#fuck all your fairy tales

[mokeonn]

I think that the 2010's media landscape of Buzzfeed articles about plotholes in disney movies, Cinemasins critiques, and Watchmojo Top Ten scenes in movies that make no sense has truely ruined a lot of media. People are afraid that their work will be torn down if they dare leave a single thing up in the air, if they dare ask their audience to suspend their disbelief.

All too often nowadays I see stories (especially fantasy), take the time to explain how every small aspect of the world works and how it all logically makes sense. The constant time stopped to explain why an event happened, how this object works, or why this is important to the characters. It's just really not needed and it honestly makes a lot of stories worse.

I am of the opinion that the best stories truly just drop you into their world and explain nothing. They just take you through the story of this world and you just have to accept it and continue on. "When he became king, the land became barren." I don't want the story to stop and explain why this is, or how it happened, I want us to move on so we can just assume that the king has such rancid vibes that everything died.

[here-there-were-dragons]

i have to wonder what super hardcore militant vegans think should be done about obligate carnivore animals, because in all my painfully-rapidly-approaching-30-years i've literally never actually seen anyone give a clear consistent much less halfway feasible answer on that

[the-trans-dragon]

Hehehe >:3 got a kissie and some headpats from a pretty girl >:3 muahahahahahaha >:3

[sharkieboi]

Neverafter is absolutely eating my entire soul and has just fully reawakened my passion for fairy tales and so now im actually drawing and writing again to make a Neverafter OC based on Bluebeard’s wife

[star-ocean-peahen]

After watching Cinderella (the original animated movie, which was my favorite as a child), it strikes me how it solves many common problems people have with this fairy tale. Like:

Why did they try to identify the mystery girl using her shoe size? Because the bullheaded king's only clue to her identity was the shoe the Grand Duke picked up off the steps.

Why didn't the prince recognize her by her face? Because his father wouldn't involve him in the process at all, and wasn't the one going around trying to find her.

Why did the prince want to marry a lady he only met that night? Because his father was going to force him to marry someone, and he genuinely liked this woman.

Why did Cinderella want to marry a man she only met that night? Because marriage was her best and most secure way to freedom. Fucked up, but you can't say it's unrealistic for the setting of a fairy tale. She also genuinely liked him.

If they're using the slipper to find her, wouldn't it be more sensible to search for the person with the other slipper? Yes. The King is purposefully nonsensical and the Duke is purposefully terrified enough of him to carry out his orders to the letter. Furthermore, they end up doing that in the end anyway, because the Duke's glass slipper is shattered, and Cinderella brings out the one she has to prove her identity.

Why didn't the stepmother and stepsisters recognize Cinderella at the ball? Because they were dancing too far away, and then left the party to dance in private, which was possible because the King wanted very badly for his son to hit it off with someone and tried to arrange the best conditions for that to happen.

Why didn't Cinderella save herself? Because in real life, abuse victims should not have to shoulder that responsibility, and usually can't. In real life, you need and deserve an external support system. Asking for help, in this kind of situation, is very important. She is saved by others because she is loved. Because she is not alone. Because she has friends who love her, and want her to be happy and safe and free. Because in real life, people who want to help someone who is suffering are like the mice. We can't pull out miracle solutions, but we can provide companionship and if we're in the right place at the right time, we can help the person find a better life.

Why didn't the fairy godmother save Cinderella from her abusive household, or try to help her sooner? Because she's magic, and magic can't solve your problems. Quote: "Like all dreams, well, I'm afraid it can't last forever." This (and Cinderella's dream of going to the ball) is a metaphor for pleasurable things in bad circumstances. An ice cream won't get rid of your depression, but it will provide you with momentary happiness to bolster you, as well as the reminder that happiness in general is still possible for you. Cinderella doesn't want to go to the ball so she can get away from her stepmother and stepsisters, or so she can meet someone to marry and leave with. She wants to go to the ball to remind herself that she can still have things she wants. That her desires matter. This is important because the movie does a very good job of illustrating Lady Tremaine's subtle abuse tactics, all of which invisibly press the message that Cinderella doesn't matter. While going to the ball and fulfilling her dreams may not be a victory in the material sense, it is still a victory against Lady Tremaine's efforts.

Why is Cinderella's choice to be kind and obedient framed as a good thing, when you are not obligated to be kind to your abuser? This one walks a very fine line, but I think the movie still makes it make sense. Lady Tremaine never acknowledges her cruelty. She always frames her punishments of Cinderella as Cinderella's fault. Cinderella is interrupting, Cinderella is shirking her duties, Cinderella is playing vicious practical jokes. Cinderella is still a member of the family, of course she can go to the ball, provided she meet these impossible conditions. Lady Tremaine's tactics are designed to make Cinderella feel like she must always be in the wrong and her stepmother must always be in the right. If Cinderella calls her stepmother out on her cruelty, or attempts to fight back, Lady Tremaine can frame that as Cinderella being ungrateful, cruel, broken, evil, etc. If Cinderella responds to her stepmother's cruelty defiantly (in the way she's justified to), she's not taking control out of Lady Tremaine's hands. Disobedience can be spun back into her stepmother's control. She wants Cinderella to be angry and sad and show how much she's hurting. So since Cinderella is adapting to her situation, she chooses to be kind. Not only because she naturally wants to be and it's part of her personality, but because it is a form of defiance in its own way, and it allows her to keep a reminder of her agency and value. Her choice to be kind is her chance to keep her own narrative alive: she is not obeying because her stepmother wants her to and she has to do what her stepmother does, but because she wants to. It's a small distinction, but one that makes all the difference in terms of keeping her hope and identity. (Fuck, I wrote a whole paragraph about how this doesn't mean you can't be angry at people who hurt you or that you need to be kind to deserve help, and then deleted it by accident. Uh. Try again.) Expressing anger and pain is an important part of regaining autonomy and healing. Although it is commendable to be kind while you are suffering, it is NOT required for you to get help or be worthy of help. If Cinderella's recovery was explored beyond "happily ever after" she would need to let herself be angry and sad to heal. Cinderella is not only kind because it comes naturally to her, but because it's her defense against the abuse she's suffering. Everyone's story and experiences are different, and one does not invalidate the other.

Bonus round for answers that aren't part of the movie:

Why didn't Cinderella run away? Where would she go? Genuinely, in hundreds-of-years-ago France, where would she go if she snuck out of the window with a change of clothes? With her step-family, she's miserable and abused, but she's fed, clothed, and in no danger of dying or being taken advantage of by anyone other than her stepmother and stepsisters. Even if she escapes and manages to find financial security, her stepmother might be able to find her and get her back.

Why didn't Cinderella burn the house down with them inside it/slit their throats in the night/poison their food/etc.? Because that's a revenge fantasy, and this story is a fantasy about being saved. There's nothing wrong with making Cinderella into a revenge fantasy. That's perfectly fine, as long as you acknowledge that the other type of fantasy is also a valid interpretation. (I mean, the original fairy tale features the stepsisters getting their feet mutilated and all three of them getting their eyes pecked out, so go for it.)

Why isn't Cinderella more proactive in general? Because she's a child who has been abused for the back half of her life, who has had to be focused on survival because. you know. she's an abused kid.

How did she dance in glass slippers? Gotta agree with you there man, that's weird.

[dahkis]

YEEEEEAAAAAAHHHH MY CAL 2 EXAM GOT PUSHED BACK

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[elvesofnoldor]

like anne rice could be such good writer if she just wrote with compassion and empathy for her characters. There was this "baby Jenks" character from the beginning of the queen of the damned and her story was so afforded so much genuine love and compassion it was literally my favourite part of the first part of the book. Baby Jenks' story reminded me of some of the best Sandman one-off characters' story tbh, it was that good. Wish Anne Rice always write with so much love and compassion though. Anyways, It's no wonder, tbh, that Baby Jenks character is actually Claudia (lestat wept for that girl because he was weeping for Claudia from his life, pretty sure at this point Anne Rice consciously projects her own motherhood onto him). maybe at that point in anne rice's life, she has heard enough about things like re-incarnation and all the better places one can go to after death that all that stuff is allowing her to started to make peace with the tragic death of her late daughter?? but i wonder if she ever got to walk out of her grief? cause idk? she kept writing vampire books??? to the end of her life???

like it's honestly such a mess that she wrote IWTV in response to the very tragic death of her daughter. I have to be honest, i cannot begin to imagine just how painful it is to go through something that traumatic, but i also felt like writing a psychosexual gothic horror vampire story is not exactly therapeutic either. It's kind of funny that it takes getting into the vampire chronicles for me to truly understand what vampires really are. But i do, finally. Vampires are not weird fantastical creatures, they are not Death itself, and they are certainly not Life Everlasting. Vampires, like ghosts, are simply a spiritual embodiment of the very rejection of Death. They are very effective device to examine the human condition, because we as human beings all fundamentally reject the inevitability of death and obliteration of the self we currently possess. We inherently fear change, fear loss, the changefulness of life, and the annihilation of self. Vampires embody a certain state of mind that's frankly universal in humans. But I don't think Anne Rice always wrote her vampire chronicles knowing vampires are??? if she ever knew??? Definitely not at the beginning though, when Louis was definitely just her self-insert and he brought Claudia to live with a theatre of vampires and they live happily ever after. I mean, midnight mass really got the Point when it says "the only way to achieve True Immortality is to accept and embrace death, and because vampirism is inherently about rejecting death, it will NEVER be life everlasting". Honestly the only reason that motivated me to read more Vampire chronicles is....well...i wanna know if Lestat can just? idk, be happy? be free? But this dude kept trying to get together with his abuser and i honestly don't even know what to say. Really i do not understand why Anne Rice kept making it happen. I have seen zero evidence that Louis changed to become better person and someone actually deserving Lestat's love. And more importantly, idk man, im not a psychologist but can you stop being a p*dophile??? so um. humm. i don't fucking know about this, lol. Like, im gonna be fucking real here, fuck all that "lestat was a bad person" " lestat was manipulative" shit, please grow a brain!!! Lestat was a good and loving person!! Period! all his bullshit has to do with the fact that he died a horrific and traumatic death and was never able to free himself from the pain and despair that trapped him in his vampiric state. But to let go of his pain and truly be the good person that he always was again, it'd require him to...well, embrace true death. But since Lestat will never end im guessing he will just have to stop being a bonafide vampire and become some sort of dark fantasy faery creature lmao. I'm starting to suspect the reason people think prince lestat trilogy is cringey because her vampires just...aren't even vampires by the end of it lol. Im suspecting that Anne Rice literally had to come up with some fantastical mumbo jumbo to justify her vampire characters finding happiness because these bitches kept walking into the sun and they kept not dying from it. I mean, lestat croaking for reales is kind of depressing so MAYBE i will take this shit. maybe i will still read the prince lestat trilogy lol. I heard there is bloodborne lore in there.

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[medicinemane]

I'm still mad about the friend of mine who got harassed off of here. Any time I see their old url, it feels really nice to see it again, but then I remember why they're not using it anymore

Didn't do a damn thing wrong, just annoyed some people enough they started a harassment campaign. They literally said as much, I'm not just making that up. Every last thing they supposedly did wrong either wasn't wrong period, was twisting their words hardcore, or was a situation where they didn't realize the context of a phrase they were using a tiny bit of gentle correction was enough to make them go "oh shit, I didn't realize that" and change (but still get harassed even though they literally had already changed)

Accused of all kind of horrible shit over fucking nothing, people just like having an acceptable target and are a bit over eager to buy into slander that if you actually know the person is demonstrably false

I still talk to them of course, but the past pisses me off

[monstersflashlight]

To kill a king, to fuck a dragon (Day 8/8 of 10k followers event)

A/N: Hi there people! I’m so, so glad that all of you took time to read all the stories I post, especially these past 8 stories that had been super exploratory for me. I think I did good enough, at least y’all seemed to like it. For this last one I added a bit more plot than usual, this is a tiny bit longer and I think the story is really good. I hope y’all love it as much as I do. Also, and once again, I want to thank ALL OF YOU for following this little corner of the internet and being so supportive and great, special thanks to all my patrons to make my life a little bit easier <3, this has been a blast so far and I hop y’all keep reading, hopefully this account is just the beginning of a much longer exploration of monsterfuckery for us all. (PS: If someone catches the very subtle Grey’s anatomy reference please let me know so we can be friends)

Dragon x fem!reader || size kink, slow-burn (kinda), sex with feelings, magic saliva, spit on pussy, multiple orgasms, overstimulation || tw: mentions of murder

You enter the cave and are surprised to find a door, a normal human door caved into the rock. It looks like a house, a house on the rock, but still normal. What the fuck? Your hopes and dreams of finding the dragon slowly disappear, your eyes teary.

Someone chooses that moment to speak behind you: “Who are you?” You turn around so fast you fall to the ground with a scream. The stranger looks at you like you are a bug he needs to squeeze, and you feel a tear running down your cheek. Fuck. You promised yourself you wouldn’t cry even if there wasn’t a dragon. “Again: who are you?” His tone is harsh and you want to cry even more, but you bit your tongue.

“I- I came to find the dragon,” you confess, swallowing around the knot in your throat.

He looks at you like you are a joke, not even trying to help you to your feet. “What dragon?” He asks, his tone amused.

You get up and look at him, trying to look as serious as you can when you say: “They- They told me there was a dragon here.” You fail.

He chuckles, inspecting you up and down, his eyes zeroing on the few tears that escaped your eyes. “No dragons, just me,” he finally answers, his tone a lot softer than before.

“Uh-oh… Sorry. I’ll be on my way, then.” You try to get pass him, sniffling as you do so, trying really hard to get out before you start sobbing.

He sighs, and adds: “do you want some tea?” He offers you his hand, and weirdly enough, you don’t feel threatened or scared, you feel calm around him.

“Really?” You don’t want to sound too hopeful but you are thirsty and tired and you want to cry because there is no dragon and you basically lost hope of everything.

“Yeah, come on.” He motions you to follow him inside the rock house, and you are surprised about how cozy and homey it feels inside, like out of a fairy-tale kind of thing.

He makes some tea as you lean against the door frame of the kitchen, trying to look around as much as possible without looking too snoopy about it. Not that he seems to care that you are curious about everything, he just looks at you every once in a while like making sure you are still there.

“Why were you looking for a dragon?” He asks when he sets the tea cup on the table in front of you. A similar one in front of him. You sit and start sipping on the best tea you’ve ever had.

You sip the tea for a couple seconds, trying to decide if you can trust him, at the end you decide why not, your life is already ruined. “To kill the king,” you say. He chokes on the tea he’s drinking, and you have to bite down on your lip to stop from giggling.

“What?” He asks again when he recovers, his face red from the coughing.

“To kill the king,” you repeat. He still looks stunned so you give him more context: “I- I was bought when I was in the womb. My parents promised me to him in exchange for gold, and the day we marry is approaching. I don’t want to do it, he’s a foul man, and I didn’t choose this. I overheard some servants talking about the dragon in the mountains, and I though… I thought they would help me.” You try not to sound too bitter about it, but you can’t keep the despair out of your voice.

He looks at you like you are suddenly the most interesting specimen of a bug. “You escaped the castle and came here?”

“Yes,” you answer truthfully. There was a lot more implied in that simple question. You escaped, but not only that, they are probably looking for you and the king would probably kill those guards you ran away from. You try not to be too sad about them, they were cruel with you, laughing at you every time you passed, talking about how the king got a new hot wife.

“Are they still looking for you?” He asks, a lot smarter than you give him credit for.

“Probably.” It’s the truth but it still carries a lot of pressure as you say it. You understand though, you know it’s not his problem and you shouldn’t even be there. You’d find another way to escape the king. “I’ll be out of your hair, I promise. You didn’t sing up for any of this.” You realize the sun is setting in the horizon and you don’t know if you could find your way back to the village. Fuck. “I need to go. The village is a long journey from here,” you try not to sound scared, but an edge of fear permeates your voice.

He surprises you by saying: “Stay. I have a guest bedroom and there’s no way you could get back to the village if it’s this dark.”

You want to say no, to refuse, that’s improper, but the idea of going back to that golden prison is enough to make you say: “I’ll leave first thing in the morning.” It’s a promise you do to him, but also to yourself. That man showed you more caress that anyone in your life, and you didn’t want to cause him unnecessary trouble. You’ll leave in the morning.

Problem is… You never do.

The next day he prepares breakfast, and insists on showing you around his house. It’s so beautiful you are mesmerized. His garden especially. It’s so colorful and big and calm…. You feel an instant connection to the earth, and to him. He’s so easy to be around, he treats you so differently like what you are used to. And you like it. You like it so much that you get distracted until the sun is setting once again. And he never tells you to leave.

And days pass. One day turns into another, and you… never leave. You know someday they will come back for you. You know you can’t run away from your problems. But right there, in the side of the mountain with that nice man that took you in… It feels possible to run away. It feels possible to avoid the awful destiny that was set for you before you were even born.

He teaches you to cook, to take care of plants, to polish wood… He’s like a handyman that can do all, and you are his new apprentice, even though he insists on doing all the heavy lifting. But on top of that, he just… amazing. He takes care of you, but also you two argue about stupid stuff until you are red faced and you want to hit him, just to end up laughing when he tells you a stupid joke. You have the most fun you had in ages with him.

Until one day all shifts (pun intended).

You are laying around under the tree as he does some gardening. He wouldn’t let you near the roses in case you got hurt. “I have something to tell you,” he breaks the silence.

“What?” You ask, looking directly at him, a spark of something unknown raising inside of you, like bugs in your stomach, crawling around every time you set your eyes on him, on his beautiful smile.

He looks at you intently and says the most ominous thing: “I- I think it’s better if I show you, actually.”

“Show me what? Why do you sound so serious?” You try to joke, but it doesn’t land because he still looks at you with a poker face.

He looks worried, apprehension settling on his features. “Just… Wait until I’m done to say anything, please?” His tone is more than pleading, is more like he’s begging you to understand, and you don’t know what could possibly be so bad.

“Okay…” You tell him, anxiety spiking.

And then he turns. Literally. His body contorts and cracks, and there’s a bunch of things happening at once, and before you realize, there’s a dragon in front of you. A full on real dragon. What? He’s majestic, as big as a house and skin covered in the most precious scales. He looks like a work of art… you are mesmerized.

“You said there was no dragon!” It’s the first thing out of your mouth, an edge of hysterics creeping in your tone.

You laugh then. You laugh so hard and so much you have tears rolling down your eyes. He changes back, and tries really hard to cover his manhood with his hands, failing and making you laugh even harder.

“You are a dragon,” you say when your laughter dies down.

“I am,” he says simply, approaching you slowly until he’s right in front of you. “And I will kill the king for you,” he adds.

There’s no point in asking why he didn’t tell you sooner, you understand why. Why would he? Why would he trust his deepest secret to you? But him showing you now? It meant more than the world, it made you forget about everything and anything chasing you down. It makes you happy. He makes you happy.

“No. I don’t care about the king. I just… I love you. I think what I feel is love, I never felt like this before.” You tell him, heat creeping up your cheeks. He looks at you like he’s surprised, like he wasn’t expecting that at all. “Do you feel it, too?” You ask shyly, your hand over his chest, feeling his heart beat faster and faster.

“Ye- yes. I love you, too.” His confession is followed by his hands cupping your face, so soft and tender, you feel a tear running down your cheek as he kisses you for the first time.

You should have known better than to think your life could be so perfect.

You don’t hear them before you are captured. At least four soldiers appear at the edge of the garden and catch you before you can scream. You think about him, about your dragon, and lament how confused he will be when he returns and you aren’t there. You worry he would think you abandoned him… But you can’t do anything as they take you away from the only place you felt like home.

They don’t even wait a whole day before they are dressing you and pampering you in the best silks and makeups. Nobody says anything as you silently cry during all the process. The servants looking worried but not arguing with anyone, three guards at the door of every chamber you enter.

You are caged once again.

You walk to the aisle in between a crowded place full of people who don’t like you, nor the king for the matter. They just want to appraise his old self to gain some benefits, the same as your parents did even before you were born. He looks like a nightmare standing in front of the altar, and you want to run, to run far away, back into your dragon’s arms. But you can’t, guards all around the open garden the ceremony is taking place in. You stand before your soon to be husband and have to swallow back the tears and bile, his rancid smell hitting you like a brick.

The minister starts speaking about love and marriage, and you cry during all his speech. You dream of being far away from there, as far away as possible. Or at least as close to your dragon as you could.

When you hear the people mumbling around you, you turn around, a shadow obscuring the sun. You look at the sky and sigh, so happy to see him you could cry. Maybe you would cry if you weren’t so shocked that he actually showed up.

He roars as he lands, people running in all directions, hiding in every possible place. “YOU STOLE FROM ME!” He growls, breathing fire to the sky and making people cry out in fear. You look at him in all his glory, fascinated by every inch of his skin.

“We- we saved the queen to be,” the guard’s words are short lived as your dragon looks at him and breathes fire right over his body, instantly burning him to the ground. There’s a chorus of screams and cries again, and you have to bite your tongue to stop from smiling.

“She’s not yours! SHE’S MINE!” You shiver at his words, feeling them so deep inside you think you might combust, butterflies dancing inside your stomach once again.

“You can’t take her! I bought her,” the king’s words don’t help his case at all, your dragon roaring and launching for him.

It all happens so fast, one second he’s there, and the next one the king’s head is rolling onto the ground as everyone screams and runs away. You are shocked to the core, but he doesn’t let you wallow in that. He picks you up and takes flight. You realize he’s being very careful not to pickle you with his claws. You don’t know where he’s taking you, but soon enough you are in a place you know, a place that brings you memories of joy and love… The garden.

As soon as he sets you down, he orders you to: “Go inside.” His tone is harsh, almost a growl.

“No,” you answer, not recoiling, not moving. You approach him more, your hand softly caressing the scales of his chest.

He roars over your head, trying to scare you away: “Go inside, I’m not in my right mind right now, I can’t answer for my actions.” You aren’t scared of him, though. He saved you from your most fearsome nightmare, he’s just the big monster you are in love with.

“No,” you repeat, a big smile playing on your lips when you look up at him.

“Come on, princess… Please.” Him begging in that form does something to you, such a big and scary creature asking you to go inside so he can protect you from himself… You are more sure than anything that you are safe. Safer than you’d be with anyone else. Human or monster.

“No. I want you. I love you.” Your words finally go through him, making his big body shiver, you feel it under your hands, a big shake that leaves you breathless. “Take me, my dragon.” You know adding that isn’t necessary, but you are more than ready to be a bride, to be his bride.

“Don’t joke around,” he growls, grabbing your body with his big clawed hand and positioning you to look straight into his yes, his big dragon head so beautiful you have to reach out and touch him. He scrunches his nose, making you giggle.

“Make me fully yours,” you say again.

His responding growl is so loud it makes the earth vibrate under your feet. You shiver in anticipation. He tears your wedding dress of your body, wrapping his wings around you to create a bubble, so you won’t feel a single spark of cold in your human skin.

Your wedding dress is torn off your body as he launches for your body, your naked form shivering at the cold temperature around you, but he solves that easily. He wraps his wings around your body getting you close to his much warmer scaled body. You sigh happily.

He lets you down onto the ground and you look up at him, completely vulnerable. “Fuck me. Claim me. Love me.” You lower yourself to the ground, your upper body to the ground, your ass up. You know what you must look like: an offering, a sacrifice. And you are okay with that. You are okay being his.

“You sure?” He asks again, always the gentleman, always worried about you. You are more sure of this that you were about anything else ever.

“Yes. Yes. Yes,” you chant as his claw proves your entrance. You look around in time to see him biting on his fingers, two seconds later he’s claw-less and his now not-dangerous fingers enter you. You cry out and bury your face on the mossy ground, his chuckle making you flush all over.

He plays with your pussy for what feels like an eternity, making you come twice before he starts stretching you fully. He gets to three fingers, way bigger than anything you tried before, and you can’t stop moaning.

You come again as he spits on your pussy, the sensation so filthy and so good you scream and fall over the edge again. You feel tingly all over after that, your pussy relenting under his ministrations and somehow widening further, accommodating one more of his fingers. “My saliva has magic in it,” he explains, his tone amused as he keeps finger fucking you. You don’t know if you can come again, you didn’t even know that much pleasure was possible.

“Come on, come on, please,” doesn’t matter how much you beg, he doesn’t relent.

He starts scissoring his big fingers inside of you, stretching you impossibly wide, and you squirm under him, a pleasure so big you don’t know how to deal with it, your body pliant under his actions, your brain completely void of thoughts. And then he stops and you curse him so loud he starts to laugh, moving your body and making you squirm under him. He grabs your hips to stop you from moving and you feel the tip of his cock against your entrance.

He enters you slowly, so slowly. You want to scream, but your brain is frozen with the over-sensitivity of his dick inside of you. He can’t fit inside, there’s no way, he’s probably just aiming for a third of his length, but right now, with just the tip inside, you feel like you are about to burst. You reach down and rub your clit, unlocking something inside of you and crying out so loudly he roars as your orgasm makes your pussy constrict around him. He pushes in a bit more, and you keep coming.

From that point on, it’s all a blur of sensations and emotions, so much pleasure you are blind to the world around you. His dick is barely inside, but it seems to be enough for him, and more than enough for you. You feel like he’s going to split you in two in the most amazing way. He feels so big inside of you that you think you might die if he keeps rubbing against all your special spots at once. And if you do… You’d die happy.

“Take me. Take all of me,” that’s all the heads up you get before he’s filling you, one last thrust inside before his hot seed floods your insides. It propels you over the edge one last time, the world fading into blackness.

You pass out.

When you come back to your senses, you are laying on a bed and there’s a warm body behind you. You sigh happily as he kisses your forehead and makes sure you are comfortable and warm. You feel such intense love for him in that moment, that you have to turn around and try how well it would feel to fit his human dick inside of you (this time all of him).

He feels perfect.

[whetstonefires]

One thing I don't think I've ever seen talked about is how post-apocalypse ideation is largely about homelessness.

Homelessness looms large in the American consciousness. Like, not that it's irrelevant elsewhere, but it's got a particular cultural place in the US that's reflected in Hollywood, and therefore relevant because what makes it into film and TV sets the terms of so many conversations.

We don't acknowledge it if we can help it, but I think most people know they're never more than a few very bad months from winding up there.

Even people who are sure it only happens to people who deserve it, who fuck up and put one foot in the morass of their own foolish volition. Even they know the quicksand is there, waiting to be walked into, and that the odds are stacked against ever climbing out on your own once you have. And that they, too, are capable of fucking up. Of trusting the wrong person. Of getting cancer incorrectly.

And those of us who know damn well we can't be sure we're safe even if we do everything right, we know it even better.

And in that sense it doesn't matter what the world would realistically look like after X kind of apocalypse, what people would do, how society would adapt. Because the anxiety that's being processed is about the reality that's in existence now.

About what if my world ends. And I lose access to the fruits of developed society, to clean clothes and new glasses and running water, to a safe place to sleep where I don't expect to be killed or robbed, or driven out by men with guns and dogs. To my home and work and family and everything I usually use to tell me who I am.

What if every man's hand is against me, and every meal is a small victory, and there's only my own dwindling strength between me and the long night?

Will I make it? Will I hold up under the strain? Will I retain my dignity? Will I be lucky? Will I be able to protect the people I love, in that world, the world where no one is protecting us anymore?

Is there a way to continue to live as a human person, when you're denied the prerogatives of one, and don't know if you'll ever get them back?

Putting this anxiety into the context of a massive apocalypse divorces this scenario from the burden of shame tied up in the idea of winding up in that sort of situation in the normal course of events, by having society vanish rather than expel you, personally, as a washout, and continue on around you.

It also allows you to rule out a priori the question of what resources might be offered but can't in an anticipatory context be counted on; shelters and programs and housed friends and family who may or may not help. And narrow the narrative to only the question of what you can survive, and often a fairy tale about surviving all of it and starting over.

Rehearsing for a loss in a mythologized format is a very normal anxiety processing behavior, and I think a lot of apocalypse scenario building is attached to the buried dread of that personal apocalypse. But I haven't seen that one make the list.

[yanderenightmare]

TW: yandere, toxic traits including benevolent sexism

fem reader

Thinking about a benevolently sexist boyfriend...

A handy and helpful boyfriend who’s just a pinch condescending about it. He fixes your kitchen sink with a lazy grin—tools and blacked hands—asking smugly, “How would you ever survive without me?” And even though it’s a bit belittling, it’s just silly enough that you find it charming—smiling as you wrap both your arms around him while receiving his kisses. A sweet “Thank you~” on your lips as he lifts you up to sit on the kitchen counter as easily as lifting a toy.

A hero-complex boyfriend who lives for those times you need him and gets unreasonably annoyed with you those times you do things on your own. All but yelling at you, “Your door fell off its hinges? You fixed it? You could have hurt yourself! Why didn’t you call me!? Next time, don’t be so reckless.”

It’s not as charming… But can you blame him? He's just a real traditional boyfriend who wants to do all those romantic gentlemanly tasks—pick you up from work and take you out to eat and buy you jewelry, and all he ever expects you to do in return is put out—give him a blowjob here and there and a little strip-tease before letting him fuck your brains out. All you got to worry your pretty little head about is making sure all your sweet nothings are reserved for him.

He just wants that fairy-tale experience and expects you to play your role—quit your job when you move in with him—be his stay-at-home wife. He’s going to put a kid in your belly soon, after all—it’s only right you get accustomed to taking care of the house before then.

♡ BNHA – Bakugou, Kirishima, Hawks, Enji, Natsuo, Mirio, some type of Deku ♡ JJK – Nanami, Geto, Gojo, Naoya, Toji, a very special soft Sukuna ♡ HQ – Daichi, Kuro, Bokuto, Iwaizumi, Sakusa ♡ AOT – Eren ♡ DS – Tanjiro, Sanemi, Genya

♡ FEM x M INSERT masterlist ♡ GN x M INSERT masterlist

[bogleech]

Lately I keep thinking about environmental campaigns since roughly my childhood had to play up rainforests as these bright, shiny, heavenly fairy-tale utopias in order to get people to care about them. But in older media they're like dark, terrifying, brutal primordial deathworlds, the "SAVAGE UNTAMED JUNGLE!!!!" to the point that we still call the same exact thing a "jungle" in media if it's supposed to be more dangerous and exciting, even though there's really no technical distinction there. The reality though is that both are simultaneously true. I keep going on this rant lately but everything scary, painful, disturbing or dangerous about nature IS beautiful and wonderful and awesome!!! It fucking sucks that the majority of people only want to care about nature if they can comfortably hike it in their jorts and their crocs and only care about animal species if they're pretty to look at, useful or cuddle-able. "Rainforests" are absolutely kickass brutal primordial deathworlds. They're beautiful and precious and fantastic but they are also places where leeches will rain down on you from the trees until all your clothes are bloodstained and stinging ants the size of your thumb will make you feel like you're burning to death with a sting and one scratch from that adorable little monkey can torture you to death with sepsis. You'd never even guess, from how rainforests are portrayed on TV, that the thick canopy means they're actually dark as shit 24/7.

We get told piranhas actually aren't scary and that's true! The dreaded candiru is also so unlikely to attack humans we still don't know for sure if it really happens! But you don't hear about the Amazonian catfish, the size of a piranha, and incidentally also sometimes called a "candiru catfish," that convergently evolved with a cookie cutter shark and comes out at night to bite big round scoops of flesh from unsuspecting thighs:

I would love to meet all of these terrible awful things and I want them all to thrive forever and ever. Please love nasty things. We are nasty things. We're the nasty things planet and it rocks.

[geezmarty]

we all know that wyllstarion goes crazy as hell but you really have to think about it from Wyll’s perspective. You’re the most fairy tale brained man on earth whose life is a continued sequence of romantic and heroic ideals set up to fail. You want to be a heroic duke and save your city but wind up making a pact with a devil. You want to use that pact for good and are almost (or straight up) tricked into killing an innocent. You go on the most princely quest of all to ask a dragon for his help and we all know how that ends. And then in comes Astarion jangling like the most weaselly evil court advisor, a vampire no less and you’re like actually fuck it this slippery eel is where it’s AT. and this time you actually do get a happy ending with it. it goes crrrrazyyyy

[gay-dorito-dust]

You may request A batboys reacting to the death of the reader

First time writing for Tim, so he’s probs ooc in this one.

Dick feels as though he’s failed you.

He tries to act like he was fine but he was far from it and everyone knew it as they stepped on eggshells with him during this time.

Dick would often find himself sat on the very rooftops where he’d take you on countless dates or just to star gaze and talk as though you were still with him.

It was his own way of comforting himself with your loss but that was never enough to stop the tears that fell from his eyes when he spotted a bright star he’s never seen before until now, and laughs humourlessly.

‘I see you’ve finally made your way amongst the stars huh sweetheart?’ He’d say as your star would twinkle in response, making him chuckle. ‘You’re so beautiful, the brightest of your kind.’ He adds sombrely as he wipes his eyes with the back of his hand as he felt his heart sing out for you, only to receive nothing in return.

Reality was often disappointing but with you it was a fairy tale.

Waking up to you was a dream within itself and getting to do mundane things with you before heading off to work was something that could only exist in a daydream.

He knew Hayley misses you as badly as he does with how he’d hear the poor dog whine and whimper at the door, as if waiting for you to walk through it and tackle her with kisses and love like you always did, only to get nothing for hours.

‘I know, I miss them too.’ He says against Hayley’s fur as she whimpers and whines at the door. ‘I miss them so fucking much it hurts.’ He adds as he allows himself to mourn for you alongside his dog long into the night.

Jason blames himself for not being fast enough or strong enough to keep you protected and safe.

The apartment you once shared with him that only recently had started to feel like home to him now felt cold and haunted with the ghost of you, so much so to the point he avoids it at all cost.

Nothing felt right without you, everything felt wrong and unjustified that he became more ruthless then before on patrols just to let off some steam and would come back from them more beaten and bruised then normal.

He didn’t care, he couldn’t feel anything anymore with how numb he became after loosing you.

Dick and Roy would stop by to see how he was doing but each visit was the same with Jason refusing his older brother and best friend entry as he held one of your plushies tightly against his chest. He knows they mean well but he just couldn’t find it within himself to hear the same thing he’s heard from everyone else; It just felt disingenuous after a while and didn’t feel as though people truly understood the impact that you had on him throughout your time together.

Jason would become more destructive with himself and going headfirst into danger without a second thought and damns his teammates for dragging him out by the scruff of his neck as he fights and kicks out of their hold. He doesn’t want to be saved! He just wanted to be with you again, why couldn’t they see that?!

After loosing you Jason becomes more prone to angry outbursts and often lets them out on the wrong person but he couldn’t care less at this point, his favourite person was gone and he was left back where he was before you.

Lost and deeply afraid.

Tim would retreat from everyone and everything by cooping himself into his room, rarely to come out.

He’d rather rot in his bed and on his phone, looking through all the photos you’ve taken together and seeing just how happy you both were, all the while a pit in his stomach grew at the thought of all the plans you’ve made but would never get to do.

He hated how easily he gave you his heart and hated it even more at just how easy it was to loose you that he wishes that he could stop himself from meeting you for the first time, just so he could selfishly save himself from the best moments of his life and the inevitable heartbreak he’d soon suffer.

Tim would do anything in his power to get you back but knew that it just wasn’t possible.

He knew Jason was given life by the Lazarus pit but he wasn’t willing to subject you to that even if he was held at gunpoint. He’d rather you rest in peace than force you to live with the knowledge that you should technically be dead.

Tim would remain in his room, wondering about the what ifs and the what could’ve beens if you hadn’t died. Would someone have taken your place? Was your death an unchangeable fixed point in time that was meant to happen?

He would only be reunited with you in his dreams where he has saved you and you had gotten to live out the rest of your life happily, rather then left for dead in an alleyway not too far from the place where you were originally going to meet up for date night.

Damian dedicated his life to getting revenge.

He had lost the light in his life, so why should he think his adversaries should live when you weren’t even given the option?

There will be more bodies pilling up on the streets of Gotham at a faster rate than normal whenever Damian is on patrol, much to Bruce’s dismay.

His anger and grief was all consuming and that left little to no room for logic to make him stop and see what he was doing was no better than the thing that took you away.

Life was black and white for a long time for Damian and you were the colour.

You were the air he breathed and without you he was gasping.

He knew about the Lazarus pit in his grandfather’s possession and its mythical properties and how it gave Jason a second chance at life. However he was at a cross roads on using it for his own selfish gain, on one hand he could have you back and everything would be fine again, but on the other hand you wouldn’t be the version of you he fell in love with…

Damian didn’t know what to do. The grief, the anger, the sadness…it was all too much for him. He felt as though he apart of him was missing and he would never get it back, it just wasn’t possible.

Bruce feels as though nothing has changed since his parents death.

He may be older, faster, stronger and wiser but that didn’t mean nothing in the face of death, and your death only proved that to be true as he held you in his arms, holding you close to his chest as he quietly sobs into your cold neck.

Much like Tim, Bruce doesn’t take care of himself anymore and it was up to Alfred to make sure that he doesn’t keep over and die unexpectedly.

‘They wouldn’t want this for you sir.’ Alfred would say as Bruce slams his hands down on the surface of his desk. ‘And what would you know that they want for me Alfred, y/n’s dead and it’s my fault.’ He would bark and bare his teeth at the only father figure he had in his life, a father figure whom has seen this expression bore on the young master’s face more times then he could count, but it still hurt him to see Bruce in pain and heartbreak.

‘They would want you to take care of yourself, sleep proper hours, eat full meals, shower, reach out to anyone,’ Alfred began to walk towards Bruce and place a hand on his shoulder, where he could practically feel the unbridled anger and pain radiation through him that he kept under control. ‘They wouldn’t want you to wallow in pain alone, Gotham needs you.’

‘And I needed them.’ Bruce replied sharply, aggressively wiping his eyes with his hand as he looks over at a framed picture of you that he always kept nearby. ‘All I wanted was them.’ He adds softly this time as he looks at Alfred, lost and confused at what to do now that his anchor was gone. ‘I miss them so much Alfred.’

Alfred brings Bruce into his arms, much like he did when he lost his parents, when he lost Jason and now you, allowing him to burrow his face into the Butler’s shoulder and softly sob into the fabric. Alfred felt his heart break even more as he rubbed Bruce’s back in an attempt of bringing him comfort. ‘I know master Bruce, I know, but you’d be doing their memory a great disservice by destroying yourself.’ The older man started as he looked over at the framed picture of you and smiled soberly, you were a beacon to Bruce and Alfred wasn’t afraid to say that he viewed you as his in law with how happy you made Bruce and that was all Alfred could ever want for him.

Now that you were gone, Alfred couldn’t help but feel that the manor got just that little bit lonelier without you.