#and i was like ''okay how does this work and also what makes it different from regular transformations''

[requiemforthepoets]

this is me trying 𖦹 OP81

PAIRINGS: oscar piastri x female!reader

SUMMARY: growing up, the only thing you know is that you need to be strong, provide, and take care of your sister. but being with oscar, it was different, he made you feel things—that it’s okay to not be fine, vulnerable, and to be taken care of.

AUTHOR’S NOTE: i have this fic finished the other day but i was debating on whether to post it or not, but here we are. it’s been a while too since i last wrote for oscar, and this is like a comfort (?) fic idk lol. also, can i just say that LANDO ON POLE FOR THE SG GP!!! 😭🧡 ok, i hope you guys will have fun reading this one. enjoy! :)

REMINDERS: this is purely fiction, the way how the character is portrayed in my story does not reflect the person that is portraying my character in real life. always separate fiction from reality, and do not repost or copy my work in any way.

WORD COUNT: 3.6k

WARNINGS: not proofread, typos, eldest daughter syndrome, no use of y/n, cursing, unnamed sister, named friend, and parents death

You were sitting in the living room, surrounded by case files and legal books, trying your best to prepare for the court trial that you’ll be doing soon, but your mind was elsewhere. You can't focus on the work that you’re working on in front of you, no matter how hard you try. Your phone buzzed, and you almost didn’t answer, thinking it’s just another work call, but when you saw Blaire, your friend’s name, flash on the screen you quickly picked up, expecting a casual chat.

“Hey, Blaire, how are you?” You greeted her, trying to mask your exhaustion.

Her voice on the other end was hesitant, not the usual warm tone that you’re used to. “Hey…I really hate to bring this up, but I was wondering when you would be able to repay the five thousand dollars?”

Your stomach dropped. “Repay?” You repeated, utterly confused. “What do you mean five thousand dollars?”

The conversation between you and Blaire unraveled quickly. She explained how she had lent the money to your sister out of need, thinking it was for you or with your approval. Rage bubbled in your chest, your pulse quickened, at this point all you can see is red. You thanked her hastily, barely able to end the call before fury overtook you. Without thinking, you dialed your sister’s number, the beeps echoing in your ear like a countdown to an explosion.

“Hello?” Her voice was casual, completely unaware of the storm coming her way.

“What the actual fuck did you do?!” You yelled, not caring if it was late at night. “You borrowed five fucking thousand dollars from Blaire without asking me!? How could you?!”

There was a pause, a brief moment where you could almost feel her shrug through the phone. “Oh my god, can you relax? It’s not like you can't afford it. It’s not that big of a deal, you can just easily pay for it with how big you’re making, it’s barely a scratch on your bank account!” You couldn’t believe what you were actually hearing.

“Not a big deal? Did you spend the money already? Do you have any fucking idea how humiliating it is for me that you did this without even consulting me? You think just because I make good money, I’ll fix every mess you create?” You were seething.

“Well, yeah,” she responded with a laugh, clearly not grasping the gravity of the situation. “You’re my older sister. Isn’t it your job to take care of me, right?”

Your grip on your phone tightened. “I’ve been taking care of you your whole life! I’m working myself to the bone just to make sure you have everything you need, sending you to that fancy school that you’ve always wanted so you can have a better future, and this is how you repay me? By lying and stealing?”

The silence on the other end of the line felt heavy, but your anger has not subsided. She mumbled something that sounded like a half assed apology, but it was already too late for that. You immediately hung up and slammed the phone down on the table, heart racing, pulse pounding in your ears. Anger still swirling inside you like a storm, the words of your sister still echoing in your mind. You can just easily pay for it with how big you’re making. Her carelessness, lack of respect—it hit harder than anything you had experienced before. It wasn’t about the money, you could handle the five thousand dollars easily, but the way she completely dismissed your hard work, as if it was nothing, as if your sacrifice and years of struggle meant nothing—that was what burned deep. It hurts like fucking hell.

You sat down there on the couch, trying to calm yourself down, tears started to prick at the corners of your eyes, but you blinked them back. You didn’t cry. You cannot cry. You have always been strong your whole life—the provider, carer, and protector. That’s who you were. No one had ever taken care of you, not since your parents passed away when you were fifteen and your sister is only ten. It has always been you, alone, against the world, and now, it felt like even your sister was against you.

You didn’t hear Oscar enter the living room until his voice, soft but firm, broke through the silence. “Hey, I heard you from our room. Are you okay?”

You swallowed hard, your body automatically stiffening instinctively and continued browsing through your documents like nothing happened.

“Yeah, I’m fine. Don’t worry,” you lied, though the quiver in your voice betrayed you.

Oscar walked over and sat down beside you on the couch, his hand gently resting on your shoulder. “You don’t always have to be fine,” he said quietly. “Tell me, what happened?”

You exhaled sharply, your hands trembling as you ran them through your hair. “It’s my sister,” you muttered, trying to keep your voice steady. “She borrowed money from Blaire. Five thousand dollars. Without even telling me. Now, she’s acting like it’s my job to fix it.”

“Five thousand? That’s a lot.” Oscar frowned, his brows knitting in concern.

“I know,” you said, “she doesn’t even care. She just assumes I’ll take care of it, like I always do every time she gets into stupid situations. She thinks just because I earn good money, I’m supposed to fix everything.” Your voice cracked, and before you could stop it, the tears you had been holding back for so long finally broke free. “I don’t know how much longer I can do this, Oscar. I’m always the one fixing things, I’m always the one who has to be strong.”

Oscar didn’t say anything for a moment, he just stared at you, his eyes filled with understanding. Then, without a word, he pulled you into his arms. You tensed at first, still not used to being vulnerable, but Oscar’s embrace was warm, grounding. Slowly, your body relaxed into his, and the weight of the world seemed to lift just a little as you rested your head against his chest.

“It’s not fair,” you whispered to him. “I’ve always had to be the strong one. I’m tired, Oscar. I’m so fucking tired. I don’t know how much more I can take.”

His hand gently stroked your back, his voice soft and reassuring. “I know. It’s okay to be tired. You don’t have to be strong all the time. Not with me.”

You pulled back slightly to look at him, your eyes searching his face, “I just don’t know how to let anyone help me,” you admitted, voice barely audible. “I’ve been doing this for so long, I don’t know how to not be the one in control.”

“I get that. But you don’t have to do it all alone anymore. I’m here. Let me be strong for you, too.” Oscar smiled gently, brushing a tear from your cheek with his thumb.

For a moment, you didn’t know what to say. The idea of letting someone else carry even a fraction of the weight feels completely foreign to you. But as you looked at Oscar, his eyes full of sincerity, something inside you shifted. Maybe, it’s time you let it all fall down, you didn’t have to carry everything on your shoulders all the time.

“What am I supposed to do about her?” You asked, your voice small but steady now.

Oscar sighed softly, thinking for a moment. “You have all the right to be angry and upset. Your feelings are valid,” he said. “She needs to learn that actions have consequences. But at the same time, she’s your sister. She’s young, and sometimes young people tend to make mistakes. You’ve been doing everything for so long that she probably hasn’t learned how to take responsibility for herself yet.”

You nodded, wiping your eyes. “Yeah, maybe. But I can’t just let her think she can keep doing this.”

“No,” he agreed. “But you also don’t have to do this alone. We can figure it out together.”

You looked at him, really looked at him, and for the first time in a long time, you felt like you weren’t alone. Maybe you didn’t always have to be the strong one, the provider, the protector. With Oscar by your side, you could learn how to let someone else carry the weight with you.

“Thank you,” you whispered, leaning into him once more. “I don’t know what I’d do without you.”

Oscar smiled, pressing a soft tender kiss to your forehead. “You’ll never have to find out, I’m not going anywhere, my love.”

The next morning, you stared at the screen of your laptop, fingers moving quickly over the keys as you finished drafting the contract. The legal jargon was familiar, comforting even, but the fact that you had to use it against your own sister left a bitter taste in your mouth. The contract was firm, direct, and laid out the consequences clearly: five thousand dollars, to be repaid in installments, with interest and penalties if the deadline is missed. You hated doing it—your heart never felt so heavy—but you knew it was necessary. You had been too lenient for far too long, if she didn’t learn this now, she might never understand the true value of money and the responsibility that came with it. It was time for her to learn the hard truths you had known your entire life.

Oscar was sitting across the table, sipping his coffee, watching you in silence. “You’ve finished it?” He asked gently. You had told him last night that you need to straighten everything out, and told him your plan, in which he quickly supported you.

You nodded, eyes scanning the contract one last time before saving it. “Yeah. She’s not going to like it, but this has to be done.” You sighed, “I’ve been too lenient, too forgiving. I can’t keep cleaning up after her messes.”

“You’re doing the right thing.” He said as he reached over, placing his hand over yours. “It’s tough, but you’re teaching her a lesson she won’t forget.”

“I hope so,” you sighed, glancing out the window, the weight of responsibility pressing down on you once more. “I’ve never been one to ask for anything back, but she needs to learn that she can’t just treat me like this. I want her to be successful, but she can’t rely on me forever.”

Later that day, you booked a flight for her to Monaco, and notified her about the flight schedule. She was studying in Switzerland, and it would be a four hour flight from Switzerland to Monaco. It was time to have this conversation face-to-face. You couldn’t keep allowing her to avoid responsibility just because you were miles apart. This is a conversation that is long overdue.

A couple of days later, she arrived at your and Oscar’s shared apartment. She seemed different—more subdued, perhaps. You could tell the weight of your anger still lingered in her mind. She greeted you cautiously, her eyes flickering to Oscar, who stood nearby, his presence calm but protective.

“Sit down,” you said, pointing to the couch.

She looked at you, clearly trying to gauge your mood, but she did as she was told. You sat across from her, with Oscar by your side, and the freshly printed contract lying on the table between you. The tension in the living room was thick.

“I had already settled your debt with Blaire,” you began, your voice calm but firm. “But this conversation is not just about the money. It’s about respect, about responsibility.”

“I said I was sorry.” She crossed her arms, trying to play it cool.

“Sorry doesn’t fix this,” you snapped, your patience was already running thin, barely hanging on by a thread. “I have been providing for you because I want nothing but the best for you. But what you did was careless, and you disrespected everything I’ve done for you. You didn’t even ask me before borrowing that money, and then you just blatantly assumed I would handle it. You do this every time to me, you always get me into awkward and humiliating situations.”

She bit her lip, her attitude wavering. “I know, but you make so much—”

“That’s not the point!” You cut her off, about to lose your cool but Oscar had managed to calm you down by softly caressing your back. “Yes, I make good amount of money, but that money just doesn’t magically appear. I have worked hard, harder than you can imagine, to get to where I am. Do you want to know what’s worse? What’s worse is that you’re not even thinking about how hard it is to earn that money, how I burn myself off everyday. So I’m making you earn it back.” You slid the contract towards her.

“What’s this?” She looked down at it, then back at you, looking all confused.

“It’s an agreement,” you said. “I’ve decided to give you the five thousand dollars. Consider what you bought from that money as a gift, because I know you’ve been doing well in school, and it’s been a while since I’ve given you anything. But this will never happen again. You owe me that money, and you're going to pay it back. Every cent of it, with interest.” Her eyes widened, and she opened her mouth to protest, but you cut her off before she could even speak.

“This is not negotiable. I’m still going to support you, I’m still going to pay for your tuition, but you need to learn how hard it is to earn this kind of money. You’re going to work for it, and I'll expect proof—payslips, records—everything. If you miss a payment, there will be penalties added, and if you refuse or try to make a fool out of me, I’m not afraid to take legal action.”

“You’d sue me? Your own sister?” She stared at you in disbelief.

“Yes, I would,” you said coldly. “I don’t want to, but you’ve left me with no choice. You are already eighteen and will turn nineteen in two months, you are already capable of knowing what’s right and wrong. You need to understand that I’m not going to bail you out every time you mess up, this is your responsibility now.”

For a long moment, she didn’t say anything. Her face was a mix of shock and anger, but you could tell the gravity of the situation was already starting to sink in.

“I’m not trying to be harsh,” you said softly, leaning forward. “But I’ve been in your shoes, and I know firsthand how hard life can be. I have shielded you from that, and maybe that was my mistake. But if you’re going to succeed in this world, you need to understand that nothing is free, nothing in life is free. Everything comes with a cost.”

Oscar then leaned forward, gently placing a hand on your shoulder. “Look, we’re not doing this to hurt you,” he added, tone gentle but firm. “But this is a wake-up call. You need to understand how your sister has worked so hard, and how important it is that you start contributing. No one’s saying you have to do it alone, but you have to start doing something.”

Your sister’s eyes shifted between the two of you, and for a moment, you saw a flicker of guilt in her expression. She glanced back down at the contract, and you handed her a pen.

“Okay,” she whispered. “I’ll do it. I’ll pay you back.” Her attitude and defiance slowly faded from her face.

“Good.” You nodded, “then sign it.”

She hesitated for only a moment before scribbling her signature across the bottom of the contract. You felt a strange mixture of relief and sadness, knowing you had to be this tough, but also hoping it would be the turning point she needed.

“You can stay with us while you’re in Monaco,” you told her, “but I expect you to find a job as soon as possible. If you fail to keep up with your end of the deal, there will be consequences. Understood?”

“Understood.” She nodded, though her expression was still a mix of resentment and defeat.

You exhaled, feeling a small sense of relief wash over you. This wasn’t easy, and you hated having to be this strict with her, but it had to be done. Oscar wrapped his arm around you, his touch grounding as soon as you watched your sister head towards the guest room.

“You did the right thing,” he said quietly.

“I hope so,” you whispered, leaning into him. “I just want her to grow up.”

“Don’t worry, she will.” Oscar assured you, pressing a soft kiss to the side of your head. “With you as her sister, she doesn’t have much of a choice,”

Later that evening, the apartment finally fell quiet, dinner was definitely awkward and quiet, but with your sister already tucked away in the guest room, the weight of everything you had said and done began to settle in. You were sitting at the edge of the bed, heart heavy and mind replaying what had happened earlier over and over. The way your sister had looked at you—hurt and angry—it cut deeper that you were willing to admit.

You had always been strong, but this strength had come with a cost. Now, sitting in the stillness of the night, the reality of your actions hit you like a tidal wave. It wasn’t just the contract or the money, it was the fear—the fear that in trying to teach her a lesson, you might have pushed her too far. That in being the disciplinarian, you had damaged something that might never fully recover or heal.

Oscar entered the room quietly, sensing the shift in your mood. He sat beside you, his presence had always been comforting, but it wasn’t enough to stop the flood of emotions you had been holding back.

“Was I too harsh, Osc?” You whispered, voice barely audible.

He frowned slightly, tilting his head to look at you. “No, you weren’t. She needed to hear all of it.”

“I know,” you replied, voice trembling. “But what if I lose her because of this? What if she hates me for it?”

You felt your tears welling up again, but this time you couldn’t stop them anymore. They spilled down your cheeks, unchecked, as you finally let go of the tension and frustration you had been carrying.

“I’m not being harsh to punish her, I just want her to understand how hard life is, how much I’ve sacrificed. But what if all she sees is me being cruel?”

Oscar pulled you close, wrapping his arms around you as you broke down. You rested your head on his chest, sobs coming in waves, guilt and fear crashing over you. You had always been strong for so long—too long—and now, it felt like everything was unraveling.

“She’s my baby sister,” you choked out between sobs. “I don’t want to lose her. But I don’t know what else to do. I don’t want her to think I’m just some heartless person who only cares about money.”

Oscad held you tighter, his voice calm and steady as he spoke. “She won’t hate you. Not forever. She’s upset now, sure. But she’s young, and right now, she probably doesn’t understand why you’re doing this. But she will, trust me. One day, she’ll look back at it and realize that you did this because you love her.”

You shook your head, your chest tightening with the weight of your emotions. “I feel like I’m always the one who has to be the bad guy. I never get to be the one who’s just there for her, to support her without judgment.”

Oscar stroked your hair gently, his voice soothing. “You’ve done more for her than anyone else ever could. You’ve given her everything. You’re not the bad guy, you’re her protector, even when it means being tough on her. Yeah, maybe this will cause a rift for now, but it won’t last. She’ll come around, she’ll see that you’re doing this because you care.”

You pulled away slightly, wiping at your tear-streaked face. “What if she doesn’t?”

“She will,” Oscar said firmly. “But even if it takes time, you can’t keep beating yourself up for doing what’s right. You’re teaching her a lesson that no one else will. You’re giving her the tools to grow up, to be responsible. Sometimes, that means being tough. That’s tough love.”

You nodded, but the guilt still gnawed at you. “I just wish I didn’t have to be this person all the time. The one who fixes things, who keeps everyone in line.”

“I know. But you’re not doing this alone anymore, okay? I’m here. Whenever it feels like it’s too much, rest on me. You can always rest on me.”

You leaned into him again, his warmth easing the ache that you’re feeling inside of you. “I just hope she understands someday,” you whispered.

“She will,” Oscar said softly, kissing the top of your head. “And until then, you’ve done what you needed to do. You’ve set her on the right path, and that’s what matters.”

As the tears slowly subsided, you felt a flicker of hope, knowing that even though this was hard, it was necessary. Even if your sister doesn't see it now, you could only hope that one day, she would understand that everything you did was out of love.

The weight on your shoulders became a little lighter, knowing that Oscar was right. Even if it took time, even if there were still battles to fight, you knew you weren’t facing them alone anymore, and for the first time in what felt like forever, you allowed yourself to breathe. You had done what needed to be done. Now it was up to your sister to follow through.

[sulumuns-dootah]

Can I request a headcanon of whb kings reacting to gn mc cracking their bones(?) I genuinely don't know what's it called lol... I don't really know if demons do that but it would be funny if they don't and mc just suddenly did that during a steamy moment..

WHB kings w/ an s/o who cracks their knuckles and joints

⟡ Masterlist ⟡ 

A/N: I hc that demons can't do this bc their bodies work a bit different from ours, so to them it just looks like you're breaking them

─── ⋆⋅☆⋅⋆ ───

What are you doing?!

Oh, that... Doesn't hurt you?

Satan demands answers and tutorial on how he can do that as well

It looks cool and right up his alley

If your joints pop at random, he'll at first think that you really did break a bone or something

How can your body be so fragile?

Wait, your body does that by itself and just for the fun of it?

Hmmf... Human bodies are so weird...

       ༺☆༻

"Are you okay, master?"

When he hears the cracking sound he's immediatelly by your side, ready to assist you and get you to a doctor

Then he realises you're doing that on purpose and he's flabbergasted

Is breaking their knuckles just a human thing?

Now, during spicy time I can imagine he's just pushing your legs up agains your chest and then he hears the *crack*

His heart stops and he ceases all movent

He just broke your back or worse, didn't he?

It takes full minutes to reassure him that you're okay and that he didn't break anything

       ༺☆༻

Stop that immediatelly

Levi is uncomfortable and won't hesitate to hang you for something so cringe-inducing

Doesn't care that it's normal for humans

He's the king and you will listen to him

Even if your body does is by accident, he'll shoot you death glares

Honestly? His irritation partially comes from him being worried and you doing this will make it harder in the future to distinguish whether you need a doctor

Oh, but Glasyalabolas is very interessted in this feature and wants to know everything

       ༺☆༻

Oho? What just happened?

Prepare to explain why or how you're cracking your knuckles each time bc this bit of information is not staying in his brain

All that matters is that you're safe and sound

You want candy?

Random joint pops usually don't even go noticed during spicy time with Beel, since you're both too preoccupied with each other

Your joints cracking are a good way to destinguish between the real Beel and Bael pretending to be him, though

Bael will freak out and wanna take you to Paradise Lost fro a checkup

       ༺☆༻

Ugh... What is that noise?

'Who tf is snapping twigs in my room?'

When he looks over, he just sees you absentmindedly cracking your knuckles

He's too tired to interrogate you about that, but Beleth does get it as his number one task on his list

If your knees act like they're 400 years old, Belphie will always make a comment about it while you're on top

I kinda want to say that Belphie is an outlier and his joints also crack since he moves so little and when he finally tries to use them they get offended

       ༺☆༻

Luci is aware of some features of human bodies, but even this is kinda surprising to him

Why would you do that to yourself?

Still, he's not worried since as a healer he knows what makes your joints crack and pop

He does wish you'd not do that around him, though

If that happens on accident, he'll ignore it unless you sound off that that particular one was painful

All the demons in Paradise Lost are aware of your joints randomly popping and don't question it

It's even written into your medical file

Somehow, Gamigin missed the memo and freaks out each time and is worried even after your explanation

[luvermore]

I know a lot of people will villainize Mi-Suk and Hye-Suk but I just can't. These two women show us what different stages of motherhood can look like. We have Mi-Suk who is a family woman but not by choice. Her life would look much different if she had the ability to live as she wanted. Still, in the show we see she actually has more in her life than Hye-Suk does. She has two kids and a husband that adore her, they sit at the table and, even angry, eat. They apologize and make-up even when they still don't agree. She may have self esteem issues but it never stopped her from being able to love and support her family. To bring happiness to her kids and bonus son when they needed it. But that doesn't mean Mi-Suk is without fault. Her pride and embarrassment shoved a bridge between her and her daughter. So much so that said daughter had cancer and didn't tell anyone. Then much like many families, she let her son laze around and do basically nothing while chastising her daughter for it. She is exhausted and works everyday so she can't comprehend why Seok-Ryu needs a break. She has never gotten one. In fact, in her life, she has taken on more than taking on less.

Hye-Suk is a character that I can't bring my heart to dislike because I see so much of women in my own family in her. While it is no one else's fault that she and her husband got pregnant but their own, it doesn't make parenting easier. She deserved a career just as much as her husband and it wasn't fair that she was expected to stop while he kept going up the medical ladder. Then, when she ultimately chose herself, she was ostracized for it. Her marriage fell apart and her son turned away from her; both secretly praying one day she would choose them. But instead of seeing that, due to her own guilt, she saw it as their dislike of her because the truth was; she could have took some time off. She didn't have to take every job. But she did, and yes how she treated Choi Seung was wrong. But I just think if society was kinder to women, she wouldn't have had to choose.

Logically, if she did choose to stay, would that have been better? We know she was restless just sitting at home, she couldn't be, "Just Choi Seung's Mom", and that statement is so important. Mother's should be able to be people outside of being mom's. But so often they jump head first into parenting that they forget they are more than that.

Society tells us men can have it all in family and career but we as women have historically been told otherwise. When a child cries we call their mothers, when kids misbehave we call their mothers, when kids are born and someone needs to stay home, we look to mothers. All in all, these two women aren't just toxic mothers. They didn't wake up one day and decide to drive their kids crazy. They are people with issues and that is okay and it's okay for their kids to forgive them. It doesn't always have to be so black and white. You can love someone and support them, while also admitting they are flawed and need to do better.

[hollowed-theory-hall]

ok so what are some of the changes you would want in the upcoming harry potter hbo series. and since your blog is Harry centric so I'll ask how do you want him to be portrayed in the series ? what traits of him do you think the series makers should shine more light on ?

Okay, I have, like, a list of things I didn't like in the movies and could be improved upon by the show. The list I have here isn't just about things the show could improve, but also things I want to see in the show in general. I think most of my opinions are pretty common, though.

(Also I'm not sure how good the show will be, like, I'm somewhat hopeful, but also very cautious with my expectations. We should start getting casting announcements around in a few months, which could help indicate where this show is going)

Regardless, here's my list of top concerns for the upcoming show:

Harry's character

This is the one you questioned specifically and one that could make or break the show for me. I want Harry's sass and anger, I don't want him to be a self-insert for the audience the way he was in the movies. I want his actual character. The sass, anger, and tenacity that is Harry Potter combined with his kindness, compassion, and sometimes clueless awkwardness. Let him be smart, clever, and talented.

Harry in the books is so much more than "just Expeliarmos" and the fact people could think that about Harry is a legitimate crime against his character the movies committed. Truly character assassination that Harry isn't an exceptional wizard with the world's lowest self-esteem and cheeky attitude.

(Also, for the love of god, give him green eyes, please. Contacts exist for a reason and it'll be a good way to differentiate the new actor from Radcliffe)

2. Ron & Hermione's characters

I could probably just put a "make all characters like in the books" category since this is true for a lot of them.

Specifically for the other two members of the Golden Trio, I want Hermione to have her flaws, and Ron to be smart. He is talented and smart and just as skilled as Harry and Hermione. He isn't the dumb comic relief and I'm so mad the movies made him such. And Hermione isn't a perfect Mary Sue who can do no wrong. Let her put Rita in a jar. Let her show how much she actually appreciates Ron and Harry and their approach to problems, different as it is to hers.

3. Voldemort's everything

I didn't like Voldemort's design, I didn't like his characterization, I didn't like how he spoke, how he walked — none of it felt like Voldemort to me.

I want Voldemort to be scary, not some odd caricature of himself. Give me a Voldemort design that looks scary. Give him the red eyes, and make him look actually skeletal. And let him move elegantly, talk softly. He isn't shouting and throwing tantrums, usually, he is very deliberate in what he says and does.

Also, give him his weird sense of humor. In the books, he makes bad puns ("Wormtail is here to lend a hand"), I like my villains a little campy with bad puns but also terrifying.

4. Dumbledore's everything

Well, honestly, I have no complaints about Dumbledore in the first movie, my problems started after he was recast.

I want Dumbledore to speak softly. I need an actor who could say "Nitwit! Blubber! Oddment! Tweak!" and make it work. I want an actor who'd smile like he knows things you don't as his eyes fucking twinkle, but could still look intense and even intimidating for the later seasons. I also want him to look whimsical and dress in the most absurd eye-catching robes you've ever seen.

5. On the matter of robes — wizard fashion

I want wizarding fashion. I want long robes, silly hats, colors, and patterns. I want the costume designers on the show to have fun with it. I want them to go wild.

The wizarding world should look whimsical and campy — that's part of the magic. I want it to look like a foreign world. Even the most purebloods of purebloods (like the Blacks) are more like the Addams Family than any serious drama. They have a sense of campiness and whimsy. Let wizards be weird as shit and show it in their dress and interior design (I mean, the Blacks hang house elf heads and have a troll leg umbrella stand, the Ministry of Magic has paper airplanes flying all around, they're weird).

6. About the more filler-y sections of the books

I want all the silly little plots that were removed from the movies. I think some of the more filer-y things add a lot to the books and to the whimsy of being a student at Hogwarts. I want the trio to sneak out Norbert, I want to see Peeves, the deathday party, all of these things that make Hogwarts truly feel like a magic school.

7. Hogwarts Castle

I love the castle of the movies and that of Hogwarts Legacy. Honestly, I think Hogwarts Legacy did a good job of capturing the feeling of the movies castle while making it its own new unique thing. I think the TV show should do something similar and kinda create a Hogwarts castle amalgamation of all previous iterations that would feel familiar and allow them to still use some of the same merchandise but also be new and unique at the same time.

8. Time period

I think this is a pretty common opinion, but I want the muggle clothes and sets to clearly be set in the 1990s. I want the show to be a period piece. I don't want to see smartphones, or modern fashion, or modern cars — none of that.

9. Age-appropriate casting

I'm not the only one who says this, but as great as Allen Rickman was, he was too old for the role. Part of the tragedy of Snape and the Marauders is how young they actually are. I think it'll just be much more heartbreaking if the actors looked as young as they're supposed to be.

(Including James and Lily in the flashbacks!)

10. Worldbuilding & extra scenes

Since it's a TV show and not a book, which opens up more perspective options, I would like to get, maybe, some extended Pottermore facts into the show. Like, to flash out the world in a way the movies didn't.

Additionally, I wouldn't mind if some extra scenes were added to build up characters we don't get as much of in the books and it could serve the plot. Like, as long as the scenes are added in a way which is like 'they might've happened in the books, we just didn't see them cause Harry wasn't there', that sort of thing without subtracting from anything else and without retconning or contradicting anything. Like, with good writers, this could be really well done, I'm just worried about them adding anything because I don't know how much faith I have in the whole project. But it could be cool if done well.

[chevelleneech]

Are You Sure? - Ep8

Here are my thoughts now that I finally watched the episode (I was at work all day, anon, lol).

I honestly don’t have too too many, because my main takeaway was that they seemed to have truly needed these trips together. They knew by Jeju they’d be enlisting together, so I feel like any thoughts I had about the trips being a sort of last hurrah before potentially being separated go out the window.

They knew they’d be together, so barring them being romantically involved in some way… I kind of don’t get the point of the series.

Had this been a special involving other members, then it being work related would make sense. Had this been more like the Jeju episodes where they weren’t as laid back, I’d get it, but it wasn’t. Five out of eight episodes focused on them not doing much else other than simply spending time together. Sight seeing and going out to eat, with a sprinkle of activities. We saw them shopping for food and driving more than anything else, but for some reason they both still say the whole experience and filming of the series was the best thing they’ve gotten to do.

That to me, and I say this with full honesty, does not make sense to me, if they’re strictly platonic. I don’t know, episode eight sees them putting a certain level of importance on these trips that many antis wanted to rip away, and surely they knew that. They know what people think about them in their own fandom, both for the better and the worse, and they didn’t care. Which, good for them.

Moving away from my confusion in an attempt to find another explanation, I also think their joint melancholy about having to leave triggered the dropping of their guards a little bit. Add that to them drinking some, and their whole reaction moment felt almost intrusive to see, lol. They kept gravitating toward each other the entire time, only for the editors to skip to them sitting back up with more space between them. Nevermind the footsie and Jimin walking by the room they were shown going to bed in, when he said he was going to wake JK up.

So unless Jungkook was already up and in the shower or something, which they conveniently didn’t mention despite doing it every other time… they either didn’t sleep in the room with the camera or JK moved rooms. But again, given they gave us updates about every other sleeping arrangement or change, why would their last night be different if nothing happened? (By “nothing” I genuinely mean I think they moved to a different room without a camera, likely to talk or simply be closer. Not necessarily sex, because again, I don’t see them going there with a house full of staff.)

Pure speculation of course, lol, but yeah. Those moments made me feel a little like, okay, they did this with the intent of making memories. They may have wanted to cement who they are to each other in this moment, because no matter how optimistic they were that things wouldn’t change and their friendship would be solid, no one can predict the future.

Couple that with them both starting Ep1 saying they hadn’t seen each other and Jimin not being sure (no pun intended) the trip was a good idea in the first place, to them ending Ep8 saying they didn’t want it to be over and spent the last few days happy… it’s a big deal, I think. Especially with how many times they spent their last day in Sapporo taking about how romantic and pretty everything was.

Per the words from their own mouths, they created a small, romantic, nice, and happy bubble they didn’t want to leave, and I love that for them. They got to be happy and cared for by one another, and want to spend many more years to come doing the same thing. I hope they get that.

Oh and final thought… I want that house! Their final Sapporo house was beautiful, as was the town. It felt like a holiday special!

[thecoolerliauditore]

Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

[recoord]

Why Good Omens season 1 has already fulfilled Sir Terry Pratchett's wish

Neil Gaiman said he wouldn't make a sequel to Good Omens

Neil Gaiman at SXSW in Austin, Texas in 2019:

[Gaiman also confirmed the series will only be six episodes, with no intention of trying to go for another season if successful. "The lovely thing about Good Omens is it has a beginning, it has a middle, and it has an end," he said to appreciative applause. "Season 1 of Good Omens is Good Omens. It's brilliant. It finishes. You have six episodes and we're done. We won't try to build in all these things to try to let it continue indefinitely."]

Source: Entertainment Weekly (2019)

2018 - Neil Gaiman on X- Twitter

Tweet link here

Also Neil Gaiman in 2023:

["It won't be confirmed unless enough people watch Season 2 to make Amazon happy...

...But obviously Season 3 is all planned and plotted and, if I get to make it, will take the story and the people in it we care about to a satisfying end."]

What happened?

Were the profits and ratings high enough to create two more seasons out of thin air? At this point, seasons 2 and 3 seem more like a greedy stretching of a beloved story already told in its entirety in the first season.

Has the first season already fulfilled Sir Terry Pratchett's wish?

As read above, Neil Gaiman himself said: "Season 1 of Good Omens is Good Omens."

Gaiman was very opened about how pleased he was with Season 1 and how he made it having Sir Terry Pratchett's wish in mind.

Interview for The Verge (May 30, 2019)

Link : Neil Gaiman had one rule for the Good Omens adaptation: making Terry Pratchett happy

Interviewer: Do you feel pressure from knowing this has to be the definitive best adaptation it could be?

Gaiman: No. All I wanted to do was to make something Terry would have liked. It wasn’t like, “Make the best thing.”...

...Gaiman: The lovely thing about Good Omens [the miniseries] is that it’s still Good Omens. If you loved the book, this is that thing that you loved. And I will make you fall in love even more with Sergeant Shadwell. I will make you fall even more in love with Newt than you thought you could, I hope. It does demonstrate that I do kind of know what I’m talking about, which is a nice thing to know.

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman on an interview for The Guardian in 2019.

Link: Neil Gaiman: ‘Good Omens feels more apt now than it did 30 years ago’

There are times, he insists, when “you make something you like so much that you don’t really care what anyone else thinks of it.” There’s a clue to this, perhaps, in the show’s final frame, which reads “For Terry”. “He didn’t believe in heaven or hell or anything like that,” Gaiman says, “so there wasn’t even a hope that there was a ghostly Terry around to watch it. He would have been grumpy if there was. But I made it for him.”

Why was Good Omens season 1 so good and you could really feel Sir Terry Pratchett's contributions?

Gaiman himself has already told us the answer:

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman for The Verge (2019).

There was original material to work with (Good Omens, published in 1990), on which we certainly know that Sir Terry Pratchett himself actively worked from start to finish.

Is there a proper sequel to Good Omens the book on which to base 2 more seasons of the series?

Neil Gaiman says the following on an interview for GQ in 2019.

Link: Neil Gaiman Says No to Adapting His Own Books—Except This Time

...But with this, it was like: Okay. Terry is gone. He wanted me to do this. He wanted me to do it for him. And that gave me a kind of weird impetus. And it meant that I felt very much at liberty to take every conversation that Terry and I had ever had about Good Omens. Not just the book, as written, but everything beyond it. We planned a sequel, never written, so I got to steal the angels from the sequel. I got to steal from every conversation Terry and I had about how we would do this. It felt very personal, and I guess kind of… holy. If that doesn’t sound too ridiculous. But it was a mission.

Two conclusions can be drawn:

1) Informal conversations about the plot of a sequel do not equate to an officially written sequel.

2) Neil Gaiman has already used many of the ideas he and Terry Pratchett had planned for a never-written sequel to Good Omens and those ideas were largely added to and executed in the TV adaptation of Good Omens (2019).

Why keep stretching those ideas if the co-writer is no longer able to actively contribute and help to create a proper sequel?

If Gaiman were the sole creator of Good Omens we'd have a different conversation, but that's not the case. The first season of Good Omens was already a beautiful homage to Good Omens and Sir Terry Pratchett's work on the book.

Did Terry Pratchett write around 75% of Good Omens?

Link for the post here.

Link for the post talking about the video and sharing the video here.

Edit: I wanted to bring this point up to point out Terry Pratchett's important contribution to the making of the book, not to highlight it as an excuse to distance Gaiman from the novel. We will have to accept that he also contributed to the creation of the book.

Sir Terry Pratchett's last wish

2017 - Rob Wilkins on Twitter (X)

Terry Pratchett’s Unpublished Work Crushed by Steamroller

By Sophie Haigney - The New York Times

Terry Pratchett, the well-known British fantasy author, had a wish fulfilled two years after his death: A hard drive containing his unpublished work was destroyed by steamroller.

Mr. Pratchett, a wildly popular fantasy novelist who wrote more than 70 books, including the “Discworld” series, died at 66 in 2015. That year his friend, the writer Neil Gaiman, told The Times of London that Mr. Pratchett had wanted “whatever he was working on at the time of his death to be taken out along with his computers, to be put in the middle of a road and for a steamroller to steamroll over them all.” Mr. Gaiman added at the time that he was glad this hadn’t happened.

Now, though, it has. Mr. Pratchett’s estate manager and close friend, Rob Wilkins, posted a picture of a hard drive and a steamroller on Aug. 25 on an official Twitter account they shared.

Shortly thereafter, Mr. Wilkins wrote that the deed was done.

I have not been able to find the exact reasons why Sir Terry Pratchet wanted his unfinished and unpublished works destroyed, but we can respect his last wish as a way for him to have control over what he felt he was ready to share with the world and what he was not.

Is Good Omens the exception?

With all that has been presented so far, I can only conjecture, but not be sure. I can believe that there was Terry Pratchett's permission and desire to make an adaptation of Good Omens, the original book published in 1990, but to my mind, creating two more seasons of a never-written sequel doesn't fit as part of Terry Pratchett's desire.

He is not among us to actively participate in a sequel and if his last wish was to destroy his unfinished works, I can believe that he would have wanted to give his approval to something new before it was published under his name.

Sir Terry Pratchett talking about a never-written sequel to Good Omens

“Neil and I thought about a sequel an awful lot initially. We talked about it on tour. And I think it was a big relief to both of us, when one day we looked one another in the eye and said, 'I thought you wanted to do a sequel.'..

Interview for the Magazine Locus. Locusmag archive page

This is me speculating, but I don't think there was real enthusiasm for creating a sequel until Gaiman alone saw profitable potential in the TV adaptation....

Good Omens also belongs to the those who love the story

I think it's okay to still love the story of Good Omens. Personally, I will always be grateful with the story and the characters for giving me confort in troubling times, but I find seasons 2 and 3 as some kind of excuse from Gaiman to keep profiting and benefiting from the story (more now than ever due to the SA allegations*).

Aziraphale and Crowley will always live happily in a lovely cottage as long as we want to. Even before season 2 was announced, many of us had already accepted that. Many artists have imagined lovely endings for our innefable husbands and in my eyes their works won't be any less valuable than whatever Gaiman had planned.

Note:

I don't like talking about Season 3 of GO without mentioning the current 5 SA allegations against Neil Gaiman (Main writer of seasons 2 and 3 and showrunner), so in case you want to know more about the allegations against Neil Gaiman. Here there's a great Round Up link (Podcasts links, transcripts, etc.)

Credits for the Round Up link to Muccamukk. Thanks a lot!

*more thoughts on supporting season 3

[starry-bi-sky]

i have... ✨Danyal Al Ghul Headcanons✨ but specifically for my yaelokre danyal oneshot

There's also the tumblr post here but I recommend the link in the title because its the ao3 version, and that one is edited and has some stuff in it that's not in the tumblr post, and will be the version I'm using.

So for summary: this Danyal is also from a Demon Siblings Au where Danny is five years older than Damian. However, things turned out a bit differently, and Danny and Damian had a fantastic relationship with one another. Danny loved music and regularly came up with songs to sing to Damian with. Specifically the folk band Yaelokre's EP "Hayfields" (seriously go fucking listen to it its sooo good. Harpy Hare is the second song but its my favorite. Special shoutout to @gascansposts for introducing the band to me)

He falls off a train when he's twelve and Damian is seven while the two of them and Talia are on mission. He ends up with magically induced amnesia and wakes up in Arkansas while the Fentons are on their yearly Divorce-iversary visit to Aunt Alica, and since he can only remember his name, he ends up being taken into their care.

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

Yaelokre Danny has the same facial scar as Things in Threes Danyal, since he was initially another version of him where things turned out better. I'm debating on whether or not I should take it away however, and give him a different scar (maybe from when he fell off the train?), just because the scar is a pretty key identifier for Ti3 Danyal.

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

Danny frequently visits Aunt Alicia in Arkansas! Well, only after he gets settled in and stuff. He doesn't really like the city that much and prefers the countryside where Alicia lives. I know she lives in a cabin but I'm changing it to a farm, so she puts Danny to work and gets him to help her.

I don't want to confine his hobbies to only being star stuff, because people tend to have more than one hobby and I feel like it reduces him to one-dimensionality, so he likes to garden, and learns guitar. His room becomes filled with plants, and he turns their roof into a rooftop greenhouse right below to OPS Center.

He has a complex relationship with the weapons from his past, but he's not... like... appalled by it? When he finds his weapons in the Fenton attic all he thinks is that they're his weapons, and he starts carrying a knife on him afterwards. Essentially he becomes fascinated with weaponry because its one of the few physical ties he has to his past, and while he's not training like he is in the League, he allows his strong muscle memory to guide him through his katas.

Danny likes climbing things. This causes Problems For Everyone Else.

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

Danny was not the "kinder Al Ghul" in the League. His kindness extended to his brother and family, and that's it. To everyone else he had high expectations out of them, and the pride you'd expect from the grandson of Ra's Al Ghul and trained by its top members. While he wasn't like, unnecessarily cruel or anything, he wasn't merciful either.

This transfers post-train fall as him coming off as no-nonsense and unforgiving. He's not fond of the idea of giving people second chances, and is skeptical of the idea. He's disgusted by incompetency and views it as an unforgivable offense, especially if he thinks that the person should know better, although he's not sure why. Some egocentrism for the soul.

He doesn't like being touched by anyone who isn't family, and gets irritated when anyone grabs him or holds onto him for extended amounts of time. Dash has gotten hit so many times. With Jack Fenton's tendency for abrupt physical affection, it doesn't make it any better. I'd argue it'd make it worse because Danny doesn't want to be touched more often than not.

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

Danyal had a red scarf in the League that he wore on his last mission, it came off before he fell off and caught itself on the roof. Damian still has it and took it with him to Wayne Manor. He's got it locked in his room and takes it out when he's alone and missing Danny the most. One time he forgot to put it away before leaving his room, and Dick was visiting the manor for something and found it. Damian found him holding it and freaked out.

Dick could only say "I've never seen you wear this, Damian, this is really pretty--" before Damian shoved him to the floor and stole it out of his hands, before screaming at him; "Don't touch this! You don't ever touch this! This is mine! You hear me!?"

It caused such a commotion that the rest of the family present came to see what the fuss was about, and Damian kicked them all out of his room. Dick is the one brother Damian's the closest with, so the fact he reacted so strongly shocked them all.

This is likely what leads to the "Danyal" conversation.

[luck-of-the-drawings]

OH ARTHUR BENNETT.. such a gorgeous and intriguing character. terribly burdened by a GRUESOME set of crimes, his light suffocated by a HEAVY century of GUILT. so tragic, so dark and broody, and yet PAINFULLY awkward in any social setting ever

[57sfinest]

calling harry a “can opener” was SUCH a good play for so many reasons i think about it every day.

in the context of his work, it makes him a tool. as many people have pointed out, including martin luiga, part of the hdb tragedy is that he simply cannot leave the force, and his superiors know that and are using it to their advantage. no matter what happens, even if harry hated every nanosecond of every bit of the work and wanted to leave, he can’t and won’t leave. they can leverage anything they want against him and then reel him back in with a facade of kindness when they “allow” him to keep his job, as long as he does what they want him to. the 41st knows he has this inexplicable talent with people and they use him for it. he’s a cop: that talent can be used in so many awful ways, to push so many different agendas. and they won’t even be his own. a can opener has no particular desire to open a can, aside from maybe the satisfaction of fulfilling a purpose. a can opener has no agency, it’s just a tool for someone else to use to get what they want. and he’s learned to be okay with being used as long as it means he gets to stay. his complacency with this system makes him guilty even if he’s also being harmed by it.

but in the context of his personal life you kind of... flip it. the people around him are going to be opened up whether they want to be or not, and it’s terrible for his relationships. it’s shown that the questions, the prying- the can-opening- it’s become inextricable from who he is as a person. it’s like he doesn’t know how else to communicate, except it’s hardly communication when you’re just ripping people open. he’s invasive as all hell, although whether he means to be is debatable. he’s the kind of person that wants to take things apart to see what makes them tick. he dissects people, but really that’s too delicate of a word for what he does; if he doesn’t get what he wants right up front, he’ll abandon all subtlety and go for brute force. if he can’t get your screws loose he’ll just smash you on the ground and pick through your pieces until he’s satisfied, and if what he did to you isn’t fixable? oh well, there are other cans to open. 

and he’ll use it for personal gain: we already know he is (was?) manipulative. once he knows how you operate, he knows how to make you keep him. he can yell or he can cry; he can threaten you or he can threaten himself; he can be completely suffocating or he can withdraw completely; he can be an incorrigible liar or brutally honest; he can present himself as a threat or a joke or a talent. he’s a chimera- that’s why he’s got this inexplicable magnetism, even when people know they shouldn’t like or trust him. fidelity of character means nothing to him. he’ll be whatever he needs to be as long as it gets him what he wants. the can-opening is just his way in.

[quietwingsinthesky]

sometimes interpreting media through a shipping lens enhances it, on occasion even beyond the author’s original intent, but sometimes, you do have to accept that your ship was not in the heads of anyone making the source material and trying to force it to fit into evidence of your ship will severely hinder your ability to discuss the actual text.

[dootplusone]

(OG post has Reblogs turned off. You can find it here!)

(OG post has Reblogs turned off. You can find it here!)

(If the OP would prefer this post not link back to the OG post or is otherwise is not okay w/ this post in reference to theirs, please let me know in some form so I can delete/edit it as needed.)

Thinking. Abt this but with Bones. Like. Post-Tholian Web? Post-Mirror Mirror?

For AOS, could be after Into Darkness and/or Beyond.

A Bones who's just. So anxious. So stressed. So overwhelmed that it starts taking a toll on his health. Maybe he doesn't even realise - or maybe he does and tries his best to push through it until it knocks him on his ass. Kind of in the vein of "You don't actually know how tired you are until you stop. And then you just physically cannot start again." It becomes his new baseline, a problem that just brews and storms in the distance.

And he just carries on. And keeps going and going and going until one day he realises that 'Oh fuck, I'm not okay' and has about 5 seconds of warning before he straight up collapses, doesn't matter if it's on the bridge, in the madbay, on a planet - he's going down. (Maybe a repeat of Tholian Web where he just straight up faints into Spock's arms? Full whammy, why not)

Maybe it's a high-tension situation getting resolved that does it. The pure relief of it reminds him of how tired he is. How tired he's been for a while. His body sees that momentary rest and goes "More of that, please. And I'm not asking."

And he's so rendered by it that he doesn't grumble about being coddled like he normally would when he wakes up. He knows not to fuck with the medbay staff - they're just as firm as he is on recovery, and that's not by accident - and he knows that Spock and Kirk will be hovering, because they see any problem as something they, too, should shoulder the burden of.

...And because they're some of the most protective people in the damned universe. And that goes for pretty much all the people on board the Enterprise.

In some scenarios, it's just a case of letting his body and mind rest properly. In others, there's a lot more recovery involved than anyone initially expects. Luckily for him, he has a found family who are determined to be there with him at every step. It just takes a couple reminders, every once in a while.

[volivolition]

suggestion do you have... any wants? like obviously you do but like? suggestion my guy my ourple boy. both the easiest and hardest to write. you need a skill to say something to move conversation along but it doesn't fit any skill in particular? about 80% of the time you can have suggestion say it and it will make sense. but like actually characterizing him... how do i define you dude... what makes your character tick... urgh. i dont get you yet. im trying to understand but you are difficult.

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[harvestmoth]

heres my one page thesis on why hinomori mafuyu real

[afniel]

Maaaaaaaaaaaan, come on.

(the post has ended up in the tags btw. I am not changing this and I need you to understand that it is just me talking to myself semi-publicly)