#give me a moment lots was happening in that scene

[itsnesss]

𝐥𝐢𝐭𝐭𝐥𝐞 𝐫𝐚𝐭 | thanos (player 230) × fem!reader

summary | Thanos constantly harasses you until you stand up to him

warnings | strong language, drug use, physical confrontation, kissing

word count | 1.6 k

author's note | it would help me a lot if you liked, commented and reposted so that more people read what I write and don't forget to follow me thanks ᡣ𐭩

It all started with a look—one of those glances people give you when they underestimate you. Of course, you were used to it. Here, no one expected much from a girl like you: small, quick, and quiet. And Player 230, whom everyone called Thanos, was no exception.

From day one, that jerk had decided you were his personal entertainment. He provoked you whenever he could, shoving you as he passed, making sarcastic remarks about how "weak" you looked, and making it clear that if he ever had the chance, he wouldn’t hesitate to crush you.

You put up with it because there wasn’t much choice. In this place, showing weakness was a death sentence, and an open confrontation with someone like him could be just as dangerous. But today, something inside you snapped.

It was the fifth game, a test of endurance and precision. Everyone was tense, including the guards patrolling the room. You focused on your strategy, ignoring the murmurs and stares. Then, as always, he showed up.

“Look who’s here, our little rat. Ready to run away when things get tough?”

His voice echoed behind you, and you could hear the smug grin in his tone. You didn’t bother turning around.

“Don’t you have anything better to do, 230?” you replied, trying to stay calm.

He let out a laugh. “No, not really. Watching you fail is the only entertaining thing here.”

He placed a hand on your shoulder, a gesture that was anything but friendly. You swatted it away, turning to face him.

“You know what? That’s enough. I’m sick of your crap.”

His eyes widened slightly in surprise, but he quickly recovered his mocking expression. “Well, well. The little rat has claws.”

Your heart was pounding, but you weren’t going to back down. Not this time.

“And what about you? What do you have? Besides a big mouth and a small brain?”

A murmur rippled through the room. The other players were watching the scene unfold with interest, some even smirking. It was rare for anyone to stand up to Thanos, let alone in public.

For a moment, you thought he was going to hit you. He stepped closer, and you could feel his heavy breath, mixed with the unmistakable stench of something chemical. Drugs. You’d noticed it before—his dilated pupils, his slightly clumsy movements.

“You know what’s funny?” he said, leaning toward you. His voice, usually loud and commanding, sounded almost… confused. Like he couldn’t decide whether to laugh at you or with you.

“What?” you snapped, not breaking eye contact.

“I like your attitude.” The grin on his face widened, but this time it didn’t seem mocking. It was different, disoriented.

What happened next took you completely by surprise. Before you could react, his hands grabbed your arms—not forcefully. He looked at you as if he were seeing something new, something he didn’t fully understand, and then… he kissed you.

It was quick, clumsy, and so unexpected that for a moment, you didn’t know how to react. Your brain took a few seconds to process what was happening, but when it did, you shoved him away with all the strength you had.

“What the hell are you doing?” you yelled, wiping your mouth with the back of your hand.

He stumbled back, a satisfied smile plastered across his face.

“You’re sexy when you’re angry, you know?”

Your blood boiled. The air in the room seemed to freeze. The other players stared at you—some horrified, others trying to stifle their laughter. The guards, as always, did nothing, letting the chaos unfold on its own.

“You’re insane,” you said, not bothering to lower your voice.

He took a step toward you, but this time, you stepped forward first.

“No. I’m warning you—don’t come any closer.”

Something in your tone must have reached him because he stopped. He blinked a couple of times, as if trying to process your words, and then let out a low, almost raspy laugh.

“You know, I think I like you more than I thought.”

You couldn’t believe it. This idiot was definitely high and didn’t seem to have any idea how inappropriate his behavior was. But instead of feeling intimidated, a wave of fury surged through you.

“If you ever touch me again,” you said, pointing a finger at him, “I swear you won’t walk out of the next game.”

For a moment, he just stared at you. And then, to your surprise, he nodded.

“Fine, little rat. But don’t be surprised if you change your mind someday.”

[archangeldyke-all]

hope you're feeling better by the ghosting! Lesbian dating scene is hard out here 😭 have an ask if you're up for it. Or you can just listen abt this scenario I have, totally fine either way just wanna let these thoughts out. And you're my fav sevika writer so! It's a bit angsty/comfort ig? Basically Sevika explaining to reader why it's such a struggle to say "I love you".

Not just because it's an admission of feelings for such a character but I think it's also cuz loving someone also means you have to accept anything could happen to either of them, esp since Zaun and her job are quite dangerous. So saying those 3 words feels like accepting that risk and continue on which is a big thing to do, it's like willingly leaving yourself open to potential heartaches. Idk just recently saw posts about how love is not just a feeling but also a choice, whether to stay/commit/any other reason the person feels what love is. Felt like if the reader is the first thing she's ever cared about and don't wanna lose her (whether it's a breakup, death etc,), she would struggle saying it cuz it feels like accepting that risk which she doesn't want to. She would still make up for it by showing her love & appreciation thru other means tho! Mb the reader had anxious thoughts on whether she reciprocated, or Sevika feels bad for not saying back for so long that she felt like she has to explain why she's struggling.

Sorry if I'm rambling too long 😅 hope you have a great year ahead, love your writing as well! ❤️

i love this sm <33

men and minors dni

even though you've lived in zaun your whole life, you understand that your life's been a lot softer than it could've been.

you've never had to worry about where you'll sleep at night-- you've always had a dry, warm bed to rest in.

you've gone hungry some nights, but you're lucky enough to have never gone more than a few days without a warm meal.

and your choice in career keeps you out of the line of danger; safe and inside most of the day, home before sunset each night.

so, while you're zaunite enough to know how to keep your head down and mind your own business, you understand that for most people life's a lot scarier.

sevika's one of those people.

sevika's known grief for almost as long as she's known how to talk. she's spent her fair share of nights in the cold, and she's gone to bed hungry more often than she's gone to bed full and satisfied. plus, sevika's dedicated her life to being a revolutionary. which means sevika has a lot of enemies.

so it's no surprise that lovey-dovey words come easier for you than they do for sevika.

it isn't until two years into your relationship that you realize she's never said she loves you. sevika has to be the one to point it out.

"i think i gotta call it an early night, baby. you stay up and finish the movie." you say around a yawn, leaning forward to kiss your girlfriend on the couch. sevika pouts.

"just sleep on top of me here." she requests. you snort.

"you'll throw your back out carrying me to bed."

"that's just offensive. i could lift three of you." sevika's pout worsens. "goodnight." she huffs. "give me another kiss."

you laugh and roll your eyes. "i love you." you say with exasperation as you lean in to kiss her. sevika stiffens against you. you pull away to study her face. "'s wrong?"

"you always say that." sevika whispers. you raise an eyebrow at her, climbing into her lap to hold her face between your hands.

"well, yeah. 'cause i do."

"i know." sevika says with a tiny smile. it makes your heart flutter. it's quiet for a moment as you wait patiently for your girl to gather her words. eventually, sevika sighs. "does it ever bother you that i don't say that to you?" she asks.

you frown in confusion. "what, that you love me?" you ask. sevika nods. you sputter a laugh. "yes you do, you say it all the time." you scoff.

sevika blinks up at you in shock. "no i don't." she says. "baby, i've never said it. to anyone. ever."

oh. well, that's surprising. you furrow your brow as you try to recall an instance where your girlfriend let the words slip, and you're shocked to realize that she, in fact, has not. "oh." you say.

sevika gulps. "does that... is that bad?" she asks.

you blink down at her, and your heart shatters. "oh, baby, no." you coo, kissing her frown. "no, that's not bad."

"but-- i should be able--"

"darling, i know you love me." you cut her off. sevika blushes almost as red as she did the first time she saw your tits. you smile, brushing your thumbs over her crimson cheeks. "you make that very clear."

"yeah but i--"

"you moved me into your sacred bachlorette pad three months into us meeting. yesterday, you came home from work with a stab wound, and tried to make me dinner before patching yourself up."

"it was just a scratch."

"i'm not finished. you call me stupid shit like sweetbean and cookie-- and you do it in front of other people! you! sevika; the scary lady of zaun!" she chuckles a little bit at this. "sevika, i didn't even realize you hadn't said it until you told me just now." you kiss her nose. "it's not bad."

sevika leans forward to bury her face against your neck, inhaling deeply. "i just... i want to say it." she whispers. you nod. "i wish i could say it like you do; just, whenever i feel it." god she's romantic. you choke back your own tears as you kiss her scalp. "but... if i say it..." sevika trails off.

"if you say it, it makes it real." you whisper, nodding. "it makes it somethin' you can lose." you can feel her hot tears on your throat. you don't mention it.

"y-yeah." she whispers shakily, her hands clutching at your hips desperately. "and i can't lose you."

"you won't baby. even if the worst happens, i'm yours forever. i'll haunt the shit outta you." this pulls a startled laugh out of her, and you grin. "you don't have to say it for the rest of our lives, if you can't. i won't mind. just as long as we're together."

and that settles it.

for a while...

sevika starts practicing.

she'll spell it out to you, 'i l-o-v-e you, baby.' or she'll whisper it to you when she thinks you're sleeping.

at the three year mark, sevika can say it when she's drunk enough. it's fucking adorable.

"i have somethin' import'nt' t' tell you..." she says with a waggle of her eyebrows. you burst into laughter.

"oh, do you?" you ask.

"mmhmm. look." sevika darts forward to peck your lips, then pulls back with a proud smile. "i love'ya." she slurs. you grin.

"i love you too, baby."

"an' if this jinxes everythin' and y' die-- y' gotta make the haunting obvious 'kay?" she asks. you cackle.

"alright, love."

by the time you're married, the words are almost compulsive for her. sevika can't leave a room without shooting a 'love you' over her shoulder at you. even if you're arguing.

"oh, so you've conveniently got a fuckin' 'meeting' in the middle of the night, on your night to do fuckin' dishes?! if you don't get in the kitchen and grab the sponge right now you're sleeping on the couch!"

"it's six pm, it's a dinner meeting! i'll do the dishes when i get back! you act like i'm fuckin' negligent, but you're the one who doesn't know how to properly clean a fuckin' toilet! janna, you annoy me-- i love you, i'll be back by midnight!" she huffs as she slams the door behind her.

despite how pissed you are-- you can't help but smile a bit at her words.

taglist!

@fyeahnix @lavendersgirl @half-of-a-gay @thesevi0lentdelights @sexysapphicshopowner

@kissyslut @chuucanchuucan @badbye666 @femme-historian @lia-winther

@lavenderbabu @emiliabby @sevikasbeloved @hellorai @my-taintedheart

@glass-apothecary @macaroni676 @artinvain @k3n-dyll @sevsdollette

@ellieslob @xayn-xd @keikuahh @maneskinwh0re @raphaellearp

@iamastar @sevikitty @mascdom @nhaaauyen @annesunshiner

@mirconreadzztuff22 @veoomvroom @lushh-s3vik4s @katyawooga @lesbodietcoke

@strawberrykidneystone @sevikasfan @fict1onallyobsessed @dvrkhcld @sweetybuzz25

@sluttysierraaa @snake-in-a-flower-crown @ruiwonderz @littlemisszaunite @biblicalcrybaby

@blackgaladriel @nightlyconfusion @dancingqu33n17

[tinylilacbun]

What about that episode in season 2 where they’re on the boat and at first toddler reader feels like really sea sick and Rafe is just so soft and takes care of her, and holding her, making sure she’s okay. But then when everything starts happening she get like really scared, and when Rafe goes to “check it out” (fight John B) he tells reader to stay with Rose, and she’s all scared and sobbing. But after everything when she sees Rafe again after he got the cross she starts crying and he just scoops her up and comforts her.

The Coastal Venture

Pairing: brother!rafe cameron x toddler!sister!reader

Warnings: vomiting (sea-sickness), lots of episode dialogue used, mentions of guns, slight shouting, reader getting scared, soft!rafe (only for reader obv), some angst, not proofread, word count: 1,6k

A/N: SCENE BASED FICS HAVE ME POSSESSED ISTG

⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘

As your eyes flutter open you whine and turn on your stomach before pushing yourself up in a sitting position, rubbing your eyes and yawning, wrinkling your nose at the scent of saltwater.

When your eyes finally adjust you furrow your brows and look around the dingy and small room you're in, standing up on the cot you were sleeping on just seconds ago to look out the window, seeing nothing but the ocean.

You turn your head at the sound of the door creaking open, seeing Rafe coming inside with a fresh set of clothes for.

"Morning, kid." He smiles faintly at the way your hair sticks in all directions and the confused pout on your face. "Sleep well?"

"Where we goin?" You ask, plopping back on your butt as you rub the sleep from your eyes.

Rafe scratches his jaw, walking over to sit down next to. "Just on a little vacation. Arms up." He grabs the hem of your pajama shirt, lifting it over your head.

As your brother helps you get dressed you slowly start to wake up more, feeling a little dizzy from the slight rocking of the boat, leaning against him as you let out a pitiful whine.

"What's wrong?" He asks, brushing your hair from your face he notices how pale you are. "Feel sick?"

When you nod he swiftly picks you up, letting you burrow your face in his shoulder as he carries you to a small bathroom nearby, it's not the cleanest and only has a toilet with a sink, but it will do for now.

You whimper as Rafe sets you down on the ground near the toilet, the nauseous feeling getting worse every second. "Rafey..."

"I'm here, you're gonna feel better in a moment." He assures you, squatting down behind you the second you start to vomit, rubbing your back to let you know he's there.

He waits patiently as you empty your stomach, feeling bad for not being able to help you right now and only able to watch as the tears flow down your cheeks.

Once he is sure you are done he grabs a piece of toilet paper and cleans your mouth and chin before picking you up again, flushing the toilet and making his way through the boat.

"I got a surprise for you..." He whispers, reaching his free hand up to wipe the remaining tears from your face as he nears a door with the label 'state room' on it, pushing it open.

You lift your head and your eyes light up at seeing your father sitting there and talking to Sarah, squealing out. "Daddy!"

Ward turns his head and gives you a soft smile, shifting his chair as Rafe lets you down and opens his arms for you when he sees you rushing towards him, catching you effortlessly. "Hey there, sweetheart."

"Knew you woulds come back!" You giggle, feeling him press a kiss to the top of your head, tightening your grip on his shirt.

You obviously didn't understand this whole situation of him faking his death, simply thinking he was gonna be away for a while, at least that's what Rafe told you after him and the others saw the video Ward recorded before this action.

Your father chuckles and loosens his hold on you, watching as you toddle back over to Rafe and climb onto his lap before he turns his attention back to Sarah. "Sweetie, what I need you to understand more than anything is that I never imagined that you would be there."

You drone out their conversation as Rafe taps your cheek, holding a pill between his fingers, whispering to you. "Say 'aaa'. This is gonna help your sea-sickness."

You quickly open your mouth and let him place the pill on your tongue, taking a few sips from the juice box he holds up for you.

"But I had to make sure Rafe got away."

"Thank you, dad." Rafe says, not looking away from you as you keep drinking, patting your back when you cough. "At least one of us is grateful."

"That's psychopathic, both of you." Sarah claims, her voice wavering as she tries not to cry.

"I promised Rafe that he wouldn't go to prison for helping me." Ward explains and you furrow your brows, looking up at your brother.

"Prison? You been bad?" You ask innocently.

"No, I mean, not really, I was just trying to help dad, y'know? Not that Sarah cares." He says the last part a bit louder for her to hear.

"Did it look like I didn't care when I thought Dad was dead?" She raises her voice now as well, feeling hurt of being accused to not care at all.

"I-It actually looked like you cared about running off with some asshole." Rafe interjects, holding his hands over your ears.

"Rafe, please." Ward tries to ease the tension between the siblings.

"It looked like all you cared about was the inheritance!" Sarah snaps at him.

"Yes, you cared! You cared! That's the point!" Ward finally shouts. "Anybody on that dock could see how much you cared, sweetheart. And I know you're angry now, rightfully so. The important thing is that it's all behind us now. It is."

As if you could feel the tension in the air you clamber down from Rafe's lap and make your way over to Sarah, climbing onto the bench she is sitting on and go to hug her, much to Rafe's dismay.

"We're gonna live a new life." Your father continues. "All of us together. Sarah where I'm taking you, it's paradise. It's off this place called Guadaloupe. And oh, by the way, all those A's you got in French are about to pay off, 'cause they speak French there."

Sarah shakes her head, detaching your arms from her neck. "I want to call my friends, and I want to call my boyfriend. Can I at least just tell them that I'm okay?"

You frown making your way over to Rafe again and stand between his legs, leaning your back against his front as you play with the gold ring on his finger.

"Yes, of course you can. As soon as we get there, you can call John B. He knows you're here, right?" Ward says and Sarah interrupts him.

"No, he doesn't."

"Yeah, he does. When you were getting ready, he came by the house, and Rose talked to him. You know the cross you've all been looking for? Rafe was able to get it." He tells her, gesturing towards Rafe.

She sighs, leaning against the back cushion.

Some time passes and you're left in the state room together with your mom and Wheezie after Sarah sneaked off, Rose holding you in her arms as she paces the room when Rafe came back in, a crease in his brows as he glances around.

"Where's Sarah?" He questions.

As Rose explains to him what happened you start to squirm in her arms, wanting to be put down so you can go to Rafe, and she reluctantly sets you down, afraid you might fall if you keep wriggling.

Instantly you crash into your brother's legs, lifting your arms in a silent request to be picked up by him but pout when he only ruffles your hair. "Not now, princess. I gotta handle something, just stay here yeah?"

You whine, stomping your feet a few times. "Wanna stay with you, Rafey!"

"Rose, would you?" He clenches his jaw, trying not to cave when she goes to lift you in her arms again and at how you cry for him, turning on his heel and leaving the room again, closing the door behind him, set with determination to catch those damn pogues.

You keep crying and whining for Rafe, not even your lovey and paci comforting you and easing the fear you're feeling right now, so many things keep happening, first Rafe telling you to stay and then your father warning you, or more specifically Rose and Wheezie to stay in here no matter what they hear.

Wheezie, mostly always the one being calm, starts to panic a little and Rose tries to comfort her, giving her a hug and some reassuring words, pulling away and looking around the room. "W-Where's Y/n?"

Rose follows her gaze, her eyes landing on the open door and gasps as she quickly stands up, running to look if you're still in the hallway, cursing when you're nowhere to be seen.

You let out a grunt as you try to open one of the doors, pushing with all your might until you're able to slip through, suddenly standing outside on the deck. "Mmm, Rafey?"

Taking more hesitant steps outside you smile when you see Rafe getting up from the ground after saving the cross from falling off the boat, walking over to one of the crew members, your eyes widen when you see him getting handed a gun.

You watch as he positions himself and aims his gun at towards the ocean, trying to see what he's pointing at but your eyes are too blurry with tears, gripping your lovey tightly.

Rafe snaps out of his adrenaline haze when he hears you sobbing nearby, quickly narrowing the gun before putting the safety back on and throwing it to the side, striding over to you.

"Hey, hey, hey. What- What are you doing out here? C'mere..." He instantly picks you up, cradling you against him as he shushes you, turning his head and watching the dinghy with the pogues getting further away. "Everything's gonna be okay now..."

"Wanna stay with you, pwease..." You sniffle, shoving your face in the crook of his neck.

"A'ight, okay, I got you." He keeps reassuring you, grabbing the pacifier that's attached to your plushie and pushing it into your mouth, carrying you back inside and towards the room you woke up in earlier.

Taglist

For everything:

@my-river-lilly @pauntedblacknails @fanfictioniseverything @buckymydarlingangel @hallecarey1 @daybreakwinter @loveshineslikethesky @vase-of-lilies @white-wolf1940 @simpingbutch @mischiefsemimanaged @alina02 @teddybearsgrr @doozywoozy @angelbabydoll28 @lilymurphy03 @veryvaughnny @lokigirlszendaya @youngstarfishdinosaur @little--baby--bear @minideathgoddess @rach2602 @gh0stgurl @flourishandblotts-inc @lovelyy-moonlight @yoruse

@mythixmagic @iris-xoxo-juhu @mylettterstoyou @sunf1ower16 @sweetstars-posts @rafecameronsloverrrrr @rafesdoeeyeddoll

For Rafe:

@chiaraanatra @chimindity @erikasurfer

[its-avalon-08]

the paths we didn't take (cl16)

part7!

multipart story! part 1 part 2 part 3 part 4 part 5 part 6

Summary : Years ago, Charles Leclerc and Y/N promised to let each other go—for his dreams, for her freedom. No calls, no texts, just memories they buried deep. But when fate reunites them in Monaco, old scars and unresolved feelings resurface. Some loves are unforgettable, but can they find their way back, or is it too late?

✦ pairing - charles leclerc x female reader

Chapter 7: "Unraveled"

Y/N stood by the curb, her arms crossed tightly over her chest, the cool night air doing little to calm the storm inside her. Her thoughts were a chaotic mess, replaying the brief, heart-stopping moment she had locked eyes with Charles. The years apart had done nothing to prepare her for the rush of emotions she felt seeing him again. She blinked back the tears threatening to spill, silently willing her cab to hurry up.

“Y/N!” Lando’s voice called out behind her, his footsteps quick as he caught up. “Hey, where are you going?”

She turned slightly, her composure faltering when she saw the genuine concern etched on his face. “I just... I needed some air,” she muttered, trying to keep her voice steady.

Lando frowned, noticing the glistening tears in her eyes. Without hesitation, he pulled her into a tight hug, wrapping his arms around her as if shielding her from the world. “Hey, hey, what happened? Are you okay?”

Y/N clung to him for a moment, the warmth of his embrace grounding her. She took a shaky breath, her voice barely above a whisper. “I just... I saw him after all these years, and I don’t know how to react.”

Lando pulled back slightly, his hands resting on her shoulders as he studied her face. “You mean Charles?”

She nodded, biting her lip to stop it from trembling. “Yeah. I thought I was over it, you know? But seeing him... it just brought everything back.”

Lando gave her a small, understanding smile, his eyes filled with empathy. “It’s okay. It’s a lot to process. You don’t have to figure it all out right now.”

Y/N shook her head, wiping at her eyes. “I thought I moved on, Lando. I really did. But tonight... it was just so unexpected.”

“You don’t have to explain,” he said softly. “You’ve been through a lot. It’s okay to feel confused.”

As they stood there, Charles leaned against the balcony railing above, watching the scene unfold below. His heart sank as he saw Y/N in Lando’s arms, the way she leaned into him, the way Lando held her with such care. The sight of her tears stirred something deep inside him, but the rational part of his mind told him to let it go.

“She’s moved on,” Charles whispered to himself, a bitter smile tugging at his lips. “She doesn’t care anymore.”

With a deep breath, he turned away from the balcony, shaking his head to clear the lingering confusion. The weight of their history still pressed on him, but he forced himself to focus on the present. If she was fine, if she had someone like Lando by her side, then he had no reason to dwell on the past.

“Time to let it go,” he muttered, heading back into the club, the loud music and flashing lights quickly enveloping him once more.

Outside, Y/N pulled back from Lando, offering him a small, grateful smile. “Thanks for being here.”

“Always,” Lando replied, his voice gentle. “You sure you’re okay?”

“I will be,” she said, nodding. “I just need to get home and clear my head.”

“Alright,” Lando said, giving her one last reassuring squeeze. “Text me when you’re home, okay?”

“I will,” she promised, her voice steadier now. As her cab finally pulled up, she gave him a small wave before slipping inside, leaving the night—and all its unexpected emotions—behind her.

As the cab drove away, Y/N leaned her head against the window, letting out a long sigh. She had seen him, faced the past she thought she had left behind. But now, more than ever, she realized the journey to truly moving on was far from over.

----

A loud knock echoed through Y/N’s apartment, pulling her from the depths of a pounding headache. She groaned, burying her face deeper into her pillow, trying to escape the bright morning light streaming through the window. Another knock, more insistent this time, made her reluctantly sit up.

“Alright, alright, I’m coming!” she muttered, throwing on a hoodie as she stumbled towards the door. As she swung it open, the sight before her made her blink twice.

“Good morning, sunshine!” Lando beamed, holding two steaming cups of coffee, his grin as bright as the sunlight she was trying to avoid. “Figured you could use some caffeine.”

Y/N squinted at him, rubbing her temples. “Lando, it’s barely morning. What are you doing here so early?”

He waltzed in without waiting for an invitation, setting the coffee on the table. “It’s almost noon, you lazy bum. Besides, I thought you’d need this after last night’s little adventure.”

Y/N groaned, flopping onto the couch and pulling a blanket over her head. “I’m officially never drinking again.”

Lando chuckled, sitting on the edge of the couch and nudging her with his elbow. “Oh, come on. You were the life of the party until, well... you know.”

She peeked out from under the blanket, giving him a mock glare. “Don’t remind me.”

“Fair enough,” he said, handing her a cup of coffee. “Here, drink this. It’ll help.”

She took it gratefully, sipping the warm liquid. “Thanks. You’re not so bad for a nosy friend.”

“I aim to please,” he quipped, leaning back with a satisfied smile.

They sat in comfortable silence for a moment before Lando’s expression turned serious. “Actually, I came by for a reason.”

Y/N raised an eyebrow. “Oh? What’s up?”

“Well,” he began, dragging out the suspense with a mischievous grin, “it seems McLaren is interested in working with your business.”

Y/N nearly choked on her coffee. “What? Are you serious?”

Lando laughed at her reaction, nodding. “Completely serious. They want a meeting with you to discuss potential collaborations.”

She stared at him, wide-eyed. “Lando, this is huge! How did this happen?”

He shrugged, trying to downplay his role. “I might have mentioned your work to a few people. They were really impressed.”

Without thinking, Y/N launched herself at him, pulling him into a bear hug. “You’re amazing! Thank you so much!”

Lando laughed, wrapping his arms around her in return. “Hey, hey, easy! You’re going to crush me!”

She pulled back, her face glowing with excitement. “I can’t believe this. I owe you big time.”

“Don’t mention it,” he said, brushing it off with a wave of his hand. “Just promise me one thing.”

“Anything,” she replied eagerly.

“Don’t forget about me when you’re swimming in all that McLaren money,” he teased, winking.

Y/N rolled her eyes, laughing. “I could never forget you, Lando.”

He grinned, standing up and stretching. “Alright, I should get going. But seriously, congrats. You deserve this.”

“Thanks,” she said, her smile softening. “For everything.”

“Anytime,” he replied, heading towards the door. “Now, go get ready. You’ve got a big meeting to prepare for.”

As he left, Y/N sat back down, her mind racing with excitement and possibilities. The hangover was now the least of her worries, replaced by the thrill of a new opportunity—one that she wouldn’t have imagined even in her wildest dreams.

🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️🏎️

taglist : @jenxjar @noam-rosier-icr @prttylight @gluecksbaerchieee

@janeh22 @tobucina @ihtscuddlesbeeetchx3 @weekendlusting

@wisestarfishbouquet @ricciardosheart @leclercdream @sltwins

@vyctorya @mel164  @dazecrea @lol6sposts @raynetargaryan2

@ricciardosheart @leclercdream @sltwins @vyctorya @f1fantasys

[laconchadetumadre]

Auugghh im sorry to be that annoying kyle defender, but while i totally think butters has the right to hold a grudge against stan and kyle for how much the main 4 used to bully him, after kenny, i think kyle is the only other boy in the main 4 who actually gives a crap about butters.

There are other episodes where kyle looks out for butters but butters doesnt notice, like in Cartman Sucks where kyle tried to warn butters about having a sleep over with cartman before cartman tells butters kyle is just jealous. Then, in Butterballs, kyle is the only one upset about what stan is doing to butters (which definitely has a lot more to do with kyle's relationship with stan but, overall, he is standing up for butters), even while they were filming the music video, kyle didnt seem excited and read his lines half-assedly. Later, when PC principal gets butters to filter comments for cartman kyle tries to get butters to calm down and just accept detention.

I know the original post is trying to highlight butters' feelings about stan and kyle but tbh to me it seems like butters dislikes kyle more than stan and that is most likely because of cartman.

While butters is shown to be more capable of standing up to cartman, he remains very easy to persuade and manipulate. Plus, he seems to actually think of cartman as a friend sometimes, so its likely that he listens to what cartman tells him.

In addition to that one scene where butters snaps at all the boys, there are other moments where he seems to have it out for kyle (like in wieners out) because he is under the impression that kyle is a moralistic hypocrate and that anything kyle says is a lie to make himself look good.

The thing is, while kyle is indeed moralistic and hypocritical sometimes, kyle isnt attempting to hurt butters intentionally. And, just like in "cartman sucks", sometimes it would do butters well to consider what kyle tells him.

In "Wieners out" a similar situation happens but on a larger scale, where kyles original idea to show up to the girls' volleyball match was definitely good and could have rekindled the boys and girls without all the drama that ensued later because of the boys' reaction. Butters assumes from the get-go that kyle is, again, being moralistic and is "ashamed of being a man" (doesnt this sound similar to how cartman constantly emasculates kyle by saying kyle has a vagina/period?), so butters turns hostile towards kyle and, later, the girls. Butters then goes on to convince the boys to pull down their pants and march around with their genitals out.

Ok im gonna stop here because i originally didnt set out to overthink butters and kyle's relationship lol

Season 16 is crazy because we have "Butterballs" where we get some more insight into Butters' family abuse situation, how he's always pushed around and doesn't even feel comfortable enough to tell his own parents that his fuckass grandma terrorizes and beats him and steals his lunch money. Him becoming the poster child for bullying against his will and being pushed around by talk show hosts and peers like Stan who don't actually care about his situation, but only about how they can use it to polish their own image. We have butters getting pressured to speak up about his private life on public TV until he snaps and turns violent, only for everyone to end up painting him like the bad guy.

Few episodes later we have "Going Native" where Butters flips out at everyone around him. At Kyle, who immediately acts like he knows exactly what's going on with Butters. At his parents, for probably the first time in 16 seasons. And, among others, but most notably: at Stan, whom he calls "a kid who thinks the entire planet revolves around him and [...] only cares about HIS image".

like isn't this some well-continued juicy subtle beef

[tuesday-teyz]

Butterfly Reign chapter 40 😧

Hi!

First of all, I just wanted to say how much I love Butterfly Reign—your writing is incredible, and I’ve been absolutely hooked from the start. I think I started reading when there were only about 10 chapters out, which feels like a lifetime ago!

I just finished chapter 40, and I’ve been thinking a lot about the direction the story took, particularly regarding Theseus and Wilbur. Their relationship has been such a complex and emotional journey, and I’ve really enjoyed seeing them work through their issues. Honestly, it’s crazy to think back to when I first started reading, and how I would’ve been rooting for Theseus to get his revenge, but now, with everything that’s happened, I didn’t expect the story to take such a tragic turn.

While I’m still deeply invested in the story, I’m curious about a few things—particularly the choice to have Wilbur die. I’ve been wondering, how long have you had this planned? I noticed the MCD tag from the beginning, so I’m wondering if this was always the direction you intended to take their characters or if it evolved as the story developed?

I’d also love to know your thoughts on Theseus’s actions here (without giving away any spoilers ofc). In the context of the story (obviously not condoning murder in real life 😭), do you think Theseus did what he had to do? Do you see him as someone who is still redeemable, or do you think that this was a mistake in his journey? I ask because, even though I’ve been the number one Theseus defender (his rights and wrongs) throughout the story, I found myself struggling with this moment. It’s the first time I’ve felt so conflicted about his character. I’m really curious about your perspective as the author, especially when it comes to the moral complexities in his decision.

Thank you so much for sharing this story— and I can’t wait to see what comes next! (even though i'm not yet willing to except that it shall continue BR!crimboys-less) at least give me hope for Br!discduo if nothing else

Hi, thank you for the ask, it made my morning!

To answer your questions, it's a little complex when exactly the decision came about. In my original outline back in 2022, this whole scene did not actually involve any fire. Instead, it was Theseus and Fundy stranded on the lake as ice begins to crack. Wilbur gets Fundy to safety first, and then when he comes back for Theseus, they fall through. From there on, there were two versions of this scene that I fluctuated between: one, Wilbur cuts the rope connecting them and lets himself drown, and two, the same happens but both of them get saved by a third outside force. This is followed up by Wilbur falling into a coma and being absent for the rest of the fic, sans the epilogue where we see him awake. Simply put, it was never my plan for Wilbur to be present in the final arc; he simply has no place there. His story was always meant to end in this chapter.

However, as time went on, I realized that using a coma is a very cheap (for the lack of a better word) way to write off a character, and his death by sacrifice did not feel right. As I mentioned in another post, br!Wilbur was, off and on, for nearly a decade, br!Tommy's abuser. To have someone who caused so much pain for him die saving him didn't sit right with me. Tommy was working for so long on accepting his past and unlearning the behaviors Wilbur brought up in him that it felt like an injustice and a poor message besides to basically say 'oh well he loved you at the end of the day'. And exploring his death from the point of view Tommy being relieved by it and feeling guilty at the same time is too repetetive of the story itself from when Wilbur ran away the first time. That's when the decision for Tommy to kill Wilbur was born.

So short answer: Wilbur's story was always meant to end at this moment. The idea for murder hatched during the travel arc.

I could not tell you exactly when did I realize that the plot was heading towards Tommy killing Wilbur, but I very firmly stand by the point that it's something that has been brewing up in the background unbeknownst even to me. The thing, Tommy has always been a killer. You have always known him as one (Clara was killed by him 3 years into the past), even though you didn't know his full backstory. An important part of this arc in its entirety is that it's Tommy unpacking and healing from the trauma he experienced 6 to 3 years ago. When Tommy gets sick and Wilbur takes care of him – that's 11 year old Tommy getting closure from Wilbur leaving him behind, and trading their family for the life of a commoner and a family of his own. It's not about them learning to be different in the future; it's about them mending the past. At no point at all this was meant to be about redeeming Wilbur.

Off to the next question: was this necessary? Did Tommy do what he had to?

Not at all. I address that in the chapter itself. I believe it's three different times that an image of Clara tells that Tommy must do it, meaning kill Wilbur, but the only time Tommy voices that thought himself (after the dialogue with Warden), the must changes to can. It's him taking agency over his own choices and acknowledging that he has this option and it's his decision to proceed with it. He tells Wilbur not to make excuses for him for Clara's death, knowing he's about to commit the same crime again.

As to how to feel about his actions – that's entirely up to you. You're not meant to feel a certain way about any of the characters, and especially not Tommy, but I am curious to hear your guys' thoughts and analysis. What do you think?

[identityflawed]

an honest, (very) in-depth review on “cerulean eyes for the damaged soul,” chapters 1 and 2

warning: much like a marriage between a 1940s lesbian and a military man in wwii, this review is long and unhappy.

edit: upon getting in a digital squabble over the concern that the author will see this and potentially quit writing forever despite having thousands of fans and lots of good press… i will say very clearly that this is a subjective post. contained within are opinions on a fic i didn’t like. you might disagree with me, and that’s fine. this is not done as a personal attack on the author; i am just sharing my opinion in my own way. if you LIKED this fic with a passion, i would not advise reading this. if you are the author, by some small chance, i also wouldn’t advise reading this unless you’re in the right headspace to engage with my brand of criticism.

i’ll start off by saying i have no ill will towards the author of this story, loveshazel. writing is no easy task, especially when you’re juggling extremely nuanced situations like the ones in arcane and the ones in wwii. i happen to be one of those people who think that when you’re putting your characters into a real-world global tragedy, you should be very thoughtful about how you do it. i haven’t read all 32 chapters of the piece, and i probably won’t read them, either, because the first chapter of any book has to hook me in, not cast me out to sea without a buoy.

the following is a review that i wrote AS i was reading the fic, so certain things i say are later “solved” by other information provided. i put it in quotes because nothing is really solved.

for those who haven’t read it, i’ll give you the basic premise, which is detailed in the tags and the blurb. it’s a wwii au where vi is a US air force pilot and caitlyn is a farmer in the french countryside. it sounds interesting until you think about it.

put simply, this fic is overhyped given it’s quality. this fic is not super well-written, from the characterization to the prose (especially the prose). you can love it if you want to love it, but i can’t count the amount of posts i’ve seen saying this is an amazing piece when i see dialogue with no punctuation and an innately flawed story concept.

“this idea sucks, darling” says caitlyn.

“i’m doing my best to do my best,” says vi.

it seems like the author is trying their best to sound professional and ao3-esque by not using contractions and by over-describing things without actually using new words to describe them. and also (this is definitely more nitpicky) they use actual numbers instead of typing them out, which is like a prose no-no for me if you’re trying to be professional and ao3-esque. it’s like shatter me, without the excuse of insanity.

“…as she tried her best to land her girl [plane] as best she could.”

tried her best… as best she could. i could forgive you if this wasn’t just the first of many situations where the same word or turn of phrase is used within a sentence or two. vi refers to her plane as her “girl” at least 10 times in one scene.

from the moment of her introduction, caitlyn’s features are described as “long.” after finding vi, whom she presumes is a man, she rolls “him” onto his back twice in as many paragraphs.

i’ll take a brief segue to discuss the questionable choice to make caitlyn a farm girl. most of her (if not her entire) character and conflict revolves around the fact that she’s overwhelmingly rich and sheltered to the ways of the world. you take that away and it isn’t caitlyn kiramman (and it isn’t, her name is caitlyn dubois, but you get what i’m saying, right?) it’s later revealed that she married a frenchman and is originally from britain, but her name isn’t recognizable enough to the nazis to imply that she’s of the same tax bracket as she was in canon (which again, is the most important part of her character and her character flaws).

also, caitlyn has a husband in this, whom she seems to appreciate, which makes the situation kind of messy. i understand that, historically, there’s pressure for women to wed up, but you can’t deny that it’s a little weird to have a cheating trope when the husband is away in the army, when the homewrecker is also part of the military. but that’s personal preference, so don’t think too hard about it.

her husband even has an anne frank-style secret room in their winery, conveniently enough. secret rooms to hide jewish refugees are relatively common. this implies her husband is not a nazi sympathizer, which makes me feel even worse for him.

the prose is just incredibly repetitive. i’m not a fan of how many epithets are used, but again, that’s my subjective opinion. there’s a notable amount of blatant info-dumping — which is fine if it’s environmental context for anyone who isn’t super familiar with wwii europe — but a lot of it is convenient justification for certain actions not having to be taken. here’s a few examples in the opening scene alone.

caitlyn has tasked herself with saving this unconscious american pilot from certain death/torture at the hands of the nazis without getting caught. this is a tall order, as it involves dragging an unconscious, grown human from the crash to her farm, covering her tracks, and returning to the crash site as an unsuspecting on-looker. my suspension of disbelief for a story without magic is very low, but even without that… caitlyn manages to do all of that in under ten minutes. her farm is also the 4th closest to the crash, so it’s even less feasible.

i understand caitlyn is intelligent, and maybe the author is attempting to explain her thought process through an overwhelm of information, but covering up tiny plot holes (like how it’ll take nazis x amount of minutes to search exactly 3 farms, which begs the question how she knows they’re gonna go one at a time and not split the work amongst themselves), you miss out on the giant ones. like if she’s so smart and capable as to stow away a whole human being in such a small time frame and is apparently self-assured enough to have a pre-made story ready for the nazis searching the farms, how does she fumble and give away her english maiden name to the nazi interrogators? they’re just asking her name, she shouldn’t be so stressed if she’s daring enough to do what she just did. and the punctuation is a spaced hyphen (“kiramman - dubois”) so it’s unclear if her name is hyphenated or if she genuinely slipped up with 3 whole syllables instead of “kir— dubois”. if it’s the second, it’s plot convenience. if it’s the first, why didn’t the author introduce her as that and/or have the nazi’s refer to her as that after hearing it?

the scene where the nazis are searching caitlyn’s domicile is meant to be stressful, because she’s hiding vi in a secret room in the cellar. but the complete overuse of info-dumping kills the suspense. the author explains things that are already implicitly understood, if not stated before! ex. caitlyn needs to come across as innocent, the nazis are trying to “make her crack,” that they’re threatening her, that she doesn’t want them to find the secret room. show, don’t tell.

it becomes pretty apparent that caitlyn and vi are more “realistic” because they have natural hair colors (caitlyn’s is black and curly, vi’s is light brown). cool, cool. i appreciate that the author makes attempts to change certain things to fit the environment. caitlyn is half-asian, so i’m not sure how that’ll factor into the entire situation here, since she’s not white in 1940s europe in a nazi-controlled portion of france, a time when it wasn’t so great to be anything but white. (the nazis are very polite to her despite this, so maybe she’s just fully white in this, which opens a whole other can of worms).

when the nazi’s finally leave, caitlyn gets her medical supplies and goes to take care of vi, cleaning off her face and realizing that her male pilot is actually a really hot woman with shards of glass in her abdomen. caitlyn has incredible medical knowledge, knowing instinctively that a supposedly-superficial wound could eventually kill vi in several days (because of glass shards). despite this, she decides that she doesn’t need to stitch up vi until she’s conscious. i’m not sure why you would choose to wait on that, since it is still an open wound that you just aggravated by removing the shards which were probably stopping most of the blood from coming out.

fortunately for vi’s life, she wakes up shortly after caitlyn starts to dress her wound (without stitching it, mind you). they exchange a couple sentences, in which caitlyn reveals that she’s trilingual — english, german and french, which is actually very plausible for a european, no hate here — and vi can only speak english (very realistic for us americans, so points to the author on that!).

that is the end of chapter one. initially, i was going to stop it there but i wanted to make sure that some of my claims made in this post aren’t resolved in the next chapter (which would be the most sensible path of things).

the second chapter begins from violet’s POV. she’s in a lot of pain from her stomach wound, but finds caitlyn’s eyes very, very pretty. caitlyn doesn’t want her to fall asleep (she is really determined to make vi stay awake while stitching her wound without anesthesia). vi notes that her wound will get infected if she stays on this dirty cellar floor, which she takes as the reason that caitlyn isn’t letting her sleep (it’s not).

she refers to caitlyn as her saviour (with the u, yes) despite the fact that she has no knowledge of anything about caitlyn. if i was an american fighter pilot who crashed on foreign, nazi-controlled soil and i woke up in a dark, dank room with a woman who hasn’t introduced herself… i’m not seeing her as a savior. i’m worried that she’ll turn me in, if she’s not some prison medic already. the french accent shouldn’t even make her feel safer, because france surrendered to nazi germany 3 years ago! like, hello?

a little history drop for you based on the somewhat vague situation on caitlyn and vi’s ends:

she appears to be in the german-occupied zone of france (northern+western france) in summer 1943 (which is the only thing that is clear). while it’s plausible that she’s somehow in central france because of the eventual case anton in 1942, the fact that she sees the nazis as “familiar” suggests that it’s been a little longer than a year. vi seemed to be flying alone in nazi-controlled airspace when her plane suddenly, inexplicably breaks down (american engineering isn’t great, but in the 1940s it was really fucking good for it’s time. they weren’t called the “arsenal of democracy” for nothing). caitlyn’s husband is in “the military,” which i’m left to assume means the mandatory conscription of the german military, as the northern area of france was intended to be part of the nazi’s new world order.

all that to say that vi shouldn’t trust caitlyn as easily as she does.

but back to the story. caitlyn wants to take vi upstairs so she can get a better look at her injuries, despite the fact that she practically undressed vi and saw all her wounds (and dressed them) already! vi is, of course, very happy with the idea, with no semblance of military training or paranoia, and still no name for the woman who very well may be an enemy. vi also doesn’t care that she’s been undressed by this stranger without her consent, despite the fact that any self-respecting woman of any age would be profoundly concerned about that situation, especially if you’re a part of the military (regardless of whether a woman did it to you or not!). she’s got the serious hots for this woman and none of the fear that you should have, but it’s okay because she has really pretty blue eyes.

she finally notices caitlyn’s french accent and instead of being concerned about being in hostile territory, she wants to hear the story behind it. she even gives caitlyn a nickname to use for her (after introducing herself by her full name), and thinks caitlyn’s name is very pretty. she’s well-versed in etymology and recognizes her name is british. surprise! the name caitlyn is irish gaelic.

vi is given a comfortable bed to lie in and some water to drink, hand-fed (drunk?) to her by caitlyn, even though vi doesn’t actually have any injuries that would keep her from doing it herself. this clashes with the fact that just earlier, she refused to let caitlyn help her walk upstairs with an injury she ACTUALLY has, because she wanted “to show that she was no weakling.” what?

while caitlyn is finally stitching her wound up, vi is thinking about how she’s probably/definitely a woman-lover because she never cared about boys in the same way she did girls. she’s also talking about caitlyn’s hair and how vi is just a tomboy who doesn’t care for makeup or dress-up, and how she really doesn’t want kids but can’t say that because it isn’t commonly-accepted. she’s also a female pilot in wwii, which is arguably LESS commonly accepted than celibacy in the midst of a war, but who cares. in summation, she’s resigned herself to ending up alone, and is apparently expecting to die at age 30.

she realizes that caitlyn is married, which makes her sad. caitlyn explains that she has no clue where her husband is and that it’s just them for now, again spitting in the face of the fact that neither of them should fully trust each other. it is revealed, finally, that caitlyn’s dad was a doctor (pretty similar to the canon situation, so that’s nice), which explains her medical knowledge but not why she decided to delay stitching her wound (if you can’t tell, that tidbit is bothering me).

vi does ask the question i’ve been asking, which is why the hell did caitlyn kiramman marry down? because if she did, she must really love her husband. so… why is she going to cheat? and i say “cheat” because he’s off in the military and probably isn’t coming home any time soon, since i’m still under the impression that he’s been conscripted by nazis.

the next scene takes place the following morning, from caitlyn’s POV. viktor is briefly mentioned as a local physician, with whom she trades milk and vegetables for medical supplies. there is a whole paragraph describing her clothes of the day and another one for her hairstyle. she then gets clothing and a bowl of warm water for vi. vi is very buff and is going to wear caitlyn’s husband’s clothing for now. caitlyn then does farm work, including feeding a young lamb.

here, we learn that she has always desired freedom and traveling the world, which is apparently more likely to happen on a farm in the middle of nowhere than in the rich upper echelons of the british isle. again, WHAT? her husband, george, apparently brought up that having their own land would let them do whatever they wanted, like you can’t already do whatever you want as an incredibly rich heiress in one of the global superpowers of the time. she is not traveling the world from the farm, either (duh), but it seems like the author is trying to set up an opportunity for vi (an actual world traveler) to bond with caitlyn over a “shared” dream. except it isn’t shared, because caitlyn isn’t traveling anywhere.

she then muses over her husband going to war, which he apparently “left” for. that doesn’t sound like he was conscripted or forced to leave, so apparently george is either a nazi or is “illegally” part of the allied forces while his wife is living in nazi territory (great move, george). george also stopped sending her letters 2 years into his tenure as a soldier, and caitlyn realizes she doesn’t give a fuck about that (great move, caitlyn).

her farm work is done, so she makes breakfast for her and vi (and pauline, the dog). vi shows up leaning in the doorway, and caitlyn isn’t happy that she’s up and about while recovering. vi, the girl who had caitlyn tip water into her mouth, says she couldn’t “lie there doing nothing, that’s not in [her] nature.” caitlyn then realizes how good vi looks in her husband’s clothes, “better than her husband ever had.” poor george, dude.

vi introduces herself to pauline, who takes to her very well, but unfortunately pauline only “speaks” french. vi says she needs to learn french so she can talk to pauline (another set-up for fluff?). caitlyn serves the two of them breakfast and apologizes for not making a better meal, to which vi says that it’s the best she’s had in months because army food is shit. which is accurate. nice!

this entire scene could be so cool if not for the fact that vi should be more suspicious of the situation, and shouldn’t assume that anyone’s a sympathizer just because they patched her wound. caitlyn could’ve been keeping her alive to interrogate her, or turn her over for benefits, or some other combination of hostility. but her eyes are very pretty so those ideas can be neglected (if you think i’m repeating the eye bit too much, don’t read the story, because it happens twice as often!).

vi scarfs down her food and caitlyn notices that vi needs a haircut (another setup). vi seems more concerned about the idea of caitlyn kicking her out once she’s recovered than anything else. again, what the fuck? but au contraire! caitlyn thinks that is unsafe for vi if she’s kicked to the curb (it is, good thinking!) and decides to let her stay here until she can get her out of the country. this implies that caitlyn can find a way to get out of nazi-occupied france but just doesn’t want to leave.

caitlyn also seems to know that vi would be good at farm work, and says she needs help on the farm, despite doing it on her own for the past two years without much reluctance (in fact, she seems to enjoy it more on her own, since her husband was apparently a constraint on her freedom).

and despite vi being in the 1940s american military, a time where the propaganda — and patriotism — for america is at an all-time high, she seems to be content to make negative remarks about her people (“i’m not as stupid as most americans”). she’s in the military during the war as a woman, so i understand feeling bitter towards men and maybe her superior officers for the shitty treatment she receives, but she’s an air force PILOT (or is she army? the author mentions both), so there’s no way she hasn’t been positively inundated with pro-american propaganda, or at least holds some respect for her country. the author didn’t do enough research to understand the implications of an american pilot being in foreign territory, so they also probably didn’t realize that vi is RIGHT about americans being stupid (uneducated) because they’re fresh out of the great depression. also why would vi, the zaunite who likes reading books but is probably treated as a moron for most of her life, take jabs at people for being uneducated? it’s a contemporary statement she’s making, one that you’d see on tiktok. one i’d laugh at because it’s accurate now, but it’s not accurate then. no american soldier in their right mind would say that about the people they’re fighting for in 1940s america, you know, before the military kicks them to the curb.

of course, vi agrees to stick around and help out when she can. caitlyn emphasizes that vi can’t be seen outdoors because her neighbors are incredibly nosy (why, we don’t know), and that vi has to hide for unprompted inspections. how they will know when an unexpected inspection is coming, i don’t know, but they’ll “make it work.”

oh, and for bonus info, i went into chapter 3. stopped at the first paragraph, because it states it’s been “several days” since the events of chapter 2, and caitlyn has already discovered how helpful vi is. you know, vi, who is still severely injured and cannot feasibly recover at the pace expected to commit to manual labor such as the kinds found on the farm. and you know, caitlyn, the woman who scolded vi for just standing UP while injured and extolled on how dangerous it is for vi to be outside, decides that vi’s first task will be fixing a fence for hours on the outside. but it’s in a place that the neighbors won’t see, allegedly. can’t you pick an indoor task like maybe cleaning that dirty-ass secret room that vi will probably be hiding in? or a non-physically straining task like cooking breakfast, or bathing pauline?

also, caitlyn, the rich girl from britain who really wanted to travel, has never been overseas, because she’s a woman. (?) caitlyn has more opportunity to travel the world than vi did as an assuredly middle-class (or lower-class) woman from brooklyn, and yet she never did. i was right about the author trying to set something up between vi and caitlyn on this front. i feel miserable.

i’ll conclude with that.

i’m a hater, i know. you don’t have to tell me. i highly doubt you made it through this entire post unless you are a) a fellow hater, or b) trying your best to provide evidence that i’m in the wrong about this fic.

i’m not wrong, and here’s why: it’s my opinion. the reason i spent so little time on the grammar and actual prose and so much time on the set-up of the story is this:

grammar and prose will change with time. inexperienced authors don’t deserve to be shit on extensively for little mistakes. they’re worth mentioning because they’re troublesome to read, but i’m not an asshole who’s going to spend so much time blabbering on about how the dialogue isn’t properly punctuated.

it’s the construct of the story, or rather the lack thereof. the characters aren’t in character, they don’t even look the same, and the author is obsessed with them referring to each other using possessive epithets (her pilot, her savior) so even their NAMES don’t matter at this point. the environment spits in the face of how their characters were founded on where they grew up.

i have a natural dislike for AUs because of this ^ — it is very hard to retain a character’s integrity when you switch out the environment, because a lot of times your environment shapes you. who would you be if you grew up rich instead of poor, or poor instead of rich? if you were in a successful position instead of a dingy, dirty prison? if you were a farmer instead of a cop? if you grew up in a homophobic environment instead of one where you can casually ask if someone is a girl kisser or boy kisser?

at the very least, the author should consider the characters from the show they watched. that’s disregarding the confusion about real-world history, because i can ignore a lot of environmental altering for the sake of the story. but not in world war ii, which is still a contemporary issue (people still deny the holocaust to this day, there are neo-nazis in europe and in america, people still bash france — jokingly, seriously, both or neither — for surrendering in wwii, etc). there’s only so much you can obscure about the atrocities of the war for the sake of romance before it becomes hard to read.

it’s just a shame because there’s so much potential here, but it falls victim to the fact that the author didn’t think things through before writing. i would read the FUCK out of this if it wasn’t caitvi, because caitvi makes no sense here. :(

you could’ve done something great if you just swapped the situations. caitlyn would MAKE SENSE as a hyper-patriotic military pilot with medical training, and vi as a struggling farmer in nazi-occupied france because that tends to the cores of their characters, which are the experiences they’ve had due to privilege or lack thereof. vi IS the kind of person who would marry a man in a shitty financial position (in the middle of nowhere) if it meant she and powder could be safe from nazis and the war, and she’s just unfortunate enough to move to the exact place that hitler targets next. but no, vi is the masculine one who has to be the fighter pilot (who looks like a guy initially) wearing male clothing because she’s so, so muscular, and cait is the feminine one who wears overly-described dresses and aprons with pretty hair, who cooks and cleans.

and the final nail in this coffin:

the fic is tagged as slow burn! this is insta-love. they both think the other one is hot immediately, ignore the fact that they’re in a war and could potentially be enemies (more on vi’s side than caitlyn’s), and immediately adopt a domestic-bliss scenario with virtually no tension in under 5 chapters. this is NOT slow burn, unless you’re talking about slowly burning my time away.

if you enjoyed this fic, i’m glad. if you didn’t, i’m glad. do not try to tell me it gets better, because the fundamental idea of the story is too flawed for me to believe it can improve in ways that matter to me as a writer and as someone who knows a modicum of world history.

so yeah, in short: overhyped and inaccurate.

[thefandomenchantress]

We’re all familiar with the Xander-Ace arm wrestling scene. A lot of people cite it as one of their favorite funny moments from the series. And yeah, it is pretty funny when you don’t think about it too much.

The joke is pretty much, “Haha, Ace is such a wimp! He’s totally freaking out about a minor injury like it’s a really big deal!”

I don’t know if it was just me, but I sort of had this internal notion that Ace must’ve mentioned that his hand really hurt or something, and the joke was that he was wimp because it was such a minor injury, and it probably didn’t hurt at all.

But, uh. He never says anything about his hand hurting. Here are the lines he says (not all of which are featured in a text box, since Teruko and Xander are talking over him):

“AAAAAHHHHHH MY HAANNNDDDD!!!!”

*falls on the ground, gets up, screams again*

“OH GOD! You’re gonna put me down like a horse with a broken leg!!!”

“I’d rather die than not be able to eat cereal with my hand!!!”

“I’M NEVER GONNA BE ABLE TO RACE AGAIN!!!!”

Listening to all of the voice lines again, it seems less like Ace is panicking because his hand is hurting, and more like he's panicking because of what may happen to him if his hand is indeed badly injured. So it's less so about the injury itself, and more about what may happen because of it.

He first, of course, panics over Xander being a threat. That's completely expected, since making Xander angry just broke a table and assumedly hurt him in some way or another.

The cereal line is a bit confusing, especially considering his secret. A while back I came up with an out-there theory that he said that in order to try and deflect any suspicion about his secret, since an eating disorder can weaken your bones and if he got hurt too easily, people might begin to suspect something. So he rather clumsily brought up the subject of how he did in fact eat food. If we consider the fact that he's lying here, then him saying he'd rather die than do something makes a lot more sense, since we know he doesn't mean that at all. But in hindsight I may have been overthinking it...Still, I can't think of a better explanation, other than dismissing it altogether as a throwaway joke that didn't have much thought put into it.

The last line is what really makes this interesting. Ace hates his talent and anything to do with it. And yet one of the things he's panicking about the most is how he may not be able to race after sustaining an injury. And I think that this moment probably gives us our earliest insight into just how far Ace will go in order to race. In his first FTE with Teruko, he claims he doesn't do much work at all for his talent, until his performance anxiety forces him to. By saying that, it makes it sound like his talent doesn't completely dominate his life.

But this scene, in the same exact episode of his FTE, quickly proves to the viewer just how desperate Ace is to continue his talent, to the point where his own well-being becomes less important than it. Ace's extreme reaction to being injured isn't because he's a wimp that can't deal with pain, it's because he's spiraling about what this could mean for his career and, therefore, his status as a failure. "What if this injury prevents me from racing?" is the question that comes first, causing him to panic instead of being able to focus on how bad the injury actually is.

...I guess the thing that made me want to write about this scene is just how...Smart it is. It does so much at once. On a first viewing, it's really funny, and it still is on other viewings. Yet in hindsight, it's easier to notice just how distressed Ace is, and that no one is taking that seriously. No one ever takes his fears seriously, and in the end his fears drove him to murder, proving how important they really were. Even if his worries seem silly from an outsider's perspective, they're very real to him. And that's something that no one in-universe could realize until it was too late. This scene does an amazing job summarizing just how the cast's attitude towards Ace helped push him to becoming a culprit.

...Or maybe I'm taking the silly arm-wrestling scene too seriously, haha.

[cryptids]

.

I was just looking through those recently posted tf:one storyboards (crying sobbing throwing up about the megop rn) But I just have to say I do kind of wish they had kept this dialogue in the final movie, bc I've seen SO many people misunderstanding what Orion was trying to say in the scene where he's trying to stop D-16/Megatron from killing Sentinel, and I think this version phrases it better??

Like.... I can't even tell you how many people I've seen say that Orion was trying to protect Sentinel/sacrificing his life for Sentinel's, and then go on to accuse him of being everything from a "liberal" to a fascist apologist lmfao (🤡)

When to me it was clear he hated Sentinel and didn't give a fuck about whether this man lived or died, his concern was with trying to prevent his best friend and person he loves most in the world from committing a murder and going down a path that would turn him into the same kind of dictator.

imo, Orion was trying to say that they'd already won and killing Sentinel in this manner (a public execution without a trial) would set a harmful precedent for a new society. Which is true, what they'd be creating if they took Megatron's approach would be a society where order was maintained through fear and subjugation, and without any kind of fair justice system.

Killing Sentinel didn't achieve anything that would actually help anyone, bc like I already mentioned, they'd already won by then. They liberated the oppressed population and took Sentinel's power away, he no longer posed any threat. Megatron’s only motivation was revenge and he was making decisions out of anger and grief rather than thinking about what was best for everyone. He took the decision of what to do with Sentinel away from the people by taking it into his own hands without letting them have an opinion.

(Before anyone comes at me, I know the desire for revenge is understandable and justified, which is why we're able to empathise with him so much. But that doesn't mean it's always the right choice in every circumstance, especially for someone stepping into a position of power)

I think the line that really got people mixed up was Orion saying "don't be like Sentinel", bc people are so used to the "killing the villain makes you as bad as the villain" sentiment in every movie ever that they automatically assumed this movie was saying the same thing. But when you stop to take the context into consideration it would make a lot more sense if he meant "don't be the same kind of leader as Sentinel", which IS what he meant, it's just worded badly.

And it's the truth too?? we all know Megatron will become a genocidal dictator who will carry out so much of the same kind of oppression he originally fought against, that's like his whole tragedy as a villain. There's so many little ways tf:one shows us this happening at the end (like him branding the decepticons the way he was branded for example).

But anyway......... as much as I wish media didnt have to spoonfeed audiences so much, I think if Orion's argument had been spelled out a bit more unambiguously like this it might have spared me having to see so many bad takes online lmao 😭

Now that I'm done rambling about all of that please look at this wattpad boyfriend chest touch moment

[variousqueerthings]

rewatched the due south pilot again with someone new. gradually pspspspspspssss at everyone i know about this show.

but yeah, two scenes really stick out to me this time about ray in terms of core features in how i come at him:

the second time they meet: their first meeting did not go well, he thought fraser had ruined his case, he was generally quite done with Stuff (and later on of course we will learn more about why he's so run down), there's this stranger demanding his time, and oh- oops he's just insulted his dead father accidentally and, huh, this oddity of a person is taking it pretty well to be honest... the second time they meet is entirely on ray. he seeks fraser out having done research on the case, but first he apologises to him very sincerely for having said those words. that is the first, big thing that ray offers fraser (the next, of course, is giving over his entire life and soul to him, but i don't think he realised that in that moment...)

after he gets blown up and is lying in hospital: he apologises again, this time for screwing things up. we know by now that he had a bad relationship with his own five-years-dead father who never thought he was good enough, that he's struggling under his caseload at work, we've got a sense he isn't super respected there either, and although we've met his family which is actually very loving (if loud and argumentative) he's giving a sense of being pretty lost in the world at that point and nothing that happened before was his fault. he's been helping fraser, against his superior's wishes, done some good sleuthing/detective work, and saved fraser by putting himself in front of the explosion. and then he apologises

I feel like a lot of the time ray's thought about in terms of his abrasiveness with people generally, his shield against the world he's quick to assume the worst of people and doesn't let others in, but fraser neatly bypasses those walls. on purpose? by accident? bit of both? i think he does sincerely See more to ray in their first scene, the "like you, he is pretending to be someone he's not" line feels like it's talking about more than just ray having been undercover in the previous scene, and because he's fraser he never belittles or mocks or gets aggressive about ray's behaviours throughout their first meeting, which probably also draws him in on top of the need to Make Things Right

i think beneath some of the goofier stuff (which, honestly, i dont think theres thaaat much of, but id have to do a proper count and parallel how many times he's there as "comic relief" vs when fraser is, and also times where ray is shown to be extremely competent which is often -- maybe i'd wish for more dramatic episodes for him but that's more to do with how good marciano's acting is than a real disservice done to ray himself) and the more petulant/childish manifestations of insecurities (it's hard being friends with a Saint, as he puts it very fairly in my opinion, although i also think that line partially relates to some other stuff he'd said about Fraser Please Taking Better Care Of Himself throughout the whole season) there's this ray, and that core is quite obvious pretty much from the get-go

a ray who meets sincerity with sincerity and takes fraser in with honestly barely any prompting at all on fraser's part. a man who maybe was desperate for something/one to believe in, who isn't super macho about admitting fault, and then -- in the hospital scene -- a man who's so used to thinking of himself as a screw-up to the point that he'll apologise for getting blown up to save fraser

there's a lot ray gives fraser. for one thing, fraser would be dead multiple times over without him. but ray Needed him to appear in his life in order to get through the damn day. he saw some storybook larger-than-life weirdo and grabbed hold of him immediately and then realised that the rest of the world seemed to want to eat said weirdo alive and pretty much said over my dead body and he's done pretty well living up to that

did, though, very much appreciated fraser finally properly telling him in red white or blue how much he means to him and how valued he is, because ray doesn't always see it. (funnily enough, they had another bomb threatening to detonate at the time. almost a full circle)

two scenes in which ray says sorry, one in which he was right to do so and one in which he was wrong. there's more to it, but that's the... Thing im thinking about

[zuko-always-lies]

Do you think that the betrayal at the Boiling Rock was done to give a reason for Azula's eventual breakdown in the finale? The more I think about it, the more Mai's anger towards Azula doesn't make sense to me. I know that people say that it's because Azula left Zuko to die, but if that's the case, she should have been angry with Ty Lee as well, since she also tried to stop them from leaving the prison. Also....they were chasing after Zuko and Iroh for the entirety of book 2, even though they kept on running into the Gaang and never actually came across Zuko and Iroh, and that was just Azula. Mai had zero issues with Azula's mission in the second season, and she already loved Zuko by that point. It feels like the writers just forgot about that.

So the thing to understand that in (well-told) narrative, everything happens for a reason. Everything serves a very deliberate narrative purpose. But perhaps we should take a moment to reflect on the differences between Book 2 and Book 3 characterizations before we go back to the Boiling Rock:

Book 2 Azula has some distinctive edges to her which shows the original ideas the writers had. She was consistently depicted as quite hostile to Zuko (this wasn't changed until the writing of the last episode of the series, when the writers realized that they needed Zuko to go home). She was depicted as using fear to control soldiers in a military context, including Ty Lee, but never as using fear to force or substitute for personal relationships. Azula was depicted as mean and cruel(and I believe she was originally supposed to be crueler and more merciless than she ended up being, but it ended up being scrapped as too dark). However, she was also, aside from maybe one scene, was depicted as stable and mentally put together well. Finally, Azula was never depicted as sympathetic in Book 2, and we can't be certain of what the original intentions in this respect were.

Book 2 Mai also has a couple interesting characteristics. First, she was consistently written as not being afraid of Azula. Second, the seed that she had a crush on Zuko was clearly planted. However, since Zuko was never supposed to "go home" in the original outline, it's not clear how this might have flowered, and it's possible the writers didn't know either.

Now let's move on to Book 3. We should note that Book 3 came out in two parts, but I'm not quite sure how much that reflects what the production looked like. It might be that everything was mostly decided before they started writing, but based on the shift between the first and second halves of Book 3, there might have actually that they mostly wrote Book 3.0 before they figured out what they were doing for Book 3.5

Anyways, Book 3.0 (and really we can kind of include the Crossroads of Destiny here) had two shifts in the depiction of Azula's character. First, she was now consistently depicted as caring a lot about Zuko. The first episode of Book 3.0 was kind of ambiguous here in a way that suggests the writers were tentative about this, but every following episode clearly showed Azula being kind to Zuko in one way or another. Second, The Beach introduced the idea of Azula as sympathetic character, including her trouble with her mother. Note that there are two ideas that Book 3.0 does not introduce or use: the idea of Azula being mentally ill/crazy (at her worst, Book 3.0 Azula is only a bit over the top), and the idea of Azula controlling her friends through fear. In fact, The Beach "normalizes" Azula's relationships with her friends a lot.

Meanwhile, Book 3.0's depiction of Mai centers around the seed about her relationship with Zuko flowering. 3.0 always continues the trend of depicting her as unafraid of Azula and generally not giving a shit what Azula thinks.

Book 3.5 is where the final shift in the depiction of Azula occurs. There are two new ideas introduced here. First, there's the idea of Azula using fear and terror to force people to have relationships with her due to Azula's own fear of loneliness. Let me point out that this idea conflicts strongly with her past depictions, where Azula only used fear as part of her methodology of ruling. Mai being "afraid" of Azula is also suggested, for the first time at this point, despite all previous depictions of Mai emphasizing that Mai was not afraid of Azula (while Ty Lee was). Second, the idea of Azula being mentally ill and "crazy" is introduced late. Previous depictions of her showed her being mean and cruel, but not her being "crazy."

Now, at long last, we can return to your question. Again, we must remember that everything which happens in a story happens for a reason. The Boiling Rock episodes served one primary purpose: depicting Zuko and Sokka bonding and getting to know each other. This is why these episodes were written. Hypothetically, reintroducing Hakoda and Suki could be another purpose for them, but Hakoda was instantly written out again and the writers made it clear that they had zero real ideas for Suki in subsequent episodes and essentially just had her character hang around in the background 95% of the time.

However, if the purpose is to show Zuko and Sokka bonding, why do Azula, Mai, and Ty Lee appear? Why does Azula show up and fight Zuko, and why does Mai save Zuko? None of this was necessary for the Zuko and Sokka bonding experience. I suppose having Azula and Zuko fight furthers their rivalry, but literally in the very first scene of the next episode (The Southern Raiders) there is a fight scene between them which serves to further this purpose far more effectively. The writers also could have written Mai's sacrifice as having a big effect on Zuko, but we all know they avoided that too.

The reason that Azula, Mai, and Ty Lee appear has to be almost solely for reasons related to the arc of those characters. The writers wanted Azula to have a big breakdown and go "crazy," but they hadn't built up toward that idea at all in the previous two seasons. They needed to speedrun toward it now, and having Mai and Ty Lee betray Azula offered a convenient start toward Azula's downfall and mental health collapse. Moreover, it also allowed them to depict Mai and Ty Lee as "redeemed" and "on the right side now," while having them stick by Azula until the end would make depicting this problematic. Zuko being Mai's love interest and Ty Lee always being depicted sympathetically probably contributed to urge to redeem these characters, but it's also important to remember that the writers took pains to make sure that child characters were "happy" and/or "redeemed," even if they died tragically, during the series. The only real exceptions to this were Hahn (NWT warrior who was Yue's betrothed) and...Azula. One of the reasons why Azula's ending strikes so many people as odd and at odds with the themes and tone of the series is that almost every other child got some sort of "happy" or at least honorable ending, while Azula was not only humiliated and utterly broken but also denied the slightest hope of happiness.

[highbabyofthenightcourt]

To say that Azriel only feels lust for Elain, because of the bonus chapter, is irrational. From the moment Azriel met Elain, their relationship has been building a solid foundation. Their conversations had substance. She asked about his wings even though it was not relevant at all. He showed her such a gentle side of himself in an attempt to make her feel calm around him, even speaking poetically “we are born hearing the song of the wind.”

When Elain was taken to the cauldron as a human, Azriel was unconscious because of hybern’s arrow. He did not see what was happening and part of me believes that it is because it would be too much of a spoiler for their story, similar to the way Cassian’s reaction for Nesta was a give away of them ending up together.

After the sisters were made, once Feyre decides to take them to the town house, we have the scene between Elain and Azriel where he asks her if she wants to see the garden. Noting that he knew and remembered that she liked flowers. And Elain, does not balk from him, takes his arm and marvels at his scarred hands. She is not afraid of him. Not at all. She accepts his touch and finds beauty in him, even in her broken state.

Once she starts behaving abnormally with her new abilities, everyone assumes she is unwell. Even her mate. The only person who realizes she is a seer is Azriel. Which is interesting timing considering Madja’s words of mates knowing what is amiss with one another.

In the meantime there’s a lot of moments where we can see that Elain and Azriel enjoy spending time together. He lays in the garden reading work reports while she gardens. Feyre mentions that Elain clings to him for comfort in social settings. Even Nesta does not protest to their proximity. It’s logical to assume there are reasons for this.

When the cauldron lures Elain away, the only person who realizes that she is missing is Azriel. He is adamant that he will get her back. This is reminiscent of Rhysand’s attempt to kill Amarantha, and Cassian’s crawling to Nesta when she was to be thrown in the cauldron. He does not care if he will die. This could be taken as him just doing his job, but once they are back to safety and he is horribly injured, he still does not put Elain down from his arms. She has to be taken from him.

Fast forwarding, we see that Azriel has become very jealous of her mate being near Elain. We see that Azriel has spent his time trying to find her a necklace perfect for her. For a year, he has fallen asleep looking at the gift she had gotten him. Once Rhysand interrupted them and she returned his present, he had to be rid of it because he couldn’t bare to have it as a reminder of the pain of that night. He questioned the deity that decided he couldn’t be with her.

To say that all of this is dismissed by the fact that he is also physically attracted to her is ridiculous. To argue that this is true because he hadn’t “planned what to do afterwards” is nonsense. Attraction is actually enlarged by feelings of love. And he didn’t “plan” what he was going to do about it because 1. He had given her the space to be with another 2. He felt that he wasn’t good enough for her 3. Because he didn’t know if she felt the same 4. Because there is a God-like power who is against it. But all of this became irrelevant once he had her before him, once she knew she wanted him, too, once he knew she was aroused by a simple act of his.

And also, i would like to point out that Azriel never tried to initiate contact with Elain. Ever. And he probably never would. He said there was never unrestricted contact between them. She was the one to want his hands on her. She was the one to whisper “yes” to him. Because she wants him, too. She wants him innocently and sexually and romantically, and as does he. Nothing anyone says will discredit all the beautiful build up behind Elriel 💞💞🌸🌸🦇🦇🫶🏼🫶🏼

[tookishcombeferre]

So, thematically, I totally understand why this scene had to happen. The writer in me is like … yes … I see where we’re going. We have to have the act of true heroic sacrifice that is a completely selfless act with nothing to gain in order for Roland to understand that there is no longer a manipulative bone left in this man’s body.

However, the human in me, that is not the purely analytical writer, HATES this scene. And, I think we’re kind of meant to?

Like, we’re *meant* to be rooting for Cedric in this episode. We’ve spent the whole show seeing him as either completely the antagonist or sort of the anti-hero/anti-villain (a toddler/kids TV version of Loki so to speak.)

But, NOW? We’re supposed to root for him. We’re supposed to be on his side. And, since the show is meant for smalls, the stakes have to be *devastating.* They have to feel it.

And, if the smalls feel it, adults/ teens/ even older kid siblings (who likely have experienced that kind of abandonment for real and not just in fiction) REALLY feel it. Like, hard pressed to find anyone over like 13, maybe even over 10, who hasn’t felt completely rejected and abandoned at some point or other.

So, that scene just feels outright devastating to anyone 13+ because it hits into the “I have lived and experienced that feeling and I hated every minute of it.”

That said, I think there were a lot of feelings going through Cedric’s head when he chose to take the shot meant for Sofia.

1) I’m closer. I’m an adult. She is a child. I still care about her even if she thinks I stole the crown for this woman I don’t know. Also, who is this person and how does Sofia know her? What is going on in this Kingdom?

2) My saftey doesn’t matter to anyone anyway. So, it’s silly to justify this.

3) No matter what I do it probably won’t change anything.

I think the biggest shock was when they actually cared that he was alive after climbing out of the ravine. I don’t think he expected what he did to matter.

On the flip side of that, I think *his* apathy, and comments about being sent back to the dungeon after crawling out of the ravine, probably shook both Sofia and Roland up a little.

Like, they’re looking at this and are like “Dude, you just saved her/my life, what are you talking about? You’re joking right? You’re such a kidder. Haha …”

And, there was probably this beat where they look at each other, and are like “Oh, wait, he’s serious. He really doesn’t think what he did matters.”

Because, Cedric has been to the dungeon. He’s been in that prison. He knows what that means. He’s saved them before and then still been placed in metaphorical exile. He sees this situation as the same as the one before except worse. Sofia and Roland now see who actually stole the crown. They understand. But, Cedric? Cedric’s still caught up in trying to figure out how this was different from the way they saw him after Day of the Sorcerers. He’s likely confused and reeling. (Not to mention probably injured and in physical pain.)

So, like, the burden of building/rebuilding trust is now on Roland/ the Royal Family. They hurt him. They hurt him before too. And, they keep doing it. Cedric has been nothing but trying to prove himself since the take over despite rejection. This? This was the ultimate rejection. The burden of showing love and building trust is on them now.

So, I think, there’s a moment for everyone to think about the importance of our actions. The importance of giving people the benefit of the doubt once they’ve proven themselves. Especially if we’ve promised to do so. We need to consider the importance of thinking about our words before we say them. Like, that’s kind of the message for the youngsters. But, we all need to think about it.

Can you guys imagine how beyond alone and devastated Cedric felt in 'In Cedric We Trust' after Roland and Sofia saw him holding the stolen crown he'd managed to get back from the backstabbing Wormwood just before they caught up, when they both thought that was proof he really was the mastermind behind the theft? And then Roland told him it was to the dungeon with him?

He seemingly lost his very last chance to gain back his old friend’s trust, right after suddenly losing the one who he’d thought had also been his friend for so long.

It surely left him feeling purely numb, hollow, carved open with a rusty knife and his heart ripped out. Like his life was really over this time, absolutely nothing in the world left for him... even more than when he’d betrayed Sofia and was cast into the dungeon in 'Day of the Sorcerers' (at least he’d still had Wormwood then).

Especially because Sofia- his only friend left, who'd resolutely supported and believed in him from the very beginning- thought she was wrong about him. He must have thought he lost her too.

And then Roland took away his family wand too.

@sweetmariihs2 @majoresca @cedric-my-beloved @mushroomsie224 @moonypears-blog

@tookishcombeferre

[raddestrose]

Did he just slip up?

[astralhope]

- Ehi you, are you alright? -

- Let's win. -

- Uh!? -

- Leviathan Dragon, attack that face down defense position monster! -

- Like I said, this is so suppose to be my duel! -

Yuma and Astral in episode 6

[my-thoughts-and-junk]

i can't tell if i'm just not paying attention or if mouthwashing just doesn't make any sense