#because they understand each other like no one else can and their grief and their regrets are the same

[markantonys]

i think i'm going to have to make a Toxic Hero/Villain/Villain Polycule Appreciation Gifset for the free day of polyship week because rand/lanfear/ishamael vs. galadriel/sauron/adar is making me insaneeeeee like:

join me on the dark side and it could be us against the world because no one else understands you like i do (rand/lanfear & galadriel/sauron) + our souls know each other so deeply that i can recognize you in any lifetime even if you have a different face (rand/ishamael & sauron/adar) + i don't trust you but i need you because we're inexorably tied together by the shared grief over and obsession with our mutual ex (ishamael/lanfear + galadriel/adar)

DELICIOUS

[bumblingbabooshka]

A Star Trek Novel called “Pocket Full of Lies” really has NO business going so hard.

[ruvviks]

so massively unwell about nathan x ru/vik

[minhosimthings]

Lucifer|| Prolouge

Synopsis: After you found your husband cheating on you, you found a different kind of comfort in his devilishly handsome colleagues.

Pairings: detective 02z × fem!reader

Warnings: angst, fluff, suggestive, minors please do not interact, catcalling, mention of alcohol, reader is cheated on by Heeseung, cheating (which I do not condone in real life)

A/N: Prologue for my 02z short series everyone! I abandoned everything else after Enha dropped Memorabilia just to write this BECAUSE I CAN. I will try to put out the oneshots as early as possible and I hope all of you will enjoy it! Au revoir!

Taglist: Open

Series Masterlist

Crystalline tears filled your eyes as you walked under the dark azure sky. Your feet ached, your heart thumped hard against its prison and your mind spun and yet you kept walking. Walking somewhere, you didn't even bother to understand.

Adjusting your skirt, and moving your scarf down to reveal your bloodied lips from having bitten them too much, you tried to recall what had happened today that made you so miserable. Was it the broken coffee machine, or was it the recent murders in the newspaper? Or was it a person? Perhaps it was the latter.

Heeseung.

You loved Lee Heeseung. With all of your soul and all of your heart you loved him all the way through the bright Mays and the chilly Decembers. You loved him in a way only the setting sun could love the ocean, the way its rays danced with the water so gracefully.

And yet you caught him in your own bedroom, strong sinews of muscles handling another girl's lusty bones, as she merged her body with someone you thought belonged to you.

His apologies went deaf to your ears, you spent an hour or so packing up all your things and driving out the house without a second thought. You didn't even realise how much time you spent screaming your head off at him, trying hard to stop your tears from escaping their barrier as you shoved each and every gift he ever gave you into his arms and asked him to burn them to the ground. And yet you didn't know how to cope without them either.

Your mother never taught you how to handle grief without alcohol and your father's blood always seeped through your mouth in words of fire and fury everytime something went wrong. It was no wonder you had found comfort in Heeseung, a man who could handle all of your pain and all of your anger.

You had trusted him with your life, marrying him happily to escape your childhood home and entrusting in him your most beloved secrets, your love and dedication and your virginity as well. You thought that had been enough, staying home whilst Heeseung worked his ass off at the police station to provide you with everything you could ask for and more.

And when he came home, you were his toy, a plaything for him to release his stress on and yet you didn't budge. Why should you? When you were recieving all the pleasure you could ever want and giving all the pleasure back to your husband. Nevertheless, you stared at your empty ring finger now, hands shivering in the cold as you scolded yourself on not wearing mittens. Heeseung used to scold you too.

Lee Heeseung. What would you have done to absolutely irradicate Lee Heeseung?

You had parked your car at the nearby park where you knew it'd be safe, and had gone for a walk. Thoughts rushed to your mind. You had known about Heeseung's affair for some time now, but you wanted to catch him in the act, to prove to the world, to yourself, that your melancholic delusion could be justified. Here you were now, dragging your feet across the cemented pavement, knowing there's only one other place you could go to. The darkness was a bad place for a woman to be, at 10 pm but you didn't give a single fuck about anything as your prosaic body tried to get itself up. You swore you could have heard voices behind you.

"Hey, hey you!" You heard a voice shout behind you, "What's a pretty lady doin' in a place like this?"

You gulped in fear as your feet sped up. Stupid stupid girl, you thought to yourself, should have stayed in the goddamned car!

"Hey you ignorin' me?" The voice shouted again, and you could hear the gruff footsteps which followed you, getting closer by the moment, "Stop fucking runnin' away from me!"

Your heart pumped blood faster as you picked up your skirt and ran, at the fastest speed you could. This wouldn't have happened if Heeseung was here!, you thought, and though a part of your brain tried to scold you about still thinking about him, at the moment all you were focused on was getting somewhere safe.

The man's drunken voice could still be hear by your ears, and his harsh footsteps told you he was running behind you, chasing you as if you were a wild mongrel to be caught and leashed.

Only one place. Only one place you could go now.

Turning swift on your feet, you ran down the wide lane filled with shops on one side and the empty road on the other, being careful not to crash into the glowing streetlights, as your destination came into your visage.

The police station. Where you knew, your last hope would be standing.

|•|•|•|•|•|•|•|•|•|•|

"Got the Samson case solved yet?" Sunghoon yawned and stretched his limbs above his head, like a prosaic cat, "Man I could do with a drink right now."

"It's 10 pm." Jake checked his pocketwatch, running his hand through his hair as he always did, "What bar is going to be open at this time?"

"Hey, should we steal Jay's stash?" Sunghoon glanced, with mischievous eyes at Jake, who mirrored an equally mischief filled smile back.

"Don't even think about touching my bourbon." A dark haired man, with eyes as black as kohl, walked in, equally black gloves decorating his hands, "Unless you want to be stuck on traffic duty all week."

"Who pissed in your cereal today?" Sunghoon snickered, leaning back in his chair, a crack of his bone could be heard as he lazily stretched, "Let me guess, Heeseung?"

"Is it about his wife again?" Jake groaned, hair tangled in his hand again, "Jay, just leave it man, they'll sort it out."

"Sort it out?" Jay looked at the long haired man with a quizzical look, "What kind of a man cheats on a beautiful woman and brags about it?"

"Most of them." Sunghoon broke out into his drawer, hands reaching for a eloquent wooden pipe, which he lit and transferred to his mouth, sighing out the smoke as he relaxed into his chair, "You're too righteous to understand that, Jongsoeng."

Jay wrinkled his nose, as Sunghoon blew a puff of cigarette smoke into the air. Settling into his own chair, Jay's eyes flickered towards Heeseung's desk, where files lay messily scattered. A solitary photo frame brightened up the lonely atmosphere of the desk. Lee Y/N, Jay thought, his wife, not yours.

"Jay, come on, stop sulking over your little crush," Jake scoffed, his hands busy with a sleek, brownish-yellow bottle in his hand, "Just have a drink and get your mind off it."

"First of all, how did you get into my bourbon cabinet." Jay snatched the glass from Jake's hand, and toyed with it protectively, "Second of all, I can't just get my mind of it. I mean, come on," He extended his glass out to Jake who poured the elysian liquid into Jay's glass, "Who the fuck would have the gall to cheat on such a pretty woman who loves him to bits?"

"Look, you like her right? And don't say no, we all know it Jongsoeng." Sunghoon leaned forward in his chair, "So when she finds out about everything, just offer to take her home and, you know, let her sob into your arms and then take her into your bedroom and-"

"Since when did you start reading romance?" Jake chuckled, pressing a glass of bourbon to his lips.

"Since lover boy here started crushing on..what's her name? Y/N wasn't it?" Sunghoon laughed, taking another piquant drag of his pipe, "I get it, she is really pretty."

'Really pretty' was one way to describe you, Jay thought, smiling into his glass of bourbon. Every inch of you called out to him, beckoned him closer and closer to your poisonous radius. It wasn't that he didn't try to fight it, lusting after another's wife, but it was that he found that hidden sadness in your eyes heartbreaking everytime he looked into them.

"Want to head home, fellas?" Jake briskly sat up straight in his chair, "Or are either of you going to stop at a brothel?"

"Don't have time for that." Sunghoon chuckled darkly, putting out his pipe, "Plus I've got a-"

Bang!

The door of the quite airy police station burst open with a loud bang, and it seemed as if a hurricane in the guise of a panicked woman had swept in, alarming the three detectives. The sudden action caused them to act on their reflexes, pulling out their revolvers faster than their eyes could comprehend the sight in fron them. Jake's eyes seemed to work the quickest.

"Ma'am? Are you alright?" Jake called out, signalling the other two to lower their weapons. He stepped forward and turned a switch on, which caused the entire room to light up in bright light, contrasting to the soft yellow light that earlier shone from the desk lamps.

Jay's senses had seemed to ding up after the initial shock of the entire thing, as he walked forward with careful steps towards you, as Jake and Sunghoon whispered to each other, making out why you were here. Your eyes took a moment to register the man in front of you.

Jay Park, you thought, a man who was perfection incarnated.

"Y/N," Jay spoke softly, careful not to frighten you, "What are you doing here? Are you alright?" He looked you up and down to check for any disfigurements.

"I-" you spoke, your throat tightening by the moment, "Heeseung—he" you couldn't speak any more as his name uttered out your mouth. Bursting into tears, you buried your face in your hands as you felt your cheeks burn up with embarrassment. You really weren't crying in front of your (ex) husband's colleagues, men who you barely knew, apart from the usual condolences.

You felt warm, strong muscles pull you into their hold. It felt like a cozy cocoon, scented with the fragrance of pine and paper.

"Calm down, doll," Jay whispered into your ear, his hot breath fanning your neck, "take a breath for me."

Jay coached you through breathing in and out, which restored some of your consciousness. You had nearly been on the verge of fainting, with how much you had ran.

"Can I—May I sit down for a moment?" You asked, weary of the other two men's eyes watching you, "Please."

"Of course." Jay said, supporting your figure with his sinews as he led you over to his cubicle. You could see the other two hastily clearing out messy piles of papers. The shorter one, you assumed was Jake, from his drooped posture and lion-like hair. The taller one then, had to be Sunghoon, with porcelain skin and an ice cold gaze.

"Did-did you walk all the way from your house?" Jake questioned, offering you a seat, which you gratefully collapsed into.

"No, just the park nearby." You shot him a small smile through your croaky voice, which he returned, "My car's still parked there though. I drove from" you stopped in your words uncertain to say his name, "-from Heeseung's house."

You felt the tension in the room as you said those words. Heeseung's house, you thought, it had been home once. You felt Jay shift his position in the chair next to you, and Sunghoon transfer his weight to one foot, whilst leaning on the desk.

"If you want us to go beat him up, we'll gladly do it." Sunghoon offered, making you chuckle and shake your head.

"No it's fine, I mean she wasn't that pretty anyway, he's bound to lose interest in her some day or the other." You smiled, to no one but yourself. Humour had never been your strong suit.

"Aww man I really wanted to beat him up." Sunghoon feigned defeat, "Asshole deserves it for how much paperwork he gave me."

"That's the only reason you want to beat him up?" You raised a brow at the light skinned man, who raised one back.

"And for betraying a pretty lady of course." He winked at you, making you internally roll your eyes.

"Would-would you like some bourbon?" Jake awkwardly offered you a glass. You could see the embarrassment in his eyes the moment he asked the question, "Or water if you want-"

"I'll take the bourbon." You grabbed the glass from Jake, who, with his shocked eyes poured you a glass, which you downed immediately without flinching in front of the three startled detectives, "Can I have another?"

"Can we have some too?" Sunghoon smirked at you, grabbing his own glass and beckoning Jake to pour him a shot. Jay, admitting defeat, had grabbed a glass too, filled with the bubbly alcohol.

"Well," Sunghoon raised his glass in a toast, "to Heeseung hopefully getting bored of the other woman."

"Peculiar toast, Detective Park." You laughed, "I like it."

The moments that followed still felt like a fever dream to you. You had sat in a building, alone with three handsome men, talking down right shit about your husband, whilst drinking more bourbon than you ever had and although you had already defeated Jake in drinking (almost) half a pint, you still wanted more. This definetly was not on your itinerary for the evening, but did you care at this point? Absolutely not.

"Ugh fuck." You swore under your breath. You probably shouldn't have drank that much, but in all honestly, it would have helped to relieve some of the painful memories of the night.

"Woah steady there." Jay looked at you cautiously as you stirred in your chair. Jake was on the verge of passing out, having even taking his glasses off, while Sunghoon and Jay, who hadn't drank as much, looked as calm as the winds.

"You know what?" You started, not knowing the words coming out of your drunken mouth anymore, "Fuck Lee Heeseung, fuck that man." A sudden maniacal giggle from your mouth seemed to have amused Sunghoon.

"Fuck in what terms, Mrs Lee?" He asked, trying to hide his cunning smirk, whilst ignoring Jay's warning glares.

"Mrs Lee?" You questioned, feeling your senses come back, though you were still tipsy, "Who's Mrs Lee? Not me, no sir-ee." You laughed, "If I had the chance to chop off that asshole's dick right now, I would."

"But you wouldn't allow us to beat him up? Strange." Sunghoon whistled out in his usual cocky tone.

"It's getting late." Jay checked the grand clock in the corner of the room, his eyes wavered over the dried tears on your face, it was alarming to him how much a mere glass of bourbon had managed to get you giggling like a cuckoo, "Y/N I can drop you-"

"I'd rather fuck all of you in one night rather than see that idiot's face again." You chuckled again, this time, saying the sentence with full seriousness. Did you really mean it?, perhaps not, as you would have thought later on. But were you up for having sex with three extremely attractive men who happened to be the best friends of your ex-husband? That, was a definite yes.

"Oh really?" Sunghoon placed his forearms on the desk in front of him, leaning in closer to your face. Jay's hand clutched harder against the edge of the desk. "And what if I say yes to that proposal?"

"What are you implying, Detective Park?" You looked into his dark, devilish eyes, "That you'd have sex with someone pathetic enough to get cheated on?"

"Don't say that, you're not pathetic." Jay's eyes softened as he looked at you, but you merely scoffed, turning your face instead to look at Sunghoon, who was evidently smirking. You caught Jake's widened eyes from the corner of your eye, listening intently.

"How about this-" Sunghoon started, folding his arms, "You get a night of good sex, I get a night of good sex, you and I both get to rub that in Heeseung's face, and then we have breakfast in France."

"Are you married Detective Park?" You quizzed him with an amused face, his offer seemed at the very least, interesting to you.

"Not yet, no. I'm still young aren't I?", Sunghoon's mouth stretched like a cat's into a lazy smile, "Why do you ask? Are you....perhaps intrigued by my offer?"

There was something ironic about that sentence "I'm still young" that struck a chord within you, you were the same age as him and yet you were sitting there talking about your husband.

"Intrigued is one way to put it." You smiled back, hoping you looked anything like a vixen, matching the bastardous fox like energy of Sunghoon's, "But don't you think it's greedy of you, Detective Park? To want me all to yourself?"

"And what do you mean by that, Miss Y/N?" Jake smiled in his boyish manner, "Is Sunghoon here not enough for you?"

"I'm just saying." You held up your hands in mock defence, "wouldn't you both like to get a taste too?"

You glanced at Jay in the corner, who you had expected to be shaking his head in disapproval. But to your utter surprise, he had one of his gloves hands stroking his chin as if in deep thought. His eyes were dark even in the fluorescent light of the room, deep pools of cataclysmic waters floating around in his pupils. He looked vaguely interested.

"So just to recap," Jake started, clearing his throat, such that his Adam's apple was clearly visible, "You want us to bed you, so as to make your ex husband, our colleague and friend, someone's whose wife we definetly should not be sleeping with, jealous?"

"That's the blueprint." You said in a sweet honeyed voice, "How exactly you make him know that I'm not his anymore, you figure that out. If I even so as look at that man's face again, I will jump off a cliff."

"But the question is-" you put on a proud smile, eyes darting from one man to the next, "Who's going first?"

"Shouldn't you decide that sweetheart?" Jay's deep voice came like a rumble through the ground during an earthquake, slightly startling you. He hadn't said anything in the past few minutes, his sudden break of silence alarmed you.

"Alright then." You chuckled, not daring to meet Jay's eyes, you knew you'd melt as soon as you saw them, "How about the person who suggested this?" You turned your face towards a smirking Sunghoon, with his head held high like a peacock's, "Detective Park?"

"Shall I go with the lady's word boys?" Sunghoon asked Jake, who nodded his head, taking his glasses off the desk and outting them on again. The effect it had in him was quite handsome, according to you.

"Should we make a pact then?" Jake asked cheekily, glancing around for a piece of paper, finally picking one up from underneath the mountain of files lying on the wisened wood. Putting it down on the paper, he scribbled something down quickly, showing it off proudly to the others. You let out a laugh when you saw what he wrote.

"'The make Heeseung jealous organisation'?" You laughed, "I can't tell if you're serious or not."

"I'm dead serious." Jake looked at you with glossy eyes, he always was a funny one, you recalled, "Come on everyone, I need signatures."

He's serious about this, you thought, amused at Jake's comedic demeanor. You swiftly pressed the black ink to the paper, leaving off a flashy signature to decorate it. Jay signed off last, with an impeccable font.

Words couldn't have described that very evening. No sentence that could come out of your mouth could have ever even begun to explain to a complete stranger about how you had ended up in Sunghoon's car, driving to his house in silence. Shrugging off the moral doubts in the corner of your brain, you stared out the window into a dewy night.

Relax, you thought to yourself, there wasn't anything wrong with what you were doing.

Was there?

Taglist: Open! Send an ask or comment to be added.

[drdemonprince]

I grew up with abstinence-only sex education, and it did a real number on me. But I’ve shaken off enough of my old cultural programming to realize that the transmission of bacteria and viruses is a thing that sometimes just happens when animals come together, no matter how stringently we might try to prevent it.

I have gotten urinary tract infections when a stray microbe found its way into my urethra after sex. Lube and bodily fluids have disturbed my vagina’s pH and caused a yeast infection many times. So has wearing a bathing suit for too long without drying it, yet another “risk” worth the pleasures of swimming along the sea wall.

Once or twice I’ve had an outbreak of cold sores, just like 80% of humans. If I’m like most people, I probably caught oral herpes when I was very young, sharing a sippy cup or rolling around at a sleepover.

None of this makes me disgusting, irresponsible, evil, or dangerous to others. It just makes me a living creature that exists in close contact with other creatures. I believe I have a responsibility to get tested regularly, to alert people who have been close to me when I get sick, and to use preventative measures like condoms, PreP, vaccines, toys, and masks to prevent the spread of infections as best I can. But I never imagine I can lead a life without risk — or that such a life would even be desirable.

There is no such thing as completely “safe” sex. A friend of mine can’t use condoms because they give her bacterial vaginosis. She chooses instead to fuck raw and take PreP and get anything else she catches treated. A guy I know who masks and tests religiously caught COVID while fisting someone (with a gloved hand!) at an air-filtered party. HPV is so prevalent that most sexual wellness clinics don’t bother testing for it, and can’t do much for a patient if they do have it. Our bodies are teeming at all times with various endemic viruses and microbes that we will never have the power to purge.

Then there are the possible costs of not having sex — vaginal atrophy, pelvic floor weakening, reduced access to endorphins, loneliness, touch starvation, the despair of harboring dreams that one never dares try. I can’t decide for anyone else which dangers loom the largest, but for me a gonorrhea shot is a fair trade for the hours of leg-cramping, bed-staining, hypno-kinky sex that led to it. There’s no guarantee that the next time I have sex it will be anywhere near as much fun, but the potential keeps me throwing the dice.

I hear quite frequently from sexually inexperienced Autistic people who crave an intimate connection, but desperately wish to remain responsible and “safe.” They want there to be a set of iron-tight rules they can follow that will guarantee they remain a virtuous person who never hurts anyone’s feelings, and never catches any sexually transmitted infection.

I understand why they want someone to impose order onto an unpredictable, terrifying world. But I can’t give that certainty to them, nor can anyone. All I can suggest is that they be honest with themselves about what they want, inform themselves of the costs and benefits to pursuing their desires, and then venture forward — proudly welcoming the correct risks into their life, rather than trying to avoid any risks at all.

Life is nothing but a negotiation of risk. If a person has gender dysphoria and they want to combat it, they must risk a transition they could one day regret. If an abolitionist wants to take a stand against the police state, they must plan for the possibility of arrest or political repression. When we open our hearts to love, we expose ourselves to grief — our partners will keep changing and growing, sometimes away from us. Each step that we take forward in life closes off potential paths. There is no avoiding this.

Instead of chasing after the false promise of “safety,” trying to remain completely insulated from harm and challenge forever, we must get better at admitting risk into our lives.

I wrote about all about the messy business of risk mitigation, and how the pursuit of perfect safety is used to justify isolation, theft of bodily autonomy, and political repression. It's free to read (or have narrated to you by the app!) at drdevonprice.substack.com

[casscainmainly]

My Top 10 Batgirl (2000) Moments

This is my list of top 10 Batgirl (2000) moments!! There were so many to choose from, but these are my personal favs :)). Counting down from 10 to my absolute favourite.

10. Volving

An absolute classic. Perfectly encapsulates what Cass does throughout the entire run, and more writers should play with Cass' use of language like this!

9. Beat Up Every Mob In Gotham

Perfect encapsulation of the early Barbara-Cass dynamic, and one of the funniest moments in the series. Just love the expressions and the way this shows so much of Cass' character.

8. Choosing to Write

The entirety of issue #2 builds up to this heart-wrenching moment. After delivering a dead man's final message to his wife, Cass sees the wife's reaction to the written message and decides to learn to write. A foundational moment for her character, and a nice motherly Babs scene too.

7. Alpha Redemption

Capping off issues 35 + 36, Batgirl unmasks herself to convince Alpha (an amnesiac villain) that he doesn't have to be defined by his past. Brilliantly displays her core belief that people can change, and the fact that her belief pays off makes this moment extremely moving.

6. For God's Sake

Possibly a controversial pick, but I really like this moment because it underscores some of the fundamental conflict between Babs and Cass. They love each other, but they don't always understand each other, particularly in regards to each other's disabilities. A painful moment that should have been explored more.

5. Fight For Your Life

My favourite Stephanie and Cass moment in this run. You can feel Cass' grief throughout this hallucination, but there's also so much hope and love (for Stephanie and for herself). It's an amazing conclusion to Cass' initial suicidal tendencies: instead of desiring death, she now actively fights to live.

4. Darknight Detectives

This interaction sums up a lot of Bruce and Cass' best moments. Cass' unwavering moral beliefs, Bruce's pride, their instinctive understanding of each other; they just get each other in a way few others do. I picked this one instead of the 'instinct/good answer' moment because it also marks Cass' development in her detective ability. From Moment 8 above to here, the confidence in her mental capacities has grown so much. She really volved!

3. Perfect For A Year

I mean of course this had to be here. These lines literally take up 90% of my brain space, it's an incredibly tense moment that illustrates Cass' desire to be perfect, her need to be useful and good. This issue is also just awesome.

2. You're... Not

Another absolute classic. Illustrates Cass' compassion and her belief that people aren't defined by their lineage, which is particularly personal to her, given her own dad. This struggle between good/bad, parent/child defines many of Cass' best stories.

1. Who Do You Think You Are? + Father's Day

What else would number 1 be?? Issue 33 is my favourite in the entire run, and the entire thing is stacked with moments that could fill up this list. I just love 'who do you think you are' because it's all of Cass' rage spilling out, and yet she still loves David Cain in her own complicated way (and he reciprocates, too). Then we have the ending, which is the BEST Bruce and Cass moment ever. The sparse, meaningful dialogue, the expressions, the reveal of the TITLE: comic book writing at its finest.

Honorary mention to the Shiva/Cass fight, which just narrowly missed out.

[yanderetheumbrellaacademy]

Please Love Me

Summary: Why don't you love him? He's just like your Ben. I mean how different can they really be? Pairings: Yandere! Sparrow! Ben Hargreeves x Fem! Umbrella! Reader TW: Angst

He groaned, turning away from you. He couldn't stand to look at you, because you gave him these feelings that he didn't like. He could feel his heart thump in his chest as you spoke to him. Your words didn't register in his mind. Instead he focused on the floor.

Why didn't you like him like you like the other Ben. You were just like the rest of your stupid fucking siblings... But he thought you were different. He thought you loved him. He thought you both shared something special, but he was clearly wrong.

"And he was-"

His eyes went back to you. You were talking about Ben- the other one. The one you liked better. He frowned, his eyes scrunching together. You were playing with his heart. You had to know that.

"Stop."

You looked at him, confused on why he told you to stop. You tilted your head, which just caused him to loudly groan before he stood up and walked away from you. You watched him, not understanding, but just decide to shrug it off. If he wanted to talk to you, he would come talk to you. You would just have to wait...

---

Ben stared at his ceiling. He could count each tile if he wanted. He knows he's counted them a million times. His mind went elsewhere, to a place he wish it hadn't. You.

He frowned, tossing over his pillow. He squeezed the fabric close to his face, hoping he could suffocate himself. Instead of death, his thoughts just got worse. It started off innocent, but slowly escalated, much to his dismay.

---

You hummed to yourself as you sipped on your drink. You were alone- no siblings, none of those Sparrows- just you. You smiled, leaning into your seat as you closed your eyes, hoping to go somewhere else in your mind, until a voice interrupted you.

"What are you doing?"

You sighed, opening your eyes to look at Ben, the other Ben. You didn't know why he was so obsessed with you, but he could never seem to leave you alone. It was like he needed you attention for some reason.

"Nothing."

"Good. I have a question."

You groaned under your breath, hoping this wasn't going where you thought it was going.

"Why don't you like me?"

And it was. You sighed, scooting over so he could sit next to you. "I do like you-"

"Not like him."

"You're not him."

"What do you mean? I'm literally him."

"No you're not." You look at him, "You'll never be him."

"Never?" He stands up, clearly pissed up. "I am him. I will always be him. He is me and I am him. You're just to caught in your own grief to see that you're getting a second chance. I love you."

"You? Love me?"

He blushes a bright red before shaking his head. "No, I said I hate you. I could never love something like you."

"I never asked you to." You roll your eyes as you go back to your drink. "And I never will."

[moondirti]

animalic (3)

← chapter two // series masterlist

pairing: miguel o'hara x f!reader rating: mature word count: 2.2k summary: he's got a plan that neither of you like warnings: enemies to lovers, predator/prey dynamics, biting, bondage, temporary paralysis, concussions, miguel is not nice, no use of y/n notes: this was supposed to be longer but the cut off at the original point was super awkward. this chapter is super exciting for all you fang lovers out there

You really can’t catch a break. 

The city bustles with a verve rivalling your own, a kaleidoscope of luminescence dancing upon the glass facades of its skyscrapers. Their spires pierce the ink-dark cloak of night, and if you weren’t so busy running for your life, you’d stop to admire the way their aviation obstruction lights mimic the stars back home. 

(Everything has a trade off, you suppose. You remember what it was like as light pollution gave away to reveal the cosmos above, the beauty of it lost upon your own grief.)

Now, it’s fear – clinging like a shadowy spectre to your heels. The pavement is unforgiving beneath you, each step sending a jolt of energy through your bones. Despite it, you can’t go any faster. Sidewalks crowd with the humdrum of everyday life – people filtering out from work and bodegas, dressed in a slightly odd fashion, their clothes a reminder of your unfamiliar landscape. Car horns blend into one another, providing an unsteady tempo to the race of your heart. 

It’s disorienting, all of it. Times like these, you wish you’d been given the opportunity to hone your abilities. Stamina, flexibility. Web shooters in particular would have proved handy in avoiding the bustle of the ground. 

Of course, he has that advantage on you too. 

You can’t see Miguel, but you sense his proximity. It prods you, nipping at your flesh in a constant assault, intensifying goosebumps and raising hairs. Your spider sense usually doesn’t last this long, solely serving as a warning for immediate danger. Yet that’s just what he is, immediate. Dangerous. Predatory eyes track your every move, sourced from all directions. He’s everywhere; atop buildings, within alleys. Neon signs morph into twisted apparitions; serrated talons, red skulls. 

How did he track you down so fast? 

The day pass? 

You wonder if he’d brought back-up – whether there are other spider-heroes here who trust in his noble cause. Your anxiety triples, and passerby’s begin to warp too. Their hurried footsteps now strike discordant notes, amplifying your isolation. You think you see some tense their wrists, or unbutton their coats, ready to reveal their tailored suits and ensure the capture you’ve managed to evade thus far. 

It’s luck. It’s only ever been luck, and that fact changes depending on who you ask. You’ve never outsmarted him, never disabled him. You just so happen to have the power of being a pain in his ass. 

Something itches at you, though. A nagging sense of foreboding. His presence in the past has spurred chagrin, annoyance, and – admittedly – arousal. But the genuine terror that lights your nerves now is new. Perhaps because you understand him, are far more familiar with his pride than most. The logical part of you can predict that he won’t let you off so easily, not after your stunt with the kiss. You won’t – can’t – get away this time, even if it damn well nearly kills him. 

Any hope you had of a bargain dissipates, rolling back from shore and into the depths of an elusive sea. You jerk the rubber band off your wrist, throwing it into some undisclosed corner.

In a then desperate bid to throw him off, your path loses cohesion. Like a leaf seized by a tempest, you turn based on split-second instinct, weaving through the labyrinth of New York’s grid. Your body sways in frenzy, bolstered by pure adrenaline, which works to dim everything else. Your ribs haven’t fully healed yet – they’d taken a pretty bad beating upon your last fight with Miguel – but you can barely feel the ache as you focus purely on the task at hand. 

Your determination surges, recklessness taking hold of your rationale. Veering abruptly, you just about collide with the racing line of cars that flow at a green light. In fact, you think you do. Your skin prickles, and a taxi runs straight through you, blearing a loud honk all the while. Some vehicles break off, drifting around your form at the last minute. In your peripheral, you can see the glowing red of your pursuers web, stretched across the gap between two apartment complexes. 

Chest tightening, your breathing loses depth at the sight, shallowing to leave room for the distress that torrents up your system. You clamber up on the hoods of parked cars, using a mast arm pole to propel yourself forward. It’s a fruitless effort. You know it’s too late – have known it since he walked into that convenience, prowling in search of one thing. 

(A lion only catches its prey a quarter of the time. But that twenty-five percent?)

Your ankle is the first victim to his hardwearing web, wrapped in the silk and pulled out from underneath you. The back of your head smacks into the concrete below, a high pitched ring reverberating through your skull upon impact. The collision sends a shock wave of pain throughout your being, and in that harrowing moment, everything stutters to a crawl. Spots speckle behind your clenched eyelids, metallic warmth flooding your mouth.

Well, fuck. 

To add insult to injury, your atoms rip apart and splice into one another, a consequence of your abandoned day pass. The glitch aggravates the headache that begins to pound at you. You’d allowed yourself to forget how bad it could be. 

The willpower that had just played a forefront in your mind steadily starts to trickle out, absorbed by your humiliation and the ground below. 

“You really gonna give up that easily?” 

Yes. 

You make a point to never lie to yourself. In truth, you won’t ever get enough of Miguel’s cadence. Deep and resonant – it smoulders with a charred ruggedness. Commanding attention, rumbling like distant thunder, an unmistakable authority woven into each word. Yet, even amidst the rough contours, there lingers a softness, a subtle grace that soothes the edges of his threats. 

(Sharp claws, sharp teeth, sharp cheekbones. Soft voice.)

More webs bind you, erupting from an unclear point to circle your legs, chest, and secure your arms behind your back. You’re diminished to little more than an aggravated caterpillar, ensnared in a spider’s web. And, just as his little game of bondage draws to a close, said spider stalks within view, splitting through the crowd that quickly forms around the commotion. 

With his mask on, he stands as completely impenetrable. You, on the other hand, try to reduce your quivering the best you can, afraid of relaying how truly pathetic you feel. 

“Maybe I’m biding my time.” You bite back, calling on a complete bluff. “I’m sure you know how good I am at that?” It’s a low blow. Even if you could control when and where to phase out, you wouldn’t get very far before he catches up to you again. 

But Miguel doesn’t waver in his closing in – not until he towers over you, looking down at your incapacitated state. Space buckles under the gravity of his existence; you, too, can feel yourself sinking, drawn in closer by the credence that bubbles off him in flares. You wish you had a cover – your pair of makeshift goggles, a face mask, anything that could elevate you to a degree relative to his. But you’re bare, figuratively naked, and you’ve never hated him more. 

He lingers, assessing you, weighing his options. The moment he turns to survey the mass of people who look on inquisitively, you wiggle upward into a sitting position, then throw your head forwards, aiming for his crotch. His wrist gets in the way, though, blocking your pitiful attack on his only defenceless area. Your forehead cracks against his dimensional travel watch, shattering its screen. 

“Tu puta madre!” Miguel hisses, snapping back to survey the gadget while you begin to slink away. He seems to have an eye on you, however, because you’re tugged back just as soon as you make the effort.

Like a naughty cat. You shift uncomfortably at the thought. 

“Are you gonna spend all night deciding what to do with me, then? I have plans, even if you don’t.” 

“Plans. I have plans alright.” The low timbre of his threat slices you where it hurts.

With a calculated flex of his shoulders, he crouches down, gathering the webs around your arms. They serve as leverage when he hauls you upward, exercising his muscles – of which you’d suspected had been padding up to this point – with one swift motion. The world upends on itself, nausea enveloping your senses with its oppressive weight. It allows space for little else; not the uncertainty, not the trepidation. You divert all your efforts on keeping your scarce lunch down, accepting the possibility of a concussion by product of his less-than-refined manhandling. 

The journey to wherever he takes you is not at all long enough for you to recover. Before you know it, he’s busting through the creaky door of an empty storelot, carelessly tossing you to the floor. Your vision doubles. 

Yeah. Definitely a concussion. 

Like you could afford one right now. 

“You’ll stay, and you’ll listen.” He points an accusatory finger. 

“Sure. Until I’ve had enough, that is.” 

“And where would you go, exactly?” 

“Nice try, O’hara. Like I’d tell you,” Snickering, you let your head roll to face the ceiling. The action sends you back to earlier, to the robbery you’ve been seeking to suppress. How careless you’d been, letting your fortune to date trick you into thinking that any collateral was safe too. You’d killed that woman. You. “Maybe I’ll fall right through the floor. That way, you’ll never have to worry about seeing me again.” 

The notion makes him pause mid-pace, hands on his hips, tilting his head to look at you with what you imagine is the most earnest glare. The air bobs, suspended in static tension, a crackling constant that only unravels once he seems to make up his mind. 

Marching forward, he drags you along with him to a nearby wall, upon which he then pushes you upward until you have to look down to meet his eyeline. Your bound legs kick forward, but the struggle hardly affects him. 

“I didn’t want to resort to this.” 

You assume he means treating you like a toddler does its shiny new toy, hurling you across this playpen of a city. “You really didn’t have to, then.” 

He stays quiet, fists clenching tighter around you. 

“I suppose we’re past the courtesy of letting the other recover from the last fight before starting a new one? My forearm is still fucked, thanks to you. Maybe if you’d given it some time, I would’ve proved more of a challenge today.” Your words, whilst never your most steadfast allies, betray you in lieu of this restlessness, tumbling forth with unruly incoherence.

Miguel's mask pulls back, the nanotech collapsing to just above his adams apple. Your mouth moves faster. 

“Okay, I get it. The fate of the multiverse and all that. I’ll listen, whatever you want, but at least try and make the lecture original.” 

His hand cups your jaw, tightening around your chin to firmly guide it upwards. Your throat stretches taut at the motion, its smooth expanse spread across the wall – an evening repast for a party of one. The imagery breaks down an all too sobering realisation into fragments small enough for you to register. His talons rest against your cheek, bordering perilously close to your waterline. 

Traces of that patchouli aftershave hit you. His skin looks especially bronzed in the dark, highlighted at the edges from the phosphorescence outside. His curls droop where they’re plastered to a sweat slicked hairline. 

You can’t help it. Your gaze flickers down to those plush lips.

Fuck. Fuck. It’d felt so good to kiss them. 

Please let this just be a kiss. 

“O-Or go with the… the usual, y’know. I don’t–” 

Miguel lunges, sinking his fangs into the fleshy sinew of your neck.

Christ.

Your jaw hangs open, but no breaths filter in. Shock wedges itself at the site of his bite, implacable, steadfast as a barrier between logic and uninhibited emotion. Your reasoning plays no part in this, provides absolutely no valuable contribution to the series of reactions you undergo. 

It’s physical, first. The cold slither of paralytic venom distends through your nerves, neurotoxins striking their functions, rendering them useless beyond the point of sensation. Which, you’d say, is the cruellest part. Miguel’s poison doesn’t stop you from feeling anything; not the puncture, nor the burn. You can truly feel it, trekking its graceful path to all muscles in your body, taking hold of the tissue, suppressing their vitality. Your back arches, your body doing its very best to fight what it cannot prevent. It cracks up your bone, down your spine. Your toes unfurl, fingers loosening to hang lamely at your side. 

And, when you lose all executive authority over yourself, you’re pulled in to centre on his mouth again. His canines slowly retract, tongue taking their place. It’s warm – so fucking warm – and dextrous, covertly lathering the blood that beads down your nape. 

Your last proper breath is wasted on a whine; a loud, keening, absolutely wanton whine. After it, you can do nothing but hold your flat inhales to cycle in as much oxygen as possible – diaphragm weak, your resolve weaker.

Miguel draws away, letting you slump to the floor, heavy and just as useless as a sack of flour. He wipes the excess carmine from his chin, kneeling to regard your glassy eyed stare. 

“Fall through now, and you’re as good as dead.” 

(You might as well already be.)

chapter four →

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[cassielovesnewt]

Mistletoe | R.Lupin x reader

| harrypotter x aunt!reader | remuslupin x fem!reader | golden trio era |

Synopsis: after the death of your brother, you take in your nephew as your own, shutting everyone else out in your grief. However, once you’re reunited with an old friend in Harry’s third year, old feelings start to come to the surface as you help each other through your grief.

WARNINGS: mentions of dea!h, mentions of grief. (In this story, let’s say Voldemorts curse bounced off Harry and killed moldy voldy for good, Harry has a normal childhood)

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“Thank you, for standing with me.” You say, watching as the train leaves the station for the fourth time since your nephew had been accepted into Hogwarts. “It’s always so hard watching him go.”

“It’s no problem at all, you know that.” Remus told you, placing a tentative hand on your arm as you play with your hands worriedly.

It was the same overwhelming anxiety year after year, watching the only family you have left, the only part of James you have left, slip further and further away into the distance.

You and your brother were inseparable, known quite rarely as James and y/n, but more commonly as the Potter Twins. It was a rare occurrence to see one of you without the other, especially at school.

You weren’t with him when he died. No, you were in your own house, washing dishes by hand, because you were to bored to do it by magic. You weren’t with him, but you felt it. Like a knife through the chest, you felt the part of your soul that belonged to him fracture into a million pieces. Your heart that matched his break and turn cold as the glass you held fell to the floor.

You knew part of yourself had died, but not which part.

Not until you reached the Potter’s house.

Not until you found yourself screaming until your throat was raw, begging your brother to wake up.

When you finally heard the crying of a baby over your own sobs, you knew you had to take him before Dumbledore got his hands on him, taking him away from you forever.

“Hello, little one, Auntie y/n’s going to keep you safe.” You whispered, your voice only a fracture of what it used to be.

You tried not to look towards the lifeless form of what used to be one of your greatest friends.

You raised Harry as if he was your own, teaching him everyday about the parents he lost, because you would be damned if James Potter would ever be forgotten.

“I know it’s not, but still, thank you.” You tell him, before turning your head to look into his kind eyes. “You can come over, if you like? Despite what Harry might have told you, I’m a good cook.”

“That would be nice.” Remus chucked, wrapping an arm around your shoulder.

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Sitting with Remus at your kitchen table, you started to realise just how much you had missed him.

“I let him keep the map, last year.” He told you, a small grin tugging at his lips as he sipped his tea.

“Remus Lupin, despite the years that have passed you still have some mischief in you.” You tease, sipping your own coffee.

“Well, once a marauder, always a marauder. Isn’t that what we all used to say?” He retorted, and you genuinely smile.

A rare sighting since the passing of your brother, a sight only Harry has known.

You reach over and take his calloused hand in yours, brushing your thumb over a scar that lay there.

“I’m so sorry that I pushed you away, I never meant-“

“No, no, none of that. I won’t have you apologising for the way you chose to grieve. You lost your brother, and took on the responsibility of raising his child all in a matter of hours. I wasn’t what you needed then, and I understood that completely.”

That’s something about Remus that you had always loved. No matter how wronged he was, he had always found it within himself to understand. No matter how much somebody hurt him, his empathy would always shine through.

“What about what you needed? You lost everybody, and I shut you out.” You said, your confession leaves with shame and regret. He held your hand tighter.

“What I needed was to know that you and Harry were safe. And I knew that. I managed my grief in my own ways, but I managed nonetheless.”

Something else about Remus that you loved, was the way he held eye contact when he spoke. As if people would stop hearing him if he looked away. His eyes held onto yours now, sending secret messages of reassurance that he can’t speak with words.

He smiled, picking up his tea once more to take a sip. You wondered if he had had somebody to hold all this time, if somebody had been there to hold his hand as his world fell apart around him.

As you look at him, you remember the small school crush you used to have on him while at Hogwarts. The way you used to purposely sit next to him in the great hall so he’d have to lean down to talk to you, since he was so tall.

“You know, I’m pretty sure I had a bit of a crush on you in school.” You say, smiling down at you drink. He scoffs in amusement.

“Me? Why on earth would you have a crush on me?” He said, as if the idea was absolutely preposterous.

“Because you were always so kind. No matter how angry you were, you never spoke to me with anything other than kindness. And you’re tall, Godric knows that makes any girl fold,” you laugh. “And I thought you were pretty.”

“Pretty?” He looks scared to ask, as if the answer would somehow sting.

“Yeah, I’ve always thought your beauty was more soft than other boys,” you look into his eyes, seeing the same boy you loved in your school years. “The other girls would always tell me how gorgeous Sirius was, and he was, but I was always too busy staring at you to notice.”

Maybe it was the fact that you finally had a soul your own age to talk to. Or maybe it was the familiarity of talking to an old friend, someone you once spent every waking moment with. But you told him everything, about how lonely you’ve been, about how awful you feel about hating Harry’s similarities to James, about how much you love Harry and how it hurts to not be by his side at all times.

You tell him everything.

And he listens to every word.

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Remus came over almost everyday until Harry was due to come home for Christmas.

He laughed with you, held you while you cried, and grieved with you. The way the two of you should have done all those years ago.

It felt as if the twelve years you were eleven years you were apart never happened.

“Auntie y/n! Over here!” Your nephew called, carrying his case for the holidays with him.

“Harry! Oh, I’ve missed you!” You say, placing your hands on his cheeks and kissing the crown of his head.

“It’s only been a couple of months.” He says, smiling at your antics,

“I know, I know, but you know I have no one to fret over while you’re away.”

Harry hugs you, the kind of hug he knows you need once you see him again.

Harry knows his Aunt struggles to be away from him, he also knows that she thinks he doesn’t know. But since a young age Harry has noticed the way he Aunt always hugs him tighter in the mornings, as if being away in her dreams was far too long, and how she always holds his hand while out and about, and how she sends weekly letter just to check he’s doing alright.

And he replies to every single one, because while others would see it as suffocating, Harry feels nothing to affection and gratitude towards his aunt, because he may be all she had, but she’s all he has in return. And if a letter a week soothes her mind, he has no quarrels in doing that.

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Harry was beyond happy that Remus would be spending Christmas with them. To him, Remus was an extension of his Father, one more person he could ask to tell him stories and memories of the man he never truly met.

You would always tell him anything he wanted to know, but deep down you knew that he knew it pained you. And so he doesn’t ask much of you, but you wish he did.

“Did he get into trouble at school? My dad?” He asked at the dinner table, casting looks toward Remus and you.

You let a laugh slip past your lips, and you hold your hand to your mouth.

“Harry, your father invented trouble.” Remus told him, smiling fondly at the memories.

“Oh, come one. You talk as if you weren’t a step behind him at all times! More often than not, if my brother was in trouble, so were we!” You laughed, for the first time remembering your brother with joy rather than grief.

“And you talk as if you weren’t the mastermind behind most of that mischief.” He says, casting you a look of teasing and humour.

You gasp in faux shock, clasping your chest and looking towards your nephew.

“Absolutely false, Harry. I was no trouble in school.”

Harry laughed then, “Professor McGonagall says otherwise.”

You stop and snap your attention to your Nephew as Remus laughs, no longer able to eat.

“What?” You say, a little panicked, mostly laughing.

Harry watches as his Aunt and who he now sees as an Uncle playfully bicker and argue about who was more trouble to who, and wonders when they’ll realise just how in love they are.

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You’re clearing the table after Christmas dinner, stacking plates into piles and wrapping left overs in foil. Harry had retreated to his room to tend to his new quidditch set before the traditional Christmas movie night before bed, and y/n took it as a great opportunity to clear up.

A hand touched the small of her back, moving her slightly to the left as he squeezed by, taking the plates from her hands.

“You don’t need to do that, I’ve got it.” He says softly, sending her a small wink before carrying them over to the sink.

“Let me do something then, because you did most of the cooking and now you won’t let me clean.” You complained, not a single trace of discontent in your voice.

He turns to you, humour in his eyes but a frown on his lips.

“And what if I want to do all of this, then what?”

“Then you’ll just have to deal with me helping.” You say, stepping closer. You’re standing in front of him now, holding a cup full of cutlery in one hand and a plate of leftovers in the other. “Mr Lupin, I believe you’re blocking my way to the fridge.”

“Oh am I? Thats a shame, I guess I’ll have to take these off your hands then.” He says, taking the plate and cutlery and placing them on the side.

You’re about to argue when he turns back to you, much closer than before. “Let me help you.”

“You’ve done more than enough.” You say in a small voice.

“And what if I want to do more?” His hand reaches up and places a strand of your dark hair behind your ear, but his hand doesn’t fall, it stays put against your cheek.

You look up to see a branch of mistletoe growing from your ceiling, right between the two of you.

His eyes never leave your face, more accurately your lips as your breathing gets heavier.

“Can I kiss you?” He asks, his voice so small you barely hear it. All you can do is nod as his other hand is placed ever so gently on your waist, pulling you in.

He places his lips on yours, and it’s the most gentle kiss, but you feel the weight of a thousand words that have never been said behind it, pushing him closer.

To Remus’ surprise, it was you who intensified the kiss, placing a hand behind his head and pushing further into him. When you broke apart to breathe, he placed his forehead onto yours and closed his eyes.

“I think I’ve loved you for a while now, Miss Potter.”

“I’ve loved you always, Mr Lupin.”

What neither of the two seemed to notice, was their nephew sitting at the top of his stairs tucking his wand back into his pocket, closing the book about growing magical plants with spells.

[dragonmuse]

Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal

(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)

“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death

…..and then he never opens it. Chekov’s locked box has no key in season two.

On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.

So naturally season two should follow suit. It’s a kind show! About healing and falling in love!

For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.

Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.

That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.

So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.

Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.

Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.

The playful theme of ‘pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.

And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.

Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.

Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?

He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.

But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!

Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.

Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.

There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.

We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.

Just…you know. Play pretend. Forget.

Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.

Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.

And what of the flirtatious promise of relationships and connections being the way to heal? Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.

Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.

To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!

The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.

And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don’t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?

(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)

Let’s talk about Izzy Hands.

Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.

And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.

He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).

Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).

And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.

In a rom com.

This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.

Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).

The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.

That is not a kind show.

Season two is not a kind season.

It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.

I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.

No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.

Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.

Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!

Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.

Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.

[literaryavenger]

You're Still My Sunshine

Summary: A year later, a lot has changed.

Pairing: Bucky Barnes x Reader

Warnings: Grief. Fluff. No mentions of Y/N.

Word Count: 750

A/N: This is just a little drabble to continue You Were My Sunshine, hope ya like it.

Masterlist | Part 1

“Doll…” He says quietly while cupping your face with his free hand as he sees you holding back tears. “It’s okay to be vulnerable in front of the people you care about. You taught me that.”

His gentle words, the way he softly strokes your cheek and the way he’s looking at you so lovingly, it’s all too much for you and can’t hold back your tears anymore.

With a broken sob, you bury your face in Bucky’s chest and hug him tightly, clinging to him while he wraps his arms around you and hugs you just as tight, kissing the top of your head before nuzzling his face against your hair.

In this moment, while holding you in his arms, Bucky realizes it’s not like you don’t feel like you belong with the Avengers.

This is just something you feel like you have to go through on your own because you’ve always had to.

And he’ll be damned if he lets you go through it alone ever again.

A year later

“Hi, mom.” You kneel down in front of the grave, placing down the bouquet of blue roses.

You look around the cemetery for a moment, if anything just out of habit to make sure there’s no danger, but you’re alone.

“Happy birthday.” You look back at the grave, cleaning it a little by brushing off the weeds on it.

“Another year, huh?” You say quietly. “A lot happened… And I’m not sure how we got here, but…”

Before you can say anything else, you feel a hand on your shoulder but you don’t bother turning around.

“I’m sorry, baby, it took me a little to find the candle.” Bucky’s voice rings in your ear as he kneels down beside you.

You look at your boyfriend, smiling at him as he lights the candle on the cupcake and passes it to you. 

Like usual, you look at it for a moment before you blow it out and you can’t help the tear that rolls down your cheek, except this time Bucky’s there to promptly wipe it away.

You spend the next few hours there, the both of you talking to the tombstone and to each other while Bucky holds you and wipes your tears away.

When you’re back at the Compound, the team is gathered around the living room watching a movie.

“I still can’t believe Elsa is the only one you allow to know about your special day.” You roll your eyes at Tony’s nickname for Bucky while the team snickers.

“Actually,” You start while you and Bucky sit down on the couch next to Steve. “I… I’m ready to tell you guys.” 

You’re a little hesitant, but for the past year you and Bucky have talked about it a lot, since you started dating you’ve opened up to him in a way he didn’t even know was possible considering you were already the most open person Bucky’s ever met.

And it felt good, you thought to yourself, and you decided last night you were ready to open up to the rest of your family too.

So you tell them everything, every little detail of the things you do, explaining why you do them because they were your mom’s favorite things. They’re understanding, not loving that you went through all that on your own, but they respect your choice and were glad you now allowed Bucky to be there for you. And, with some more grumbling from Tony, they accept that you aren’t ready to have them all there with you yet.

But that doesn’t mean they couldn’t do anything for you…

Another year later

You almost don’t recognize the grave, having to double check the tombstone to make sure it’s the right one.

And it is, only it’s full of flowers, teddy bears, papers and Avengers action figures for some reason. 

You’re as confused as Bucky when the two of you kneel down and you reach for one of the papers and you start chuckling when you see it’s a message from Tony, to you. It’s clear that he wrote it to make you laugh, full of sarcasm and jokes, and Bucky’s glad to see it’s working.

You read all the notes one by one, all from the team to you, between tears and chuckles, and you can’t be more grateful to have found this family.

You almost forget that this year you have big news, the engagement ring sitting on your finger shining with the sunlight.

I have a lot of things to tell you, mama, you think to yourself while absentmindedly stroking your stomach, where you found out just yesterday your very own little ray of sunshine is growing.

Yes, things are definitely getting better.

[gardenschedule]

just insane mclennon things

John playing his and Yoko's sex tape in a band meeting

As the meeting was drawing to a weary close, John, not this day with Yoko, who hadn’t seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often they’d shared small rooms in Hamburg, whatever they knew of each other’s love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, “Well, that’s an interesting one.” The others muttered something and the meeting was over. It occured to me as I was walking down the stairs that what we’d heard could have been an expression of 1960s freedom and openness but was it more likely that it was as if a gauntlet had been thrown down? “You need to understand that this is where she and I are now. I don’t want to hold your hand anymore.”

Paul putting beetles fucking on his album artwork

John hiring a pig and posing with it solely to mock Ram even though he was scared of it

At the end of the day a farmer delivered a huge hog to the mansion [Tittenhurst Park]. It was John’s notion to parody the album jacket photograph of Paul McCartney’s Ram, which showed Paul wrestling with a ram; John would wrestle with a pig. We all went outside and stared at the large surly animal. It was much bigger than any of us had expected. John circled the animal warily. He liked the idea, but he didn’t like the hog. Dan stood poised to snap the picture. “Climb on its back, John, and grab its ears,” he said. John looked doubtful. He stepped closer to the animal. It let out a shrill, strange, sound. John stepped back, but we all urged him on. “You can do it, John,” I said. John approached the animal once again. “I can’t hold the friggin’ pig for too long. You get one shot and one shot alone,” he told Dan.

Loving John: The Untold Story, May Pang

John & Yoko attempting to get revenge married in Paris 2 days after Paul & Linda

“On March 12, Paul married Linda Eastman at Marylebone Register Office in London, amid scenes of hysterical grief from his female fans. None of the other Beatles was present. The news reached John as he and Yoko were driving down to visit Aunt Mimi in Poole. Yoko’s divorce decree had become final a few weeks earlier, and, in a resurgence of Beatle copycat, John told her they, too, must get married as soon as possible”

Philip Norman, John Lennon: The life

We chose Gibraltar because it is quiet, British and friendly. We tried everywhere else first. I set out to get married on the car ferry and we would have arrived in France married, but they wouldn’t do it. We were no more successful with cruise ships. We tried embassies, but three weeks’ residence in Germany or two weeks’ in France were required.

John Lennon

SALEWICZ: Well, I always found it interesting the fact that he got – I mean, it seemed too much like coincidence to me, the fact that he got married a week or month after you. You know what I mean? PAUL: Yeah. I think we spurred each other into marriage. I mean, you know. They were very strong together, which left me out of the picture. So I got together with Linda and then we got strong with our own kind of thing. And I used to listen to a lot of what they said. I remember him saying to me, “You’ve got to work at marriage,” which is something I still remember as a bit of advice. I still remember that. Um… And then yeah, I think they were a little bit peeved that we got married first. Probably. In a little way, you know, just minor jealousies. And so they got married. I don’t know if that’s – I mean, who knows… [inaudible] making it up, anyway.

September, 1986 (MPL Communications, London): journalist Chris Salewicz

Their belief in telepathy & shared dreams

NEIL: I’d just rather not say anything. It’s one of those situations. PAUL: Yeah. [pause] Well, that’s – that’s the trouble you see, there, ‘cause that’s it. It’s like, with our – heightened awareness, the answer is not to say anything, you know. But it isn’t. ‘Cause I mean, we screw each other up totally if we don’t do that. ‘Cause we’re not ready for your heightened… vows of silence. [laughs; hapless] We’re really not! Like, we don’t know what the fuck each other’s talking about, when that – we all just sort of get— NEIL: I think it’s just between the four of you, that get it. That’s what I’d pretend. PAUL: Oh yeah, right, yeah. But you see, that’s it, that’s why John doesn’t say anything. ‘Cause he, you know, he just… There was something the other day, when I said, “Well, what do you think?” And he just stood there and didn’t say anything. And then – and I know exactly why, you know. I mean, I wouldn’t, if… [long pause] Somehow. You know, there’s nothing really much to be said about it. You just – we all just have to do it, and all that, instead of like talking about it. But – but if one of us is talking about it, it’s a drag if the other three aren’t. Because then it sort of throws you off. [inaudible; voice marking tape slate] I mean, we’ve just been talking about it now for a few years, you know. Like this…

From the Get Back sessions (13 January 1969).

HINDLE: What do you think about language? JOHN: I think it’s a bit crummy, you know? It is a drag form of communication, really. We’ll get – we’ll get telepathy. I believe that. HINDLE: You believe that? JOHN: Yeah, sure. Sure. Sure as anything I believe. It’s too… Because now we need it so much. [...] There are – there’s people everywhere of the same mind and it’s just… even amongst ourselves we can’t communicate. Which is the hard bit, you know. HINDLE: Yeah. JOHN: Amongst the people that sort of really agree. HINDLE: Just ’cause of words? JOHN: Just ’cause of words, and upbringing, and attitude, and how you express your… Well, it’s just some – you’ve got to find a mutual sort of language to express yourself, you know? And my language is that— HINDLE: Unless you fall in love it’s impossible to communicate like that. JOHN: I mean, I wasn’t in love last year, but I was communicating quite well with people. Not as well, or maybe not as powerfully. ’Cause now there’s two of us, doing that, brrmmm, whatever it is. Sending out a vibration or whatever. But before it was me and… or me and George, alright, or whatever it was; we weren’t in love, but. You know. There’s enough in you to shove it out. It is just that bit. If you – if somebody comes in a room and he’s uptight and that, he can make the whole room uptight.

John Lennon, interviewed by Maurice Hindle (December 1968).

PAUL: I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another. The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.

PAUL MCCARTNEY TO THE BIG ISSUE. FEBRUARY 2012.

John climbing the wall to Paul's house because Paul skipped a session for his & Linda's anniversary

(Not confirmed but supposedly)

Paul being utterly convinced that John can't be gay because he didn't try it on when they slept in the same bed

I mean, if John was–the trouble is, see, is he’s not here to fend for himself, and we can’t ask him, “‘Scuse me, John, are you–have you ever been gay?” I mean, he’s the kind— I remember people used to ask that. There were lots of people asking cheeky questions, and they were always saying, “Well, why–have you ever tried homosexuality, John?” You know, they always used to ask all that kind of stuff. I remember John saying to them, “No, I’ve never met a fella I fancy enough.” And that was his kind of opinion. You know, “I may go–I may be gay one day, if some fella really turns me on.” He was–he was that open about it. But as far as I was concerned, I slept in a million hotel rooms–as we all did–slept in a million places with John, and there was never any hint of it.

December 24th, 1983: interview with DJ Roger Scott

“And I say, if he’s homosexual, I thought he’d have made a pass at me in 20 years, darling.”

Paul McCartney talking about John Lennon.

“Brian Epstein, the Beatles’ manager, was a known homosexual. Epstein was always polite and charming. It has been insinuated that John was drawn to Epstein. I believe there was no such relationship between them. John was macho. But if John was a homosexual, it would have made no difference to me. I’ve asked Paul McCartney, who laughed and said: ‘Why not me? I’m handsome.’ Then he said: ‘I was holed up with John in hotel rooms everywhere. There was never a suggestion of anything like that.’ I believe him.”

Julia Baird, in Boston Globe: Lennon’s half-sister remembers… (2 October 1988).

“All I can ever say about it is that I slept with John a lot because you had to, you didn’t have more than one bed - and to my knowledge John was never gay.”

Paul McCartney, The Brian Epstein Story

And maybe he's right to be offended?

Did Lennon have sex with other men? “I think he had a desire to, but I think he was too inhibited,” says Ono. “No, not inhibited. He said, ‘I don’t mind if there’s an incredibly attractive guy.’ It’s very difficult: They would have to be not just physically attractive, but mentally very advanced too. And you can’t find people like that.” So did Lennon ever have sex with men? “No, I don’t think so,” says Ono. “The beginning of the year he was killed, he said to me, ‘I could have done it, but I can’t because I just never found somebody that was that attractive.’ Both John and I were into attractiveness—you know—beauty.”

Yoko Ono: I Still Fear John’s Killer by Tim Teeman for the Daily Beast (13 October 2015).

There was even some discussion, albeit not very serious, of whether he should stick to his own gender. “John said ‘It would hurt you like crazy if I made it with a girl. With a guy, maybe you wouldn’t be hurt, because that’s not competition. But I can’t make it with a guy because I love women too much, and I’d have to fall in love with the guy and I don’t think I can.’”

Yoko on her and John discussing the terms of an open marriage in 1973 (John Lennon: The Life)

On that note, Paul's obsession with sleeping in the same bed as John

Paul McCartney answers questions for Q magazine, 1998

John and I used to hitch-hike places together, it was something that we did together quite a lot; cementing our friendship, getting to know our feelings, our dreams, our ambitions together. It was a very wonderful period. I look back on it with great fondness. I particularly remember John and I would be squeezed in our little single bed, and Mike Robbins, who was a real nice guy, would come in late at night to say good night to us, switching off the lights as we were all going to bed.

Many Years From Now

John and I always liked wordplay. So, the phrase ‘She’s got a ticket to ride’ of course referred to riding on a bus or train, but – if you really want to know – it also referred to Ryde on the Isle of Wight, where my cousin Betty and her husband Mike were running a pub. That’s what they did; they ran pubs. He ended up as an entertainment manager at a Butlin’s holiday resort. Betty and Mike were very showbiz. It was great fun to visit them, so John and I hitchhiked down to Ryde, and when we wrote the song we were referring to the memory of this trip. It’s very cute now to think of me and John in a little single bed, top and tail, and Betty and Mike coming to tuck us in.

Paul McCartney, on ‘Ticket To Ride’. In The Lyrics (2021).

“John and I grew up like twins although he was a year and a half older than me. We grew up literally in the same bed because when we were on holiday, hitchhiking or whatever, we would share a bed. Or when we were writing songs as kids he’d be in my bedroom or I’d be in his. Or he’d be in my front parlour or I’d be in his, although his Aunt Mimi sometimes kicked us out into the vestibule!”

New Statesman, “Paul McCartney - Meet The Beatle,” September 26, 1997

“I wrote all those songs with him so…. what can I say to people?? We were kids! I mean… we slept together, topped and tailed in beds and hitch-hiking and stuff, so,…. I mean, we were just totally you know,….. mates.”

Paul McCartney

John taking matters into his own hand to start rumours about him and Paul

The consensus among John, Paul and Yoko that if J&P could have been together, they would have

“. . . I mean, I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away. And I understood that. I mean, I couldn’t stand in the way of someone who’d fallen in love. You can’t say, “Who’s this?” You can’t really do that. If I was a girl, maybe I could go out and… But you know I mean in this case I just sort of said, right – I mean, I didn’t say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.”

Paul McCartney, interview with German tv program Exclusiv, April 1985.

JOHN: It’s a plus, it’s not a minus. The plus is that your best friend, also, can hold you without… I mean, I’m not a homosexual, or we could have had a homosexual relationship and maybe that would have satisfied it, with working with other male artists. [faltering] An artist – it’s more – it’s much better to be working with another artist of the same energy, and that’s why there’s always been Beatles or Marx Brothers or men, together. Because it’s alright for them to work together or whatever it is. It’s the same except that we sleep together, you know? I mean, not counting love and all the things on the side, just as a working relationship with her, it has all the benefits of working with another male artist and all the joint inspiration, and then we can hold hands too, right?

John Lennon, interview w/ Sandra Shevey. (Mid-June?, 1972)

Y: After the initial embarrassment, that how Paul is being very nice to me, he’s nice and a very, str- on the level, straight, sense, like wherever there’s something like happening at the Apple, he explains to me, as if I should know. And also whenever there’s something like they need a light man, or something like that he asks me if I know of anybody, things like that. And like I can see that he’s just now suddenly changing his attitude, like his being, he’s treating me with respect, not because it’s me, but because I belong to John. I hope that’s what it is because that would be nice. And I feel like he’s my younger brother or something like that. I’m sure that if he had been a woman or something, he would have been a great threat, because there’s something definitely very strong with me, John, and Paul.

Yoko Ono, Revolution Tape, June 4th 1968

"We thought we'd do a number of an old estranged fiancé of mine called Paul.""

As a second choice from the Lennon- McCartney songbook, Elton suggested 'I Saw Her Standing There'. This appealed to John for its antiquity, and because its lead vocal always was sung by Paul. (...) There was a whisper of Royal Variety Show mischief when he announced "a number by an old estranged fiancé of mine called Paul" - no one yet knowing the estranged fiancés were long reconciled.

John Lennon: The Life, Philip Norman

You know, John loved Paul. No doubt about it. I remember once he said to me, “I’m the only person who’s allowed to say things like that about Paul. I don’t like it when other people do.” He didn’t like if other people said nasty things about Paul. And he always referred to Paul as his estranged fiancé and things like that, like he did on that [live] record ‘I Saw Her Standing There’ with Elton in Madison Square Garden.

1990: Former Beatles publicist Tony King

Married couple signatures

(and the reverse of that postcard...)

John publicly predicting Paul & Linda's divorce

You were right about New York! I do love it; it's the ONLY PLACE TO BE. (Apart from anything else, they leave you alone too!) I see you prefer Scotland! (MM) -- I'll bet you your piece of Apple you'll be living in New York by 1974 (two years is the usual time it takes you right?)

John's letter to Paul in Melody Maker, 1971 Finally, about not telling anyone that I left the Beatles—PAUL and Klein both spent the day persuading me it was better not to say anything—asking me not to say anything because it would 'hurt the Beatles'—and 'let's just let it petre out'—remember? So get that into your petty little perversion of a mind, Mrs. McCartney—the cunts asked me to keep quiet about it. Of course, the money angle is important—to all of us—especially after all the petty shit that came from your insane family/in laws—and GOD HELP YOU OUT, PAUL—see you in two years—I reckon you'll be out then—inspite of it all, love to you both, from us two.

John's personal letter to Linda & Paul, 1971

JOHN: Oh, [Klein]’d love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I’ve said that. In five years he’ll wake up. YOKO: And people don’t understand, you know. There’s so many groups that constantly announce they’re going to split, they’re going to split, and they can announce it every year, and it doesn’t mean they’re going to split. But people don’t understand what an extraordinary position the Beatles are in, you know. In every way. They’re in such an extraordinary position that they’re more insecure than other people. And so Klein thinks he’ll give Paul two years Linda-wise, you know. And John said, “No, Paul treasures things like children, things like that. It will be longer.” And of course, John was right.

John Lennon and Yoko Ono, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)

[artist-issues]

I Saw Wish

And it was the worst animated Disney movie I’ve ever seen. I have to watch it again before I can get into the nitty gritty details. But I don’t need details to sum it up, because my dad actually said it perfectly as we left the theater:

“It was like someone who didn’t really understand Disney movies tried to make a Disney movie.”

Both the form (the technical arts of filmmaking) and the content (the morals, values, and themes of the movie) were totally horrible.

I don’t know who’s fault it was. Jeremy Spears was in the storyboard room and Mark Henn and Eric Goldberg did some 2D animation. But they must have gotten outvoted, or they must not care anymore.

Because holy cow. Here’s some stuff that’s just off the top of my head.

SPOILERS. Not that it matters, because nothing interesting happens in this movie.

The writing? Terrible. Ninety percent of it feels like the characters are filling time with quirky one-liners that are trying too hard to be appealing, then failing, then taking you out of the movie. The jokes aren’t funny. The characters just respond to each other in conversation to check a one-liner box. The other twenty percent is whole conversations repeating tell-don’t-show exposition that has already been covered, usually twice, in previous scenes. Like if in Tangled, every scene had included some variation of Rapunzel saying to friends and enemies alike, “I have to see the floating lights so I’m sneaking to the castle with this thief who wants a mysterious tiara I hid from him. Don’t tell my mother, she’s a bit overprotective!” Over. And over. And over.

The character motivations are way too broad. Asha? Her dream is just “that everybody around me gets to be happy.” That’s it, in a nutshell. No deeper exploration of that. Nobody asks, “why do you care so much?” Nobody tries to convince her she should look out for herself, and then she proves she was right all along. The King? We are told (not shown) that he doesn’t want anyone else’s dreams to be “destroyed.” But he in no believable way expresses that that motivation is still what’s driving him during the movie—what’s driving him is just a plain old lust for power, no nuance.

By the way, the whole premise of the movie? Undercooked. Half-baked concepts strung together with no definitive meaning. Therefore, it’s not believable. Example: The characters act like the wishes are beautiful—well, actually, no, this movie doesn’t know how to show, so there’s not a lot of meaningful acting—the characters just tell us that wishes are “the most beautiful part of someone,” and that’s why it’s worth going through this adventure to give their wishes back to them. But there’s no proof of that in the movie. In fact, it directly kicks it’s own legs out from under that idea, because it has every character who gives up their wish forget that part of themselves. Asha’s grandfather has forgotten his wish, but that doesn’t make him any less “beautiful.” She, and everyone, still treats him like he’s this wonderful old man who deserves the world, who everyone loves…but why is he so appealing? If he “gave up the most beautiful part of him?” The only character who is changed by their lack-of-wish is the Sleepy-analogue character…who is just sleepy, which is described as “boring.” But nobody else who’s given up their wish in the whole kingdom acts like that. It’s just him. Also, the King acts like it’s so important to protect the wishes from destruction. But what does destroying a wish look like? That actually happens to Asha’s mom. Her wish-bubble is broken, literally, and she just says she feels grief. But like. Why? She never remembered it in the first place; it had been missing from her life for years. Also, what the heck is a wish?! It seems to range from broad concepts like “inspire people” to “fly.” Just “fly,” like a bird. The desire to levitate off the ground is the most important, beautiful essence of one background character. Like, what?! But no character ever has the why behind their wish to make us care.

I could go on and on about that point. Like, think about Disney movies that wrote the book on how to make movies about characters with wishes. If Ariel were in Wish, her bubble would look like “dancing and learning and exploring on the Surface with someone who understands her.” But we believe that that is her real, genuine wish, and that it matters to her, because we are shown why being understood is so important to her. Because it’s missing from her life. There’s a scene where she explores a boat alone, and even her best friend doesn’t get excited about it with her. Her dad won’t listen to her point of view. Her siblings don’t ask her about her life even when they think she’s in love. She wants what she wants because of pieces of her life that we are shown.

We are never shown why Asha’s grandfather is obsessed with inspiring people, so we have no reason to believe it, or care whether he gets it or not. We can’t feel disappointed when his wish is said to “never come true,” like we did when Quasimodo was abused by the people he wished to join. We can’t feel elated when he finally “gets” his wish, like we did when Simba smiles on Pride Rock remembering the same way he used to as a cub and claims the crown with a roar. We don’t have anything to hang on to, nothing to relate to, nothing to grasp and feel with the characters. So we don’t feel, because they didn’t put the work in to help us feel. They just say, “the mom’s feeling grief. Feel grief.” And expect us to do the work ourselves. I have to stop harping on this point and move on.

But The main point of the movie is very broad because of that lazy premise, and it’s barely reinforced by any kind of appealing storytelling. If I had to guess, the point would be “Keep wishing for more even when it’s hard.” But the story they told to communicate that meaning was so unimpactful. Asha doesn’t have a dream of her own that’s such hard work to accomplish! (Neither does her grandfather; his wish is “to inspire people.” And at the end, we’re supposed to see him strumming a guitar and believe it’s inspiring? We were never shown how he worked hard to learn how to play the instrument. Or that he carved it with his own hands, or anything like that. So there’s no meaningful demonstration of working hard for it or achieving your wish even if it’s far out of reach.) And nobody except the king is trying to take wishes away from anyone, and he just does it literally, after they voluntarily give them to him, so there’s not even any impactful demonstration of “don’t let anyone tell you your wishes are dumb or unachievable, or stop you from reaching them.” Even when he takes them away, it’s just because they…could, someday, be used to threaten his kingdom in a vague, really unlikely way. There are so many things you could do with “keep wishing for more even when it’s hard.” For instance; you could say the main character has always been afraid to dream (wish for more), because maybe when she was a kid something wonderful almost happened but ended in tragedy, so she keeps her head down and doesn’t want much because if you don’t dream you’ll never be disappointed. She takes no risks, and has to learn that sometimes trying and failing is worth more than slogging through life all self-protective. I mean, the pieces were right there. She has this line about her dad, and how she wished he would get better but then he died. She has lines about how nobody should have to live with grief?? Then that’s never addressed again! It’s just a throwaway emotion-moment with no buildup or follow-through to tie it to and support that main theme.

The compositions of too many shots were so terrible. Characters got cut off in weird places. One shot has Asha dead center, with her grandfather on the left side of the table and her mother on the right, having a family dinner with a super exposition-heavy conversation that is meant to be emotionally charged. But despite everything else being perfectly centered, half of her mother’s body is chopped off. The movie’s shot like someone’s mom who doesn’t understand technology tried to take a video with her phone.

The charm of the art “style” wears off basically immediately. I know what they were going for. I see the sketch lines and watercolor textures. This is maybe the first time Disney ever failed to accomplish a visual “look” that turned out good. Everything looks dull. Muted. De-saturated. Slightly out of focus, but not in a cool Spider-Verse way. The sets or backgrounds are lazy; at no point does the scenery look complete; big, empty, boring spaces that do not create any kind of “stage” for impactful moments. The rendering looks unfinished. When Asha’s hair moves during her belting of the “I Make This Wish” song, it’s bad. It’s unnatural. It flops in a way that doesn’t make sense for the weight of her hair. The most impactful visual moments come from the villain, and they’re moments when he looks way too unhinged for the kind of line he’s saying.

There is no interesting character development. Asha goes from believing everyone is basically good and their wishes deserve the chance to come true , to….that, again. That would be fine, she could be a static character, if she proved contrast-characters wrong, in a believable way. But she never does. Because no other characters argue with her except the King. And it goes no deeper than “everyone’s wishes are basically good and they deserve the chance to make them true” vs. “nuh-uh, because I get to decide what makes them deserving.” The King doesn’t have any kind of interesting development, either. They don’t expand on his tragic backstory—it consists of one drawing of him near a broken boat, and a few images of the corner burned off of his family taoestry. They never say “King Magnifico wished for _____ and it was taken away!” They literally never tell you what his wish or dreams were, or what motivated him to create the whole kingdom that the movie’s premise sits on. So there’s no convincing sense of progression, how he got this way, why he’ll keep going “so far.”

The pacing is weird. It undercuts every moment that could have any kind of emotion behind it. One minute Valentino is suavely bouncing around, then he’s given a two-second beat to blubber with badly-animated tears that he’ll miss Star—then he instantly gets to have another funny one-liner so we forget he might’ve been sad a second ago. We’re clearly supposed to believe that the King and his wife are devoted to each other, and his turning evil was such a big betrayal, but there’s no time and no impactful evidence for us to believe either of those things. And even if we did, the moment he’s defeated and trapped in a mirror, and begs to be let free, the Queen kind of shrugs it off, makes a forgettable one-liner, and tells them to throw him in the dungeon. And he doesn’t look remorseful. And we don’t even get to assume he’s embarrassed or emotionally devastated that he’s come to this—because the last thing he says is “nooo, the dungeon is so smellyyy!” Like this is a half-baked LEGO short that can’t get emotionally deeper than what an actual 3 year-old’s parents might be okay with.

And that’s the worst offense: The movie is not genuine. It works hard for nothing, and it has no vulnerability. It just uses old Disney standbys to pretend to be vulnerable. Have the music swell and the characters gasp and the songs drip emotion when characters are meant to be saying or doing something emotional.

But truthfully, think of all the Disney movies you’ve ever seen with the hardest emotional moments. The sheer joy of Genie when he realizes he’s free. The anguish when Elsa thinks Anna’s been frozen forever, or when Anna thinks she’s dead. The trauma when Simba loses Mufasa. The longing and dreaming of Ariel when she reaches up out of her grotto. The sense of foreboding when Mother Gothel says “fine, now I’m the bad guy” or the heartbreak in Rapunzel’s eyes when she thinks Flynn has abandoned her, or the shame on Aladdin’s face when Jafar reveals he’s a street-rat, or the horror of cruelty when the stepsisters rip up Cinderella’s dress, or Kala’s tears when Tarzan leaves her in the treehouse, or Sarabi’s tears when Simba comes back, or Mulan’s father tossing aside the sword and token of the Emperor to embrace Mulan, or heck, even just Lilo pushing Stitch in the woods and telling him “get out of here.” This movie has no moments like that. It has moments you can tell that the filmmakers wanted to hit like that—but they don’t.

Because no work is put into building them up. You know how much Simba loves Mufasa, because you’ve been watching their chemistry more than any other character all the way up till he dies. You know how much Mulan wants to please her family because she spends all of Act I desperately attempting to do that. You know Quasimodo believes the world below is beautiful and wants them to accept him because he has interesting things like—talking to gargoyles, convincing us that he’s lonely; building a scale model of the townspeople, convincing us that he sees them in a beautiful way and wishes he were beautiful in more ways than one like them, too.

Right down to the facial expressions, none of them are as anguished, happy, sad, excited, silly, in any convincing way like all of Disney’s other movies. Asha’s “low moment” when she’s afraid her “wish” hurt everyone else (still vague on what that wish ever was) lasts two seconds, she’s not crying, she’s barely sitting with slumped shoulders, and her family barely spend two seconds comforting her. They basically just say, “aw, no, it’s not y fault, it’s the king’s.” And she’s like, “yeah okay” and that’s that. It’s like the animators we’re afraid to animate really intimate emotions on the characters’ faces. The voice actors, too.

And the whole movie is peppered with Easter eggs to past Disney movies. But all that does, if you really know Disney beyond the visuals, is make you think of how hollow this movie is in comparison. How much you wish you were watching Cinderella or The Little Mermaid or something with depth and vulnerability instead of Wish.

[stolenres-if]

DEMO TBA (EDITING)

Genres: superhero, dark, fame

CW: violence, explicit language and themes, dark themes, immoral behavior and situations

After a villain almost decimated the world as you know it, you and four other people were chosen by the hands of fate to gain powerful abilities and become a member of Legion, humanity's only hope.

Because of that, you became celebrities in your own right. Red carpets, photoshoots, commercials for energy drinks and more. After a while it felt like the villain would never return and you'd be stuck being a celebrity for powers you don't even use.

Until the villain does return.

And you win.

Unfortunately, you paid the ultimate price: you died and became a martyr.

Or so...everyone thought.

Six years later, you wake up in the same spot you were in with no memory of the last near decade of your life. While only a night has gone by for you, for everyone else? A lifetime.

Everyone has moved on with their lives. The friends you considered family barely speak to each other, all of them haunted by everything that came after the fight. You have no recollection of anything…except something inside you knows your reappearance was no ordinary coincidence.

Especially when you begin to hear a voice in your head, commanding you, telling you to destroy everything in your path….

Stolen Resurrection is 18+ gritty IF that's a mixture of fame and super heroism. You are a member of the elite Legion, believed to be dead for half a decade until you wake up to a changed world six years later.

Customize your MC from personality, appearance, gender identity and their persona. Do they embrace the celebrity life or reject it? Do they love their position as someone forced to sacrifice their life for the good of the world or do they resent it?

Curate whether your MC will move on or stay stuck in the past. Choose how to approach every situation and every person from your past and present life.

Navigate a world in which you are famed for being a chosen one and choose how you approach that.

Wake up six years after people believing you dead. Deal with the aftermath of grief and loss you left in your wake.

Romance ROs with different personalities and different feelings/thoughts towards your 'resurrection' and everything else.

Character-driven narrative with an emphasis on the choices you make and the relationships you build.

Prepare and train for a villain who may or may not be using you as their puppet.

Die. And then come back to life.

THE EX FIANCÉ // THE SELLOUT: CATH HARRISON [M/F][RO]

Your ex and old Legion member, Cath has become the most prominent and beloved figure in New America. Once kind, charismatic, and a charmer, Cath is now the stoic poster child for the company that made Legion. So much so, that your old friends call them a sellout. Cal was proposing to you when everything went to hell all those years ago. When you return, you find them remarried. Cath has moved on...or have they?

THE OLD FRIEND // THE STRANGER: REA SANTOS [F][RO]

Once your closest friend and fellow Legion member, Rea has grown cold over the years, haunted by that fateful night. Even though she still has love for the team, she does her best to rebel as much as possible as revenge for the attack that took a life she can never get back. While she understands your disappearance and subsequent reappearance is not your fault, she can't help but blame you for not being around. Rea is a stranger to you now and whatever friendship you two had is successfully dead.

THE FORMER FAN // THE PRO: JAMES SATO [M][RO]

James, bright and wide-eyed, was once your biggest fan, gloating that he was going to apply to NAG Labs because of you. He also had a childish admiration for you that you found endearing at best and a nuisance at worse. Now, years later, James is somehow as old as you, has long moved on past his fan phase, and is the new head of the division that created you. Oddly enough, it feels weird without James Sato not following you around like a lost puppy. Have the roles reversed?

THE EX FLAME // THE HERMIT: NICO/NAOMI CARTER [M/F][RO]

Once the sunshine and comedic relief of the team, N has disappeared, becoming a shell of their former self. They do nothing else but stay in the bar, drinking their sorrows away. They are considered hostile and want nothing to do with the team or the Company since your death. N may have had feelings for you in the past, but you're not too sure. It's not as if you could ever pursue that years ago. Now? Well, it seems like it's all too late.

OTHER CHARACTERS

??? -- your hear them in your head. Is this the person who has trapped you all this time?

Ray Trent (m) -- your old teammate and close friend. No one speaks of Ray, and you wonder where's he gone and what he's been through that makes him such a sore topic for everyone.

Logan Kane (m) -- the new head of NAG and currently running for president of New America. The son of the now dead head that you were once close to. Logan doesn't trust you. Your reappearance has set him on edge.

Hello, if you'd like to know what happened and why this blog was deleted before. You can check here! Reblogs and everything else is appreciated! Thank you :)

[sughuru]

curses, its so bitter.

- geto suguru x reader

The burden of consuming curses takes an emotional toll on Suguru, elevated by the recent loss of Amanai Riko. As Suguru retreats into his own silent struggles, the caring intervention of their partner becomes a source of warmth and healing.

genres/warnings: angsty, fluffy, hurt/comfort, minor character death, spoilers for JJK season 2(?)

notes: got an exam tomorrow but i'm writing this instead 😭 anyways, enjoy!! i'm going to sleep now, gn (nah i'm going to study fr wml!) as always, english isn't my first language, so ignore the grammatical errors, sorry!

home | masterlist

—

Exorcise. Absorb. No one else understands what cursed spirits taste like. It's like swallowing a dirty rag that’s been used to clean up shit and vomit. Geto Suguru believed that no one in this world understood what he was going through; maybe he’s right. After all, it's rare for a curse user to actually like the taste of it.

You knocked on his bedroom door, “Suguru?” your voice laced with a hint of worry. 

Suguru remained silent, his form unmoving on the bed as he replayed the details of the earlier mission in his mind. The echoes of the mission played relentlessly in his mind, each moment etched with the bitter taste of failure. The weight of regret pressed upon him as he struggled with accepting the harsh truth – he couldn't save her. Amanai Riko; the girl had dreams, and Suguru couldn't forgive himself for failing to shield her from her doom. 

You quietly entered the room out of concern for your boyfriend, “babe.”

You approached his lying figure, “you haven’t eaten all day…” you worriedly muttered, your hands reached out to touch his shoulder but he quickly turned around, his back was now facing you.

“Not hungry.” he replied briefly, you noticed the slight crack in his voice.

While you may have not been a curse user but you were well aware of his habits. Whenever Suguru ate a curse, the lingering taste of the curse would hinder him from eating actual food. Combining that and the death of Amanai Riko, he wallowed in grief and sadness with an empty stomach.

Of course, as the loving significant other you are, you refused to let your boyfriend starve or struggle for another minute.

“Don’t be like that…” You sighed, touching his back. This time, he didn’t flinch or move away. That’s good.

You gave yourself some time to think, “how about tea? I can make some tea for you right now.” 

Suguru hummed, not having the energy to respond to you. Honestly, he felt bad for ignoring you like this. All he wants to do right now is pull you close to him and mutter apologies for being so…so emotional right now, but he doesn’t have the energy to do so.

You left the room and once again, Suguru was left alone in the room with his thoughts.

Was he being too harsh on you? Will you leave him because he’s treating you like shit right now? Is it wrong of him to be pushing you away like this?

So many questions yet none of them had a concrete answer.

You returned with a cup of tea in one hand, some leftover cookies you baked from trying out a new recipe. You set the cookies by the night stand, “I got your tea.”

He ignores you.

“It’s your favorite. Chamomile with a teaspoon of honey.” 

Suguru shifted, facing you before mustering the energy and courage to sit up. His voice, hoarse and weary, as if he hadn't had a sip of water in days. "You... really didn't have to trouble yourself, really," he replied, acknowledging the concern you showed. The fatigue in his tone hinted at the toll recent events had taken on him.

“Nonsense.” she smiled, handing him the cup, “I enjoy taking care of you.”

Suguru managed to smile slightly, you noticed his eyes didn’t wrinkle like it used to, it no longer had that spark and his eyebags were more prominent. Of course you weren’t blaming him but you can’t help but feel sad realizing just how much his technique has been impacting him, especially after his most recent mission.

“Thanks.” 

“Now,” she said as her hand slowly made its way to his free hand, “do you want to talk?” He sighs, “Okay.”

"I just–" he starts, "eating curses, it tastes like shit. I hate it, yet I have to do it," he says, his voice carrying a mixture of frustration and resignation.

“Worst part is,” he adds as he squeezed your hand, “the worst part is, when you eat real food, you think of the curse you most recently ate…making it taste like it.” he explains as he took a sip of his tea.

You stroke his hand with your thumb, reassuring him in your own way, “I’m sorry you have to go through that.”

Suguru’s tone changed into more of a hateful tone, “it's because of those…those monkeys. I have to eat their curses.” he muttered, “I hate them. Useless monkeys.”

“Monkeys?”

"Humans. Non-sorcerers," he explained, taking another sip of his tea. "Curses spawn through non-sorcerers' negative energy," he continued, his tone carrying a distinct bitterness, as if the very thought angered him. 

Why the hell should Jujutsu sorcerers lose their life over something non-jujutsu sorcerers do? Why should they protect the weak, why should the strong protect the weak?

It angered him, the bitterness evident in every word as he expressed his frustration. "Not only are humans – monkeys, useless, but they're also the reason why Jujutsu sorcerers die on a daily basis. At the very least, if you’re useless, don’t make shit harder for us," he muttered with a tone that carried a mix of irritation and exhaustion.

You continued to hum, your thumb stroking his hand gently. Suguru rarely opened up about his true feelings. If anything, he played the role of everyone's therapist, ‘everyone’ being you and his best friend, Satoru.

Satoru looks for him after an earful from Yaga or calls him whenever he has no one else to try out the newest mochi shop that opened just around the corner. Suguru was also your rock; you'd go to him when you felt down or depressed, and even if you didn't, he always found out and looked after you.

Slowly, everything– being the therapist friend, Amanai Riko’s death, curse eating, school, it was all too much for him; instead of seeking you out and finding comfort, he chose to keep quiet, letting his negative emotions swallow him, making him feel like an empty seed.

“You know what else hurts?” He dryly laughed, “the fact that no one– well, almost no one noticed I’ve been quieter, I’ve been going out less and less.” He looked at you with hurt in his eyes, an expression you’ve never seen before.

“Shoko is busy studying to be a med student, Satoru probably could care less about how I feel, and you…” he looked away, “you’re probably only here out of pity.”

You widen your eyes, “Suguru, no, of course not.”

“Why?” he looks at you once again, “why did you come find me today?” Suguru asks, his eyes were looking for something in yours, an answer, perhaps?

You played with his fingers, tugging on them gently one by one, “you’ve been severely sad these past few days, Satoru, Shoko, me– hell, even Nanami and Haibara noticed as well.” You laughed dryly, “I couldn’t just sit here and leave you alone.” 

Suguru pulled you into a hug, “thank you, love.”

You hummed, hugging him back before he suddenly laid back down onto the bed, turning the hug into a cuddle, “now, will you please try and eat something?” you giggled.

Suguru, who seemed to be feeling better smiled, “okay, maybe a bite of that cookie won’t hurt.”

[nerdlingmerchling]

Jesper and Dima : a Wesper Essay

I feel like we, as a Fandom, don't speak enough about that scene. Perhaps, it's because we know that Wesper is end-game and we can't see Jesper with anyone else than Wylan. Also, we might think that the purpose of that scene is only to establish Jesper as a queer character, and as a "player" who lives in the moment and has a string of anonymous hookups. HOWEVER, I'll argue that this scene has, in fact, everything to do with Wesper and reveals a lot more about Jesper as a character, about his aspirations, than we might give it credit for.

First of all, for what's supposed to be the aftermath of a "meaningless" quickie between strangers, this scene is incredibly tender. Jesper is being so earnest and gentle; in the way he speaks ; the way he kisses Dima goodbye, the way he touches his face, like he wants to imprint it in his memory. There's real emotion there ; real care, however fleeting.

But the true impact of that scene is in the way Jesper looks at Dima (props to Kit's acting there. We love you, Kit). There is so much longing in Jesper's eyes: it's plain to see, and almost painful to watch. He's probably not longing for Dima himself ; they haven't known each other long enough, but he's longing for a meaningful connection, something of lasting substance ; for companionship...for love. Jesper knows and understands that this wasn't meant to be (he says so himself). And yet, there's grief in the way he watches Dima leave. Why? BECAUSE IT'S NOT THE FIRST TIME THIS HAPPENS TO HIM.

It's not the first time Jesper has a lover walk out on him. For him, watching Dima go is exactly like waking up alone after his first night with Wylan : it's the rejection and the sudden severing of a bond that barely had time to form. I'm going to quote my friend Ras :"Jesper is having war flashbacks" and yes, that's exactly what this is. Maybe he's not specifically thinking about Wylan in that instant, but that kind of hurt and disappointment is still a familiar feeling to him.

Yes, of course, Jesper is a flirt. Yes, of course he loves sex. And there's something enjoyable, exciting, and thrilling for him when he engages in impromptu sexual encounters with strangers, but Jesper is also someone who's deeply insecure and in constant need of validation. When his lovers walk out on him, he can't help but feel unlovable: good enough for a shag, but not good enough to keep around. What he truly wants is for someone to care about him: truly, deeply, meaningfully. But it's easier for his self-esteem to jump from one hook up to the next, because at the end of the day, he can tell himself he chose this lifestyle. When Wylan reminds him of his "reputation", saying "I thought someone like you wouldn't want anything more ", Jesper doesn't contradict him, but he's still stung by those words. Jesper is a player who doesn't really want to be one. At his core, this is not him. It's just a self-defense mechanism.

I feel like his brief time with Dima was sort of a tipping point for Jesper. He had no choice but to acknowledge the longing and the need for something more.

And then there's Wylan. To be able to reconnect with a past lover was an unexpected second chance for Jesper ; a wink from Lady Luck. He wasn't going to give up so easily this time.

In other words, Jesper/Dima walked so Jesper/Wylan could run. So I'm grateful for that scene in season one, which might seem inconsequential and gratuitous at first glance, but truly isn't.

Thanks for your attention.