#and with the way this show is all about symbolism

[quarterlifekitty]

first, im a bit new to cod but idk…

thinking about ghost’s spouse visiting him on base or some shit, and everyone else wondering how tf he was emotionally flexible enough to bag a bad bitch 🫶

note: this is just my personal little fantasy world headcanon lol so take it with a grain of salt!

Simon maintains a vaguely human lifestyle by adhering to one very strict rule: rigid compartmentalization. You don’t come up at work, and work doesn’t come up around you. Never the twain shall meet, he thinks. And he’s not exactly a watershed of information when he’s with his mates. And it’s not like anyone is asking “When was the last time you got fucked, Ghost?” and seriously expecting a response.

He tells you about the crew, but not about what he does with them. Killing, espionage, torture– that kind of thing stays off the dinner table.

Let it be known that you do not surprise him at work. You respect his boundaries too much, which is why he’s so fucking serious about you, honestly. He calls, asking if you can run something to him. This is maybe the greatest symbol of trust he can bestow, as a man who has only a fraction of an existence in the eyes of the government: he asks you to bring a document of his. He gives you the instructions on how to find it, and trusts that you won’t look at anything you don’t have to.

You know Johnny lets out a low whistle when he sees you coming up with a manilla folder in your hands.

“Who’s that bloody bombshell, then?”

You spy Simon and jog up to him with a smile. He’s the one who embraces you, short but strong. Cue the nigh audible gasping.

“LT, you absolute dog.”

Simon rolls his eyes as the two of you are crowded in short order. You make polite introductions, but have a previous engagement– you really did only have time to stop by.

Hate to see you go, but love to watch you leave.

Everyone is wondering how this could’ve happened. For the record– I think in this scenario, Johnny and Gaz go through a constant string of heartbreaks, and John is kinda married to his job. So in a cruel twist of fate, Simon is actually the only one currently with a partner, much less a spouse.

“How’d you manage to bag a right beauty like that, LT? C’mon, spill it–”

Simon doesn’t mean to diminish your value or anything, but his answer is not going to be satisfying, because he doesn’t find it that difficult to get women. And also, you’re his true love, so you’re perfect for each other and growing close to you was as easy as breathing. But he doesn’t say that.

“S’not that hard. Remember the stuff she says, don’t keep no secrets… dick ‘er down the way she likes.” He doesn’t mean to be crude about it, but from his perspective, is one of the main reasons why you tolerate him. Soap howls at the response.

He’s telling the truth, though! He has a scarily good memory. Remembers every friend you’ve ever told him about, every movie you’ve ever mentioned, every meal he’s cooked for you and how you liked it. He remembers dates, times, and lists with no issue whatsoever.

And he’s never kept anything from you. He tells you how the fuck he’s feeling, and you return the favor, even if it isn’t pleasant. The only thing he doesn’t mention to you are the gorey details of his work.

And you have never had more of a communicative partner, ironically. There were times in the beginning when he didn’t know all of the ins and outs of coaxing pleasure from your body, so he asked you to show him how you like it. And that scary memory is at work yet again– every sensitive spot, every offhand mention of a kink you’ve not yet explored together, every arch of your spine and clench of your cunt. He’s got it down to a science. Could write novels about making love to you specifically.

What I’m trying to say, at the end of the day, is that Ghost bagged a bad bitch by being autistic.

[dissapointu]

Can you do one about hickeys they'd give you and hickeys you'd give them

(assuming arcane)

Jinx

• The Hickey She’d Give You: Jinx’s hickeys would be playful, perhaps a little reckless, and definitely not shy. She’d leave one on your neck or collarbone in a burst of excitement, likely after a moment of shared chaos or a mischievous act. It’d be a vibrant mark, a reminder of her wild energy and affection. She might even laugh at it afterward, enjoying the chaos of the situation.

• The Hickey You’d Give Her: If you gave Jinx a hickey, it would likely be playful and affectionate. It would be unexpected, maybe while she’s in the middle of one of her rants or tinkering with something. It would be quick and tender, making her freeze in place before she smirks, teasing you with a mischievous comment.

Vi

• The Hickey She’d Give You: Vi’s hickeys would be intense and passionate, a clear display of her strength and affection. She’d leave one just below your ear or along your jawline, marking you with a sense of possessiveness and pride. Vi wouldn’t be subtle about it either, her hands probably gripping your waist or neck as she plants it.

• The Hickey You’d Give Her: If you gave Vi a hickey, it’d likely be soft yet lingering. You’d find a quiet moment, maybe after a long day, and gently leave it somewhere along her neck or collarbone. It would be an affectionate mark of care, and Vi would feel both surprised and touched by your tenderness.

Sevika

• The Hickey She’d Give You: Sevika’s hickeys would be dominant and assertive, leaving a clear mark of control and affection. She’d place them on your neck or shoulder, and you’d feel the pressure of her lips, not too rough but certainly purposeful. She’s not the type to be shy, and she’d make sure you knew exactly who you belonged to.

• The Hickey You’d Give Her: Sevika is all about strength, so if you gave her a hickey, it would be gentle, but you’d do it in a way that surprised her—maybe sneaking it in the middle of a conversation or when she’s not expecting it. It would be subtle, but a mark of respect and affection that she’d feel deep down.

Silco

• The Hickey He’d Give You: Silco’s hickeys would be slow, deliberate, and calculated. He would place them with precision, likely somewhere hidden, maybe on your collarbone or behind your ear, so it’s just for the two of you to know. The mark would be dark and unmistakable, almost like a symbol of his claim, and he’d take his time ensuring it was something no one could miss if they looked close enough.

• The Hickey You’d Give Him: If you gave Silco a hickey, it would be soft but meaningful. You’d want it to be somewhere that was intimate, maybe just below his jawline or on his neck. He’d appreciate the gesture, though he might hide it beneath his collar or scarf, aware of the power of the mark you’ve left behind.

Vander

• The Hickey He’d Give You: Vander’s hickeys would be gentle, the kind you could feel the affection in. He’d place them carefully, most likely on your neck or the nape of your shoulder. It would be the mark of someone who’s protective and loving, showing you that you mean something special to him. There’s no rush or force, just a quiet moment of intimacy.

• The Hickey You’d Give Him: If you gave Vander a hickey, it would be respectful but tender. You’d choose a moment when he’s relaxed, maybe after a heavy conversation or a quiet evening. It would be a soft, almost apologetic mark, a sign of affection and care. He might give you a warm smile afterward, appreciating your gesture.

Ekko

• The Hickey He’d Give You: Ekko’s hickeys would be playful but affectionate. He’d catch you off guard, likely while you’re both hanging out or working on something together. He’d leave one on your neck or your jawline, just a quick burst of affection before laughing it off. His playful side would shine through, and the mark would be more of a fun memory than anything serious.

• The Hickey You’d Give Him: If you gave Ekko a hickey, it would probably be lighthearted but sweet. You’d do it when he’s caught up in something, maybe while he’s working on one of his inventions or distracted by something. It would be affectionate and would probably make him freeze for a second before giving you a playful grin.

Jayce

• The Hickey He’d Give You: Jayce’s hickeys would be passionate but also a little gentle, especially if it’s someone he truly cares about. He might leave one on the side of your neck or just below your ear, where he knows it’ll be hidden. His mark would be soft, but the feelings behind it would be strong, showing that he wants to take things slow but is deeply invested.

• The Hickey You’d Give Him: If you gave Jayce a hickey, it would be tender and affectionate. You’d probably surprise him with it, maybe while you’re both caught up in a quiet moment. He’d smile softly afterward, a bit flustered but appreciative of your attention.

Victor

• The Hickey He’d Give You: Victor’s hickeys would be slow, almost reverential. He’s a thoughtful person, so his touch would be gentle but firm, leaving a subtle mark on your skin, perhaps on your collarbone or neck. It would be the kind of hickey that speaks volumes about his feelings without needing to be overly bold.

• The Hickey You’d Give Him: If you gave Victor a hickey, it would be something that showed care without overwhelming him. You’d likely do it when he’s lost in thought, maybe while he’s studying or working on one of his projects. It would be tender and full of warmth, something to reassure him that he’s appreciated.

Caitlyn

• The Hickey She’d Give You: Caitlyn’s hickeys would be subtle but filled with affection. She’s someone who is more reserved, so she’d likely leave a soft mark on your neck or behind your ear, somewhere discrete but significant. Her hickeys would show her tenderness without the need for grand gestures, a quiet expression of how much you mean to her.

• The Hickey You’d Give Her: If you gave Caitlyn a hickey, it would be light, perhaps on her wrist or on the nape of her neck. It would be a small but meaningful gesture, one that would make her smile softly, possibly blushing at the unexpected attention.

[monzamash]

★ bargain bin — lewis hamilton

ville d'amour lewis hamilton x you rating — 18+ (sex, coarse language) —requested by anon; "sex in front of a big window where anyone could glance up and spot them (maybe in vegas??) ps. i love your blog so much!!!"

the city of love.

it had been a dream weekend — every moment laced in adoration and soft touches. that's how it always was with lewis. he treasured you and made sure everything was perfect when he had you alone. you ached for these fleeting moments of serenity, clutching them in your grip for as long as possible, knowing any minute it could be over. —a phone call from his manager bringing you back to reality so you appreciated every second spent with your favourite person in your favourite city. 

paris was the place you felt the most alive. the twinkling skyline, the delectable dinners, sprawling cafes that had your name written all over them. you adored the history and tradition of it all, and made sure the city of love lived up to its name. and so did lewis. 

“you feel incredible, baby,” he growled into your ear, hips rocking at a languidly gentle pace. 

“feels so good, lew…”

you were floating on cloud nine — breathy and covered in a thin layer of sweat. the two of you had been like this for hours, edging and teasing until you begged for him to be inside you. it was almost always like this, lengthy and passionate. sex with lewis was to be savoured like a sweet delicacy.

lewis knew you loved to indulge him by the way you clenched around his girth, fingernails deliciously dragging down his muscular, tattooed back. he was a glorious lover, knowing all your little pressure points. he had a sixth sense about what you liked and how you liked it before you even knew. so when he tortuously pulled out, leaving you empty and pouting, he couldn’t help but chuckle. 

“up,” he motioned, large hands clutching your tender hips.

it took all of your strength to pull yourself from the cloud-like mattress, doused in pillows and smelling of lewis’ sweet cologne and sex — you wished you could bottle up the scent for those lonely nights. once you found balance, you carefully tiptoed over to where he was waiting, unsteady on your feet but lewis caught you.

“i’ve got you, baby girl. here, hold onto this…” he placed your hand on the shallow sill that lined the large floor to ceiling windows and you gasped at how cold it was to the touch.

outside was a breath-taking view of the eiffel tower, perfectly lit up against the dark, cloudy sky. it stood taller than every other building around it, proudly and stoically. a pillar of culture, a symbol of victory and freedom— the beginning of a new frontier. its symbolism reminded you a lot of the challenges lewis had faced in his career, fighting for what he believed to be important, giving voice to those without one. always staunch in his beliefs, unwavering and kind. 

“this view is beautiful,” you murmured as lewis traced his lips across your exposed shoulders and neck, admiring the beauty right in front of him while you looked beyond the horizon. 

“you’re beautiful,” he whispered in return, “every time you see the eiffel tower, i want you to think about how good i'm about to make you feel right now.” 

a surge of excitement shot down your spine at his promise as he reached around and softly stroked your swollen clit, warming you up again. you could feel his thick cock brushing against your ass, hard and no doubt pulsating at the thought of fucking you against this window, so exposed and on display. lewis loved the idea of people watching, his exhibitionist streak showing its hand early in your relationship. 

“need you inside me again, baby,” you moaned and reached around for him, but before you could make a move, your hands were pinned to the window pane. 

lewis shuffled your body forward until your breasts were pressed firmly against the glass —the chill from the cool night caressed your nipples and sent a wave of pleasure to your core. he kicked your feet apart slightly and spread your cheeks before sending a long string of spit down your backside and slipping into your warmth. 

“fuuuuck,” you groaned, forehead dipping against the window from the fullness. 

“need everyone to see how fucking sexy you look when you come all over my cock —need it so, so bad,” lewis panted almost desperately, eyes narrowed and focused on the way his cock disappeared into your slick hole. 

“fuck me harder…” you softly whimpered, fingertips white from the pressure placed against the glass. 

you could hear the devilish chuckle from the beautiful man serving you insurmountable pleasure on a silver platter, “better hold on then, baby girl.”

a/n — was going to post this tomorrow morning but fuck itttt! can't believe this is my first time writing for lewis, i enjoyed it so much!

shop the sale event here #end of (f1) season sale!! —see what other customers are buying ✨

[eu-nicola]

the ferrari couple

summary: when Charles signs with Ferrari, his life takes an unexpected turn when he falls in love with you "Princess Ferrari". Together both become the perfect couple, but behind public perfection, the pressure of your careers leads both in other ways

warnings: nothing

word counter: 4559

author's note: english is not my first language

this is a request from @pperlaaiy

The sound of engines rumbled across the Monza circuit. It was the 2018 Italian Grand Prix, and Charles Leclerc, still a Sauber driver, walked around the paddock with a mix of pride and nervousness. That year had been crucial for him; rumours of his possible promotion to Ferrari felt increasingly real. However, the pressure of being at home, surrounded by tifosi who idolised the Scuderia, kept him on his toes. 

As he made his way to the Ferrari hospitality area, Charles paused for a moment, awed by the spectacle before him. Surrounded by photographers, journalists and Ferrari employees, there was you. You seemed to shine with a light of your own, dressed in an impeccable white two-piece suit that bore discreet touches of Ferrari red, the colour that so represented your lineage. Perfectly coiffed hair, dark sunglasses and a confident smile that showed no trace of nervousness. In that moment, you were everything Ferrari stood for: tradition, elegance and power. 

“Who is she?” Charles asked his engineer, unable to look away.

“Don’t you know? She’s related to Enzo Ferrari. Her mother, Sofia Ferrari, is practically the queen of the car group. She’s like the princess of the house.”

Charles nodded slowly, impressed, but also intimidated. He had heard about you before, how you were an iconic figure in and out of the world of motorsport. You were known not only for your surname, but for your involvement in Ferrari’s most exclusive events, your innate elegance, and the way you upheld your family’s legacy. The fact that you were unreachable only added to your aura.

However, what happened next took Charles completely by surprise. While he tried to hide his interest and continue on his way, you turned around and your eyes met his. Taking off your sunglasses, you smiled with that mix of kindness and confidence that baffled everyone.

“Charles Leclerc, right?” You asked, stepping closer gracefully.

He blinked, surprised that you knew who he was. "Uh, yeah, I'm Charles," he replied, trying to sound relaxed, though he felt the heat rising to his face.

“I have to say, you’ve impressed many at Ferrari this year,” you said, shaking his hand. Your tone was gentle, but your words carried a weight he couldn’t ignore. “My uncle won’t stop talking about you. I think you’re destined for great things.”

Charles scratched the back of his neck, a nervous gesture contrasting with your poise. “I hope so. Being part of Ferrari would be… a dream.”

“A dream, but also a responsibility,” you replied, your gaze becoming more intense. “Ferrari isn’t just a team, Charles. It’s a family, a history. The tifosi don’t see you as just a driver; they see you as a symbol. And that’s not something just anyone can carry.”

He nodded slowly, feeling the weight of your words. He’d heard similar speeches before, but coming from you, they held a different meaning. “I know. And I’m willing to give my all to live up to it.”

You stared at him for a moment, assessing him. Finally, you smiled again, this time with a hint of genuine warmth. “I hope so, Charles. I’d love to see you succeed at Ferrari. But for now, enjoy Monza. It’s a magical place, don’t you think?”

“It is,” he replied, relaxing a little. “Even more so now.”

Your laugh was soft, but enough for the few people around to notice the chemistry that seemed to be brewing between the two of you. Before you could respond, a team member called out to you from a distance. With a slight nod to Charles, you walked away, leaving behind a sweet scent and an impression he wouldn’t soon forget.

Charles stood still for a few seconds, taking in what had just happened. He had met the “princess of Ferrari,” but beyond your name and lineage, what had struck him most was your presence. There was something about you that challenged him, that made him want to prove he was worthy of being in your world.

That night, during the official Ferrari dinner, they met again. You were surrounded by important figures in motorsport, but when Charles entered the room, your eyes instinctively sought him out. This time, you didn't need to approach him; he took the initiative.

"Can I sit here?" he asked, pointing to the chair next to yours.

You smiled, amused. "Of course. I hope you're ready, Charles."

"If I can survive Monza, I think I can handle this," he replied, feeling more confident.

And so, over glasses of wine and conversations filled with jokes and witty observations, something began that neither of you could have foreseen. You weren't just Ferrari's princess; you were a challenge, a mystery. And for Charles, the young driver who dreamed of conquering the world, you became the most fascinating target of all.

After that first meeting at Monza, Charles couldn't get you out of his mind. Despite being immersed in the demands of his season with Sauber, he found moments between races and training to remember the conversations he'd had with you. For your part, there was something about him that intrigued you. Maybe it was his humility, his ambition, or the way he seemed to shine even under the pressure of the spotlight.

The next few times you met were at Ferrari-related events, always in formal settings where professional distance was the norm. However, that barrier slowly began to break down.

It was a cool evening in Maranello. Ferrari had organised a private dinner to celebrate the season's achievements and start looking ahead. Although the evening was for the official drivers, Charles was invited as a gesture of goodwill, as the announcement of his joining Ferrari for the 2019 season was imminent.

You met him in the event's illuminated gardens, while escaping a boring conversation with a group of executives. Charles was alone, a glass of wine in his hand, admiring the statue of Enzo Ferrari that presided over the place. You approached him with a light smile.

"Thinking about how to fill those shoes?" you asked, stopping beside him.

Charles turned his head, surprised but genuinely happy to see you. "More like wondering if I'll ever make it."

“It’s a start,” you said, shrugging. “He always said that the true spirit of Ferrari isn’t in perfection, but in passion. If you have that, you’re already halfway there.”

He looked at you, with a mix of admiration and curiosity. “Do you feel that passion too? For Ferrari, I mean.”

You nodded, crossing your arms to protect yourself from the cold. “Of course. I grew up surrounded by this world, but it’s not just the family name. It’s everything it represents: the history, the tifosi, the constant struggle to be the best. It’s not easy to live with it, but I wouldn’t change it for anything.”

Charles was silent for a moment, processing your words. Then he smiled, a soft but sincere gesture. “It’s funny. All that you describe is what scares me and excites me at the same time. Being at Ferrari means so much more than being a fast driver. It’s… something bigger.”

You turned to him, studying him carefully. There was something about his honesty that disarmed you, a rarity in a world full of appearances. “And you think you’re ready for it?”

“I don’t know,” he admitted, shrugging. “But I want to try. And I’ll do my best to prove that I’m worthy of it.”

The determination in his voice made you smile. “That’s what I like about you. You’re not afraid to admit your doubts, but you’re not afraid to face them either.”

He stared at you, as if he was trying to figure something out in you. “And you? Have you always been this sure of yourself?”

The question took you by surprise. You looked down for a moment before answering. “Not always. But when you grow up in this family, you learn to hide your insecurities.”

Before the conversation could go any deeper, one of the attendants called out to you from a distance. ���Y/N, you’re needed inside.”

You sighed, but not before giving Charles one last smile. "Don't let them intimidate you in there. And remember: Ferrari is more than a car, it's a family."

The real change in your relationship came weeks later, when Ferrari made the official announcement that Charles would be a driver for the 2019 season. The news flooded the headlines and thrilled the tifosi, who saw him as the future of the team. That evening, you hosted a private dinner at your family villa in Maranello, inviting only a few people close to the team, including Charles.

"Thank you for inviting me," Charles said when he arrived, wearing a simple but elegant suit. There was something different in his gaze that night: a mix of confidence and gratitude.

"Of course," you replied as you greeted him. "I couldn't pass up the opportunity to celebrate our new star."

The evening passed quietly, with laughter, anecdotes and toasts to the future. However, you both noticed that your eyes met more often than usual. When dinner ended and the other guests began to leave, Charles was one of the last to stay.

"Would you like to see something special?" You asked, taking a glass of wine and leading him towards the villa's garage.

Inside, covered by tarps, were some of Ferrari's most iconic models, from the first cars created by Enzo to the most modern ones. Charles walked among them in wonder, like a child in a candy store.

"It's amazing," he murmured. "It's like being in a private museum."

"It is," you said, leaning against one of the cars. "Every car here has a story. And now you will be a part of that story."

He stopped in front of you, his expression serious but warm. "I hope I can live up to it. Not just for Ferrari, but for you as well."

The intensity of his words took you by surprise, but you didn't back down. There was something about his sincerity that drew you hopelessly.

"Charles..." you began, but he interrupted you.

“I’m not saying this because you’re from the Errari family or because you’re in a position of power. I’m saying this because you, as a person, inspire me. And I want you to know that I will do everything I can to not let you down.”

For the first time in a long time, you were speechless. And as the silence stretched between you both, Charles took a step towards you. There was no need to say anything else; the moment said it all.

That night marked the start of something special. What had started as a casual connection became a relationship that you both knew would be intense, complicated, but also unique.

After that, the end of 2018 was a whirlwind of emotions for Charles. He had closed his season with Sauber in an exceptional way, earning the respect of the tifosi and securing his place at Ferrari for the following year. But the most unexpected thing for him had been the relationship that had formed with you. During those months, you went from being two occasional acquaintances at events to becoming confidants and something more.

Your meetings, although few due to his constant travels, were full of complicity. He had invited you to accompany him to a couple of races outside Italy, and although you kept everything under a strict low profile, the members of the paddock were beginning to notice that there was something between you. The candlelit dinners, the walks through Maranello and the deep conversations.

For Charles, you were much more than a "Ferrari". You were someone who understood him, someone who saw beyond the image of a promising driver. For you, Charles was a breath of fresh air in a world full of appearances. In him, you found someone honest, humble and passionate.

However, you both knew that things would change in 2019. With Charles officially becoming a Ferrari driver, the attention on both of you would increase, and you would have to decide how you would face what was to come together.

When the 2019 season began, everything changed. Not only was Charles Ferrari's new rising star, he also unwittingly became the centre of media attention. The relationship between the two, which until then had remained in the shadows, inevitably began to come to light.

The first time photographers caught you together was at the Monaco Grand Prix. You were in the paddock, leaning against a railing as you talked animatedly to Charles. You were wearing a red outfit that paid homage to the Scuderia, and your laughter echoed above the roar of the engines. The media was quick to dub you the “prince and princess of Ferrari.”

“Does all this attention bother you?” Charles asked you that afternoon, as you walked together through the Monte Carlo harbor.

“A little,” you admitted, adjusting your sunglasses. “But I also know it’s inevitable. I guess we’ll just have to learn to handle it together.”

Charles nodded, taking your hand gently. “We will.”

It was an intense year, full of challenges for both of you. Charles had to deal with the pressure of being a Ferrari driver, while you were constantly surrounded by the critical eyes of the press and tifosi, who analyzed your every move. Far from separating them, however, those challenges brought them closer together.

The moments they shared off the track became their refuge. There were days when Charles would arrive exhausted after a difficult race, and you would call him to give him words of encouragement. There were also nights when you, exhausted, would find comfort in his embrace.

By 2020, you were no longer just a couple at Ferrari; you were the couple. Cameras followed you everywhere, and social media couldn't stop talking about you. Photos of you at Formula 1 galas, at private Scuderia events, and even on vacation in Italy went viral instantly.

The tifosi loved how they represented the essence of Ferrari: Charles was the young driver full of talent and promise, and you, the sophisticated and passionate woman who seemed to be the embodiment of the Ferrari legacy. No matter where they were, together they projected an image of perfection that fascinated the world.

However, behind the flashes, things were not always easy. The 2020 season was a complicated year for Ferrari, with performance issues testing Charles as a driver. For him, it was frustrating to go from being a constant contender to fighting to stay in the top 10. There were times when tensions were palpable, but you always found a way to remind him of his worth.

“Charles,” you told him one night after a disappointing race at Spa, as you both sat on the balcony of his hotel room. “You are not just a Ferrari driver. You are the future of Ferrari. Enzo always said that difficult races are the ones that make true champions. And you are one of them.”

He looked at you, his eyes filled with emotion. “I don’t know what I’d do without you.”

“Luckily, you won’t have to find out,” you replied with a smile.

That mutual strength was what made you two so special. While Charles faced the challenges of the track, you struggled to keep outside pressures at bay, defending your relationship from rumors and criticism.

By the end of 2020, you were more than a couple; you were a symbol. The prince and princess of Ferrari, two figures who represented everything the brand stood for: history, passion, and the promise of a bright future.

What no one imagined was that beneath that image of perfection, the first cracks were beginning to form. Because, although the love you felt for each other was real, the demands of your worlds were not always compatible.

The end of 2020 marked a turbulent time both on and off the track. Ferrari was facing one of its worst seasons in years, and while Charles continued to show his talent, the car simply wasn’t up to par. You, for your part, had been dealing with the mounting pressures of your family name: new projects, the constant expectation that you represent Ferrari at key events, and increasing scrutiny over your relationship with Charles.

Through it all, you never let the internal tensions leak outward. To the world, you were still the couple. You were seen smiling at events, with Charles looking at you as if you were his anchor, and you showing yourself unwavering, like the pillar holding him up. But what no one saw was the distance that was beginning to form between you.

The breaking point began subtly, with small misunderstandings and differences that you had previously managed with grace.

During the final races of the season, you noticed that Charles was more distant. Although he remained affectionate with you in public, in private his attention seemed to be elsewhere. His days were consumed by endless team meetings, interviews, and hours of work trying to squeeze the maximum potential out of an unresponsive car. When he came home, he was exhausted, and conversations between the two of you were reduced to an exchange of short sentences.

“How was it today?” you asked, waiting for an answer that never came with any depth.

“Good, the usual,” he would reply, often without looking at you, lost in thought.

It wasn’t Charles’ fault, you knew. The weight he carried on his shoulders was immense, and you wanted to be understanding. But you couldn’t help but feel displaced, as if your place in his life had taken a backseat.

For your part, you were dealing with your own problems as well. Your family expected you to take a more active role in the company, and every step you took was scrutinized. The endless meetings, strategic decisions, and social expectations were draining you. There were nights when you sat alone in your Maranello apartment, wondering if this was the life you really wanted.

The night of the final race of the season, in Abu Dhabi, you decided you needed to talk. You had prepared dinner in the hotel suite, hoping to reconnect before heading back to Italy. Charles arrived late, tired but trying not to show it.

“This looks amazing,” he commented, cracking a smile as he sat across from you.

“I wanted us to close the year with something special,” you replied, trying to hide the anxiety in your voice.

For a while, the conversation flowed as before. You talked about the race, the tifosi, and even joked about how the media had called you “Ferrari royalty” in a recent article. But then, the tone changed.

“Charles, I’ve been thinking,” you began, hands shaking slightly. “Do you think… we’re okay?”

He looked up, surprised by the question. “What do you mean?”

“We’ve grown apart,” you admitted, your voice almost a whisper. “We don’t talk like we used to anymore, we don’t spend time together. I feel like all of this—” you gestured vaguely at the world around them, “—is consuming us.”

Charles sighed, setting his fork down on the table. “I know. I’ve felt the same way. But I thought��� that it was temporary. That after this season, things would get better.”

“What if they don’t?” you asked, facing the fear you’d been suppressing for months.

For a moment, Charles didn’t say anything. His silence was like a confirmation of what you both feared: that the weight of your individual lives was overshadowing what you had together.

“I love you,” he finally said, with a sincerity that almost brought tears to your eyes. "But I don't know if I'm being fair to you. I don't know if I can be the person you need right now."

The decision wasn't made in one night, but that conversation marked the beginning of the end. Over the following weeks, both tried to hold on to what they had, but silences were more frequent than words, and the emotional distance became increasingly evident.

The news of their separation came in January 2021, shortly after the Christmas holidays. There were no official statements or public explanations; they simply stopped appearing together, and rumours began to circulate.

The paddock was in shock. Neither of them had given any indication of trouble, and for the tifosi, they represented perfection. But those who knew them closely knew the truth: there was no big fight, no betrayal, just the inevitable wear and tear of two people trapped in worlds that demanded too much of them.

The last time you saw him was at a Ferrari event in early 2021. He was beaming, smiling at photographers as he spoke to management. When your eyes met, he gave you a small, almost melancholic smile, which you returned with a similar gesture.

There were no words, but they didn't need to be. You both knew that what you had was unique, special, and that it would always be a part of you. But you also knew that you had made the right decision, even if it hurt.

The prince and princess of Ferrari had split up, leaving the world baffled and the tifosi heartbroken.

The months following the breakup were like a whirlwind, even though neither of you openly acknowledged it. You and Charles had decided to keep the reasons for the end of your relationship private, but that only fueled the speculation. The media kept wondering what had happened between the prince and princess of Ferrari, and the tifosi couldn't accept that something so perfect had fallen apart for no apparent reason.

Despite the noise, you both tried to move on, each in your own way. But as they tried to build new routines, the world kept watching, waiting for some sign, some word that would explain the inexplicable.

The first image of Charles with another woman appeared one day in March. It was a casual photograph, taken by a fan in Monte Carlo. Charles was in a café, smiling as he chatted with a blonde, light-eyed girl. It didn't seem like a romantic encounter, but the closeness between the two and the carefree smile on Charles' face unleashed a wave of comments.

“Who is she?”

“Has she replaced her already?”

“She’s probably her cousin or something, Charles wouldn’t do this.”

For your part, you tried to ignore it. You knew Charles had the right to move on, as did you, but you couldn’t help but feel a knot in your stomach as fans began to theorize about his love life.

It wasn’t long before you were making headlines too. A few weeks later, during a gala event in Milan, you arrived accompanied by an Italian businessman known for his charisma and fortune. He offered you his arm as you walked down the red carpet, and although you maintained a professional smile, the camera flashes captured something that the media interpreted as complicity.

The reaction was not long in coming.

“She already has a boyfriend? This can’t be real.”

“Charles and her were perfect, this doesn’t make sense.”

“The princes of Ferrari are dating commoners now, apparently.”

Social media became a battleground between fans. There were those who supported the idea of ​​the two moving on with their lives, but there were also those who clung to the hope of a reconciliation. Every photo of Charles with his supposed new partner was analyzed in detail, and the same was true for you.

On your Instagram profile, the comments were a reflection of the tifosi's pain:

"Please tell me this isn't true."

"Why did you break up? I never understood it."

"Get back together, there's still time."

Charles faced the same thing. Even in the simplest photos — an afternoon training or a day on the simulator — the responses were full of mentions of you.

"Everything is more boring without Princess Ferrari."

"I hope you're happy, but I'll never forget what you had."

Neither you nor Charles made any comments on the matter. You both knew that any statement would only fuel further speculation, and the last thing you wanted was to turn your past relationship into a public spectacle.

At Ferrari events, it was inevitable that your paths would cross, although you always kept your distance. During a presentation of the Scuderia for the 2021 season, you sat in the front row next to the management, while Charles took his place on the stage, talking about his expectations for the year.

Your eyes met for a brief second. It was enough for the photographers to capture the moment, but not enough for either of you to show any obvious emotion. You held his gaze calmly, while he quickly turned his gaze towards the audience.

After the event, you avoided the cocktail party that followed. You knew the media would be waiting for any interaction between you, and you weren't about to fuel any more rumors. However, as you were leaving, you received a text on your phone.

"I saw you left early. I hope you're okay."

It was from Charles.

You read it a few times before pocketing your phone without responding. Although the message seemed innocent, it only made the emptiness in your chest feel heavier.

Despite appearances, moving on wasn't easy for either of you. Charles could put on a smile next to his new companion, but in moments of solitude, he found his mind drifting back to the days he shared with you. The walks through Maranello, the conversations in the early morning, even the small arguments over insignificant things: it was all still there, like an echo that refused to go away.

You weren't immune either. Although you were dating someone new, you hadn't felt that connection you once had with Charles. Every time you saw their name in the headlines, your heart beat a little faster, and images of what was and what could have been filled your mind.

Still, you both kept going, at least in the eyes of the world. The smiles at events, the carefully curated posts on social media, everything seemed to indicate that you had put the past behind you. But the others seemed unwilling to let it go.

The tifosi kept waiting. In every Ferrari post, in every interview, in every public appearance, someone always asked about you.

"Will you come back one day?"

"You were the heart of Ferrari."

"Without you, this is not the same anymore."

And although neither you nor Charles answered, that question kept hanging in the air, like a wound that time did not quite heal. Because although you had gone your separate ways, the world was not ready to forget you.

And, perhaps, deep down, neither were you.

[rootspiral]

Agatha All Along deep dive: episode 4 part 1

(Wandavision entries: [1][2][3])

(AAA entries: ep1 [1][2][3][4] ep2 [1][2][3][4] ep3 [1][2][3] ep4 [1][2][3])

It's episode 4 If I Can't Reach You / Let My Song Teach You, time for two of my favorite things: glam rock and homosexuals. which are basically the same thing if you think about it.

she's like damn, billy, that was ruthless. honestly this is going to make her care about billy even more, not only he's powerful, not only he reminds her of nicky. now he's a murderer too?? perfect son is perfect. I love how she's studying sharon's body with her detective Agnes face, her mind is going a million miles a minute

her third-wall-break winks destroy me. and that poor hairdo. all gone expect for the giant turd on top.

alice being truly and genuinely sorry about sharon. lilia and jen being gossiping hags

agatha honey you're so dainty and feminine, look at you. and that's an interesting and not at all painful tree shape you picked. (I would have never noticed any of this without brightening the scene, it's outrageous. everyone involved in this show is amazing except the lighting department. shame on you lighting department)

whatever alice does openly and sincerely, agatha does secretly or as a joke. parallels, parallels

jen is like, can you believe this bitch

without being asked, alice goes to help digging the grave

that is the idiot I fell in love with and I'm way past regretting my choices at this point!! I know how rio feels now

"coven two" is one of those lines that make you laugh on first view and shred your heart in a million tiny pieces at every following rewatch. this show HAS to be watched at least twice, don't ever trust reviews or complaints by ppl who didn't, because they missed at least half of what makes it great.

a clown running from the tragic truth that her son wrote the Ballad, making sad clown noises all over the Road

when alice is called to referee as the Resident Ballad Expert and agatha looks at her expectantly hands in pockets, somehow extremely obnoxious, extremely gay and extremely sad at the same time

alice is SO above bickering. jen is being a baby because she's mad at agatha, lilia is being a baby cause she's grumpy and a contrarian, billy is sixteen, agatha is, well, agatha. alice is the only adult in the building

just one, huh? that's fine. that's fine. who needs a heart anyway.

the common gypsophila or baby's breath symbolizes sincerity, purity, innocence. does it symbolizes sharon? or is billy leaving it on her grave a metaphor for his naivety and good intentions gone wrong?

billy's romantic ideals of what it means to be in a coven have just been shattered. he set out, consciously or not, to teach something to these witches and of course it didn't work. he is the one who needs guidance, he is the one who's making a mess of things. he's just a kid.

agatha going !! when billy says he wishes he could go home. agatha covertly pointing out that he has a replacement body and she would really like to know how. she's observing him so closely, trying to puzzle out the mystery. exactly like she did with wanda inside the Hex. not revealing her cards just yet, testing and manipulating him. when that strategy blew up in her face so spectacularly the first time! she's so smart and so reckless it makes her practically an idiot

case in point: she's making up stupid rules trying to manipulate billy into shaping the Road the way she wants. that's right, agatha. let's summon another poor victim you can siphon, wonder who's gonna show up! (and she KNEW sharon was laying dead ten feet away and SOMEONE was bound to be in the neighborhood. dumbass.)

aww he's so proud of himself for having brought the spellbook. he's being helpful! he's made his four moms happy!

check, debatable, check

debatable and debatable

I'm gonna give that one a BIG check

yes I know advil spells "vidal", thank you tumblr for letting me know that one. also same, alice.

'esse viridis non es facile' IT'S NOT EASY BEING GREEN?!?!!?!?!?!?!?!?!?!?! oh I knew my high school latin was bound to come in handy at least once in my life

(by the way the set + costumes combo is giving me such hocus pocus vibes, but you could never tell because the SCENE IS SO FUCKING DARK) (NO I WON'T SHUT UP ABOUT IT)

BWAHAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHHAHAH

I mean girls, you chose to follow the head clown, you have to travel in the clown car. that's on you.

WHY IS THE PRINT SO SMALL???? I LOVE YOU PATTI LUPONE

admit it we all wished it was sharon for a moment

oh?? is that mayhaps someone you know, agatha???

and that's a wrap, see you guys tomorrow!

no, I'm kidding, I'm kidding. I'm doing another one tonight. I need to shove all the rio scenes in my eyeballs NOW

go to episode 4 part 2

[emmyrosee]

His foot taps anxiously against the floor of the flower shop, eyes glazing over the beautiful bouquets and vibrant colors that splash under the fluorescent lights that crackle above his head. The smell of so many flowers is getting into his head, powdery and sweet, but the nausea brewing inside of him is not budging.

He messed up. He knows that.

He also knows he relies on the bet that you’ll accept flowers every time he messes up, which while seldom, happens more than he still would like.

You deserve the utmost love and respect. And he can’t stand that sometimes, he feels like he can’t give it to you and has to hope flowers will be enough for your trust again, like a bandaid on a scraped knee.

After this, he’ll run to the bakery for a pastry, wrapped in a little box, waiting for you to enjoy it-

What is he thinking, countless gifts won’t make up for it, for all he’s done. You’ll never forgive him, each bouquet and each slice of cake when he messes up surely is only driving you away, and he cards a hand through his blonde hair as he has a small, teeny freak out in front of the display.

He looks to the old man next to him who easily picks out a bouquet of assorted flowers with a predominantly purple color story. The old man sniffs them, and smiles, before sighing happily. He turns to Atsumu with small nod, “think she’ll like ‘em?”

Atsumu tenses up before offering the old man a small chuckle, “sure is one of the prettiest bouquets in here,” he encourages, and the man hums as he looks around the boquete for any imperfections in the petals. “She’ll be lucky to have them from ya, yessir.”

The man smiles, “no, son; I’m lucky to have her.” He sighs dreamily, “there isn’t enough bouquets in the world to show her how much she means to me.”

Atsumu freezes. For some reason, unbeknownst to him, a lump forms into his throat at the man’s words. He tries to swallow it thickly, keep his emotions at bay before he wails to this strange man about all the ways he’s hurt you over the years and how always, he’s never been able to fully forgive himself despite you assuring that you do.

This argument would be no different.

Atsumu nods his head in understanding, “I think you might be in the same boat as me,” he says, wondering if this man too, is making up for a mistake he made. If this man is trying to repent, and the first way to do it is to bring her flowers, a symbol of a love he’s determined to keep blooming, keep alive, keep beautiful.

But maybe, just maybe, he’s not relying on the fact that flowers are an apology, perhaps they’re being purchased just because, just to make you smile.

Perhaps Atsumu should start doing that for you. Just something nice.

Something to look forward to.

The man chuckles once more; it’s raspy, like perchance he’s one to indulge in a cigarette when the craving arises, but it’s comforting, and for the first time in hours, Atsumu feels a little more at ease.

“At least we’re in the boat, my friend,” the man says. Atsumu swallows thickly once more, but he flashes the man a comforted smile.

“You’re right. We sure are, sir.”

The man bows at the blonde, “you take care of yourself,” he says simply, before coolly turning to make his way to the registers. Atsumu looks back at the boquetes and grabs one that reminds him of you; bright and pristine, like bubbles on a warm day, a warm blanket at night. Like the movie you can repeat by heart by now, but he’ll still watch with you like it’s the first time.

He smiles, sniffles and blinks the sting in his waterline, thrilled to be in the boat with you.

[lady-griffin]

Jinx's Hallucinations + Ekko

Before Act III drops, I wanted to talk about an aspect of Timebomb that I'm quite fascinated by -

Ekko isn’t a trigger for Jinx’s hallucinations.

He has even stopped her hallucinations – not intentionally or anything, but more than once Ekko's presence seems to have a nullifying impact on Jinx.

Which is odd, right?

One would assume due to their history Ekko would be just as triggering to Jinx as anyone else, if not more so, and yet the opposite seems to be true.

In Jinx's first reunion with Vi, she quickly becomes overwhelmed and has an episode due to a whole combination of factors, but notably because her hallucinations of Mylo and Claggor start attacking her, largely because she's starting to breakdown and is getting overwhelmed (a self-perpetuating cycle).

Jinx can't even begin to calm herself down, in fact she yells at everyone to shut up, because she needs to think.

Then she hears Ekko’s hoverboard and suddenly the hallucinations are completely gone.

Jinx isn’t sure if what she heard was real or not.

Which is a great detail, since it indicates Jinx is aware that the voices she hears aren’t “real," meaning she knows other people can’t hear them too. So, it's rather telling (at least for me) that she asks Vi to confirm if she too heard the hoverboard sound.

It's also impressive Jinx was able to instantly recognize the sound of Ekko's hoverboard, despite her being in the midst of a mental breakdown and unable to think properly.

It’s almost like Jinx’s brain went into fight mode or something, because seemingly all the hallucinations stopped at once because there’s now a much bigger threat Jinx needs to be on guard for – Ekko is heading her way.

I really can't emphasize how much I love that.

While not traditionally romantic, in any sense, this shows the amount of respect Jinx has towards Ekko and the threat he poses to her. He’s someone she actually has to take seriously when fighting.

Which is a bit unique for Jinx.

Throughout S1 we saw Jinx being far more scared of her hallucinations then actual real, physical threats, but in this moment it’s like her brain recognized Ekko as being the far greater threat than her hallucinations.

Which he is - but that’s also true for many of the other things Jinx faces and isn’t scared of.

Jinx does “glitch out” while fighting Ekko and the Firelights in “When These Walls Come Tumbling Down,” - but it’s more of an asset than a problem, as she easily dodges the Gorilla Mask Firelight (at least I think it’s a gorilla).

Then when Ekko disappears, Jinx's psychoses come rushing back; obviously, this has less to do with Ekko himself and everything to do with him taking Vi, but nonetheless, it's still a slight repetition of the pattern that keeps happening between them.

In "The Boy Savior," during Jinx's bridge fight with Ekko, she once again specifically doesn't experience any hallucinations; even though she was just experiencing them not too long ago.

Mylo was this 'demon' on her back that while she could initially argue against, the more upset she became, the bigger his presence was.

She saw Caitlyn as this devil figure, laughing and mocking her and her psychoses even blocked Vi almost entirely from her sight; whether literally or symbolically, Jinx clearly wasn’t fully aware she was shooting at Vi, despite her obviously seeing Vi and then shooting in her direction.

Then Ekko bursts onto the scene and suddenly no more hallucinations. Which is just...

I honestly don’t know what this is. I really don’t.

To be clear, I absolutely love this whole thing despite not knowing what it is exactly, because honestly, I'm just fascinated by this dynamic, because for whatever reason, Jinx isn't triggered by Ekko nor does she hallucinate him.

In S2, Jinx’s hallucinations have significantly decreased, but in “Paint the Town Blue," she's suddenly bombarded with pretty much everyone’s voices because she’s beyond upset and panicking about Isha being taken by the enforcers.

She sees pretty much everyone - Silco, Vi, Mylo, Claggor, Sevika, and Isha.

Jinx seeing Vi, Sevika, and Isha shows us that she can/does hallucinate people who she knows are alive.

In addition, Isha being one of her hallucinations shows us that Jinx doesn’t need to have negative or even complicated feelings towards someone for them to become a part of her psychoses, as Jinx largely thinks/feels positively towards Isha.

Though it should be noted, the hallucination of Isha isn’t acting aggressive towards Jinx, not like the others are.

Finally, Ekko or Vander are the only two she doesn't hallucinate, but we know Jinx has hallucinated Vander in the past, making Ekko the odd one out when it comes to Jinx's hallucinations once again.

Which for the millionth is absolutely fascinating to me.

Because why?

Why doesn't Ekko trigger Jinx? Why isn't he one of her hallucinations? How come he's the only one we've seen having the ability to stop Jinx's hallucinations altogether (even if it's completely unintentional)?

For whatever reason, Jinx’s mind has seemingly categorized Ekko as being different than everyone else and while it’s obviously not this big thing the show brings your attention to, it’s also clearly there, albeit subtly.

And yeah...

I don’t really have much more to say, I just wanted to talk about this interesting aspect of Timebomb before we get to the last and final arc of Arcane.

[fatalism-and-villainy]

This is gonna sound like a morality cop sentiment without the context that I am a person who is deeply enthusiastic about the aestheticized, eroticized violence of NBC Hannibal. But with that context in mind… I often find myself deeply put off by how violence is handled in fanfic, particularly post-canon fanfic.

Because Hannibal is a very dark show. It is thematically centered on the darkness that resides in all human beings, as embodied by the irresistible black hole that is Hannibal Lecter - a theme that most obviously manifests in Will Graham’s corruption arc, but also in subtler, more mundane ways with characters like Alana Bloom and Jack Crawford, who keep repeating their mistakes despite their self-awareness. And it’s a very nihilistic show, concerned not with ethics but aesthetics, with the pursuit of beauty in the absence of moral scruples.

And yet, violence and death always feel significant on this show. Despite (or perhaps because of) the frequent surrealism and black comedy in their presentation, they feel as if they have gravitas. And that’s precisely because of the show’s aestheticism. The corpses we see are so exquisitely mounted, and presented with such deliberation and intention, both in-universe and in the show’s cinematography. And thus these deaths feel as though they have weight, as though they mean something - even if the only meaning we derive from them is that they look beautiful, if ghastly, or that they convey cinematic symbolism.

But there is so much Hannibal fanfic where the violence feels so… disturbingly banal to me. Where the deaths don’t have any narrative weight and are completely trivial to our main characters. And this is imo completely out of keeping with even Hannibal Lecter’s own philosophy on the show, when he says that life is precious - not because he places particular value on life’s preservation for its own sake, but because he fully understands the gravity of what he is doing. His arrogance and sense of superiority is contingent on the understanding that the taking of a life is a serious thing, and a transcendent thing. Not flesh and blood, but light and air and colour. And I don’t see much light and air and colour in the kinds of fics that I’m talking about.

This is all very much entwined with the fact that a lot of these representations of violence seem to be bound up in the understanding that the show, and Will’s arc, is subtextually queer. And it absolutely is. But I often get the sense that these representations of violence, and the relationship between Will and Hannibal, are trying to overlay them with a very 2020s Positive Queer Representation approach, wherein Will and Hannibal’s love is misunderstood by the world, and thus their violence, as the symbol of their transgression, has to be portrayed and received by the audience an unalloyed good.

And this feels hard to explain, because of course this is a show that is very much about the pleasures of transgression. And it invites the viewer to share in that pleasure, in all the aforementioned ways. It’s drawing from a very 19th century Wildean mode in that regard - a sensibility that irreverently collapses all transgressions into one, and deliberately refuses to differentiate between the morally repugnant and the merely socially unacceptable. And that is very powerful as an engine for queer subtext, as it takes the very real feeling of being corrupt and tainted and wrong and leans into the seductive glamor of that corruption, rather than attempting to counteract that narrative (in ways that can feel, when in the throes of internalized homophobia, shallow and artificial).

But, within Hannibal, that thrill of transgression is inextricably bound up in horror. The pull of violence - and the bond it engenders between Will and Hannibal - is irresistible, but it is also a source of deep seated pain and terror. And those things are fundamentally not separable. There’s a sublimity to violence, and to desire, on this show - pleasure and pain, wonder and horror, are intertwined.

And a lot of the portrayals of violence-as-transgression as symbolic of queerness in fanfic just don’t grasp this. There’s an attempt to paper over the horror and the sublimity of the violence, and how it serves the queer symbolism. It always strikes me as though writers grasp that symbolism, but are trying to fit it into the mold of representation-as-a-means-of-social-advancement. It never lands for me and it leads to the aforementioned callous disregard for life that I just find distasteful. Which is not to say that I think portraying violence and murder in a manner that strikes a similar note to the show is an easy needle to thread - certainly not. (Not the least because it’s hard to translate the show’s visual language to writing.) But it is something I notice and that breaks immersion for me very quickly.

[stagefoureddiediaz]

I will just be over here screaming until the end of time (and not just because this is a beautiful shot!)

I am trying not to read into this set too much - because it was clearly filmed during the s7 filming (its Eddies old living room rug - hes changed to a striped one now!)- but man is it hard!! Also that red Persian rug is very heavily tied to Eddie‘s wife and his girlfriends.

It’s very interesting to note that that red Persian rug first appears when Shannon comes back and has now left the moment Marisol has gone and the moment Eddie vocalised to Kim his internal struggles and unresolved feelings around Shannon and her request for a divorce. The thing is Persian rugs are very tied to the concept of status and history and they’re quite symbolic, particularly in western culture, of family and familial expectations (I need to write a matter on the history of the Persian rug and it’s meaning in western Society but that will have to wait till hiatus but basically they were expensive and therefore handed down through the family and became attached to the concept of upholding family values) so there is this idea that Eddie‘s Persian rug is about him conforming to society and familial expectations i.e. marriage before children and being a family - divorce being a bad thing, as well as heteronormativity.

The fact it’s now been changed to stripes - which are heavily connected to the Buckley-Diaz family dynamic, and specifically to Chris, and the concept of change being brought about by struggle or danger. A few examples of this or the fact that Chris is wearing stripes at the beach when Shannon tells Eddie she thinks she’s pregnant, we also see Chris and stripes during the tsunami, Chris‘s room is heavily striped with rug bedding and curtains, he’s wearing stripes in the lead up to Eddie‘s breakdown in season five. We also see him in stripes in the build up to the shooting. With the connection to the Buckley-Diaz dynamic - these are all moments that ultimately strengthen the bond - making the family unit stronger. So Eddie striped rug is suggesting to me that the Buckley-Diaz family unit will become even stronger when they get through this current arc (I mean that’s saying Buddie Canon very loudly to me but I’m a clown so take or leave that as you wish!)

Hello gut stuff still being up on Eddies fridge I desperately need to know if it’s actually still there in s8 filming time!

Plus boxing gloves hanging on the wall above the yoga mat - I see you reference to fighting and to finding inner calm. Eddie fighting - fighting to get Chris to talk to him - to tell him things - to be open with him. Fighting to be a father. But doing it in a calm and measured way - moving through the sequence like one does in yoga.

But its actually the sitting on the coffee table of it all that I am screaming the most loudly about - that is a choice - its a place we see him sit when he talks to Chris when things are serious - think when Chris is playing video games late at night and Eddie finds him and they talk, think when Eddie spills hot chocolate over the gingerbread house and Chris throws the house to the ground - both times Eddie sits on the table - he’s also sat on that same table when he asks Buck to try and talk Chris out of leaving (wearing the same shirt I might add!!). So this Eddie sitting on the table is very much connected to difficult parental moments for Eddie - moments when he is super respectful of Chris (hell even the Marisol phone call at the end of s6 plays into this theme - Chris being included in Eddies potential romantic relationship from the start - the lesson learnt from the Ana of it all and showing Eddie is holding open dialogue with Chris), of Chris’s wishes. It’s indicative of the idea that Eddie will be patient with Chris, but he will eventually win out - and that they will be stronger for it as father and son.

Interestingly Bobby also sits on that coffee table - when he talks to Eddie in the aftermath of him smashing up his room - when Bobby is doing a similar thing to Eddie as Eddie does with Chris - supportive but strong and firm right down to the use of same maroon/burgundy for the ‘parents’ shirt.

Right Eddie house screaming done - now on to screaming about Chris on my next post!

[lemotmo]

Yeah let's not do this for 3 months people. He's not leaving! We're at the beginning of Buddie!!!

Q. I'm so confused by all the excitement, and I admit that I struggle with facial awareness, but all we got was Eddie saying he's leaving so that feels way more like a Ryan exit than a beginning to Buddie. What did I miss?

A. Okay I'm going to say this once, and only once. We are not spending 3 months on a nonstarter spiral. Ryan is not leaving. It's not an exit story. It's the beginning of a feelings realization story, only Eddie hasn't quite arrived at the starting point for his part yet. Lots of people struggle with facial cues, anon, and there's nothing wrong with that, but it's not an exit storyline. It's drama set up to kick start Buck's spiral and to bring Christopher home. That's why I loved that they had Buck on the couch and Eddie in the kitchen. The couch has kind of always been used to symbolize a romantic relationship between Buck and Eddie, both of them being home when they're on that couch, so putting Buck on the couch in that scene basically puts Buck in position. Buck has arrived at the start of his realization arc. The box has been opened (the box being his long unexamined feelings for Eddie) and he won't be able to put the lid back on it this time. The moment we see Buck have at the end of the episode was not his 'oh Eddie's my person' moment but it was the start of Buck's journey to that realization. Buck was devastated in that moment, but for the sake of Eddie, he attempted to fake enthusiasm. Eddie being happy means more to Buck than his fear of being left behind, again. But that fear will come out when the season returns in March. Tim basically confirmed that Buck will spiral and he will throw himself into a distraction to try and block his pain. That distraction will inevitably fail, as Tim also already spoiled (they learned their Tommy lesson and they won't be repeating it), and that will force Buck to once and for all have to confront and figure out why the thought of losing Eddie sends him spiraling. The end of the episode was the beginning of Buck's journey.

Eddie hasn't reached his starting point, yet. But having him in the kitchen, the other big Buddie room, was a way to show that he is close. Framing the shot the way they did, Eddie having a straight line of sight to Buck on the couch, was intentional. Eddie is close but he's not there yet. He's distracted by the whole Christopher thing, as he should be. Eddie won't be able to arrive at his starting point until he gets the Christopher situation settled. That entire scene was LOUD. Buck letting himself in using his key. Eddie not being able to look at Buck when talking about moving. The flirty way Buck asked what he was watching on the iPad, fully believing it was porn. And again the way the entire scene was framed and shot. The close up of Eddie's face when he realizes he's not alone in this moment and that he does have someone in his corner. Then the close up of Buck's face when he allows the mask of enthusiasm to slip and we see the real sadness that he is feeling. It was very clearly the beginning of their storyline. It was in no way shaped, framed or written as the beginning of an exit storyline. It's happening, anon. Let yourself enjoy the build up 💗

Thank you Nonny! Much appreciated!

YES to all that Ali talked about here! Let's be happy you guys. We are finally here after 7 very long years of ups and many downs. This is the first time we've actually gotten real confirmation that the Buddie slow burn is on!

Let's enjoy this break before the show comes back, because I anticipate a lot of drama in 8b. And once the show is back on? Let's just sit back, relax and watch Buddie's story unfold. It'll be glorious!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[creatingblackcharacters]

Hi!

I don't wanna pressure u, respond in your own time

But like, I've been studying the play Fences, which is about a Black family in the 1950s and 60s. And i was creating costume designs for the wife Rose and taking into account how it would change over the play

And I found out through research that Black hair is a form of protest and a form of self expression because it used to be heavily controlled and their freedom with hair was very restricted

I came up with having her start by wearing her hair in a low bun under a headscarf because of how Troy had power over her in the beginning, but by the end of the play her hair would be out of the bun + scarf and fall naturally around her head, showing that she gained her own power and voice over Troy

But of course I still have a lot to learn myself and I really really want to explore how to show Rose's character growth through the meaning of her hair. So is there anything you can tell me about Black hair history and how it was used as a form of protest and self-expression? Are there any specific hairstyles that mean a lot in Black protest history? If so, I would love to know!

No pressure, of course, this is merely out of genuine interest and curiosity

There is a specific section in this lesson (though I highly suggest reading all of it) that discusses the history of the afro! The natural hair that grows out of our head is a form of protest; has been for a very long time. But the afro has a specific history with protest, a symbol of my power and presence.

Even now, having natural hair, especially when it's shorter, is hard for Black women, having long grown used to long, thin hair being the acceptable (white) beauty standard. She probably wouldn't be treated well by all circles for having chosen to wear her own hair in its curls or picked out (hell, even now having locs some older Black folks act like you just don't care about yourself 🙄) but yeah, that to me would be a real deep way of taking back her autonomy.

[saintsenara]

thank you very much for this, anon!

the diadem is probably the most interesting horcrux narratively, because it's the only one which doesn't connect to the narrative arc of one of the series' main characters, which is also why it's the only one which is destroyed indirectly - as collateral to goyle burning down the room of requirement, which means there's fiendfyre present for it to be yeeted into - rather than by somebody directly.

as i've said above, the the trio each destroys a horcrux which they have a particular narrative connection to. the same is true of the other three horcruxes which are actively destroyed.

the ring

dumbledore - whose narrative role is to teach harry about understanding what is true [which is what the series thinks the power of love is - love is the universe's one great truth] - destroys the ring, which serves, across all of its canon appearances, as a metaphor for the corrosive power of wishful thinking, seeing what you want to see, and refusing to accept the truth.

in the tale of three brothers, the resurrection stone drives the second brother - who has refused to accept the truth that his lover's death is permanent and she won't come back - mad with grief, causing him to take his own life. marvolo clings on to his ring as a symbol of the gaunts' former grandeur and influence, using it to claim that bob ogden should regard him as his superior, even though he's a violent, squalid man living in a rotting shack. dumbledore puts on the ring in a desperate attempt to apologise to his sister, convincing himself that - unlike the second brother - he'll meet the real ariana, that his desire to use a hallow in this case isn't connected to his and grindelwald's earlier obsession with them, and that voldemort won't have left anything nasty on the ring which might kill him.

harry - who internalises the lesson that "it does not do to dwell on dreams and forget to live", who is remarkably free of the shackles of his past, who doesn't tend to get bound up in trying to reclaim things which are lost - drops the stone in the forest, causing it to be lost forever.

the ring-horcrux's creation is also connected to this corrosive wishful thinking. voldemort clearly travels to little hangleton expecting to find his maternal line living in ancient luxury - harry hones in right away on the fact that he looks "disappointed" to find morfin living in filth. voldemort also undoubtedly believes - since his view, expressed in his first meeting with dumbledore, that a parent who doesn't matter would be dead - that his irrelevant muggle father isn't alive, and he's not pleased to hear morfin reveal otherwise.

[since - of course - this hammers home that his dad abandoned his mother, never wanted him, and never tried to find him.]

he's also not pleased to hear morfin say that he looks near-identical to tom riddle sr. - which is another way that the books, which tend to have all members of pureblood nuclear family units look alike [hence why narcissa malfoy is blond while her sisters aren't - it's to emphasise her connection to lucius and draco], show voldemort's inescapable connection to the muggle world.

and so he wipes out his paternal line, sheds any connection with or affection for his identity as "tom riddle", and vanishes behind the mask of "lord voldemort" who is free from such messy human experiences as "wanting to be loved by your father".

but the entire arc of the series is about how he can't outrun his humanity, his heritage, or his former identity. just as dumbledore can't outrun his past mistakes, he can only seek to be forgiven for them. in destroying the ring-horcrux - and then passing the resurrection stone over to harry - dumbledore is doing what voldemort never does, and recognising that the things he did in the past were wrong and he's sorry for them, but that they nonetheless shaped who he was and he should acknowledge them, instead of trying to suppress them.

the snake

neville destroys nagini, who demonstrates voldemort's descent from slytherin [since the locket, as noted above, is primarily about his grief over his mother - and his immediate heritage - rather than his distant ancestry].

nagini is made a horcrux after the adult voldemort - in a frightening, inhuman form - returns to his father's house, with his relationship to it completely recontextualised. any grief, humiliation, or anger he felt towards tom riddle sr. when the ring was created is now completely irrelevant to him - the riddle line has been eradicated, the riddle house is rotting from the ground up, frank bryce's loyalty to the riddles means nothing to him. voldemort takes over it by force - he's not the son and heir coming to meet his father, he's a superhuman stranger, who has no emotional connection to the riddle family whatsoever.

[this is why he's happy to use his father's bones in his resurrection ritual - he no longer thinks of them as related by anything other than a technicality, his dad's grave is nothing to him except a tool.]

nagini is destroyed - just after voldemort has announced that the house system will be disbanded and all students forced to be in slytherin - by neville pulling the sword of gryffindor from the sorting hat. this proves him to be - along with harry - the series' "true gryffindor", which transforms him from someone who spends the earlier books as comic relief [awkward and a bit cowardly, unlike the trio; a character the child-reader is supposed to see themselves as braver, smarter, and cooler than] into a chivalric figure, who encapsulates all the virtues [courage, loyalty, steadfastness, faith, defence of the lowly, purity of heart, and so on] which the doylist text values above all others.

and which it exclusively associates with gryffindor and gryffindors, [hence dumbledore claiming that snape demonstrating courage is evidence "we sort too soon", rather than assuming that sytherins could be courageous as well...] - in destroying nagini, neville destroys voldemort's belief [which the doylist text regards as empirically wrong] that slytherin is the superior house.

the boy

voldemort himself destroys harry, thus allowing the prophecy - and, especially, its line that "the dark lord will mark him as his equal, but he will have power the dark lord knows not" - to be fulfilled, via his failure to acknowledge and respect the power of love [which saves harry from death but condemns him to it], the thing he has spent his entire life committing evil in an attempt to outrun.

the diadem

the diadem, in contrast, is associated by the text with independence and solitude.

[hence why it's the only horcrux which dumbledore doesn't identify.]

voldemort learns of its existence by getting close enough to helena ravenclaw to manipulate her - which is presented in canon as no mean feat, since she keeps apart from all the other ghosts, is clearly disinclined to chat to students, and isn't particularly visible in hogwarts as a social structure.

he then travels to retrieve it alone - and he does this after he's also separated himself off from society by leaving his job, fleeing the country, and [presumably] abandoning his social circle - and we know nothing from canon about what he does during the ten years he spends away from britain.

we don't know when he finds the diadem or who was killed to create it [as with the locket, jkr has said that he used a random murder - that of a family of albanian peasants - to make it, which again contradicts dumbledore's statement that he tends to use murders which are significant to him].

voldemort brings the diadem to hogwarts on the night of his job interview, when he definitively rejects any alternative path [and, in canon's eyes, rejects any chance of doing "good", since he rejects dumbledore's way] and strikes out alone as the singular embodiment of evil. his separation from group society is heavily emphasised throughout this scene - dumbledore calls him a liar for claiming the death eaters are his friends ["i was under the impression that they are more in the order of servants"], his appearance is starting to become inhuman ["he was no longer handsome tom riddle"], and he no longer wishes to be known as tom riddle [and, as i've said before, we do need to recognise that what dumbledore does is deadnaming... especially given who jkr is...].

and he hides it in the room of requirement, which is similarly a place of separation and solitude - it's where things which aren't wanted or needed are hidden away - and which he believes [nonsensically] he is the only person to have discovered.

[although it is worth saying that dumbledore doesn't know the room exists - voldemort's belief that he alone knows about it is basically canon, pretty clumsily, drawing this distinction between someone who's part of society and someone who's separate from it: the castle's headmaster, who is integral to its functioning as a social system, doesn't know something which the self-made outcast does.]

and on the basis of this, i suppose we could say that the diadem is the least social horcrux - the version of voldemort least interested in exploiting the human desire for socialisation, the object which would be the least successful at manipulating somebody who comes into contact with it. which would even make it possible to say that the diadem is the least dangerous horcrux, on account of lacking that desire to take advantage of people.

we could also say that the diadem is the horcrux voldemort thinks of as least important to him - he lacks any personal connection to it, chooses it as an object primarily for completionist reasons, checks on it last when he works out that harry is destroying his hoard, and doesn't hide it somewhere of any real significance to him.

[because - yes - he hides it at hogwarts, his beloved castle, but if he'd wanted to create somewhere elaborate and special to hide it, as he does with his mother's locket, i can see no reason why he wouldn't have put it in the chamber of secrets.]

but i think we can say something much more interesting about it...

that it doesn't represent freely-chosen independence, separation, and solitude. it represents unwilling isolation.

after all, the initial presentation of helena ravenclaw's separation from the rest of the castle as being because she's a bit up herself is revealed to be wrong. she refuses to answer questions about the diadem because she's ashamed of stealing it. she doesn't like socialising with the castle's other ghosts because the man who murdered her is one of them.

and she also says that her separation from society in life wasn't a deliberate choice. she is forced into hiding because the baron is hunting her down. when she attempts to refuse him - to make a free choice either to be alone or to form other relationships in which he doesn't feature - he kills her. while the mechanics of where ghosts spawn isn't entirely clear - my assumption is that she ends up back at hogwarts because she has so much unfinished business with her mam - her death also separates her, against her will, from something which is precious to her: the diadem.

while i don't think we need to throw the baby out with the bathwater - i never think, for example, that the teenage voldemort was bullied by his fellow slytherins - we also know that he stood out from the crowd the second he arrived at hogwarts, for both positive [his looks, his talent] and negative [his secondhand possessions] reasons. the text is explicit that he never had any relationships with his cohort which were equal, and while it presents this as a deliberate choice on voldemort's part, since he understood himself as superior to everyone else - dumbledore's description of him as a "gang leader", or harry's observation that he "was by no means the eldest of the group of boys [at the slug club], but they all seemed to look to him as their leader" - we don't have to take this as fact.

indeed, despite dumbledore's insistence that voldemort has never wanted a friend, he does seem - throughout canon - to be someone who's quite lonely, and who would value a relationship which provided him with some sort of peer experience. it is entirely plausible, then, to imagine that he manages to worm his way into helena ravenclaw's confidences because they have a shared experience of being separated - against their will - from something they desire.

similarly, while we know nothing of voldemort's first time in albania, we know something significant about the second one - that he thinks about it as a miserable period of isolation, spent hiding from social connection ["i dared not go where other humans were plentiful, for i knew that the aurors were still abroad and searching for me"] which took place very much against his will, after his death eaters abandoned him:

"I remember only forcing myself, sleeplessly, endlessly, second by second, to exist... I settled in a faraway place, in a forest, and I waited... Surely, one of my faithful Death Eaters would try and find me... one of them would come and perform the magic I could not, to restore me to a body... but I waited in vain..."

and - therefore - perhaps his first stay in albania was somewhere "other humans were plentiful". perhaps he had friends and connections there which he valued, but which aren't important to the narrative of the doylist text and therefore aren't mentioned.

after he turns the diadem into a horcrux, voldemort then brings it "home" - he reunites it with hogwarts. i don't think for a second that he did this for helena ravenclaw, but i do think he did it because he would understand the founders' relics as being pair-bonded to the castle [with himself, or possibly the basilisk, standing in for the locket as slytherin's relic]. in bringing it to his job interview - which, i think it's worth emphasising, he really does seem to think is genuine [however ridiculous that is] - he's involving it in his long-awaited homecoming.

the fact that he places it in the room of requirement lends credence to this. after all, the diadem-horcrux is almost always mentioned - in both half-blood prince and deathly hallows - alongside something else: the broken vanishing cabinet.

and what is the entire point of the vanishing cabinet in the latter books of the series?

to be reunited with its pair.

and so the diadem should have a mirror-character, like all the rest of the horcruxes.

and this mirror-character should be someone whose separation from the narrative arc of the horcruxes' destruction initially appears to their choice, but is then revealed to be something imposed upon them against their will.

someone who's lonely; who is - perhaps - popular but doesn't seem to have any actual close friends.

someone who has spent years wanting to be perceived as an equal by a specific person - and who longed for that person to recognise that they'd changed from the person they were as a child.

someone who was excited to go to hogwarts, only to discover that they stood out from their peers because of their secondhand possessions.

someone who had a formative relationship which was entirely transactional - even if they were the person being manipulated, while the pre-teen voldemort's experience is as the person doing the manipulating.

someone who, like helena ravenclaw, attempted to flee the person hunting them down - and nearly died as a result.

someone who panics at the thought of being separated from a precious object.

someone whom the text understands as part of a pair, but who is still kept at arm's length by their other half for the vast majority of the series.

someone who bravely accepts the ending of a relationship, even though they're not given a choice in the matter, so that the more important narrative of the horcrux hunt can begin.

someone who's not only excluded from the horcrux hunt [and, indeed, isn't told anything about the horcruxes full-stop], but is excluded from the fighting when the battle of hogwarts begins [the only main character this happens to].

someone who is excluded from the fighting by being told to stay - on their own - in the room of requirement.

someone who - therefore - is kept so separate from the narrative of voldemort's destruction that they don't even get a chance to destroy their horcrux-mirror.

that is to say...

ginny.

One thing I find really compelling about ronmort is that the horcrux which targets ron is the one most "maternal"-- tom's mother's locket, which you so cleverly pointed out was also the one which he erected a complicated defense for in a place that was meaningful to his childhood. Everything the locket says to Ron just feels so charged? Wym you've seen his heart and it's yours? Wym you've seen his dreams and his desires? The fact that Ron can hear the locket's heartbeat before anyone else... I don't know how to explain it except that the locket's antagonism of Ron feels almost intimate in a way. The shenanigans would be sexy. Not least because Ron can apparently do a passing imitation of parseltongue (hot).

that each of the trio destroys the horcrux which most connects to something fundamental about themselves is a detail which obsesses me.

the diary

harry - an orphan, desperate to meet someone else who can understand the strangeness and isolation of his experience; searching for the truth about himself, and what in his life is inherited, but unable to ever fully uncover it - destroys the diary, not only the sole horcrux which is an explicit link to lord voldemort's upbringing as an orphan in the muggle world, but also a metaphor for the state of orphanhood itself.

the diary is a quasi-palimpsest - an object which has to be written in; an object in which a layer of text is written and then overwritten by another; an object in which these layers of text can be stripped back until only the original layer remains only with extraordinary difficulty - just like the orphan's search for meaning, trying to decipher the layers of themselves which were inherited from their parents, but only ever being able to see these partially, with the text missing or corrupted.

voldemort's creation of the diary-horcrux is explicitly connected in canon to him coming to learn who about himself, his parents, and his heritage - and, connected to this, to him refusing to sit with the grief of orphanhood, refusing to understand his parents as whole, complex people, and refusing to embrace his "real" identity [which, as the text understands it, is that of a half-blood named tom marvolo riddle] by creating a fake one [that of lord voldemort].

harry destroys it after rejecting voldemort's self-constructed view of his own exceptionality - "the greatest wizard in the world is albus dumbledore" - his refusal to acknowledge the complexities of lineage and orphanhood, and his refusal to embrace his muggle heritage - "my mother died to save me. my common, muggleborn mother". he does this using a tool directly connected to voldemort's rejection of all but his slytherin heritage - the basilisk's fang - in a location similarly connected to voldemort's rejection of his muggle blood - the chamber of secrets.

the cup

hermione - an outsider, whose place in the wizarding world is unstable - destroys the cup, one of the horcruxes to which voldemort has the least personal connection, but which he selected to hide his soul because of its historical significance, anchoring him to a millennium of wizarding history and culture he was otherwise brought up disconnected from.

voldemort's creation of the cup-horcrux comes at the end of a period of his life in which he is disadvantaged in wizarding society purely on the basis of his name and background. he rejects the ministry jobs which would have made him dependent for the rest of his life on slughorn's patronage - and, therefore, pressured him to do what slughorn wanted - and ends up, as he himself puts it, as "a poor shop assistant". hepzibah smith is a pureblood, who is also descended from one of hogwarts' founders - yet she doesn't make use of this superiority ["all sorts of powers it's supposed to possess too... i just keep it nice and safe in here..."], and she doesn't realise [and he can't prove to her and hope to keep his job] that voldemort is someone she should think of as her equal [or even superior]. she - as harry observes - essentially treats voldemort as doll she can play with, posing him with her treasures and pretending his glacial politeness is really repressed affection, she speaks to him like he's an idiot, and she evidently considers him to be her social inferior.

hermione destroys the cup after seven books in which the discrimination she faces on account of being muggleborn are explicit. obviously, she's the victim of violent bigotry - she's petrified, she's called a mudblood, she's the only one of the trio who also has to worry about the muggleborn registration commission - but she's also the victim of seemingly benign, genial bigotry too - the muggle world is treated as a quaint side-show, even by characters like the weasleys; she's praised for her intelligence by slughorn, but this intelligence is still considered in some way unusual for someone with muggle heritage. she gets spoken to by many wizards in ways which aren't far removed from the way hepzibah speaks to voldemort.

as a result, she - like voldemort - spends a lot of time trying to acquire enough knowledge of the wizarding world that she appears to be native to it [this is why she's so obsessed with hogwarts: a history]. but - unlike voldemort - she then embraces her heritage and refuses to hide it - "mudblood and proud of it!".

and - shortly after this - she destroys the cup, in a place - the chamber - and using a tool - the basilisk's fang - which are both directly connected to the bigotry she experienced, since they're part of slytherin's belief that people like her should be driven out of hogwarts and out of the magical world more broadly, and therefore send a big "fuck you" to voldemort's blood-supremacy.

the locket

and ron... whose greatest desire is to be recognised for his individual achievements, who has a complex and uneasy relationship with his place in his family [simultaneously longing to be something other than "one of the weasleys" and fiercely loyal to his parents and siblings], who is the only pureblood of the trio, whose childhood we hear the most about in canon, and whose childhood appears to have been happy...

destroys the locket, which is voldemort's only link to his mother, and the only horcrux for which he constructs an elaborate defence in a place meaningful to him from childhood.

we don't actually know who voldemort kills to create the locket-horcrux [jkr has said in interviews that it was a muggle tramp, although this contradicts dumbledore's statement in half-blood prince that voldemort created his horcruxes from murders which were significant to him], which is a neat metaphor for how little he knows about merope - since he doesn't know morfin's name, for example, we can assume he doesn't know hers; everything he ever tells harry about her is something he's invented [especially his belief that his parents' marriage was consensual, and that tom riddle sr. abandoned her because she was a witch].

the horcrux attempts to torture ron with his insecurities about being a mammy's boy who's always been afraid that he's a bit of a flop at the task - especially when compared to siblings like ginny, bill, and percy. and ron is so susceptible to it because voldemort is also an inherent mammy's boy [ronmort nation, rise up] who never got a chance to have a mam, and who responded to the grief this caused him by suppressing it, pretending it never existed, and convincing himself that the only viable thing to be is unique.

ron destroys it after he returns to the trio - having attempted to strike out on his own [the thing he's wanted since philosopher's stone, when he sees himself standing alone in the mirror of erised] - and accepts his place as part of a group. he does so using the sword of gryffindor, which again represents him embracing not being exceptional - his entire family have been in gryffindor, something he's shown to feel simultaneously proud of and uneasy with right from his first appearance.

[dissapointu]

Can you do the arcane characters with a s/o who’s unnaturally tall? Like over 7ft? (Specifically Ambessa, Sevika, and Vi)

Ofc!!

Here are some headcanons for Ambessa, Sevika, and Vi with an unnaturally tall s/o (over 7ft)!

————————————————————————-

Ambessa Medarda

• Admiration: Ambessa has always carried herself with the confidence and grace of someone who commands a room, but when it comes to you, there’s a slight shift in her demeanor. She’s struck by how effortlessly you tower over her, yet the way you move—calm and collected—never makes her feel small. She sees your height as a symbol of your strength, power, and presence, and she has nothing but respect for it.

• Affection: Despite her regal demeanor, she has no problem showing her affection in ways that are specific to your size. She’ll take your hand and lead you by it with a soft tug, admiring the way your fingers wrap around hers like it’s nothing. When she gives you a kiss, she might need to stand on her toes, or you’ll lean down to meet her halfway. She enjoys the closeness despite the height difference—it gives her a rare sense of vulnerability she doesn’t often show to others.

• Compliments: Ambessa loves to remind you how impressive your height is. She may not be the most outwardly affectionate person, but when she praises you, it’s with deep sincerity. “You stand like a true force, taller than most, yet with a poise that makes you all the more formidable,” she’d say with admiration, her voice thick with genuine respect.

• Protectiveness: She would never let anyone make you feel uncomfortable because of your height. If someone remarks on it in a negative way, she’s quick to intervene, her sharp gaze enough to shut anyone down. Ambessa has a commanding presence that only amplifies when she stands beside you, knowing that together, the two of you are an imposing sight.

Sevika

• Teasing: Sevika isn’t shy about your height, and she definitely isn’t above teasing you for it. She might joke about how she’ll need to use a ladder to reach your lips, or how she feels like she needs to crane her neck to see your face. But it’s all lighthearted—Sevika’s the type to mock lovingly, and you know it’s all in good fun.

• Affection: While Sevika may come off as tough and stoic, she has a soft spot for you. When she wants to show affection, she’ll wrap her arms around your waist from behind, her head resting against your shoulder as you stand tall. Even though you’re significantly taller, there’s something about the way she clings to you that feels grounding for her.

• Practicality: She doesn’t mind your height at all—if anything, she likes it. Your presence stands out, and it makes her feel safe when you’re around. If you’re ever in a crowded space, she might grab your hand or the hem of your sleeve to ensure she doesn’t lose you in the chaos.

• Protective side: If anyone dares to make you feel self-conscious about being so tall, Sevika is there to defend you without a second thought. She’ll stand up to anyone who dares to tease you, her large frame making it clear that she’s not someone to be messed with. She doesn’t care how big someone is—they won’t get away with making you feel small.

Vi

• Amusement: Vi, always quick with a joke, will find your height both impressive and amusing. She’ll make comments about you being a walking skyscraper, teasing you that you’re a literal giant. But it’s always with affection, and she’s quick to follow up with how much she admires your strength and presence.

• Affection: Vi doesn’t mind the height difference at all. When she hugs you, she’ll wrap her arms around your waist or rest her head on your chest, looking up at you with a grin. If she needs to reach something high up, she’ll just ask you to grab it for her, smiling up at you like it’s the easiest thing in the world.

• Compliments: Vi loves how you carry yourself—your height is a natural extension of your confidence. She’ll tell you that you stand out in a crowd, and she’ll often find herself proud to walk beside you. “You’re not just tall, you’re a force,” she’ll say, her grin widening as she looks up at you.

• Protective side: Vi might be physically smaller than you, but she doesn’t let anyone treat you like you’re awkward or too big. She knows that it’s easy for people to make assumptions based on size, so she’ll immediately step in if anyone dares to underestimate you. She’ll tease you for being “too big for your own good,” but deep down, she’s fiercely protective and proud of you.

I hope these headcanons fit what you were looking for! 💖

[macaronirats]

OK OK WAIT THEORY

Somebody might have said this already in which case sorryyy pls tell me

also I got all the pictures from Google because I wrote this in like 5 minutes so if I stole ur pictures sorryyy

But ok so does anybody remember the theory about the secretary’s death being a reenactment of 9/11? I think that theory was close to the truth but not quite. I believe the series of secretary costumes is actually detailing the downfall of the dictator’s reign due to nuclear warfare.

People have pointed out how swarm tour is most likely a prequel to the current dictator setting (see future-crab’s post here). I believe this to be true and the secretary costumes are showing how it happened, paired with the drum messages etc.

I know that the secretary appeared one night before this one but I want to start with the everything under control message.

For a while I thought this one said “everything IS under control” instead of simply “everything under control,” which wouldn’t be an important distinction UNLESS you look at it through the guise of a dictatorship. This message is not a confirmation of wellbeing or safety, but rather signifying the continual reign of his grand immoral dictator.

Then comes the airplane. This is where all the 9/11 speculation starts, but I think the airplane mentioned is actually one carrying a nuclear weapon. The message after that, terror, is fairly self-explanatory.

Before, I read a theory or two about how Gerard was dressed as himself witnessing 9/11 during this show (considering that they were not dressed as the secretary for the first and only time during this saga). While this is a good theory, I think that it’s also possible that he is dressed to represent the dog here, hence the drum message. This might be far fetched but maybe accurate?? I also see how the dog could be a symbol for the general public. The obedience of the people, the citizens that obey their owner’s will. “Bark bark bark” could be the citizens rising up now that the government is weakened or dead. Gerard could be dressed not as a dog, but as a regular person, maybe one that has been living under the dictator’s rule.

The rest of the secretary shows I think continue this storyline, as the secretary becomes deader and undeader. I also think that there’s something to be said about the secretary herself as a symbol for dictatorship and the fascist regime in general- her death could represent the death of the government, its rebirth, maybe the way that history repeats itself over and over again. Ignoring her symbolism would be a BIG oversight. The secretary owning the dog as a representation of the government controlling the people?

Sorry if this is all either really obvious or really wrong either way thanks for listening to me rant tell me what yall think :D

[arcane-ish]

I would never put it as there being no reason for Isha to be in the story.

She clearly has a function. Her purpose is to show us another side of Jinx and to serve as the glue or lubrication to encourage Jinx and Vi to team up and maybe also as the trigger for the next stage of Jinx.

And yes, of course one can say that these things could also have been achieved in a different way, there was no need for it to specifically happen through this character. But then again, this can be said for almost any choice made in fiction. That there were always many other options the author could have gone with.

I wonder if critique like this would be more likely to come from Jinx and Vi fans who feel that the show is maybe taking the easy way out to invent Isha to facilitate the reunion between Jinx and Vi rather than Jinx and Vi having to make those tough decisions and relationship building themselves. Like if that is too hard, maybe that is a sign you should work harder rather than introduce a new element to make it easier for you.

Or if it comes more from Jinx and Silco fans who think Jinx's final phase should have been triggered by Silco's death already and taking this road with Isha is redundant. Here imo I can imagine why the writers might feel different. That Silco's role in season 1 was very dominating of the narrative and maybe they felt like they hadn't gotten the chance to fully explore all aspects of Jinx that interest them while he was still around.

Or they wanted to have that arc of the sister, where they both wanted the "Vi hits rock bottom what her faith in Jinx is concerned and has truly written her off" as well as a tenative reunion and that wouldn't work if Jinx was full murder Jinx for most of season 2.

However, while I fully see the purpose of Isha and the role she plays within the structure and narrative, I do see the flaw that she doesn't really feel like a real/realistic person. We/many don't care because she's incredibly cute and and charmingly animated and what she lets us learn about Jinx is moving and interesting. But her existance and actions just don't feel very plausibly grounded in the world. (which again, I'm willing to overlook and go with the flow, but the point still is that I have to do this going with the flow action rather than she feeling like she is a natural part of the world. She feels like a walking symbolism, not a real person with a past and connections within the world)

Seeing a lot of “there was no reason for Isha to be in the story” complaints and aside from the fact that story wise I actually love having new and varied characters interacting in interesting and unexpected ways that’s kind of a large part of what I come to stories for, and aside from the whole narrative weight of a character who’s being called Jinx trying a “do over” of her major incident and having it go so catastrophically wrong, I think there’s definitely something to be said for an arc exploring the whole “is it better to have loved and lost than to never love at all?”where sometimes getting the thing you ever wanted and losing it can fuck you over way more. Like, they take Jinx, who adopts this kid and through her reconnects with her childhood self who she’s been struggling to either cast aside or integrate, and also her older sister who she now has a bit of better understanding of having walked a mile in her shoes, and the father who raised her, and for a moment it actually looks like it’ll work this time. And then she loses it all, this wasn’t the same scenario as the end of s1, this was specifically and textually intended as a conscious and deliberate do over, an extension of “it was something I could fix”, and she’s gonna feel like she jinxed it. Jinx was apathetic to her own death at the beginning of s2 but it feels like it’s gonna be way worse now. But Isha did it all so the girl who saved her could live. Jinx is going to have to reckon with the fact that you will love and lose in life, and it’ll be painful, but painful as it is it’s better than never having it at all, and it’s part of that thing that Isha wanted for her, living. And I think that’s a very interesting and crucial question to be asking, especially of a character called Jinx

[irohsteaa]

is it me or I think there is some misogyny within the monster fandom..i mean people treat Eva and Vera as the worst people in the wolrd when I can think of much worser characters,and they boil down Nina to "a nice girl" and ignore all her complexities,symbolism and narrative importance and say "she isnt that well developed and not important to plot"

Misogyny certainly plays a role here, it's esp. evident with how the fandom treats Eva (esp. before she grew as a character; and even after she grows, it's mostly about "she stopped harassing Tenma" and her relationship with Martin, while the more important thing here (imo)—how she started to take care of herself and stopped defining herself through the men in her life—is underdiscussed).

But I think it'd be reductive to say that the way the audience sees the women in Monster is only a result of misogyny; I think a crucial aspect here is the way the female characters are written and how they're treated by the male cast.

I think it's one of the many traps laid by Urasawa, traps that are very easy to fall into (which is perfectly understandable with a complex work filled with so many characters). I also fell into them: my first reaction to Eva was "oh, here we go again, female characters written by dudes" (yeah, Monster taught me to stop yapping about shit without 1) finishing it 2) looking at it carefully, because the devil is the details).

So what exactly are the traps built of?

Cliches

Subtle characterization and/or an apparent lack of information that shows in, for example, the namelessness or very little time on screen.

The fact that a large part of the story is the lack of a story.

Ad 1. I think a big part of Monster is the way it plays with cliches (and it does so boldly; it isn't afraid to introduce us to the most overused cliches and turn them into little storytelling gems), so of course there're also many female character cliches: the love interests, the damsels in distress, the naive & clueless woman, etc.

And when you don't pay attention, it's easy to think that these cliches are everything that can be told about these characters. When we stop here, we miss so many details that reveal the more complex character behind these cliches.

Ad 2. I think Nina is a perfect example of how the subtle characterization can leave many people thinking that she's underdeveloped, irrelevant to the plot, and just an addition to Tenma and Johan.

We also don't have access to her direct point of view, but I don't think it's necessary here and I think we don't have access to it for a very good reason; women are still seen mainly as caregivers, as people who serve others, and are socialized to be nice from a very young age. This can lead to ignoring one's own needs and, in consequence, losing yourself.

And Nina is a character who fits into this role perfectly; she's often shown serving others, bringing kindness where it's needed, being a beam of hope, etc. She's also very often overshadowed by her brother; she's referred to by other characters as "Johan's sister", as if this was the most important information about her.

Heck, Johan even takes away from her the monster title; the reasons behind it are, of course, ambiguous, but it doesn't change the fact that it was her who was kidnapped to the Red Rose Mansion and it was her whose memories were taken away.

And she's clearly upset when Johan tells her that it is his story to tell.

One of my favorite examples of her subtle characterization is the fact that in the beginning of the story, she wants to be a public prosecutor, and by the end, she wants to be a lawyer. It seems like a small change, but it tells a lot about how much her worldview changed.

When it comes to the namelessness and the little time on screen, a good example of it would be Věra. Please keep in mind that we only learn about her possible name in Another Monster; why do I say it's only possible? Because the only source of this name is one person interviewed by Weber, and the person identified Věra via a sketch. I wouldn't call this the most reliable source.

But let's get back to the main topic; what's the reason behind both the lack of a name and the little time on screen? It's Bonaparta.

Bonaparta doesn't let us see much of her, he doesn't let us learn her real name. But even when we see so little of her, we can still see someone compelling and complex, we see a wide range of emotions, we see her determination, we see who she could be if it wasn't for her circumstances, we see her deep guilt and fragility by the end of the story, we see someone who Bonaparta initially dismissed ("you are a funny woman" etc.) only to end up obsessed with her.

But since it's only a matter of a few panels and she's mainly discussed by other characters as the mother of the twins, it's easy for the audience to a) see her as a bad mother, b) think she's unfairly treated by the manga.

I don't think she's treated unfairly by the manga, I think she's one of the most important characters in Monster and it isn't merely because she's the mother of the twins, it's because we can see so much of her in other Monster characters: in the nameless, the dismissed, the robbed of a better future, the reduced to a certain role, all the characters we simply do not know a thing about their minds and that quite possibly, behind the awful clichés, there were in them gardens and twilights, and palace gates.

(I tried to stop myself from babbling about Lolita, but it's not my fault the quote fits so well here.)

Ad 3. I mentioned the lack of the story partially in Ad 2., but there are so many other examples: the little girl who lives with Hugo Bernhardt, Richard Braun's daughter and wife, Lunge's daughter and wife (the difference between how Richard sees his family vs. how Lunge sees his family is shown in the narration as well), Martin's mother and girlfriend etc.

Thanks for the ask! ‎(^人^)