#future ex-wives

[endofthe1980s]

stop it jean you're getting in the way of his fantasies of you😕

[peyton-warren]

I loves her.

Dana dressing like she wants to attract women 😭

[lovelyyandereaddictionpoint]

If your taking requests can you please do Yandere Tengen uzui and his wives with a reader who died and was born as Tengens wives. ( a bit like recantation mawhnas)

Reincarnated Wife to be | Yandere Uzui Tengen + Wives

Being reborn into the world of shinobi is hard

Your higher intelligence is helpful for somethings but it still doesn’t compare to strength training before you can properly walk

Not to mention its the Taishō era 

Everything is different 

No plumbing 

No typical school

And on top of all that demons are alive and well

In your new lifetime demons don’t physically appear until your early teens

“That man…”

“Yeah a demon. Those overpowered slugs got to our target before us.”

It’s brutal 

That the clan you come from was just so nonchalant of an epidemic on humanity

That was arguably much more brutal then sending a shuriken before an unsuspecting person’s eyes

You only realize they intend to give you away when you hear whispers of the arranged marriage

“He’s the only one who’s survived…”

“Ah he must have the best genes…”

“....or the only one who actually can learn from those graves on their property.”

“What are they at….six?”

The final nail in the coffin is when your prepped to meet with your fellow wives

“Make sure you take note of their weaknesses. It’ll make all the difference when it comes to his favorites.”

Your hesitant

By now you recognize the venue, your sister wives, his surname

But despite how cool it is you don’t want to marry the future sound hashira

You know how it goes 

And your not sure if you’d survive with your addition to the other wives

So you run

Using your built up skill and knowledge to get as far as you can from your family if you could call it that

Your plan is to hide in someplace until you can gather enough wisteria to give yourself a private sanctuary

In the meantime you try to find the mineral of nichirin

Enough for you to craft a decent weapon that bodes well when demons occassionaly attack you

For years you’re sure your scott-free 

Able to slowly widdle at the demon’s population in your little sanctuary 

That is until you stop at the sound of jingling chains from the roof

“I heard there were talks about a mysterious ninja outside of demon corp! To think it’d be just who I was looking for!” 

You barely escape a young but powerful demon slayer who you can’t seem to decipher

Is he trying to kill you? 

To catch you?

Why does he keep following?

You hold up pretty well for a while unil you narrowly dodge a star thrown in your direction

“We really liked you (Y/n). Why’d you choose to run away?”

If it wasn’t worse already all three of them seem to arrive from the shadows to continue their assault

You try to reason with them 

“Can’t you understand?! I didn’t want to be forced to marry some guy I didn’t know!”

“But you knew us! Doesn’t that make it better?!”

“No it really doesn’t!”

It’s getting overwhelming 

So unless you’ve mastered some kind of style of your own

They’ll overpower you

“Yack!” 

Your strength is preying on their care for one another 

Sending an unusual violent kick toward Hinatsuru 

You take advantage of them running to help her

Easily disarming a distracted Tengen, you run off 

But you aren’t home free 

For whatever reason your ex-fiancees are just so hung up about you 

And between Uzui’s new occupation he’s aiming for your capture

“You’re just as flashy as I’d hoped! When I do win, there’s sure to be fireworks.”

[pmamtraveller]

VASILI VLADIMIROVICH PUKIREV, THE UNEQUAL MARRIAGE, 1862

The scene resembles a highly theatrical moment in a play; the church's light casts upon the three central characters in the artwork; the bride, highlighting her sorrowful and lovely form, the aged and weary-looking groom, and the bent priest. Around the couple are different attendants and spectators whose reactions vary from apathy to intrigue.

The bride is positioned on the right, wearing a classic white wedding dress and a veil. With a downcast face and a solemn look, she holds a lit candle in her hand. In sharp contrast, the groom, an older serious-looking man, stands on the left, wearing formal clothing with a medal on his chest, holding a matching candle, and gazing at his future bride.

The inspiration for the painting originated from a specific true story; Pukirev’s acquaintance, Sergei Mikhailovich Varentsov, a young merchant, was deeply in love with a twenty-four-year-old woman named Sofya Nikolaevna Rybnikova. However, her parents believed it would be more advantageous for her to wed a wealthier and more accomplished man, a thirty-seven-year-old named Andre Aleksandrovich Karzinkin. Sergei was compelled to attend the wedding and witness his beloved wed another for family reasons; his brother Nikolai had married Karzinkin’s younger sister. Sergei subsequently expressed concerns about Pukirev's painting, prompting the artist to alter the artwork. Pukirev ultimately positioned himself behind the bride.

The artwork is filled with symbolism that enhances its story, in the backdrop of the ceremony, among the spectators, two older women wearing wreaths resembling that of the bride (one behind the groom to the left, and the other on the far left barely visible behind the priest), with one of them depicted in white garment. The woman is barely visible and is adjacent to the priest, a rare arrangement since regular guests aren’t allowed to stand beside the priest during the ceremony. This might imply that these women are not physically present but instead represent the deceased ex-wives of the groom.

"The Unequal Marriage" created a stir when it was initially displayed at the yearly academic exhibition in 1862. Both critics and the public were impressed by its impactful social critique and deep emotional resonance. The artwork's bold depiction of the disparity in arranged marriages struck a chord with audiences, igniting conversations about social conventions and the treatment of young women.

[sevs-corner]

What if you were unraveling the conspiracy behind your neighbors' (Tf 141) relationship with each other and their wives?

A/N: this is takin inspo from The Two Hot Takes Podcast on reading the story of "AITAH for hating my wife's creepy 'hobby project'?" and @beloveds-embrace work on Lavender Marriage AU (<33 nomming it sm recently)

So, hear me out before the brain worms consume my brain and leave with me nothing to work with in the future--

You just moved in to this suburban neighborhood, and its quite typical with its similar lookin' houses and white picket fences. Nothing out of the ordinary, except for your neighbors who were ex-military and were quite friendly the first day you came.

So much so that it made your 'tsismis' senses work overdrive as you found yourself gazing out your window one night, coffee in hand, as you sat by your window sill-- staring at your left neighbors living room window where Kyle's hand was creeping too lowly around Johnny's waist to be considered a "bro hug."

From then on, the longer you stayed, the stronger your antennas became to those tiny little moments you happened to catch glimpses of.

As their new and quiet neighbor, you often accepted their invitations, wanting to learn more about them (and the underlying secrets behind their relationship.)

All of four of them and their partners looked a little too painted perfectly, with the men retired whereas the women were still working part time-- often out on some long business trips you often heard about them converse about at barbecues. These trips were such a common occurrence that it was normal for the other guys to host meals at one of each other's houses, sometimes rotating for each other's turn or eating out together.

When those days happen, the lights in one of their rooms often stayed on all night.

'Maybe they're just doing men stuff in their designated man caves in their houses,' you thought to yourself, sipping a margarita John made in expertise with some bar flair.

It was another brunch without the other ladies in sight and from the amount of times you've hung out without, you start to see them getting loose-- getting careless.

More brave with the sneaky touches you see them share quickly as you pass the kitchen or the patio.

You note that Kyle likes wrapping his arm around the others often, and you swear you could see his forearm flex as he reached to grip something from that person's behind. Johnny is more physical, playfully fighting and creating this palpable tension that permeates the room before John dissipates it every time. Speaking of him, you think he's more of an 'acts of service' type of guy from the way the others would give these hooded looks whenever he does something small but caring for them. Simon-- oh he was a tough nut to crack from the way his lower face was covered by this mask that you only got moments of seeing during meals or sharing a drink, but you swear if you could see his mouth, you would know why Johnny's ears turned red when Simon whispered something in his ear or when he surprised Kyle from behind with his hands deep into his pockets, mask moving (indicating he was saying something but you couldn't make it out from your own living room window) as he talks to a semi-trembling Kyle on the grassy lawn.

All of these pieces you've picked up on and strewn it all about on a board you bought from a crafts store. With points leading to your written logs, photos, drawings, and papers tied to their background.

The photos- albeit hastily taken and quite blurry- and other evidences you've managed to scrounge together weren't incriminating enough (yet), you try various means to get closer to them. Even though they may or may not have misinterpreted this intention.

Despite all the effort you're putting into your "passion project"-- all you wanted to do was to answer the singular point with a hastily scribbled question mark.

'Were they all fucking each other behind their wives back?'

Oh, you couldn't wait to play detective and piece together the mystery.

[peyton-warren]

Death Race 2 is where I fell for her. SPN didn’t help. And TWD Cemented it for me

LAUREN COHAN by KATRINA KLEIN MAKEUP | April 24th, 2023

📷: @christianmarc Via. Instagram

@some-celebrity-stuffs @some-monthly-celebs @go-celebs @differentcookieturtlerascal

[odo-apologist]

Every ENT character is the most character ever. Archer is a bitch he plays a fundamental role in the creation of the Federation he brings his dog on away missions which once causes a diplomatic incident he likes water polo he commits war crimes he saw a gazelle giving birth and implements it into his rousing speeches he had a wet dream about his first officer that included his dog's funeral he had to carry the soul of the creator of the main tenets of Vulcan philosophy in his head he gives a lecture on Tycho Brahe while getting his ass beaten during an interrogation scene. T'Pol is strict in her Vulcan beliefs she doesn't believe in time travel even as she's presented with irrefutable evidence and remains somewhat skeptical after experiencing it firsthand she is the funniest person on Enterprise she is more emotional than average Vulcans to the point that she had to have memories erased for causing her too much distress she could canonically pick up any of her crewmates and carry them bridal style she has Vulcan HIV she has it cured by the woman that later watches Spock and Kirk roll around in the sand in Amok Time she is technically canonically trans she is a recovering drug addict. Trip is a perfect gentleman he undergoes incredible emotional losses his favorite movies are Frankenstein Bride of Frankenstein and Son of Frankenstein he gets pregnant five episodes in he dies in the worst episode of the entire series (and the entire franchise) only to have that death retconned in the following tie-in novels he ran around the ship in his underwear he leaves the ship for a couple weeks only to come back after one person had been kidnapped another thrown in jail and the engines are on the verge of destruction and reacts like :/. Malcolm is gay he has 50 ex-girlfriends he has only had one friend in his life his own sister barely knows anything about him he dies alone he likes pineapple even though he's allergic to it he gets spacesick he worked as an agent for a top secret organization he's afraid of drowning he whined about getting a cold he had a spike driven through his leg and didn't complain at all he has a psychosexual obsession with a man he thinks is after his job and grows to respect once they had a homoerotic fight scene before witnessing him die. Hoshi is a linguistic prodigy she's the greatest contributor to the universal translator she has a panic attack on one of her first missions she ran a gambling ring she has a black belt in aikido and broke her superior's arm she has never been to the principal's office in her life she is afraid to use the transporter she became an empress in an alternate universe she is the only one who gets laid on Risa making her the first human to do so she reacted to the threat of getting worms injected into her brain to make her reveal secret information by spitting in her interrogator's face. Travis is the sweetest man ever he loves rock climbing he gets injured whenever he tries to use those skills he's a fan of ghost stories he grew up on a small freighter he gets neglected by the narrative his counterpart helps Hoshi become empress he works out when he's horny he dies in a alternate future where Earth is destroyed he's a movie buff who would probably love the Criterion Collection he likes to chill in a part of the ship with zero gravity which he calls "the sweet spot." Phlox grins like the Cheshire Cat he breaks doctor patient confidentiality to help figure out Malcolm's favorite food he goes crazy when the rest of the crew have to sleep through part of space because of how social his species is he has three wives who in turn have three husbands he responds to the news of one of his wives propositioning a crew member by being like "cool! have fun :]" he once nearly vivisects Travis because he's being affected by radiation and gets obsessed with knowing why the guy has a simple headache he has a menagerie in the middle of his sickbay. And they're all my best friends.

[rickrifft]

New ships I'm ride or die for after this season:

- Sharako Lohar x Tyland Lannister (Lohar adding a new babygirl to her collection of wives is iconic)

- Rhaenyra x Mysaria (begging them to get over all their exes and slap more men)

- Aemond x Jace (they're playing Twilight Imperium while everyone else is playing Monopoly and I respect that)

- Ulf and Silverwing (serving Donkey and Dragon from Shrek, icons)

- Baela and Rhaena x some more gd screen time pls (spitting facts every scene, we need more common sense now Rhaenys is gone, give them more linessss)

- Larys x Aegon (hyped for the disability rep bois roadtrip next season, idk, they've got potential)

- Helaena x Alys (i headcannon that they have like a force-bond and chat about the future together in their dreams, fight me)

- Criston x Gwayne (Fabian and Freddie want us to want this so bad, and I am not opposed)

[cupcraft]

15 Ways Hilson Flirts in Canon:

1. Drugging each other (and liking it somehow)

2. Gay chicken leading to marriage proposal

3. Gay chicken leading to hiding chickens in PPTH

4. Flirting with Cuddy

5. Wanting the other to save his liver for a potential future transplant

6. Faking your death

7. Sending a private investigator after the other

8. Being "interesting" to the other and thus creating problems to investigate

9. Dating the woman version of the other (and describing it and not denying it)

10. Manipulating your way into poker club. Really poker in general.

11. Texting the other to give you attention -> current the other is seeing a child patient with cancer

12. Being codependent enough the ex wives of one say you ruined the marriages

13. Wanting to die so his dying ex girlfriend can live (that your actions lead to her accidental death)

14. Lying. For fun. For misery. For unexplained reasons. For detriment.

15. Doing anything for him. Doing anything for him. Dying. Losing your career, risking such a thing. Suicide. Giving him anti-depressants secretly. Helping him. Abandoning him. Always Doing whatever it takes. Doing anything for him

[female-malice]

Women who have only ever dated men think that crusty women are like crusty men. Women who read "female dating strategy" think this applies to lesbian relationships. But this heterosexual nonsense is actually completely irrelevant.

Women are not like men. And gay women are not like straight women.

The semi-homeless woman and the Microsoft engineer landlady I dated were equally dysfunctional. They were both smart and capable and both absolutely strange and mentally ill. They were also gregarious, poetic, and lovely in so many ways. And they both made crazy decisions about their lives and had zero relationship skills.

When lesbians are attracted to weird mentally ill women, it doesn't mean we're predators. It doesn't mean we're like men seeking out vulnerable women to abuse. It just means we're attracted to lesbians and lesbians are rarely well-adjusted.

The truth is, gay women are more fucked up than straight women. At the end of the day, life absolutely makes us weird. And we do so much to try and hide it because we want to be a model minority. We don't need to be told to get our shit together. We know. This is why we join the military and become CEOs and try to win as many sports trophies as possible. This is why we drink and drift from city to city. I've dated a lesbian "winner" and a lesbian "loser" and they're exactly the same. Winning doesn't fix us. Some lesbians are great in relationships and some aren't. But that has no correlation with whether you see a "winner" on the outside or a "loser." There's an equal amount of future lesbian wives and nightmare lesbian ex-girlfriends in both the "winner" and "loser" column.

[herefortheships]

On media portrayals of older women

Commentary on Lydia's characterization in Beetlejuice Beetlejuice. 🕷

This post was originally a response to a post from two months ago, but it got so big (and also I kinda moved away from the topic a little), I decided to make it its own post. It's a long ramble, basically, about my feelings around how women over 30 tend to be written and how disappointing it often is, especially now that I am a woman over 30 myself.

Before I get to Lydia and my issues with how she was written in BJBJ, I just want to say something. There is a blatant unwillingness to represent an older woman who isn't a mother or, at the very least, married or divorced, and often those women who are depicted as individuals outside of these roles, tend to be either toxic or unhappy characters (Cruella De Vil totally came to mind when I just typed that 😆 But even Cruella is married in the original story). As a matter of fact, the ex-wife or divorced older woman is often depicted as a cruel, bitter, or even evil woman (Miranda Priestly form "Devil Wears Prada" came to mind. Hey, another iconic fashion industry character lol). Single older women are often also depicted as "ugly", or flat out scary characters (Miss Trunchbull in Matilda came to mind).

It's like for many screenwriters it's impossible to visualize a mature woman who isn't or hasn't been married, and is childless.

The issue is not that they are given these roles; the issue is that their character arcs often seem to revolve around these roles and their identity is very focused on being either the mom, the wife, or the ex-wife. More often than not, female characters over 30 that are good are usually moms or struggling wives, and their identity is confined or greatly centered around her role as the mother or the suffering wife. (Chances are, if she's happily married, she's either not the protagonist or the story is over 💀). And if it is not centered around these, then motherhood is something adjacent to the story in some way, shape, or form.

Using the first "Beetlejuice" movie we have an example of a happily married woman in a leading role, Barbara Maitland. She's not an older woman, per se, but she is a happily married woman in a leading role. But what is one of her main concerns as a character? She can't have children. So she does have a motherly-adjacent struggle. At least Adam accompanies her in this story thread and it isn't just a struggle Barbara alone is facing; both of them are pretty balanced as far as their struggles go in "Beetlejuice". (I could have also used Delia as an example here, but she isn't exactly the main character as Barbara was in "Beetlejuice". That said, she is both a mother and wife.)

I'm pretty new to the Beetlejuice fandom (as in I was a fan who watched the movie a few times a year around Halloween, but never actually interacted with fandom or analyzed anything, until I watched BJBJ and became totally obsessed), and as a relatively new fan who has been here since September 2024, I'm not sure what the expectations around Lydia's future were throughout the years in the fandom. But, I'm positive a lot of fans never considered Lydia would choose to get married and to a pretty regular guy at that at some point and become a mother. I'm sure many fans shared Winona's idea of older Lydia being a goth spinster, living a pretty unconventional, but happy life, just doing her thing. She might have gone into photography and kept interacting with the dead and being her goth, "strange and unusual" self.

So it must have been pretty shocking to see that older Lydia is not only a struggling mother, but she is also anxiety-ridden and in an abusive relationship with some normie guy.

Lydia at least has something that separates her identity as an individual from her identity as a mother, in her show, but it's made clear that getting into making the show was considered by her as "selling out", a sentiment that came up in her conversation with Delia. I wish they would have gone into that a little bit more, because it's not entirely clear how Lydia felt about the show exactly and what her reasons were to do it in the first place. Lydia's interest in photography from the first film, and subsequently from the animated show as well (meaning this was an inherent and very characteristic part of her), is non-existent in the sequel.

While it's understandable that "life happens" and people just change over time, and a life of seeing and interacting with all sorts of ghosts must have taken a toll on her, Lydia's characterization was considerably far from the person she used to be, and it feels like a lot of it had to do with her mother role.

I know a lot of fans also appreciate this, too, don't get me wrong; Lydia as she is now is relatable to many women's experience, but what I'm getting at is that a choice was made to write older Lydia like this, and that choice is the same treatment that's given to too many older female characters in the media. They chose to make her a struggling mother, is the point I'm trying to make.

Her character has also become more reactionary; she isn't exactly in control about anything. Even making her show appears to be a reactive decision, too, rather than something she did because she genuinely wanted to. She's even taking medications to get through the day when she starts seeing ghosts (Nadja disappears after Lydia takes the pills, so one can assume she takes these pills to quiet down her psychic abilities and stop seeing ghosts; Rory's comment in the bathroom also supports this).

Lydia is indeed, overall, unhappy, and she has been for a long time. Not saying this is a bad thing; stories need conflict, and it would have been strange if she was living her best life at the start of the film. After Charles funeral we confirm that she wasn't exactly happy when Richard was around, either ("our relationship was over long before the accident", strange thing to say to Astrid when she's questioning her about why she cannot see her father). Things seemed to have ended amicably between them, but it looks like Lydia was not happy in that relationship by its end.

Lydia only seems to take control when her daughter is in danger, so that which spurs her into action is more linked to her mother persona over any other conflict that's more directly linked to her as an individual. If it wasn't for Betelgeuse's intervention, she might have even ended up marrying Rory, who, not only did she not love, he was also using her and being emotionally manipulative and abusive.

I know Lydia at some point became affected by seeing ghosts every other day through her life, as evidenced by the pills, but (and this is something I talked about before here) the way they ended the previous film, there was nothing to indicate that Lydia was in a downward spiral or that seeing strange things and dead people affected her negatively in any strong, life-altering way (unless Lydia was pretending to like the dark stuff before, and by the end she's more herself and admits to not like the creepy stuff; she does reject dissecting the frog in her science class, but then again, she asks the Maitlands to levitate her and pretty much do a ghostly possession in the house for the "Jump in the line" scene. But I digress. Lydia's character arc in the first film is an analysis for another post).

Moving on, Lydia's brief experience with Betelgeuse in the first film also does not justify her current emotional state for the reasons stated above and in that post I linked. Losing Richard also doesn't seem to be enough of a reason to have created the emotional issues Lydia is struggling deeply with in BJBJ, and it does seem that the movie pointed at that, but it was poorly done, when Lydia told Astrid she didn't have a relationship with him long before he passed away; she also didn't have a strong reaction to seeing Richard in the afterlife.

Whatever happened to Lydia that led her to this current state wasn't properly explored, is what I'm getting at, because the film decided to focus her character struggles mostly on her relationship with her daughter, over her own personal conflicts as a separate individual. Lydia as the suffering mom, struggling to connect with her daughter was the focus of her arc. Did we ever get to know exactly why she was willing to marry Rory despite clearly not loving him? (she even seemed disgusted by him kissing her and when he tried to kiss her lol).

Was it because she thought he was her only chance at being happy again? Was it because she thought she needed to be married for Astrid, to rebuild their family? Lydia's actions were entirely steered by Rory; he emotionally manipulated her so much, he made her believe she had feelings for him and start a relationship with him, even. Maybe it was him, the one who convinced her to start the show in the first place, to take advantage of her psychic abilities (which he totally believed to be bullshit, anyway, but he thought he could use her delusions/fake claims to attract fame and money), he was her producer, after all. (Actually I think it was him who convinced her?? Was she making her show before meeting him? Lol I totally forgot this bit. Fill me in because I've only watched the movie twice.)

By the end of the film, ironically, Lydia takes more control for herself when she sends Betelgeuse away (and I say "ironically" because, without Betelgeuse she would still be stuck in the same toxic situation she was with Rory. In fact, things would have gotten much worse as Rory would have gotten away with his plan. She also had no issues handling Betelgeuse during all scenes they had together; she would even raise her voice at him and act exasperated with his behavior--that is not typically how a person who is terrified or traumatized by someone acts around them, but ok...), and she makes a choice to be more focused in her life, assuming she did quit her job, which is up for debate, depending on when the dream sequence started.

Without Betelgeuse, Lydia would be stuck in a terrible relationship, where her life would have been ruined, and she would have also lost her daughter on Halloween night when Jeremy used her to get his life back. So it's really strange a choice (and poorly executed, again) to have Lydia's character resolution be sending Betelgeuse away like she's finally confronting some deep-rooted fear or trauma, when her character really wasn't explored individually all throughout the movie to showcase in what way exactly did her brief interactions with Betelgeuse over 30 years ago might have crumbled her emotional stability to that degree. The movie isn't clear if her depression and anxiety are related to losing Richard and therefore that's what she needs to heal from; or if it's more related to her past trauma around Betelgeuse, and then, that's what she needed to heal from.

There really should have been more of a focus on her as an individual apart from her struggles as Astrid's mother for her character to really have a good payoff at the end. And truly, if facing Betelgeuse was going to "fix her", then she's back at square one when he shows up on her bed at the end. Lydia's character and story are incomplete. More reasons why we need a BJ3.

What's truly going to heal Lydia is her finding herself again, as just Lydia; not the mother or the TV presenter. And she must get there herself, not have it all fixed for her by Betelgeuse yet again or another external force. She has to make a choice for herself. They need to show her picking up her camera again, and yes, enjoying the "strange and unusual". She needs to embrace her otherness and be herself again.

(And if she doesn't want to be alone... she shouldn't go after a guy like Rory or a normie. She needs another weirdo like Richard who loved scary movies, or, ahem, Betelgeuse, who has already proved he loves her more than any normie ever could.)

I can't stress enough how disappointing it is that mature women are mostly presented as moms or wives or even grandmas, without dreams and motivations of their own that are entirely separate from their (societal) roles. Mature men can be out there living adventures and doing all sorts of things, like James Bond for example. Meanwhile women are either divorced, mothers, wives, grandmas, aunts, etc and these roles are a huge part of what defines them as characters. And if it doesn't define them, they still are moms, wives, ex-wives, or grandmas. It's rare to see a single older lady doing her thing and being just a character and like, falling in love and going through a satisfying arc that has nothing to do with having kids, or dealing with estranged kids, etc. At least Delia was out there doing her thing in BJBJ; she was doing what she loved, while still being a mother and a grandmother, and a loving wife/widow to Charles. She was a realized character. And that's what I want to see, you know? I don't mind seeing an older female character who is married with kids (and even grandkids!), as long as she is also a fully realized individual when her character arc is wrapped up at the end.

If Lydia being behind the camera instead of in front of it in BJBJ is representative of her feeling lost in life, and her being in a toxic relationship and almost saying yes to someone she doesn't love or even remotely fit in with, then healed Lydia should be behind the camera again in BJ3, and saying yes to someone she does love and fits in with by the end.

I definitely want to see a Lydia who is more than Astrid's mom in BJ3; a Lydia who isn't easily manipulated and stepped on, and who has a firm grasp on who she is and a love for who she is. Yeah, I totally want her to end up with Betelegeuse (edit: And I am writing a post about why they are perfectly matched to complete each other's character arcs), but I also want to see her fully realized outside of the mother and (potential) wife roles.

[r0-boat]

mother to a werewolf child

Head cannons for my dilf werewolf OC being the father of your kid.

Feat. The cannon ship kid with reader: Forest.

Sfw

Cw: babies, being pregnant, mental health struggles, PTSD, anxiety, hurt/comfort, domestic life in the woods, baby fever, uhh brief non graphic description of birth.

[Author's notes: Forest was created because I thought it would be fun for me to give you a ship kid with my OC. Forest is the only one that's Canon if you ever want to kid. They canonically look like the with reddish hair. so they can be anything you want, and they can be any gender you want too]

Cole is heavily damaged by the trauma that his ex-wife gave him after she had kids with him, so for some reason, the Deep anxiety is telling him that you will soon leave him too. Before his ex left him, when she found out he was a werewolf and he never saw his children again, he cut all contact with her in exchange of her not letting out his secret to everyone she knows.

He wanted to have a child with you. All he wanted to be was a father, but now here you are pregnant, and he's having a panic attack. Silently in his wolf form, he whimpered underneath furniture just enough for his big size. When you tried talking to him he almost didn't recognize you snarling and almost biting you but you wouldn't leave your husband and the father of your child alone. You gently stroked his head as the whining slowly stopped. He apologized for the outburst as a man he knows he should be much stronger than this and he also apologizes for almost biting you.

The pregnancy for the werewolf child was rough. You swore it was almost as if you were turning into one yourself, and your cravings for meat only intensified into raw game meat. Cole was happy to provide his instincts once again, tapping into the urge to provide for his hungry spouse with the child in their tummy. Your hormones are out of control, and you're physically weak. This child is sapping all of your strength.

Your husband, before this point, said his favorite thing to do when the chores were completed was sit down on the couch and watch TV with a beer. He stepped up, he vowed to take care of everything, he cleaned the house how you would clean it, he did everything and more. As much as he'd hate it if his side gig for hunting weren't bringing enough to feed you, he would go back and work driving hours to the nearest small town and work any job they would give him.

He has never felt like this before, and honestly, he loves it. The feeling of being relied on always felt oddly comforting to him. Maybe that's just his werewolf instincts he'd never know. It was tiring. But it was all worth it seeing your smiling face as you finally try to muster your strength to get out of bed. This inhuman child demanded so much of your energy. The person who gave you that beautiful demon spawn was at your beck and call. Cole, in the future, what, annoyingly uses this as an example of what masculinity should be. Men give it their all to take care of their wives.

One night, two crooks broke into your house, and before they could do anything, once they found you helplessly on your shared bed, your husband found you. In danger and potential, Danger got flashbacks to how his ex found him as a werewolf protecting her, and he lost it. He could have killed them that night if it weren't for him holding himself back as the Intruders ran shit scared. He held you tightly, his hand, your stomach, calming himself down. " so what's that like?" You ask. Call scratched his scruffy chin before answering, "It's hard to explain, but it's like having tunnel vision. All I could think about was you being hurt, as if I was in the moment. All I could see was you being hurt and pure anger."

Cole, with nowhere else, put you to deliver the child. He had to call a person who knew how to do it his mother. A werewolf just like him, a kind, gentle red-haired lady. You had met her before and she knew you were the right one and before long you had a wonderful child.

When Cole held his child in his arms, he had flashbacks to win. He had to bust his ass to make sure you were well and fed throughout your pregnancy, and he cried tears of joy. Never once would he forget and regret that day

Forest was... Wild they are intelligent and learn very quickly; however, raising them was like having a little puppy with the intelligence of a human child. However, your dumbass husband was prepared. You had to double-take when you saw the plastic bag with the PetSmart label on it.... it worked... as long as Forest wasn't chewing on the furniture.

Forest in their wolf form looked exactly like their father, albeit with a more brownish-red tint from dad and with one floppy ear.

Cole was beaming with pride he swears it won't be like the last time he'll protect Forest with his life. Cole, we'll teach them everything they know how to find edible plants and hunting. Father and child running through the forest feeling the wind in their fur with you on Cole's back traveling to a small creek to play in the cool water need to go home and fall asleep in Cole's arms snuggling you close, lovingly protectively

[peyton-warren]

Was just waxing poetically about Letty and Michelle last night. God I love her, both of them.

Michelle Rodriguez as Letty Ortiz in The Fast and the Furious (2001)

[flastar13]

I think there is always a problem with Anne Baleyn's locker room in almost any production. It is always the worst dressed among the six queens. Just look at The Six Wives of Henry VIII of 1970

The other wives wear appropriate dresses to the time that is set the series, Catalina de Aragon wears a Spanish fashion dress from the beginning of the 16th century, and Jane Seymour wears a modest green dress as a company lady according to 1636. What do you wear Anne? A series of high fantasy or Elizabethan dresses.

I give a pass to this dress, not only because it is pretty but because Anne is wearing it in a dysphrase dance.

But what about the rest of dresses? Anne became popular in the English court for her great ingenuity and glamorous French style. Henry the height of gifts during and his commitment, and the Baleyn were not poor. Why is your clothes so pesticary? Let's compare with Jane Seymour, who has a similar story. To start the Seymour were much less prosperous than the Baleyn, Jane's father, John Seymour was appointed gentleman on the battlefield by Enrique VII for his services against the rebels of Cornwall in Blackheath on June 17, 1497. Then he was appointed Caballero Banneret in 1513 after the battle of the Spurs. But outside those honors, the family had not risen much. Thomas Baleyn instead had served Enrique VII and had been in the entourage of Margarita Tudor when she went to Scotland. He was appointed Biscount for his own merit in 1525, even before Ana had met Enrique VIII. He was also heir to Ormond County thanks to his mother. Elizabeth Baleyn of single Howard, was the sister of the Duke of Norfolk. With only that information, it shows that the Baleyn were also much richer than the Seymour, apart from having a major noble status, which should be reflected in the clothes they wear.

If we see in the same adaptation, in your home Wolf Hall Jane uses a historically precise country attire, which shows the simplicity and modesty of Jane but also that the Seymour are not so rich to allow them to use the whole day silk but they are still noble to be made of good quality and dyed wool.

His second outfit, when he attends the Court, is more fashionable and is elegant, but it is still simple and modest, reflecting Jane's personal tastes and that his family being low nobility, but the sumptuous laws, he is not going to Cover of jewelry.

Once he became a queen, Jane's dress improves, she is still pale but is very adorned with jewelry, wears an elaborate two waters unlike the French headdress of her predecessor.

The costume designers managed to tell the story of the most boring of Henry VIII's wives, through her clothes. Showing her evolution from the spinster daughter of an unimportant knight, to a lady-in-waiting courted by the king to the queen of England; wonderfully, with beautiful designs that look like they're from the Tudor era. Why can't they do the same with Anne?

The worst thing is that this is repeated constantly, in one of the most recent series based on the reign of Henry VIII, with a wardrobe that is almost exact to the historical period in which the events take place, "Wolf Hall". Okay, the series is from Cromwell's perspective, so they're not going to show us Anne's life before she got mixed up with the secretary's. Anne is already the future wife of the king when she appears. But when she is queen, her clothes only change color; there are no more jewels, no better fabrics, no embroidery and her hood is horrible. Just compare her pink dress that according to her designers is that of "The daughter of a simple gentleman" vs her clothes as queen when she can use better dyes.

They are practically the same, I know that Anne is at that time Henry's girlfriend, but why is her clothing so simple even when she is the queen of England? There are no other jewels on her neckline, she wears no necklaces other than a pearl choker. Why are her dresses not made of silk, brocade and damask, with embroidery? This problem does not exist with Jane Seymour

Her dresses as a lady-in-waiting, reflect her reserved, simple and modest nature. Her clothes and hood are decorated with simple lace and embroidery, not with jewels unlike other noble ladies. The colors are monotonous but with some color inside, almost saying that the lady may look bland on the outside but on the inside she is a force to be reckoned with. She seems to be the spinster daughter of an unimportant family at the moment.

When Henry visits Wolf Hall, Jane wears a dress that is too simple for a visit from a king, but it gives a good idea of ​​what a lesser noblewoman would wear in her home.

As queen, Jane's clothes become more luxurious; more sumptuous fabrics, lavish jewelry and elaborate English headdresses. Rich but conservative, suitable for Queen Jane's character as peacemaker in the English court.

Is it very difficult to do the same with Anne Boleyn? Even in other productions, such as The Other Boleyn Girl, which try to narrate the rise in status and evolution of Anne Boleyn, they repeat the same mistake: the Queen of England continues to dress like a knight's daughter! It's even worse than in Wolf Hall, where at least Anne uses dyes reserved for royalty in The Other Boleyn, she uses the same color palette throughout the film.

There is no big change in her way of dressing, wait there is. Anne stopped wearing horrible dresses that don't look like they were from the Tudor period in England, like that blue dress with a circle print that looks more Italian and the "Cranach" suit. Seriously, the designers forgot that if the Boleyn girls had foreign influence in their clothing, it was French because they both served as ladies-in-waiting in France, not Italy or Germany. Honestly, the only dress in my grade is Anne's green dress.

This is the look of the woman who became a star at the English court. The fabric is green silk or satin, her French hood looks like a French hood and not a Russian tiara. She wears the iconic gold B necklace. It is elegant, sumptuous and French, the look of a Viscount's daughter. The problem is that by attracting Henry's attention, Anne's clothes do not continue to improve, she does not try to look like the real Queen of England, she continues to dress like a simple noblewoman. Only when she is tried and executed, the designers give her clothes that royalty would wear.

The only adaptation based on the life of Anne Boleyn that manages to narrate the evolution of the character through her clothes is Anne of The Thousand Days. Sure, there are some questionable fabric choices, Russian tiaras, lace-up closures in the back, and the belief that Anne only had the pearl necklace with the gold B. But the designs are so pretty that you don't care.

We are introduced to Anne at court dancing with Henry Percy, she wears a beautiful light green damask dress, a gold choker and a French hood. Her look is simple but elegant and fashionable, fitting for the daughter of a notable noble family.

It's no wonder Henry is drawn to her.

At home at Hever Castle, Anne wears a yellow dress, the design is simpler than the one worn at the court ball; the sleeves are wrist-length and there are no jewels at the neckline. But it's made of satin with embroidery, still an expensive but more casual dress. Befitting someone of Anne's social standing, she is not a princess by birth like Catherine of Aragon, but her family is of higher status than Jane Seymour's, the Boleyn girl's clothes are always going to be better at court and in her home than the pale Seymour girl's clothes.

Back at court, now in the king's favour, Anne wears a more elaborate dress and headdress, accessorising with a gold brooch and a jewelled girdle. All gifts from Henry VIII.

She later wears this to dinner with the king, a dress of beautiful blue velvet with gold embroidery. Her hair is loose and decorated with jewels.

As queen she wears a dress of silver and gold brocade. And at a dance a white dress with silver embroidery and pearls and diamonds sewn into the bodice.

She maintains her queenly appearance even when judged, but the colors are somber.

At her execution, her clothing is devoid of ornamentation, simple and dark, very different from the historical Anne who died looking like a queen. But it is understood that she has been stripped of all her power and influence.

This is how Anne's journey should be told, as she rises, her clothes get better. If I were in charge of Anne's wardrobe, I would have her wear designs similar to those in Wolf Hall and the green dress from The Other Boleyn Girl. At home and as casual wear, her clothes would be similar to the yellow dress from Anne of The Thousand Days. Once she starts being courted by Henry, she would continue to enrich her clothes until she reached her highest point as queen. Basically like Jane Seymour but prettier and French style.

[widowsistersandfriends]

Do You Remember Pain?

Request: Your Agatha fic was so cute ! I love the show so far and I was wondering if you could write something between Agatha and Rio ? Maybe something about them talking about the past and discovering again by accident how ticklish they still are ? Or whatever works for you, I’m sure it’ll be amazing ! Have a good day :)

Note: Thank you so much for this request and I appreciate you reading/supporting my fics! I hope you enjoy!! <3

Word Count: 1696

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Agatha and Rio had a long history. Known to be bitter ex wives, the two of them knew each other inside and out.

Agatha hadn’t been expecting Rio to show up to her doorstep with pizza, and most definitely did not expect her to be on the road with her now. She couldn’t believe she had to work with her in order to complete the road. 

The road was dark and quiet, as the coven was all resting for the night. Only Agatha and Rio remained around the dimly lit fire.

“How’s life been treating you?” Rio asked suddenly, after a long and awkward pause. 

“Wouldn’t you like to know, you nosy little fake,” Agatha snapped back, still bitter at her.

“Hey woah, I’m just trying to make conversation and make this easier on both of us,” Rio said, putting her hands up defensively. 

“Oh really? You want to make it easier? Why didn't you make it easier by not showing up?” Agatha asked harshly.

As strong as Rio was, she was taken aback by these words, wondering if Agatha still really hated her as much as she portrayed.

“You guys summoned me here. I had no choice,” Rio said flatly. 

Agatha sunk her shoulders slightly forward, knowing that the stress of conquering the road and getting her powers back had made her lash out. There was still part of her deep down inside that cared so much for Rio. She just didn’t know how to express it properly.

After some silence, Agatha spoke up, trying to make things better.

“Did you ever think of me after we split up?” Agatha asked cautiously.

Rio looked out into the distance, biting her lip slightly.

“A little,” Rio admitted.

“Do you?” Rio asked.

“Yes,” Agatha said with a sigh.

“I remember when I first met you. You were hardly the witch you are today,” Rio commented.

“I’m not gonna be a witch again until I get my powers back,” Agatha said.

“Well don’t let me distract you from that,” Rio said.

“I knew you were trying to while riding that stupid stick broom,” Agatha said with disgust.

“Who, me?” Rio asked innocently.

“Don’t try me,” Agatha said. 

Rio gave out a rare chuckle, missing the banter and teasing that used to coat all of their conversations. 

“Do you remember pain?” Rio asked suddenly.

“Physical or emotional?” Agatha asked, making Rio feel guilty.

“I guess I meant physical,” Rio mumbled.

“I’m not sure honestly. After Wanda took my powers and put me under that spell, I don’t even remember certain things,” Agatha said, a slight sadness coating her voice. 

“I’m sorry if I hurt you emotionally. I was trying to protect you and do what’s best for us. I guess I was wrong about that,” Rio confessed. 

“Well, it’s all in the past, right?” Agatha said, as Rio nodded.

“We can work on building the future,” Rio said.

“So do you feel anything at all?” Rio asked.

“What?” Agatha asked, not knowing that they were still on that topic.

“Well you know, other things besides pain,” Rio said.

“What exactly are you getting at?” Agatha asked, suspicious of what Rio was getting at, but not wanting to suggest it in case she was wrong.

“Oh, I don’t know, like if a bug is on you, would you feel that? You know, for defense and protection purposes,” Rio said, looking at the fire.

Agatha smirked, knowing exactly what she was getting at.

“You mean like this?” Agatha asked, placing a spider from the road on Rio’s arm, making her let out an uncharacteristic scream.

“AGATHA!” Rio shouted, jumping up and flicking the bug off of her. Agatha let out a cackle, happy with her success of turning the tables on Rio.

“Did that tickle?” Agatha asked.

“No! I just don’t like poisonous creatures on me,” Rio scoffed.

“You’re just mad I was one step ahead of you,” Agatha said, still chuckling at her reaction. 

Rio got up to move out of her reach, but let out a yelp in pain, as she was barefoot and had stepped on something sharp.

“What’s wrong?” Agatha asked, now genuinely concerned.

“I think I stepped on some sharp thing. This road sucks,” Rio said, checking to see if she was bleeding. 

Agatha walked over to see what it was. She cautiously put her foot on the spot where Rio got hurt. To her surprise, she didn’t feel pain at all. However, much to her dismay, she felt a small tingle on the bottom of her foot. 

Agatha cursed silently in her head when she quickly picked her foot up and removed it from the object. Unfortunately, Rio had seen all of this and it was now her turn to smirk. 

“So I was right. Pain kinda tickles for you, doesn’t it?” Rio asked, walking towards her.

Agatha quickly backed up. “Wait, no let’s talk about this.”

“Too late,” Rio said, using her powers to gently knock Agatha over and then pin her.

“Get off of me you hag!” Agatha exclaimed.

“Wow, your vocab really shines when you’re scared,” Rio teased, as Agatha was pinned face down. Rio moved to sit on her calves, giving her full access to her feet.

“Rio I mean it! This is your last warning!” Agatha shouted.

“Better keep quiet, the others are sleeping. You wouldn’t want them finding out about this would you?” Rio asked, now skittering her nails over Agatha’s soles.

Agatha tried her hardest to keep her laugh in, giggles, snorts and yelps all escaping her lips.

“Come on Agatha, just let it out,” Rio demanded, moving up to tickle under her toes.

This made Agatha lose it, bursting into hysterical laughter, very fitting for a witch. 

“RIHIHIO! STAHAHAP NOW!!” Agatha demanded, not being so scary anymore.

“So you are still ticklish huh?” Rio asked, knowing how much Agatha hated this. 

“NOHOHO NOW GEHEHET OHOHOFF,” Agatha squealed out.

“Hmm, no I think I still have some other spots to check,” Rio said, now turning around to tickle her sides and ribs. Agatha cursed and went into a new fit of laughter.

Her laughter was so loud that neither one of them noticed that it had woken up the others in the coven and they had come over to see what all the noise was about. Billy, Lilia, Alice, and Jen were all hiding behind some bushes so they wouldn’t be seen.

“What on earth is happening?” Lilia asked, genuinely concerned.

“I guess the big bad witch is…ticklish?” Jen answered, as all of them were not used to this rare sight.

Rio finally had mercy on Agatha when she threatened to spill all her secrets to the public.

Rio chuckled, getting off of Agatha. “I can’t believe you’re that ticklish!” Rio exclaimed.

“Yeah? How ticklish are you huh? Don’t think you can fool me with that whole spiel about poisonous bugs,” Agatha said, tackling Rio and pinning her on her back.

“Of course you decided to pin me where my boobs are right in your face,” Rio said with an eye roll. That set Agatha off, immediately reaching down to tickle her ribs.

“NO WAHAHAIT,” Rio pleaded.

“Not so tough now?” Agatha asked, loving to see Rio’s rare toothy grin.

“IHIH AHAHAM TOHOUGH,” Rio giggled out, not making a very strong case.

“Really? Tough enough to handle tickles on your armpits?” Agatha asked, moving her hands up and making Rio scream and thrash as much as she could.

“STAHAHAHAP PLEHEHEASE,” Rio shouted, hating the sensation and hating the fact that she couldn’t appear tough. 

“Don’t forget who’s in charge,” Agatha whispered in her ear, making her flinch.

“YOHOURE THE BOHOTTOM,” Rio argued back, but was quickly cut off, as Agatha began to spider over her tummy and squeeze her hips.

“OKAHAHAY STAHAHAP MEHERCY,” Rio quickly pleaded, as Agatha smirked triumphantly.

“I win again, just like old times,” Agatha said, taunting her by booping her nose. The gesture was so utterly unlike Agatha it made the whole coven gasp.

“What was that?” Agatha asked quickly, now fearing that the Salem seven had returned. Rio and Agatha quickly had their guard up, scanning the area. The coven tried to quickly disperse and pretend like they were sleeping, however, Lilia tripped over a rock when trying to escape. Jen gasped and quickly caught her, but the commotion was too much.

“Lilia!” Jen hissed at her.

“I’m sorry but there’s common misconceptions about witches and one of them is that we are perfectly graceful. I’m proof that we are not,” Lilia explained, as Alice hushed them and told them to get down. Agatha and Rio were getting closer.

The wind began to blow slightly, stirring the leaves around them. A leaf blew past Billy’s head, making him scream as he thought it was a bat. 

“AAAAAHHH! IM TOO PRETTY TO DIE!” Teen screamed, making all the others scream and run.

“What the,” Agatha commented, watching her coven disperse in different directions.

“HEY!” Agatha shouted, making them all stop and turn.

“Were you spying on us?” Agatha asked in disbelief.

“I don’t think spying is the right word,” Billy said with a small chuckle.

“We just may have seen your tickle fight, but it was so cute, so there’s nothing to be embarrassed about,” Alice explained, sugar coating it as much as she could.

“I would’ve gotten rid of all of you by now if I wasn’t on the road,” Agatha scoffed, as Rio chuckled softly. 

“Hey, don’t laugh, they saw you too. You’re worse than me!” Agatha argued to Rio.

“You’re the only one here who’s embarrassed by it though,” Rio commented, smirking as she saw Agatha blush.

“Can we just continue on with the road? I’m not here to bond with any of you,” Agatha said, walking ahead.

“I’ve got her wrapped around my finger, don’t you guys worry about a thing. She won’t lay a finger on you guys with me around,” Rio assured the coven, as they followed after Rio.

“Wait, we didn’t even get to sleep,” Lilia complained.

“Sleep is for the weak!” Agatha shouted from up ahead. With that, they continued down the road, secrets and all. 

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[peyton-warren]

hmmmmmm I love her. so much. she is so lovely.