#characters which I didn't like because why are they even there to begin with then ya know?

[lilia-calderus-pet-goat]

Something of note about Lilia's tarot spread is that—it's hers. The cards she pulls aren't precisely who the characters are to themselves, but who they are and what they represent to Lilia. As her coven, in her life.

Like, I don't really know my tarot that well—I'm just pulling themes from within the episode and my general understanding.

But when she was reading for Billy, he was fittingly represented by the Magician. But for Lilia, he was the “windfall.” He was the tower, reversed. Miraculous transformation. Because she, having put the sigil on him, saved him from the destruction and lead to his miraculous transformation. And to her, he was the windfall, because without him, she wouldn't be here, with her coven. She wouldn't have found herself.

Alice's is very straight forward—“full of fire, fights bravely.” It's how Lilia saw her, what Lilia had once again predicted for her. 'Wound suffered, lessons learned.' Specifically, Lilia wasn't able to warn Alice, but she learned her lesson. So, this time, she makes sure to warn Agatha. “When she calls you a coward, hit the deck.”

And why does she warn Agatha? Agatha represents her 'obstacles,' after all. Maybe so—Lilia's literal obstacle at this stage ends up being the Salem Seven, who merely want Agatha. Yet she chooses to stay behind to save a woman who probably wouldn't do the same for her. And the reason is—for her, Agatha is the Three of Swords. She looks at her and sees Heartbreak, (Rio) Sorrow, (Evanora) Grief (Nicholas). And Lilia is willing to forgive her—to sacrifice herself for her—even if the universe itself doesn't think she deserves it. This is different from how Agatha views herself, or even how Billy views her, since he initially pulls out the Chariot. One might say it's a random choice, but the Chariot is described as representing “determination, success, and control.” It's about overcoming challenges and gaining victory through maintaining control of your surroundings—which, I argue, embodies Agatha pretty well. So The Three of Swords is who Agatha is to Lilia. She doesn't hate her, or see her as a force to be reckoned with. She pities her. After all, the Queen of Cups is defined by her empathy.

Then, of course, Jen. Jen is Lilia's path ahead. Not only because she has a brilliant future of her own ahead of her in the mcu, now with her powers unbound. Because Lilia senses all the trapped light and bound power that Jen carries—“The High Priestess: Immense spiritual power, unable or unwilling to use it--” but also because Jen, the survivor, is the one who will carry on Lilia's memory. All those centuries, Lilia had been alone—there was no 'path ahead.' Everything was a jumbled mess, her “path” was non-linear and twisty. And Jen, after centuries of solitude, was her light in the dark, guiding her through the dark tunnels, as her mind wandered through her timeline searching for answers. Jen was the only person in centuries who bothered to see her as something more, to acknowledge her strength, and to help her fill in the gaps as best as she could. And so Lilia sees so much hope in Jennifer—who won't stop becoming better and better. Because for Jen, the Queen of Cups is her path behind. Wound suffered, lessons learned. “I couldn't save Lilia, I didn't even try to save Alice, I'll be damned if I let you two idiots die.”

Finally, Death, Rio. Well—it's obvious. In tarot, death isn't literal. It's mist often symbolic. Transformation, end of a cycle, new beginnings. Which is why we never see Lilia's corpse, and we never see Rio collect her. Because unlike Alice, Lilia went into the afterlife willingly. And for her, it was a beautiful release. After years of running out of time—she got to start anew—knowing that this time, she managed to save her coven. (I'd also like to think that the reason we don't see Rio collect Sharon is because it was a peaceful death—joining Mr. Davis instead of suffering further. Whereas Alice finally had something to live for, but I digress. I've already made my posts about Alice.)

I think that this is all relatively obvious—but I genuinely can't stop thinking about Lilia and her dynamics with the rest of the coven.

[bibibbon]

Need to get something off my chest

People in the fandom blaming Nana for causing Shigaraki to be abused and all the suffering the Shimura family went through as well as calling her decision to abandon Kotaro stupid is if someone blamed all the abuse and horrible actions of Enji that the Todoroki family had to suffer through on Enji's deceased father.

Specifically people appear to zone in on Nana's call to not have All Might or Gran Torino check in with her family when it makes sense. She knows AFO has eyes and ears everywhere and will use that to kill those closest to her and those around her as we know since Nana's husband is dead by the time Kotaro is given up for adoption and All Might leaves Japan for the US in order to avoid AFO for that same reason. There is also no way for Nana to know that her successor would wind up as the strongest wielder of One For All and would be the first person to take down All For One.

I'm not sure if you were in the mha critical side of tumblr, but this is a very common opinion here. Nana deserved better, and none of the nana hate honestly made sense.

People shouldn't blame nana for doing what she could to protect her child. She explicitly said that she had done it to protect him, and she didn't willingly want to give up her child. The act wasn't done out of malice but was done out of love. Her husband was dead, and all for one was on her tail. She had to train all Might, and there was no safe choice to keep kotaro. It was a hundred times safer to make a distance between her and kotaro so he could live without the burden of his mother's duties on top of him caring or threatening to cause him constant harm.

Nana tried her best as a mother, and we didn't talk enough about it. She, at the beginning, was probably the breadwinner of the family, her job making it so that she had limited time with her son, yet from the flashbacks we see that kotaro loved his mother dearly. He loved her that child him simply cried and cried when she was about to leave, he loved her to the point that he kept her picture acknowledging that she was his mother yet despising that she left him all alone. His hatred of nana stems mainly from feelings of sadness and betrayal, which only exist because he loved his mother and felt safe when she was near.

I suppose we don't talk about the fact that after nana's husband died and she became a widow she had to juggle all the responsibilities of being a weirder of OFA, a mother who had to be constantly active in her child's life and a hero who had to save others while also ensuring that she earned enough money to keep her son comfortable.

I headcanon that at the time nana was never a good cook and that it was her husband that usually cooked for the family but when he died she had to take on the cooking duties which was a struggle but we see her actively trying even including her son in the process.

Giving up kotaro was the most logical circumstance, and I stand by that. I think to a certain extent, kotaro realises that too, and it's exactly why he doesn't blame his mother but blames her job he blames the hero, not his mother. To me, it evidently seems like kotaro separates nana into two different versions : the hero and his mother.

If we follow that belief, it's exactly why the only photo that kotaro has with his mother is so painful. Every time he sees that photo he in a way, is forced to acknowledge that both versions of nana are his mother. The photo shows his mother, but it shows her in her hero attire she is the 7th weirder of ofa in that picture not his mother but the mannerisms, the way she smiles and looks at him is that of a mother's look.

A haunting picture for kotaro. A picture of a mother's love.

Comparisons between enji and nana fall on deaf ears especially when you look at the circumstances and situations that both characters are faced with.

Enji DOESN'T love his children, his actions were out of malice, greed and desire to be great. He sacrificed family for greatness.

Nana LOVED her child. Her actions had a desire to protect, love, and care for her only family, her only offspring. A beautiful light in the world that she doesn't want destroyed by AFO. She had no choosing as I bet if she truly had the choice. She would do anything to love, protect, and be with her child. In a dreadful situation, nana chose the only way to guarantee kotaros safety.

[clementine-kesh]

#Tom: I've accepted these things about myself~ #(Maybe you should work on improving some of these things?) #Tom: I've accepted them v_v #There's a sort of sadness in that Tom's main issues upon introduction are that he never really wanted to be starfleet #and only joined to gain his dad's approval (to be rejected utterly by both after The Incident) #and the happiness he finds involves just basically being right back where he started Pre-The Incident only with a wife and kid now #He's matured definitely but ultimately he's back where he started: Daddy loves you as long as you're a good Starfleet boy #sort of like B'Elanna only B'Elanna has it even worse where she doesn't even have the assurance of being accepted by Starfleet & Society #etc after returning to Earth (She's Maquis & She's Klingon & Her parents aren't Admirals) #It really shows just HOW performative Tom's rebellion was even if he doesn't see it that way #Even if we didn't have the fact that he joined the Maquis NOT out of any moral dilemma he had about the Federation's actions #but essentially to stick it to his dad #A great microcosm of how Tom thinks is that when B'Elanna says she might wanna break up with him because of xyz he proposes to her #It's a large change which might seem like progress because of how flighty he is and his struggles with loyalty/ fidelity #but in actuality it's just a way to maintain the status quo without addressing any of the underlying problems B'Elanna brought up to him #Instead of 'how can I improve our relationship?' the question is 'how can I get her to stay?' #He IS an interesting character but ONLY if you're willing to admit that he's kind of a shitty guy from beginning to end even if the #narrative is trying to tell you otherwise #something interesting I noticed is that I don't THINK Tom ever worries about going back to jail?? #he was told that Starfleet would essentially just put in a good word* for him if he helped them out with finding the Maquis #but he doesn't worry about returning to jail upon returning to Earth #Meanwhile B'Elanna worries about being thrown in jail even though they've both been equally loyal to Voyager - B'Elanna #perhaps even more so (didn't get demoted for disobeying orders) #*NOT that he'd be free (via @bumblingbabooshka)

yeah!! as always you’ve really hit the nail on the head here wrt the inherent tragedy of tom paris being a character who is bad at the status quo because he’s so flighty and self-interested yet is never able to truly break free from it. and the show presents that as a happy ending!! very sad and fucked up. also this is why i think he and post-picard seven would have a lot in common lol

i do actually like that tom’s arc in voyager works out to be about a guy who sucks ass and slowly gets better but is still kind of a shitty person at the end of it. it’s unfortunate though that both the writers and many of the fans don’t seem to realize that just because he’s dealt with his daddy issues and found acceptance in the voyager family doesn’t mean he doesn’t still suck by way of being racist and misogynistic and generally self-centered

[whyamimherehelp]

Saw someone on tiktok say that Carmen basically became Chef David with Sydney and it pissed me off so bad.

Did Carmen shut her out creatively? yes. Is he being an asshole? yes. Did he disregard their partnership? yes. But not because he has turned into Chef David, no. It comes from his loneliness really. Carmen never really had friends, never really had a relationship (well, I guess Claire but that is not a good representation for a healthy relationship, he was shutting his real feelings out and trying to become a different person) and has never worked in a partnership before because he has always, since the beginning, done things on his own, and even when there are ppl around him, he shuts them out because he feels unworthy of love (because of his mother and father but that's a whole different conversation) so when he tries to have a partnership with Sydney, which he wants, he does it the only way he knows how, alone. To get her what he thinks she wants. He's a giver, that's how he shows love.

Sydney, for her part, needs to speak up. She needs to tell him how she feels and tell him what she really wants, a true, healthy partnership with him. One of the reasons that I think she's so avoidant is because of her mom dying. She probably has tried to ignore that pain all her life, maybe tried to keep up a good mood for her dad. So she's probably been avoiding problems since she was a child. It's her way.

CARMEN IS NOT DAVID FIELDS. He is not verbally abusing her, yes he yells but he is not telling her she is worth nothing, should kill herself, etc. He is lashing out but he is not Chef David because though he's acting like a dick, underneath it all he is good, he just hasn't reached that part of himself yet because he is buried underneath all his trauma.

Another thing, Carmen and Sydney are the center of this show. Whether you ship them or not, you have to admit that. Everyone else, Richie, Nat, Marcus, Tina, etc. are the heartbeat but Syd and Carmy are the lifeblood. They are the shows foundation. Since their relationship was rocky and strained in season 3, that's why ppl pulled away and didn't like it so much. It lacked its life force.

In conclusion, I will defend Carmen Berzatto forever because he is an excellent REAL representation of victims of childhood trauma (if you can't take that go to sesame street to learn about the basics of feelings or something) and my girl Sydney is also an excellent representation of someone who wants more but feels like they cannot do what it takes to get it. PUT SOME RESPECT ON THEIR NAMES. They're some of the greatest tv characters we've gotten in a while. I will defend them and their ship forever.

[smile-files]

i continue to find ii3 baffling. why did they make it (this isn't to hate on the season, i'm genuinely curious)

[giantkillerjack]

12 hours after the amazing digital circus episode 2 airs, I see a video on youtube entitled "THEY RUINED JAX!!! 😡"

Like, chill! They literally haven't even finished SHOWING US Jax!! 😂 He's still only had a few dozen lines! I'm sorry about the Jax in your headcanon that you've been growing in the space between episodes, but I don't think there's been enough time to ruin that rabbit yet! 😅

[katerinaaqu]

And I made it clear that it DOES matter. At least it matters to me and as I am also trying to say is that you absolutely CAN change and perhaps you should change sme suff what I am saying is that if you change literally ANYTHING the original stands for then what is the point to use it in the first place? And again that detil DOES matter to many people. It might not matter to you but to me is of outmost importance! Especially since many times over because of all these things done to greek mythology I have found myself before so many mistakes and misunderstandings that honestly it has gone way past beyond the limits of annoying. And again I fund it interesting how only greek mythology gets screwed iver so much while others remain untouched. Weird indeed. Again I KNOW it happens which is why this is even more annoying and again no one has the moral obligation to like all changes the same. If they resonate with you then good for you but is not the same for everyone nor it is all the time for the same person

And I would argue back if you want to critisize what my critisism is instead of hammering the same "all things have versions" again and again try to see them as the same entity. He made a conscious choice when he used Odyssey as his material. It is MEANT to be seen together with the Odyssey. Again if he hadn't and if he had made an original story to begin with right now we would only be critisizing how Poseidon was treated and not how the Odyssey was treated. If you use the popular story as your basis by definition you are comparing it to the original source. If the character's name was not Odysseyus but dunno "Philostratus" no one would care to compare it to the plot of the Odyssey that intensely and instead they would onl speak on the plot as a musical. He knww that when he used the Odyssey. Epic is NOT separate from the Odyssey because it uses it in the first place. Which again would have been avoided if the story was totally original. Again good for you but what is your point? I dislike Epic fo the exact same reasons. I find the plot inconsistent the character development of Odysseus overused and oftentimes crude and again it uses the popular poem of Odyssey and screws it over. Why is your critisism on Rings of Power more valid than my critisism on Epic? You have every right to critisize a material for whatever reason you see fit.

Again so? The story was based on the Odyssey he made the comparison himself. The comparison is not only inevitable but also inseparable from this. What is the problem if people compare the materials when the very essence of Epic being some kind of "loose adaptation" of the Odyssey calls for it in the first place? And we have critisized many times the other material as well.

I know but I said that the way that the ancient sources are treated are like they are considered fanfictions by others. And again fanfiction also deprives from the original. Many people critisize fanfictions for not being consistent to the sources they write from. I didn't distort what you said. I simply didn't say what you think. I said that by screwing over greek mythology to this point people treat it like a fanfiction they can write whatever they want on top of it. And it is not even a satire where satire's own definition is being bizare.

AGAIN I never said they cannot I said the specific ones I have seen are not good. That is my opinion and I have stated it many times over! Other people came to my profile as well and got like "oh you just don't think that retellings are good" and that is very similar like if I said "I don't like Picaso's cubism" people come at me and be like "oh so you hate modern art" NO. I said that the specific one is not good to me and plot-wise, not music-wise. I am actually surprised again how many people are critisizing for example the movie Troy for being inaccurate because they do not show their beloved Achilles and Patroclus kissing onscreen but when someone critisizes the mangle of the plot of the Odyssey through epic get comments like "why don't you think both can be good?" because simply I do not think so. That is how opinions and tastes work. And now it is your turn not to put words in my mouth. Again I said if people like it and like it for the reasons you stated good for you but again that is MY taste and MY opinion on it which I write and express. Again I find it interesting that every time I mention that the next question that comes to me is "why can't you like it both"? For the same reason that Jorge didn't write an original story; because that is what I believe. It is my taste. My taste has nothing to do with what I do myself sometimes. But if I like or dislike a piece of work is again part of my taste and my opinion.

New Epic saga and it's horrible... to give you an idea, Odysseus fought Poseidon, stole his trident and made him beg for mercy

hmmm a god begging a mortal for mercy is not exactly on par with Greek religion and stories. How did that scene made it into the final version?

[sskk-manifesto]

Osamu Dazai and the Depressing Era

[fragmentedblade]

Also, Ruan Mei was the one who lent the Phase Flame to Ratio, wasn't she?

[bogkeep]

i have FINALLY finished. the stupid robot book.

the best i can say about it is that it doesn't read like a first draft, and that the concept of a robot western is pretty enticing. i wish it had stuck to being that instead of overreaching.

structurally, the book kind of front loaded all the Apocalypse Exposition, which i think was a mistake. one, because it made it so that the plot didn't start until halfway through the book and basically didn't introduce the rest of the cast until then. two, because the exposition was stupid and made me think very little of the story and the author. and three, because i think Good post-apocalyptic thrillers are much better at playing with the mystery of it, to drop snippets of lore like yummy morsels and make you dig for it. the plot itself was of course tied to The Backstory, but i still feel like the story would have been much stronger as a novella that didn't go through the backstory at all. this book failed at being speculative fiction, the only genre it did OK was the western.

also this is so petty but there's a glossary in this book, but it only explains extremely obvious terms to the point of condescension. however, all the robots refer to the past human population as "HumPop" which i thought was some interesting robot speak created for the book (even if it clashes with the way they usually speak like rednecks), but i wondered why this wasn't in the glossary. a friend enlightened me that "GenPop" is a common phrase in crime procedurals. are you kidding me

i also don't really care for how this book talked about "madkind" (robots who have gone craaaazyyyyyy and were solely introduced in thr last quarter of the book in an attempt to do mad max: fury road) and comfortbots (there was an uncomfortably long sequence describing them as sentient sex toys). but what did i expect.

the only part i genuinely ENJOYED was the dynamic between the protag and the enemies-to-begrudging-friends guy, aka the only other character that had any substance. like that relationship carried the whole book for me, especially since the other character that had any rapport with the protag got sploded as soon as i thought "could it be..... robot yuri?". haha.

also, interestingly, a Lot of the major characters were female, with the caveat that most of them were robots and it was silly of them to have genders to begin with. the book??? passes the bechdel test???? for all the good it does it.

anyway i cannot recommend this book to anyone. read the murderbot diaries for good robots. read the broken earth trilogy for good apocalypse fiction. watch mad max: fury road for fun vibes.

once again bravely attempting to continue my readthrough of Robot Book.

when it's not doing backstory exposition, it's actually not so bad. there's a very fun dynamic between the protagonist and another robot who tried to poach her for parts, and who are now forced to work together. like that's genuinely compelling and i want to see where it goes.

Unfortunately the backstory exposition chapters make me wanna scream into a pillow. the book tries to be smart and clever but is deeply unaware of like... people and dynamics that exist in the real world. it could have done many interesting things with the world building, but it can't, because it wants robots that act and speak like cowboys and talk of god and heaven and hell. that could have worked if it had just handwaved the past away and didn't go into the backstory of how we got here. maybe this whole thing is like an alternative history thing a la fallout where the robot revolution happened in the early 1900ds or something, because at this point it's the only thing that could make sense.

weird backstory thing #1:

so the protag, pre apocalypse, belonged to an old man who dies in his sixties. he had a wife twenty years his junior who he had married twenty years prior, which most people in our world acknowledge as Kinda Creepy and Mayhaps A Red Flag. but okay. then we find out that this wife, while admiring how her husband chose to age, used anti-aging technology on herself so that she looked like a twenty-something year old for the duration of the marriage. it is described as "a gift she gave to her husband" which is such a chillingly creepy sentence it literally gives me goosebumps. it's says her husband never asked for it and also that she was not a type to care about what others think. i think this book is trying to portray this as romantic, that she loved her husband deeply and thought of him often and fondly after her death and never remarried. THIS IS KINDA WEIRD RIGHT. like the way it is presented without zero awareness of real life dynamics is weirding me out. will this be brought up later with sinister implications or are we just accepting this????? time will tell.

weird backstory thing #2

i already complained about the robots choosing to have genders despite the robots also not caring about "human values" anymore. this book is from 2017, so i get that it isn't like, particularly aware of transgender philosophies, but it also Could have been. anyway, there was another passage about Robot Gender. with warning for transphobia:

head in hands. didn't even try.

there's so much interesting commentary ripe for the picking but this book just Doesn't. just will not

[wingsofaether]

hm this is a bit interesting to say the least. I'm not really iffy about time travel in general and parallel universes could be interesting if done right.. just a lot to think about

Link to article

https://www.eurogamer.net/naoki-yoshida-on-dawntrail-criticism-community-feedback-and-the-future-of-final-fantasy-14

[travalerray]

fanfic writing is always like:

questionable characterisation (not really familiar yet) => oh this is actually good => questionable characterisation (projecting)

[jytan2018]

I read the comic in one sitting less than an hour after finishing the movie, and wow I have many Thoughts™.

- It's very obvious the two versions were meant to cater to different audiences AND tell different messages. I don't get why people are going "But the comic was better! It had more nuance!" just because Nimona was easier to root for in the movie.

- The comic was written back when ND Stevenson was still trying to process a lot of stuff, so all the characters are morally grey/straight up evil and the climactic battle is between a Ballister who regrets turning against Nimona, even if it was to save others vs. a Nimona who's too hurt to care if her lashing out was going to hurt innocent people.

- By the time Nimona got a movie adaptation, ND was a lot more secure in his sexuality, so the climactic battle was Nimona vs. the Director, the symbol of religious oppression and bigotry. It's not just about your friends turning on you because you're "too much" for them anymore, it's also about a society that would rather bring itself to the brink of ruin than coexist with you.

- (I totally get why people were upset about Ballister's surname change, though. Like come on, the media dubbing him Blackheart just to be mean was RIGHT THERE).

- Nimona's metaphor for not shifting is such a neurodivergent thing. Even in the comic, Nimona's parents insisting she's a monster who replaced their daughter is reminiscent of the changeling myth, which is what many parents thought their neurodivergent kids were—changelings who replaced their "real" children.

- Ambrosius being trained to cut off HIS BOYFRIEND'S WHOLE FUCKING ARM instead of merely disarming him is a very cop thing to do. As much as cops claim they're trained to de-escalate situations, their training still teaches them to treat everyone as a potential threat, and that level of constant vigilance can turn anyone into a trigger-happy/arm-choppy bastard. Even the Director, who can use a sword but probably hasn't actually fought someone in ages, STILL can't see Ballister reaching for the squire's phone without assuming he has a weapon.

- And on that note, the Queen getting killed simply because she was trying to reform the Institution and allow commoners to become knights? That's the best "no such thing as a good cop" metaphor I've seen. Because even if there ARE good cops and they ARE in leadership positions, the system will crush them before they make any meaningful change. It's not a good institution that turned rotten, it's an institution that only exists to spread its rot and refuses to be good.

- That's why Ballister's characterisation is so different in the movie vs. the comic. Comic Ballister had 15 years to come to terms with his trauma and the Institution's evildoing, while Movie Ballister is still freshly traumatised and hasn't found a way to define himself beyond the role he was assigned by the Institution.

- Not to mention Comic Ambrosius was not very noble to begin with and genuinely believed Ballister was better suited to villainy than heroism, while Movie Ambrosius never wanted the glory that came with his lineage in the first place and only antagonised Ballister because of indoctrination he needed to unlearn (which he did, all by himself, after witnessing the lengths the Director will go to just to kill Nimona).

- It really shows how important it is to surround yourself with loved ones who are open to change. Comic Ambrosius can love Ballister all he wants, but he'll still blast his arm off because he thinks Ballister deserved it anyway. Movie Ambrosius will stop to question what "the right thing" even means, even if he didn't love Ballister enough to defend him unconditionally.

I have so many more thoughts bubbling beneath the surface, but I'll probably address them some other day. In conclusion:

[ID: A pink-haired Nimona grinning evilly while holding up a knife.]

Watch Nimona. This is not a request.

Edit: Added more thoughts!

[idle-flower]

Amy Madison is one of those things which, like some of the subplots of DS9, I assumed that I'd missed something the first time around and that there was a lot more to it, and was disappointed on a rewatch to find that... no, not really.

Like, I thought it was super-cool that there was this tiny minor character with stuff going on in the background who would resurface seasons later instead of a "remember the new guy" plot! And obviously Willow cared about this girl and there was a whole story there, right? I wasn't religiously watching the show when it first aired so I'd probably just missed whatever her story was!

So then I did a big rewatch with a friend who'd never seen Buffy before and... ehh.

(Now, I never watched season 7 and have stricken it from my personal canon, so that already limits me.) I want Amy to make more sense and to have more story. In those few appearances there are just enough threads of a story that I can totally build a bunch of ideas, but they rapidly diverge from canon.

Because yeah, there's the "Amy decides to delve into witchcraft". Many good reasons why she might, protection from someone messing with her again being an obvious one, dark fascination and love/hate with her mother being another, but she's never given the chance to tell that story.

There's the "Amy back from the dead" which was HORRIBLY disappointing how glossed-over it was. Amy's real-world situation is more fucked-up than Buffy's was! Was she declared legally dead? How many people had any idea what had happened to her? (What happened to that Michael kid who was also in their witch circle? He knew, right? Did he used to visit Rat-Amy?) When she finally went to find her father how did she explain this to him, or did she panic and mind-whammy him because she *couldn't* explain? There could have been more detailed connections here with both Buffy's problems and Willow's problems, without having to go the ridiculous route of...

"Amy's magic druggie problem" Even leaving aside that this entire plotline is horrible, stupid, and horribly stupid, I don't for a second believe that a girl who's been stuck as a rat for years could instantly find the super-secret floating lair of the local druglord. She clearly didn't have that sort of hookup before and it wouldn't be that easy for her to find it now. She's years out of touch! And she should be struggling with magic now. She was not as powerful as fully-juiced Willow to begin with and the trauma of being ratted ought to be giving her the yips. Even if she knew this guy existed and never told Willow about it in high school for some reason, it ought to be a difficult quest on her part to find a way in.

"Amy wants revenge on Willow" A perfectly good plotline idea if they'd actually worked with it in the show, which would require making her more of a major character for a while. Because yeah, getting mad at Willow for 'ruining' her life is plausible, but we need to see Amy's life falling apart first. Even if it's almost-all offscreen because she's not a Real Scooby, it should take time for her to develop this hate-on for Willow. Because at first she'd be grateful for being saved, and then as she slowly realised how screwed she was, then she becomes resentful. Sort of an inverse of Buffy who wasn't happy about being saved and then comes to terms with it, Amy slowly gives up on trying to have her life back and decides to throw in with the dark side.

Just spitballing here. Willow, desperate to prove that she can do good things with her magic powers, de-rats Amy. Amy is thrilled at first but becomes more and more distressed as she realises that life has left her behind. How's she going to fix things with her dad? And Willow suggests magic. Willow takes her home, makes her dad accept everything with a mind-whammy, zap-zap-zap's Amy's long-turned-into-storage bedroom into something cool and modern and witchy, and leaves Amy there, feeling super proud of herself. See, it's easy! Magic really can fix everything! Cut back to Amy, alone in the dark, twitching in terror at the sounds of cats, trying to cast little spells and having them go wrong...

Reverse Unpopular Opinion: Amy Madison

[Reverse unpopular opinion meme.]

This is an interesting one because I think there’s a solid argument to be made that the character of “Amy Madison” does not, in fact, actually exist on the show Buffy the Vampire Slayer.

By which I mean … look, okay, yes, obviously, there is a character in an early Season 1 episode called Amy Madison, played by Elizabeth Anne Allen.  And there’s a character with the same name in a Season 2 episode, and [in an admittedly weird coincidence] she’s also played by Elizabeth Anne Allen.  And there’s one in Season 3, and a one in a few episodes of Season 6, and one in an episode of Season 7, and all of them are played by the same actor.

But … I mean, come on.  There’s no way these can all be the same character, right?  They don’t have the same basic back story or the same relationship to magic or to Willow; they certainly don’t have anything resembling a definite personality or set of motivations or a consistent character arc.  No, surely what’s going on here is that there are several different “Amy Madisons” in Sunnydale – just like there are several different characters called Anne or Nancy on the show – and in a bizarre in-joke the writers simply decided to cast the same woman to play all of them.

Now, ordinarily, simply being written inconsistently over a handful of episodes and not having anything resembling the same personality from week to week would be no obstacle to having a few die-hard fans.  But – as far as I can tell, anyway? – there’s no “fandom Amy” either.  She never really gets mentioned when people want to talk about how all the Scooby Gang had awful mothers [even though Amy actually did, explicitly and inarguably, have a very, very awful and openly abusive mother!].  There’s very little in the way of Amy/Willow shipping going on here or on AO3 [even though witchcraft is heavily coded as a metaphor for being a lesbian and Amy, one of the first witches we meet on the show, is repeatedly linked to Willow throughout the show’s run].  There are no adorable drawings of Amy as a rat staring out of her cage at Willow and Tara (or if there are, they aren’t getting as many notes as they should be getting).  

No, it looks like most people who are still watching and talking about the show twenty-five years later have about as much interest in poor Amy Madison as the writers did.  She’s a plot device.  A punchline.  A cipher.  A blank slate.  She’s whatever the plot requires her to be to further the stories of the actual characters on the show, and she’ll never ever be anything else.  Which is a little sad, if you think about it.  I think Amy – or, well, most of the different Amys: The Killer In Me’s smirking evil-for-evil’s-sake Amy I’m not so sure about – deserved better.

[As I write this the thought occurs to me, belatedly, that I might be one of Amy Madison’s biggest fans.  Pretty grim news for her if so.]

OK. Enough stalling.  Five positive things about Amy Madison [with, as ever, the usual caveat about the comics, which I’ve still not read anything about and still don’t exist].

Witch, Amy’s debut appearance, is a solid episode!  One of that season’s best, I think (though not, of course, one of its very best).  And I think the duo of Elizabeth Anne Allen's Amy Madison (and Robin Riker as her mom Catherine) is a big part of why that episode works: no, they haven’t got a huge amount to work with, but I think they both do a pretty good job switching between evil witch Catherine and innocent victim Amy.  Catherine’s bodyswap spell foreshadows (albeit unintentionally) the bodyswap artifact that the Mayor gifts Faith in This Year’s Girl / Who Are You? and I’ll always have a soft sport for it because of that.  And I really like that the episode ends with Amy alive and hanging out with Buffy in a way that suggests that they are going to stay friends, even if we don’t see any evidence on screen that that happened.

Sarcasm aside, I’m really glad the writers brought Amy back in the second season.  To me, part of the appeal of the high school years are the recurring minor characters – I talked about Principal Snyder before, but also Jonathan and Devon and Percy and Harmony and … yes, Amy too.  The show obviously doesn’t care about her very much, and you have to do a lot of mental gymnastics to fill in the missing pieces of her story and make her arc make sense (why is she starting to do magic in Season 2?  When does she start hanging out with Willow?), but … well, I do care and I have done those gymnastics.  At least Amy didn’t end up like Marcie Ross or Buffy’s old flame Owen or any of those poor kids who must remember eating Principal Flutie. 

I’ve been reading a few old interviews Elizabeth Anne Allen gave recently (here and here, for example) which I think have some pretty interesting insights into how the character of Amy developed.  Had you ever heard there were persistent rumors at one point that Amy was going to be one of the starting regulars on Angel?  It’s mind-boggling to think about a world where that happened.  Allen seems to have put a huge amount of thought into her character, too, at least for her first few appearances, which … uh, I guess makes me feel a bit shitty about those opening paragraphs. [Not enough to delete them though…]  Also in one of the linked interviews she says that she “hopes she won’t be a rat much longer” – and that’s an interview she gave before the Season 3 finale had even made it to air, which made me pretty sad to read.  Forget appearing on Angel, imagine if Amy had been de-ratted in Season 4.  Imagine if Superstar was about Amy instead of Jonathan.

There is a second or two in Season 6’s Smashed – no more than that – when Buffy and Amy are catching up again (“How have you been?”  “Rat.  You?”  “Dead.”  “Oh.”) and you can, if you’re quick, delude yourself into thinking that the show is going to do something interesting with the obvious parallel it’s just set up. Willow has now not only brought Buffy back into the regular human world [and left her struggling to live and find meaning as a college drop out with a dead mother and an absent father last seen on screen about five years ago], she’s also brought Amy back into the regular human world [and left her struggling to live and find meaning as a de facto high school drop out with a presumed-dead mother and a presumably-now-absent father last mentioned about five years ago].  Surely this must be deliberate?  Well, no: the show doesn’t do anything with this idea ever again, because Marti Noxon had very different [worse] ideas for Amy’s character this season, but if you pretend it might be about do something like that it’s a pretty exciting couple of seconds.

The fact that “Amy Madison” exists as a (technically!) canon character means that I can write (or daydream about writing) fanfiction in which Willow has a friend in high school who is also a practising witch. One with a vague but miserable home life, who is secretly in love with Willow but too afraid to admit it (and so she keeps professing to be interested in men who she can’t possibly ever expect to date, either because they’re unpleasantly vile toward women or openly gay or both). And I can do that while, just about, pretending that I have not created the most embarrasingly psychologically revealing OC you ever heard about in your life.  Thanks Amy!

[wordstome]

how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

[dramaticals]

following instructions

pairing: theodore nott x gryffindor reader

summary: enemies with benefits with theo where they're constantly insulting each other but they still can't get enough. smut. au where characters at hogwarts are aged up to be 19+. mdni. / requested by anonymous.

author's note: co-wrote this with lily (@softeliza) <3 we honestly wrote this as a theo x hermione, but swapped hermione for reader

✧ read part two: following instructions (headcanons) ✧

Theo's judging eyes watch as you dice the sopophorous bean before tossing it into your cauldron, your gaze shifting between your opened textbook and your cauldron. A bead of sweat drips from your forehead. You were meticulously following the directions, and yet something still didn't seem right about your potion.

Theo scoffs, shaking his head. What an idiot, he thinks.

"You're supposed to crush it." Theo says, demonstrating pointedly with a silver dagger and popping the squashed bean into his own cauldron. The cauldron bubbles, and the liquid shifts a shade darker.

"You're supposed to follow the instructions, which clearly say to cut it," you say through gritted teeth.

Potions was the one class Theo never followed the directions for, and yet he always seemed to be doing significantly better than you. You hated that.

"You know," you add with a huff, annoyance laced in your words. "Just because you don't respect the rules any other time doesn't mean you shouldn't follow a simple recipe."

There was something about pissing you off that gave Theo the right amount of joy to get him through the day. Hearing you huff at his words was like finding a jelly slug in a mountain of acid pops. It was glorious.

"Do you believe everything you read?" Theo asks mockingly, his eyes unmoving from the cauldron in front of him. He doesn't know why he was helping you—this was meant to be a competition for the coveted felix felicis. Maybe it was because Theo knew you weren't going to listen to him anyway. "Besides, I respect the rules." Theo says, but even he can't keep a straight face at his claim, his lips tugging into a smirk.

"I believe everything I read in a textbook," you say, your eyes narrowing and your mouth falling open in shock. Was he serious? "You know, that book of words that literally outlines how to make the potion? How else would you know how to brew it?" You hope he doesn't notice the genuine curiosity in your question. You actually wanted to know how Theo knew what to do all the time. It was so infuriating.

"Natural intelligence and charm." Theo says coolly.

In actuality, Theo had managed to find a textbook filled with inscriptions, correcting the printed text with tips and tricks on how to brew a potion every time. But he wasn't going to tell you that. Theo would gladly and happily let you believe he was gifted.

Theo peeks at your cauldron and has to hold a snort back. It looked just about ready to implode.

"This is a simple recipe, huh?" Theo muses. "Is that why your potion looks and smells like absolute shit?"

"Maybe I just thought I'd throw you a scrap with this one. I mean, we both know you're in desperate need of some luck, especially on the Quidditch pitch. If anyone needs this win, it's you."

"Oh, so you watch me on the pitch, do you?" Theo says with a smug grin.

You roll your eyes. Curse him.

Theo stirs counterclockwise a few times and then once again clockwise. The potion bubbles again. This time, it shifts into its final colour form. Bingo.

Theo, with an expression beaming with pride, calls over Professor Slughorn to inspect the potion. You zero in on Theo's cauldron and let out a small sigh. You didn't need confirmation from Slughorn to know that Theo did it. That bloody asshole did it.

Slughorn tosses a single leaf into the cauldron. The leaf disintegrates, and Slughorn clasps his hands together and announces, "We have a winner! Class dismissed!"

As Theo receives congratulations from all around, you begin to tidy your workspace, empty your cauldron, and pack your things. Anger boils in your stomach. As much as you tried to avert your gaze from Theo, your eyes are drawn to the tiny vile Slughorn passes to Theo. With a triumphant smirk thrown your way, he tucks the potion into his pocket before cleaning his workspace.

"Try to use it for something other than trying to sleep with girls," you quip, clutching your books to your chest. The confident, holier-than-thou persona slips over you like a glove. It was a default shield whenever you felt threatened, especially academically. And Theo was often on the receiving end of it all. "I mean, I'm sure you could use some luck in that department, but I doubt that's what Zygmunt Budge had in mind."

"I'm doing quite well in that department, actually." Theo says. With looks and an attitude like his, girls were flocking to him like nifflers to gold. "Much like potions, really. They all just come to me."

Theo awaits your signature glare and snarky remark, but he was simply met with a silent shove to his shoulder as you headed to the door. His brows furrow, disappointed in the lack of repartee, before Theo's walking after you. He falls into step with you, following you through the dimly lit corridors of the dungeon.

"What's the rush, little lion? Can't stomach losing?"

"I'm not in a rush; I just don't want to be around you. Don't you have some dingy hole to crawl back into?" You fume, your grip on your textbooks tightens, and your pace quickens.

"You wound me." Theo simpers, clutching his chest in mock-hurt.

Being in Theo's presence was getting you more and more riled up. You felt like you were minutes away from becoming a human version of a Filibuster Firework. Theo loved when you got like this. He can't quite pinpoint the exact moment he realized why he liked seeing you so worked up, but he's quickly reminded by the staggered breathing and the rapid rise and fall of your chest.

Theo continues to stroll alongside you, an air of arrogance in each step he takes. You quickly realize you have no idea where you're headed. The echoing of both your steps, coupled with the hovering nuisance on your side, makes you let out a sharp, frustrated exhale. You turn to Theo, glaring daggers into his stormy eyes.

"Can you just go? You're so—ugh." You growl, unable to find the proper words.

Theo's brows perk upward. There's something familiar about the expression you give him. He'd seen it before. Last time he'd seen it, the two of you ended up christening the boy's change room after a Quidditch match—Slytherin should beat Gryffindor more often.

Before you can articulate your frustrations, Theo grabs you by the wrist and pulls you into a vacant classroom. The feeling of his fingers around your wrist sends a jolt of warmth straight through your body. Theo pins you against the door, your books falling to the floor with a sharp thud. He skillfully locks the door with a slight flick of his wand before muttering the muffliato charm and putting his wand away. Darkened eyes meet your gaze, a mixture of amusement and want in his eyes.

"I'm so what?" Theo demands. His hand caresses your cheek before roughly wrapping around the base of your throat. "Use your words."

Your mind goes hazy, as if you've been confunded, the moment you feel his hand on your throat. You'd never admit how much you loved when Theo did that.

With a shaky breath, you meet his intense gaze to say, "Infuriating."

The way you reacted to Theo's touch was unlike any other girl he had the pleasure of fucking at Hogwarts. You were just so obvious, and Theo had no shame in admitting that he found it all extremely arousing. Of course, your mouth would claim otherwise, but Theo always had a plan to occupy your pretty little mouth.

You bite down on your lip, stifling the whimper begging to escape. Your breathing is in sync with each other, and the sexual tension makes the air around you thick.

"Are you going to fix it? Or are you just going to stand there like an idiot?" You tempt, leaning up slightly, just to see if he'll close the gap between your lips and his.

"I don't know," Theo responds, keeping a fair distance—only enough for your lips to brush lightly against his. To keep you wanting. Theo leans into your neck, ghosting breathy, teasing kisses up until he's milimeters away from your ear. "Are you going to say please?"

"You've got to be kidding," you huff, shooting a glare at Theo as you try to keep your breathing steady.

You weren't exactly experienced, at least not like Theo. You had a few moments with others, but no one had ever gotten you to feel as good as Theo did. It enraged you that Theo knew how good he made you feel, but you also took pleasure in knowing that you must be riling him up just as equally because Theo always seemed to come crawling back.

You bring your free hand up, tangling your fingers in his lush, brown locks, before tugging his head back a bit so he could look at you. He groans at this. It was one of many acts that really got Theo going, and it just so happened to be where your hands gravitated to the most.

"Please," you say, the tiniest of smirks on your lips.

Anticipation runs through your veins. You didn't need to say anything else. By the way he was looking at you, his lustful eyes boring into your gaze, Theo knew you needed him right now.

"Good girl," he muses with a cocky grin.

The first time Theo had praised you like that, while laced with ridicule, it had elicited a whimper that had him reeling. Today was no different.

Theo moves his hand from your throat and down to your waist, expertly pulling you away from the door and onto the desks behind him. Theo wastes no time and captures your lips with his. One hand finds your thigh, teasing up your bare skin and under your skirt. Your hands find and tug at his belt. Theo unbuckles it and tosses it aside.

"Let's see if you can keep it up." Theo says hotly against your lips.

It was in your nature to be good. But with Theo, there was that bubbling voice inside you that beckoned you to misbehave—to get under his skin. To be bad, all so he could teach you a lesson. Which is why, as Theo plants nippy, wet kisses down your neck, you can't help the words that blurt out of your mouth.

"Let's see if you can make me shake, like—what was that bloke's name..." You trail off, pulling him up by the collar of his shirt for another kiss and wrapping your legs around his waist to keep him close.

There was no other guy, of course, but you wanted him to think otherwise. The mischievous glint in your eyes changes to amusement as Theo's eyes darken. His fingers drag possessively across the insides of your thighs. It was hard for Theo to imagine you with someone else. You two weren't exclusive by any means, but the way you'd whimper and dig your nails into his back had him feeling territorial.

"Shake?" Theo asks against your lips. There was a tinge of something in his tone, and, deep down, you wanted it to be jealousy. "I'll fucking make you shake."

Feverish kisses move down your neck, eliciting a whine out of you, his free hands taking residence on the base of your throat. He plants open-mouthed kisses down the sensitive spots along your neck, sucking softly on the skin, surely leaving a mark everyone would be able to see. Theo pulls back to admire his work. He's pleased. You, on the other hand, were equal parts excited and annoyed. Excited because the sensation made the blood rush to your cheeks and to your core, and annoyed because you had to explain the markings to your friends.

"Theo," you hiss. "You know better."

Theo doesn't listen, obviously. Instead, he moves down your body until he's crouched and face-to-cunt. Slender fingers reach under your skirt, hook onto your panties, and slide the garment off. In an instant, Theo's between your legs, lapping his tongue relentlessly over your clit.

"Oh my god," you gasp, one hand grasping onto the edge of the desk, your back arching instinctively to bring yourself closer to his tongue. Your free hand finds his hair again, your hips rolling to meet his movements.

Theo's smirks into your core, a low groan escaping his lips as he feels you roll onto his mouth. Strong hands position themselves on either leg, urging you to spread your legs wider. You try to obey his silent requests, but it's not enough. Impatience hits him hard, and he's repositioning your legs so they're slung over his shoulders, a firm hand pushing your hips down onto the wooden desk. The new position allowed him to be flush against you, his tongue circling your entrance and lapping up any arousal.

"Theo," you moan, louder than normal.

You could tell he was pissed. It'd always been your goal, especially in intimate settings, but Theo had never been like this. He buries his face between your legs, his nose rubbing against your clit as his tongue works on your opening. He dips a finger in and withdraws it out of you slowly, contrasting his unyielding tongue. Your eyes flutter shut with pleasure.

"More," you choke out. "Please, give me more."

Your moans were fueling the already raging fire in him. Fuck, he needed to hear more of that. Theo uses his free hand to hold you steady, his tongue and lips unrelenting. He adds another digit inside of you, curling his fingers against your spot. Theo wanted to make you cum now more than ever. He wanted you to remember that even if you were fucking someone else, he was the only one who could make you unravel like this.

"Sit fucking still then," he growled against your slit, stormy eyes shooting up to look at you.

You fight hard to listen to him, desperately trying not to squirm. Theo was cruel enough to stop and leave you high and dry, so it was in your best interest to do as instructed. You dig your nails into the edge of the desk in an attempt to keep your focus on something other than the pleasure growing inside of you.

"Th-Theo," you gasp. "I—"

You're close, and you know what Theo wants—what he always wants. Theo wanted you to ask for permission, and with the image of someone else messing with you fresh in his mind, Theo needed to know he had that control over you now more than ever. Breathy pants fill the room, and you fear you can't hold it back any longer.

"Fuck, please. Can I please..." You moan, throwing your head back against the desk.

"Please what?" Theo says roughly against you. If Theo's cock wasn't already erect, it would be now. Your moans and gasps of pleasure were truly something that needed to be studied. Who knew these delightfully ragged breaths could come out of someone so irritatingly uptight? "Words, Y/L/N."

The fog of pleasure Theo has you in has made it impossible for you to do the one thing you pride yourself on: following the instructions. Typically, Theo would remove himself and make you beg for contact. Today, though, his actions were ceaseless. Despite your strong will to be good, your body wouldn't cooperate.

"Oh my god," you whimper, your back arching as an intense orgasm washes over you. Your body jerks—no, shakes—and your moans are broken up by desperate gasps as wave after wave hits you.

Theo curses under his breath. As pissed as he was that you didn't ask, Theo graciously allows you to release on his tongue, lapping up your sweet fluids. He'd reprimand you later. As you come down from your high, your body collapses onto the desk. You've never felt anything like that before.

Theo stands and slides his fingers out of you slowly. His darkened, lustful eyes are trained on yours. As much as he enjoyed the view, Theo wasn't happy.

"Don't," you breathe. "I know—I should have... I know."

"So much for following instructions," Theo says, disregarding your words. He licks your arousal off his fingers casually, and the sight makes you shift and clench your thighs together. He was the hottest irritant you've ever seen.

"Fuck off," you say with an exasperated huff. You prop yourself up by your elbows, slowly moving into a sitting position. "You didn't exactly help the situation."

So maybe Theo was being a bit of a prick. Not like he could help it—you squirming and moaning for him like that triggered something primal in him. Theo didn't want to stop; he wanted to make you scream for him. Still, it really shouldn't have been hard to ask.

By the way Theo was looking at you, you could tell it would take more than a crass brush-off to wipe the icy glare and pouted lips from his expression. Delicate fingers grip onto Theo's shirt, tugging him closer to you. You ghost your lips against his, meeting his steely gaze. "Will you let me make it up to you?"

You don't wait for a response. Instead, you nip at his bottom lip before pulling him in for a slow, deep kiss. Despite his annoyance, Theo kisses back, placing a strong hand behind your neck to keep you in place. The kiss is full of passion, anger, and need.

You maneuver yourself off the desk, unbreaking the hot kiss, as you reposition so that Theo's the one against the desk. He acknowledges you taking charge, and he allows it because, quite frankly, whenever you did take charge, Theo found it extremely intoxicating.

Only now do you break the kiss, peering up at Theo as your hands fumble with his pants. He kicks them off just as you remove your own top, making a point of leaving your bra intact. Theo's breath catches. God, he wanted to bury his face between the valley of your breasts.

"So?" You ask again, a devilish smirk on your lips, your fingers making progress on unbuttoning his collared shirt. "Will you?"

"Go on, then." Theo says. It's not lost on him how much leniency he gives you—not just in this moment. Any other girl who disobeyed his instructions would have been tossed aside so he could move on to the next. But with you, as vexing as you were, you also very much intrigued him.

At his permission, you lightly push him back so he's sitting on the desk, giving him a much comfortable position to watch as you slowly unhook your bra, letting the garment fall to the floor. You can sense his probing eyes on you, and you can't help the sly smile that appears as you straddle him, one leg on each side of him.

Theo's hands find your waist immediately, slowly sliding up your sides, to your bare back, and then to your front. He squeezes your breasts, eliciting a breathy moan from you. Your skin was soft under his rough hands.

"And I thought you were going to let that ego of yours make a horrible choice for the both of us." You tease.

Theo's too enamoured with this new position (and view) to respond to your jests. One hand rests firmly on your jaw as he pulls you in for a kiss, his teeth grazing your bottom lip. Meanwhile, your hand moves to stroke his length, feeling Theo grow even harder at your touch.

"Shit," Theo groans.

"Someone's missed me," you whisper against his lips. Your thumb teases the tip of his cock, evoking a slight twitch out of him.

"God, shut up."

Theo wanted nothing more than to wipe—no, fuck—that smug expression on your face. And he's just about ready to take matters into his own hands, but you beat him to it.

Still wet from your previous orgasm, you were beyond ready to have Theo inside you. You lift yourself up slightly, guiding him to your entrance. He bites back a groan, his hands gripping your waist. You lock gazes as you slowly lower yourself onto him, your mouth falling open in a glorious 'o' shape as you take all of him into you.

While this wasn't the first time you had Theodore Nott resting deeply in your cunt, you took a moment to adjust.

"Are you going to move, or what?" Theo growls impatiently, bucking his hips and roughly nipping at the soft skin on your neck.

His impatience makes you smirk.

"Hey," you say, with a wry smile. You snake your fingers up to his hair, tugging his head back slightly to give you room to trail a path of kisses along his neck. You were going to prolong this and make you both ache for more. You didn't want to be the only one who was a moaning mess today. "If I'm making it up to you, then it's my rules."

"You know I don't give a shit about rules."

"Too bad."

This makes Theo's jaw clench. Before he can utter another quip, you're rolling your hips, feeling him embedded inside you. The movement feels good, but you know it's not enough for either of you just yet.

"God, I'm thankful your ego isn't the only thing that's big," you moan against his ear.

This makes Theo's jaw clench. You hear a string of curse words in another language, something you've noticed Theo does in moments where his brain had short-circuited. Enough sense, it seems, is knocked back into him as you can understand the breathless words, "And you take me so fucking well."

Theo's lips find the top of your chest, kissing down feverishly. His tongue flicks expertly against your right nipple as his hand moves to grip your bare ass from under your skirt. You arch into him, letting out a sharp gasp at the dual sensation. Despite his sentiment about rules, Theo lets you control the pace. He holds back the strong desire to thrust upwards into you, to fuck you hard.

"Oh, Theo," you whine as you continue to roll your hips. You wrap your arms around his shoulders and lift yourself up, almost completely off his dick. Ghosting your lips against his, you push yourself back down—hard—feeling him go even deeper. You repeat these movements, your moans growing louder.

Theo can't stop the thoughts of how gorgeous you looked from clouding his mind. You weren't bad to look at normally, but seeing you fuck yourself with his cock had to be one of the wonders of the world. Only if that were a reality, Theo's not sure he could stand anyone else ogling you like this.

"Yes, that... that feels good." Theo groans, his cock throbbing from your movements.

You press your forehead against his, your eyes locking with his as you continue. One of the things Theo liked most about this little arrangement was your unnerving ability to keep eye contact—there was nothing more sexy than seeing the woman you were pleasuring crumble. Eyes can tell you everything.

"I'm trying to—" you breathe, rocking yourself against him. The movement wasn't nearly fast enough, but the way you were moving had him reaching depths you didn't know were attainable. "—to be good."

"Are you?" Theo asks between pants, squeezing your ass roughly. He leans into your lips. "Can you be a good girl for me now?"

You give him a small nod, your eyes fluttering shut for a moment. Your breath is quavering as you try to speak; your eyes re-lock onto his. "Am I not being good for you?"

This makes him chuckle darkly. Theo wasn't an idiot. He knew you practically yearned for his words of praise. The knowledge was something he took advantage of from time to time, withholding and dangling his praise in front of you just to see how far you'd go to make him say it.

To prove to Theo you were being good, you push yourself down onto him roughly, a whimper escaping your lips. You increase your speed, unable to hold out anymore, fucking yourself hard, deep, and fast on his cock.

"Fuck." Theo swears, and he can't help himself now. Hands keep you in place as he fucks up into you, cock hitting your spot repeatedly and mercilessly. He relishes the feeling of your wet core around him. Your clit presses against his pelvis at each thrust.

You took pleasure (literally and figuratively) in Theo's natural ability in knowing. He knew what to say, how to touch you so you were melting, and when to take back control. His hands digging into your hips told you everything you needed to know: Theo was going to fuck you senseless.

"I want to be good," you pant, your nails digging into his back, grasping for a release.

"Then you know what I want to hear."

He holds you flush against him, arms wrapping around you as he continues to thrust. He can feel his own pleasure grow. Your head falls onto his shoulder as you feel it building up in your stomach again. This time, you weren't going to wait until it was too late.

"Theo, please," you practically beg. Theo was the only person who'd ever make you feel like this, and you were past the point of caring whether he knew it too. "Can I cum, please? For you."

"Yes," Theo hisses. He was close too. "Cum for me. Now."

Your orgasm hits you hard and fast, your head falling back as you drag your nails into his skin. Theo continues to thrust up sharply, chasing the high for the both of you. You clench around his length, the sensation mixed with your moans pushing Theo over the edge.

"That's my good girl."

Theo's praise for you was not lost in the chorus of breathy moans and grunts of pleasure. His addition of the word 'my' made you shake even more as another wave of pleasure washes over you.

"Oh, God, yes, Theo."

His hand moves to the back of your neck desperately, guiding you into him for a passionate kiss as he spills into you with a moan.

Ragged breaths fill the room. There was always a moment of limbo after every encounter—a moment where the two of you stayed entangled and nestled with each other, savouring the proximity and stealing last, sweet kisses. You knew the moment you got up, the two of you would go back to despising each other again, until next time.

"So?" Theo asks after a moment, expectant of an answer, as if you could read his mind. "That dumb git you mentioned earlier. Was he better than me?"

His question makes you smirk, and you have to bite it back so as not to show how content you were that he had lingered on that thought.

"You don't want me to answer that," you say, giving him a small pat on the shoulder before getting up. You slip back into your clothes and adjust your hair.

The answer should have been obvious to Theo, but you weren't giving him the satisfaction of admitting it because it did nothing for your reality. This was as far as this would go. Theodore Nott was a pretentious asshole who just so happened to be a good fuck. There was never going to be more than that.

"You definitely exceeded expectations today, Theo," you say, gathering your books from the floor. "But you didn't do anything worth an outstanding."

With a swift flick of your wand, you unlock the door and leave Theo in the vacant classroom, already fantasizing about next time.