#charlie meta

[charmac]

The way Rob wrote the Charlie plot in Dennis Looks Like a Registered Sex Offender revolves heavily around the angle that Charlie needs Frank in his life financially, and is fighting for him back so he pay rent/make ends meet. Interestingly, that motivation was very obviously pivoted away from in the actual episode:

The script says Charlie won't miss him, but he needs him.

In the Episode, Charlie tells Frank he doesn't need him, but he'll miss him.

The scene which explains how Mac and Charlie started scheming together was cut, and it starts with the idea that Charlie is already struggling financially without Frank:

And, once again when the script has Charlie mentioning rent,

it's dropped from the scene.

(bonus there's a little cut moment of Frank moving back in)

Charlie wants Frank back, but he's competing purely for Frank's affection, the financial angle dropped completely. There is literally no mention of a need for Frank's money/rent that is kept in the actual episode, while the script revolved around it.

Dennis and Dee only need Frank financially, it's their unfortunate bind to him, the literal, only reason they cannot escape him is their need for his money (and that continues to this day). Charlie was being written on that path, maybe doomed to be the third kid, but that wasn't actually executed, and in fact played to read the exact opposite of the twins' need for Frank.

Charlie is happy living in squalor, he'll find a way to survive off pennies, he had been his whole life, but a year in and he can't let Frank go. It could have been because of his money, if played as written/intended, but it very obviously wouldn't be, and isn't, about that for Charlie

[britney-rosberg06]

Hey (said w the intention of making you cry over this gif)

gif by @t-lostinworlds <3

THIS FRAME HAS BEEN ETCHED IN MY BRAIN SINCE WEDNESDAY

THIS IS WHAT I MEAN WHEN I SAY LUKE IS A PROTECTIVE OLDER BROTHER

HE GRABS PERCY WHILE PATTING HIM ON THE ARM IN A REASSURING COMFORTING WAY AND IMMEDIATELY LEADS HIM AWAY FROM THE DANGER!

HE DOES THIS THE ENTIRE EPISODE!! HE IS CONFIDENT NOT JUST IN THEM FINDING SOMETHING FOR PERCY TO BE GOOD AT BUT IN PERCY AS A WHOLE!! JESUS CHRIST HE LETS THE KID WITH NET ZERO UPPER BODY STRENGTH SHOOT A BOW AND ARROW 100% SURE HE HAD IT HANDLED LETS HIM HIT A HOT PIECE OF METAL WITHOUT EVEN EXPLAINING WHAT THEYRE DOING

AND IN 5 SHORT EPISODES!! HE IS GOING TO BETRAY THE LITTLE BOY HE PROTECTED EARLIER!! AND THATS NOT FUCKING FAIR

[metalatias5]

Lucifer, calling up Heaven after discovering that this is not even that rare of an occurrence: WHO THE FUCK MADE DEER BE LIKE THAT??!!?

Also yes, Lucifer spontaneously dematerialized both his hat and coat in shock/anger XD

[gg-ladybug]

On today’s episode, I have now realised the power that comes from using duos / ships for these memes. I’m evolving with every post.

Alastor: (Part 1)

Lucifer: (Part 2)

Random Groups / Duos / Ships: (Part 3 - Here) (Part 7)

Charlie: (Part 4)

Adam: (Part 5)

Angel Dust: (Part 6)

[heretherebedork]

Before Pit Babe: Ah, yes, the vroom vroom show shall begin soon.

After the First Episode: Vroom vroom show is also omegaverse?! WELL THEN.

A Few More Episodes Later: Wait a second... the vroom vroom live action omegaverse show is filled with heart and an interesting take on trauma and toxic masculinity and wait a second his sexy nickname is mama.

Episode 8-10: The vroom vroom show is a show about love and grief and learning about yourself and realizing that you can be loved and loved and build a family and build a home and how it feels to have that torn away but also how it feels to have to leave to save the future and the agony of loss and the fear that you can never be loved, that you will always be too much only to realize that the grief of your loss is enough to break people and, yes, his nickname is mama and he deserves that love and family.

[prince-liest]

Some thoughts on Lucifer's mental health, relationships, and role as king of hell!

Lucifer’s perception of himself as the king of hell is really interesting to me because he’s very blase about it in canon while totally using it when it suits him.

I think it’s really telling that the first time he actually brings it up himself is when it’s something he can leverage to help Charlie out. He reads to me like someone who objectively knows that he’s the hottest shit in town, but also just doesn’t really think that it matters most of the time because it's not relevant to his personal problems. Being Lucifer Morningstar did not allow him to achieve his goals in petitioning heaven. Being the most powerful person in hell didn’t even un-fuck his family life!

...Except for when suddenly it might in fact help un-fuck his relationship with his daughter.

It's the main thing he can desperately and dramatically showcase as a worthwhile reason for Charlie to maintain a relationship with him, because he as a person is depressed, half-functional, and barely has enough spoons to pay attention to a conversation he's having with her while he's actively having it, nevermind remembering their last one.

He wants to! And it doesn't start with his song at the hotel! It starts with him answering the phone, heavily fumbling actually connecting with Charlie despite clearly desperately wanting to, and then realizing she's asking him for something and promptly choking on his tea before excitedly telling her, "Yeah! Of course! Anything within my power is yours for the asking, you just name it." He knows that there is a great deal 'within his power,' and he's happy and relieved that he can offer her that!

Lilith has been gone for years but he's still wearing his wedding ring. His walls are still covered in family portraits. He's just been sitting in his room making thousands of rubber ducks he thinks suck instead of ruling hell, because his daughter liked that one duck he made one time.

Charlie needed him to support her in her mission, but damn did Lucifer also need Charlie to get him out and moving and actually doing things again.

Anyway, someone get this man on an SSRI.

[haladriel]

In Charlie Vickers’ auditions for The Rings of Power, he was asked to read excerpts from Shakespeare’s Richard III, and Satan’s speech from Milton’s Paradise Lost.

Now Satan’s soliloquy about his new home and found freedom from ‘celestial light’ is obviously suitable material for a wannabe Sauron, but here are some very brief and select quotes from Richard III:

‘Look how this ring encompasseth thy finger’

‘Since I cannot prove a lover … I am determined to prove a villain’

‘What though I killed her husband and father?’

‘Your beauty was the cause of that effect’

‘I [have] nothing to back my suit at all / But the plain devil and dissembling looks / And yet to win her, all the world to nothing. Ha!’

Rings of Power analysts, writers, artists of all kinds — I can thoroughly recommend.

[aspoonofsugar]

Hi! Where do you think Alastor's arc is going? Redemption or villainy?

Hi!

Thank you for the ask, I loved watching Hazbin Hotel and I am happy I can write for the series :)

As for now, I think Alastor will spiral and hurt Charlie very badly, but he will eventually redeem himself (probably in a key moment). That is because Alastor is framed as Charlie's Jungian shadow.

What is the Jungian Shadow?

According to Jung, the shadow is what a person represses, both positive and negative. So, it can be one's violent tendencies, but also one's potential and energy. It really depends on the person.

So, why does Alastor fit the Shadow Archetype? Well, first of all:

Alastor's powers make use of shadows. Not only that, but Alastor's own shadow is very expressive and shows the demon's repressed feelings. In other words:

On the one hand Alastor embodies the shadow, in the sense he represents what Charlie refuses to face

On the other hand Alastor himself represses his emotions behind a smiling face:

Alastor: Just because you see a smile, don't think you know what is going on underneath. A smile is a valuable tool, my dear. It inspires your friends, keeps your enemies guessing and ensures tha no matter what comes your way, you're the one in control.

This is a good characterization for a jungian shadow because the shadow grows stronger and more dangerous, when it's ignored. So, the most one refuses to face their feelings, the most these feelings fester and grow powerful and dangerous. This fits Alastor both when it comes to others and to his own character:

He takes advantage of an emotional unstable and vulnerable Charlie to strike an abimguous deal with her. Similarly, he uses Husk's gambling addiction to steal his soul. He uses people's weaknesses an unsolved problems to take over.

He suffocates his feelings, which symbolically manifest in his powerful shadow-tentacles. His design and abilities are representative of his psychological coping mechanism, which is nothing, but repression.

As written above, though, the Jungian Shadow can be both negative and positive depending on what one hides. This duality is shown in Alastor's two roles in Charlie's arc:

He is a demonic archetype (even moreso than Lucifer, the titular devil), as he waits in the shadows for a chance to manipulate Charlie

He is an evil mentor, as he genuinelly likes Charlie, sees her potential and wants to guide her towards greatness:

She's filled with potential that I could guide

This isn't a contradiction, but complexity. Alastor is chaotic and mixes negative traits and intentions with positive ones. Just like what people repress can be both bad and good, usually at the same time.

This is clear when it comes to the Princess of Hell:

Charlie to Alastor: What's that you said about smiles?

Charlie is similar to Alastor in how she represses herself behind her pollyanna persona and her smile. This doesn't mean she is faking her altruism and generosity, but that she is using these traits to hide something else:

Lute: The only reason you're still here is that Daddy gave you and your Hellborn-kind a pardon from an exorcist's blade. How does that feel? To know how little you matter.

Deep down, Charlie invests herself in the Hazbin Hotel project because she wants to matter. She feels powerless and unimportant, as a result of her parents' neglects and of Hell's difficult situation.

So, our protagonist has strong self-issues that she refuses to face:

Husk: Princess is a bleedy heart who wants to solve everybod else's problems, 'cept her own.

That said, this isn't the only thing Charlie represses. The Princess of Hell hides:

Every negative emotions she feels, like her self-hate or her anger at Vaggie for hiding her true identity:

Rosie: How does that make you feel? Charlie: Just... angry? Because we share everything! Because she always supported me, and my ideas, and now I don't know whether or not that was just more of the lies... Oh no, that's a horrible thing to think! Do I think that? Yes! No? Kinda?

Her most violent and aggressive side, which makes so she is unable to make full use of her powers:

Vaggie: Well, I mean... You're the princess of Hell, but you don't really use the power that comes with that. Mybe you can, I don't know? Command a little more... authority. Charlie: But that's so mean.

In short, by repressing her negative feelings, she also represses her potential. It is only by facing herself as a whole, that she can fully grow and bloom into her most powerful and complete self:

This is made clear in Charlie's quest in Cannibal Town. There, our girl is at her lowest, but she is pushing herself forward for the sake of her loved ones. She is trying to imitate Alastor by smiling, even if she is sour inside. However, things do not go well and it is only through her heart to heart chat with Rosie, that Charlie is able to pull herself together and inspire her people. Symbolically, she gets through them not with a 100% optimistic song like "Inside of every demon is a rainbow". Rather she opens her speech, by showing vulnerability and honesty:

It's a feeling like a rumbling in your gut That you could finally be faced with A billion needy faces I guess what I mean to say is For the first time in my life I might have to be ready for this Ready to be the one who's leading from the front Gotta come into my own Gotta come into my throne Gotta take charge and defend my only home And although I kinda feel unsteady Now I need to be ready for this

She affirms who she is and her willingness to grow into herself:

For the first time in my life Maybe I can be ready for this I can be the marshal leading the parade I can come into my own And I think I've always known My destiny could never be postponed When Adam brings the battle here I must appear like I'm ready for this

So, it is only by tapping into her own shadow that Charlie can be successfull. It is through expression and not repression that she can reach her goals.

What about Alastor?

He is the same, but so far he has been refusing to open up to others:

Angel: He's been here a while and he's still a big, creepy mystery.

That said, his time at the Hazbin Hotel has had an impact on him. He is forced to deal with others without killing them:

Vaggie: Pentious's eggs are all over the place. I need you to get rid of them. (...) Humanely!

He is shown cutting ties with a poisonous friend:

He openly admits he likes the people of the hotel:

Alastor: Ah, an enjoyable collective to be around. I admit one could get accustomed.

However, he still refuses to openly show vulnerability and ends up like this:

Let's highlight that Charlie and Alastor are foiled in The Show Must Go On song.

Both stand in the ruins of their homes/dreams.

The Hotel:

I took a hotel, and I destroyed it I know I could have done better Better, instead of letting you down

The Radio Station:

This place reeks of death There's a chill in the air And I barely escaped being killed by a hair

And both decide not to give up and to keep pursuing their objectives. However, Charlie is framed positively, while Alastor negatively. Why?

Charlie sings about her feelings openly and is supported by her father and found family:

Alastor sings about his pain privately and even then he barely shows his desperation before going back to his villanious mask:

Symbolically the moment Alastor reunites with the Hotel Crew, he sings:

And we're doing it with a smile!

He is back in control of himself, ready to hide everything behind his neverchanging smile.

So, Alastor is both Charlie's negative foil and Jungian Shadow. As her negative foil, he is bound to spiral. As her Jungian Shadow he is bound to be saved. Why is that so? Two reasons.

The Jungian Shadow can't be killed, but needs to be integrated with.

The main themes of the series are redemption and love, so it is improbable that Charlie won't help the person, who co-founded the hotel with her.

If anything, it seems that our princess is progressively asked to forgive, inspire and see the good in more and more complex cases.

It starts with Angel, who willingly stays at the Hotel. It goes on with Pentious, who infiltrates the Hotel, but makes no real damage. Then Lucifer, whom Charlie loves, but that has been absent from the majority of her life. Finally, Vaggie, who breaks Charlie's trust.

Each conflict Charlie has challenges her in a different way and helps her discover herself and grow. She is bound to meet new struggles when Lilith becomes a broken pedestal and finally when Alastor betrays or hurts her. Still, she is going to forgive and to understand them.

Charlie is going to see the good in Alastor and to better understand herself as a result. As a matter of fact Charlie's journey is one where she is slowly discovering a world, which isn't black and white:

If Hell is forever, then Heaven must be a lie If angels can do whatever, and remain in the sky The rules are shades of gray when you don't do as you say When you make the wretched suffer just to kill them again

Just like people aren't black and white. Just like she herself isn't black and white. By saving Alastor, she is gonna save herself too. Together with the whole universe.

And what about Alastor? Well, he needs to work on himself, as well. He too must integrate with his shadow, who is embodied by a certain character:

Husk is a powerful overlord, who lost his soul to a demon. Just like Alastor:

Husk: Big talk for someone, who's also on a leash.

Alastor and Husk are both on a leash. Still, Husk admits it and starts working on his shortcoming:

Husk: You're a loser, just like me

Alastor instead affirms his willingness to be in control and to pull the strings:

Once I figure out how to unclip my wings Guess who will be pulling all the strings?

Alastor is a loser, just like Husk. Just like all the characters in hell. Sinners vs Winners. And yet, he refuses to admit it. This is why he makes no progress. Similarly, he wants freedom, but enslaves others. This isn't going to work out, which is why I am fairly certain he will eventually set Husk free. Probably by doing so, Alastor will make the first real step towards his own freedom. He will start integrating his own shadow.

Thank you for the ask!

[mikaikaika]

Team Red´s gaslight,gaslight,gaslight strategy

[justanotherhh]

I was doing some screenshots for a bit of Alastor meta and I hadn't realised that when Rosie does the "come now Alastor, she's much too young for you - oh, I'm just kidding, I know you're an ace in the hole" Charlie's expression goes from:

Uncertainty

2. Big eyeroll

3. Suspicion/dislike/negativity

4. Surprise/confusion at where this went

it's quite big shift in emotion, where Charlie perhaps feels like this joke is kind of old-fashioned and sexist and who even is this woman in cannibal town of all places, to... wait, what did she say?

whether she understands the joke or not, she seems to be somewhat aware that Rosie has revealed something about Alastor

just a small moment, but I wonder if that's a tiny "let's park this one for now, but Charlie definitely noticed/was paying attention."

(also Alastor squinting the whole way through and then eyes widening right as she says it...)

[charmac]

Charlie moving into his own place and boarding up his bedroom because the idea of being stuck in a back room while he’s asleep is creepy.

He’s a kid and when he’s in his bedroom, that’s when the Nightman can come. The Troll Toll allows access to Charlie’s bedroom, he watches the door open and he’s trapped in the bedroom. He hates being in the bedroom.

Now he’s 15 and Uncle Jack has moved out but his mom has come home with two screaming newborns. The house is overwhelming, he has to retreat to his bedroom but he hates his bedroom. He has to get out.

Charlie sending all of his time in high school in Mac’s mom’s basement. It’s a large open space, there’s no bedrooms here. He’s free and he’s with someone who makes him safe, someone who will protect him. There’s no bedroom door, no toll.

And now Frank is breaking down doors and opening his trauma right back up. No. He can’t do this. Frank wants to move into the bedroom, leave his side in the open space, Charlie’s lost his protection and now there’s a bedroom.

Charlie works, he inserts himself into Dennis’ scheme, he plays right into it all, and he manages to get them in return to play right into his hand, to create his own leverage to get what he wants. He’s used Frank’s business techniques against him, only for one thing — Security.

And now Frank’s boarding back up the door. They’re back in their one-room, no bedrooms, together. He’s safe.

[sonseulsoleil]

I just love the choice Alice made to move up the dinner with Stéphane. When I first heard about it, I was apprehensive, because that moment is really the culmination of Nick’s arc of self discovery and acceptance, and I thought moving it up would feel rushed. But I was so wrong.

By focusing so much of season 2 on Nick’s journey, on his strained relationship with his father, on how hard it is to come out, Alice allowed for a subtle but very important shift in Nick & Charlie’s dynamic. In volume 3 of the comic, a lot more focus is put on Charlie’s mental health much sooner. The conversation about self harm happens right at the start of the volume. Which creates a—very false—perception among some readers that Nick is always taking care of Charlie. That he’s the strong one.

But by moving that scene back, and the scenes with Nick’s dad up, we get the opposite impression. Nick has spent most of the season leaning on Charlie, and Charlie has spent most of the season trying to support and protect him, sometimes to his own detriment. We get to see Charlie shouting at Harry, comforting Nick after the bon fire, holding Nick’s hand when he meets up with Stéphane in Paris, being ready for a hug after Nick comes out during Tara's party.

All this leads to Nick saying: I've done so many things that were scary in the past few months because you were there, holding my hand. And I wanna be that for you too.

Now, when season 3 inevitably focuses on Charlie’s mental health, it will almost be like Nick is returning the favor. It’s his turn to take care of and support Charlie. Their relationship was always equal, but I think this writing choice really highlights the give-and-take they have, and how they both support each other.

[metalatias5]

It might just be the depression, but Lucifer feels so relatable that I have to project my ADHD onto him too, pff I just spend 9 hours in a row just tonight to finally get this one done since I'd started it before the last comic and wanted to have it finally ready before I get even more ideas started cgvhbj (I still have more WIPs to work on)

[arkadijxpancakes]

Yes. The Weasleys had too many kids. An analysis. (Part 1 of 2)

Everyone who read Harry Potter read about the prejudices regarding the Weasleys: They all have red hair, are poor and have more kids than they can afford. Insert a sneering Malfoy here.

The books were adamant that that was not the case. The Weasleys are depicted as the best family in the books. (Just look at the others. The Dursleys were narrow-minded, bigoted and abusive. The Malfoys were bigoted terrorists. The Lovegoods were weird. Let’s not even start about Merope and Riddle.)

However, if you look closer, the prejudices have some truth to them: They had more kids than they could afford. However, money isn’t the issue here, not really.

Yes, the Weasleys are clearly depicted as members of the working class. They don’t have much money and fall back on second-hand stuff a lot of the time. Ron in particular is shown to be using hand-me-downs in book one.

However, they don’t live in abject poverty. The family owns their own home on their own land. They have a garden to grow their own vegetables and they have chickens. This means that food scarcity shouldn’t be a big issue for them, because they can produce a lot of it on their own. (Magic should make this even easier, because they can use it for the gardening stuff. And if we assume that you can duplicate food, this should keep everyone well-fed.)

The main issue when it comes to money isn’t that they don’t have anything. They have clearly enough money to stay comfortably over water. They just don’t have enough money to buy all the fancy shit the wizarding world uses as status symbols. (Like racing brooms and dress robes.)

Could things be better, money-wise? Sure. But one can have a loving, comfortable childhood, even with second-hand clothes and working class food. So no. It’s not about the money.

It’s about time. 

And it's also about how the parents divide that time (and the work that comes along with it.)

The Weasleys follow a family structure one would expect from a muggle family of their time (the second half of the 20th century): Arthur is the one who goes out to work and earns money, while his wife Molly is a stay-at-home-mother who takes care of their home and kids. It’s also just their nuclear family that lives in the burrow. There are no other relatives (no grandparents and no aunts or uncles, either) living there.

I find this a little bit weird, tbh. The nuclear family (parents and kids) living alone, without any other relatives and with the father as the sole breadwinner, is a pretty new development. The practice only really established itself after the Statute of Secrecy went into effect. It developed first in the upper classes (who used this to flaunt their wealth) and in urban centers (where there was no space to live together with your extended family.) Before this, living with one's extended family was very common, especially in rural areas, where it was beneficial to stick together. The Weasley’s don’t really have a reason to live as a nuclear family. There is no need for wizards to follow the Muggle trend, and things were different before the statute. Living with other, adult family members would also be beneficial, especially for Molly. And the books do suggest that the extended family is quite large, so “They don’t live with other relatives, because they don’t have any” doesn’t fit their situation either.

This is a common theme for Rowling, by the way. She tends to ignore the extended families of her characters, whenever it is possible. The numbers of grandparents, aunts, uncles and cousins that get mentioned in the book is incredibly low. (The only character who seems to have close connections to his extended family is Neville – and that’s because the other members of his nuclear family are completely absent because of health reasons.)

Anyway. When we look back at the Weasleys, this leaves Molly basically as a tradwife. (Minus the religious baggage.) But let's start at the beginning. 

(Note: I will focus on the books in this. I don’t consider the games canon and will not use them as a source.) Arthur and Molly were born around 1950. We know that he went to Hogwarts from 1961 to 1968. They were close enough in age to start a relationship while still at Hogwarts, and they married shortly after graduating. For this to work, she must have been in his year or maybe the year below or above.

Bill was born in 1970 and was followed by six siblings, the last who was born in 1981. So from the age of ca. 20 to the age of ca. 33 Molly was either pregnant or nursing at least one baby at any given time. (There might have been a short break in that pattern between Charlie and Percy, but it only got worse after that.)

As I said before, Molly and Arthur seem to have a very traditional division of labor between them: He works at the ministry and earns money, she takes care of their home and kids. This means that Molly has drawn the short end of the stick.

While Arthur is working one job 9-5, Molly has to work three jobs and at least one of them is 24/7. Let’s pick them apart:

Her first job is to take care of the home. Molly cleans the house and does the laundry. It is also very likely that she is not only responsible for cooking, but for food production in general. This means that she takes care of the garden and chickens. This would be pretty exhausting, if not for her magic. She can likely cut down on time and effort by using magic for most of those tasks.

On top of this, she is also producing at least some of the clothing her family wears. We don't see her sewing, but she knits a lot. She is using magic for that, too.

Her second job is to raise their kids. Molly is their primary caregiver and does most of the parenting. This is a difficult job to begin with, but there are seven of them. This is where her workload starts to stretch her thin. It can’t be easy to do the laundry, while Ginny needs to be fed, Bill and Charlie are arguing in the backyard, and the twins have just vanished. Magic is less helpful here, because a lot of the work requires her to interact with her kids. She can’t really flick her wand to speed that up.

On top of that - and this is where things get even worse - there doesn't seem to be any kind of elementary school in Wizarding Great Britain. At the very least, the books do not mention any form of primary education and Hogwarts seems to be Ron’s first school. But Hogwarts still requires its students to be able to read, write and do math. Having some education about the Wizarding World couldn’t hurt, either.

However, someone has to teach the kids. And this someone is probably Molly, because Arthur is at work, and they don’t have the money for a private tutor. They cant sent their kids to an elementary school, because there is none. (And they obviously did not send them to a muggle school.) 

So this is her third job. This is another job she can’t really speed up with magic, because she can’t hex the knowledge into her kids’ brains. (Or at least I hope she can’t, because everything else would be disturbing.)

This means Molly has to take care of their home, produce their food, take care of their kids and teach them elementary school-stuff. All while being pregnant and/or nursing for circa 13 years straight.

Her workload just isn’t doable for a single person. It might have started off okay, when she only had Bill and Charlie, and it probably got better once most kids had left the house to study at Hogwarts. But the years in between must have been hell. And she did not really have any help to do it.

Arthur was off to work most days and seems to spend quite a lot of time on his hobby. Additionally, he just doesn’t seem to be all that involved as a father and seems to take care mostly of the fun stuff. 

His parenting style is much more relaxed than Molly’s, too. He’s probably the parent the kids go to when they want to do something their mother would say no to. This, of course, makes parenting even harder for her, because she doesn’t just have to deal with the kids, but also with Arthur’s parenting decisions. There are no other adult family members around to help her, either. They also don’t have the money to hire help. (No wonder Molly dreamed of having her own slave house elf. It would have allowed her to drastically reduce her workload. It’s a really disgusting wish, but I understand where it comes from.)

This is where the family dynamics probably took their first severe hit: It’s very likely that Molly’s workload left her with more work than she was able to do consistently. Whether Arthur pulled his weight in that regard is questionable (and he was at work for most of the day anyway.) She also had no other adults to help her, so she probably offloaded her workload elsewhere: her kids.

Yes. I think it is very likely that the Weasleys parentified their kids, especially Bill, Charlie and Percy. We don’t see it with Bill and Charlie, probably because they had already left the house when Harry meets the family. Still, it’s a little weird that both of them went to live so far away from home. Yes, sure, exploring tombs in Egypt and taming dragons in Romania is fun and exciting in and off itself – but being so far away from home that mom can’t rope you into household chores and babysitting duty is probably a really nice bonus. It would also relax their familial relationships quite a bit, because moving away gives them control over when and how they want to engage. (And it’s probably easier to be the fun big brother to your younger siblings when you aren’t required to watch and control them every day.)

We do see it with Percy, however. He looks after and take responsibility for his younger siblings a lot, especially at Hogwarts. You can see it in the way he looks after Ginny and how he’s constantly at odds with Fred and George because they refuse to follow any rules.

Fuck, he still does this after the big row with his father. Yes, the letter he sends to Ron is pretty obnoxious, but he still wrote it. He did not need to. At that point he had cut all contact, after all. He clearly cared for his younger brother and wanted to look out for him, even if he did it in the most annoying way possible. It would be interesting to know whether he also wrote to Ginny or the twins or not.

Also, did I mention that the Weasleys have too many kids?

They have too many kids.

It’s a numbers game, really. The more kids you have, the more time you have to use for household chores (you need to clean more, wash more, cook more, etc.) You also have less time to spend time with each kid individually. This is especially true for quality time – so time that isn’t spent on chores or education. Time that is spent playing and talking with each other, just to enjoy each other's company.

Molly is already working three jobs. She doesn’t really have any opportunity to spend time with her kids equally. She’s too busy looking after the home and teaching the older ones, while watching the younger ones and making sure the twins don’t burn the house down. 

I just don’t see her spending quality time with her kids regularly, because of this. It’s just difficult to talk with Charlie about his favorite dragons or read something to Percy or to play with Ron, when there is always someone else who needs her more. Full diapers. Empty stomachs. Unyielding stains of unknown origin on Arthur's work robes. A sudden explosion on the second floor. And probably everything at the same time and all the time.

So yeah. Chances are that her attention and her affection can be pretty hard to come by at times. (To a certain degree, this also applies to Arthur, because he is away from home so much.)

Let’s look at the timeline.

It probably starts pretty harmless:

1970 - Bill is born, and he’s the only kid for two years. Yeah, it’s Molly’s first child, and she is a really young mother, but she is a stay-at-home-mum, and it’s just one kid. It’s mostly her and Bill who are at home, and her workload isn’t all that big, because she can use magic for most stuff. The war has started, but it probably hasn’t kicked into overdrive just yet, so this shouldn’t affect her too much either.

1972 – Charlie is born. Molly’s workload is expanding, but things should still be pretty manageable. Also, they don’t have another kid for almost four years. This allows Molly to adjust to caring for two kids. She can also relax from both pregnancies and births. If it wasn’t for the war, this might be her favorite years as a mother.

When Arthur is involved in parenting Bill and Charlie, it’s probably on the weekends. I can imagine him taking them out to do fun stuff, so their mother can get some rest. It’s probably a great time for him, because he can bond with his boys. I can’t see him do much more than that, though. Molly has a handle on things, and interfering could be seen as overstepping.

1976 – Percy is born. This is probably the moment, where the attention-distribution in the family gets a little bit wonky. Molly has three kids now, and it’s the middle of the war. Bill is almost six, which means that she has to start teaching him, while simultaneously nursing Percy and keeping Charlie entertained/away from trouble. This is probably still manageable. She can wait a little longer with teaching Bill, so she can teach him and Charlie together. She can also hand him (and maybe Charlie) over to Arthur, so he can teach him/them on weekends.

Additionally, Arthur is probably still taking Bill and Charlie out for some bonding-fun-time. However, the war is in full swing now, so leaving the house gets increasingly dangerous. Their trips will get shorter and stay closer to home. They will happen less frequently, too. He will also end up working more because of the war, doing overtime much more frequently. When he is home, he is going to be exhausted, as a result.

1978 – Fred and George are born. The attention-distribution in the family falls off a cliff.

This is when Molly's workload starts to become overwhelming. Charlie will be 6 at the end of the year, Bill will be 8. She has to start teaching them, if she hasn’t already. Otherwise, Bill will not be ready when he starts Hogwarts.

And on top of everything, Molly has to take care of the twins. She has to do everything that needs to be done for a newborn – times two.

So her workload explodes. Molly is raising five kids, now. She needs to educate Bill and Charlie, nurse Fred and George, and has to make sure Percy doesn’t fall to the wayside completely. She also has her household chores that aren’t related to her kids. The war is still raging on. Arthur is probably tied up at work most of the time, and when he is home, he’s exhausted. And Molly will be pregnant again in a year. (Really, why do they have so many kids during a war? One or two, I would understand, but this is getting irresponsible.)

This is probably the time when Bill has to take over at least some chores, not just to learn how to do them, but to take some pressure off of his mother. This might not be parentification yet, but it will get worse over time. I assume he has to look after his younger brothers a lot.

On top of all that, it is increasingly hard to shield the kids from the war. At least Bill and Charlie are old enough to understand that things are really, really wrong and scary. And there is not much Molly can do about it.

1980 - Ron is born. The twins are already old enough to open cupboards. Molly is not having a great time. She probably hands over Percy to Bill and Charlie (“Go, play with your little brother!”), so she can take care of baby Ron while keeping an eye on the twin shaped chaos that is growing by the day. She will be pregnant again in a couple of months.

Bill (who will be 10 at the end of the year) and Charlie (8) still require teaching. Percy (4) isn’t old enough just yet, but he will be, soon. (And, let’s face it: It’s Percy. Chances are that he wants to learn, even now.)

The war is still in full swing. Arthur is still overworked and underpaid. Everyone is tired and scared. This also affects the kids. There is probably a lot of pressure on Bill as the oldest brother to watch over his younger siblings, to make sure all of them stay safe. They don’t spend much time outside their home, because it’s just too dangerous to do so.

Around 1980/81 is also the time when Molly’s brothers Fabian and Gideon die. (Gideon can be seen in the photograph that was taken of the Order before James and Lily went into hiding, so he was still alive back then. But we know that he dies soon after the photograph was taken.) Molly never talks about her brothers in canon, but this must have been horrible for her.

1981 – Ginny is born. They are seven kids now. Fabian and Gideon will be dead by the end of the year (if they aren’t already.) Molly’s workload is at its peak, while her ability to pay equal amounts of attention to her kids is at an all-time low. She’s grieving, the rest of her family is in danger, and Arthur is stuck at the ministry. This means that she will likely lean on Bill’s support even more. As Charlie is 8 now (and will be 9 at the end of the year), Molly might consider him old enough to help, so he might see an increase in responsibility, too. At this point, we are in parentification-territory.

With each day, the twins grow more into the troublemakers we see in canon. This sucks away attention and affection from their siblings (simply because they need to be watched and disciplined).

I think the following years are very formative for the family dynamics between the kids. It’s probably less pronounced for Bill and Charlie (who are stuck with chores and babysitting-duty and will leave for Hogwarts soon-ish) and Ginny (who gets more attention because she is the youngest child and only girl). It’s worse for the others. Percy, Fred, George and Ron are basically in direct competition for their mother's attention. I think the dynamic develops as follows:

Fred and George are active and pretty extroverted. They explore a lot and start to play pranks on their family members. This is overall harmless, but Molly has to pay attention to them, to make sure that no one accidentally gets hurt. From this, the twins learn that they can get Molly’s attention by causing trouble, so they will lean into it even more.

This sucks away attention from Percy and Ron. It causes Percy to veer hard into the opposite direction: He tries to gain Molly’s attention by following all her rules and fulfilling her wishes. This earns him her affection and will turn him into her golden child in the long run. It will also put a strain on his relationship with the twins, because Molly compares them a lot, especially when angry. This will cause Percy to perform the “Good boy”-role even harder (because he doesn’t want to be treated like the twins), while they start to resent him on some level.

Ron on the other hand is still too young to affect the family dynamic on his own. He internalizes that his mother cares more about his siblings and that there is nothing he can do about it.

The only good news: At the end of the year, the war ends. This will bring a lot of relief. (It’s short term relief for now, things will need some time to go back to normal.)

However, the end of the war also means, that Percy gets a pet. Either late in 1981 or early in 1982 he (or another member of the family) finds a rat that is missing a finger on its front paw. Percy keeps him and calls him Scabbers.

We all know who Scabbers is, of course. I just want to highlight how fucked up this situation is. Percy is 5, when he adopts him. Because he was a little kid, he probably took him everywhere without a second thought – into the bathroom, into his bed, you know, everywhere. There is probably no part of Percy’s body Scabbers hasn’t seen. Percy probably told him everything, too, all his worries, all of his fears. It’s just creepy.

And keep in mind, Scabbers – Peter – is not just a random wizard. He is a Death Eater and mass murderer. We don’t know if he ever hurt Percy (there are fanfics that do explore that possibility). He probably didn’t, but the idea alone is nightmare fuel.

To get this back on track: This could have impacted the sibling-relationship, too. It depends on whether the other kids were allowed to keep pets.

With that, we are done with the war and with Molly’s time being pregnant. The family dynamic is already fucked up – and it will get worse, as the kids get older. However, this post is long enough, already. So we’ll take a break here. Next time, we will look at how the dynamics shift, once the kids start to go to Hogwarts. See ya!

[heretherebedork]

I love this show. I love them so much. I love that they just went ahead and said 'yep, Pit Babe thinks he's running from auction but is actually running from a breeding program he doesn't even know about'.

I love this.

Who knew we'd get a breeding program in a BL in the year 2023? That the entire show would actually talk about the idea that boys can get pregnant and that everyone wants Pavel's Babe's babies?

No, seriously, this is the best.

Charlie trying to protect Babe from thing she didn't know about and how love started from something else entirely and how much Babe loves Charlie despite himself and despite his own logic because Charlie showed him how to love.

Charlie finally telling the whole truth to Babe and to the audience so we have at least an idea of what's going on but also the heartbreak of knowing that being close to and being loved by the person you love was stealing a part of yourself.

Question: how does he know this?

But also Babe denying Charlie that, making very sure that he knows he has to live and that even without his senses he won't give up. Babe telling Charlie to keep living without having to say the words, denying the return of his powers because he wants this love and softness he's discovered.

Babe is so desperate for love and to be loved and Charlie gives him that love and that softness and they reconcile so quickly because Babe needs to be loved, to be soft, to be cared for and held and pampered.

[enteisabo]

zosan, to me, is one of the biggest fuckin switch couples out there. because whoever's topping in the situation is entirely dependent on who initiates. early in the relationship it's definitely zoro doing like 100% of that, because sanji's homophobia issues prevent him from going after it. but once he settles enough that he's comfortable doing the flirting???? that first time he uses the bedroom voice/eyes first, zoro is a stuttering, cursing, cherry-red mess. he's flattered and flustered and he's mad about it and that opens the door so wide for sanji to intentionally flirt, because holy shit getting that reaction out of zoro of all people is addicting. it's both turning him on and annoying him!!! because zoro is an awkward little piece of trash when he's not the person in control!!! anyway i just love them a lot and i love them getting to remain how they are with each other while also just being. into each other. the draw isn't them changing everything, it's building on what they already have, which is (affectionately) antagonistic, deep-rooted trust.