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storiesfromafan · 3 days ago

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He's Not So Bad (18+) - Mattheo x Reader

A/N: I bring you the awaited follow up to He's So Annoying 😊

I hope this ain't too bad. I finished writing it this morning before work. And just finished revising, so forgive me if there is any spelling/grammer mistakes.

Also, today wasn't such a good day at work, would appreciate some love 😅

Warnings: spelling/grammer mistakes, public sex, p in v

Prompt/s: “Can you feel how much I want you?” and “You’re mine"

Tag list: @moorningvoice @legobookstore @revesephemeres

After Potion’s class, you found Mattheo flirting and annoying you more with every shared class for the last few days. And every time you do your best to ignore him or put him in his place, he continued to drag up that night. You began to think he enjoyed remembering it, and like if he mentioned it, you’d jump back into bed with him. And you wanted too. But your better judgement told you no, he just wanted you physically.

Unfortunately this day was the day he’d followed you out of your last class – Divination – and was adamant on giving lost puppy energy. And that was even with people around.

“Honestly, why do you keep chasing me, when there are so many willing females that would gladly be your bed buddy?” You sighed turning down a hallway that looked to be deserted.

Mattheo shrugged. “I like the chase with you. It’s a challenge, love”.

“Don’t called me love!” You shot back, sending him a glare. Which made him smile.

Mattheo thought it was funny how you hadn’t clued on. How he was infatuated with you. His constant presence, annoyance and the nickname – love – were tell-tale signs of his affection for you. Hell, he’d even gotten detention the other day for hexing a Hufflepuff guy who Mattheo overheard planning to ask you out. You were his. And that meant you were off limits.

Mattheo chuckled. “Deny all you like, love, but I know you enjoy it".

Rolling your eyes while you picked up the pace, wanting to put distance between you too, as well as get back to the Ravenclaw house. The only place you could be free of the menace on your heels. If only you know what was about to come.

You felt a hand wrap around your wrist, then being pulled down a dead end of the hallway. Your body being pressed against the wall, hidden behind a statue and pillar. Another hand was pressed against you mouth before you could even make a noise. Before you was Mattheo, the person who had dragged you down here and pressed you against the wall.

Your shock expression turned to that of a glare. Which told him that you weren’t going to scream, probably tell him off, but he could handle that. So with a small, sweet smile on his lips, Mattheo removed his hand. Instantly you let him have it.

“What the hell! What are you thinking!?” You voiced, tone sharp and annoyed.

Mattheo remained quiet, admiring the fire in you. He moved the hand that had been over your mouth, to push back your hair so it was over your shoulder. Before running it along your jaw and down your neck. You shuddered. You told yourself you had to be mad, and not show how his simple actions affected you. Because they did. His touch was electric, the pads of his fingers running slowly over your skin, sending your heart a flutter.

Mattheo of course noticed the shudder, and the slight change in you. He’d been studying for so long, he knew the signs. The hand holding your wrist moved to rest against the wall next to your head, almost completely caging you in. His warm chocolate brown orbs had darkened with the thought of what was to come. So long as you let him, of course. Mattheo wouldn’t do anything you didn’t beg for. And he’d have you beginning.

Leaning in, Mattheo ran his nose along your jaw, taking in the faint smell of your perfume. Which he noted he needed to find out what it was, so he could buy you more, for it was his new favourite scent when mixed with your own smell. You stiffened at his action. You didn’t expect Mattheo to be this forward. Sure, he liked to flirt and bring up that night, maybe even tell you what else he’d like to do to you. But actually do it? This surprised you.

“You smell so good" Mattheo softly groaned before nipping your jaw, making you jump. “Jumpy, love?” He chuckled.

You shot him a dirty look, which he enjoyed oh so much. “N-no" you retorted.

Once more Mattheo chuckled, before kissing your jaw and then nipping once more. Again you jumped, but not as much as the first time. “Hmmm, you are jumpy" he commented teasingly.

You placed your hands against Mattheo's chest and push, hoping he’d get the hint and back up. But no. He only moved closer, your strength nothing for him. Before your hands could be trapped, you moved them to his shoulder. Bad move. It not only allowed Mattheo to press his body completely against yours, against the wall. But also gave him the idea you wanted him. Which you did, but tried to fight the spark between you both.

His lips moved to your neck. Kissing and nipping. You fought the rising moan that so badly wanted to be freed from your lips. No, you couldn’t let Mattheo win. Yet the moment his free hand skimmed up your side, coming to rest under your breast, you wanted to whine, wanting him to touch you there. And you know he wanted to, the way his hand slightly shaked against you, his restraint impressive. But he wouldn’t just do it, not without permission, your submission and begging.

The hands on his shoulders grasped at his white button up shirt, your nails would have dug into his flesh if not for that item of clothing. The memory of how your nails felt on and digging into his flesh flooding both of your memories. Recalling how Mattheo moan and groaned from the scrapping down his back, and the reminder he had for a few days. He wanted your mark on him always. But that would be another time.

Yet you were holding back, and he couldn’t have that. He needed you to give in to him. Mattheo pressed his lower half closer to you, his arousal pressing into your hip.

“Can you feel how much I want you?” He groaned lips having moved to your ear, his hot breath tickling. “So badly I need you, love”.

Your breath caught in your throat from the feel of him and his admission. Which hit straight in the pit of your stomach, adding to your arousal. You pressed your legs together trying to will it away, but the embers were lit. From here it would just grow to an all-consuming fire. Against your better judgement, and senses, you moved a hand to the back of Mattheo's head. You grasped his brown curls, before pulling his head back so you could look at his gorgeous face. Expecting a knowing smirk upon his lips, you would have been surprised by the dark look on his face, if you weren’t lost by desire. Which mirrored in his eyes.

You pulled him in so that your lips collided in a hard, messy kiss. Giving all in. Which Mattheo accepted. The hand resting under your breast moved to cup your mound, that you sighed at. Taking his opportunity, Mattheo slipped his tongue into your mouth, claiming it and your tongue for himself. Feverishly his tongue moved with your own, a frantic dance.

While you lost yourselves in the kiss, Mattheo moved both hands down your sides. Moving over your hips and down your thighs. He moved down and you continued to move with him in the kiss. Mattheo then moved his hands back up your thighs, under your skirt, to the back of your thighs. Before you knew it, he had lifted you, bringing your legs up around his waist. His hands groping your behind, while he pushes you further against the wall. His arousal pressed against your aching core, both clothing separating those intimate places. With a hard, slow grind against your body from Mattheo, you pulled back from the kiss and moaned. Instantly he moved to sloppily kiss your neck.

“W-we shouldn’t b-be doing this h-here" you managed to choke out, as he kept grinding against you.

Mattheo groaned against your neck. “But I need you now, love. I can’t wait" he retorted. “No one will know, as long as you’re quiet".

The way his voice lowered and had this desperate tone to it, it just added to the fire. With those words and tone your last shred of sense left you. Too far gone now to back out. You bucked your core against his arousal, solidifying you heard and understood him. And that pleased Mattheo so much.

One of his hands moved to your clothed sex, fingers finding your bundle of nerves and pressing it over your panties. You groaned softly, before you mewed when he moved those fingers in circles over the nub. You rested your head against the wall, eyes closed while your hand gripped Mattheo’s hair. He moved his head back, drinking in the sight of your face and his hand pleasuring you.

When he abruptly stopped his ministrations, you shot him a dirty look. He chuckled. “Patience, love. It’s just beginning".

He placed a long, chaste kiss to your lips. While his hand moved to his slacks, he pulled down his zipped and managed to free himself. It was a moment of relief for Mattheo, for his hard member had been in torture being confined. Using his hand he pumped himself a few times before feeling the over whelming need to be inside you. So, letting himself go, Mattheo moved his hand to your panties. Pushing the clothing a side, he jostled you up the wall a little move, hand firm on your behind.

Moving himself to your entrance, Mattheo ran the tip along your folds, gathering your slick. When the tip nudged your bundle of nerves, you groaned, feeling a jolt in the pit of your stomach. He did that a few more times, enjoying the noises and how your face looked from his actions.

“Fuck, I can’t wait to be in you" he sighed, lining himself up at your entrance.

You didn’t say anything, or get the chance too. For Mattheo began to push into you. Slowly the tip entered you, followed by inch after inch. He growled at how tight you were around him. But eventually he pushed all the way in, bottoming out, fully inside you. He waited a few minutes, letting you adjust to him and relax.

After a few minutes Mattheo started to pull out till the tip was just inside you, and with a snap of his hips, he pushed back inside. Over and over he did this at a slow pace. Your hands gripped his hair and shoulder, back arching, clothed breasts pushing up against him. You felt so good, like heaven, just like he remembered but better.

There you were, in a dead end of a deserted hall, with Mattheo fucking you up against a wall that was just concealed from sight. You should have protested the public setting, but when he felt so good, and made you feel so good, you couldn’t do anything but take it.

With a harsh snap of his hips, you bit back a loud moan, for he’d reached that spot with in you. And with every second or third thrust, Mattheo was hitting it repeatedly. You buried your face in his shoulder, holding onto him tighter, a small whimper leaving your lips. Knowing how good he was making you feel, Mattheo picked up his pace, chasing your releases.

You felt that coil in your pit tightening with each thrust, your sex tightening around him every time after hitting that spot deep within you. You both were a panting and sweating mess, lost in this moment and the other.

“You're mine" Mattheo groaned, thrust harsher into you. “Tell me you’re mine!”

You moaned against his shoulder, from his thrust and words. Being so sex drunk, your better judgement was out the window. “I-I'm yours" you moaned.

“I can’t hear you" he groaned, gripping your ass with both hands as he thrust deeply and moaning.

You let out a small cry when he did that. “I-I'm yours!”

Hearing you better, Mattheo grinned. Pleased with your answer. Without saying anything else, he focused on getting you both over the edge. He focused on his thrusts, long and hard, and trying to hit that spot over and over. That coil in your pit tightened with every thrust. You found yourself tell him you were close. So he worked harder. Soon his thrusts got sloppy, but he kept at it.

When you finally came, you told him just before that coil in your snapped. You tightened around him, moaning Mattheo's name and riding out your release. With a few more sloppy thrusts, Mattheo finally hit his own release, a groan leaving his throat. He thrusted a few more times as he coats your insides with his release. Mattheo buried himself inside you, body leaning against you as you both tried to catch your breathes.

It was silence, except for your soft panting. Mattheo rest his forehead against your shoulder, while the hand in his locks ran through them. He was savouring this moment. While you wondered what this meant. You were confused by his want for you to say you were his. Was it something to help him get off? Yet you were unsure of voicing that question.

After a while Mattheo pulled back, and he removed himself from you, covering you back up with your panties. He helped lower you to your feet, which were a bit shaky. But once he was sure you were standing, he put himself back in his pants and zipped them back up. It was silent between you both, for you, you were unsure while Mattheo was satisfied and content.

Feeling self-conscious, you picked up your bag and were about to leave. “Um, a-alright" you stuttered. Unsure of what to say after a quickie in the hall.

You had just moved past Mattheo, when he grabbed your wrist. “Where are you running off to love?”

You sighed. “I told you, I’m not your love”.

Not hearing a retort or him releasing your wrist, you turned to see a knowing smirk on Mattheo's face. He moved closer to you, hand moving to lock with yours, as he pulled you closer.

“Oh, but you are love” he said in that overly sweet tone. “You said it yourself, you’re mine”.

Your face flushed. While all words left you. That was the moment you realised you had unknowingly given yourself to Mattheo Riddle. You were his. And he was completely yours. Slowly a smile crossed your lips. You decided to accept your fate. He’s not so bad.

#mattheo riddle x you #mattheo x reader #mattheo riddle x reader #mattheo riddle x fem!reader #mattheo x y/n

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makiitabaki · 2 days ago

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Finally answering this:

Thank you, @saintjustitude for asking me to rant—I adore doing just that :]

(First of all, thank you to everyone for waiting. I know I took a lot of time to write this, but I had only around an hour free every day, and I usually spent it searching for sources. My knowledge is limited; the play isn't available. I rely on memoirs, interviews, and reviews.

My inbox is always open, and if anyone has any Wojtek questions, I'd be absolutely delighted to answer them. And I mean it. It can be anything.

Every quote was translated by me. All my sources are listed.

Unfortunately a part of it wasn't saved, and I don't have access to some info anymore but this post will probably serve as the beginning of a longer thread.)

And now: “Sprawa Dantona” (1975).

1. How did it all come to be? Why was ‘The Danton Case’ and not any other play?

When I say ‘Danton’ directed by Wajda, most probably think of the 1983 version, a political metaphor: Comsal representing the Polish government, Dantonist representing Solidarity. Was it like that originally? Was Wajda just calling for a fight with the government, transforming Przybyszewska's work to fit his own narrative?

In short: No! (At least if we're referring to the 1975 version, the film is completely another story; I'll gladly make another post about it.).

Zygmunt Hübner (I have mentioned him already in this post) chose Wajda to direct the play even though the latter was a relatively young director; something was telling Hübner that giving the play to him would be absolutely necessary. Pszoniak later referred to that event as Wajda being cast in it as much as he himself was.

The play was simply a way to introduce the artistic team Hübner created. There was none of some “noble patriotism’ or 'anti communism'. (None of what Wajda described as the purpose of the later film.)

Why was that play in particular chosen? That is unknown.

“The idea [of exhibiting that play] came from the fact that Hübner was looking for a play (…) that would present his artistic team as a whole, which he assembled with great imagination and intuition.”

At first, Pszoniak laughed into Hübner's face when offered the role. He thought it fine, intruiging, but the character of Robespierre was so foreign to him that he couldn't give anything from his own person or his own experiences to his Maximilien.

He asked for the role of Danton; that role seemed to fit him way better with "his [Danton's] sensuality, his dynamic physiognomy, and his balls."

Wajda and Hübner were quite insistent and more or less forced Pszoniak into the role.

“Hübner and Wajda were so stubborn that they did not take my objection into account. Nothing there [in the role] suited me; there was no starting point for the role. I had no right to play it. But they convinced me for so long that the whole situation with ‘The Danton Case’ became a dead end.”

The transformation from simply a good play to something entirely political in Wajda's eyes was very slow but steady. On that a little later.

2. Pszoniak wasn't ready to play Robespierre? How did he prepare for the role then?

It's very important to note that it was not bad will that made Pszoniak initially refuse the role, but the theater typecast he was put into and which he almost got used to. All of his power and stage presence were connected to his own physicality, to this sort of mobility and expression that he had to (presumably at Wajda's request) abandon while playing Robespierre.

Wojtekspierre getting his hair cut from a man with surprisingly modern glasses

Whether he was in a tragedy or comedy, it was the unique liveliness that made him so different. Suddenly he was offered the role of Robespierre, a man he only knew from unfavorable history books, portrayed a certain way by Przybyszewska, and he's made to stand before the expanse of that character's personality in a try to make him someone physical.

While it might seem quite shocking, when preparing for the role, Pszoniak didn't even read any Robespierre biography. Why? According to him:

“I didn’t think at all about a historical figure, and besides, you can’t play any historical figure. I put aside the books on the French Revolution. I read them much later, when, years later, in Paris. (…) I didn't want to portray a historical figure, so I didn't judge or evaluate him. I simply tried to get closer to him, to understand him as a person. Przybyszewska herself made it easier for me. The text of the play clearly indicated that she was fascinated by him. (...) Przybyszewska constructed this character in an unusual, enigmatic way. I clung to this fascination, it was a reason for treating Robespierre with empathy. This is a necessary condition for creating a character, without empathy you will never be able to get closer to the man you are to become on stage. Wandering through the labyrinth of his emotions, motives for action, opinions he expresses, I became so strongly attached to him, he took over me so much, that as a result I became Robespierre-Pszoniak.”

Pszoniak admitted he didn't want to play a politician [but, of course, as we all know, he was later forced to in ‘Danton’ (1983)].

The preparations took time and patience (especially from his wife - Barbara). Pszoniak tends to describe it as a painful process. Robespierre's physical expression was compared to being bound tightly by his own flesh, almost imprisoned by it, but freed by his mind. Pszoniak realized that all of the power in portraying Robespierre could only be gained from a deeper reflection. How to show a mind on stage?

That Pszoniak didn't know, and so he made the decision to show Robespierre's determination and faith instead of simply a calculated brain. To show a path, an objective. That's why the last scene was so hard to play (conversation between Robespierre and Saint-Just after Danton's death); he even asked Wajda for a white cloth as a makeshift shroud. To Pszoniak, that scene meant the symbolic death of his character. Robespierre (described by Pszoniak as a “very intelligent man") feels that inevitable peril awaits in the near future. The actor often described a feeling of mourning something or someone after the performance.

The challenge of creating the role, in the words of Wojciech Pszoniak:

“I started to control all my reflexes morning till night; from waking up to falling asleep, I was destroying myself. In everyday life, even the smallest activity, I slowed down; I was reducing and cleaning up [every one of] my habits. Torment, the absolute torment of controlling yourself, of managing yourself. Zero spontaneity, the phone rings, my first reaction—run to answer it—I stop myself calmly, in control of every slowed-down gesture. I imitated Zygmunt Hübner's focused gait; I noticed how he placed his feet. And I started walking like that myself. That's how I set a different, more controlled way of moving. After that, I turned to gestures, head movements, the way of getting up, and gesticulation. I felt that I was different. Acquaintances and friends both asked where this change came from. I suppressed the dynamic, extraverted myself.”

And

“I was pushing the boundaries of supervision [over myself], checking how I would behave after drinking a larger amount of vodka. One day I went out with Basia [wife] and friends (...) After a few bottles, at four in the morning, they were amused, cheered up, asking if I was sick because I was behaving like a machine. After three weeks of suffering, I reached ground zero. This happened during the rehearsals. A conversation about Robespierre and Danton. I joined the discussion, exclaiming, 'I disagree!’ - and suddenly I saw that my hand was no longer my hand, that it was not the hand of that Pszoniak that I am, but that it was already a hand—the beginning of someone else.”

3. What of Danton?

Here the problem with the play began. The man cast as Danton, Bronisław Pawlik, was just... terrible.

He was a good actor in general, definitely, but in short (explanation for the anglophones), it was like casting Danny DeVito as Danton.

He was short of stature, weak of voice, much older than Pszoniak, and simply unfit for the role.

He didn't have a stage presence; his voice was silenced by the other people on stage, and Pszoniak kept acting as if there was some great, dangerous opponent when there wasn't—the audience seemed to notice it.

It all added to a kind of feeling of resentment after preparing so long for the role of Robespierre.

Danton (Bronisław Pawlik), Camille (Olgierd Łukaszewicz) and Westermann (Franciszek Pieczka) celebrating

Pawlik was more concerned with the position of the props or the costume instead of conversing and shaping their roles. To Pszoniak it was the role of a lifetime, to Pawlik it wasn't.

“The audience was sitting on the stage because the entire theater had been transformed into the Revolutionary Tribunal. Here, a powerful voice and a [kind of] broad gesture were needed... Pawlik's charm disappeared in the feverish crowd. What consequences did this have for the play? Enormous, Danton was deprived of the strength [for both the audience and actors] to believe that he posed a deadly serious threat to the revolution. And this lack bothered me terribly...”

4. How did it become political then?

As I have previously mentioned, it was a slow, steady process. Even Wajda himself didn't think much of the play; it was the audience that began the change.

As the first example, Pszoniak recalls a scene when Eleonore comes in with tea but not sugar—in the audience at first only a few laughing, but gradually along with the many performances it turned into the whole audience cackling. The play was exhibited just when a time of increasing problems with sugar supplies began in Poland (food stamps for sugar were introduced).

Pszoniak admitted that the cast would often laugh along with the audience. It seemed almost absurd—a tragic play blending with the real world.

When it comes to Pszoniak himself in that time, the more he played the role, the more it felt like “punching the air.” Instead of having a genuine conflict, he had no support, no reference point in Pawlik as Danton or the audience. For the role to have meaning, to be something, it all had to be a matter of life and death. His co-actor was slipping into comedic grotesque while playing the second main role.

"The success of the play was huge, but the audience was eager to read the play [only] in the context of political allusions. (…) The audience felt that something was happening [on and off stage], (…) the tension grew."

The audience's reaction seemed to be a direct answer to the Danton shown on stage. Instead of a political opponent, there stood a sad, tired victim of the committee who seems completely and utterly innocent, all his words said with a kind of saddened charm (doesn't that remind you of a certain film Wajda made later?).

5. What of the other actors?

Here is where I have the least information. If anyone has any more sources of information, actor memoirs, etc., feel free to reblog this post with additional info or simply contact me about it so I could make Part 2. :]

The cast.

I have to tell you something shocking... Wajda is capable of giving actual, normal characterization to secondary characters (gasp, thunderstrike, wolf howling).

Or perhaps that was just the actor/Zygmunt Hübner (I guess we'll never know).

The most information I could gather was about Saint-Just (played by the excellent Władysław Kowalski).

Based off the limited amount of reviews I could gather, he was a positive character in general. Described as “a man gifted with exceptional warmth and [someone] unconditionally devoted to his cause” or “full of raw passion."

AND HE GIVES MAXIME FLOWERS IN THIS VERSION AS WELL, EXCEPT IN THIS ONE ROBESPIERRE (KIND OF) SMILES!

I couldn't find much on Eleonore, Louise, or Lucille, though I've searched and searched for a few days. All I could find is that the actresses were excellent—that is, unfortunately, no source of any relevant information. Frankly speaking, since Wajda, in kind words, doesn't excel at writing women, I don't have much faith in their characterization on the director's part.

Camille played Łukaszewicz is usually called a “complicated youth"—that is, of course, an opinion—or “spontaneous in reflexes"—that's a bit better of a description. As you can see, I am limited by the fact the play isn't available, and I must depend on biased or subjective sources.

Worried Camille Desmoulins (Olgierd Łukaszewicz) - I do think this Camille looks quite nice.

6. And did the critics like it? Was it well directed?

In short, it was a very, very liked play by both the critics and the audience. It ran for 5 years; it ended around 1980, when many of the actors simply left Poland.

About critics and reviews written by them: What surprised me immensely is the fact that most available reviews (written before the release of the film ‘Danton’) of the play weren't anti-Robespierre. The play is often described as something of a moral discussion, something for the viewer to assess, a work that doesn't suggest one solution to understand the conflict, or revolution (in other words, a great play).

A thing I've noticed is that along with time, the descriptions of the main characters seem to change. Danton—in earliest reviews described as “absolutely repulsive," then later as a tragic man, someone who adores life. Robespierre—in earliest reviews described as an absolute “marble statue," an idealist, someone pure, then in later reviews as just a fanatic.

7. What about Wajda? Did he change the text much? What about the scenography?

I was surprised to learn that Wajda absolutely could make a good, Przybyszewska-accurate play.

From all I could find, there is not much I can accuse Wajda of when it comes to ‘The Danton Case’ stage adaptations. It was made very well. What most likely contributed to the later change in people's mentality when met with the play is the fact that the audience was sort of a part of the performance. How? Like this:

“It [the play] takes place on a stage placed in front of the audience; on the actual stage and in the rest of the audience sit in rows of chairs rising upwards. Everything encompassed by the scenography is one theater. This played out brilliantly in the second parts, in the beautifully composed group scenes, where the audience not only looks at the stage but is drawn into it as an extra audience at the hearings of the revolutionary tribunal.”

And

“Wajda made "The Danton Case" as if against himself—against his previous self: he gave up on visual effects, music, and symbolism. He built a spectacle—a spectacle indeed!—raw and beautiful. (…) During the (…) presentation of "The Danton Case," seats for viewers were also installed on the stage, which was fortunately spacious, the audience surrounds the actors, the actors are among the audience, on the balcony, in the passages.”

If Danton or Robespierre were so close to the audience, I think it really did influence the people's opinion of it later on. Pawlik was terrified, jumping like a fish out of water from one audience member to the other, and there was Pszoniak, white and still under his shroud just a few meters away. That did certainly change the performance's reception.

8. Where can I watch this?!

As I have mentioned here: the play isn't available online, but most certainly is somewhere in the archives (confirmed by Pszoniak), when it was supposed to have a TV debut the martial law was introduced, and a few years later everyone seemed to have forgotten about it.

So, erm… Who's raiding the archives with me? (By the way, fragments of the play exist online, but only 10-20 minute excerpts, so if I find the time, I'll try to track them down.).

Sources:

Books:

Aktor. Wojciech Pszoniak w rozmowie z Michałem Komarem, Wydawnictwo Literackie 2009;

Maciej Karpiński, Pszoniak, Wydawnictwa Artystyczne i Filmowe Warszawa 1976;

Małgorzata Terlecka-Reksnis, Pszoniak. Fragmenty, Wydawnictwo Poznańskie 2024

Photos used and play reviews (pardon the rhyme):

http://encyklopediateatru.pl

#wojciech pszoniak #frev #pszoniacology #wojtekspierre #sprawa dantona #the danton case #stanislawa przybyszewska #stanisława przybyszewska #the french revolution

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scripted-borscht · 1 day ago

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Why do I think agathario are well and happy, and why should you think so, too—a comprehensive analysis presented in three acts, supported by scientific evidence.

Or…What if I examined agathario through the lens of quantum mechanics and described it in transparent human language.

Now on AO3 for your convenience.

Act I: Pre-canon.

As we know, Agatha was born during the peak of the witchcraft era in Salem. The concentration of energy within that egregore was so intense that it required something to balance and offload it. This is where Agatha steps into the spotlight; her succubus powers have always been intended as a tool for energy balance.

Let's pause for a moment to explore Agatha's origins more closely. With witches' growing power during that era, the need for a stabilizer became apparent; however, no creature of such nature existed yet. The recipe was clear—a robust vessel designed to securely harness that immense energy within, a vessel that would hold the power to suck out the lives of those who exploit their abilities. Our theory suggests that death particles were used to create such a vessel, - Agatha. If that were the case, it would indicate that agathario is a prime example of quantum entanglement.

Energy generates energy, and every action sets off a chain reaction. As Agatha used her powers more frequently, she became increasingly empowered, eventually reaching a point where stopping was impossible. The overflow of such potent energy within one individual would have undoubtedly destroyed them, eliminating the possibility of that balance tool concept. So, while Agatha balanced the energy of her surroundings, it was necessary to introduce something that would've helped her maintain her own equilibrium.

This is where Death makes an entrance. What could possibly serve as a more fitting counterpart to balance the immense power of such a vessel as Agatha Harkness than a celestial being? Rio was gradually draining the overstock energy within Agatha with every interaction they shared. Everything in the terrestrial space is energy waves; every time you think, speak, move, or feel—especially feel—you transmit energy. Rio was vital for Agatha, she was channeling that extra energy, which allowed Agatha to stay alive. In essence, Rio served as a life support system for Agatha, which becomes more apparent when viewed through the lens of 'Out of Death - Life.' In simpler terms, Rio was draining Agatha's life force so that Agatha could keep balancing the energy field. Their bond grew stronger, eventually becoming imperishable. Feel free to call it "they fell in love" or call them "soulmates" if that resonates with you.

Act II: Canon.

Agatha. Evanora, a formidable witch, instinctively felt that the fetus was something more—something else—something beyond the ordinary realm of life. In 17th-century Salem, education had yet to embrace physics, which was just beginning to emerge as a science. This limited perspective led her to misinterpret the situation, viewing it through the prevalent beliefs of the time and, unfortunately, labeling it as evil. Agatha was never meant to embody evil; instead, humanity labels anything related to death as such, and that perspective is entirely understandable.

As soon as Agatha is born, Evanora is resolutely committed to killing that evil, and, as expected, Death appears at the scene. The moment Rio lays eyes on Agatha, she feels an undeniable connection, realizing they share a unique bond—two halves of a remarkable whole destined to unite and share an extraordinary journey together. So, Death doesn't take the child that night. Instead, Rio intends to empower Agatha to thrive independently by equipping her with essential practical magic skills. As they go through the experience together, they become closer and naturally develop feelings for each other.

Nicky. Any energy can be transported from one location to another by leveraging the principles of quantum entanglement. Because the state of one particle is instantly correlated with the state of another, regardless of the distance between them, it is possible to transfer energy through terrestrial channels without physically moving the energy itself across that distance and without limitations. The concept of zero-point energy proposes that a vacuum state contains minimum energy, which can be manipulated through entanglement.

Agathario represents quantum entanglement, with a vast amount of unutilized energy between them, the extra energy Rio drains from Agatha. All energy must be recycled on the celestial frequency, so it's only logical that the surplus, entering into the reaction with agathario's love for one another, has naturally formed a new life. It is a fact that Nicky was brought to life without the use of any spell or incantation, which makes the creation even more remarkable. He was created by implementing a quantum energy teleportation protocol. Fandom likes to joke that Rio is the father, and it is true, in a way.

However, let's not forget that Rio is a cosmic being coded to take life, so essentially, Nicky is a quantum paradox. He was not supposed to happen. Hence, he couldn't stay on the terrestrial frequency as it would unbalance the natural order.

The Darkhold. Dark magic is a concept without basis. All magic is energy, and energy itself is neutral. However, the Darkhold housed formidable spells, endowing the book with a profound influence over mortals. We know Newton's second law states that the acceleration produced in the body is directly proportional to the external force applied to it. Without external force, the body cannot accelerate. Now, if we consider the contents of the Darkhold as an external force and apply it to the surrounding matter, the book would become animated. This doesn't mean it becomes a living object that can move or interact on its own, but rather that it would possess energy that could affect and respond to anyone who interacts with it. The energy field of the Darkhold was all-consuming; it devoured everything in its vicinity. It also possessed the ability to form a bond with its users, resonate with them, and create some kind of connection.

After Agatha declared her animosity towards Rio, the latter took deliberate steps to ensure Agatha would undeniably possess the Darkhold. As Rio could no longer be around, the book was meant to replicate her effect on Agatha by absorbing the excess energy. The temporary solution was effective until Wanda destroyed all copies of the Darkhold, forcing agathario to revert to the original arrangement. Rio seeks out Agatha right after the Darkhold vanishes, determined to restore her crucial role as Agatha's life support.

Act III: Post-canon. Ghost. What is a ghost, exactly. And why does Rio hate ghosts.

A ghost is an unphysical state in the context of gauge theory. Gauge theory asserts that any reference point remains constant, even if the measurement changes. In simpler terms, it's like when two things appear different, but in essence, they are the same. Therefore, Agatha becoming a ghost does not change her identity; she remains Agatha, just in a non-physical state. Ghost particles are "frozen" in time and space and exist on the border of two frequencies, celestial and terrestrial, making them immune to energy recycling processes. In terms of interaction, ghosts are more aligned with celestial frequencies than terrestrial ones. As a ghost field represents an energy state, interaction on the celestial plane is possible since its essence lies in aether and not in physical matter. Therefore, terrestrial frequency turns out to be challenging for a ghost as it cannot interact with objects physically due to the lack of a physical form.

So, why does Rio hate ghosts. It's quite simple, really. The in-between-two-frequencies realm is the frequency that Rio primarily occupies. Although she is a cosmic entity whose natural habitat is the celestial frequency, her role is to guide energy toward its recycling, which means her "office hours" are spent on the border between realms. Now, It is true that a person becomes a ghost due to unresolved issues, and their energy seeks to complete a cycle before being recycled. When a person dies, they may initially not realize it, trying to act as they normally would. However, they cannot, as they are now in an unphysical state. So, all these confused former humans float around on the same frequency as Rio, trying to figure out what is happening. This situation can definitely be annoying; Rio has a valid point. Furthermore, it adds significant complexity to her role as Death.

Agatha is exceptional, however. First, she has never been just an ordinary human. Second, she possesses enough knowledge to understand what is happening. Third, well, she is Agatha. Agatha becoming a ghost actually benefits agathario significantly. She gains immunity to energy recycling, which allows her to maintain the form that Rio is bound to and loves deeply. They are now on the same frequency, and Rio no longer needs to cross dimensions in order to be near Agatha. Additionally, Agatha is now able to continue her essential work of balancing energies within the witches' egregore, all while encountering fewer risks. Obviously, at first, they would undoubtedly miss the physical aspect of their relationship, particularly sexual intercourse. However, they would come to appreciate and connect with each other on deeper levels, which could be much more fulfilling and enjoyable than mere physical touch.

Bonus: After eons of dedicated service to the Universe, Agatha would be rewarded with a permanent position among cosmic entities as the force of balance. She and Rio would become true equals in every aspect of existence. They would have all of eternity to spend together, work and play:)

That's all, folks! I appreciate everyone who made it to the end. Thank you for taking a moment of your life to read this, and thank you for your interest:)

#agatha all along #agathario #agatha harkness #rio vidal #headcanon #inside my mind

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