#both ''the narrative is alive and wants you dead'' settings

[waitineedaname]

a svsss/hlvrai crossover au. is this anything.

[orcelito]

Shino raising his dead friends and friend's dog from the dead with the power of bugs as one friend's cousin watches [not clickbait]

[tofixtheshadows]

Id love to hear ur interpretation and analysis on falin! She’s one of my favorite characters and and I was wondering what ur thoughts on her are

Man, I struggle to think of anything I could say about Falin that others have not already said. But she's one of my favorite things about Dungeon Meshi too.

So much of the story revolves around Falin, and she's not even there. Tumblr loves to talk about haunting the narrative, but Falin might be one of the best examples of it ever put to page. She's dead. She's alive. She's dead. She's alive. She's alive but she's missing, she's alive but she isn't herself. She's dead but she might wake. She's dead but she's frozen in ice. She's alive but she's sleepwalking. They chase her ghost and they chase her body all through the story.

I think what Kui does with her is fascinating. Not just as character with a personality we can analyze, but as an object in a narrative- that's why I say she's one of my favorite things about the story, because I also mean it in a mechanical sense. As a writer, Kui's really good at misdirection- that is, setting you up to believe or expect something about a character or a plot, and then turning that on its head. It's most apparent with Kabru, but it works really well with Falin too.

Because the precious little sister is a very well known character archetype, right? So is the gentle healer. The heart of the party. The white mage girl. The damsel in distress. The martyr.

And this isn't a Laura Palmer situation, where we find out that beneath her wholesome surface there's something dark and troubled. No, Falin truly is a kind and gentle person. That isn't where the misdirection leads (and that, too, I think, is another misdirection- it's not "Plot twist, she isn't as nice as you thought!", which would almost be too easy).

The misdirection here is more about structure than about character (but also, yeah- a little about character).

What I mean is, with these archetypes firmly in mind, along with a whole other host of fantasy genre expectations, I think anyone who goes into Dungeon Meshi un-spoiled probably expects Falin's rescue to be an endgame event; at least on a subconscious level, where you're not really thinking about it but in the back of your head you're already stretching out the story to place Falin firmly in the distance. Fire breathing dragon at the bottom of the dungeon is perfect final boss material, right? Slay the dragon. Rescue the princess.

And Falin is the perfect prize in the traditional old school fantasy that the concept of the titular dungeon is a send-up to. Blonde (white), soft-spoken, sweet-natured, beloved by everyone. An angelic figure.

Maybe that's why Ryoko Kui gave her white wings.

It is sort of jarring when chapter 23 rolls around and it's already time to fight the red dragon. And it takes a few chapters, but they succeed. And then Falin's impossible resurrection succeeds. But by then you guess that this is not going to be the story you expected it to be.

I want to point out that Falin spends a lot of time getting, well, babied, post-resurrection. Marcille washes her in the bath, despite Falin stating that she's capable of washing herself. Marcille schools her about her mana use despite Falin demonstrating that she is not hurting for mana, and brushes aside Falin's explanations. Both Marcille and Laios refuse to actually tell her what happened. Laios scruffs up her hair like she's a little kid and scolds her for something she can't remember doing. Marcille explicitly calls her a little kid when Falin tries to talk about how much she's grown.

Of course I'm not saying that Laios was wrong to act like a big brother, or that Marcille shouldn't be worried about taking care of her shell-shocked friend in the bath. But the framing of it clearly shows a Falin who is struggling to be heard.

If you'd like to address the big gay elephant in the room while we're here, I want to state for the record that- whether you read her as gay or not -I think Marcille is completely oblivious during this. Because Falin is her little friend from school. Her best friend, yes, but also the young tallman student she, in her infinite elven wisdom, had to mentor and look after. Marcille has not yet accepted that Falin is an adult now, nor has she accepted that she, herself, is only barely past teenagerhood developmentally and is not nearly as mature as she believes. Of course she'd scrub Falin in the bath and fuss over her.

Falin, meanwhile, seems more than aware of her own adult body and the inappropriate way Marcille is treating it.

The mana-sharing scene is, I think, Falin trying to get a little of her own back. How do you like it, Marcille?

And she tries again in bed.

Maybe she's wondering if their relationship will change now that they're grown ups. If Marcille prefers her as a little girl, or at least as a woman who lets herself be guided like one; if Marcille will react badly if Falin keeps trying to assert herself. She also might be subtly trying to signal to Marcille that bed sharing, like bathing, carries a different weight to it when you do it as adults rather than as children.

With all this in mind, the decision to turn Falin from the precious prize they rescued into to the vicious dragon they have to slay, hits a lot harder.

Falin with a powerful, monstrous, destructive body. Falin, who couldn't even stand to cause people pain from using healing spells, slaughtering half a dozen people in brutal ways. And that's not her, she's being mind-controlled, but as an object in the story she has completely flipped. From damsel to threat.

And I love that she carries a little bit of that with her when she's resurrected again.

Because she's no longer the girl who's going to let herself be stifled by her brother's and her best friend's co-dependency, no matter how much she loves them. She's different now: stronger, eyes open, forging her own path instead of following in their wake. Falin is still going to come back to them again, but this time it won't be because they chased her. It'll be because they let her go.

[haine-kleine]

Slowly leaving the copium phase and getting genuinely curious what even was the intention behind the epilogue?

The manga could've ended with Deku punching Shigaraki into dust and nothing of value would have been lost. Why are we spending 70% of the epilogue on the society rebuilding itself back to status quo? Nothing has changed, no lesson was learned in the war against villains because they were successfully defeated. Pro heroes are alive and well, the hero kids, despite being literal war veterans at 16 years old are all still in the hero course. Now they even have their own fans.

Is it supposed to show how the hero propaganda makes child soldiers and keeps the machine running forever by glorifying the profession and demonizing the villains? Is it supposed to show the heavy burden the heroes will be carrying for the rest of their lives after getting killed the person they set out to save?

Is it supposed to be so dark and hopeless? No one won in this war, no one got what they wanted, none of the saviour trio achieved their goal of saving their villain, with two confirmed dead and one joining them soon. Even the narrative's golden boy Bakugou got his dream of competing with Deku forever taken away from him because Deku doesn't have a quirk anymore. (on that note, what Izuku is even doing in UA still when the manga has spent so much time establishing how impossible heroics are for quirkless people and not giving us even one example of a quirkless hero who did not get OFA).

Why this insistence on making both sides as miserable as possible? For a manga that started as a hopeful story about saving people, giving them hope, that sure is a choice.

Not sure what message we are supposed to take away from this other than a 'Fuck you' from the author to all of his readers.

[diceig]

It probably has already been talked about, but. The lost boys are special, they are set apart from other typical horror movie antagonists because they care about each other. They love each other.

This is proven by three moments;

1. You killed Marko!

The Frog brothers are a target for Paul. Reasons could have been; they were a danger to Paul, or they had simply gotten Paul's attention by getting close to him. This line proves otherwise. Paul does not want to kill the Frog brothers for himself, but as an act of vengeance for Marko. One of the other boys death affected him enough to push him to do something about it.

2. David's reaction

Let's go through the scene;

Marko is staked.

The other three boys are woken up, David screams "You're dead meat!"

He chases the Frog brothers and Sam up to where the sun shines. David gets burnt and has to let them go. He screams and lets go.

One tear falls from his eye. He laughs, "Tomorrow."

The first thing to note is how David doesn't laugh right away. It doesn't match his behavior in his previous hunting scene, where he laughed before going to kill. Instead, he screams. The laugh he gives in the end is also far from what it usually is. It's not loud or joyous.

Like with the previous point, it could be taken as David defending himself, and the tear could be thought to be of pain. But, narratively, the tear isn't necessary to tell he suffered from the burn, he already reacted. A new information it could give would be sadness, or shock, which would be towards the death of Marko.

3. The boys looking for eachother

This is the first scene of the movie, which is used to set the tone and the plot of the movie. It is also the boys' introduction, in which relationships and personalities are explained to the viewer in the most efficient way possible.

David comes first, as the leader. He looks around and sets the path for the other three. Dwayne and Paul follow, and they both turn towards the lasts, with a smile. This explains that the Boys don't just hang out because it's convenient or because they have too, they actively want to stay together. Dwayne and Paul make sure everybody is following and sticking close.

This genuine care the boys have for eachother is the most important reason for why people like them so much as characters. It gives the boys a deeper dynamic, a feeling of group instead of staying individuals.

It also gives dimension to the characters. They cannot be simple animalistic killers with the only desire to stay alive, since they love. This opens a gate. What else do they feel? How 'human' are they? Since so little is seen of the boys, it's free to be intrepreted and imagined as anyone wants.

In short, the boys are brothers <33333 and that's why everyone loves them.

[mochiwrites]

They say when you die, your life flashes before your eyes.

Scar never believed in it, not after dying twice, both times having been caught off guard. He didn't have time to reflect on the life he'd been leaving behind, not when everything happened so fast, not when to Scar it was like blinking before he was surrounded by total black.

But as he lay in the sand, letting the wind sweep over his weakening body, he starts to look back. He starts from the beginning, from setting Etho's tree on fire to pulling Grian into the desert on Pizza. He thinks of his second death to the ravine, how Grian's scream had been the thing to accompany him on his brief journey to blackness. He thinks of holding Grian in his arms as they celebrate a successful trap, or their hours spent digging a bunker.

Scar thinks of their ruined home, the place he'd always return to.

It's funny, how different this death feels to the other two times. Maybe that's because there's no coming back from this one. This is it. This is the end for Scar. His final breath.

He stares up at the big beautiful blue sky, and there is no longer any red to cloud his vision. If he had any energy left, he'd probably smile. All he can muster is the smallest twitch of his lips, blood drying on his chin.

A shadow fills his vision, and Scar has just a few seconds to see Grian's bruised face enter from the corner. He sees tears welling in those red eyes, one or two rolling down his cheeks as he picks up Scar's fading, cold body, pulling it tight to his chest.

Scar wishes he could reach out, he wishes he could press his palm into Grian's cheek and tell him not to cry. He much prefers it when Grian is laughing, when he's smiling. It suits him much better than this guilt ridden expression. Why are you crying? He wants to ask. You won! Scar is happy he won.

"I'm sorry Scar," Grian shakily whispers into his hair, his wings wrapping around the two of them like a shield. Scar isn't sure what he needs to shield them from, not anymore. The ghosts? Surely they aren't interested in this. In them. "I'm so sorry."

It's to Grian's warmth that Scar fades away, eyes fully shutting as he finds he's lost the energy, the will, to keep himself alive. Scar's purpose is complete, Grian is alive and well, and that's all that matters to him. He's okay with saying goodbye.

He joins the living dead, nothing more than a spirit.

He returns to the image of Grian hugging Scar close, yet as a ghost. His body is see through, he is no longer a corporeal being. Even as a ghost, he's returned right to where his heart and his soul rests, he's returned to his home, to his Grian. Scar doesn't question it. Of course he's ended up back here, back to the other half of his heart.

Grian had said once that everything in their story was dead.

Maybe it was just Scar being an optimist, but he liked to think that their story didn't have to end in death. Maybe it had just been Scar looking to a life after this, where there will be more laughter, more pranks and joy, more warmth shared. Scar liked to think that they were in control of their narrative, that not everything was dead, because they were alive.

But looking as Grian grieves over Scar, he wonders if Grian had always thought they were dead from the start.

As a ghost, Scar is forced to stand there as Grian rises on shaking legs. "Just one life left," he says, and Scar's nonexistent heart leaps to his throat.

"Grian, stop," he pleads, but his voice is nothing more than the breeze of the wind. He's helpless, unable to reach his partner as he takes slow, agonizing steps toward the edge Monopoly Mountain, right beside Pizza's grave. "Grian," Scar begs. It wasn't supposed to go this way.

Drops of blood fall from Grian's bloodied knuckles, staining the sand below. He walks toward the edge, and Scar follows, trying to reach out to him. Yet his hand phases right through Grian's back, never making contact.

Scar's heart breaks.

What else can the king of death do but watch his ever faithful knight follow him to where he should not?

[alicentsgf]

this show would have been so much better if they’d made both sides way more equal. Because at the moment they’re not. There's a good side and a bad side. Like theres no way I can argue the greens are as ‘likeable’ as the blacks, even if I prefer to watch them. If they were so dead set on making the ‘choose a team’ thing such a big deal (which is all annoying promotional nonsense anyway but that's a point for another day) then I want to be TORN. they could have at least made it so not every bad thing that happens to the greens can be blamed on themselves. the writing just can't shake off the underlying heroes and villains narrative long enough to realise the whole point of this story is these are all meant to be complex, entire individuals who were for the most part just trying to survive. Both teams should be further into a grey area than they are. Ultimately both Alicent and Rhaenyra are just trying to keep their familys alive. That doesn't make them villains, even as it puts them at odds with each other. Why was this not dealt with in a more interesting way? It was right there to play with.

it would have been so easy to make us torn over who to support. Instead, the fanbase is split between a majority of team black, which is usually people who are approaching this from a watsonian perspective where they have bought into the ‘rightful ruler’ thing and also kinda understandably think rhaenyra would make a better monarch than her siblings, and a minority of team green, as people who are approaching it from a doylist perspective, meaning they just find team greens characterisation more interesting and don't rly care about the throne bc everyone dies anyway. And that's disappointing honestly. It should be split more evenly, that would make this story so much more engaging. Holding the greens in some way accountable for everything bad that happens to them and the blacks accountable for nothing does absolutely nothing to flesh out the core reality of this tragedy - the reality that this was always going to be the ending no matter the choices these characters made. It was set in motion before most of them were even born. The shows even written it so the death of poor little jaeherys can be blamed on his family. After daemon sent an assassin into their home!! Like are you serious. Its a weak disneyfied retelling of the original story, which is what literally no one comes to asoiaf for. stop trying to spoonfeed us and give us some real emotional turmoil for once!!!

[mclalan]

What art program do you use? sorry if you already answered something like this but im so mesmerized by the techniques you use in your art.

Thank you. No need to apologise; I don't mind answering this question because it's an excuse to walk through my latest image!

The concept for this piece is based on being perceived online through interpretations of posts and artwork, yet how artificial this can be. The relationship the viewer forms is more with the narrative of the work, and any insight into the artist through this feels highly awkward to me, which is precisely what I want to explore with this piece.

In this example, I wanted an attractive sitter to look like someone out of a new romantics music video or like an Enya video, because this genre and era of media is very aesthetically pleasing and nostalgic for me. I hold it as an unobtainable ideal— a hauntology. So, as wonderful as it is, it equally feels shameful and perverse because it's an aesthetic object of desire that I am contriving.

The sitter is holding one of my cartoon characters, Lauren Ipson, the protagonist of my Ersatz world project. A trope in writing is when a character acts as a self-insert of the author, and I'm conscious to try and avoid that with Lauren. I try to write Lauren as dry and sardonic yet also fun, dramatic, and friendly. I don't think of these as personal qualities of my own, but I imagine personal qualities bleeding into fictional characters is inevitable.

Yet Lauren Ipson feels much more alive a character to me compared to any attempt at self-portraiture or self-expression that I've done, which is very little because I'm not interested in constructing a perceivable identity. (I'm aware this text itself can be interpreted as self-expression; however, to me this is just another construct.)

So Is the sitter meant to be me, controlling Lauren? I'm definitely baiting the viewer to think this, and you can interpret it that way if you want, but really I don't think of the sitter as me at all. My intention is to show how it's all a facarde. The sitter is basically just as much a doll, a puppet, a mannequin as Lauren Ipson is, if anything more so.

There's a deliberate irony between Lauren's cartoon rendering and the sitter, who I wanted to render with more detail and evoke a modernist style. I'm inspired by Hans Bellmer and Dorothea Tanning with their work with dolls. However, despite that implied visual hierarchy, the more detailed sitter shares a similar, stilted vector construct to Lauren. They're both born from vector drawing after all. And it's further undermined with the way Lauren the doll looks directly at the viewer, as if she's alive, while the sitter looks to the side with a blank, almost dead-in-the-eyes expression.

Anyway, with that in mind, almost all of my work starts as a thumbnail sketch. Although I often draft digitally and am fine with doing that, I feel more confident doing it freehand on paper. Digital rendering feels more like a refinement process to me. Funnily enough, although I often prefer to sketch with physical materials, I'm anxious of refining or rendering with them.

I like my designs to be very direct and conceivable, so a solid silhouette, pose, negative space etc. I often create a quick digital sketch with this in mind, either by tracing or referencing the thumbnail, although sometimes I skip this step and go straight to the rendered drawing. The aim is to establish a visual guide, dividing the drawing into various shapes for digital airbrush rendering later on.

With this composition, I made a second draft with more attention to details such as the face, hands and feet. Sometimes I'll use photo references if I'm struggling with posing or anatomy. These drafts are often blue because it's easier to render the black linework over a transparent blue sketch.

The chair took some time but was relatively simple to render. It uses the line tool set to magnetic anchor point, following two-point perspective vanishing points. I like two-point perspective because it feels sort of digitally native to me to have these impossibly perfect vertical lines. I also know the horizon line should be at eye level or something, but I just like the idea of the top of the chair to be perfectly horizontal.

Here I'm drawing the final rendered form. I use the stroke tool with it set as smooth as possible. Often I'll redraw lines over and over if it means getting certain curves to look right. Once the lines are drawn, I'll fill them in and remove the stroke, leaving just the solid vector shape. The shade of grey I use is done to simply denote the shape. It does not represent any kind of shading or anything; in fact, when I bring it into Photoshop, all these shapes are set to the same shade, but if I had that here in Animate as I'm drawing, it would be impossible to see what I'm doing. The red background is just for clarity.

Once it's all drawn, I'll make sure every shape is clean, overlapping nicely, and divided into its own layer. A composition can often be comprised of hundreds of separate shapes.

Each shape will be its own layer in Photoshop, which will operate as a clipping mask. The clipping masks act like masking tape or shielded off areas for soft brush opacity rendering, similar to the soft atomised rendering from an airbrush, just done digitally.

I follow very rudimentary painting techniques of simple shading, lighting, and bounce-back highlights. I follow a simplified Grisaille technique, focusing on strong values in greyscale before adding a wash of colour with a color gradient map set to layer style color. Sometimes my values can be a little off, but as long as the values are all consistently acting together, I can correct them with transparent washes or color curves. If the greyscale looks harmonious with all the forms clear, colour will likely work.

Proper digital painters will say this is an amateur process, with results that look mechanical and stiff, as colours in the real world all bounce together off different surfaces, resulting in colour harmonies. However, I don't mind the inharmonious nature of the colours, as I find the values give the composition enough harmony. I'm working digitally, so why go to all the effort to make it not look digital? It's interesting to me to have the red chair look blindingly red, the green skirt look blindingly green.

Colours can look boring without some form of harmony though, so I will add in blue-greens with the darker areas, more turquoise greens towards the highlights.

Skin tones are far more complex, however, as it's something that's more informed by realism. This is why kigurumi dolls with their plastic flesh look so artificial to the eye, because we're familiar with how light passes through flesh and skin and all the subtleties of colour that it picks up. This piece is the first time I've explored flesh tones, as typically I avoid all this by rendering skin as grey porcelain.

I needed to really up the contrast, with shaded areas becoming purples and highlights verging on washed out. Areas with more blood, like feet and cheeks, appear more orange and red. Areas closer to bone and cartilage, like the bridge of the nose, can look almost blue and green. Exploring these colour values and tints in the aim of natural tones was fun to do, and ironic given how blank the face is.

Although in the moment I feel very much like I'm rendering a realistic reality, when I step back, I'm reminded how stylised and unrealistic the painting actually is. It looks kind of insane, like everything is so uniform and overtly saturated. It doesn't feel present in a real space, despite the shadow and form implies one. But I'm not consciously thinking of these things, of style, as I'm working. To me, it's a process of world-building and problem-solving.

[manicpixiefelix]

he wanted to be in love (but you got in the way) // epilogue

{ head, heart, hand. masterpost }

Summary: Oliver is haunted by what he's done to get his happy ending in Felix's arms. His guilt is only made worse when he meets the first member of your family to actually remind him of you. Unfortunately, he does not find it to get better from there.

{ context; please read he wanted to be in love (but you got in the way) first }

Need to Know: They/Them. Explicitly NB Reader. FWB!Reader/Felix. Reader is from a well off family but has pretty much been adopted by the Cattons. YOU ARE ALREADY DEAD IN THIS ONE, but you do get to haunt the narrative. congratulations?

Warnings: discussions of death/overdose, lots of guilt, manipulative oliver, felix being upset, vaguely unhealthy oliver/felix, lotsa angst, oliver quick reckoning with the sunk-cost fallacy.

A/N: 6828 words. first, i don't usually do part 2s when i say something is a oneshot, so this is a rare occurrence. secondly im sorry this is almost 7k there's something wrong with my brain i think. thirdly bro, bro, listen to me; ANGST. HURT NO COMFORT. HURT NO COMFORT. it's soft in the middle THE SOFTNESS IS A LIE. ITS GONNA HURT ALL THE WAY DOWN (apart from nana i love her nd i hope you will too)

TAGLIST IN COMMENTS!! // TAGLIST ALWAYS OPEN ! (just message or comment to be added)

----

One hour and fifty three minutes.

Rounded up, because all things considered, he should round it up, that's two hours.

Two hours. Like the blink of an eye in the scope of a whole life. But a very long time when you sit and count it out.

One hundred and twenty minutes. Seven thousand, two hundred seconds. He's always counting two hours, seeing exactly how long it feels like, how he can fill that amount of time. Seconds pass like a steady heartbeat.

He can do a lot in two hours.

Oliver tries to occupy himself nowadays more than ever, and really tries not to be alone, but it's hard. Farleigh left for Oxford. Venetia, before she decided to backpack across Europe and find herself, wouldn't let anyone touch her anymore.

Oliver doesn't like leaving Felix alone, but sometimes he has to be. You're laying cold in a family crypt somewhere next to a grandfather you never knew, and while Elspeth and Sir James don't comment on it, they both scowled when your parents sprung the announcement on everyone at the funeral.

Felix spends a lot of time alone at the edge of the maze. He's making a fairy garden where you had waited. Sometimes he'll drive into town without telling anyone, and come back with quaint, second-hand miniatures to add. It's beautiful, shining with greens and golds when the setting sun hits it just right.

So Oliver finds time to occupy himself, when he's alone and all he can think about is you sitting by the maze. You laying by the maze. You alive when he'd run from the maze. And the two hours that followed.

Sometimes he leans out of his window and shouts to the gardeners so far away they look like ants; even at this distance, his voice carries, and he sees them turn, search for him, ask if he's okay. He is, and he apologises, and he think about how far his voice carries.

On occasion, out of the blue, he'll lift Felix up when he hugs him, able to get his feet off the ground as Felix wriggles and clutches him out of surprise. Of course Felix lifts him with ease in return, spins him around, but that's not the point. Oliver is stronger than he looks; he wonders if he could lift you, could carry you far, if he could have dragged you if it had come to it.

Some nights he wakes up in a fright, your rapid heart rate beneath his fingers and he swears he could hear you whispering for help amid your shallow breathing. Please. Pleading. Begging. You were alive when he'd left you. He presses two finger to Felix's pulse point beside him, and tries to calm his breathing, to focus on Felix's slow, steady heartbeat.

And some days he sneaks into the computer room and curses how long webpages take to load when he looks up statistics on overdoses. Symptoms. Niche forums where he can learn what it felt like from survivors. People luckier than you. Their words, their stories, the recollections of those horrifying sensations stick with him, even as he diligently erases any trace of his browsing history.

And he thinks about how fucking long two hours is.

"Nan's coming over later," Felix tells Oliver idly one Sunday afternoon, "we're having tea of you'd like to join us." They're laying out in the grass, Oliver in the grass finding shapes in the clouds, Felix on his side, chewing on the stick of a lollypop he'd finished an hour ago and gently tracing abstract patterns on Oliver's chest.

"I thought you said your granny haunted Saltburn," when Oliver looks at Felix, he still can't help the way his heartrate picks up. Felix Catton touching him in the most gentle, caring way; he'd never stop feeling lucky for getting here, and never forget what he did to earn it.

Felix's gaze moves with his fingertips, up Oliver's warm, bare chest, twisting two fingers in the delicate chain around his throat. He looks pensive; but shakes his head after a beat.

"Different nan," he says distractedly, plastic straw trapped between his teeth. He tugs the chain experimentally, like he's forgotten it's attached to Oliver at all. He's in his head again; Felix is always in his head nowadays, but there's still often echoes of who he was, echoes of what Oliver has fallen for in the first place.

And he's finding himself falling more and more for this version of Felix too. So he tell himself that it was all worth it.

"Love," all these pet names - Love, Darling, Sweetheart - because if he slips up, tries to call him Fi, Oliver knows he'll only get ice in return, "is everything okay?" Oliver carefully reaches up to cover Felix's large, warm hand by his throat with his own. Felix meets his gaze, and gives a faint smile, an attempt to reassure him when he says he's fine. It doesn't work, but Oliver lets it go, and lets Felix tug him in by his chain for a kiss.

"Tea sounds lovely," Oliver murmurs against his lips.

There's something about this visit has Felix alive and buzzing the he way he hasn't in a very long time. Still he's quiet, but his eyes are bright as he follows behind the staff members setting up tea and biscuits in the garden. He goes through all the DVDs the family has and picks out a stack he thinks would be suitable, making sure they're all perfectly stacked by the DVD player. Oliver floats along behind him, and simply allows himself to admire Felix's energy.

Still, Felix finally takes a moment to breathe right as it becomes noon, and decides to have a bath to freshen up before his guest's arrival; two hours before she'd be here, Felix reminds him.

Two hours.

Oliver feels drawn to his own room. He doesn't allow himself to be alone in Saltburn often anymore, doesn't like the thoughts that crop up when he does. Perhaps it's a kind of punishment, a painful reminder, penance for what he's done.

There's a scrap of paper that he keeps tucked in a book in his nightstand, his own handwriting stuffed amongst a collection of Edgar Allan Poe's short stories, words he'd clung to and scribbled out the minute he'd gotten the chance so he'd never forget them exactly.

From the coroner's report, according to Duncan and Sir James. Time of Death; around 2am. Cause; narcotics overdose, and there were signs of alcohol poisoning.

On the back, he'd written '12:07'.

"Mum and dad both say it was a tragic accident," Felix's voice in the dead of night, the night they'd gotten the full report, riddled with guilt and unspilled tears, betrays his disbelief regarding the sentiment. Felix doesn't talk about how his last words to you were shouted with anger. Felix doesn't talk about how your last words to him were a desperate plea for him through tears. Felix doesn't think that it was an accident; only Oliver knows that he's almost right, just not in the way he thinks. Or dreads. But he has to bite his tongue on the truth, and let the man he loves live with this unjust guilt.

The water starts loudly draining for the tub, and Oliver isn't sure how long he's been sitting on the edge of his bed with his eyes squeezed so tightly shut, but he scrambles to stuff the page back into the book, and toss it back into it's drawer. He can smile again, and admire whatever outfit Felix chooses for the rest of the day, and pretend like he doesn't feel your rapid heartbeat or hear your shallow breathing every time he touches that paper, like he had the night he left you.

With the hour drawing ever closer to two, Felix keeps checking his watch. The minute he deems it to be time, he gives up all pretence of small talk - which had been another thing severely lacking as of late - and snatches Oliver's hand, pulling him through the house. They even outstripped Duncan and the footmen by the door when there comes a firm knock. Its the only time Oliver has ever seen any of the Cattons open the doors for themselves.

And it's not Felix's grandmother.

"Hi, nan," Felix sounds so genuinely happy as he hugs the older woman at the door with a warm smile and your eyes.

Oliver feels like he's frozen, like he's seeing a ghost. Out of the corner of his eyes, he sees Duncan actually standing aside, giving Felix and your grandmother a quietly fond smile.

"I swear you get taller every time I see you, oh, my lovely boy," she says with a warm laugh that sounds so damn familiar, "or maybe I've been shrinking, you get to my age and people tend to do that," and Felix laughs, actually fucking laughs. Oliver realises it's been a long time since he'd heard Felix give a proper laugh like that. As the hug ends, Felix let's her tuck her arm in his as she continues, "just you wait, one day you'll only be six-foot tall." Another laugh, and Oliver can see how genuine and broad he's smiling, how his eyes shine when their gazes meet. She's surprisingly sprightly for her age, it seems. Oliver recognises your grandmother from your funeral, but hadn't made the connection at the time, so he's surprised when Felix goes to introduce him and her eyes sparkle with recognised.

"Nan, I don't know if you've been properly introduced, but this is -"

"Your Darling, Oliver," and it's said with such warmth; her hug feels almost like home, "you strange, little thing," she laughs, "it's called a hug; are you not a hugger? I should have asked," but she doesn't apologise, nor does she let go for a few more beats. Oliver gives into this moment, closes his eyes tightly and hugs her back.

"Our Darling Oliver," Felix echoes with such admiration, and when Oliver opens his eyes, it's the first time since you'd passed where his gaze has held only the love and pride Oliver had been craving since he'd first laid eyes on him.

Once Nana - she'd insisted Oliver call her that too - lets him go, she tucks her arm in his, and is waving Felix over to her other side, briskly asking where tea was to be held. Duncan leads the way and she fawns over him too, apparently downright overflowing with love for Saltburn and everyone and everything in it. She talks more than she doesn't, but considering who Oliver is and who Felix has become, that suits them both just fine.

It's been too long since they've had tea together, she insists, and doesn't talk about why exactly that would be. She doesn't bring you up, not while you were all making your way through the house, but once she's settled outside, she takes a moment. The way she looks at Oliver in this moment makes him queasy; the smile, that look in her eyes, the way her gaze takes all of him in. A woman, whose time is so precious to her, taking her time to make him feel seen. Felix is quiet, intrigued by the exchange.

Your phantom heart beats beneath Oliver's fingertips.

"You're Y/N's grandma," Oliver says quietly, breaking the tension. Present tense still, they all play pretend. She smiles, and finally leans back. The moment is broken; Felix pours them each a cup of tea. Nana takes a jammy dodger and looks over the gardens with a smile.

"Of course, dear," she says sincerely, taking a bite of the biscuit, but being so eager to talk that she spoke through half a mouthful, "and when they were thirteen they told me I was Felix's grandmother too, because they'd overheard Felix's mum talking about how she hoped they'd get married some day." Felix snorted a laugh at that, turning pink around the ears as he prepared everyone's tea, as if on autopilot.

"Does that -" Oliver begins awkwardly, but he tries to smile, "do you think in time, they would have ask the same of you about me?"

"Considering how they spoke about you," there's a twinkle in your Nan's eyes as she turns back to him, smile knowing, "there's absolutely no doubt in my mind, my dear." All you had ever done was love him; love him and stand in the way of the love he desperately craved.

Oliver watches his tea for a long while, spinning the ornate cup on its matching saucer, while your Nana almost immediately picked hers up and took a tentative sip. Watching out of the corner of his eyes, Oliver notes the way her face goes on a journey of emotions, from pleased, to confused, to a sudden realisation as she looks to her cup.

"I should have asked you how you liked your tea," Felix realises too late, apology in his voice as Nana puts her cup down with a forlorn, yet fond look.

"No, darling, it's nice to know you know how my grandchild liked their tea," and she holds her cup delicately, looking into it's warm, brown depths, "just the same as I always made it for both of us when they were much, much younger."

"I am so sorry to ask," Oliver hears himself blurt out, unable to help himself, "but how does all this love just skip a generation?" It comes out far worse than he intends it to; he means to ask how someone so loving as you come from parents so uncaring, yet how did either of those parents turn out the way they did when the woman in front of him was clearly bursting with just as much love as you had been. Thankfully, instead of being offended, your grandmother laughs.

"My daughter is a wonderful, intelligent, compassionate, impressive woman," she begins, but sighs with unmistakable disappointment, "but my late husband was never capable of even trying to be a father over pursuing his own interests, and it's one of the few traits she actually inherited from him," she shook her head, "and she went on to fall in love with a man who loved her but suffered from that exact same defect," after a beat, she looked up with a warm, reassuring smile, "it's why I love Y/N so fiercely, and so hard," her grin turns soft and adoring, looking between the two boys before her, "the only way my daughter has ever disappointed me is as a mother, but I will never be disappointed in Y/N as my grandchild."

Oliver knows there's tears in his eyes, and Felix has ducked his head. Immediately Nan begins apologising, realising she'd set both of them off. Despite this, Oliver tries to wave her away, insisting it's fine, before he asks about her; he's heard bits and pieces he thinks, but Y/N had always been so cagey about their family. Honestly he's surprised that your grandmother knows so much about him when he feels like he's barely heard about her.

Despite turning out to be an incredibly decorated artist, with paintings selling for more than Oliver's pretty sure his own family's house is worth, your Nana is quick to downplay her own successes, simply insisting that it took decades of hard work. Again, he sees you in her eyes.

"We've got a few up around the house," Felix adds, "most of them actually from before we even met Y/N," and your Nana gives him a shove, as if flustered and embarrassed by the idea. But Felix is beaming, happy to be showing off her accomplishments, just as he always took joy in celebrating you; "there's one in your room."

"What?" Oliver asked, and your grandmother also seemed surprised, though touched by the thought.

"It used to be their room, actually, but Ollie moved in there, so Y/N was staying with me," he explains a little awkwardly, wanting to skim around as many implications as he could. Thankfully she doesn't comment. All she asks is which one. Felix and Oliver both think about the room; Felix about the few pieces of art on the walls, Oliver about your time of death in the drawer. You were alive when he left you -

"That one of the stars, and that person smoking; I think you actually gave it to them as a gift," he frowns for a beat, "for when they turned seventeen, I think?"

Oh, Oliver knows that one. It's enchanting, blues so deep, so rich it's like you could swim in them, stars that seemed to actually glow on the canvas, and the hazy, dark outline of the window in the foreground, and part of a figure against the windowsill, lit cigarette the lone spot of fire, of red or orange, that makes everything else warmer for it.

"That one really surprised me actually," Nana admits, giving Felix a shrew smile, though he only seems confused, "did they ever tell you anything about it?"

"Said you painted it for them; pretty sure I remember them crying about it," he says fondly, reminiscing, "one of the best gifts they ever got, I'm not lying, they say it every year. It's beautiful." Then, as if recalling what she'd actually said, he looks at her curiously, "surprised you?"

Her smile widened into something both knowing, and endeared.

"I asked them to send me a photo, a postcard, their very best drawing, anything, as long as it was their favourite place in the world - do you really not recognise it?" The tea and biscuits are gone by now, the tea portion of their afternoon is coming to a close. Felix shook his head, almost looking like a lost child, as if he was aware there was something he was supposed to be understanding but couldn't quite get it, "Felix, my dear boy, they sent me a photo of you; that's their dorm room window from boarding school."

Felix looks winded, and a bit like he's about to cry.

"Oh you two were impossibly sweet," she reaches over and holds his hand tightly, looking over to Oliver earnestly, "you take care of this dear boy and his heart, you hear me?"

"Yes," Oliver all but trips over his words to agree, "of course, nan." And she gives him a pleased grin.

They move indoors after this, Felix quiet but lending his arm to Nana, which she takes, while she explained that usually you and Felix would visit a few times a year when they were on break, but she thought it would be best to come to Saltburn this time, given the circumstances.

"You should come see the place when you get the chance," she insisted, patting Oliver's hand.

"It's mostly where Y/N was raised before they ended up staying at Saltburn," Felix supplied with a grin, piquing Oliver interest.

"Y/N's childhood home? Oh I have to see that," he grins, and your grandmother grins brightly for a long moment.

"I'm sure Y/N would love that, they can give you the grand tour -" but her face falters, falls, as if she'd just remembered. Sombre silence, the spell is broken. "I'd love to have you around, dear," she corrects, much softer this time.

Felix lets her pick a movie, while Oliver settles himself awkwardly on the sofa. He wants to reach out to Felix, to touch his cheek, feel his boyish smile and know that it's real. But Felix isn't really even looking at him. There's something childlike about his enthusiasm here, about how he sits on his knees on the floor, watching with rapt attention as your grandmother pores over them. He practically glows as she praises his choices. When she picks one, she hands it over and he scrambles on all fours across the short floor space to the DVD player, fumbling with the case like he can't put it in fast enough. There's a softness in your grandmother's eyes as she watches the boy who has seemingly forgotten the man he is; when she looks at Oliver, its like he sees her asking how easy is he to adore, what a beautiful young man.

"You don't mind watching a movie do you, Oliver, dear?" She asks, though it's clearly an afterthought. He's already shaking his head, assuring her it's fine. Felix is already scrambling back, remote in hand. Oliver tries to make space for him on the sofa between himself and your Nana, but he seems content to sit on the floor in front of her, leaning back against the sofa with her knees gently pressed against either of his shoulders. Handing her the remote, Felix twists to give Oliver an expectant smile.

"Come here, mate," he insists, patting his lap, his legs kicked out in front of him. At Oliver's obvious confusion, Felix blinks for a few moments. It's like he's waking from a dream. His face falls, he goes to apologise, strained smile on his face, "sorry, I know that's weird, you don't have to -"

Slowly, Oliver moves from the sofa, sitting beside Felix on the floor. Your grandmother's knee is pressed gently to his back, but he's not quite sure if he's capable of relaxing enough in this moment to mind. She's playing with Felix's hair, having already started the movie.

"This is what you and Y/N would do," Oliver said softly, and rested his head on Felix's shoulder. Felix takes his hand, and laces their fingers together.

"Do you like it when people play with your hair, Oliver?" Your grandmother asks idly.

"Um, sometimes," he answers, still feeling rather awkward. He hears her chuckle warmly.

"It's okay if you don't want me to; Felix likes it so much he lets me braid it when it's long like this."

"Oh, I know Felix loves it," Oliver hears himself agree, "if he were a cat he'd be the kind to purr any time someone scratched between his little cat ears." And while both he and your grandmother share a fond laugh, he can hear Felix's smile in his words. He gives Oliver's hand a squeeze.

"I can't even argue; I wish I could purr right now."

Oliver wants to bottle this moment forever, keep it locked tight in his chest.

But the movie is a long one. One hour and fifty six minutes. Two hours rounded up. A whole two hours. Enough time to fall asleep with his head in Felix's lap the way they both said you used to. He wakes with your heartbeat in his ears, rapid, alive, left for dead.

"You okay buddy?" Felix looks at him with genuine love and concern; it's been such a long time since he'd seen that look, even with everything that had been happening, "I'm here, you're okay," he assured. Over by the television, putting the remote back, your grandmother glances over at the interaction with a warmth that makes Oliver feel queasy in this moment.

And he'll look up from the book, from his notes from the coroner's report crammed in, obscuring the end of one story while The Tell-Tale Heart begins on the other. Felix will be getting ready for bed in the other room, but he won't sleep there. He can't sleep there. Can't sleep in that bed without you, can't move the costumes from that night that hang side by side as a reminder of the hole you'd left behind in his life. Oliver will read approximately two am in his own messy handwriting, and look at the digital clock on his bedside that had read 12:07 when he'd crashed into his room and locked the door and sunk down against it. The numbers had been shining red in the darkness. On the wall behind, that starry night sky and the hint of Felix and his cigarette; a home you'll never return to hung up in the home you'll never truly leave.

He put enough coke in that bottle to kill a fucking lion. He'd given you the bottle. He'd told you he loved you. He'd left you like that.

He knew you were dying.

He'd left you alive.

Two hours.

The book snaps shut. In the silence he thinks he hears your breathing. Please, Ollie, help. Paranoia is a cruel thing, he has to tell himself; paranoia and guilt.

"Can I ask you something?" Felix joins him just as he's putting the book back in it's drawer. Oliver, heart beat racing - never as fast as the memory of yours, oh now it's all he can think about again - nods quickly. Felix sits on the end of the bed, clearly preoccupied, fussing with the buttons of his pyjama shirt. The days are getting cooler now; Oliver misses his bare skin against his, but he still feels too precarious to make such an observation.

"It's about Y/N," Felix swallows, can't meet his eyes, "about that night." Oliver feels his mouth go dry; the worst fucking night of his life. The night he doesn't know if he'll ever figure out if he regrets all he'd done.

He nods again.

"Were you the last person they spoke to?" It's like Felix is forcing himself to not shy away from this moment, giving Oliver the attention he thinks he deserves for such an important question. Then, after swallowing hard, he can't help but drop his gaze, "why," he can barely get it out, there's already a lump in his throat, "didn't they come into the maze too?" Oliver can't even give him that.

You'd been such a mess on your way to the maze, even with Oliver supporting you. Crying, furious, apologetic; you were everything at once. Even when you couldn't bring yourself to go in, everything about you had been sliding from one emotion to the next. But then it had stopped.

"I can wait for Fi here." It's the most sure that he'd seen you all night. It's when he knew. It had to be you, even if he loved you too. He'd never forget how clear your smile was, how sincere you'd urged him into the maze to follow the tail of what he thought was right. The sight of you, waiting, obedient and loyal for your master to return; "I'll be here, I promise; I'll wait."

Oliver knew before he'd even entered the maze that Felix's return to you would be too late.

In the present, Felix waits too, diligent, expectant. Oliver thinks about lying. Oliver thinks about how the truth will break his heart. Oliver thinks about how close Felix will hold him in his guilt riddled grief.

"I don't think they wanted to interrupt -" Oliver tries to start, but Felix immediately swears, hangs his head.

"Can't fucking believe I did that," he spits, "I was angry, and off my fucking face, sure, but that was fucking low, even for me," he admitted, pitching himself back on the bed, whole face scrunched up with guilt, barking out an upset fuck far louder than the others, prompting to Oliver to tentatively ask what he means. Felix took a moment, as if forcing himself to calm down, before he admits, voice low like he was sharing a secret, "I never even took Eddie into the maze," he sighed. After a beat, he conceded, "no, okay I did, but we didn't do anything - we made out a bit, but -"

"You didn't fuck you ex-boyfriend in the maze," Oliver connected the dots quickly, "but you did fuck your best friend's ex-not-girlfriend who you kind of stole from them, out of spite after kicking them out of your the bed you've been sharing all Summer?"

"Fucking hell, Ollie!" Felix sounds especially wounded when he lays it all out like that.

"Sorry," immediately, Oliver apologises, knot in his stomach when he hears Felix's pained tone. He wonders if this was what it was like for you all through the night of his birthday. Fuck, he can't think about that.

"No, but you're right," Felix admits, eyes finally opening, looking all hurt and vulnerable. Oliver lays himself down next to Felix, going the other way, both of them looking up at the ceiling. Oliver's hands rest on his chest, trying again, softer this time.

"So was a special place to them?" He gets no response other than a guilty nose from Felix, "you think that's why they wanted to wait by the entrance?"

"They wanted to wait for me," Felix says weakly, clearly in his head about that night once more, "didn't want to interrupt even as I was fucking defiling our-" but he catches himself turning bitter again, mouth snapping closed, "after everything I said that night," he mumbles, "fucking hell," he chokes out. The pain in his voice is audible. This is the sweet spot, Oliver thinks.

"I can wait for Fi here," Oliver whispers amid Felix's faint sobs.

"What?"

"You asked me what their last words were," Oliver told him as softly as he could manage; Felix sits up, eyes wide, distraught, so full of guilt and love and - "only thing they were properly coherent about; waiting for you," Oliver props himself up, reaches out to wipe a tear from Felix's cheek.

"You're not- Ollie, please tell me you're not kidding," Felix practically begs.

"I can wait for Fi here," Oliver reiterates, making sure to meet Felix's gaze as he holds his face, "'s the last thing they said- they said; I'll be here, I promise; I'll wait."

God he can see it in Felix's eyes; it's like the man's entire world crashes down around him. But he clings just as Oliver had hoped he would. As Felix holds him tightly, Oliver can't look at the glaring, red numbers of the clock on his bedside, the constant reminder of the two hours where he could have done something. Two hours and those wouldn't have been your last words.

He looks at the painting. At the stars. At Felix and his cigarette and your idea of what home looks like. The stars look just like they did that night. Just as bright. Oliver closes his eyes. Guilt twists people into shapes they don't often recognise; Oliver just holds Felix, hopes they twist into something together.

Except Oliver's guilt isn't the kind that twists, it's the kind that bites. It's like moths, eating him from the inside out. The guilt leaves him with jagged edges and thoughts he'd rather not be having; there are shades of Felix Catton that he loves, but shame and revulsion bites just behind the guilt as the months pass and he realises more and more this is not what he wanted. This is not the Felix he wanted.

Felix is like an echo, like the sun without it's warmth; he can look just the same, smile, talk, charm just the same if it was required of him, but there was something clearly missing from every interaction. Guests to Saltburn would pull his parents aside and ask if everything was alright. He is, but he is not the same as he once was.

Every day Oliver looks in the mirror and sees something grotesque behind his eyes that no-one else seems to notice. Felix Catton was meant to be the prize, the one who tossed aside everything but the best, the one who made the world fight for his attention, and feel heartbroken when he merely looked the other way. After all this, Felix Catton was not someone Oliver expected to be bored by.

Oliver Quick had lied for, lied to, betrayed the trust of, worked to gain the trust back of, loved, made fall in love with him, and literally murdered the love of his life who he also loved and was themselves also in love with Oliver while still considering Felix the love of their life, just to get a chance to spend his life by Felix fucking Catton's side. He wasn't allowed to not want this.

Felix smiles at him, says he loves him, fucks him, but it's not the dream Oliver once had. Something is always missing. No. Oliver deliberately took that thing away. But he can never admit that, nor can he ever regret that; too far gone. Oliver doesn't want to talk about the past, Felix can't being himself to talk about the future. Trapped together in the present, living lives that no longer feel like enough. Their routine becomes suffocating. Even Venetia, the few times she's stopped back at Saltburn, can barely manage a disdainful look, as if merely inconvenienced by Oliver's presence.

The growing apathy of the estate and it's occupants is exhausting. The cost of this lifestyle has long since surpassed it's value. He's even bored of being haunted. Two hours feels like fucking nothing when the days drag on the way they have been. Behind his eyelids he doesn't see you begging for help, you hiss for him to run, to get out.

He should have listened.

"Ollie, can I show you something I found?" Felix sounds bright today, and though Oliver wants to roll his eyes at the idea of anything in this house being new or novel enough to show off, he smiles back instead.

"'course Felix, what is it?"

Except Felix isn't smiling at him. Felix is looking far more serious and determined, sitting on the edge of their shared bed. Oliver immediately frowns.

"Have you been hiding something from me, Ollie?" It's a trap; a forced confession. Oliver shakes his head, plays dumb. Felix takes a deep breath, the kind that shifts his whole body, his expression remaining firm, "before I show you this thing, I want you to be honest with me; you promised you wouldn't lie to me anymore, you remember?" Oliver tries to lighten the mood, leaning against the window with a warm smile.

"Of course, my lovely Felix, no more lying," he assures, but the hairs on the back of his neck stand up with the way Felix remains quiet.

"What's seven-past-twelve mean?" Felix is watching him closely; too closely. Scrutinising his every move. It's like Oliver's been doused in ice water, even his tongue frozen in his mouth, "and what's it got to do with what happened on the night of your birthday?"

Felix doesn't even look at the night table as he opens it; his gaze is solely on Oliver. It's clear he'd done this before, pulling out the book, flicking through it's pages, and pulling the delicate, incriminating piece of paper out from where it had been safe for so many months.

"Felix, I-"

"What does twelve-oh-seven mean?"

Oliver is the deer again, trapped in Felix's accusatory gaze. For just a moment, Felix's voice drops, pleading with him for some other explanation, that Oliver wasn't somehow caught up in what happened, more closely, more malevolently than he'd ever said -

"Tell me," there's tears in his eyes, the furious kind, the ones where he's desperate to love and hope against all odds, "Oliver," he pleads through gritted teeth, "tell me you didn't know."

"Know what?" Oliver's voice is a hoarse whisper; he knows he is caught, all he has left now is borrowed time and a desperately silver tongue he doesn't know if he can rely on anymore. But Oliver's tragically weak denial is enough for Felix to all but jump to the right conclusion.

In a rush, Felix has Oliver by the collar of his shirt, pressed to the window -

"You knew they were dying and you fucking left them there."

This is the tipping point, the end of whatever good this had been. Felix could hurt him, Felix had hurt countless people on your behalf, he'd seen it himself. But Felix had always been the bleeding heart; you were the one who had to be kept on a leash. Felix could hurt him, could probably maim him for what Oliver was about to say, but he never shared your stomach for true Machiavellianism.

"Of course I knew," Oliver managed coldly, despite Felix attempting to crush all the air from him, "the amount of coke I gave them in that champagne could have killed a rhino-" it needed to be unforgiveable, the confession, so Felix would let him leave, would never want to see him again. He hadn't expected the force of Felix's rage to have the glass behind him give out.

Oliver falls from the second story window into the hedge garden below. Felix's shouting is tearing through the whole house it seemed, making his way downstairs, while Oliver tries to regain his breath and figure out if anything's broken. He's pretty sure it's not, but that doesn't mean it doesn't hurt as Felix drags him by his feet from the hedges, demanding at the top of his lungs that Oliver get the fuck out of Saltburn.

Every single person who'd been in the house comes outside to view the commotion, to see Oliver struggling to his feet, to get away from Oliver. Elspeth looks helplessly between the two boys, wondering what happened -

"Tell her what you did," Felix demanded, once more getting into Oliver's space, jabbing at his chest, "tell her what the fuck you just told me -" and Oliver's strength isn't insignificant, but Felix is in a fury, flooded with rage and adrenaline, and he grabs the back of Oliver's shirt like he's scuffing a cat, shoving him towards his mother like an offering. Oliver struggles because he feels like he has to, feels wild, feels feral, but it's the most of anything he's gotten from Felix in so long. His mouth stays shut, won't give him the satisfaction of a confession.

"He killed them," Felix doesn't even let Oliver have his power play before he grows bored. He shoves Oliver just a little, grip unyielding despite Oliver's best efforts, like he means nothing to him. Elspeth and Sir James are confused, looking between them both, but Felix isn't done with stringing Oliver up for all of Saltburn to see, "Y/N; he intentionally dosed their drink and left them to die outside the maze."

The Catton parents immediately look crestfallen; it's the first time in months Oliver's felt genuine guilt again. Oliver stops fighting. Felix lets him go. Elspeth asks him if this is true; that heartbroken hope is going to make him sick.

"Just send me away already," he drops his head.

"Oliver," Elspeth's voice is firmer this time; when he looks up, she's stepping towards him, tears in her eyes despite how hard she's clearly trying to hold herself together, "is Felix telling the truth?" Is this it? Is this the final gate to his freedom from Saltburn.

"Yes."

Elspeth slaps him so hard her ring draws blood. Oliver hadn't thought that was even possible, but his head is ringing from the collision.

"Get. Out." She hisses with absolute malice as he's hunched over, clutching his face. Felix is by his mother's side in a heartbeat, arm around her, looking at Oliver with contempt. Behind them, Sir James is ordering Duncan and the other staff members to get Oliver off of the property as quickly as possible, but the look in Elspeth's eyes is burning, "this is my family, you monster."

At first, it almost feels worth it to leave Saltburn. To leave the Cattons and their bullshit and their games behind. He thinks he knows them well enough to trust that they don't want the kind of scandal a murder on their hands would be, and for the most part, he's right.

It's not the Cattons who haunt him after Saltburn, though they may be pulling the strings. It's you. It's you sitting on Felix's bed in his dorm room reading every single detail of Michael Gavey's file with threats on your tongue. It's the casual way you talked about being able to access his academic files to change his grades if he wanted. It's you, tipsy at Saltburn, admitting that you got Eddie transferred without his consent to a university on the other side of the country after he cheated on Felix with Venetia.

There's no place for Oliver to return to at Oxford... He's not entirely surprised about that, however, there's also apparently no record of him ever attending. Any calls or enquiries he makes are shut down with the kind of immediacy that seemed reserved for shows about government conspiracies. When applications open for other universities, it seems websites shut down the minute he fills out his damn name. Nowhere in the world seems willing to consider him.

Having him audited seems like overkill. When it happens the next year, despite no employer willing to even consider him for an interview, the existential dread of his situation sets in.

Felix never had the stomach to finish the job; he'd let you haunt Oliver forever.

[spencer-sweets]

Marvel Fic Recs |James Logan Howlett/Wade Wilson

so like everyone with eyes - i found deadpool and wolverine wildly homoerotic. so, i have been keeping my eye out for some good fanfic of them. while i love the honda odyssey fics, this list is mainly longer narrative or character driven fics. I'll add more as they are completed and I read them.

Unwanted, Dead or Alive by fanficbug Explicit 29,666 “Logan,” Colossus chided. He turned his rage back on Colossus. “No. Fuck you, bolts for brains. No Deadpool? No. Fucking. Wolverine.” *** The X-Men of this universe want Logan to rejoin, but he's not interested unless they let Wade join too. Meanwhile, another threat makes itself known in the form of a skull-faced mercenary.

this one had a nice dose of action and pining and its just really great. i always like when these fanfictions feel like they are actually set in the world they are supposed to be in - with villains and danger just lurking about - and i always enjoy a good fight scene.

Newton's Third Law by capitalismwasamistake Explicit 30,385 “Come on, Wolfie, let’s not fight!” Wade sings as he evades the first swipe with an absurd dance move. “We’ll go dancing tomorrow night!” He retaliates with a kick to Logan’s jaw then both his katanas enter play. “Sorry, I know you wanted more of that song, but we don’t have the licensing budget. How about this instead? Stop!” “In the name of love–” “Before you break my heart–” *** Or, Logan is thrilled he can finally fight someone without holding back. Wade is horny and touch-starved. Oh, and there's The Problem.

this fic earned it's explicit rating. the dove is dead with this one folks. there is a lot of gore and fighting and a vivisection involved but it is a sweet story with a happy ending.

i’m just a human trying to avoid my certain doom (that is falling in love with you) by dazecorr  Teen+ 44,493 He shifted in his seat, the leather sticking to his skin as he absorbed Wade's colourful description. Gun. Even a knife would do. "Trust me, DP." Dopinder’s voice was earnest, almost pleading. "You'll see, everything will play out fine." With a final eye roll, Wade ended the call and slipped the phone into his pocket. As he opened the passenger door and climbed back into the Odyssey, Logan caught the tail end of a begrudging sigh. "Alright, Dopinder's playing the role of our cross-country cupid, so I guess we're doing this." Wade said, his voice cutting through the tension with its playful edge. "But if I end up thrown out of this 'soccer mom special' in the middle of the desert, I'm haunting you first." "Haunt away, you’ll just get a fist-full of salt thrown at your face." Logan muttered, a smirk threatening to break the stern façade. "Keep your hands off the radio." OR WHERE dopinder's getting married, vanessa is the best wing-woman, ellie is a gossip and logan is a very homosexual train wreck OR a poolverine slow burn-ish road trip fic in an immortalised honda odyssey.

im not typically a fan of road trip fics but i really enjoyed this one. it was quiet and soft story between these two. it explores both of them and their characters without the action or violence of the d&p movie.

[carlyraejepsans]

Hey, if you don’t mind the question. What’s your opinion on Undertale Yellow?

8/10 game. pretty good at being a game, not so much at being an undertale story. the gameplay itself was fun, the area/puzzle designs too, the soundtrack was untouchable it literally gave me the same rush i felt hearing sburb initiation for the first time. minor NPCs designs were fun but the primary cast was too monotonous, tbh. (all the main characters have tall gangly very detailed designs save for like, axis). its attempts at landing Undertale's humor were quite often successful, but it held back on exaggeration and caricaturing its original characters which took away that oomph from the canon game. the character writing was... lacking. which is a pity.

i love fucked up women so i was really disappointed that every single one of ceroba's actions/ideas/influences on the story were nothing but an extension of her dead husband. when you take chujin away she's just... A Good Wife and Mother. or starlo's past love interest ig. i mean both dalv and martlet's backstory were tied to her family and we never see them interact at all. but they do have an established dynamic.... with the dead husband. again. UGH. she's just really wasted as a character (she and chujin should've BOTH been scientists and she should've continued the project AGAINST his wishes after he died. she's the main cast character, she should be the driving force in the narrative, not him—even if chujin sets the plot in montion by inventing the serum first).

I'm not a huge asgore fan—not that i dislike him, he's just not a character i care about all that much—so congrats to this game for making me say "he would NOT fucking say that". the "fuck the royals" subplot thing was really unnecessary. actually, that was a bit of a recurring thing in the game. suddenly introducing these Huge Social Dilemmas like labor exploitation, anti-monarchic sentiments, misogyny (bro who on earth "needs to take a wife" this is Undertale) everyone realizing that clover is a child, over exaggerating the violence at stake... while also attempting to maintain Undertale's careless, bouncy treatment of the situation. that's... not how things work. undertale is able to maintain its light tone BECAUSE it doesn't let you take those topics seriously, they're not meant to be. the fairytale-like king, the battles, the child protagonist, they're all set dressings for the REAL story and REAL power imbalance it wants to highlight: that between player and game characters. everything is in function of that. you take that layer of separation and make everyone aware that theyre violently attacking and killing a literal child... that's not. a good thing dude. if it's not gonna impact the tone of the story, why acknowledge it in the first place? it's just unnecessary

anyway flowey neutral run was really, really fun. his dialogue writing all throughout the game was very solid and i had a blast having him around. however, they shouldn't have tried to anticipate his character development. this game is a prequel, you can't do that without undermining his arc in the canon events. pacifist should've had him doubling down on his frustration from the neutral ending. i do all this work for you keeping you alive and you make the same mistake i did sacrifice yourself for them??? are you BRAINDEAD???? what I'm saying is he basically should've thrown the biggest tantrum of his LIFE. oh and in the NM run he should've been terrified when he lost control of the SAVE file. this is the first time it's ever happened to him and now he's gonna die for good. he wouldn't have gloated like he did.

if you want to hear more criticism along the lines of what i said then this post by the fantastic @andreabandrea covers a lot of what i also felt during the game. i know this might sound like a lot of negativity, but the fact remains that UTY was an absolutely phenomenal work of fan creativity the likes of which we have never seen before in the fandom. considering the quality and polish, i thought it only fair to approach it as the piece of art it is and give it my genuine thoughts on the matter.

overall, still a really fun way to spend the afternoon with a pal. so. thumbs up

[alicent-vi-britannia]

The narrative importance of the Ragnarök Connection

Charles zi Britannia believes that humans are liars. His ideology is based on the fact that the suffering of the world comes from deceptions and, for this reason, the Ragnarök Connection consists of destroying the set of masks that people use in front of others to force the people to be themselves. This isn't a hive mind nor the literal destruction of the world. It's about, in Jungian terms, destroying the Persona archetype (the face we decide to show to others, not the one we truly are). This way people wouldn't have to lie, they could understand each other and conflicts would end. Sounds good, in theory. The problem is that the emperor's plan involves eliminating free will and individuality, which reflects Lelouch's parents' rejection of human nature. Charles' view of humanity is quite simplistic, binary and dismissive. That's why Charles appears painted red and blue on a background of the world in the opening.

Lelouch and Suzaku reject this vision and this plan. Lelouch says that people still lie for good reasons (a purpose) and Suzaku agrees, claiming that they may lie to protect others like Euphemia and Shirley who kept Lelouch's secret. Lelouch understands that masks are necessary and are part of people's identity. He proves it in the last interaction he has with his father. Nunnally's smile is a mask, but that doesn't make it fake. It's her way of accepting her unfortunate fate and being grateful that she is still alive and is with her loved ones. Lelouch is aware of this and accepts her mask.

The Ragnarök Connection involves the elimination of the effort that humans must make to learn and empathize with them. Consequently, no new experiences are forged and nothing evolves. And, if nothing changes, life loses total meaning and becomes empty. An empty life is a life without a future or hope or purpose. That's what Lelouch explains to CC and Rolo.

Lelouch tells CC in the seventh episode of the first season: "Until I met you I was dead. An empty corpse existing behind a false guise of life, a life in which I did nothing real. Day to day, I merely went through the emotions of living as if I were a zombie. And I always had the feeling that I was gradually dying. If I’m condemned to go back to that, then I’d rather…"

And then he tells Rolo in the fourth episode of R2: Rolo, what is the future? The future is hope. Without hope, your life is on hold, empty, waiting. And you have no hope beyond your mission, Rolo. If you capture C.C., what sort of future will it open for you? Things will just go on as they are, and nothing will change.

Code Geass often uses Lelouch to emphasize the importance of having a purpose in life, even if all the characters demonstrate it in one way or another. It is one of the main themes. For Lelouch, Zero/the Rebellion was always that future. However, in this episode everything is questioned because Lelouch discovers that one of the reasons for his revenge is false because his mother is alive and, furthermore, his rebellion was part of his parents' plan (and CC to a lesser extent). Given this, he reaffirms his individuality and his will.

God/C's world is the human will, which means that it is a collection of the wills of all the people who have ever existed, including Lelouch's. He activated his Geass, not to use it on God, but to influence it. At that moment his will was so powerful that he not only convinced God to stop his parents, he also increased the power of Geass and unlocked it in his other eyeIt's important to note that he made a wish, instead of using Geass, because that differentiates him from his father. While the Emperor intended to bend the C's world to his will, Lelouch doesn't want to do so. He saw himself reflected in his father. They both suffered in the past and wanted to change the world for the better. The thing is Charles was trying to impose peace and although he had good intentions, it was an evil and selfish act. Lelouch realized he was doing the same thing with Zero, technically.

In this way, Lelouch understands that the end doesn't justify the means since his parents sacrificed everything for their ends and, as a result, lost themselves and their motivations. Humanity's sake or, what is the same, "reunion with those from whom we are separated" was the lie that Marianne and Charles used to convince themselves that they were right and were the scapegoat to justify all the sins they committed and allowed to be committed. Lelouch reveals their hypocrisy by pointing out the unconsciousness of their statements. Although Charles and Marianne took Lelouch and Nunnally away to protect them, they didn't seek justice for the crime committed, instead, they became VV's accomplices by using Charles' Geass on Nunnally and then they did not stop the war between Japan and Britannia because they wanted to get the Thought Elevator on Kaminejima Island for their plan. In the same way "Nunnally" was the scapegoat and the lie for Lelouch in his rebellion, however, Lelouch is honest with himself and recognizes that his true motivation was to protect the people he loved. This sincere display is what persuades Suzaku to work with him once again.

One of the main unknowns of the series is "do the ends justify the means?" Suzaku says, "No, the means determine the ends and that's why I will follow the right path by trying to change the unjust regime from the inside while keeping my integrity intact." Lelouch says, "Yes and I can be this manipulative, control-freak leader over these 'pawns' if it means stopping Britannia/saving Nunally." The series answers that neither is completely correct and that both have their advantages and disadvantages. Lelouch and Suzaku end up realizing it here. Suzaku says, "If you want to achieve that end, you must act." And Lelouch says, "Yes, the means to that end requires me to reject something." That is, both must sacrifice something to achieve their goal.

In short, the narrative objective of this scene is to show us that Lelouch and Suzaku understand what humanity wants and establish themselves as defenders of free will, as well as accepting the virtues and defects of the human condition. It's in the nature of men to lie and be confrontational, but they also dream of a tomorrow. Ultimately, the Ragnarök Connection is the final stage for Lelouch and Suzaku's evolution. Thanks to this plan, they perfect their ideals, manage to unite and are able to save the world. It's an important moment that solidifies all the themes of the series and sets the foundation for Lelouch and Suzaku's final plan: Zero Requiem.

PS: If you think this analysis blew your mind, hope you see it from the perspective of Joseph Campbell's monomyth :P

[raayllum]

Re these prior musings / promises but speculation regarding the secret scene possibly being Claudia murdering Sir Sparklepuff got me wondering, so... let's talk about Rayla, Claudia, and symbolic to non symbolic notions of suicide.

Tw because this will mention / does talk about cannibalism, suicidal ideation, and suicide in passing. If you're not comfortable reading about those things in more detail but you still want the gist of this meta, scroll down to the TLDR that will have a couple sentence summary of the idea.

With that out of the way, let's get into it.

For a while now, I've been interested in the metaphorical mechanics regarding Rayla murdering Viren in 3x09. As we all know (even if Aaravos 'pretends' otherwise in 4x04), Rayla did successfully kill the man, retroactively achieving her earlier mission of killing a king of Katolis because he was responsible for both the death of the Dragon King and because he'd killed Zym (which Viren was in the process of doing).

However, Rayla kills Viren in the most Rayla-y of ways, as she does so without her assassin blades, while acting as the Last Dragonguard, and in a way that means killing Viren is not just an act of protection or revenge, but also something that meant sacrificing (killing) herself.

And this felt notable to me, since unlike either of the brothers, Rayla hasn't killed anyone else. Ezran would've burned people alive with dragon fire if not for immunity spell, and Callum blasted plenty of people off the side of the mountain and presumably to the Storm Spire. But Viren was the sole blood on Rayla's hands, even if the narrative has Claudia (and we'll get to her in a minute) resurrect him. Her one act of murder being something that also, as stated, required her to sacrifice her whole person, and is also in line with her assassin training: "I am already dead."

When Rayla rebuttals Ezran's assertion that "[You spared him] because you knew he was a person, just like you," you can read Rayla's assertion of "That shouldn't have mattered, I had a job to do," solely as her talking about the guard's personhood... but you can also read it, I think, as her dehumanizing her own personhood. She is a weapon and he is the target and that's all that should've mattered.

We can tether this thread all the way up to season four with Rayla's refusal to murder Callum, but put a pin in that, cause now I want to talk about Claudia.

Much like we can read Rayla's attempted dehumanization as twofold, I also think we can read Sir Sparklepuff's mimicry of Claudia as something with multiple layers. The first and likely most obvious one of course is that Sir Sparklepuff mimicking Claudia in earlier episodes is to setup later that he is her (magical, technical?) half-brother and one of Viren's children. Kind of like how we had Ezran and Zym mimicking each other in mid-S2 to set up their mental/emotional bond later that season.

And this implied connection likewise loops back around in the finale when Viren simultaneously refuses to sacrifice Sir Sparklepuff for his own survival while also lamenting that he's led (sacrificed?) his own daughter down a dark path (and perhaps regret that he sacrificed his son once, too).

Arc 2 has also ramped up Claudia's willingness to destroy herself further for the "good of her family" (and her own desires that often steamroll over theirs) in having her take on more and more animalistic forms when doing dark magic, blurring the lines between her de-personalization of magical creatures and also herself.

This reflects dark magic's cannibalism motif quite well, as Claudia carries on metaphorically cannibalizing her own body throughout most of s4 and especially s5: refusing to rest from Terry, using her own blood in spells, etc.

This all reinforces that while dehumanization was something Rayla struggled with for both her target(s) and to a lesser degree herself, it's something that Claudia has only continually excelled at. And we know, thanks to S4 with Rayla walking away from the drake in the woods ("We can't save everyone") that she's gotten better at it as well.

But what does this all have to do with symbolic suicide? Well...

If the secret scene is what a good deal of us have been speculating / that Claudia is covered in Sir Sparklepuff's blood in the teaser trailer, then: if Sir Sparklepuff is a stand in for Viren's innocent, made to be an asset, processing learned behaviour child - if he is a stand in for Claudia - then through killing him, Claudia is symbolically killing herself.

Now, there's no doubt in my mind that Claudia isn't viewing things that way, but we also know just how much she's willing to ruin herself for the people around her first hand, and how persistent that characterization has been: "Are you okay?" "You're going to be better now. That's all that matters." While Claudia also has some selfish, twisted self-preservation in there as well (she cannot or will not cope with the fracturing of her family, even when she really probably should), the self-destructive tendency that's led to her S6 spiral is well established.

This attitude of "it doesn't matter what happens to me, so long as other people are okay/safe" is something we see for many characters, of course, but I think is best embodied in Rayla's continual, emphasized thread of sacrifice / her tendency towards subtle but consistent passive suicidal ideation regarding her own safety and her own wants/desires.

R: Don't worry about my hand. The egg is all that matters. / It doesn't matter what happens to me. / I have to go after [Viren]. / It's agonizing, but I know our mission comes first.

This is important regarding her and Callum in regards to the possession plot line. As long as Callum is Callum (not possessed, or she has reason to believe he's still in there), Rayla likely won't be able to bring herself to kill him. This is from an emotional / characterization standpoint, of course, but from a thematic standpoint, we can see where it stems from Callum and Rayla continually being each other's main connection to their sense of identity.

As long as Callum is Callum ("you're the destiny is a book you write yourself guy"), he's worth saving. As long as Callum is Callum, she can be Rayla ("Rayla's brave. She saves people" / "Rayla. My name is Rayla, and I'm going home"). As long as she's Rayla, he can be Callum. Because if Callum isn't Callum, then he's dead, and if he's dead, she can kill him. And if Rayla kills him, if Callum is dead, then she won't be Rayla anymore. Because to literally kill Callum would be to simultaneously symbolically/emotionally kill herself.

Now of course, some of this is already differing wildly.

If Claudia is going to kill Sir Sparklepuff, it makes the most sense for it to have already come to pass in 6x01, whereas Callum and Rayla's plot line would only come later on in the season. Claudia will presumably succeed at her symbolic suicide, but that doesn't mean she's not still worth saving / unable to be saved in the future (perhaps by her family). Rayla will probably fail at her symbolic suicide and succeed at sparing herself through sparing/saving Callum.

However, it's an interesting symbolic thread and potential foil contrast, and I thought it was worth pointing out. I hope you think so too!

TLDR below:

Due to Claudia's parallels to Sir Sparklepuff, if she kills him it holds a layer of her symbolically killing herself. In contrast, Rayla's symbolic suicide would be in killing Callum, as that would destroy her own sense of identity/life. For Claudia, this means likely being saved later by her family, and for Rayla, this means likely sparing Callum and herself simultaneously, thereby saving and sparing both of them.

[catastrophicdisasters]

alright i need to ramble abt TUA s4 somewhere that isn't at someone who doesn't care lmao

putting it under a see more bc a lot of it is based on stuff that's been said in the recent cast interviews and could definitely be considered spoilers

tl;dr: a theory post about who, if anyone, i think is going to die this season (and why, ranked by how narratively coherent i think their death would be, and how it would - or wouldn't - round off their character arc)

emphasis on the "i think", as obviously this is my opinion on what i think would make a satisfying narrative

so, in one of the interviews from today, Robert is asked how he feels about the "kind of sacrifice" at the end of the story, and his response is "yeah there's a kind of death that happens" and to then wax philosophical about physical death vs the kind of death that happens when the memory or the person is gone, and how there's a "kind of passing that happens"

and like, most people are convinced that someone's going to die by the end of the season, myself included, but i've just had another idea Robert really talked AROUND the word death, saying "a kind of death" and "a passing", and with him talking about that 'do you die when you physically die or when nobody alive can remember you' style thing, I'm thinking that maybe someone gets themselves erased from the timelines

so they still EXIST, as theyre not physically dead, but because nobody can remember them, it's still a kind of death (exactly like Robert said)

whether or not that person retains their memories is kind of irrelevant, though them keeping them does make for a more tragically satisfying arc - they gave up their existence to keep their family safe/save the world, and yet none of them will ever look at them with recognition or love again, and will never truly know just what they did for them. i think that could be done really well, as there's a special kind of beauty in a character who is happy to accept their own end in order to protect those they love (also, if i wanted to get super analytical of that, i could draw parallels between that idea and the trailer's choice of song - The End; the opening song of The Black Parade album, the funeral song that kicks off the narrative album with themes such as the life that comes after death-)

~

now, with that said, i want to go off about who my top choices for death/erasure actually are:

well, first i want to say who i don't think it's going to be, and that's Diego and Lila. and that is because they've set up this little family arc for them via Lila's pregnancy, and right from ep1 it was established that Diego was the most attached to Grace - his mother figure - highlighting the importance of the parental figure in his life. both of them have a strong sense of detachment and independence / not needing anyone else, while actually longing to be part of something, to have a family unit. so with the two of them now being married and having a child together, especially given what Ritu said in an article - that "they are not really communicating and are snapping at each other" - it sets up the perfect arc for them to find their place, together, and forging the family dynamic they both so clearly want.

I could talk more about them (i.e, Diego having multiple instances that make reference to his desire to prove himself to his father, vs Lila collapsing post s2 because she just wanted to know if The Handler - if her mother - ever really loved her), but that's not the point of this post

so working backwards from who i think is least likely (and why, obviously):

Viktor:

- originally i had a big question mark over Viktor, bc ive always kind of struggled to pick up the threads of his arc, but even then i still don't think that death/sacrifice would be narratively satisfying for him? is it possible that he sacrifices himself to save his family? i mean… i guess? he's always been more passive and less confrontational than the others, so even if the opportunity presented itself i feel like someone else would probably beat him to the punch

- BUT, that's still not actually the reason i think it won't be him - it's because i think a more satisfying ending for him would be for him to have everything he was denied in childhood. with him coming out, they've set themselves up really nicely to push an ending for Viktor that has him finding himself, understanding himself, and finally being happy with himself. whether he ends up keeping and accepting his powers or not makes no odds as long as HE makes that choice for himself! let him be surrounded by family/people who love him for who he is, let him choose to live for himself and be happy!

Allison:

- i have a similar problem with Allison that i have with Viktor, in that i don't really know where her arc is going, at least as far as the Hargreeves are concerned. Allison's been pretty clear that her priority is her daughter, getting back to her daughter, protecting her daughter. and now she has her back. and she even has Ray back!

- i've never reeeeally been a fan of redemption through death (though there are exceptions), so the thought of her being the one to die/sacrifice herself to save the rest of the Hargreeves just… doesn't sit right with me. particularly because i'm also fairly sure i read somewhere that Emmy said that Allison is kind of "done" with the Umbrella Academy family stuff, and that she's all about being a mother again, which brings me to my next point;

- Allison dying would actually have more of an emotional impact on Claire and Ray than it would to any of the Umbrellas. and, as nice as Ray is and I'm sure Claire will be, they are not the major characters in this show. they are not the ones we have spent three seasons connecting and sympathizing with. would her death still have impact? of course! but i think that there's too much to resolve (such as the events of s3, the fact that she already feels done with them all) to make her death be tragic and satisfying, and to still wrap up everyone else's arcs and the story as a whole

- her finding a way to accept and love her Umbrella family instead of constantly trying to distance herself from them, and learning to balance the family of herself, Ray, and Claire, with her family within the Umbrellas feels like it would be more satisfying for her than sacrificing herself to save the Umbrellas / the world

- could she still end up sacrificing herself to save Ray/Claire, and that in turn leads to someone else dying? yes, absolutely! or something happens to Claire and she no longers cares about living because she can't lose her daughter again? also yes, but that feels a bit... too dark, even for tua

Klaus:

- i feel a little controversial, putting him so far down the list (he's still placed fourth out of eight, though), but the thing is - with his powers back, he is functionally immortal. at that point, the only way he's dying is if he chooses to die. which could still lead to a satisfying end!! the boy who was scared of the ghosts he saw, who became scared of dying, becoming the man who chooses to die? very tasty potential, there. contrasts very nicely with the fact that he kept bringing himself back to life without even realising

- buuuut, that would conflict with what we've heard so far about Klaus's storyline this season; Klaus becoming a scared-of-everything germaphobe, having to learn "how not to be scared of life", falling back into addiction, and learning new aspects of his powers. i don't really see how all of that would lean into a storyline of him accepting death, ya know? it's a lot to do, with not a lot of time to do it well

- i will say, though, that i do love the idea of him somehow finding Dave in the afterlife, and that being part of helping him to accept death - that he can be reunited with the love of his life (this falls apart, however, when you realise that Dave's actor isn't currently credited for any episodes on imdb. still doesn't mean that he won't be, but... makes it less likely)

Luther:

- i genuinely debated with myself about who gets third slot between Luther and Five, but ultimately decided on Luther (which i'll further explain during Five's section)

- Luther literally has no purpose outside of the Umbrella Academy. in s1, he was defined by his being the only 'true' remaining member of the Academy, and having been sent to the moon for a seemingly pointless mission (and even though we now know that he was sent there to protect Abigail - she's alive now, so that doesn't really need revisting). s2 also had him at a loose end - he was fighting simply because that's all he thought he was good at, he tried to give his relationship with Allison another go once he realised she was alive, only for it to turn out that she's married, and then he was a (frankly, terrible) spotter for Five during the paradox psychosis fiasco. s3 literally had him get kidnapped by the Sparrows without anyone really noticing, and although he did eventual fall in love and gett married to Sloane, she vanished with the resetting of the universe. Sloane, incidentally, also doesn't have her actor listed on imdb as returning for s4

- he doesn't really have a multi-season arc to finish off; in fact, the only consistent facet of his personality is his desire to protect his family and 'do the right thing', whatever that might be

- i feel like for him, a good arc to send him on would be him becoming comfortable in his gorilla-body and maturing into the confident leader that would be expected of a "Number One". but, given the way his character has evolved (or devolved) through the series so far, i don't really see them doing that

- in fact, i think it's much more likely that they kill him simply because they don't know what else to do with him. which, ya know, kind of sucks

- HOWEVER, i do think there is good potential in having the first major leader-like decision that Luther makes - free from the influence of others - being to sacrifice himself to save his family. the one time he stands up and says "no, i've made my decision, and it's time for you all to respect that" while also tying it back to his overwhelming desire to love and protect his family? oh yeah, that'd be some good shit right there

Five:

- my god please just let the old man rest

- so, i think Five is less likely to flat out die than Luther is, but i do think some kind of timeline fuckery is much more likely where Five is concerned

- considering what Adian has already said about Five's arc this season

- "He doesn’t know what his place is in the universe. When he goes on this emotional arc with Lila, for the first time, he feels there is a reason for living." - i honestly think killing him would be an incredibly shitty thing to do. having him finally, finally, find his place in the universe, after getting stuck in the apocalypse at THIRTEEN, where he finds his entire family dead, proceeds to then spend 40 years alone, trying to get back to his family, before being picked up by the Temps, turned into a killer, finally getting back to his family, only to end up stuck back in his teenage body AND having to deal with three weeks of constant apocalypses, to then kill him???? jesus christ that would SUCK. like, i'm aware i have bias because Five is one of my favourites and i think his arc has some insane narrative potential, but i cannot be the only one thinking that if they kill him after all of that it's just going to leave a bitter taste?

- THAT SAID!! that said, i do think that it's likely that he would be the one that ends up getting erased from various timelines in order to save his family

- his whole thing has been about getting back to his family to save them from the apocalypse - to have him find his ultimate purpose being to do exactly that? it makes sense!

- in erasing himself from this timeline in order to save it, his purpose also then becomes founding the Temps Commission, with the intention of preserving the new main timeline that he literally 'died' to create and protect (and considering that they technically exist outside of the timeline, who is to say this isn't all part of Commission Founder Five's master plan anyway? hell, given that the Commission resides in the year 1955, he can go play guitar with Marty McFly and bitch about the perils of time travel while he's there)

- it would also solve the awkward elephant in the room; the fact that as of s4 he looks 18 but is actually in his 60s. he can erase himself from the main timeline, putting himself back into his old man body, and retire in peace knowing he's successfully saved his family and given them a future by also saving the world

- it's so deliciously tragic

Ben:

- oh god okay here we go

- i adore Ben and don't really want him to die, but i'd be lying if i said that his death wouldn't be incredibly satisfying, in the way only a true tragedy can be

- we all know this season is going to be focused on him and how he is going to be the one to cause the apocalypse this time, so it ending with him would make sense

- Blackman (the showrunner) has also said that he "wanted to come full circle with the family relationship". what is the FIRST thing we know about Ben? he's dead

- for the first two seasons, he haunts the narrative in a literal sense by being a ghost that only Klaus can see and so still sort of interacting with things, but considering we don't yet know what the Jennifer Incident is and how it actually affected the Umbrellas moving forwards, it could turn out that he has also been actually haunting the narrative - he's dead but so much has been driven by the nature of his death

- i also just really love the idea that the first thing we learn about Ben is that he's dead, and that also ends up being the last thing we learn about him

- taking it a step further, given that the Ben in the recap was definitely Sparrow Ben, it would be disgustingly, delightfully tragic for the final fate of Sparrow Ben to be the same as that of Umbrella Ben - that nothing any of them did actually mattered, because in the end, Ben was always going to die (can you tell i like a good tragedy)

- also, going far too deep into it (to the point that this isn't so much evidence that Ben is the most likely to die, but just a nice little tie in), parts of Ben's arc very much tie into the narrative of The Black Parade. you know, the MCR album that the song they used in the official trailer came from. The Black Parade, as an album, opens with a funeral song (just like the show opened with a funeral) and then continues to go over The Patient's life after death, the experiences from the afterlife, and even reflecting back on his life. quite fitting for Ben, in a way

- ANYWAY! Sparrow Ben also spent a good chunk of his time in s3 desperately wanting to be part of the Umbrellas, but having no idea how to go about it. the thought of him sharing the fate of Umbrella Ben and therefore becoming just like him, becoming Umbrella Ben? poetic

- there is also my sort-of half-theory, that the reason Ben is being overloaded with the Marigold is that he's actually somehow channeling both versions of Ben, so has twice the amount he should have, thereby destabilising him in some way, and one of the Bens needs to die. but, that doesn't really tie into Jennifer in any way, because that wouldn't have happened in the original/main timeline

- Ben is also the only character to have actually existed as multiple versions of himself in the two timelines - again, it is a perfect tragedy for him to die in both of them. maybe this time they save him from the Jennifer Incident, only for him to choose to sacrifice himself to save them all. ergo, it didn't matter, it didn't matter, he was always going to die

- i really like a well executed tragedy, okay? i also feel like it's one of the few satisfying ways to successfully kill off a character. still hurts like a bitch, but at least it was worth something

~

okay well, this got sufficiently away from me! kudos to you if you read the whole way through, and i do not blame you in the slightest if you skipped through lmao i also probably missed a few things, and maybe got a few things wrong so uh, whoops on that

tl;dr: probably won't die: Diego, Lila unlikely to die, but possible: Allison, Viktor wouldn't surprise me if they died: Klaus, Luther probably won't die, but might end up erased from the main timeline: Five most likely to die (and would be beautifully tragic): Ben

again again - purely my opinion!! and also what i'd like to see, based on what i personally feel can make a good narrative!

good luck for the 8th brellies <3

[zvtara-was-never-canon]

Hey, i follow your blog for several weeks now and think you make some fresh of breth air.

What is your opinion on aang and his arc in general ? Are you critical of the lion turtle at the end and think it was a selfish moment when he did not redirect lightning back at ozai?

Despite of all the shipping wars :)

Let's make a distinction clear here: the lionturtle was poorly set up, that is a totally valid complaint. Claiming that a traumatized 12-year-old, who as a bonus was raised to be a pacifist, is being selfish for not wanting to be people's assassin for hire is complete lunacy. He's a child, a person. He's not your super weapon/soldier, and his responsibilities as the Avatar don't change the fact that what people are expecting of him is unfair and deeply traumatizing.

And actually, Aang's role as the Avatar and the way people misunderstand it ties into why I think his arc was great: he has a duty to the world. The WHOLE world. Fire Nation very much included.

He isn't there to wipe them off the face of the Earth in retaliation for what they did to his people. He isn't there to have them be ruled with an iron fist for the crime of being born in the wrong place/culture, regardless of how complicent every individual was, or wasn't, in the war. He isn't there to disregard anyone's humanity and inherent right to life and dignity, not even Ozai's, for "the greater good."

He is there to bring back harmony. To help put the Fire Nation back on the right path. To make them stop being a threat, yes, but through REDEMPTION, not violence.

That's why he learns that the kids were taught lies basically from birth, and that any form of self-expression, and even old Fire Nation traditions, are being suppressed. Why he turns to Iroh for advice in Ba Sing Se even though the old man was constantly helping Zuko. Why he could see the lonely, angry, sad child hiding behind Zuko's hostile behavior. Why he too needed to see that fire could be both life and death, and thus should not be hated but also not used caressly, because even though he is an air-nomad before anything, that is still his element too.

The Fire Nation's original culture might not be his primary identity, but it is part of him, and he's one of the few people alive that were there to witness it in it's true glory - and the only one who hasn't had time to get used the idea of them being nothing but a threat now. That's why Aang is the perfect guy to save the day. He won't let them do evil, but he won't let their potential for good be ignored.

And it's sooooooooooooooooo satisfying to see the Fire Nation needing to rely on Aang's air-nomad culture to help. To see him prove Ozai was wrong to think they were just dead-weight in the world, that they had nothing of value to offer (and grabbing the fucker by his stupid beard).

To see Aang, who lost his people, saw sacred temples and relics destroyed, and that even had to hide his arrow, screaming to the whole world that the wisdom of the airbenders was the one hope for a brighter future and being validated by the narrative for it was fucking beautiful.

Aang was a child that was constantly told he had to sacrifice everything, his beliefs, his peace of mind, his culture, his attachment to the people he loved, what was left of his childhood and potentially even his own life for everyone else's sake, and that he was selfish if didn't like that shitty deal the universe offered him. And in the finale he said "FUCK THAT NOISE!" and that was thing that ultimately saved everyone, not just himself.

He is the poster boy for "Fuck you! It's real easy to talk about sacrifices for the greater good when you're not the one who'll have to sacrifice anything!" and I love him for that.

Seriously, it's crazy how fans that go "Urgh, just betray your beliefs and traumatize yourself for everyone else's sake already, you selfish asshole" don't realize they're unironically talking like an actual cartoon villain that is know for being cowardly and cruel.

[cbrownjc]

Armand question: who’s Armand’s endgame? (Daniel or…?) Does he even have one?

Hi Anon!

Your question actually goes into a theory I've been starting to have, so I'm going to throw that in at the end of this answer.

So, within the first three books in the series, at least, you can say Armand's larger goal usually is, at its core, finding a companion that'll help him connect to the world.

Armand actually wanted Lestat to be his companion when they encountered each other. Lestat turned Armand down, basically with a "you and I wouldn't work out together," which more or less pissed Armand off. (And it's been antagonistic between them ever since. But don't get it twisted - if Armand could have Lestat in that way, if Lestat was at all interested, Armand would jump at the chance.)

When we meet Armand again in Interview with the Vampire, it's Louis Armand gets eyes on for a companion. Which he ends up getting for a time (a long time). By the time Louis gave his first interview, he and Armand had split up though.

Armand encounters Daniel after that first interview happened and, after a time, Daniel becomes his companion and his connection to the modern world.

Armand is basically the story's main antagonist within the first two books, only starting to not be one by the third. And my guess is the show is going to have him in a similar role here, especially for S2, since it will for sure be covering the latter half of the IWTV book at the very least. Which is when Armand goes hard in his endgame to make Louis his companion.

As in the book, I think Armand has lied to both Lestat and Louis that the other is dead. All to keep Louis with him.

Where Daniel fits into this, I can only guess. But I don't think it's a coincidence that the show has Armand's book-canon endgame companion/lover in the story here. And that Daniel clearly has missing memories about Armand, as was confirmed in that final scene.

In Queen of the Damned, when Armand had Daniel by his side, his full obsession was with Daniel. He even saw Daniel as a gift to him from Louis.

As far as the show goes, I think Armand's goal has been to keep Louis by his side. I don't think he's BS-ing about Louis wanting to kill himself. But I'm also not sure that Daniel is even going to be allowed to publish this book now, at least to the wider world, that would have Vampires coming to try and kill Louis for it. Because there was clearly a set narrative that was supposed to be told to Daniel for that book. But Daniel is way better at his job than he was back in 1973, and he was able to crack through that set narrative.

My feeling is that Daniel is for sure not leaving that tower penthouse apartment. He's as much trapped in that gilded cage as Louis is now.

And this is where my theory/speculation comes in:

Armand, in the book, would keep humans as pets. And I think we're going to see his character doing that in Season 2. Daniel himself was pretty much a pet at the start of his entanglement with Armand in the QotD book, before Armand fell in love with him.

And I think show-Daniel was that very thing at one time too. Back when he was younger. A very beloved pet - "our boy" - but a pet nonetheless.

But, unlike Armand's other human pets in the book, Daniel was never killed by him. And Armand, due to his love for Daniel, eventually turned Daniel when he was dying.

In the show, Daniel was clearly not killed or turned. I think he was let go instead, with altered memories. Because I think Daniel was with Armand and Louis for longer and more than just that failed interview night in 1973.

I think for sure that Louis and Lestat are endgame on the show. But I do not think there is going to be any sort of extended love triangle between Lestat, Louis, and Armand. Louis chose Lestat over his beloved Claudia. If in full possession of himself and knowing Lestat is alive, Louis would choose Lestat over Armand every single time. Which is why Armand even has to manipulate to have Louis with him now.

So, I'm pretty sure, at the moment, that Daniel is Armand's true endgame. Even though I don't think Daniel nor Armand know that themselves yet. (Daniel because his memories have been altered, Armand because he's still locked in with Louis.) But that is the course I think they, and the show, are headed.