#because that’s very in line with charles character

[theloverislost]

i would love for season two to follow charles arc a little bit more. this is something i’ve been thinking about for a while because season one, while it does focus on charles as well, is mainly i feel about edwin’s arc. we have him realizing he’s gay, realizing his feelings for charles, being sent back to hell, standing up to the cat king, etc etc. and while we do have a lot of good charles moments (devlin house, lighthouse leapers), his moments felt more like they were setting up the arc/the first part of the arc rather than the whole thing. idk if i’m making any sense but i think it would be nice to see

[lordgrimwing]

just saw a post saying Charles Edwards is 'too old' to play Celebrimbor. That is entirely wrong.

[xxplastic-cubexx]

what is your favorite thing about charles and your favorite thing about erik? separately, as in what you like most about their characters :]

a devious question this one is, my friend!!! it's hard enough for me to explain my thoughts cohesively, but having to pick ONE thing i particularly love is difficult. with characters like charles and erik, theres been so much done with their characters over the decades and so they have so many components to them that make them so interesting and fun to observe. BUT I TRY FOR YOU TODAY. under the cut i kinda ramble and the size of this text box makin me anxious

i think if i were to be simple and broad, what i enjoy most about charles is his determination to help others, even if he isn't really thanked and/or if people don't even like him. ofc, this isn't to say he hasn't done wrong- to be honest, the fact he does wrong/questionable things at times is another aspect of him i really enjoy, maybe because- broadly speaking- he's meant to be altruistic (intent vs outcome and all that). i don't know if that's super exciting to most people, but it is for me

as for erik, my reason for liking him is easier to explain tbh. To Be Simple And Broad, his progression from villain to antihero over the decades has been fun to observe (as much as i have so far anyhow) and analyze. i think to be a bit more specific, him using his rage and pain as justifications for his villainous actions is definitely what compels me the most: hurt people hurt and the sort, an idea i've always found interesting (something something vicious cycles and the like). yet now, he recognizes this wasn't really. A Just Thing To Do and is beginning to change that, which i enjoy

[ocdsaraberry]

This was supposed to be about what the choir would dress up as for Halloween but it's 2am and I got sidetracked. What media does Constance like

[star-lights-up]

i started ranting about moira to my dad today. He has no clue I'm a cherik shipper and i'm not telling him AND i still had a solid argument, which means we're not hating on moira for cherik reasons thank you for coming to my tedtalk-

i don’t hate Moira because she “gets in the way” of cherik, of course not. thats silly

the real reason i hate her is because she’s a terribly written character and i need her to leave immediately. she may not mean it but she brings chaos into everyones lives and a lot of people are dead because of her

thanks a lot Moira for shooting the bullet that paralyzed Charles, awakening a false god, causing the death of Erik’s family, bringing Magneto out of hiding, being the reason Charles is bald, being the reason nearly all of Cairo is destroyed (with extremely high casualties), and for just kind of being you. i just don’t like you

the one good thing i do praise her for is bringing cherik together

but lets be honest, that would’ve happened regardless 👀

anyway thanks for coming to my Ted talk ☺️🙏

[vivelegalite]

dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.

there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...

i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears

this list is by no means complete or comprehensive!

and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)

found heaven by conan gray

the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).

2. like real people do by hozier

"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?

3. flaws by bastille

not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.

4. a pearl by mitski

you know it's gonna get intense if there's a mitski song in the mix.

the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".

5. fair by the amazing devil

this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.

the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.

6. work song by hozier

if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:

when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her

HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?

verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.

in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.

7. orpheus by vincent lima

i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.

8. francesca by hozier

(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.

as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.

the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.

"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.

the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.

to wrap it all up:

jayden, what were you cooking in there? what do you know??

[livinginadumpster]

The way Dead Boy Detectives handles queerness and labeling of sexuality is honestly so refreshing. The way it's handled makes is very obvious that it's not the kind of media in which characters are assumed straight until proven otherwise; the characters' sexualities are left undefined because the focus isn't on specific labels, it's on the relationships between characters.

As the show goes on, it becomes abundantly clear that the characters' sexualities are a non-factor. Sure, Jenny dates women, but a label is never put on that. Same with Edwin - he is clearly interested in men, but not once in the show is he labeled as gay. It's not necessary in either case; labeling these characters wouldn't add anything to their stories or character arcs. The show is completely relaxed about labels because they're almost never a part of or even relevant to the plot.

And so, in a show that is so utterly unconcerned with labels, it would also be exceeding strange to impose the label of "straight" on any character. Characters like Charles and Crystal, who clearly demonstrate attraction to the opposite gender, don't come across as strictly heterosexual, they come across as people experiencing human emotions. And a character like Niko, who never expresses romantic attraction to anyone, really can't be assumed heterosexual either, because it simply wouldn't be in line with what we know about her.

Heterosexuality never comes across as the default in this universe. It never seemed as if the writers automatically assumed any character, no matter how background, to be straight. Queerness is explored not as a defiance of the norm but as just another way of loving someone. In a world where being queer is always viewed as alternate or deviant, and where coming out is a lifelong process that begins again every time you meet someone new because you're always assumed cishet, this kind of complete abolishment of heteronormativity is a breath of fresh air. Seeing queerness handled in such a casual way onscreen honestly feels a little bit revolutionary.

[velvet4510]

You know, when it comes to the four Cherik actors, the old men walked so the young men could run.

We all give McAvoy and Fassbender the love they deserve, but honestly we wouldn’t have any onscreen Cherik at all if those two old Shakespeare vets hadn’t laid such a strong foundation a whole decade prior in the original trilogy.

Remember that Stewart and McKellen had no beach divorce to work off of. First Class wasn’t even a thought in any writer’s head yet when the OG trilogy was filmed. And yet they understood the assignment from day 1 - the “exes who never got over each other” vibes are just pouring off of both of them in every scene, especially from their eyes, starting from the very first moment Stewart’s jaw drops and his breathing stops as he sees McKellen in the shadows of the Congress crowd, and McKellen then manages to make a threatening line like “don’t get in my way” sound so … gentle. Be it outside Congress or in the plastic prison or outside Jean’s house, you can feel the weight of their shared history bearing down on them, a weight so palpable it’s on the verge of crushing them both every time they so much as lock eyes.

And you can see echoes of the young men Charles and Erik used to be in their performances … you can fill in the gaps with First Class details thanks to their level of nuance.

Every time they call each other “old friend,” you can hear the underlying emotions they haven’t figured out how to express aloud, and the hidden knowledge that those two words only scratch the surface of what they really are to each other.

Within Stewart’s heartbroken look in all of his closeups in their first scene on the Congress walkway in X1, you can see the yearning of a man remembering the first time this other man walked away from him and wishing he knew how to convince him to stay now, like he did then.

Within McKellen randomly name-dropping Charles throughout the trilogy (like when Sabretooth reports the X-Men knew about Rogue and when he’s headed to Alcatraz), you can hear the obsession of a guy embittered by years of opposition but with a secret piece of his heart still living in that moment when he first heard a beautiful voice in his head pulling him back from the darkness.

Within Stewart’s whispered “what’s happened to you?” at the sight of a bruised eye, you can see the grief of a man remembering the sense of a wave of horror and trauma pouring off someone down in the water, and now seeing that same someone has been abused again, and just like then, he wasn’t there to stop it, to protect Erik from getting hurt.

Within their suppressed smiles in the prison scenes and their repartee outside young Jean’s house, you can tell these two banged 40 years ago. You can feel faint echoes of the two guys who once sat on a bed showing off their powers and saying stuff like “more tea, vicar?” and “you’ve never looked more beautiful, darling.” (I even noticed that at the end of X1, in the “I will always be there” exchange, the camera placement leaves their hands out of frame, so they’re obviously touching each other’s arms in that moment but we can’t see exactly where - it makes me imagine that Charles briefly touched Erik’s hand before being wheeled away and that’s why Erik sits frozen for a moment before toppling his king. Again, it’s those actors’ nuances that give birth to these implications.)

Within McKellen’s facial expression of pure anguish and his scream of “CHARLES!” at Jean’s house, you can hear the soul being ripped from the body of a man whose life was, long ago, forever changed by the words “there’s so much more to you than you know, not just pain and anger … there’s good too, I felt it…”

You know two actors are at the top of their game when they’re able to convey the exact history of their two characters long before any actual prequels imprint that history in canon.

I do wonder if Stewart and McKellen watched First Class before they filmed Days of Future Past - it’s impossible to tell because regardless, they once again gave it their all, especially in the Rogue Cut. They took a little sentence “in other words, a door” and a little piece of direction to smirk and nod, and somehow made it one of the most flirtatious/erotic moments of the series. And then of course at the end, they gave us the most heartbreaking moment of the series and one of the top 10 most heartbreaking moments in any comic-book movie ever, period. You know the one.

I’m just so grateful to them for what they started. It all started with them. They knew what they were doing.

[bunny-jpeg]

Hiii can I please have a profiteroles with a side of Martini and juice served by Charles Leclerc

bakery menu

want to order something? check out the menu! there are all kinds of things on it for your liking! these delicious items are waiting for you! if you want to submit for an order outside of formula one, please do! as for this, i feel so bad that i haven't written enough charles! charles is who got me into f1 originally, so to not write him a lot feels so weird! (the verstappen brain rot is real)! as for this, i love a good mafia au.

profiteroles ("come away with me. for a week, together. anywhere you want, we'll go.") + martini (mafia au) + juice (cockwarming) served by charles leclerc (formula one)!

cw: smut/pwp, mafia au, mafia boss!charles, cockwarming, clingy!charles, breast play/worship, college student!reader, devoted!charles

you often found those mafia romance novels that were sold in the grocery stores rather amusing. the cheesy covers and titles, the dumb plots and the over exaggeration of characters. it was all very.. funny.

mostly because you had nabbed yourself your own mafia lover. and while he was one of the most dangerous men in monaco. around you he was a huge suck-up.

while in public he was smiles and a sharp eye. behind the scenes he was vicious and scary. but, when it was just the two of you alone in the mansion you called home. charles leclerc, was mafia prince of monaco, wanted nothing more than to feel the soft flesh of his lover between his calloused hands.

and love you like the precious gem you were.

he had come from a week in the netherlands. it was always nice to see his long time friend, you knew business was talked about, but you tried not to pry too deeply. charles tried to keep your name and face out of that line of work, the last thing he needed was his princess to have a price of her head.

for all everyone knew, you were a simple university student in one of the most beautiful places on earth. he had arrived home and beckoned for you to join him in the shower.

you kissed his bronzed skin, you chuckled when he returned the kisses. even brushing his lips across each of your fingers like a quiet worship.

he noticed the bandage on your finger and held your hand up to you. he tilted his head to the side like a puppy as he asked, "what's this, what happened?" his voice tinged with concern.

you chuckled, "i was chopping onions a few days ago and i nicked my finger. trust me, it was nothing serious. just keeping it covered to heal." you smiled at him.

he nodded and kissed your fingers, "you have to be careful, mon amor. i can't have you getting hurt when i'm not here." he kissed the bandage softly.

once your shower was done, you helped dry him off before you took him to the bed to get comfortable. you were both naked and curled up in bed together. you chose a movie to put on in the background while you became reacquainted with his body and him with yours.

you pressed your palm against his and noticed the difference in your hand sizes, "what was holland like, it's been so long since i've been there."

he chuckled, "same old, same old, mon amor. max had asked about you, he always asks about you. i told him to back off, he cold have any woman he wanted. but you are mine."

you giggled, "he's probably saying it to get under your skin." while you flew under the radar most of the time, at least with forces that could hurt you. but close friends of the family knew of you. like max verstappen, a close ally of charles. as a result the dutchman knew to mess with charles he simply had to bring you up.

it was like the time he mailed you a nijntje plush and charles was almost on the next flight to utrecht to kick his ass. in reality you had asked max to do that for you because you wouldn't be able to get it in monaco. (charles just forgot).

your lover's hands roamed your body and his cock twitched between his legs. he said softly, "i need you. i've needed you all week. you were all i could think of." his jaw tensed, "you drive me mad, mon amor. you're all i ever want."

you got him seated upright against the headboard and you straddled his waist. with a little help you sank down on his cock, but you didn't ride him. instead you warmed his cock as you straddled him. it slipped in with ease and the feeling made him shudder.

he wrapped those strong arms around you and held you. you got comfortable against his chest and kissed at the side of his neck. he melted into your touch, loving the feeling of you around him.

"i thought about you every moment i was away." he dipped his head towards your chest, he peppered kisses along the soft flesh, "i wondered if you were eating, sleeping, if you were going to classes." he sighed.

"i know, my dear." you said as you held him close to your chest and combed your fingers through his dark hair, "you were constantly texting me. i'm sorry that i couldn't text you during my lecture, you know all about that professor."

he sighed, "i could kill him."

you pulled away further and wagged your finger at him, "don't you care, leclerc. he is one of the best professors in the region." and he whined, you let him press himself back to your chest.

you let out a small noise when he mouth captured your left nipple. his hands explored your bare back, yearning for the closeness. his cock was heavy inside of you and you played with his hair.

the movie played on in the background, the light from the television cascaded you in a soft glow. you rolled your hips a little to give him a bit of friction, which made a shiver run up his spine.

"i love you." he said.

"i love you too." you yanked on his hair a little bit and he moaned with your nipple in your mouth. he played with your breasts, cupping them in his hands.

oh lord, you were perfect. those beautiful eyes looked to you and you smiled down at him. you leaned in and kissed his forehead. you rolled your hips a little more and let the feeling wash over both of you.

to just be so softly intimate felt nice, after time apart from one another. to feel close to your mafia boyfriend, felt good. he left a few marks across your soft breasts which only made you clench around his cock.

"you're my whole world, mon amor. to the ends of the earth, i love you."

"and i love you, charles." it wasn't the easiest thing being in love with someone so powerful. but the way he looked at you, the way he wore his heart on his sleeve for you. all the risks seemed to fade away, you loved him and he loved you.

you two continued to kiss once more, you knew that he was getting hot all over. his skin felt electric as you pressed your hands on his chest. you could feel his racing heartbeat as the two of you made out.

he looked up at you as you held his face, you rubbed the scar on his cheek, you could see the hearts in his eyes. "my world." he said.

"my universe."

he chuckled, "you always have to one-up me, huh?" he kissed your neck softly as felt the shudder of pleasure through his body. he knew he was close, he held onto you while the movie played and softly thrusted up into you. he couldn't handle it anymore. he kissed at your collarbones and groaned against your warm skin.

"i love you."

"and i love you more, forever. you are mine until the sun swallows the earth whole." he promised. he just wanted to be smothered by you, to hold onto you tightly. to love you with all of his heart.

he was in heaven, heaven was you. you were the angel that whatever god sent down to him. and he'd worship the ground you walked on until the ends of the earth. you were his soul, his beating heart.

not even the mafia lifestyle could pull the love he had for you out of him. you were the reason why he never got cold.

he shuddered as orgasm took over. then it ended with you on your back and him looming over you. those eyes of his transfixed you as he panted heavily. he pulled you in for a kiss, "i love feeling close to you." he said quietly. he looked down at you, his cock still buried in your at the hilt, the movie droned in the background. he kissed your jaw, "come away with me. for a week, together. anywhere you want, we'll go."

you smiled at him and draped your arms around him. you yearned for your own orgasm, you leaned up and kissed him on the lips, "i'd like to go back home."

"home? i thought i was your home." he pressed himself against you, his mind clearing up from the orgasm.

"i mean my childhood home." you played with his hair, "you've shown me your world, now i want to show you mine. it might not be as extravagant as monaco, but.... i want to make memories with you there."

he perked up at the thought. you wanted to show him your life. the life you had before you met. he broke out into a grin and wrapped his strong arms around you. he kissed at you face and said, "of course. i would love to meet your family, see your home. thank you! thank you!"

you smiled and kissed him once more. even with his cock still snugly inside of you. it was cute to see him light up. you've seen the headlines and his face in the paper. you've seen what he's capable of. but when he was with you, he was nothing more than a sweet puppy.

you kissed him once more before you shifted and asked, "now why don't you make me cum before we start to make plans, handsome?" you giggled as you pulled him in for a kiss once more.

those romance novels were silly, because if they were writing mafia bosses the way that your beloved charles was, the stories would be a lot less steamy and a lot more clingy. <3

[anxious-witch]

I know, I know we talked about the forest scene with Monty, Edwin and the Cat King to death. But, but. Hear me out.

Edwin was ready to both forgive Monty and thank the Cat King right then and there if they didn't push him, aka crossed a line in the sand for him.

When the Cat King initially informs him of Monty's betrayal, this is Edwin's reaction:

He looks confused, he looks hurt. But he doesn't look angry. Not yet. When he says "Were you just pretending to be my friend" he sounds hurt, but when he sees how Monty is affected, he still looks oddly touched. Especially when Monty says: "At first, yes! Then...no."

I know we joke about Edwin being awful at reading people, but Monty is obviously distressed and Edwin reacts to it. Besides, Monty is his friend. He wants to believe it wasn't all a ploy. But then, Monty makes a fatal mistake and brings up Charles. Immediately, Edwin's expression falls and then it turns angry and says: "Even if it were true, you are a bloody crow!"

We see Edwin forgive Simon, his killer, the person who was responsible for sending him to Hell, in mere minutes, once he finds out why Simon did it. I don't believe for a second he wouldn't have forgiven Monty in a heartbeat if Monty properly explained himself, instead of falling back to his hurt feelings and in turn, trying to hurt Edwin the same way by bringing up Charles. Which is a shame, because they really could have used each other's help.

As for the Cat King, I think it's a very similar story too!

Immediately after Monty walks away, Edwin closes his eyes and says: "I am such an idiot." And the Cat King nods, but you can already see most of the anger Edwin held towards Monty dispersing.

When the Cat King stops him from leaving and says: "I came all the way into this ridiculous forest to save you, I think I am at least owed a thank you," Edwin doesn't seem mad. I'd even go as far as to describe his expression as soft surprise. I think he is thankful, in that moment. And why wouldn't he be? The Cat King did save him from a trap.

It's only when the Cat King brings up a second kiss, implying he should thank him by kissing him, does Edwin grow angry again.

Also, importantly, the way Edwin pushes the Cat King away is almost gentle. Bitchy, and pissed off, for sure, but also gentle. Like, if it was someone who I genuinely didn't want anwhere near me, I'd shove them away by the shoulders, and with much more force. And sure! Edwin isn't a type for violence, but c'mon. We know he is capable if pressed, as seen when Esther hurt Charles.

Edwin keeps his anger tightly locked, only letting it out through his words. He practically spits out "I am not your toy to yank around." But even so, the only tense action we see from his is the way he cocks his head and demingly looks thr Cat King up and down.

Only after the Cat King threatens him, does Edwin get up in his personal space and almost violently(by his standards) shows him the bracelet, saying "This is all that you are. Do you understand?"

My point is, if both the Cat King and Monty essentially told/showed Edwin their actions are somehow tied into his reciprocation of his feelings. Funnily, enough, I feel like if either of them didn't base this interaction on that, and instead rather connected with Edwin emotionally, they would have had a shot at getting exactly what they wanted that night. Monty, Edwin's forgivness and the Cat King, Edwin's thankfulness, perhaps even a sense that he owes him, next time they see each other.

Which is great! Because it shows us sm about the characters, their flaws, and their priorities! But yeah. Talking about shooting themselves in the foot.

I also think that, for all we joke around Edwin holding grudges, he is actually incredible in how quickly he forgives people, as soon as they show the skightest initative for change/goodwill. Part of me hopes he and Monty meet again, just so Edwin can understand his pov, the same way he understood Simon and thr Cat King's but alas. I suppose we'll see

[deliciousangelfestival]

The Imperfect Couple - 18

Character: politician!Bucky x ex-wife!reader

Summary: A separated couple must pretend to be happily married while the husband runs for Vice President, dealing with old issues and political pressures during his election campaign.

Warning: Triggering conversation. Mentioned about sexual assault.

Series Masterlist

Main Masterlist || If you enjoy my work, please consider buying me a coffee on Ko-fi 🙏🏻

Author Note: After this, you will hate Steve more.

Thank you to everyone who has read this chapter. Leave a comment and Reblog, please. I'd love to hear your thoughts. ❤️

The news spread like wildfire: The First Lady has passed away from a sudden heart attack. The entire nation reeled at the announcement. It was a tragic day for the country, and the collective grief was palpable. You and Bucky struggled to believe it, exchanging shocked glances as you watched the news unfold on screen.

The twins, pale with grief, approached their father with questions in their eyes. “Why, a heart attack?” one of them whispered.

Steve’s expression was controlled, his answer calm. “Because with that, everyone will stop asking,” he replied. A sudden heart attack is understandable. Even General Carter died of one.

Just as Steve had predicted, people accepted it readily. “A heart attack? That’s horrible,” they’d say, before letting the matter rest. It was as if the finality of the explanation sealed Peggy’s fate in a way no one dared to question. And yet, to you, something felt out of place.

Only two weeks earlier, there had been news that Peggy had collapsed, and the doctors advised her to rest. You found yourself shaking your head as you spoke to Bucky. “She was so healthy, so careful with her lifestyle. Doesn’t it feel… odd?”

Bucky’s gaze was hard, thoughtful. “It does,” he admitted. “It really does.”

🌸🌸🌸🌸

The day of Peggy’s funeral arrived, a somber, overcast morning where gray clouds seemed to hang like a veil over the city. Dressed in black, the crowd of mourners filled the space around the somber cemetery, their faces etched with grief and disbelief. The country mourned the First Lady’s loss, and people lined up to pay their respects to Steve and the grieving family. You and Bucky observed from a distance, your expressions reflecting both sorrow and skepticism.

Caroline and Julius were also present, looking somber as they approached Hazel and Julius, standing silently nearby. Carol, her face set in sadness, touched Hazel’s arm gently. “Let’s go give Steve our condolences,” she whispered.

“You two go ahead,” Hazel murmured, looking away. Her eyes shifted, and a shadow of guilt crossed her face. She couldn’t bear to look at Peggy’s sons, William and Charles, standing on either side of their father, too young to fully understand the depths of their loss.

Carol frowned. “Hazel, don’t be stubborn,” she said softly. “Come on, Julius.” The two of them moved toward Steve, leaving Hazel standing there with her head bowed, biting her lip.

Julius, his voice low and respectful, extended his hand to Steve. “We’re deeply sorry, Steve. Peggy was a remarkable woman.”

Carol echoed his sentiments. “Yes, Steve. She’ll be missed so much. Our hearts are with you and the boys.”

Steve nodded, his face a well-practiced mask of grief. “Thank you both. Peggy loved you both very much.”

As the guests continued offering their sympathies, Natasha appeared at Hazel’s side, touching her arm and gesturing discreetly. Hazel hesitated but glanced over, catching your eye. You nudged Bucky, motioning in Hazel’s direction, but he shook his head. “Let them go,” he said quietly. “Not here, not now.”

Following Natasha, Hazel found herself being led to a private corner, away from the public’s eyes. Steve was already waiting, his hands clasped tightly behind his back. As Hazel approached, she looked pale, her posture small, as though she wanted to shrink away.

“Why do you look like you want to hide?” Steve asked, arching an eyebrow, his voice a low murmur.

Without a word, Hazel handed him her phone. Her hands were shaking. Steve took the device and glanced at the screen. What he read there made his expression falter, if only for a moment. The message on the screen was Peggy’s final words:

"I’ll give him to you. But know that each time you’re with him, I will always be the thorn between you two."

Hazel’s voice trembled as she spoke. “I found this after she…after she died. She sent it before… God, Steve, she’s gone because of me.”

Steve stepped forward, gently placing his hand at the back of her neck, pulling her head to his shoulder. “No, Hazel,” he murmured, his voice smooth and unyielding. “None of us lifted a finger. It was her choice. Her own doing.”

Steve held her tightly. “You’re my only anchor now,” he said softly, his hand stroking her hair. His tone was oddly calm, as if nothing truly rattled him.

Hazel gave a slight nod, though her face remained haunted. Steve’s grip around her tightened, but his gaze held a glint of satisfaction, a twisted sense of relief. Peggy’s demise, as he saw it, had finally cleared the way.

Later, as guests continued offering their condolences, Bucky made his way to Steve. His handshake was firm, his voice steady. “Steve,” he said, his eyes meeting his in an unreadable gaze. “My deepest condolences. Peggy was… well, she was a force.”

Steve’s expression was solemn, though his eyes glinted with something inscrutable. “Thank you, Bucky,” he replied smoothly. “I know Peggy always respected you.”

Bucky paused, holding Steve’s gaze a second longer, as if searching for something beneath his composed exterior. “If there’s anything you or the boys need, don’t hesitate to let us know. We’re here for you.”

Steve gave a small nod. “I appreciate it, Bucky. Really. This will be hard for the boys, but we’ll get through it.”

Bucky’s jaw tightened as he stepped back, his gaze never leaving Steve’s. “Take care of yourself. And of them.” He glanced briefly toward William and Charles, whose solemn faces seemed carved in stone, their small hands clutching each other as they mourned.

When Bucky returned to your side, he was silent, his eyes hard with an unspoken realization. Both of you had been deceived by Steve’s flawless facade for years, but now, something dark and undeniable seemed to lie beneath.

🌸🌸🌸🌸

Three Weeks Later

Carol sat on the sofa, her eyes fixed on the TV screen where Steve’s face appeared at an international summit, calm and composed, every bit the statesman. She frowned, resting her chin on her hand. “It’s not even a month since Peggy’s passing, and already there’s talk about him looking for a new partner,” she muttered with a casual nonchalance. “Should I introduce him to one of my friends?”

Julius, seated across from her, snapped his head up, a look of disbelief etched onto his face. “Carol… you were Peggy’s friend. How can you talk like this?”

“Because I was her friend, I want what’s best for Steve,” Carol replied, dismissively scrolling through photos on her phone. “Peggy would want someone from our circle by his side, someone appropriate. Maybe Emily? Or Kelly?”

From across the room, Hazel’s voice interrupted, quiet but firm. “Mom, you don’t have to go through all that trouble.”

Carol looked up, her eyes sharp. “Oh, but I insist,” she said with a sigh of self-importance. “Steve’s in his prime. Women would kill to be with him. Even women your age, Hazel.”

Hazel paused, her teacup clinking against its saucer as her hand trembled slightly.

Carol turned to Julius with newfound excitement. “Maybe we should introduce him to your cousin who just got divorced. She’s still young, and she can bear children—Peggy would approve of someone in our league taking her place. Steve has a mistress. I don't want that woman took Peggy's place.”

"Carol. Stop," Julius said, his voice sharp, cutting through his wife rambling.

A flicker of annoyance sparking in her eyes. “What? Imagine having someone actually related to the President by blood," she insisted, folding her arms, her tone dismissive as if Julius didn’t understand the gravity of her idea.

Julius took a step closer, his face tightening. "We already have," he replied quietly.

Carol looked at him in disbelief, then scoffed. “I don’t mean Bucky," she shot back, waving a hand as if the idea were absurd. "He's still just the Vice President. And I don't even want to think about him having kids with that woman.”

Julius’s expression darkened, his jaw clenched as he leaned closer. "He won’t forgive you if he hears that," he warned, voice low and tight, the threat clear. He knew how much Bucky loves you, even Bucky already gave a warning to Caroline, she still won't accept it.

She felt the heat of his words but only tilted her chin up defiantly. Julius took a deep breath, struggling to contain his frustration. "Carol," he said in a grave tone, “I’m giving you a warning. This is the last time." His hand closed into a fist, and the silence that followed was thick, crackling with unspoken tension.

“Mom. You can stop now,” she said, her voice edged with a firmness that made both her parents turn. “There’s already someone from our family related to the president”

The room fell silent. Carol’s fingers froze on her phone, and Julius looked up from his drink, confused. Hazel met their eyes steadily.

“Nate,” she said, her voice just above a whisper, yet each word felt as though it struck with the force of a hammer. “Steve is Nate’s father.”

There was a stunned pause, a dead silence before Carol’s phone slipped from her hand and hit the floor with a loud clatter. Her face turned pale as her mind scrambled to process the revelation, her hand covering her mouth in shock.

“All this time,” Hazel continued, her voice quiet but steady, “you wanted to know who Nate’s father was. Now you know.”

Carol’s face twisted, disbelief transforming into a horrified expression. She lunged forward, gripping Hazel’s shoulders tightly, her nails digging in. “Tell me this is a joke,” she hissed.

“You… you always kept things to yourself, dropping these bombshells when we least expect it. You came home one day, huge belly, and just announced you were pregnant, like it was nothing.” Her voice wavered, a mixture of anger and desperation. “You made me hide my face from our friends, miss every gathering because of you!”

Hazel stayed silent, even as her mother’s words lashed against her.

“Haze—Hazel,” Julius interjected, his voice a strained whisper, barely able to meet her eyes. “Is this true?”

She nodded. “Yes, father.”

“But why him? Of all people… what could he possibly give you that we haven’t?” Carol’s voice quivered, the shock laced with bitterness.

Hazel met her mother’s eyes, unflinching. “Because he listened to me. He understood me.”

Julius’s face hardened. “We gave you everything, Hazel. How can you say that?”

She drew in a breath, her expression bitter. “That’s the problem. You gave me everything I never asked for. All I ever asked is for both of you as my parents to listened to me.”

Carol scoffed, her face paling as realization settled in. “Listening?” she muttered, rubbing her forehead as if it hurt. “You keep talking about that. I don’t even know what you mean.”

Hazel’s hands trembled slightly, but she steadied herself, her tone cold. “Do you remember when I told you my ballet teacher kept touching me? That’s why I quit. But you didn’t believe me because he was ‘experienced,’ and you said I was overreacting.”

A silence so heavy settled in the room that even the ticking clock seemed deafening. Carol’s face twisted with a fleeting look of guilt, but it passed quickly.

Hazel’s gaze shifted to Julius. “And you—do you remember when I told you I was drugged by your best friend’s son at that party I didn’t even want to go to? You made me go. I came home, barely able to stand…” Her voice broke, the words hanging heavily in the air.

Julius covered his face with his hand, his shoulders slumping as the reality crashed down on him.

“I am your daughter!” she yelled, the hurt and anger of years pouring out. “And all you did was listen to their excuses. That was my breaking point. That’s why I left.”

Julius’s face fell, and he murmured, almost to himself, “Then… you met Steve.”

Hazel nodded, her voice softening slightly. “I was vulnerable. And after hearing me out just once, do you know what he did?” She looked at her parents, her gaze hard and unwavering. “He made sure that ballet teacher never danced again. And that boy? He’ll never see daylight without a drug in his system.”

Carol heard the news that the former ballet teacher got into an accident, leaving him unable to move his fingers or toes. As for Julius, he heard from his friend that the son ended up in rehab. His case is worse than Shawn's.

Carol gasped, horror dawning in her eyes. “You’re the woman Peggy mentioned. The mistress…”

Hazel’s voice was a whisper, calm yet unyielding. “Yes. I’m the other woman. The homewrecker. Whatever you want to call me, I am it.”

For a moment, a heavy silence settled in the room. Hazel scoffed, looking from her mother to her father. “Isn’t this what you’ve always wanted? Your grandson is the President’s son, your son the youngest Vice President. Now you can tell that to all your friends.” She shot them a hollow, bitter smile, watching as her words landed. Carol looked down, her face flushed with shame, while Julius couldn’t bear to meet her gaze.

Turning, Hazel strode from the room, leaving her parents in stunned silence. For the first time, the weight of Peggy’s suicide note no longer haunted her. Steve had been right. Peggy’s death wasn’t her burden to bear. And with that realization, she walked away, shoulders straight, head held high.

In the deafening quiet that followed, Caroline sank onto the couch, feeling a mix of shame and a deep, gnawing guilt. She was beginning to understand. All those times she had cursed the “mistress” Peggy hinted at… it had been her own daughter.

“Julius,” she whispered, voice cracking as she reached out for her husband’s hand.

But there was no answer. Julius sat, staring into space, his face ashen. When she touched his shoulder, his body slumped.

“Julius!” she screamed, shaking him, but he didn’t respond. Her world spun as panic surged, echoing her daughter’s revelation with one devastating blow after another.

Julius suffered a stroke and required emergency surgery, leaving the family on edge as they gathered at the hospital. The fluorescent lights flickered overhead, casting a harsh glow over the sterile waiting room. You and Bucky arrived, and he turned to you, his brow furrowed with concern. “Where’s Hazel?” he asked, scanning the area for any sign of her.

“Don’t. Mention that name,” Caroline snapped, her voice taut with tension. “That girl has ruined Peggy’s marriage.”

Bucky’s eyes widened in disbelief. “You knew?” he pressed, the shock evident in his tone.

Caroline's eyes flared, realization dawning on her. “Wait! You knew all this time?” She stepped forward, her hands gripping his collar, her fury palpable. The Secret Service agents on standby instinctively moved closer, but Bucky raised a hand, stopping them. “Stand outside. This is a family matter, and keep this secret,” he commanded. They nodded reluctantly, stepping away but keeping their ears perked for any sign of trouble.

“No wonder why Steve chose us,” Caroline sighed, her shoulders slumping slightly as the weight of the situation settled in. “But I still can’t accept this. No, I don’t. He used Hazel's innocence.” Her laughter was manic, echoing off the walls, a bitter sound that filled the room.

“Does he think he can underestimate me? He’s just a nobody without a strong background. He’s nothing without the Carters.” Caroline’s voice dripped with disdain as she spat the words, but when she noticed Bucky’s silence, her eyes narrowed.

“You have a plan, don’t you?”

Bucky nodded, his expression serious. “I do.”

“Good. Me too,” Caroline replied, her tone fierce. “I won’t accept being humiliated.”

🌸🌸🌸🌸

Bucky turned his gaze to you, his expression shifting from determination to concern. “Dear,” he said, his voice steady but laced with urgency.

“Hmm?” you replied, sensing the gravity in his tone.

“I’m telling you right now,” he began, his eyes locking onto yours with an intensity that sent a shiver down your spine, “from this moment, everything is going to turn ugly. You might end up hating me in the end.”

You felt the knot in your stomach tighten. Why is he telling me this?

“I told you before, you could stab me, poison me,” he continued, his voice unwavering. “I meant it. You could do it when you felt that I was way out of line.”

He’s serious, you thought, a mix of fear and disbelief coursing through you.

“You should’ve said this before I married into the Barnes family,” you shot back, your tone sharper than intended, but the weight of his words hung heavily in the air between you.

Bucky’s eyes softened slightly, yet his resolve remained. “I never wanted you to be caught in the crossfire.”

His jaw tense, and he took a deep breath as if preparing for the weight of the world. “If this is too much for you,” he said, his voice steady but low, “you could leave.” Also, the one-year agreement to help him is coming to an end.

The finality of his words struck you like a punch to the gut, and you felt a flicker of panic surge through you. “No. I won’t leave,” you responded fiercely, the conviction in your voice surprising even yourself.

Bucky’s brow furrowed, and he studied you, as if searching for signs of doubt in your eyes. But all he found was unwavering resolve. “You really mean that?” he asked, his voice almost a whisper, a blend of surprise and hope.

You nodded, a small smile breaking through the tension. “The first time, it was me helping you become vice president,” you reminded him, your heart racing with the unspoken promise that lingered between you. “Now, I’ll be beside you as you become president. I won’t let this position slip away to another woman.”

“Then let’s face this together,” he murmured, his breath warm against your skin. The space between you charged with anticipation, every unspoken feeling bubbling to the surface. The world outside faded away, leaving just the two of you in this moment.

A slow smile spread across Bucky’s face, warmth radiating from him. The tension that had permeated the air shifted into something different—something electric. In that moment, the world around you faded, leaving only the two of you and the undeniable connection you shared.

Bucky leaned in slightly, closing the distance between you, and your breaths mingled in the charged space. The weight of your words hung in the air, promising both conflict and a shared future. You reached out, your fingers grazing his jaw, feeling the warmth of his skin under your touch.

He moved closer, tilting his head slightly as if to capture the moment forever. The longing that had been building between you ignited, and without thinking, you both closed the gap.

The kiss was genuine, filled with unspoken promises and a shared understanding of the battles ahead. It was tender yet passionate, a release of the tension that had held you both captive for far too long. As your lips met, time seemed to stand still, the world outside forgotten. In that moment, you were not just allies in a political game but partners, united in a bond deeper than either of you had anticipated.

When you finally pulled back, your foreheads rested against each other, breaths mingling in the charged air. You could see the reflection of hope and determination in his eyes, and for the first time in a long while, you felt like you could face whatever challenges lay ahead—together.

Author Note : The next chapter will be the end.

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[williamvapespeare]

"every day i'm fucking smiling;" a rant (cogent, intellectual character study) about Charles

We all know that Charles Rowland is THE character of all time. Obviously. Undisputedly (except by Netflix) blabla. I, a mixed race bisexual idiot with daddy issues, am about to fucking get into it.

I think there are a lot of ways to get into that end of ep 4 scene – I think we can look from trauma, we can look from model minority syndrome, we can look from a place of people pleasing to the extreme, but I think the best way to get into Charles (for me, personally) is to look at him as a character formed of intersections. Of in-betweens. In literally EVERY way possible, he is between things. He’s mixed race, he’s (probably) bisexual, he’s between life and death, he’s between good and bad, he’s probably sitting somewhere between trauma and healing – like, he’s CONstantly engaging in coping mechanisms and that itself is an in between.

Ok this idea of “I must be liked” very obviously will come from living a life where the opposite of not being liked is always violence, and that definitely can’t be understated. But I think this whole scene and this line in particular really speak to this very specific feeling that comes with inhabiting an identity that is ALWAYS seen as “not enough” in some way. Like, if you sit in a place where you don’t speak one side of your family’s language well enough and simultaneously aren’t white enough (or whatever enough) for the other side, you’re just like fundamentally culture-less and fighting to just be ANYTHING.

(Another GREAT example of this I think is the game Life is Strange 2, which is about two Hispanic American brothers, one of them speaks Spanish and the other one is much younger and doesn’t and there’s a bit where the younger brother doesn’t want to leave the US and says “I don’t even speak Spanish” and the other one is like “don’t worry, everyone likes you.” Like YES being “““Likeable””” is maybe the only way in when you are so fundamentally detached from a thing that you are also fundamentally part of, anyway!!)

Similarly, like all of us bisexual people know we’re constantly getting shit from both sides, from straight people and gay people and probably like, corpses decomposing in the ground who are throwing around terms like “gold star lesbian” or whatever the fuck. People just look at whatever relationship you’re in and they’re like ah yep that’s you!!

Like the whole thing is the most reductive narrow-minded stupidity, but it’s also just THE WAY. It’s the way of stuff. And being like ok, I AM NOT ENOUGH OF ANYTHING THAT I AM. How are you going to deal with that, you’re going to try and be likeable?? Because that’s something you can control!!!

And I’m low key so mad that we can’t see a continuation of this story where we get to see a character slowly come to terms with these in-betweennesses and say like, I’m not actually two halves, I’m two wholes. This is intentional in-betweenness. Like yes, blabla let the boy be bi, but it’s SO MUCH MORE THAN THAT. And I trust this show and I trust these writers to get that right and we were robbed of that.

So yeah idk tldr “every day I’m fucking smiling” was like the gut punch of the century. Whoever wrote that I’m omw to haunt your local Denny’s with my extroverted mixed race bisexual energy THANK U

[checkoutmybookshelf]

Ok y'all, if EVER there is a reason to get a Shakespearean actor to do Tolkien, Charles Edwards demonstrates it in this very under-discussed little monologue. (I know, it's not the world's greatest screen record. So sue me, I tried.)

It's not even 30 seconds, but it's a masterclass in how to go zero to sixty in a quarter mile. Even the writing itself is reminiscent of classic Shakespearean monologues. Celebrimbor is talking to a metal blank specifically and his project more generally, and you're just as invested in these questions as Celebrimbor is. You BELIEVE that he's genuinely asking and looking for an answer. There's something almost Hamletian about this monologue, and I absolutely adore it.

Literally just hand Charles Edwards ALL the acting awards, because even these tiny little moments, these few lines, are imbued with character, with real longing, frustration, and desire. And this isn't even the stuff that we all remember from the season (which is also amazing), it's just a little moment that I genuinely adored and was transfixed by on rewatch.

[kenisle]

the thing abt dead boy detectives compared to other ships (canon or otherwise) that i’ve seen — where it puts two people very devoted to each other in positions where they have to walk through fire for each other over and over again — is that for those other ships there’s often a fair amount of ambiguity afforded by one or both of the characters’ caring or heroic nature, and the fact that they happen to keep risking their lives saving each other is more a result of the narrative constantly putting them in those situations than a statement on that relationship vs others in the story.

take, for example, buck and eddie from 911. the moments we all love — buck digging up the mud with his bare hands when the well collapsed on eddie, or rolling under the fire truck and dragging eddie to safety under sniper fire — do show buck’s devotion to eddie, but because buck is so devoted to all of his loved ones, it’s easy to imagine him doing the same if someone like maddie, hen, chimney, or bobby were in eddie’s place. buck has a big heart; he’d do this kind of thing for many people.

these moments and others like them stick out to me as evidence of buck and eddie’s special bond not because buck wouldn’t do the same for his sister or team, but because there was a deliberate decision by the writers to put buck and eddie specifically into these situations, rather than anyone else buck cares about, and to give these scenes such weight (the way the scenes are shot, scored, and later referenced). the meta narrative plays a big part in how these scenes build the relationship.

dead boy detectives, though? on the stairs out of hell, charles outright states that there is nobody else he would do this for besides edwin. charles is a caring person too, just like buck, except here there’s a hard line drawn in the dirt. charles is saying that no, actually, he wouldn’t venture into hell to rescue crystal, or niko, which not only solidifies his singular devotion to edwin but also hammers home just how dangerous of an endeavor it was to undertake, if edwin is the only person charles — whose whole job in death is saving people — is willing to risk it for.

(also i have a sneaking suspicion that a big part of why charles wouldn’t try to rescue anyone else from hell is because it would involve either separating from edwin to do it alone or putting edwin in danger by bringing him along)

[pr0v1t4]

...hi phighting au community.. me and my friends have a new contribution (time to get bullied)

PHIGHTING! ACTOR AU

basically if phighting was just a tv series and the phighters are all actors playing the characters

by the way, the gear = name mechanism is part of the tv script. the demons in this au are gearless and have human names

cast + extra info under the cut

CAST:

LOST TEMPLE: sword/joseph, medkit/david, scythe/sue ellen, broker/rodney

PLAYGROUND: skateboard/kai, boombox/josh, coil/jayden

THIEVES' DEN: vinestaff/julia, shuriken/corey, slingshot/aiden, katana/kenneth

BLACKROCK: subspace/alex, hyperlaser/allen

(note: biografts are played by multiple actors)

MISC: zuka/neil, rocket/asher, banhammer/dante

SFOTH: firebrand/jean paul, darkheart/steve, windforce/edith, ghostwalker/lucian,venomshank/luther, icedagger/timothy, illumina/charles

CHARACTER INFO:

alex and david are best friends off set. in a blooper take, alex accidentally poked david's actual eye when filming the subspace and medkit eye scene. he repeatedly apologised to david and gave him an ice pack

joseph is an introvert that happened to get the role of an extroverted protagonist. he is sometimes overwhelmed by the amount of attention he recieves and finds it slightly pressuring to do his role

kenneth and neil are actual fathers with children back home. due to this, they tend to look after the younger actors in the studio and watch over them

they picked an actual hornless person to play hyperlaser. allen had his horns removed when he was a teen for medical reasons

they also picked an armless person to play zuka. however, rocket and scythe's prosthetics are just props attached to their actual arm

alex is one of the sweetest people ever even with his role as a self centered mad scientist

kenneth is a metalhead and a fan of hard rock, whereas allen likes 50s-60s hits and soft rock

kenneth uses a lot of modern slang, and people are surprised at how different he is from his role as katana. he was mainly picked for his physique

dante and sue ellen act a lot like their respective characters. they are very happy with their roles

julia, aiden and corey joke about kenneth being their other dad

unlike rocket and sword's friendship, joseph and asher have slight beef with each other off set due to joe having to take multiple takes of the same clip because of his struggle to play an extrovert. he was mainly picked for his identical appearance to sword

allen lets the others try out his helmet. it's really stuffy with it on, they often have to retake a longer clip multiple times since he starts fanning himself within barely five minutes. he also struggles a lot to keep a straight face, you can hear stifled laughter in his lines, especially when he has to say something comedic as hyperlaser

ppleas dont bulli.....

[aletterinthenameofsanity]

I think the thing that's fueling my Dead Boy Detectives fic series is that almost every major character has had some sort of interesting/unhinged interaction with every other main character. Like beyond the incredibly interesting/fleshed-out relationships between the main four detectives we have examples like:

1) Cat King and Monty forest interaction where the Cat King toys with Monty in order to both protect/play with Edwin

(Which, by the way, the Cat King knew about Monty before the forest scene when he shapeshifted into him by the lighthouse. So, like, did he know what Monty's secret identity was then and just straight up didn't say a word because he felt like it? Or did he figure it out later?)

2) Jenny straight up meeting Charles and Edwin only after being possessed by a demon and literal minutes before her shop gets blown up leading to the iconic "you were about to leave those boys forever now you're going to risk your life to save them" line

3) Jenny only meeting David to sing Belinda Carlisle/threaten him with a meat cleaver and get her SECOND near-death experience

4) Hell, on the meat cleaver POV: first and only time Niko meets the Cat King it's to threaten him with a meat cleaver and clock him for his interactions with Edwin (same goes for Crystal even though it's her second time meeting him)

5) Any scene Charles has one-on-one with Monty plus the bit on the sidewalk where Monty straight-up bypasses him for Edwin and Charles just goes "I was polite, wasn't I?" while the girls are clearing him away for Edwin and Monty to flirt

6) Night Nurse and Kashi. Everything about those interactions are *chef's kiss.*

7) Same goes for Night Nurse and Niko. Their dynamic is so fucking good and leads to the fantastic "reading comprehension" bit.

8) And from a more devastating/angsty POV, the scene with Esther and Monty in episode 5 where Monty feels more like a teenager than any other character in the cast. And as much as Esther is a camp queen in that scene, it's also terrifying because that iron cane is against Monty's chest and she literally ripped him apart episodes before that and she's going to kill him again next episode with that very cane and your brain is just bouncing between laughing at the "it's honestly nbd" line and going on red alert because get the fuck out of there, Monty, you're going to die at her hands-