying to be serious, but barely managing to hold in a laugh. “Yeah, cause you’re a son of Poseidon, and fish call you prince, and you use fish to make sushi-“ I looked up at him “you know what? Drop it, it wasn’t that great of an insult” You simply concluded.

“No why? No one had ever called me that, it’s… creative, let’s say” he tried. You gave him a look that said ‘really?’ And them the two of you bursted out laughing. Maybe he wasn’t so bad after all…

You unintentionally took a step closer to the boy, there had always been something that had attracted you to him in the years, but you denied it behind the excuse that you didn’t like him, but oh boy if you did, liked him. But then something he said pulled you out of your thoughts. The elevator had stopped. Why? You asked yourself. Of course it would have been you.

He looked at you “there’s no need to worry, Annabeth explained me once how these things work, we just have to call in the emergency” he stated calmly as he pressed the yellow button. “Annabeth, huh?”you asked him. You couldn’t quite place what was the strange feeling that you felt in the pitch of your stomach when he named her, but you didn’t like it.

“Yeah, Annabeth” he replied and you just stared at him “you and her are pretty close, aren’t you?” You ask, annoyed. Percy just looked at you, slightly confused. “Well, yeah, but we’re only friends.” He stated, and you could hear in his voice that he was telling the truth. Then why didn’t you believe him? “Oh yeah, just friends, got it” you retorted back, and you cursed yourself for not having held your tongue.

He seemed surprised but then… a sly smirk formed on his lips. “Wait- are you jealous?” He smiled like a little kid on Christmas day. You looked away “No…” but your redness was hard to hide now. “You’re jealous! Oh gods, you’re all red” he laughed, and maybe, but just maybe, his voice wasn’t as annoying as you remembered.

“What if I am?” You then asked him, still leaning on the wall of the elevator. He smiled even more cheekily “No nothing, I just think it’s cute” he said, and leaned closer. You didn’t push him away, yet you didn’t lean in.

“Why do you hate me?” He asked “I don’t hate you” you paused “I just think you are incredibly self-centred sometimes” you admitted. “Oh, thank you” he replied sarcastically with a playful roll of his eyes “Just so you know, I don’t find you self-centred, annoying or anything like that, you’re just impulsive” he stated, and he was standing so close…

You glanced at his lips, because how could you not? You then forced your glance back on his. His usual smirk returned “You wanna kiss me so bad~” he teased and then leaned over the wall, pinning you to the elevator wall, but you weren’t intimidated. “So, what if I do, Jackson?” You asked in anticipation of what was about to come.

“Oh nothing” he answered and leaned closer, your lips just a few inches away “maybe I want too” and then his lips crashed onto yours, and nothing else mattered, it was only the two of you, and you wouldn’t trade that feeling for anything else.

[tremendously-crazy]

Ranting about ACD Johnlock because these Victorian husbands need to be happy for me

What the hell happened between Holmes and Watson in 1902 and 1903?

Context: 3GAR is described as happening in July 1902, and ILLU happened in 1902. CREE and BLAN happened in 1903.

In 1902, Holmes and Watson were inseparable.

I don't even need to elaborate when I mention 3GAR. "It was worth a wound" should be enough to remind you of why. I was so touched when I read Holmes seeing his Watson injured and rushing to his side. He is terrified at the thought of losing his friend. It was amazing to read this seemingly cold, distant, and unemotional man threatening to murder the man who almost killed his best friend. There was loyalty, there was love, and it was beautiful.

According to ILLU, in 1902, they're also frequenting Turkish baths together. (which, I might add, was a common place for homosexual men to gather, do with that knowledge what you may) They're lying side by side on two couches with nothing but a blanket on either of them as they dry off. Watson hears Holmes is injured and nearly passes out, and he rushes to Baker Street to see him as soon as possible. He is terrified at the thought of losing his friend. He gingerly sits at his bedside to ensure that Holmes is okay. These are all very intimate things to do between friends. Indeed, this even suggests the possibility of the two being lovers.

IMAGINE that. These two are inseparable. Clearly, these two stories help to build on the idea that they love each other (platonically or romantically. To me, they seem romantically involved, but even as friends, they do love each other. It's all up to personal preference.) Their relationship is so strong, more than anything we have seen before. These stories showcase their love for each other and how passionate they are for each other.

Now, flash forward to 1903, when CREE and BLAN take place, and we are given an entirely different narrative. Watson describes himself as one of Holmes's "habits" in CREE, saying he felt as though he was an accessory to Holmes. Their relationship is "peculiar," and he is only called over to Baker Street as some kind of tool Holmes can talk to or use on a case. Holmes can rely on Watson, and he is, in a way, taking advantage of his reliability. Throughout the entire story, we can feel the tension between these two (remember how Watson had to stress over his practice in order to join Holmes on the case, and Holmes seemingly did not care at all). It seems partially resolved by the end, but there is still a feeling of bitterness that was fully apparent to me while I was reading it. It seemed like their interactions were angsty and passive-aggressive.

In BLAN, Watson does not even live with Holmes anymore, around a year after 3GAR and ILLU. Holmes explains he has "deserted" him for a wife, which he described as "the most selfish action I can recall in our years of association." Holmes was alone. In the story, Holmes cannot stop talking about how much he misses "his" Watson.

These four stories have such a sharp contrast. They have been absolutely terrorizing my brain a lot as of late. I feel like them being so close in ILLU, and *the* moment in 3GAR are some of their strongest moments together. They are both so terrified to lose each other. How is it that a year later, according to the canon, they are barely on speaking terms? My question is, if we are to trust the canon dates, what happened during those months that caused them to drift apart so terribly? How could Watson leave his Holmes for a wife so recently after these frightening events?

Another point about this supposed second wife. I don't think she even existed. (I do think Mary was really Watson's wife, and I might've reblogged a post about it somewhere) But about the second wife. As far as I'm aware, she's mentioned one (1) time in one (1) story by Holmes, and it was likely just a ploy by ACD to separate them (oh well, I'll just give him a wife. That'll separate them good enough.) It's easily enough ignored for that reason. Watson was, in fact, away from Baker Stret, but the idea of a wife was, in all probability, just made up by Holmes as an excuse for his absence.

I'd like to add my personal headcanon because the continuity in Sherlock Holmes is actually so messed up. John is called James in one story (TWIS, if you want to see for yourself.) October 9, 1890, is called a Saturday when it was really a Thursday (REDH) There's a story set in 1892, when Holmes was supposedly dead... etc, etc. Given the known unreliability of dates in these stories, would it be so unreasonable to suggest that the dates of the four I have talked about were swapped? That, in fact, CREE and BLAN were a falling out in their relationship and that ILLU and 3GAR was their healing? That the former were set in 1902 and the latter, in 1903? I can understand that after knowing someone and living with them for so many years, you may start to take them for granted. But after you narrowly lose them, you would not do such a thing again. (Especially not only a year after such a traumatic experience!!) Therefore, I believe CREE and BLAN were examples of how their relationship was beginning to fail and were actually set in 1902 (or some other date in the latter days of their relationship), and ILLU and 3GAR were reminders of how much they meant to each other, and they happened in 1903 (or, more simply, a year after CREE and BLAN).

Thank you for coming to my Ted talk. I know this is completely incorrigible and nobody's gonna read it but I just wanted to get it out there.

TL;DR: Late Sherlock Holmes canon sucks. No way that they had both near death experiences in 3GAR and ILLU, and less than a year latery they can barely stand each other in CREE and BLAN. My personal headcanon says CREE and BLAN were moments of stress in their relationship and that 3GAR and ILLU happened afterward to remind them of how much they appreciated each other and help reconcile them.

[tkwrites]

Okay I'm done now and heading to bed, one last question.

Can you name a favourite fic for each of the boys?

Hi my Lovely,

There are quite a few of your asks I haven't answered, but please know I'm not ignoring them. They'll just take a little more time to respond to.

I can tell you my favorite fics, though:

Matthew Tkachuk - Back To You because it's such a complete story. I love the way he and Jessie meet, lose each other, and then are thrown together by fate again. I also feel like I really captured that sassy side of Matthew's personality in this fic, which I was really worried about at the time I was writing it. This is also the story that I think would be easiest to flesh out into a full length novel.

Nico Hischier - I love all the parts of his story for different reasons, but I think It Doesn't Matter Part II is my favorite. I had actually written the whole sequence of nude sketches for another character, but ended up scrapping the whole story because I couldn't find any real conflict for them to resolve. When I realized I could use it for Nico and Lena if she was an artist, I was thrilled and got to work rewriting it for them. In the end, the only things that stayed the same were 5 of the 6 poses. Getting into and out of them changed, as did the characters relating to each other during them. I love all the longing and awkward tension between them in this piece, as well as how they finally end up confessing their love for each other. Finally, the culmination of all of their longing into the final sex scene? Chefs kiss.

Quinn Hughes - This one is so hard. I've written so much about Quinn and Sarah and I love all of the pieces for one reason or another. If I had to pick three favorites, they would be:

1). Five Days of Joy because I'm so proud of this fic. It took SO long to write, but I love the way it turned out. I love that we go through so many consecutive days and such a gamut of emotions with Sarah and Quinn.

2). The Second Time is Better because I love the portrayal of a more real first time. One of the things that drives me batty about romance novels is how the characters get together and always seem to have this instantly amazing sexual connection. No room for human failing or first time jitters. In reality, it takes time to build sexual chemistry and connection, and I went into this piece wanting to show at least some of that.

and 3). Second Nature because I think it has the prettiest prose. I still think this passage is some of the best writing I've ever done:

This was ultimate flirting in Quinn’s book. Something he knew he could do. When someone wanted to talk about music, or art or classic cars, he was a fish out of water. But talking hockey? He could do that all day long. Convincing someone to like the sport he loved so much? There wasn't a more ideal situation. 

“Oh, good,” she said, leaning forward to kiss him. 

This was a perfect evening. Casual and comfortable. Cooking for someone he - liked, and kissing her whenever he wanted, taking no worry of who might be watching. 

Letting himself get swept up in the kiss, he slid his hands over her hips and tried to commit her scent to memory. No matter what happened - though he was pretty sure nothing bad was ever going to happen with Sarah - he wanted to remember this. She smelled like a dream he’d had as a boy. Like vanilla and warm skin and fireside, summer nights. It was an outlandish notion, but he couldn’t shake it. 

All her life, Sarah had read stories about star-crossed, fated lovers thrown together by chance and circumstance and serendipity. But those were all just stories. Even when her grandpa talked about meeting her grandma - like they were always meant to be together, and just had to find each other to make it happen - it seemed like folklore. A tall tale he spun to make their love story seem more epic. 

After writing all this out, I realized perhaps you meant favorite writing from other authors. Let me know if that's something you'd like me to answer.

[bookshopsbizarreblog]

Can we talk about how good the Moon Mining song in Midst S3E14 - Shindig is? Like, I've heard lots of songs across the various podcasts I've listened to, some of them quite good. But I have yet to encounter one that was situated in the story as masterfully as the Moon Mining song, or that conveys a fraction of the emotionality. Even without getting into story spoilers, the (at least seemingly) improvised nature of each verse, the layering of shouts and cheers and merry heckling to create a whole crowd leaning into it, the way each character expresses themself and their situation (and is expressed to us as the audience), and even just the way the song is introduced paint such a vibrant and lively setting. The entire 5-ish minutes just radiates a community coming together and having fun.

S2E4 - Weather used to be my favorite episode, as someone who has a deep love of cosmic horror and general eldritch shenans, but I've gone back to Shindig at least seven or eight times just to listen and relisten to that single song. I can't imagine not getting swept up in the revelry, and its position within the episode (and season overall) just sells it so much harder. More concrete spoilers beneath the cut.

If you haven't listened to Midst, please do. Gracious goodness, it's so good.

The entire episode is a rollercoaster of highs and lows for these characters and the community of Stationary Hill that we've gotten to love at this point. Sherman and Tzila finally arrive home, to celebration and joy. The community is barely recognizable but we've seen them band together and rebuild. And at a pinnacle of tension, after the gut punches of Hieronymus' confession to Saskia and the Vault demolition plan and Weepe's victory over Kozma, we finally get a brief break. But even that break is tainted with uncertainty and pain. Right before the song begins, we get Emmet's toast to the fallen, Sherman's uncertainty and fear of staying in Stationary Hill, all the festivities and merriment tinged bittersweet. And then the catharsis hits. It's not announced as a song. It's not a side bar where the ambiance cuts away so a tune can be inserted above the story. All we know is that Goe is getting on stage, and the narrators are saying we're missing something, but what? "That's right." "It wouldn't be a party on Midst without-" "Goe: It's time, you dang raskals!"

It's like the podcast version of show, don't tell. They could have laid out that a song was coming up. They could have even just launched into it. But by merely having uncertain build up and sudden increasing excitement and anticipation from the crowd, we get dragged along with it too. Straight from all the emotions of the previous conversations into this building energy with no clear outlet. It isn't until the cheers and diegetic voices demand "that friggin' moon tune," now that we are also fully on board, that the end point is revealed. And then it slaps.

The different methods of singing for each person, of which Saskia and Ettie (x2) and Ned (whose voice makes me understand the random background lady) stand out the most. Bets and Walter's and Tzila all representing different versions of how a kid would approach being asked to sing in front of their entire community. Sylvester and the chanting and everyone joining in on the chorus and the way each person's verse is a snippet of their life and perspective and situation and story without it being overbearing. It just. The whole thing. It screams of the close-knit Stationary Hill community, which then also pays off in another big way during the last episode.

I highly recommend listening to the song again, with headphones and the volume cranked up to get the full experience if you haven't already. I'm losing my mind over this song. If tumblr woulda let me, I would have just uploaded the full 5:19 clip I isolated, but unfortunately it wound up being too big to post. So here's the link to the time where the song specifically starts.

Thank you so much Third Person ( @midstpodcast ) for creating such a full and magical world.

[randomness-is-my-order]

from the start, i’ve mainly been praising the show and have spoken against the minor nitpicks but i think some constructive criticism won’t go amiss. i’m always going to advocate for praise + critique but since literally all my posts praise the show (character-work, writing, directing, cinematography, literally all aspects) i’ll focus on the main issues i have with it for this one.

i’m only saying this because i do think there is merit to the conversation: yes, i agree with many other people saying the show has a very real lack of tension. the stakes are established, potential horrific consequences are alluded to, but the instances in which the action needs to take place falls short. i wanted to see percy and annabeth and grover SHOWING their inexperience through stumbling on traps (which would automically raise the tension in both medusa’s lair and the lotus casino), i wanted them to make mistakes and quick-think their way out of it. sure, there’s something to be said about conveying annabeth’s intelligence but aunty em was a great way of highlighting percy & annabeth’s dyslexia by having them be unable to read the signs. the statues could have been removed from the yard–a move that would show medusa’s intelligence instead. similarly, the fun of the lotus casino was about the creepiness that slowly and steadily builds on the backdrop of this harmless kid carival like setting. percy, annabeth and grover’s intelligence and knowledge has already been built in other obstacles so seeing them actually fall for well-set traps seems to me like a much more nuanced portrayal of the kids, their capabilities but also their weaknesses. speaking of, i was waiting for one moment of annabeth making some mistake, showing some flaw. i think it would have been cool if she was the one to lose her drachma given that she was undoubtedly jostled hard while clinging to the cerberus. grover already felt like he messed up after the lotus casino and having percy reassure annabeth after her drachma screwup would really nail in that yeah she’s intelligent and wise but she is also just 12 and she can be a bit reckless too.

honestly, i’m a sucker for flaws. i love my emotional percabeth bits to death but would i have rejoiced just as much had both of them been a little more unempathetic towards each other and been at each other’s throats for a few more episodes? yes.

i love show grover and his earnestness and savagery in manipulating a god but do i love my little coward goat boy who slowly but surely proves himself to be capable and brave? who keeps asking for food at the most inopportune moments but really has percy’s back at the end of the day? who is severely unconfident but slowly learns to trust himself more? yes! i just feel like the grover we have now was my imagining of grover in book 2-3. we never got to see his major flaws so i’m just wondering what kind of upward arc will he have and will it be as impressive as the books.

i really really appreciated that percy’s impertinence was actually something he paid a price for. it will make his continued rebellion against the gods that much more intentional. that said, i would have liked percy’s relative ignorance of the mythic world to still remain. having sally make him so prepared that he sometimes manages to know obscure greek stories sort of blends their roles in the trio. yes, each one of them is layered and there is no one super rigid position they must adhere to but this is storytelling on television at the end of the day, the characters should have unique traits to distinguish themselves. for me, percy’s intelligence was about his presence of mind and deductive reasoning which the lotus casino scene in the book beautifully portrays. similarly, his knowledge was less about facts he knew and more about the street smarts he had acquired. in some way, annabeth and percy have a weird overlap in characteristics (show annabeth feels as sassy as show percy which is not the book dynamic imo).

i don’t see these as minor nitpicks btw – i think show portrayals have changed these characters through small changes and while that is okay, it also leaves room for improvement before it is too late. there are many considerations to be made–percy’s grief, annabeth’s tackling of complex feelings about the gods, grover’s guilt, ofc. but it’s, i think, a valid critique of the show that the main trio’s dialogue and actions could be made more faithful to the books.

also, i think the direction can be more dynamic, especially in exposition-heavy scenes. there are ways to make info-dumping fun and i’m sure the directors are more than capable of exploring these options moving forward.

there are many more smaller things i would point out but i don’t want to make this longer that it already is. many people handwave alot of the critique saying that the show is for children to which i say: children’s media doesn’t mean lesser quality media–the books were literally made for children yet on tv, many scenes are sanitised, very little left not on-the-nose. i have myself mentioned how certain scenes could be impossible to film with 12 yr olds (medusa beheading) without harming them mentally in some way so i appreciate the clever sanitization there. but the action sequences do need much more edge and that’s okay to acknowledge. the show we have now is great but it is absolutely not without flaws and normalising discussion about the flaws is only going to benefit the show moving forward.

and lastly, rick might be the author of the books but there is no rule that once you like an author’s work, you will have to like all of that author’s writing. just because rick made some final decisions does not take away the fandom’s rights to question those decisions and critique the screenwriting. there is seriously no use putting him on a pedestal–and i say this as someone who adores his writing in pjo.

let’s let the fandom breathe a little. let the mild, politely conveyed critique become commonplace as much as the ardent praise because i think that’s the balance we need to ensure that season two delivers on all the fronts that season one was unable to.

that’s all. thanks for reading lol. have a nice day. :))

[crumblinggothicarchitecture]

Taylor Swift Can't Write- She is not a serious or important writer. She is blatantly normalizing cheating in her music.

Let’s talk about Taylor Swift’s honest attempt at coherent narrative -  

Just to be clear, the songs in question: Betty (2020), August (2020), and Cardigan (2020). 

In these songs, Swift, of her own insistence, makes a clear attempt at drafting together a coherent storyline. I, however, found her work lacking while considering it against the many thousands of other short stories I have read. It lacks any sincerity in giving the moment in which the characters experience self-reflection, or "Epiphany" moment, and growth.

An Epiphany is defined as a sudden spiritual manifestation- and it is this I would posit as something that Swift clearly lacks in her writing. She lacks the spiritual, or emotional, depth to accurately tell a so-called "coming-of-age" type story in which the main requirement is that the character has an "Epiphany" about the nature of life to signify them growing up.

I will explain:  

A short story- which I am analogizing to the multi-song arch from Swift- is typically meant to have an epiphany moment in which the main character finally calcifies the main point or the moral of the story. Without the impact of this moment within a short narrative- there is no arc, no moral, and therefore no real story.

Afterall, what is a story, but a coherent subsistence of writing aimed at identifying some universality of human existence (eg.) a moral, a point, or the main message? If I want to get philosophical about it (and I always do), narrative is the act of creation through which the particulars become implicit to a universal experience. Thus, it is a necessity of storytelling- to include the thematic message- or moral backbone of the work.  

Swift’s three song arc is intrinsically incoherent, so it becomes difficult to pinpoint exactly what each character is thinking or feeling. I would, however, suggest that through lines like “slept next to her, but / I dreamt of you all summer long” (“Betty” 2020), and lines like “I never needed anything more/ whispers of ‘Are you sure?’ / ‘Never have I ever before’” (“August” 2020). Therein builds an internal tension between the three characters, James seems to be lamenting his choices to sleep with August and ditch Betty for the summer; whereas August is honestly expressing the fact that this is her first time, so it becomes obvious this means a lot to her. First, we see James's apologizing to Betty saying that the other girl, essentially means nothing by saying he was dreaming of Betty all summer even while with August. We also get the other perspective of the other girl losing her virginity to James during the same summer in which he is thinking about Betty every night.

Already, all the characters are set up to be dislikable- which is not always to the detriment of storytelling. However, it is to the detriment of her storytelling that at no point Swift makes use of external POV, or internal POV, to show any form of personal growth or condemnation of the intuitively morally corrupt actions of James here. Thus, there is no real story- according to the theory of “short-story” telling I laid out above.  

It is her lack of condemnation towards cheating- and the immature irreverence James treats August with- that solidifies this arc as being a rather poor attempt at coherent narrative. Simply, Swift is either an inept storyteller- or she is blatantly normalizing cheating while also treating “the other woman” like a placeholder. (Clearly, Anti-Feminist rhetoric, btw). It’s especially bad that this storyline reaches no “moral of the story” since it is so obviously August’s first time. 

The closest we get to any kind of meta-narrative commentary on thematic point, from Swift as the external 3rd person POV, is with this line “A friend to all is a friend to none/ Chase two girls, lose the one/ When you are young, they assume you know nothing” (“Cardigan” 2020). Again, her use of POV is rather amateurish- because she returns to internal 1st person POV with use of the word “you” in the latter half of the line- which leads me to believe she really doesn’t know how to inculcate the different POV’s into her writing. She’s an amateur- and there's is nothing inherently wrong with that, however, if we could all stop lauding her as literary genius when she is so clearly not that would be “awesome.” Thanks.  

She continues the rest of the song back into Betty’s 1st person POV. The poignant nature of this line about "losing one girl" doesn’t land because the rest of the song is about how James is returning to Betty. Swift writes, “I knew you’d miss me once the thrill expired/ and you’d be standing in my front porch light/ And I knew you’d come back to me” (“Cardigan” 2020). Beside the fact that this line is internally incoherent held up against the setting of “Betty” which is broad daylight, so James would not actually be in the porch light if the sunlight suffices, it is also quite obviously the culmination in which Betty is taking James's back. If there is any thematic message here- and I can only loosely believe this is an actual message here- Swift is saying that cheating is Okay as long as the girl, you actually respect and want, is willing to forgive you.  

And I’m supposed to enjoy this arc? People are supposed to be impressed with Swift because she came up with this garbage?  

She clearly has no grasp on Narrative coherence, no grasp of utilizing POV switching to make narrative more emotionally impactful, and no grasp on how to embed a good moral of the story into her work. So, she has none of the markings of actual great writer.  

The effect of all this is a subterfuge of lackluster emotional appeals- and a toxic love triangle that never resolves into personal self-reflection or growth. The story devolves into blameless banality with no personality or literary value whatsoever- just a reiteration of self-centered egoism that enables James to act without thought to the feelings of others. This is what Swift propagates as good storytelling? Is this morally sound story telling?  

Let me further drive my point home by dichotomizing this pitiful attempt at narrative coherence with the work of a literary genius, James Joyce.  

Has anyone here ever read “Araby” (1914) by James Joyce? (Sidenote: If you love when Hozier talks about issues of British colonialism in Ireland- you will most likely enjoy James Joyce as well- if you love critique of both organize religion and its sociohistorical ties to colonialism- you'll love Joyce).  

My critique too- ties into Joyce, where he showcases the blissful ignorance, or naivety, of youth in pursuit of love, Swift showcases no such thing. She is often praised for her juvenile writing schema- yet in her most overt attempt at writing a youthful romance she fails to interject the most important aspect of youth- Naivety versus painful realizations. In adulthood, when we all reprise the past, and trace back into our memories, we often speak fondly of the naivety of youth- with a little knowing twinkle in our eyes as young people around us make the same mistakes we did. It’s so beautifully human to reflect like this- and Swift manages to add nothing of this universal human experience into her work, even though it is often said that her only saving grace is the ability to capture “teenage petulance” and the proclivities of youth. In other words, I’m saying she’s not even doing the thing she’s known for well enough. She writes this love story like they’re all a bunch of bitter adults, not kids stepping into thoughts of love for the first time. There’s no simple wonder at love- instead, she writes about cheating and feeling jaded. Ditching people for the summer only to come back to the first girl with an "I'm sorry" and "she meant nothing."  Where is the personal growth in a story like that? In which James gets away with saying "she meant nothing," and August is not shown having any agency or reclamation of self after James essentially uses her. Then, to top it all off, Betty most likely gets back together with James. There is no growth to speak of in any of this- it does not qualify as a "coming of age" story- nor does it particularly qualify as a story at all.

This is like English Creative Writing 101 class- btw. It's strange that Swift does not grasp concepts I've taught to college freshmen before. If the freshmen can handle learning it- surely Swift could also be able to learn and improve the thing she does as a job? Right? No?

 “Araby” is a story of a similar predicate to Swift attempt at narrative. So, I thought it most apt to include here as an example which also employs use of Epiphany in short story telling.  

In quick summation, “Araby” is the story of a young boy who has a rather intense crush on a neighbor girl. He promises this girl that he will go buy her something at the market, and in doing so sets off a sequence of events which leads to his ultimate disillusionment with the ideals of youth and love.

Early on in his character development, we see a boy who has an overly romantic view on life, with lines like “All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: ‘O love! O love!’ many times” (“Araby” Joyce). He is so clearly caught up in the longing for this girl- that he truly forgets reality for a moment. His senses slip from him, and he is fully immersed into the lost revery of his little crush on the neighbor girl. Then, like magic, she speaks to him for the first time the next day. She asks him if he will go to the market, and he responds eagerly- Yes. He promises to buy her something.  

The conflict of the story happens at this point- the young boy meets every obstacle in life preventing him from getting to the market on time. He struggles to find money and then he struggles to find the time in the midst of his other obligations to his family. Joyce is clearly showcasing how our romantic visions of life, of everything going perfectly and romance being easy, can so easily be disrupted by the realities of poverty and the responsibility we all bear for family or others.  

The end of the short story outlines the “moral of the story” in which the young man, now nearly too late for the market and without enough money to actually buy anything, with the last refrain that “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger” (“Araby” Joyce). Thus, Joyce drives home the "epiphany" moment, or the self-reflective moment of character growth, as it pertains to the fruitless endeavors of youthful vanity in romance. Stating, essentially, that people only dream of overly romantic scenes to bolster their own perception of reality as something that should go perfect for them. Life is not perfect, nor is it ever fair, and nothing happens as fantasy suggests it should- this is the hardest, and often the first, life lesson young people ever face. Anguish and Anger. What a beautiful phrase to remark upon- as this poor young man realizes life is comprised mostly of being “a day late and a buck short.”

This intensity- this moral backbone is what brings the story to life. The way this story enumerates the youthful hope- to the burgeoning adult reality- as something full of anguish -allows readers to bridge empathy towards others as WE all grow up in a difficult world. This is the "Epiphany." This appeal universal human experience, through particular circumstances like that of a young man in early 1900’s Dublin, is what is missing in Swift’s work. She gives us nothing but her own selfish refraction of immoral behavior without any appeal to greater human impulse or discovery.  Her work rings hollow in the face of actually talented writers like Joyce. She lacks the same depth, sophistication, and ability to actually make the story into a narrative arc.

She claims to write about teenage, coming of age-esque, discovery yet lacks any ability to actually showcase, with empathy, the ways in which anguish at their own naïveté presupposes teenage petulance.  

She writes out the most shallow- surface level depiction of some b-plot from a bad fanfiction and wants to pretend that she is a literary genius. Yawn. 

Addendum- I am aware that “Araby” is also a story predicated on ideas of Freedom vs Colonialism. To those of you who know the story well, I hope you don’t mind I choose to focus in on the “coming-of-age" part of the story in order to more clearly connect it to Swift’s work. I am not, however, ignoring the real sociohistorical implications of poverty, colonialist attitudes, and human rights thematic points in the story. I know.  

“Araby” by James Joyce is free at The Project Gutenberg eBook of Dubliners, by James Joyce  

[lgbteca]

Although the plot promises a lot of tension, I'm not too worried for Mafin. The novela is entering its resolution phase, when all the secrets come out and the characters have nothing left to do but deal with them and move towards the climax. I think the times ahead are going to be very exciting for all the stories. The way they all intertwine is fascinating.

Marta has been building herself up for this confrontation. The Marta of the beginning would have merged with the shadows, but today´s Marta knows that returning to silence is the same as to convict herself to death. She won't do it, no matter how much she has to lose. Giving up Fina again is not an option, so we have to prepare for the battle because it's going to be tough but also glorious. Let's not forget that it was Marta who lured Fina into the bushes. There's no going back from that. 😆

I'm excited to see how the writers resolve this whole conflict and how they continue to deviate from all our theories. Fina said she was willing to face everything that comes their way and today's Marta has me believing that she will too. Whatever it takes, as Isidro said.

[devastatinglygreen]

Why do you think they're waiting for the Lady Whistledown reveal?

aside from drama? and i mean that seriously. i know everyone had headcanons and wants for years here but they're building tension. there was no real tension in part one outside of sexual and the stakes need to be higher for the penultimate episode.

the next bit is spoilers we know have been pretty much seen by too many people for ep 5 at least so wander under the cut at your own risk:

i think, and i know a lot of people aren't going to be thrilled about colin not knowing before some things happen, that they need to do two things: solidify their relationship a bit and basically send penelope into a spiral to take the stakes higher.

they have plot armor, they're not going to behead penelope right there in the queen's garden with the peacocks once she gets caught. the only thing truly up for grabs is polin. and not even that, not really, but it's the thing the audience is going to care about.

the spoilers have penelope trying to tell him but failing because she keeps getting interrupted. every time she fails, the clock ticks further. it's a pressure build. eloise is on her back. colin is just wandering along, deliriously happy and penelope knows she's carrying this bomb she's gonna blow up in his face.

she lost eloise to it. colin is the love of her life. i think we can all do that math. she's so stressed out by eloise's timeline she can barely breathe and then comes cressida.

you've got cressida taking credit for LW, colin's happiness sitting on her shoulders (tho i do think it's also so smart of them to have him defend penelope to portia before he finds out, it might give him some insight to how penelope is treated and feels when the right time comes), eloise is assuming things and giving her hell.

i mean, wouldn't you be a mess too? like, give the girl some grace her entire life is imploding right after getting what she's always wanted and never thought she'd get and losing the two most important people in the world to her only a few months before. would you want to blow that up again? yes, yes, i'm sure everyone who says "but she has to!" is very morally outraged and perfectly righteous in their own lives scoffs at the idea that penelope might struggle with a secret she doesn't know what to do with.

it's not like we've never seen how that eats her up before, right? oh. we totally have. nvm.

anyways. cressida. i kind of hope it's the turning point for peneloise because i think even eloise knows she's not a good person to have in a position of power like that. say what you want but penelope doesn't lie in LW.

add in they seem to be bringing in book scenes and i'm going to guess colin catches her after she takes off to print something saying cressida is a whole ass lie. fight ensues. angst! stakes are ridiculously high. the wedding is planned. the pedestals are knocked over and now colin will know everything. does he love her after that? can he? does he trust her ever again? (clearly yes or they're gonna need to change up that family tree thing they released lol).

this will give way to colin having to come to terms with penelope's legacy and how it affects his own estimation of himself and his writing. jealousy like the book. it's a colin issue and he knows it but he still has to deal with it.

colin very much thinks penelope is his purpose, right? the book says it. LN said it about show colin. he's gotta reconcile that LW and penelope are two halves of the same person. he can't put them both in boxes.

anyways what i mean is that the stakes need to be high and her blurting it out then having 2.5 episodes of them moping around about their LW fight isn't really the thing that gets your heart racing when you've got 8 episodes to tell the whole story.

(also as an aside, i think it's going to lead to us getting second "firsts" in a way. it's not going to be a first kiss or anything but i feel like the energy of it all will be different and i, personally, think that could be very fun)

[intpstyle]

Dragon Age: The Veilguard Review Pt. 3 - "How to move on?", On Community

DA:TV Spoilers ahead!

Pt. 1 is here, Pt. 2 is here

The capital-h Hero brings me to the second point: community. One could argue that Rook simply doesn’t have the luxury of breaking – there is too much on their shoulders. The game drops multiple hints in that direction, but (again) doesn’t seem to fully commit to the idea. Just one scene of Rook pacing their room, frantically going over battle plans, tossing in their sleep (even just staring out into their aquarium with a furrowed brow for a particularly stoic Rook - anything!) before a companion knocks and they put on their smiley/calm “Yes, I am the boss and have all the answers” demeanour would have been worth gold. What a fantastic opportunity, too, to have them break in front of their Love Interest and their Love Interest alone! As some other reviewers have already mentioned, I also would have loved ANY codex entry mention of the other companions being worried about Rook. As it is, Rook stands alone.

This is reinforced by the game mechanic that only allows Rook to eavesdrop on conversations in the Lighthouse rather than join them, the odd mirthless reactions when you buy companions gifts, the much-maligned book club that never asked you to join, etc. I was also missing a scene like the Inquisition card game that showed everyone just …hanging out. If there is enough time in-between the world saving business for a book club, there is enough time for a shared meal or two, maybe with storytelling and reflecting on the adventures the team has already overcome. Before the final battle, Solas says something to the effect of Elgar’nan choosing only pawns that grasp for power like him, while Rook has assembled a team of skilled professionals and invested in their skills, which is why they will win. And … yes. But for my taste, the game does not invest enough on either side of heavy is the crown; leaders stand alone // we win with the power of friendship; we’re like a family! When escaping from Fade Prison, we see the hands reaching for Rook and can piece together that they have been gone for weeks, but why not show us the moment Rook tumbles through, back into the Lighthouse, back home, and their team huddles around them with victory cries? Say what you will about The Dawn Will Come (or even the jailbreak scene in Origins!), but there is no scene that fullfils a similar function here. All we get are (hilarious!) snippets of Venatori fangirling over Rook, but when has Rook reached this level of prominence? Where are the in-between steps?

All that to say: once again mirroring Solas, but not in a great way, both Rook and Solas stand alone. While I appreciate the story for Solas we got, it is a shame that his vast elven network did not play any role in the plot, and it is a shame that Rook does not seem to be affected by the juicy parts of having to move on from anything ever, leaving them somewhat removed and in an almost supervisory position towards the other companions (which is also not explored in much depth). The main theme of Mythal relieving Solas of his sole responsibility and guilt, and Rook helping every companion with their quest is that “you don’t have to go through this alone. We can move on together.” I just wish this had been stressed more, particularly in regard to Rook.

One last thought on choices: another change that could have taken this game to the next level would be to commit to the follow-through of danger. I loved D’Meta’s Crossing and was so excited to get into “real” Dragon Age territory, but the fantastic build-up with shuffling through the dripping blight and people losing their minds left and right should have been a high-adrenaline boss fight or cut scene, not a rather tame moral decision on leaving the mayor to his fate or not. Same for Mila, the girl in Weisshaupt – she’s a brilliant character and adds real tension to the siege, but to not have a single scene where she’s truly in danger? Missed opportunity.

Anyway, it is easy to criticise a cake when it stands baked before you, and considering that the oven was malfunctioning, that the ingredients were hard to get, that the chefs were underpaid and overworked, and that the restaurant owner at some point wanted a soufflé, it is still a damn fine cake. Every creator puts themselves in their creations to some degree, so I wonder if there isn’t also a sad and rather obvious reason why Rook feels so under-pressure, unallowed-to-break, and alone, and why the catharsis is not included in the game itself. Respect to the Bioware developers that pulled through – may they be rewarded in the way they deserve and the industry currently does not allow.

So yes, all in all, Veilguard was a 7/10 for me, and I can’t wait to see where the series will move on to from here.  

[gibor-zolel]

Why I like Keneeka better than Stella

So something I've been stirring in my head for awhile is the question "why do I like Keneeka more than Stella?" and I think I finally have an answer.

Stella's presence in the game was always mildly off putting to me because early on you find out that her and Tabby used to be friends; and while some people just took it at face value; I suspected they might have been more than that on Ep 1.

The reason it's mildly off putting is because it creates this weird dynamic and tension between you and Tabby. If you play the game like I do (wanting to be besties with Tabby) then this creates a bit of a problem if you attempt to pursue a romance with Stella. Something about dating my cousin's ex when said cousin clearly still has feelings for Stella and couldn't pursue those feelings because of her abusive mother rubs me the wrong way.

No hate if you do this; it's just too weird for me. And not the good kind of weird.

But even with all that said I just don't connect with Stella. Maybe there will be more to Stella's story later on (fingers crossed!) but so far it's basically this;

>Stella fun and friendly

>Parents die

>Stella puts up a front of still being fun and friendly but secretly hurting

>Stella unreliable because she chases danger in pursuit of something she doesn't really want to face. In other words; she's a dog chasing a car.

Now there's nothing inherently wrong with this but I connect with Keneeka's story much much more!

Keneeka to me is a bit more complex or at least I see her that way. I know some people in the fandom don't like her, some for legitimate reasons...and others because of unchecked biases.

But really let's examine her character for a sec!

Keneeka had this promising career as a vet and was one of the top students in her class and IIRC 1 semester away from graduating. She could finally leave this dying town and the Scarlet's ironclad grip on it behind. She could finally escape her controlling mother and annoying younger brother who is clearly mom's favorite who can get away with anything.

Then her dad dies. We don't get much information about her dad other than he's dead. In fact if I remember, that's all we know.

So Keneeka puts her life on hold to "do the right thing" and her personality trait of being self righteous undoubtedly pushed her to make this decision too.

After all; how could she call Tabby out for being selfish if she left her family to grieve by themselves and lose their livelihood?

So she goes back home to this dying town, convinces herself it's only gonna be for a few weeks....then a few months...then oh look it's been a year! And she realizes Scarlet Hollow is sinking it's claws back into her by virtue of her guilt if she leaves.

And then there's Tabitha. Wouldn't things be so much easier if Tabitha wasn't in charge of everything? I imagine as a black woman in a rural area that was built by an ex confederate soldier and being run by a rude and controlling white woman doesn't help Neek's opinion on Tabby.

People get so bent out of shape whenever Keneeka attacks Tabitha but from Neeks POV her life was uprooted not only because of her dad's death but because Pearlanne has repeatably tried to buy out her family's store. The Scarlet family legacy is all about cheating, stealing, lying, murdering, and doing whatever awful act to take control of an entire town and hold it under their thumb.

I also think Keneeka's trait of being self righteous leads to her seeing the worst in people and not being open to hearing the point of view of someone she considers an oppressor.

Which I mean...fair.

Remember; Tabby can build a relationship with us and even be nice towards the end of episode 4 but she is not like that with anyone else besides us and Stella. Maybe Sam Wayne but we don't know what their relationship looked like and from what "Wayne" said; it ended pretty nastily.

Keneeka's home life isn't much better either. With her mother forcing all these responsibilities on her and never asking Miles to do the same. While we can't know for sure; I get the impression that even when Keneeka was a teenager that her mother did this. I'm getting real "parentification" vibes from Sybil.

And something about wanting to be free from your family but feeling guilty about leaving them behind.....yeah that just hits different for me.

Also she's the best dressed character let's be serious.

Anyways that's the mood and I'll write up my theory about Sybil and Wayne possibility trying to frame Tabitha on Sunday. Stay tuned!

[lovemyromance]

I think regardless of which side of the ship war you're on, everyone is claiming that "Ofc their development and love story is going to play out more in their book!"

And I think that's a fair statement to make 🤷🏻‍♀️ No Elriel is claiming Elain & Azriel are in love right now (and if they are, they're wrong lmao), I might've seen some Eluciens & Gwynriels claiming their respective couples are in love or whatever - but I am willing to accept that is not the general consensus of those sides.

We often see the "Why would Elain accept a mating bond in a book that's not hers?" Argument from the Elucien side. And Elriels have countered with "Well then why would she reject a bond in a book that's not hers?" but apparently, THAT is too hard to grasp for some anti-Elriels.

I think the real question is: where is the buildup?

Elain & Azriel have undeniable build up on the page. Even if you dismiss all their other small romantic moments in the background (i.e. Hybern rescue, Truthteller, "sit I'll take care of it", garden scenes), they still were about to get NAWSTY with each other in the BC.

And you can call it whatever you want (love/lust/obsession), but you cannot deny that is clear romantic build up. Whether they are endgame or not, nothing will change the fact that Elain willingly chose to kiss the Spymaster, not her mate.

Speaking of the M-word: Also undeniable: Elain & Lucien are mates. Regardless of what happens, that bond situation will have to be addressed at some point in Elain's book.

But so far, that initial "You're my mate" is the only thing that gives us any indication that Elucien is even an option. Nothing I have seen from either of them is giving "mates".

In ACOTAR, it has been very clear with both Feyre & Nesta that their mate/endgame was Rhys/Cassian. How did we know that before they were declared mates officially?

Because the build up. They had clear chemistry on the page. Even when they were avoiding each other, they weren't really avoiding each other. From the moment Feyre met Rhys and thought he was the most beautiful man, to the moment Cassian & Nesta squared off at the dining table - we could see their chemistry and attraction on the page. They left us wanting for more.

If we compare Elucien to these couples - it cannot be said that they are the same. They already know they're mates, so arguably that should be more incentive to get to know a person - but they still avoid each other. All their interactions are described as uncomfortable, forced, or dry as hell. There is no conversation or interaction between them that had me smiling to myself or excited to read more about them.

You can place the blame on Elain all you want. Say that in ACOWAR - she was depressed. In ACOFAS - she was still adjusting to fae life. What's the excuse by ACOSF? She is just quietly miserable in the NC?

If that's the case - isn't that more of a reason to reach out to her non-NC mate? Isn't that more of a reason to want Lucien, over Azriel?

We see Elain ignore Lucien at every turn in ACOSF. We see multiple characters notice how Elain doesn't want him, Elain seems wary of him, Elain avoids him, Elain loses her boldness around him.

How is that build up? Even when SJM writes enemies to lovers, even if there are XYZ things against a pairing, they still have chemistry. That is what is missing in Elucien.

You don't need to wait till Elain's book to see chemistry. They've interacted multiple times and not one of their interactions had me wanting to see more.

Elucien will not fall in love suddenly off page. No one expects that. Elriel will also not fall in love off page.

The difference is, Elriel has shown chemistry. Attraction. Romantic interest.

Elucien has not. You can argue "foreshadowing" all you want but at the end of the day it comes down to Elain & Lucien and how they interact. Do they have any tension or chemistry? No. They just ignore and avoid.

That does not make for a solid foundation for a romance book. People are forgetting these are not standalones, these are spinoffs to ACOTAR. SJM has said herself she started planting clues for Nesta & Elain's stories in ACOFAS itself.

Even when Nesta was not the focus in ACOWAR, she and Cassian still had significant moments. Even before she turned fae, she and Cassian received a bonus chapter in ACOMAF. Their chemistry was undeniable. It was almost exactly like the Elriel BC encounter - but I guess we're not ready for that conversation 🤷🏻‍♀️.

All I am saying is that Elain & Azriel have had proven romantic buildup on the page. You can believe the mating bond will prevail but what is giving you that confidence reading the current text in front of you?

If I open ACOTAR 5 come springtime (lol can u imagine what a dream) - and Elain & Lucien suddenly start interacting and it's interesting and they have chemistry with each other- great. I'm on board.

But until then, they'll never have what Elain & Azriel have. And that's mutual romantic interest.

[gingergofastboatsmojito]

It was a documentary, not a series, that's why we were not satisfied because we wanted fiction, not a docuseries.

This only solidifies my POV, which I have already gone over on the Under The Table Podcast and in many previous entries on my blog, about the whole problem with S3 being in the WR. Coming from a very solid S2 and amazing S1 award season, only made matters worse, of course.

Viewers appreciate realism, as a matter of fact the kind of audience The Bear appeals to is the kinda public that digs realism and adult content, with lots of cussing, raw directorial style, fast-paced, etc. We are not the typical rom-com or even drama series audience. The Bear became a hit show back in 2022 because its eps were fast-paced, with a dramedy quality that made it original, lots of adult language, and with a hint of sexual tension that was "promising" if explored in future seasons, that at that point were not confirmed yet. S2 was ordered in July 2022 in the middle of the momentum the show was starting to get, and shot from February to April 2023, then it premiered in June 2023, only to compete now, in this award season that opened a few weeks ago at the 76th Primetime Emmy Awards.

Meaning: the reason why S3 didn't work as expected, and the numbers back that up that is why they haven't released them yet, is because the writers were not able to write a BALANCED plot. Yes, it hit all the realistic marks in terms of mental health struggles and fine dining 7th circle of hell, but at the same time, it lost every other "ingredient" that it used to have. THERE IS A WAY to write the best of both worlds, and I certainly expected that coming from who I considered the best script writer out there, the sadist. And his right hand wired for romance, Miss Calo. They didn't do it. They disappointed me. They went all in with the docuseries' raw realism style of Carmy hitting rock bottom, which if you were really paying attention in S2 was nothing but PREDICTABLE → as I proved even before S3 premiered here and here but they didn't build towards a cliffhanger that left you wanting more, actually, 03X10 is altogether hard to watch, there's no balance like in FISHES 02x06, for instance, just one punch after the other, all below the belt, no comedy, no breather, just tragedy and more tragedy and more sense of doom and more PLEASE MAKE IT STOP! THAT'S IT, END THIS, PULL THE PLUG, STOP IT! etc... Like I said: No balance.

Storer only focused on Carmy's background story, but didn't give us anything we couldn't have figured out on our own anyway, he didn't explore Syd's background story, which should be a collection of gems and absolutely Sydcarmy friendly because the more we know about her, the better we will be able to figure out how will Sydcarmy happen and when (I already know when, but still) and he also focused on Tina's background story, IMO that was completely unnecessary as T is not a central character, what he showed there was also easy to guess anyway and could have been summarised in a couple of scenes, not an entire bottled episode, not when other characters are UNEXPLORED after 3 seasons. So basically, all the decisions made in terms of SCRIPT were WRONG. The acting was perfect, the direction was too, the soundtrack, the cinematography, all of it, but the foundation wasn't there because in the WR the creative decisions made for S3 were completely fucked up, we were served a docuseries as opposed to the fictional show with a realism bouquet we were watching the previous 2 seasons.

WE WANT TO WATCH FICTION, write it realistically, sure! BUT DON'T LOSE WHAT YOU HAVE SO FAR, DON'T MUTATE INTO A DOCUMENTARY OF ALL THAT'S WRONG IN THE MENTAL HEALTH DEPARTMENT OR IN SOCIETY OR IN THE CULINARY INDUSTRY, we already know that and if we don't, we can always tune in the motherfucking news, not FX, and certainly not Disney+. Thank you very much.