#i also haven’t watched this show in a while but I’ve been struck with the urge to rewatch

[pockycatz]

just a girl and her pig 🐖

[velvetesrs]

Duty and Sacrifice | Hotd

Pairing | Aemond x Reader/Y/N

Warnings | Mentions of incest between siblings. 

Word count | 3032

Authors note | I haven’t written in a while and it shows but I’ve been working on this while I was in the bathroom and this might be a one shot or a short series leading into the murder of Lucerys.

・・・・・・・・・・・・・・・・・・・・・・

Aemond would never admit it to you directly but he was fond of the way your hair was reminiscent of your mother.

The glossy red, like a promise of an unforgettable autumn, the smell of lilac blooms and gooseberry wine, trailed behind you as you came to sit next to your mother. you didn't look like the traditional Targaryen.

Despite Helaena being your twin you looked almost nothing like her, where as she was thin, gentle blue eyes and icy white hair. You were fire, bright red hair, full breast, your dark violet eyes being all that made the common folk shy away from naming you a bastard.

You had grown into your womanly figure early, your large bust that was extenuated by your tight stomach from years of training made all noble twats talk of you senselessly which made him ill at the thought of it.

Somehow you looked like the perfect mix of your eldest sister Rhaenyra and Your Queen mother, Alicent.

He loved playing with your curls, thoughts of how they'd look wrapped around his hand as he made you cum ferociously on his cock ran rapidly through his mind.

But there was an innocent light to it as well, Aemond loved his mother, and you mirrored her perfectly. no matter how unkind and stiff she was to you all. You were the opposite, you may have stolen her likeness in appearance but you were kind, gentle and loving, all the things she wasn't.

Having a motherly role to your idiotic drunk of a brother and your sweet twin sister.

Aemond also enjoyed having someone look after him, without the same judgement and expectations the Queen had for him.

He loved the way your hands felt on his face, while you sobbed cleaning his blood away, the fire in your eyes as you stood to defend him, covered in his blood.

Aemond never could grasp how you could love them all so much, even Rhaenyra and her bastard children, you'd stand before anyone and swear on the Gods that they were legitimate just because you knew what being Queen meant to her.

"Come Aemond, I must clean your bandages" you whispered amongst the crowd not to draw attention to his injury. It had been many moons since it happened but unfortunately being struck in the face during training cause the gash to bleed once more.

He stood unaffected by your words. still shy to show it in fear you may think him a monster like the other ladies of the court.

"They will be even more frightened by you if you are to bleed out in front of them, Brother" your soft scent floated through the air like a fragrant flower as your hand brushed against his, "Come" you urged noticing everyone's attention on the king as his health steadily declined.

It seemed the whole court was on edge that day, all attention on them as if Viserys was to die in moments and they'd kill each other reaching for his crown.

The stress was beginning to eat you alive, and the last thing you needed was Aemond to be in more agony knowing how badly it hurt your heart to him in pain.

You walked along side of him after excusing yourself from the commotion, not daring to grab your elder brother's hand until you were away from the crowd.

"Are you alright, my love?" Aemond hummed watching you audibly sigh gripping his hand tightly. "It is just the weigh of what is sure to happen soon" you mumbled.

You loved Viserys very much, he had never paid much attention to you in comparison to Rhaenyra. However you'd helped him build his mini statues of king's landing as a child and that moment cemented a love for your father that even his lack of care for you didn't sully.

"He will die soon" you stated walking into Aemond's chambers, his scent was more pungent now in his room.

He smelt like trees after it rained, clean and crisp with a hint of the strong Pine trees that sat outside of the sept he was frequenting lately. It was comforting and relaxing to be so fully immersed in what seemed like the essence of your big brother.

Your hands made quick work unlatching his eye patch as you settled in front of him, "does it truly trouble you this much sister? The thought of him dying?" Aemond questioned darting his good eye away from your face. He couldn't bare the idea that you'd look at him with disgust even though you were often the only one he'd allow change his bandages.

You quickly wiped away the blood leaking from his wound, applying a salve you made to keep away the infection, "your sapphire is irritating it again" you said softly ignoring his question, your plump lips almost touching his nose as you got closer to see it.

He pushed you away gently, pulling his eye patch back on with a hiss, "it is fine as it is, if Aegon had been mindful of his sword this wouldn't of happened"

You sighed watching him put away your things you kept in his chambers for times like this, "it 'twas an accident" you mumbled looking down.

"You baby him far too much" he groaned in almost annoyance before he caught the look in your eyes, "he isn't as innocent as you believe Sister"

You had been angry at Aegon for harming your brother but when he gave you the puppy dog eyes you couldn't help but defend him.

Still you felt bad that you had forgiven Aegon so quickly thinking that Aemond would be mad at you, but you couldn't bring yourself to be unkind to him.

"It is fine Y/n it will heal just as long as I have you to care for me" Aemond said walking up to you, he pulled you into a hug, letting your scent mix with his in a deliciously sensual way.

You blushed pulling away from him, "Always brother" you cleared your throat, "we must go back"

He nodded disliking how quickly you put distance between the two of you, he gripped your hand, "let us return then"

・・・・・・・・・・・・・・・・・・・・・・

Aemond knew something was wrong with you, you didn't seem ill nor did your smile fade from your beautiful face but still something was off, he noticed at first at dinner, when you excused yourself early. Something you rarely did if not on your moons blood which he had written down so he could help you track so he knew for a fact it wasn't that.

If he hadn't been watching you so closely he wouldn't have noticed you putting your food into napkins underneath your Gown pocket as if saving it away for some reason.

The most unusual part of your sudden illness at dinner was you rushed to your chambers with your handmaiden. You liked to prepare for bed alone.

He knew it was wrong to follow you but when he knocked on your chamber door it creeped open slightly as if not to show too much.

You face was flushed as you glanced up at him, "Yes, Brother?" You questioned with a soft smile pretending to droop your eyes to mimic exhaustion.

Your hair was wet, a sprig of lavender behind your ear, something else unusual, "Nothing, just making sure you are well" he replied narrowing his eye in suspicion.

You nodded, "Very well, I'm off to bed Sweet dreams" you rushed to say as you shut the door in his face.

He stood there shocked for a moment before turning away, you were up to something and even though he knew it was wrong to doubt you he couldn't help it.

Your footsteps were nearly silent as you snuck from your chamber, a hood resting over your head and a dark shift covering your commoners clothes.

Aemond stood just far enough in the shadows to follow you as you went to flea bottom.

He watched as your Princess like presence turned into one much like the other people in walking at night. You had been here before he noted, you knew exactly how to cover your tracks and how to hide your true identity.

If he was any other it would've been easy to lose you amid the crowds of people covered by the moonlight but your glossy hair peaking through the hood was a dead giveaway.

You stopped at a door, knocking twice. He watched as a woman emerged wrapping you tightly in an embrace, she smiled at you with tears in her eyes and her hands shook as you gave her a bag he hadn't noticed you had.

"This will be enough to live comfortably in Pentos" you said quietly, brushing a hand through the woman's tangled dark hair, "you will have your own home and never want for anything"

The woman let out a sob, covering her mouth, "Thank you My Princess, I-i am forever in your debt I cannot repay you" she pulled you into another hug.

You didn't seem disgusted by the obvious dirt on the woman's clothing, nor the stench of the streets.

"I have one request" you said with a grin "may I see him once more please" Aemond watched as she nodded hurriedly rushing back into her shack.

Much to his surprise, in her arms was a baby. it's hair white as his own, small fat fingers reaching up to touch your face and you held it with such care as she passed it into your arms it made his heartbeat rapidly.

"Tell him that his Father was a brave knight that died at battle, he was a good man but he couldn't stay to care for the two of you" you told the woman glancing down at the baby with love in your eyes, "and that his Aunt loved him so much that she could hardly bare it"

You had tears in your eyes as you handed the woman back her child, "there will be a man here shortly named Erick to safely bring the two of you to a boat, after that it shall be smooth sailing" you pulled something else from your bag on your hip.

"Enough food for tonight but I made sure the boat is ready for you with accommodations" you nodded stepping away, "I hope you have a good life Ellesa, you're a good woman"

She smiled at you watching as you kissed the boy on his head, "Farewell My Queen" she whispered. You laughed pushing her arm playfully, "Farewell my friend"

As she walked back into the small hut that he assumed was her home. You turned around and caught his eye, "Brother" you said slowly approaching him.

"It is Aegon's" he stated obviously referring to the child. You nodded, falling into step with him, "Yes"

You held your hand out awaiting his as you always did when you walked alongside him, "Not the first she had by him either, the others died due to illness she couldn't afford to heal" you had no reason to keep the truth from him and knowing you could always trust him you didn't wish to.

"She was his favorite whore, he introduced us once and I took a liking to her as well just not in the same manner" you murmured pausing your steps as Aemond stopped to stare at you, "he took you back to the Street of Silk?" he all but growled in anger at their older sibling.

You laughed, rubbing a finger on his furrowed brow, "No, he'd brought her to me" he sighed calming down a bit, "you've bedded her?" He asked in quiet surprise.

"No" you shook your head, "she was simply a friend i had grown close to, but if mother were to find out about her she'd have her killed, the babe as well" 

"mother wouldn't do that" Aemond disagreed, as cruel as she could be he couldn't imagine her doing such a thing. "she'd never harm an innocent woman and her child"

You snorted as the two of you continued your walk back to the red keep, "you'd be surprised what our mother would do to protect our family's name"

・・・・・・・・・・・・・・・・・・・・・・

You had a difficult relationship with your mother, you loved her like no other but you saw the looks she gave you, the tone she used when she addressed you.

Your mother didn't like you very much, she loved you, of course as she did all of her children. But she couldn't bring herself to like them not when her life had to end to bring all of yours to fruition.

The Queen didn't blame you but she could never shake the feeling as she looked at your face so similar to hers in her youth.. so similar to Rhaenyra's.

You heard her before you saw her as you turned the corner in search of Aegon, "You are no son of mine" the words so harsh it made your heart sear with sadness.

"I am sorry" Aegon whispered out, "I am sorry I am not perfect like you" there was a stillness in the air before the sound of a slap.

You quickly walked into the room to see Aegon on the ground, his cheek bright red, tears in his eyes and your Queen mother standing above him.

"Mother" you called for her hesitantly, "I believe Grandfather was looking for you, The septa mentioned it to me" you mumbled as she turned to you.

Her eyes closed and she shook her head, "very well" she cleared her throat looking down at Aegon once more, "Excuse me Sweetling" she said as she walked past you.

You rushed to Aegon's side helping him sit up but he stumbled falling onto your lap, the stench ale heavy on his tongue, "Why" he whispered laying his head down on your lap, "why does she hate me" he asked you.

Sighing you brushed the hair from his face, "Mother is troubled much like us Aegon, Do not doubt her love"

He laughed drunkenly, "She is cruel, just like father they hate us" you felt your heart drop not knowing what to say, you couldn't argue you felt the same as he did.

"Why couldn’t she marry us" he mumbled suddenly into your gown, "I told her it was you I preferred, did you know?" He questioned and your heart sank.

You didn't want to marry Aegon, not because it disgusted you, but because you knew the type of man he was, A wanton man with selfish needs and he could never put aside his childlike behavior not even for your twin, His wife.

“No I did not brother” you whispered, your hand brushing the curls back, “she knew it would hurt me if you weren’t mine” he bitterly slurred out.

Silently you thanked your mother for not approving the proposal, You’d always be there for Aegon but you could never stomach his ways.

"She hates you the most" he lazily laughed looked up at you, "you look so much like her she can't bare the sight of your face"

You already knew that. Rhaenyra was actually the one who’d explained it to you in your youth, she’d found you crying underneath a table after tea with your mother, she had insulted your embroidery you’d made for your father and Rhaenyra wiped away your tears.

You were never enough to Alicent, you indulged your self in your studies, you sought out religion just to gain praise that never came, you were the prettiest girl in court yet she always had criticisms about your appearance or your poise.

You watched as his glassy eyes closed and he fell asleep but you continued running your hand through his greasy hair, his words heavy on your mind.

"What did he do now" you heard Aemond say as he leaned against the wall near you, "mother seemed upset"

You were quiet, "she hit him again, told him he wasn't her son" you murmured.

The soft snores filled the gap in the absence of conversation, "how can you love him" Aemond broke the silence watching you closely. "He is terrible, you've seen it firsthand cleaning away his messes, he doesn't deserve it"

You paused your movements, "because if i do not who will? Hel cannot comprehend most emotions, Father hates us, you cannot stand him.” You swallowed taking a shaky breath, “He is right, Mother hates me as well but i am strong unlike him, Aegon is weak he cannot handle the pressure placed on his head.

Aemond came to sit next to you, "she intends to send me away" you stated looking up at him, "to the grand sept the learn the ways of septas"

He nodded watching your face closely, "how do you know this?" You giggled shaking your head, "you learn quite a bit with kindness Brother"

"You do not wish for that?" He asked grabbing your smaller hand, it always fit with his like the missing piece to a puzzle as if you were made for him. He swallowed at the thought of you moving far away from him where he couldn't protect you.

You sighed, "To live a life under false religion just to please the woman that wishes i didn't exist does not sound too appealing to me"

"I am a Targaryen i belong here with my family" you stated in Valyrian, "I am not a Hightower no matter how much I resemble them they will not force my dragon to rot in the Pits because I cannot bring him with me"

"You asked me before if I was truly upset by the idea of father dying but to be honest I am not, I'm more afraid of what mother will do after he's gone" you whispered.

Aemond gripped your hand tighter as the mother tongue came from your soft lips, the beautiful words sounding like a song.

"What if I propose an idea to mother" he hesitated to ask in fear of what you would think. You hummed in confusion, "What is it?"

Aemond looked down at his brother laying his head in the lap he had decided was his, "I shall Marry you"

[bibliophilesince2003]

Transformers One In-Depth Review

Transformers One is a must watch.

I’m tired of seeing a bad review go towards a movie that is actually extremely well done, especially if the reviewer hadn’t taken the time to watch it or considered the trailers enough content to draw a review from.

Seriously, it was so refreshing to see a new take on a franchise that has been around for years. In my personal opinion, it’s better than re-makes that offer even less room for creativity.

I am a huge Transformers fan. I grew up with Transformers Prime, and when I was older, I watched the movies. I’ve watched other shows here and there, and while I may not be a complete expert, I know the lore well enough to have been heavily, emotionally impacted by Transformers One.

I’ll start with the "non-spoiler take" followed by the "spoiler take” which will be “hidden” for those who do not want to be spoiled.

"Non-spoiler" take...

Peter Cullen’s voice is legendary. Chris Hemsworth himself acknowledged this in an interview, mentioning that the goal was to “re-create” and “do something new.” He intended to represent a “youthful, brash, and cocky version” of Orion Pax before he was known as Optimus Prime. This is a realistic representation. In Transformers Prime, Ratchet states that Optimus Prime was more like Jack in his youth. For those of you who don’t know, Jack is a strong-willed, selfless, but slightly impulsive teenager, as all teenagers should be. It is clear that Hemsworth has evaluated “hints” that other movies and shows have provided. Hemsworth wanted to “lean into” a more serious voice towards the end of Transformers One. He insisted “he wouldn’t dare mimic Peter Cullen.” I highly respect his choices, and he does not deserve the amount of hate thrown at him. Now, Orion Pax also comes across as a humble, soft-spoken character in other movies and shows. However, I can see why they would lean into his impulsiveness to better highlight and contrast the relationship between Orion Pax and D-16, especially as D-16’s true colors show. More about that in the “spoiler” section, though!

No, it would not have made sense for Orion Pax to have a deep, majestic voice. That comes with experience; that comes with hard decisions. Quite honestly, Hemsworth is pretty close to what I had imagined Orion Pax to sound like. It’s still slightly deep, and very soothing.

The character development in this movie? Oh. My. Word. Guys, as a writer, I can say that subtle character development – the best kind – is not easy to do. In Transformers One, it flowed naturally. It made me smile. It broke my heart. If you’ve seen other Transformers movies and shows, brace yourself. If you haven’t, still brace yourself. Again, more about that in the “spoiler” section.

The humor in the trailers has been re-posted so heavily I think it’s beginning to lose its effect and people, not knowing the context, are quick to judge. Yes, Bee is funny. It’s Bee. He’s supposed to be lovable, humorous, loyal, and powerful. I found no issue with most of the humor coming from him. There is more humor that is not mentioned in the trailers that is really worth chuckling over.

Finally, the fight scenes were clean, the animation was captivating, and the incredible Brian Tyler produced musical masterpieces for most every scene, some of it connecting to other movies and shows.

"Spoiler" take, now!

I expected to dislike Elita. Really, I did. I knew she was the “love interest” for Optimus Prime beforehand and expected big things from her, because Optimus Prime never struck me as having a “love interest” in the past. Not only that, but I expected her to be the female character I seem to find everywhere these days who strives to be better than everyone else without a lick of experience, complaining about the male figures in her life.

Elita, however, is ambitious. She leads. She doesn’t have to prove anything; she’s simply willing to work hard and do her job. Understandably, she gets upset with Orion Pax and the others when they interrupt her progress, though I can’t help but be amused by Orion Pax’s shy attempt to get her attention and adored his subtle acts of kindness. Sure, she’s a tad bit aggressive – she did punch Orion Pax, after all – but I really enjoyed seeing her adapt. When Orion Pax was feeling hopeless, she was there to encourage him. If she had stopped talking immediately after saying “I’m better” I would have been frustrated. Orion Pax and D-16 are the main characters in Transformers One, after all. She didn’t stop there, though. She highlighted the most important aspects of Orion Pax; his good heart, selflessness, and bravery. She told Shockwave and the others to shut up and listen to Orion Pax when they doubted his plan. She encouraged him to speak louder when others couldn’t hear him. She leaned towards the pit when Orion Pax fell.

Not only that, but Orion Pax was incredibly patient with her. He woke her up when she was unconscious and immediately took a punch to the face like a champ. He gently, subtlety smiled at her when they traveled to the surface and Elita announced "it's beautiful." He cried out her name and pushed her out of the way to save her during a battle. He listened to her. He told her to beat Arachnid “gently” when Elita managed to detain her, proving he fully understood Elita’s personality.

I’m sorry, but this kind of relationship takes the cake. If they’re meant to be a couple, I can see the signs. I love how well they work together and build each other up.

Bee is an icon. One of my favorite scenes is him eagerly saying to Orion Pax “I’m going to go cut these guys up, watch! C’MERE!” It’s like a proud kid trying to get their parent to watch. I love how loyal he is to Orion Pax right off the bat.

While they changed some lore in Transformers One, they included everything that was important. Orion Pax and D-16 are miners, but it seems Orion Pax may have been a clerk beforehand. When he broke into the archives, he seemed to know where he was going. When he ran, I can’t remember exactly, but I believe he was muttering numbers? I don’t mind the small twists and can see how they were necessary for the story; key details are kept.

Jazz and Ratchet mention! I was so excited to hear their names. Kind of wish they had shown Ratchet, maybe shouting “I needed that!” to a fumbling worker. Sorry, Transformers Prime reference.

Arachnid had an incredible design.

Sentinel is a well-written, hate-worthy villain. I… did not expect D-16 to rip him in half, though.

Also… can I just mention how epic that particular scene was? The switch from D-16 reaching his peak character development – showing no mercy – while Orion Pax reached his – making the ultimate sacrifice to preserve life and do things the right way; receiving the Matrix of Leadership. The music, the animation, the slow-motion… everything was incredibly cinematic.

Obviously, D-16 took things too far. I appreciated the fact that he didn’t just wake up one day and decide to be evil. It took time. It took motivation. Obviously, any sane person would stand with Optimus Prime, though he does make mistakes from time to time, but it was incredibly neat to actually appreciate D-16’s insight in the beginning, then notice the shift and feel every bit of emotion Orion Pax felt.

People say the ending is rushed, or that D-16’s change came too abruptly without any good motivation. Sure, the ending may be a little rushed, but movies are typically structured this way. Falling action does not have a set speed; it just needs to be well done. Bad things happen in a rush, and this leaves ample opportunity for the “good guys” to react a little too slowly. As for D-16’s motivation… even a person can take their worship of an item or figure too far. Megatronus was someone to look up to in D-16’s eyes. He agreed to Orion Pax’s plans, or at least tolerated them, but his admiration for Megatronus was his own interest. Orion Pax threatened that vision. D-16 wanted to kill Sentinel to satisfy his own needs and desires, not to liberate others. Sentinel deserved death after committing murder, yes. He didn’t, however, deserve a public execution, especially as he tried to get away and was relatively defenseless. Remember, Sentinel told D-16 and Bee that he would execute them in front of everyone. We can acknowledge his promise as brutal, so shouldn't D-16's actions be considered brutal, too? No "reason" could ever justify it.

When D-16 let Orion Pax drop, he proved he no longer cared about loyalty. The least he could do was hoist Orion Pax’s body up or break down after losing what he once called his best friend, but he didn’t.

It’s ironic… D-16 said “I’m done saving you” when in reality, Orion Pax was trying to save D-16 from doing something he knew D-16 should have regretted doing. Normally, yes, D-16 is the voice of reason, but not in this case. For once, this is where Orion Pax’s true personality shines through. His spark – the spark of a Prime – is in the right place. Orion Pax puts joking aside when serious matters arise. It seems D-16 didn’t really know his friend after all. The actions D-16 committed, my friends, are not actions you want to celebrate.

I really, really hope Transformers One gains more attention. We need the sequel! Transformers fans, tell your friends. Give an honest review, which are of more value than the reviews given by those who didn’t take the time to watch it. Hype it up and roll out!

[fallenaphelion]

Greetings Demon Slayer fandom! I will preface this by saying I’ve never watched the show or read the manga, but I’m obsessed with the characters and thus my brain has produced Ideas™️!

And thus, I give you an unholy combination of Demon Slayer and specifically the universe of Kimetsu Gakuen! I’ve been given the thumbs up by people who have watched the anime, so I think I’m doing good! Maybe. Possibly. There’s a chance.

Anyway-

Class 1-A and Aizawa and All Might (And Present Mic for reasons) take a field trip to Shiri Island to visit Kimetsu Academy for a bit, because Headmaster Ubuyashiki and Principal Nezu have struck a deal. There, they meet Class 1-1, who they are supposed to train with, and their homeroom teacher, Tomioka Giyuu.

Class 1-1 Roster (Hero Names subject to change)

Tanjiro: Sunfire

Zenitsu: Lightning Rod

Inosuke: Boar King

Aoi: TBD

Kanao: Serendipity

Genya: Buckshot

Muichiro: Mistwalker

Yuichiro: Moonshadow

Sabito: Jackrabbit

Makomo: TBD

Senjuro: Blaze

Hakuji: Frostfist

Rui: Threadmaster

Gyutaro: Mantis

Ume: Futodama

Teachers

Gyomei: Stoneheart: Ethics Teacher

Sanemi: Zephyr: Math Teacher

Giyuu: Wavebreaker: Homeroom Teacher

Obanai: Serpentine: Science Teacher

Kanae: Gossamer: English Teacher

Uzui: Flashbang: Art Teacher

Rengoku: Inferno: History Teacher

Mitsuri is not yet a teacher, as she only just graduated, but her Hero Name is Heartstring.

As for Shinobu, she’s part of Kimetsu’s Big Three, alongside Murata and Yushiro.

Now, onto the storyline so far!

So, classes meet, and apparently Giyuu and Aizawa have the exact same teaching style. It’s honestly a little disconcerting for their students, seeing basically a clone of their homeroom teacher from another school.

Now, I am a fan of Erasermic, so obviously that a thing here, and it’s 100% the reason why Yamada is present, but I also have plans. See, Class 1-1 has been on a mission since the start of the semester, and they are not giving up easily. Their mission, you may ask?

Getting Mr. Tomioka and Mr. Rengoku together. (Rengiyuu shippers rejoice)

It’s been… Less than successful thus far, unfortunately.

What about the villains, I hear you asking. What are they up to?

So-

Demon abilities aren’t actually the same as quirks. One of them is a result of experimentation in an effort to cure a genetic condition, and the other is a result of evolution. Not that All for One is aware of this. He’s been hunting after Muzan’s “quirk” for the past few centuries, and is the whole reason demons haven’t expanded beyond Shiri Island.

They’ve been taking potshots at each other since the dawn of quirks, and while the heroes are getting their slice of life parent trapping experience, the villains are in an all-out war with each other. So much so that they don’t even have time to deal with the heroes.

I’ll post more about this AU if ppl are interested in hearing more.

[sleeplesslionheart]

The Haunting of Bly Manor as Allegory: Self-Sacrifice, Grief, and Queer Representation

As always, I am extremely late with my fandom infatuations—this time, I’m about three years late getting smitten with Dani and Jamie from The Haunting of Bly Manor.

Because of my lateness, I’ll confess from the start that I’m largely unfamiliar with the fandom’s output: whether fanfiction, interpretations, analyses, discourse, what have you. I’ve dabbled around a bit, but haven’t seen anything near the extent of the discussions that may or may not have happened in the wake of the show’s release, so I apologize if I’m re-treading already well-trod ground or otherwise making observations that’ve already been made. Even so, I’m completely stuck on Dani/Jamie right now and have some thoughts that I want to compose and work through.

This analysis concerns the show’s concluding episode in particular, so please be aware that it contains heavy, detailed spoilers for the ending, as well as the show in its entirety. Additionally, as a major trigger warning: this essay contains explicit references to suicide and suicidal ideation, so please tread cautiously. (These are triggers for me, and I did, in fact, manage to trigger myself while writing this—but this was also very therapeutic to write, so those triggering moments wound up also being some healing opportunities for me. But definitely take care of yourself while reading this, okay?).

After finishing Bly and necessarily being destroyed by the ending, staying up until 2:00 a.m. crying, re-watching scenes on Youtube, so on and so forth, I came away from the show (as others have before me) feeling like its ending functioned fairly well as an allegory for loving and being in a romantic partnership with someone who suffers from severe mental illness, grief, and trauma.

Without going too deeply into my own personal backstory, I want to provide some opening context, which I think will help to show why this interpretation matters to me and how I’m making sense of it.

Like many of Bly’s characters, I’ve experienced catastrophic grief and loss in my own life. A few years ago, my brother died in some horrific circumstances (which you can probably guess at if you read between the lines here), leaving me traumatized and with severe problems with my mental health. When it happened, I was engaged to a man (it was back when I thought I was straight (lol), so I’ve also found Dani’s comphet backstory to be incredibly relatable…but more on this later) who quickly tired of my grieving. Just a few months after my brother’s death, my then-fiancé started saying things like “I wish you’d just go back to normal, the way you were” and “I’ve gotten back on-track and am just waiting for you to get back on-track with me,” apparently without any understanding that my old “normal” was completely gone and was never coming back. He saw my panic attacks as threatening and unreasonable, often resorting to yelling at me to stop instead of trying to comfort me. He complained that he felt like I hadn’t reciprocated the care that he’d provided me in the immediate aftermath of my brother’s loss, and that he needed me to set aside my grief (and “heal from it”) so that he could be the center of my attention. Although this was not the sole cause, all of it laid the groundwork for our eventual breakup. It was as though my trauma and mourning had ruined the innocent happiness of his own life, and he didn’t want to deal with it anymore.

Given this, I was powerfully struck by the ways that Jamie handles Dani’s trauma: accepting and supporting her, never shaming her or diminishing her pain.

Early in the show—in their first true interaction with one another, in fact—Jamie finds Dani in the throes of a panic attack. She responds to this with no judgment; instead, she validates Dani’s experiences. To put Dani at ease, she first jokes about her own “endless well of deep, inconsolable tears,” before then offering more serious words of encouragement about how well Dani is dealing with the circumstances at Bly. Later, when Dani confesses to seeing apparitions of Peter and Edmund, Jamie doesn’t pathologize this, doubt it, or demean it, but accepts it with a sincere question about whether Dani’s ex-fiancé is with them at that moment—followed by another effort to comfort Dani with some joking (this time, a light-hearted threat at Edmund to back off) and more affirmations of Dani’s strength in the face of it all.

All of this isn’t to say, however, that Dani’s grief-driven behaviors don’t also hurt Jamie (or, more generally, that grieving folks don’t also do things that hurt their loved ones). When Dani recoils from their first kiss because of another guilt-inspired vision of Eddie, Jamie is clearly hurt and disappointed; still, Jamie doesn’t hold this against Dani, as she instead tries to take responsibility for it herself. A week later, though, Jamie strongly indicates that she needed that time to be alone in the aftermath and that she is wary that Dani’s pattern of withdrawing from her every time they start to get closer will continue to happen. Nonetheless, it’s important to note that this contributes to Dani’s recognition that she’s been allowing her guilt about Eddie’s death to become all-consuming, preventing her from acting on her own desires to be with Jamie. That recognition, in turn, leads Dani to decide to move through her grief and beyond her guilt. Once she’s alone later in the evening after that first kiss, Dani casts Eddie’s glasses into the bonfire’s lingering embers; she faces off with his specter for a final time, and after burning away his shadow, her visions of him finally cease. When she and Jamie reunite during their 6:00 a.m. terrible coffee visit, Dani acknowledges that the way that she and Jamie left things was “wrong,” and she actively tries to take steps to “do something right” by inviting Jamie out for a drink at the village pub…which, of course, just so happens to be right below Jamie’s flat. (Victoria Pedretti’s expressions in that scene are so good).

Before we continue, though, let’s pause here a moment to consider some crucial factors in all of this. First, there is a significant difference between “moving through one’s grief” and simply discarding it…or being pressured by someone else to discard it. Second, there is also a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming. Keep these distinctions in mind as we go on.

Ultimately, the resolution of the show’s core supernatural conflict involves Dani inviting Viola’s ghost to inhabit her, which Viola accepts. This frees the other spirits who have been caught in Bly Manor’s “gravity well,” even as it dooms Dani to eventually be overtaken by Viola and her rage. Jamie, however, offers to stay with Dani while she waits for this “beast in the jungle” to claim her. The show’s final episode shows the two of them going on to forge a life together, opening a flower shop in a cute town in Vermont, enjoying years of domestic bliss, and later getting married (in what capacities they can—more on this soon), all while remaining acutely aware of the inevitability of Dani’s demise.

The allegorical potentials of this concluding narrative scenario are fairly flexible. It is possible, for instance, to interpret Dani’s “beast in the jungle” as chronic (and/or terminal) illness—in particular, there’re some harrowing readings that we could do in relation to degenerative neurological diseases associated with aging (e.g. dementia, Alzheimer’s, Parkinson’s, progressive supranuclear palsy, etc.), especially if we put the final episode into conversation with the show’s earlier subplot about the death of Owen’s mother, its recurring themes of memory loss as a form of death (or, even, as something worse than death), and Jamie’s resonant remarks that she would rather be “put out of her misery” than let herself be “worn away a little bit every day.” For the purposes of this analysis, though, I’m primarily concerned with interpreting Viola’s lurking presence in Dani’s psyche as a stand-in for severe grief, trauma, and mental illness. …Because, even as we may “move through” grief and trauma, and even as we may work to heal from them, they never just go away completely—they’re always lurking around, waiting to resurface. (In fact, the final minutes of the last episode feature a conversation between older Jamie and Flora about contending with this inevitable recurrence of grief). Therapy can give us tools to negotiate and live with them, of course; but that doesn’t mean that they’re not still present in our lives. The tools that therapy provides are meant to help us manage those inevitable resurfacings in healthy ways. But they are not meant to return us to some pre-grief or pre-trauma state of “normality” or to make them magically dissipate into the ether, never to return. And, even with plenty of therapy and with healthy coping mechanisms, we can still experience significant mental health issues in the wake of catastrophic grief, loss, and trauma; therapy doesn’t totally preclude that possibility.

In light of my own experiences with personal tragedy, crumbling mental health, and the dissolution of a romantic partnership with someone who couldn’t accept the presence of grief in my life, I was immediately enamored with the ways that Jamie approaches the enduring aftereffects of Dani’s trauma during the show’s final episode. Jamie never once pressures Dani to just be “normal.” She never once issues any judgment about what Dani is experiencing. At those times when Dani’s grief and trauma do resurface—when the beast in the jungle catches up with her—Jamie is there to console her, often with the strategies that have always worked in their relationship: gentle, playful ribbing and words of affirmation. There are instances in which Dani doesn’t emote joyfulness during events that we might otherwise expect her to—consider, for instance, how somber Dani appears in the proposal scene, in contrast to Jamie’s smiles and laughter. (In the year after my brother’s death, my ex-fiancé and his family would observe that I seemed gloomy in situations that they thought should be fun and exciting. “Then why aren’t you smiling?” they’d ask, even when I tried to assure them that I was having a good time, but just couldn’t completely feel that or express it in the ways that I might’ve in the past). Dani even comments on an inability to feel that is all too reminiscent of the blunting of emotions that can happen in the wake of acute trauma: “It’s like I see you in front of me and I feel you touching me, and every day we’re living our lives, and I’m aware of that. But it’s like I don’t feel it all the way.” But throughout all of this (and in contrast to my own experiences with my ex), Jamie attempts to ground Dani without ever invalidating what she’s experiencing. When Dani tells her that she can’t feel, Jamie assures her, “If you can’t feel anything, then I’ll feel everything for the both of us.”

A few days after I finished the show for the first time, I gushed to a friend about how taken I was with the whole thing. Jamie was just so…not what I had experienced in my own life. I loved witnessing a representation of such a supportive and understanding partner, especially within the context of a sapphic romance. After breaking up with my own ex-fiancé, I’ve since come to terms with my sexuality and am still processing through the roles that compulsory heterosexuality and internalized homophobia have played in my life; so Dani and Jamie’s relationship has been incredibly meaningful for me to see for so, so many reasons.

“I’m glad you found the show so relatable,” my friend told me. “But,” she cautioned, “don’t lose sight of what Dani does in that relationship.” Then, she pointed out something that I hadn’t considered at all. Although Jamie may model the possibilities of a supportive partnership, Dani’s tragic death espouses a very different and very troubling perspective: the poisonous belief that I’m inevitably going to hurt my partner with my grief and trauma, so I need to leave them before I can inflict that harm on them.

Indeed, this is a deeply engrained belief that I hold about myself. While I harbor a great deal of anger at my ex-fiancé for how he treated me, there’s also still a part of me that sincerely believes that I nearly ruined his and his family’s lives by bringing such immense devastation and darkness into it. On my bad days (which are many), I have strong convictions about this in relation to my future romantic prospects as well. How could anyone ever want to be with me? I wonder. And even if someone eventually does try to be with me, all I’ll do is ruin her life with all my trauma and sadness. I shouldn’t even want to be with anyone, because I don’t want to hurt someone else. I don’t want someone else to deal with what I’ve had to deal with. I even think about this, too, with my friends. Since my brother’s death and my breakup, I’ve gone through even more trauma, pain, grief, and loss, such that now I continue to struggle enormously with issues like anhedonia, emotional fragility, and social anxiety. I worry, consequently, that I’m just a burden on my friends. That I’m too hard to be around. That being around me, with all of my pain and perpetual misfortune, just causes my friends pain, too. That they’re better off not having to deal with me at all. I could spare them all, I think, by just letting them go, by not bothering them anymore.

I suspect that this is why I didn’t notice any issues with Dani’s behavior at the end of Bly Manor at first. Well…that and the fact that the reality of the show’s conclusion is immensely triggering for me. Probably, my attention just kind of slid past the truth of it in favor of indulging in the catharsis of a sad gay romance.

But after my friend observed this issue, I couldn’t stop thinking about it.

I realized, then, that I hadn’t extended the allegory out to its necessary conclusion…which is that Dani has, in effect, committed suicide in order to—or so she believes, at least—protect Jamie from her. This is the case regardless of whether we keep Viola’s ghost in the mix as an actual, tangible, existing threat within the show’s diegesis or as a figurative symbol of the ways that other forces can “haunt” us to the point of our own self-destruction. If the former, then Dani’s suicide (or the more gentle and elusive description that I’ve seen: her act of “giving herself to the lake”) is to prevent Viola’s ghost from ever harming Jamie. But if the latter, if we continue doing the work of allegorical readings, then it’s possible to interpret Bly’s conclusion as the tragedy of Dani ultimately succumbing to her mental illness and suicidal ideation.

The problems with this allegory’s import really start cropping up, however, when we consider the ways that the show valorizes Dani’s actions as an expression of ultimate, self-sacrificing love—a valorization that Bly accomplishes, in particular, through its sustained contrasting of love and possession.

The Implications of Idealizing Self-Sacrifice as True Love

During a pivotal conversation in one of the show’s early episodes, Dani and Jamie discuss the “wrong kind of love” that existed between Rebecca Jessel and Peter Quint. Jamie remarks on how she “understands why so many people mix up love and possession,” thereby characterizing Rebecca and Peter’s romance as a matter of possession—as well as hinting, perhaps, that Jamie herself has had experiences with this in her own past. After considering for a moment, Dani agrees: “People do, don’t they? Mix up love and possession. […] I don’t think that should be possible. I mean, they’re opposites, really, love and ownership.” We can already tell from this scene that Dani and Jamie are, themselves, heading towards a burgeoning romance—and that this contrast between love and possession (and their self-awareness of it) is going to become a defining feature of that romance.

Indeed, the show takes great pains to emphasize the genuine love that exists between Dani and Jamie against the damaging drive for possession enacted by characters like Peter (who consistently manipulates Rebecca and kills her to keep her ghost with him) and Viola (who has killed numerous people and trapped their souls at Bly over the centuries in a long since forgotten effort to reclaim her life with her husband and daughter from Perdita, her murderously jealous sister). These contrasts take multiple forms and emerge from multiple angles, all to establish that Dani and Jamie’s love is uniquely safe, caring, healing, mutually supportive, and built on a foundation of prevailing concern for the other’s wellbeing. Some of these contrasts are subtle and understated. Consider, for instance, how Hannah observes that Rebecca looks like she hasn’t slept in days because of the turmoil of her entanglements with Peter, whereas Jamie’s narration describes how Dani gets the best sleep of her life during the first night that she and Jamie spend together. Note, too, the editing work in Episode 6 that fades in and out between the memories of the destructive ramifications of Henry and Charlotte’s affair and the scenes of tender progression in Dani and Jamie’s romance. Other contrasts, though, are far more overt. Of course, one of the most blatant examples (and most pertinent to this analysis) is the very fact that the ghosts of Viola, Peter, and Rebecca are striving to reclaim the people they love and the lives that they’ve lost by literally possessing the bodies and existences of the living.

The role of consent is an important factor in these ghostly possessions and serves as a further contrast with Dani and Jamie’s relationship. Peter and Rebecca frequently possess Miles and Flora without their consent—at times, even, when the children explicitly tell them to stop or, at the very least, to provide them with warnings beforehand. While inhabiting the children, Peter and Rebecca go on to harm them and put them at risk (e.g. Peter smokes cigarettes while in Miles’s body; Rebecca leaves Flora alone and unconscious on the grounds outside the manor) and to commit acts of violence against others (e.g. Peter pushes Hannah into the well, killing her; Peter and Rebecca together attack Dani and restrain her). The “It’s you, it’s me, it’s us,” conceit—with which living people can invite Bly’s ghosts to possess them, the mechanism by which Dani breaks the curse of Bly’s gravity well—is a case of dubious consent at best and abusive, violent control at worst. (“I didn’t agree,” Rebecca says after Peter leaves her body, releasing his “invited” possession of her at the very moment that the lake’s waters start to fill her lungs).

Against these selfish possessions and wrong kinds of love, Jamie and Dani’s love is defined by their selfless refusal to possess one another. A key characteristic of their courtship involves them expressing vulnerability in ways that invite the other to make their own decisions about whether to accept and how to proceed (or not proceed). As we discussed earlier, Dani and Jamie’s first kiss happens after Dani opens up about her guilt surrounding her ex-fiancé’s death. Pausing that kiss, Jamie checks, “You sure?” and only continues after Dani answers with a spoken yes. (Let’s also take this moment to appreciate Amelia Eve’s excellent, whispered “Thank fuck,” that isn’t included in Netflix’s subtitles). Even so, Dani frantically breaks away from her just moments later. But Jamie accepts this and doesn’t push Dani to continue, believing, in fact, that Dani has withdrawn precisely because Jamie has pushed too much already. A week later, Dani takes the initiative to advance their budding romance by inviting Jamie out for a drink—which Jamie accepts by, instead, taking Dani to see her blooming moonflowers that very evening. There, in her own moment of vulnerability, Jamie shares her heart-wrenching and tumultuous backstory with Dani in order to “skip to the end” and spare Dani the effort of getting to know her. By openly sharing these difficult details about herself, Jamie evidently intends to provide Dani with information that would help her decide for herself whether she wants to continue their relationship or not.

Their shared refusal to possess reaches its ultimate culmination in that moment, all those years later, when Dani discovers just how close she’s come to strangling Jamie—and then leaves their home to travel all the way back to Bly and drown herself in the lake because she could “not risk her most important thing, her most important person.” Upon waking to find that Dani has left, Jamie immediately sets off to follow her back to Bly. And in an absolutely heartbreaking, beautiful scene, we see Jamie attempting the “you, me, us,” invitation, desperate for Dani to possess her, for Dani to take Jamie with her. (Y’all, I know I’m critiquing this scene right now, but I also fuckin’ love it, okay? Ugh. The sight of Jamie screaming into the water and helplessly grasping for Dani is gonna stay with me forever. brb while I go cry about it again). Dani, of course, refuses this plea. Because “Dani wouldn’t. Dani would never.” Further emphasizing the nobility of Dani’s actions, Jamie’s narration also reveals that Dani’s self-sacrificial death has not only spared Jamie alone, but has also enabled Dani to take the place of the Lady of the Lake and thereby ensure that no one else can be taken and possessed by Viola’s gravity well ever again.

And so we have the show’s ennoblement of Dani’s magnanimous self-sacrifice. By inviting Viola to possess her, drowning herself to keep from harming Jamie, and then refusing to possess Jamie or anyone else, Dani has effectively saved everyone: the children, the restive souls that have been trapped at Bly, anyone else who may ever come to Bly in the future, and the woman she loves most. Dani has also, then, broken the perpetuation of Bly’s cycles of possession and trauma with her selfless expression of love for Jamie.

The unfortunate effect of all of this is that, quite without meaning to (I think? I hope—), The Haunting of Bly Manor ends up stumbling headlong into a validation of suicide as a selfless act of true love, as a force of protection and salvation.

So, before we proceed, I just want to take this moment to say—definitively, emphatically, as someone who has survived and experienced firsthand the ineffably catastrophic consequences of suicide—that suicide is nothing remotely resembling a selfless “refusal to possess” or an act of love. I’m not going to harp extensively on this, though, because I’d rather not trigger myself for a second time (so far, lol) while writing this essay. Just take my fuckin’ word for it. And before anybody tries to hit me with some excuse like “But Squall, it isn’t that the show is valorizing suicide, it’s that Dani is literally protecting Jamie from Viola,” please consider that I’ve already discussed how the show’s depiction of this lent itself to my own noxious beliefs that “all I do is harm other people with my grief, so maybe I should stop talking to my friends so that they don’t have to deal with me anymore.” Please consider what these narrative details and their allegorical import might tell people who are struggling with their mental health—even if not with suicidal ideation, then with the notion that they should self-sacrificially remove themselves from relationships for the sake of sparing loved ones from (assumed) harm.

Okay, that said, now let’s proceed…‘cause I’ve got even more to say, ‘cause the more I mulled over these details, the more I also came to realize that Dani’s self-sacrificial death in Bly’s conclusion also has the unfortunate effect of undermining some of its other (attempted) themes and its queer representation.

What Bly Manor Tries (and Fails) to Say about Grief and Acceptance

Let’s start by jumping back to a theme we’ve already addressed briefly: moving through one’s grief.

The Haunting of Bly Manor does, in fact, have a lot to say about this. Or…it wants to, more like. On the whole, it seems like it’s trying really hard to give us a cautionary tale about the destructive effects of unprocessed grief and the misplaced guilt that we can wind up carrying around when someone we love dies. The show spends a whole lot of time preaching about how important it is that we learn to accept our losses without allowing them to totally consume us—or without lingering around in denial about them (gettin’ some Kübler-Ross in here, y’all). Sadly, though, it does kind of a half-assed job of it…despite the fact that this is a major recurring theme and a component of the characterizations and storylines of, like, most of its characters. In fact, this fundamentally Kübler-Rossian understanding of what it means to move through grief and to accept loss and mortality appears to be the show’s guiding framework. During his rehearsal dinner speech in the first episode, Owen proclaims that, “To truly love another person is to accept that the work of loving them is worth the pain of losing them,” with such eerie resonance—as the camera stays set on Jamie’s unwavering gaze—that we know that what we’re about to experience is a story about accepting the inevitable losses of the people we love.

Bly Manor is chock full of characters who’re stuck in earlier stages of grief but aren’t really moving along to reach that acceptance stage. I mean, the whole cause of the main supernatural haunting is that Viola so ferociously refuses to accept her death and move on from her rage (brought about by Perdita’s resentment) that she spends centuries strangling whoever she comes across, which then effectively traps them there with her. And the other antagonistic ghostly forces, Rebecca and Peter, also obviously suck at accepting their own deaths, given that they actually believe that possessing two children is a perfectly fine (and splendid) way for them to grasp at some semblance of life again. (Actually…the more that I’ve thought about this, the more that I think each of the pre-acceptance stages of grief in Kübler-Ross’s model may even have a corresponding character to represent it: Hannah is denial; Viola is anger; Peter and Rebecca are bargaining; Henry is depression. Just a little something to chew on).

But let’s talk more at-length about this theme in relation to two characters we haven’t focused on yet: Hannah and Henry. For Hannah, this theme shows up in her struggles to accept that her husband, Sam, has left her (Charlotte wryly burns candles in the chapel as though marking his passing, while Hannah seems to be holding out hope that he might return) and in her persistent denial that Peter-as-Miles has killed her. As a ghost, she determinedly continues going about her daily life and chores even as she’s progressively losing her grip on reality. Henry, meanwhile, won’t issue official notifications of Dominic’s death and continues to collect his mail because doing otherwise would mean admitting to the true finality of Dominic’s loss. At the same time, he is so, completely consumed by his guilt about the role that he believes he played in Charlotte and Dominic’s deaths that he’s haunting himself with an evil alter-ego. His overriding guilt and despair also result in his refusal to be more present in Miles and Flora’s lives—even with the knowledge that Flora is actually his daughter.

In the end, both Hannah and Henry reach some critical moments of acceptance. But, honestly, the show doesn’t do a great job of bringing home this theme of move through your grief with either of them…or with anybody else, really. Peter basically winds up bullying Hannah into recognizing that her broken body is still at the bottom of the well—and then she accepts her own death right in time to make a completely abortive attempt at rescuing Dani and Flora. Henry finally has a preternatural Bad Feeling about things (something about a phone being disconnected? whose phone? Bly’s phone? his phone? I don’t understand), snaps to attention, and rushes to Bly right in time to make an equally abortive rescue attempt that leaves him incapacitated so that his not-quite-ghost can hang out with Hannah long enough to find out that she’s dead. But at least he decides to be an attentive uncle/dad to Miles and Flora after that, I guess. Otherwise, Hannah and Henry get handwaved away pretty quickly before we can really witness what their acceptance means for them in any meaningful detail. (I blame this on some sloppy writing and the way-too-long, all-about-Viola eighth episode. And, on that note, what about the “acceptances” of Rebecca, Peter, and Viola there at the end? Rebecca does get an interesting moment of acceptance—of a sort—with her offer to possess Flora in order to experience Flora’s imminent drowning for her, thereby sparing the child by tucking her in a happy memory. Peter just…disappears at the end with some way-too-late words of apology. Viola’s “acceptance,” however, is tricky…What she accepts is Dani’s invitation to inhabit her. More on this later).

Hannah and Henry’s stories appear to be part of the show’s efforts to warn us about the ways that unprocessed, all-consuming grief can cause us to miss opportunities to have meaningful relationships with others. Hannah doesn’t just miss her chance to be with Owen because…well, she’s dead, but also because of her unwillingness to move on from Sam beforehand. Her denial about her own death, in turn, prevents her from taking the opportunity as a ghost to tell Owen that she loves him. Henry, at least, does figure out that he’s about to lose his chance to be a caring parental figure to his daughter and nephew—but just barely. It takes the near-deaths of him and the children to finally prompt that realization.

Of the cast, Dani gets the most thorough and intentional development of this move through your grief theme. And, importantly, she learns this lesson in time to cultivate a meaningful relationship that she could’ve easily missed out on otherwise. As we’ve already discussed, a critical part of Dani’s character arc involves her realization that she has to directly confront Edmund’s death and start absolving herself of her guilt in order to open up the possibility of a romantic relationship with Jamie. In Episode 4, Jamie’s narration suggests that Dani has had a habit of putting off such difficult processes (whether in regards to moving through her grief, breaking off her engagement to Edmund, or coming to terms with her sexuality), as she’s been constantly deferring to “another night, another time for years and years.” Indeed, the show’s early episodes are largely devoted to showing the consequences of Dani’s deferrals and avoidances. From the very beginning, we see just how intrusively Dani’s unresolved guilt is impacting her daily life and functioning. She covers up mirrors to try to prevent herself from encountering Edmund’s haunting visage, yet still spots him in the reflections of windows and polished surfaces. Panic attacks seem to be regular occurrences for her, sparked by reminders of him. And all of this only gets worse and more disruptive as Dani starts acting on her attraction to Jamie.

It's only after Dani decides to begin moving through her grief and guilt that she’s able to start becoming emotionally and physically intimate with Jamie. And the major turning point for this comes during a scene that features a direct, explicit discussion of the importance of accepting (and even embracing) mortality.

That’s right—it’s time to talk about the moonflower scene.

In a very “I am extremely fed up with people not being able to deal with my traumatic past, so I’m going to tell you about all of the shit that I’ve been through so that you can go ahead and decide whether you want to bolt right now instead of just dropping me later on” move (which…legit, Jamie—I feel that), Jamie sits Dani down at her moonflower patch to give her the full rundown of her own personal backstory and worldview. Her monologue evinces both a profound cynicism and a profound valuation of human life…all of which is also suggestive, to me at least, of a traumatized person who at once desperately wishes for intimate connection, but who’s also been burned way too many times (something with which I am wholly unfamiliar, lol). She characterizes people as “exhaustive effort with very little to show for it,” only to go on to wax poetic about how human mortality is as beautiful as the ephemeral buds of a moonflower. This is, in essence, Jamie’s sorta convoluted way of articulating that whole “To truly love another person is to accept that the work of loving them is worth the pain of losing them” idea.

After detailing her own past, Jamie shifts gears to suggest that she believes that cultivating a relationship with Dani—like the devoted work of growing a tropical, transient Ipomoea alba in England—might be worth the effort. And as part of this cultivation work, Jamie then acknowledges Dani’s struggles with her guilt, while also firmly encouraging her to move through it by accepting the beauty of mortality:  

“I know you’re carrying this guilt around, but I also know that you don’t decide who lives and who doesn’t. I’m sorry Dani, but you don’t. Humans are organic. It’s a fact. We’re meant to die. It’s natural…beautiful. […] We leave more life behind to take our place. Like this moonflower. It’s where all its beauty lies, you know. In the mortality of the thing.”

After that, Jamie and Dani are finally able to make out unimpeded.

Frustratingly, though, Jamie’s own dealings with grief, loss, and trauma remain terribly understated throughout the show. Her monologue in the moonflower scene is really the most insight that we ever get. Jamie consistently comes off as better equipped to contend with life’s hardships than many of Bly’s other characters; and she is, in fact, the sole member of the cast who is confirmed to have ever had any sort of professional therapy. She regularly demonstrates a remarkable sense of empathy and emotional awareness, able to pick up on others’ needs and then support them accordingly, though often in gruff, tough-love forms. Further, there are numerous scenes in which we see Jamie bestowing incisive guidance for handling difficult situations: the moonflower scene, her advice to Rebecca about contacting Henry after Peter’s disappearance, and her suggestion to Dani that Flora needs to see a psychologist, to name just a few. As such, Jamie appears to have—or, at least, projects—a sort of unflappable groundedness that sets her apart from everyone else in the show.

Bly only suggests that Jamie’s struggles run far deeper than she lets on. There are a few times that we witness quick-tempered outbursts (usually provoked by Miles) and hints of bottled-up rage. Lest we forget, although it was Flora who first found Rebecca’s dead body floating in the water, it was Jamie who then found them both immediately thereafter. We see this happen, but we never learn anything about the impact that this must have had on her. Indeed, Jamie’s exposure to the layered, compounding grief at Bly has no doubt inflicted a great deal of pain on her, suggested by details like her memorialization of Charlotte and Dominic during the bonfire scene. If we look past her flippancy, there must be more than a few grains of truth to that endless well of deep, inconsolable tears—but Jamie never actually shares what they might be. Moreover, although the moonflower scene reveals the complex traumas of her past, we never get any follow-up or elaboration about those details or Dani’s observation of the scar on her shoulder. For the most part, Jamie’s grief goes unspoken.

There’s a case to be made that these omissions are a byproduct of narrator Jamie decentering herself in a story whose primary focus is Dani. Narrator Jamie even claims that the story she’s telling “isn’t really my story. It belongs to someone I knew” (yes, it’s a diversionary tactic to keep us from learning her identity too soon—but she also means it). And in plenty of respects, the telling of the story is, itself, Jamie’s extended expression of her grief. By engaging in this act of oral storytelling to share Dani’s sacrifice with others—especially with those who would have otherwise forgotten—Jamie is performing an important ritual of mourning her wife. Still, it’s for exactly these reasons that I think it would’ve been valuable for the show to include more about the impacts that grief, loss, and trauma had on Jamie prior to Dani’s death. Jamie’s underdevelopment on this front feels more like a disappointing oversight of the show’s writing than her narrator self’s intentional, careful withholding of information. Additionally, I think that Bly leaves Jamie’s grieving on an…odd note (though, yes, I know I’m just a curmudgeonly outlier here). Those saccharine final moments of Jamie filling up the bathtub and sleeping on a chair so that she can face the cracked doorway are a little too heavy-handedly tear-jerking for my liking. And while this, too, may be a ritual of mourning after the undoubtedly taxing effort of telling Dani’s story, it may also suggest that Jamie is demurring her own acceptance of Dani’s death. Is the hand on her shoulder really Dani’s ghost? Or is it Jamie’s own hopeful fabrication that her wife’s spirit is watching over her? (Or—to counter my own point here and suggest a different alternative—could this latter idea (i.e. the imagining of Dani’s ghost) also be another valid manner of “accepting” a loss by preserving a loved one’s presence? “Dead doesn’t mean gone,” after all. …Anyway, maybe I would be more charitable to this scene if not for the hokey, totally out-of-place song. Coulda done without that, seriously).

But let’s jump back to the moonflower scene. For Dani, this marks an important moment in the progression of her own movement through grief. In combination, her newfound readiness to contend with her guilt and her eagerness to grow closer to Jamie enable Dani to find a sense of peace that she hasn’t experienced since Eddie’s death…or maybe ever, really (hang on to this thought for this essay’s final section, too). When she and Jamie sleep together for the first time, not only does Dani actually sleep well, but she also wakes the next morning to do something that she hasn’t done to that point and won’t do again: she comfortably looks into a mirror. (One small qualification to this: Dani does look into her own reflection at the diner when she and Jamie are on their road trip; Viola doesn’t interfere then, but whether this is actually a comfortable moment is questionable). Then, shifting her gaze away from her own reflection, she sees Jamie still sleeping soundly in her bed—and smiles. It’s a fleeting moment of peace. Immediately after that, she spots Flora out the window, which throws everything back into accumulating turmoil. But that moment of peace, however fleeting, is still a powerful one.

However, Bly teases this narrative about the possibilities of finding healing in the wake of traumatic loss—especially through the cultivation of meaningful and supportive relationships with others—only to then totally pull that rug out from under Dani in the final episode.

During that final episode, we see that Dani’s shared life with Jamie has supported her in coming to terms with Viola’s lurking presence, such that “at long last, deep within the au pair’s heart, there was peace. And that peace held for years, which is more than some of us ever get.” But it’s at the exact moment that that line of narration occurs that we then begin to witness Dani’s steady, inexorable decline. Sure, we could say that Dani “accepts” Viola’s intrusions and the unavoidable eventuality that the ghost will seize control of her. But this isn’t a healthy acceptance or even a depiction of the fraught relationships that we can have with grief and trauma as we continue to process them throughout our lives. At all. Instead, it’s a distinctive, destructive sense of fatalism.

“I’m not even scared of her anymore,” Dani tells Jamie as the flooded bathtub spills around them. “I just stare at her and it's getting harder and harder to see me. Maybe I should just accept that. Maybe I should just accept that and go.” Remember way back at the beginning of this essay when I pointed out that there’s a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming? Well, by the time we reach the bathtub scene, Dani’s grief and trauma have completely overtaken her. Her “acceptance” is, thus, a fatalistic, catastrophizing determination that her trauma defines her existence, such that she believes that all she has left to do is give up her life in order to protect Jamie from her. For a less ghostly (and less suicidal ideation-y) and more real-life example to illustrate what I’m getting at here: this would be like me saying “I should just accept that I’m never going to be anything other than a traumatized mess and should stop reaching out to my friends so that I don’t keep hurting them by making them deal with what a mess I am.” If I said something like this, I suspect (hope) that you would tell me that this is not a productive acceptance, but a pernicious narrative that only hurts me and the people who care about me. Sadly, though, this kind of pernicious narrative is exactly what we get out of Bly’s ending allegory.

“But Squall,” you may be thinking, “this scene is representing how people who struggle with their mental health can actually feel. This is exactly what it can be like to have severe mental illness, even for folks who have strong support systems and healthy, meaningful relationships. And there’s value in showing that.”

And if you’re thinking that, then first of all—as I have indicated already—I am aware that this is what it can be like. Very aware. And second of all, you make a fair point, but…there are ways that the show could’ve represented this without concluding that representation with a suicide that it effectively valorizes. I’ll contend with this more in the final section, where I offer a few suggestions of other ways that Bly could’ve ended instead.

I just want to be absolutely clear that I’m not saying that I think all media portrayals of mental illness need to be hopeful or wholesome or end in “positive” ways. But what I am saying is that Bly’s conclusion offers a really fuckin’ bleak outlook on grief, trauma, and mental illness, especially when we fit that ending into the framework of the show’s other (attempted) core themes, as well as Dani’s earlier character development. It’s especially bleak to see this as someone with severe mental health issues and who has also lost a loved one to suicide—and as someone who desperately hopes that my life and worldview won’t always stay so darkly colored by my trauma.

Additionally, it’s also worth pausing here to acknowledge that fatalism is, in fact, a major theme of The Beast in the Jungle, the 1903 Henry James novella on which the ninth episode is loosely based. I confess that I’ve only read about this novella, but haven’t read the story itself. However, based on my (admittedly limited) understanding of it, there appears to be a significant thematic rupture between The Beast in the Jungle and The Haunting of Bly Manor in their treatments of fatalism. In the end of the novella, its protagonist, John Marcher, comes to the realization that his fatalism has been a horrible mistake that has caused him to completely miss out on an opportunity for love that was right in front of him all along. The tragic fate to which Marcher believed that he was doomed was, in the end, his own fatalism. Dani, in contrast, never has this moment of recognition, not only because her fatalism leads to her own death, but also because the show treats her fatalism not as something that keeps her from love, but instead as leading her towards a definitive act of love.

All of this is exactly why Dani’s portrayal has become so damn concerning to me, and why I don’t believe that Bly’s allegory of “this is what it’s like to live with mental illness and/or to love (and lose) someone who is mentally ill” is somehow value-neutral—or, worse, something worth celebrating.

How Dani’s Self-Sacrifice Bears on Bly’s Queer Representation

In my dabblings around the fandom so far, I’ve seen a fair amount of deliberation about whether or not Bly Manor’s ending constitutes an example of the Bury Your Gays trope.

Honestly, though, I am super unenthused about rehashing those deliberations or splitting hairs trying to give some definitive “yes it is” or “no it isn’t” answer, so…I’m just not going to. Instead, I’m going to offer up some further observations about how Dani’s self-sacrificial death impinges on Bly’s queer representation, regardless of whether Bury Your Gays is at work here or not.

I would also like to humbly submit that the show could’ve just…not fucked around in proximity of that trope in the first place so that we wouldn’t even need to be having these conversations.

But anyway. I’m going to start this section off with a disclaimer.

Even though I’m leveling some pretty fierce critiques in this section (and across this essay), I do also want to say that I adore that The Haunting of Bly Manor and its creators gave us a narrative that centers two queer women and their romantic relationship as its driving forces and that intentionally sets out to portray the healing potentials of sapphic love as a contrast to the destructive, coercive harms found in many conventional dynamics of hegemonic heteronormativity. I don’t want to downplay that, because I’m extremely happy that this show exists, and I sincerely believe that many elements of its representation are potent and meaningful and amazing. But…I also have some reservations with this portrayal that I want to share. I critique not because I don’t love, but because I do love. I love this show a lot. I love Dani and Jamie a lot. I critique because I love and because I want more and better in future media.

So, that being said…let’s move on to talk about Dani, self-sacrifice, and compulsory heterosexuality.

Well before Dani’s ennobled death, Bly establishes self-sacrifice as a core component of her characterization. It’s hardwired into her, no doubt due to the relentless, entangled educational work of compulsory heterosexuality (comphet) and the aggressive forms of socialization that tell girls and women that their roles in life are to sacrifice themselves in order to please others and to belong to men. Indeed, Episode 4’s series of flashbacks emphasizes the interconnectedness between comphet and Dani’s beliefs that she is supposed to sacrifice herself for others’ sakes, revealing how these forces have shaped who she is and the decisions that she’s made across her life. (While we’re at it, let’s also not lose sight of the fact that Dani’s profession during this time period is one that—in American culture, at least—has come to rely on a distinctively feminized self-sacrificiality in order to function. Prior to becoming an au pair, Dani was a schoolteacher. In fact, in one of Episode 4’s flashbacks, Eddie’s mother points out that she appreciates Dani’s knack for identifying the kids that need her the most, but also reminds Dani that she needs to take care of herself…which suggests that Dani hadn’t been: “Save them all if you can, but put your own oxygen mask on first”).

In the flashback of her engagement party, Dani’s visible discomfort during Edmund’s speech clues us in that she wasn’t preparing to marry him because she genuinely wanted to, but because she felt like she was supposed to. The “childhood sweethearts” narrative bears down on the couple, celebrated by their friends and family, vaunted by cultural constructs that prize this life trajectory as a cherished, “happily ever after” ideal. Further illustrating the pressures to which Dani had been subject, the same scene shows Eddie’s mother, Judy O’Mara, presenting Dani with her own wedding dress and asking Dani to wear it when she marries Eddie. Despite Mrs. O’Mara’s assurances that Dani can say no, the hopes that she heaps onto Dani make abundantly clear that anything other than a yes would disappoint her. Later, another flashback shows Dani having that dress sized and fitted while her mother and Mrs. O’Mara look on and chatter about their own weddings and marriages. Their conversation is imbued with further hopes that Dani’s marriage to Edmund will improve on the mistakes that they made in their lives. Meanwhile, Dani’s attentiveness to the tailor who takes her measurements, compliments her body, and places a hand on her back strongly suggests that Dani is suppressing her attraction to women. Though brief, this scene is a weighty demonstration of the ways that the enclosures of heteronormativity constrain women into believing that their only option is to deny homosexual attraction, to forfeit their own desires in order to remain in relationships with men, and to prioritize the hopes and dreams and aspirations of the people around them above their own.

Dani followed this pathway—determined for her by everyone else except herself—until she couldn’t anymore.

During the flashback of their breakup, Dani explains to Eddie that she didn’t end their relationship sooner because she thought that even just having desires that didn’t match his and his family’s was selfish of her: “I should’ve said something sooner. […] I didn’t want to hurt you, or your mom, or your family. And then it was just what we were doing. […] I just thought I was being selfish, that I could just stick it out, and eventually I would feel how I was supposed to.” As happens to so many women, Dani was on the cusp of sacrificing her life for the sake of “sticking out” a marriage to a man, all because she so deeply believed that it was her duty to satisfy everyone’s expectations of her and that it was her responsibility to change her own feelings about that plight.

And Eddie’s response to this is telling. “Fuck you, Danielle,” he says. “Why are you doing this to me?”

Pay close attention to those last two words. Underline ‘em. Bold ‘em. Italicize ‘em.

“Why are you doing this to me?”

With those two words, Eddie indicates that he views Dani’s refusal to marry him as something that she is doing to him, a harm that she is committing against him. It is as though Dani is inflicting her will on him, or even that she is unjustly attackinghim by finally admitting that her desires run contrary to his own, that she doesn’t want to be his wife. And with this statement, he confirms precisely what she anticipated would happen upon giving voice to her true feelings.

What space did Edmund, his family, or Dani’s mother ever grant for Dani to have aspirations of her own that weren’t towards the preordained role of Eddie’s future wife? Let’s jump back to that engagement party. Eddie’s entire speech reveals a very longstanding assumption of his claim over her as his wife-to-be. He’d first asked Dani to marry him when they were ten years old, after he mistakenly believed that their first kiss could get Dani pregnant; Dani turned him down then, saying that they were too young. So, over the years, as they got older, Eddie continued to repeatedly ask her—until, presumably, she relented. “Now, we’re still pretty young,” he remarks as he concludes his speech, “but I think we’re old enough to know what we want.” Significantly, Eddie speaks here not just for himself, but also for Dani. Dani’s voice throughout the entire party is notably absent, as Eddie and his mother both impose their own wishes on her, assume that she wants what they want, and don’t really open any possibility for her to say otherwise. Moreover, although there’s a palpable awkwardness that accompanies Eddie’s story, the crowd at the party chuckles along as though it’s a sweet, innocent tale of lifelong love and devotion, and not an instance of a man whittling away at a woman’s resistance until she finally caved to his pursuit of her.

All of this suggests that Eddie shared in the socialized convictions of heteropatriarchy, according to which Dani’s purpose and destiny were to marry him and to make him happy. His patterns of behavior evince the unquestioned presumptions of so many men: that women exist in service to them and their wants, such that it is utterly inconceivable that women could possibly desire otherwise. As a political institution, heteropatriarchy tells men that they are entitled to women’s existences, bodies, futures. And, indeed, Eddie can’t seem to even imagine that Dani could ever want anything other than the future that he has mapped out for them. (Oh, hey look, we’ve got some love vs. possession going on here again).

For what it’s worth, I think that the show’s portrayal of compulsory heterosexuality is excellent. I love that the writers decided to tackle this. Like I mentioned at the beginning, I found all of this to be extremelyrelatable. I might even be accused of over-relating and projecting my own experiences onto my readings here, but…there were just too many resonances between Dani’s experiences and my own. Mrs. O’Mara’s advice to Dani to “put your own oxygen mask on first” is all too reminiscent of the ways that my ex’s parents would encourage me to “heal” from my brother’s loss…but not for the sake of my own wellbeing, but so that I would return to prioritizing the care of their son and existing to do whatever would make him happy. I’ll also share here that what drove me to break up with my ex-fiancé wasn’t just his unwillingness to contend with my grief, but the fact that he had decided that the best way for me to heal from my loss would be to have a baby. He insisted that I could counteract my brother’s death by “bringing new life into the world.” And he would not take no for an answer. He told me that if I wouldn’t agree to try to have children in the near future, then he wasn’t interested in continuing to stay with me. It took me months to pluck up the courage, but I finally answered this ultimatum by ending our relationship myself. Thus, like Dani, I came very close to sacrificing myself, my wants, my body, my future, and my life for the sake of doing what my fiancé and his family wanted me to do, all while painfully denying my own attraction to women. What kept me from “sticking it out” any longer was that I finally decided that I wasn’t going to sacrifice myself for a man I didn’t love (and who clearly didn’t love me) and decided, instead, to reclaim my own wants and needs away from him.

For Dani, however, the moment that she finally begins to reclaim her wants and needs away from Eddie is also the moment that he furiously jumps out of the driver’s seat and into the path of a passing truck, which leaves her to entangle those events as though his death is her fault for finally asserting herself.

Of course, the guilt that Dani feels for having “caused” Eddie’s death isn’t justa matter of breaking up with him and thereby provoking a reaction that would prove fatal—it’s also the guilt of her suppressed homosexual desire, of not desiring Eddie in the first place. In other words, internalized homophobia is an inextricable layer of the culpability that Dani feels. Internalized homophobia is also what’s haunting her. As others (such as Rowan Ellis, whose deep dive includes a solid discussion of internalized homophobia in Bly, as well as a more at-length examination of Bury Your Gays than I’m providing here) have pointed out, the show highlights this metaphorically by having Dani literally get locked into a closet with Edmund’s ghost in the very first episode. Further reinforcing this idea is the fact that these spectral visions get even worse as Dani starts to come to terms with and act on her attraction to Jamie, as though the ghost is punishing her for her desires. Across Episode 3, as Dani and Jamie begin spending more time together, Edmund’s ghost concurrently begins materializing in more shocking, visceral forms (e.g. his bleeding hand in Dani’s bed; his shadowy figure lurking behind Dani after she’s held Jamie’s hand) that exceed the reflective surfaces to which he’d previously been confined. This continues into Episode 4, where each of Eddie’s appearances follows moments of Dani’s growing closeness to Jamie. A particularly alarming instance occurs when Dani just can’t seem to pry her gaze away from a dressed-up Jamie who’s in the process of some mild undressing. Finally turning away from Jamie, Dani becomes aware of Eddie’s hands on her hips. It’s a violating reminder of his claims over her, horrifying in its invocation of men’s efforts to coerce and control women’s sexuality.

It is incredibly powerful, then, to watch Dani answer all of this by becoming more resolute and assertive in the expression of her wants and needs. The establishment of her romantic relationship with Jamie isn’t just the movement through grief and guilt that we discussed earlier; it’s also Dani’s defiance of compulsory heterosexuality and her fierce claiming of her queer existence. Even in the face of all that’s been haunting her, Dani initiates her first kiss with Jamie; and Eddie’s intrusion in that moment is only enough to temporarily dissuade her, as Dani follows this up by then asking Jamie out for a drink at the pub to “see where that takes them” (i.e. up to Jamie’s flat to bang, obviously). The peace that Dani finds after having sex with Jamie for the first time is, therefore, also the profound fulfillment of at last having her first sexual experience with a woman, of finally giving expression to this critical part of herself that she’d spent her entire life denying. Compulsory heterosexuality had dictated to Dani that she must self-sacrifice to meet the strictures of heteropatriarchy, to please everyone except herself; but in her relationship with Jamie, Dani learns that she doesn’t have to do this at all. This is only bolstered by the fact that, as we’ve talked about at length already, Jamie is very attentive to Dani’s needs and respectful of her boundaries. Jamie doesn’t want Dani to do anything other than what Dani wants to do. And so, in the cultivation of their romantic partnership, Dani thus comes to value her own wants and needs in a way that she hasn’t before.

The fact that the show nails all of this so fucking well is what makes all that comes later so goddamn frustrating.

The final episode chronicles Dani and Jamie forging a queer life together that the rest of us can only dream of, including another scene of Dani flouting homophobia and negotiating her own internal struggles so that she can be with Jamie. “I know we can’t technically get married,” she tells Jamie when she proposes to her, “but I also don’t really care.” And with her awareness that the beast in the jungle is starting to catch up with her, Dani tells Jamie that she wants to spend whatever time she has left with her.

But then…

A few scenes later—along with a jump of a few years later, presumably—Jamie arrives home with the licenses that legally certify their civil union in the state of Vermont. It’s a monumental moment. In 2000, Vermont became the first state to introduce civil unions, which paved the way for it to later (in 2009) become the first state to pass legislation that recognized gay marriages without needing to have a court order mandating that the state extend marriage rights beyond opposite-sex couples. I appreciate that Bly’s creatorsincorporated this significant milestone in the history of American queer rights into the show. But its positioning in the show also fuckin’ sucks. Just as Jamie is announcing the legality of her and Dani’s civil union and declaring that they’ll have another marriage ceremony soon, we see water running into the hallway. This moves us into that scene with the flooded bathtub, as Jamie finds Dani staring into the water, unaware of anything else except the reflection of Viola staring back at her. Thus, it is at the exact moment when her wife proudly shares the news of this incredible achievement in the struggle for queer rights—for which queer folks have long fought and are continuing to fight to protect in the present—that Dani has completely, hopelessly resigned herself to Viola’s possession.

I want to be careful to clarify here that, in making this observation, I don’t mean to posit some sort of “Dani should have fought back against Viola” argument, which—within the context of our allegorical readings—might have the effect of damagingly suggesting that Dani should have fought harder to recover from mental illness or terminal disease. But I do mean to point out the incredibly grim implications that the juxtaposition of these events engenders, especially when we contemplate them (as we did in the previous section) within the overall frameworks of the show’s themes and Dani’s character development. After all that has come before, after we’ve watched Dani come to so boldly assert her queer desire and existence, it is devastating to see the show reduce her to such a despairing state that doesn’t even give her a chance to register that she and Jamie are now legal partners.

Why did you have to do this, Bly? Why?

Further compounding this despair, the next scene features the resumption of Dani’s self-sacrificial beliefs and behaviors, which results in her demise, and which leaves Jamie to suffer through the devastation of her wife’s death. This resumption of self-sacrifice hence demolishes all of that beautiful work of asserting Dani’s queer existence and learning that she doesn’t need to sacrifice herself that I just devoted two thousand words to describing above.

Additionally, in the end, Dani’s noble self-sacrifice also effects a safe recuperation of heteronormativity…which might add more evidence to a Bury Your Gays claim, oops.

And that is because, in the end, after we see Jamie screaming into the water and Dani forever interred at the bottom of the lake in which she drowned herself, we come to the end of Jamie’s story and return to Bly Manor’s frame narrative: Flora’s wedding.

At the start of the show, the evening of Flora and Unnamed Man’s (Wikipedia says his name is James? idk, w/e) rehearsal dinner provides the occasion and impetus for Jamie’s storytelling. Following dinner, Flora, her fiancé, and their guests gather around a fireplace and discuss a ghost story about the venue, a former convent. With a captive audience that includes her primary targets—Flora and Miles, who have forgotten what happened at Bly and, by extension, all that Dani sacrificed and that Jamie lost so that they could live their lives free of the trauma of what transpired—and with a topically relevant conversation already ongoing, Jamie interjects that she has a ghost story of her own to share…and thus, the show’s longer, secondary narrative begins.

When Jamie’s tale winds to a close at the end of the ninth episode, the show returns us to its frame, that scene in front of the cozy, crackling fire. And it is there that we learn that it is, in fact, Jamie who has been telling us this story all along.

As the other guests trickle away, Flora stays behind to talk to Jamie on her own. A critical conversation then ensues between them, which functions not only as Jamie’s shared wisdom to Flora, but also as the show’s attempt to lead viewers through what they’ve just experienced and thereby impart its core message about the secondary narrative. The frame narrative is, thus, also a direct address to the audience that tells us what we should take away from the experience. By this point, the show has thoroughly established that Jamie is a gentle-but-tough-love, knowledgeable, and trustworthy guide through the trials of accepting grief and mortality, and so it is Jamie who leaves Flora and us, the audience, with the show’s final word about how to treasure the people we love while they are still in our lives and how to grieve them if we survive beyond them. (But, by this point in this essay, we’ve also learned that Bly’s messages about grief and mortality are beautiful but also messy and unconvincing, even with this didactic ending moment).

With all of this in mind, we can (and should) ask some additional questions of the frame narrative.

One of those questions is: Why is the secondary narrative being told from/within this particular frame?

Answering this question within the show’s diegesis (by asking it of the narrator) is easy enough. Jamie is performing a memorialization of Dani’s life and sacrifice at an event where her intended audience happens to be gathered, ensuring that Miles and Flora begin to recognize what Dani did for them in a manner that maybe won’t just outright traumatize them.

Okay, sure, yeah. True. Not wrong.

But let’s interrogate this question more deeply—let’s ask it of the show itself. So, Bly Manor: Why is the secondary narrative being told from/within this particular frame?

We could also tweak this question a bit to further consider: What is the purpose of the frame? A frame narrative can function to shape audiences’ interpretations of and attitudes towards the secondary narrative. So, in this case, let’s make our line of questioning even more specific. What does the frame of Flora’s wedding do for Bly’s audiences?

Crucially, the framing scene at the fireplace provides us with a sense that we’ve returned to safety after the horror of the ghost story we’ve just experienced. To further assure us of this safety, then, Bly’s frame aims to restore a sense of normality, a sense that the threat that has provoked fear in us has been neutralized, a sense of hope that endures beyond tragedy. Indeed, as we fade from the secondary narrative and return to the frame, Jamie’s narration emphasizes how Dani’s selfless death has brought peace to Bly Manor by breaking its cycles of violence and trauma: “But she won’t be hollow or empty, and she won’t pull others to her fate. She will merely walk the grounds of Bly, harmless as a dove for all of her days, leaving the only trace of who she once was in the memory of the woman who loved her most.”

What Dani has accomplished with her self-sacrifice, then, is a longstanding, prevailing, expected staple of Western—and especially American—storytelling: redemption.

American media is rife with examples of this narrative formula (in which an individual must take selfless action—which may or may not involve self-sacrificial death—in order to redeem an imperiled community by restoring a threatened order) to an extent that is kind of impossible to overstate. Variations of this formula are everywhere, from film to television to comics to videogames to news reports. It is absolutely fundamental to our cultural understandings of what “heroism” means. And it’s been this way for, umm…a long time, largely thanks to that most foundational figure of Western myth, some guy who was crucified for everybody’s sins or something. (Well, that and the related popularization of Joseph Campbell’s hero’s journey, but…I’m not gonna go off onto a whole rant about that right now, this essay is already too long as it is).

In Bly Manor, the threatened order is the natural process of death itself, which Viola has disrupted with a gravity well that traps souls and keeps them suspended within physical proximity of the manor. Dani’s invitation to Viola is the initial step towards salvation (although, I think it’s important to note that this is not entirely intentional on Dani’s part. Jamie’s narration indicates that Dani didn’t entirely understand what she was doing with the “It’s you, it’s me, it’s us” invitation, so self-sacrifice was not necessarily her initial goal). It nullifies the gravity well and resumes the passage of death, which liberates all of the souls that have been trapped at Bly and also produces additional opportunities for others’ atonements (e.g. Peter’s apology to Miles; Henry’s guardianship of the children). But it’s Dani’s suicide that is the ultimate completion of the redemptive task. It is only by “giving herself to the lake” that Dani is able to definitively dispel Viola’s threat and confer redemptive peace to Bly Manor.

It’s tempting to celebrate this incredibly rare instance of a queer woman in the heroic-redemptive role, given that American media overwhelmingly reserve it for straight men. But I want to strongly advise that we resist this temptation. Frankly, there’s a lot about the conventional heroic-redemptive narrative formula that sucks, and I’d rather that we work to advocate for other kinds of narratives, instead of just championing more “diversity” within this stuffy old model of heroism. Explaining what sucks about this formula is beyond the purview of this essay, though. But my next point might help to illustrate part of why it sucks (spoiler: it’s because it tends to prop up traditional, dominant structures of power and relationality).

So…What I want us to do is entertain the possibility that Dani’s redemptive self-sacrifice might serve specific purposes for straight audiences, especially in the return to the frame at the end.

Across The Haunting of Bly Manor, we’ve seen ample examples of heterosexuality gone awry. The show has repeatedly called our attention to the flaws and failings of heterosexual relationships against the carefully cultivated safety, open communication, and mutual fulfillment of a queer romance between two women. But, while queer audiences may celebrate this about this show, for straight audiences, this whole situation might just wind up producing anxiety instead—as though heterosexuality is also a threatened order within the world of Bly Manor. More generally, asking straight audiences to connect with a queer couple as the show’s main protagonists is an unaccustomed challenge with which they’re not normally tasked; thus, the show risks leaving this dominant viewer base uncomfortable, threatened, and resentful, sitting with the looming question of whether heterosexuality is, itself, redeemable.

In answer to this, Dani’s self-sacrifice provides multiple assurances to straight audiences. To begin with, her assumption of the traditional heroic-redemptive role secures audiences within the familiar confines of that narrative formula, which also then promises that Dani is acting as a protector of threatened status quos and not as another source of peril. What Bly Manor is doing here is, in effect, acknowledging that it may have challenged (and even threatened) straight audiences with its centerpiece of a queer romance—and that, likewise, queers themselves may be challenging the status quos of romantic partnerships by, for instance, demanding marriage rights and improvements in media representations—while also emphatically reassuring those audiences in the wake of that challenge that Dani and Jamie haven’t created and aren’t going to create too much disturbance with their queerness. They’re really not that threatening, Bly swears. They’re harmless as a dove. They’re wholesome. They’re respectable. They—and queer folks more generally—aren’t going to totally upend everything, really. Look, they’ll even sacrifice themselves to save everyone and redeem imperiled communities and threatened orders—even heterosexuality itself!

A critical step towards achieving this assurance is the leveling of the playing field. In order for the show to neutralize the threat of queerness for straight audiences, comfort them with a return to safety, and promise them that heterosexuality is redeemable, the queer women need to have an on-screen tragic end to their relationship just like all of the straight couples have. And so, Dani must die and Jamie must grieve.

That accomplished, the show then immediately returns to the frame, the scene at the fireplace following Flora’s rehearsal dinner.

There—after we’ve witnessed so much queer joy and queer tragedy crammed into this final episode—we see Flora and her fiancé, bride and groom, sitting together, arms linked, taking in all that Jamie has to tell them. And with this warm, idyllic image of impending matrimony between man and wife, the safety to which straight audiences return in the frame is, therefore, also the safety of a heterosexuality that can find its redemption through Dani’s self-sacrifice. Not only does Dani’s death mean that Flora can live (and go on to marry her perfectly bland, unremarkable husband, all without the trauma of what happened at Bly), but it also means that she—and, with her, straight audiences—can ultimately benefit from the lessons about true love, loss, and grieving that Dani’s self-sacrifice and Jamie’s story bestow.

And so, Bly Manor concludes with a valorization of redemptive self-sacrifice and an anodyne recuperation of heteronormativity, bequeathing Flora with the opportunities to have and to hold the experiential knowledge that Dani and Jamie have provided for her. Here, queer tragedy serves up an educational opportunity for heterosexual audiences in a challengingly “inclusive,” but otherwise essentially non-threatening manner. The ending is a gentle, non-traumatizing, yet frank lesson to heterosexual audiences in the same way that Jamie’s story is a gentle, non-traumatizing, yet frank lesson to Flora.

Did the show’s creators intentionally do all of this to set about providing such assurances to straight audiences? Maybe. Maybe not. I don’t really know—or care! But, especially in light of incidents like the recent “Suletta and Miorine’s relationship is up to interpretation” controversy following the Gundam: Witch from Mercury finale, I absolutely do not put it past media corporations and content creators to very intentionally take steps to prioritize the comfort of straight audiences against the threats of queer love. And anyway, intentional or not, all of this still has effects and implications loaded with meaning, as I have tried to account for here.

Honestly, though, I can’t quite shake the feeling that there’s some tension between Jamie, Owen, and maybe also Henry about Jamie’s decision to publicly share Dani’s story in front of Flora and Miles. Owen’s abrupt declaration that it’s getting late and that they should wrap up seems like an intervention—like he’s been as patient and understanding as he possibly could up to that point, but now, he’s finally having to put a stop to Jamie’s deviance. I can’t help but read the meaningful stares that pass between them at both ends of the frame as a complex mixture of compassion and fraught disagreement (and I wish that the show had done more with this). The scene where Dani and Jamie visit Owen at his restaurant seems to set up the potential for this unspoken dispute. By their expressions and mannerisms (Dani’s stony stare; the protective way that Jamie holds her as her own gaze is locked on Dani), it’s clear that Dani and Jamie are aghast that Flora and Miles have forgotten what happened and that Owen believes that they should just be able to live their lives without that knowledge. And it’s also clear, by her very telling of Dani’s story, that Jamie disagrees with him. Maybe I’m over-imposing my own attitudes here, but I’m left with the impression that Jamie resents the coddling of Miles and Flora just like I’m resenting the coddling of straight audiences…that Jamie resents that she and Dani have had to give up everything so that Miles and Flora can continue living their privileged lives just like I’m resenting the exploitation of queer tragedy for the sake preserving straight innocence. (As Jamie says to Hannah when Dani puts the children to work in the garden: “You can’t give them a pass forever.” Disclaimer: I’m not saying that I want Miles and Flora to be traumatized, but I am saying that I agree with Jamie, because hiding traumatic shit is not how to resolve inter-generational trauma. Anyway—).

Also, I don’t know about y’all, but I find Flora and Jamie’s concluding conversation to be super cringe. Maybe it’s because I’m gay and just have way too much firsthand experience with this sort of thing from my own comphet past, but Flora’s whole “I just keep thinking about that silly, gorgeous, insane man I’m marrying tomorrow. I love him. More than I ever thought I could love anybody. And the crazy thing is, he loves me the same exact amount,” spiel just absolutely screams “woman who is having to do all of the emotional work in her relationship with an absolutely dull, mediocre, emotionally illiterate man and is desperately trying to convince herself that he does, in fact, love her as much as she (believes) that she loves him.”

I feel like this is a parody of straightness?? Is this actually sincere??

This is what Dani gave up her life to redeem??

To me, this is just more bleak shit that Bly leaves us with. It is so painful to watch.

Bless.

Okay, so I know that I said that I wasn’t going to offer a definitive yes or no about whether Bly commits Bury Your Gays with Dani’s death, but…after writing all of this out, I’m honestly kinda leaning towards a yes.

But I’m already anticipating that folks are gonna push back against me on this. So I just want to humbly submit, again, that Bly could have just not done this. It could have just not portrayed Dani’s death at all.

To really drive this point home, then, I’m going to conclude this essay by suggesting just a few ways that The Haunting of Bly Manor could have ended without Dani’s self-sacrificial death—or without depicting her death on-screen at all.

Bly Manor Could Have Ended Differently

Mike Flanagan—creator, director, writer, editor, executive producer, showrunner, etc. of The Haunting of Bly Manor—has stated that he believes that the show’s ending is a happy one.

I, on the other hand, believe that Bly’s ending is…not. In my view, the way that the ending treats Dani is unnecessarily cruel and exploitative. “Happy ending”—really? If I let myself be cynical about it (which I do), I honestly think that Dani’s death is a pretty damn transparent effort to squeeze out some tears with a sloppy, mawkish, feel-good veneer slapped over it. And if we peel back that veneer and look under it, what we find is quite bleak.

To be fair, for a psychological horror show that’s so centrally about grief and trauma, Bly Manor does seem to profess an incredibly strong sense of hopefulness. Underlying the entirety of the show is a profound faith in all the good and beauty that can come from human connection, however fleeting our lives may be—and even if we make a ton of dumb, awful mistakes along the way. If I’m being less cynical about it, I do also think that the show’s ending strives to demonstrate a peak expression of this conviction. But—at least in my opinion—it doesn’t succeed in this goal. In my writing of this essay, I’ve come to believe that the show instead ends in a state of despair that is at odds with what it appears to want to achieve.

So, in this final section, I’m going to offer up a few possibilities for ways that the show could have ended that maybe wouldn’t have so thoroughly undermined its own attempted messages.

Now, if I were actually going to fix the ending of The Haunting of Bly Manor, I would honestly overhaul a ton of the show to arrive at something completely different. But I’m not going to go through all the trouble of rewriting the entire show here, lol. Instead, I’m going to work with most of what’s already there, leading out from Viola’s possession of Dani (even though I don’t actually like that part of the show either – maybe someday I’ll write about other implications of Viola’s possession of Dani beyond these allegorical readings, but not right now). I’m also going to try to adhere to some of the show’s core themes and build on some of the allegorical possibilities that are already in place. Granted, the ideas that I pose here wouldn’t fix everything, by any stretch of the imagination; but they would, at least (I hope), mitigate some of the issues that I’ve outlined over the course of this essay. And one way or another, I hope that they’ll help to demonstrate that Dani’s self-sacrificial death was completely unnecessary. (Seriously, just not including Dani’s death would’ve enabled the show to completely dodge the question of Bury Your Gays and would’ve otherwise gone a long way towards avoiding the problems with the show’s queer representation).

So, here's how this is going to work. First, I’m going to pose a few general, guiding questions before then proposing an overarching thematic modification that expands on an idea that’s already prominent across the show. This will then serve as the groundwork for two alternative scenarios. I’m not going to go super into detail with either of these alternatives; mostly, I just want to demonstrate that the show that could’ve easily replaced the situation leading to Dani drowning herself. (For the record, I also think that the show could’ve benefitted from having at least one additional episode—and from some timing and pacing restructuring otherwise. So, before anybody tries an excuse like “but this wouldn’t fit into the last episode,” I want to urge that we imagine these possibilities beyond that limitation).

Let’s start off by returning to a point that I raised in the earlier conversation about grief and acceptance: the trickiness of Viola’s “acceptance.”

What Viola “accepts” in the end aren’t her losses or her own mortality, but Dani’s desperate, last-ditch-effort invitation to inhabit her. Within the show’s extant ending, Viola never actually comes to any kind of acceptance otherwise. Dani’s suicide effectively forces her dissolution, eradicating her persistent presence through the redemptive power of self-sacrifice. But in all of my viewings of the show and in all of my efforts to think through and write about it, there’s a question that’s been bugging me to no end: Why does Viola accept Dani’s invitation in the first place?

We know that Peter figured out the “it’s you, it’s me, it’s us” trick in his desperation to return to some form of life and to leave the grounds of Bly Manor. But…what is the appeal of it for Viola? How do her own motivations factor into it? For so long, Viola’s soul has been tenaciously persisting at Bly all so that she can repeatedly return to the physical locus of her connection with her husband and daughter, their shared bedroom in the manor. She’s done this for so long that she no longer even remembers why she’s doing it—she just goes back there to grab whatever child she can find and strangles whoever happens to get in her way. So what would compel her to accept Dani’s invitation? What does she get out of it—and what does she want out of it? What does her acceptance mean? And why, then, does her acceptance result in the dissipation of the gravity well?

We can conjecture, certainly. But the show doesn’t actually provide answers to these questions. Indeed, one of the other major criticisms that I have of Bly is that it confines all of Viola’s development to the eighth episode alone. I really think that it needed to have done way more to characterize her threat and at least gestureat her history sooner, rather than leaving it all to that penultimate episode, interrupting and drawing out the exact moment when she’s about to kill Dani. (Like, after centuries of Viola indiscriminately killing people, and with so many ghosts that’ve been loitering around for so long because of that, wouldn’t Bly Manor have rampant ghost stories floating around about it by the time Dani arrives? But there’s only one minor suggestion of that possibility: Henry indicating that he might’ve met a soldier ghost once. That’s it. And on that note, all of the ghosts at the manor needed to have had more screentime and development, really). Further, it’s disappointing that the show devotes that entire eighth episode to accounting for Viola’s motivations, only to then reduce her to Big, Bad, Unspeakable Evil in the final episode, with no rhyme or reason for what she’s doing, all so that she can necessitate Dani’s death.

As we continue pondering these unanswered questions, there’s also another issue that I want to raise, which the show abandons only as an oblique, obscure consideration. And that is: How the hell did Jamie acquire all that extensive knowledge about Viola, the ghosts of the manor, and all that happened, such that she is able to tell Bly’sstory in such rich detail? My own sort of headcanon answer to this is that Viola’s possession of Dani somehow enabled Viola to regain some of her own memories—as well as, perhaps, a more extended, yet also limited awareness of the enduring consciousnesses of the other ghosts—while also, in turn, giving Dani access to them, too. Dani then could have divulged what she learned to Jamie, which would account for how Jamie knows so much. I bring this up because it provides one possible response to the question of “What does Viola get out of her possession of Dani?” (especially given the significant weight that the show places on the retention of one’s memories—more on this in a moment) and because this is an important basis for both of my proposed alternative scenarios.

Before we dig into those alternative scenarios, however, there’s also a thematic modification that I want to suggest, which would help to provide another answer to “What does Viola get out of her possession of Dani?” while also alleviating the issues that lead into the valorization of Dani’s suicide. That thematic modification involves how the show defines love. Although Bly’s sustained contrasts between love and possession have some valuable elements, I think that the ending would’ve benefitted from downplaying the love vs. possession theme (which is where we run into so much trouble with Dani’s self-sacrifice, and which has also resulted in some celebratory conflations between “selflessness” and self-sacrifice that I’ve seen crop up in commentary about the show—but, y’all, self-sacrifice is not something to celebrate in romantic partnerships, so please, please be careful idolizing that) to instead play up a different theme: the idea that love is the experience of feeling such safety and security with another person that we can find opportunities for peace by being with them.

Seeking peace—and people with whom to feel safe enough to share traumas and experience peace—is a theme that already runs rampant across the show, so this modification is really just a matter of accentuating it differently. It’s also closely linked to the moving through grief theme that we’ve already discussed at length, as numerous characters in Bly express desires for solitude with loved ones as a way of finding relief and healing from their pain, grief, and trauma. (And I suspect that I latched onto this because I have desperately wanted peace, calm, and stillness in the midst of my own acute, compounding traumas…and because my own former romantic partner was obviously not someone with whom I felt safe enough to experience the kind of peace that would’ve allowed me to begin the process of healing).

We run into this idea early in the development of Jamie and Dani’s romance, as narrator Jamie explains in the scene leading up to their first kiss, “The au pair was tired. She’d been tired for so long. Yet without even realizing she was doing it, she found herself taking her own advice that she’d given to Miles. She’d chosen someone to keep close to her that she could feel tired around.” Following this moment, at the beginning of Episode 5, narrator Jamie then foregrounds Hannah’s search for peace (“The housekeeper knew, more than most, that deep experience was never peaceful. And because she knew this ever since she’d first called Bly home, she would always find her way back to peace within her daily routine, and it had always worked”), which calls our attention to the ways that Hannah has been retreating into her memory of her first meeting with Owen as a crucial site of peace against the shock of her own death. Grown-up Flora even gushes about “that easy silence you only get with your forever person who loves you as much as you love them” when she’s getting all teary at Jamie about her husband-to-be.

Of course, this theme is already actively at work in the show’s conclusion as well. During her “beast in the jungle” monologue, Dani tells Jamie that she feels Viola “in here. It’s so quiet…it’s so quiet. She’s in here. And this part of her that’s in here, it isn’t…peaceful.” As such, Viola’s whole entire issue is that, after all those centuries, she has not only refused to accept her own death, but she’s likewise never been at peace—she’s still not at peace. Against Viola’s unpeaceful presence, however, Dani does find peace in her life with Jamie…at least temporarily, until Viola’s continued refusal of peace leads to Dani’s self-destructive sense of fatalism. Still, in her replacement of Viola as the new Lady of the Lake, Dani exists as a prevailing force of peace (she’s “harmless as a dove”); however, incidentally, she only accomplishes this through the decidedly non-peaceful, violent act of taking her own life.

But…what if that hadn’t been the case?

What if, instead, the peace that Dani finds in her beautiful, queer, non-self-sacrificing existence with Jamie had also enabled Viola to find some sense of peace of her own? What if, through her inhabitation of Dani, Viola managed to, like…calm the fuck down some? What if Dani’s safety and solitude worked to at least somewhat assuage Viola’s rage—and even guide her towards some other form of acceptance?

Depending on how this developed, the show could’ve borne out the potential for a much more subversive conclusion than what we actually got. Rather than All-Consuming-Evil Viola’s forced dissolution through the violence of Dani’s redemptive self-sacrifice (and its attendant recuperation of heteronormativity), we could’ve instead had the makings of a narrative about sapphic love as a source of healing that’s capable of breaking cycles of violence and trauma. And I think that it would’ve been possible for the show to accomplish this without a purely “happy” ending in which everything was just magically fine, and all the trauma dissipated, and there were no problems in the world ever again. The show could have, in fact, managed this while preserving the allegorical possibilities of Viola’s presence as mental and/or terminal illness.

But, before I can start describing how this could’ve happened, there’s one last little outstanding problem that I need to address. In the video essay that I cited earlier, Rowan Ellis suggests that there are limitations to the “Viola as a stand-in for mental/terminal illness” reading of the show because of the fact that Dani invites Viola into herself and, therefore, willingly brings on her own suffering. But I don’t think that this is quite the case or that it interferes with these allegorical readings. As I’ve already mentioned at various points, Dani doesn’t entirely understand the implications of what she’s doing when she issues her invitation to Viola; and even so, the invitation is still a matter of a dubious consent that evidently cannot be withdrawn once initially granted—at the absolute most generous characterization. Dani’s invitation is a snap decision, a frantic attempt to save Flora after everyone and everything else has failed. Consequently, we don’t necessarily have to construe Viola’s presence in Dani’s life as a matter of Dani “willingly inviting her own suffering,” but can instead understand it as the wounds and traumas that persist after Dani has risked her life to rescue Flora. In this way, the show could have also challenged the traditional heroic-redemptive narrative formula by offering a more explicit commentary on the all-too-often unseen ramifications of selflessly “heroic” actions (instead of just heedlessly perpetuating their glorification and, with them, self-sacrifice). Dani may have saved Flora—but at what cost to herself? What long-term toll might this lasting trauma exact on her?

And with that, we move into my two alternative ending scenarios.

Alternative Ending 1: Progressive Memory Loss

Memory and its loss are such significant themes in Bly Manor that theycould use an essay all their own.

I am, however, going to refrain from writing such an essay at this moment in time (I’m already super tired from writing this one, lol).

Still, the first of my alternative scenarios would bring these major themes full-circle—and would make Jamie eat her words.

In this alternative scenario, Viola would find some sense of peace—even if fraught and, at times, tumultuous—in her possession of Dani. As her rage subsides, she is even able to regain fragmented pieces of her own memory, which Dani is also able to experience. The restoration of Viola’s memory, albeit vague and scattered, leads Dani to try to learn even more about Viola’s history at Bly in an effort to at least partially fill in the gaps. As time goes on, though, Viola’s co-habitation within Dani’s consciousness leads to the steady degradation of Dani’s own memory. The reclamation of Viola’s memories would occur, then, concomitant with a steady erosion of both herself and Dani. Thus, Dani would still undergo an inexorable decline across the show’s ending, but one more explicitly akin to degenerative neurological diseases associated with aging, accentuating the “Viola as terminal illness” allegory while also still carrying resonances of the residual reverberations of trauma (given that memory loss is often a common consequence of acute trauma). Jamie would take on the role of Dani’s caregiver, mirroring and more directly illuminating the role that Owen plays for his mother earlier in the show. By the show’s conclusion, Dani would still be alive, including during the course of the frame narrative.

I mentioned earlier in this essay that I’ve endured even more trauma and grief since my brother’s death and since my breakup with my ex-fiancé. So, I’ll share another piece of it with you now: shortly after my breakup, my dad was diagnosed with one of those degenerative neurological diseases that I listed way back at the very beginning. I moved home not only to get away from my ex, but also to become a caregiver. In the time that I’ve been home, I’ve had no choice but to behold my dad’s continuous, irreversible decline and his indescribable suffering. He has further health issues, including a form of cancer. As a result, he now harbors a sense of fatalism that he’ll never be able to reconcile—he does not have the cognitive capacities to address his despair or turn it into some other form of acceptance. He is merely, in essence, awaiting his death. Hence, fatalism is something that I have had to “accept” as a regular component of my own life. (In light of this situation, you may be wondering if I have thoughts and opinions on medical aid in dying, given all that I have had to say so far about fatalism and suicide. And the answer is yes, I do have thoughts and opinions…but they are complex, and I don’t really want to try to account for them here).

Indeed, I live in a suspended, indefinite state of grieving. Day in and day out, I watch my father perish before my eyes, anticipating the blow of fresh grief that will strike when he dies. I watch my mother’s grief. I watch my father’s grief. He forgets about the symptoms of his disease; he looks up his disease to try to learn about it; he re-discovers his inevitable demise anew; the grieving process restarts again. (“She would wake, she would walk, she would forget […] and she would fade and fade and fade”).

What, then, does acceptance look like when grief is so ongoing and so protracted?

What does acceptance look like in the absence of any possibility of acceptance?

Kübler-Ross’s “five stages of grief” model has been a meaningful guide for countless folks in their efforts to navigate grief and loss. Yet, the model has also been subject to a great deal of critique. Critics have accused the model of, among other things, suggesting that grieving is a linear process, whereby a person moves from one stage to the next and then ends conclusively at acceptance (when grieving is, in fact, an incredibly uneven, nonlinear, and inconclusive process). Relatedly, they have also called attention to the fact that the model commonly gets used prescriptively in ways that usher grieving folks towards the end goal of acceptance and cast judgment on those who do not reach that stage. These are criticisms that I would level at Bly’s application of Kübler-Ross as well. Earlier, we thoroughly covered the show’sissues with grief and acceptance as major themes; but in addition to those issues, Bly alsotends to steer its characters towards abrupt endpoints of acceptance, while doling out punishments to those who “refuse” to accept. At root, there are normative ascriptions at work in the show’s very characterization of deferred acceptance as refusal and acceptance itself as an active choice that one has to make.

This alternative ending, then, would have the potential to challenge and complicate the show’s handling of grief by approaching Jamie’s grieving and Dani’s fatalism from very different angles. As Dani’s caregiver, Jamie would encounter and negotiate grief in ongoing and processual ways, which would continue to evolve as her wife’s condition worsens and her caregiving responsibilities mount, thereby lending new layers of meaning to the message that “To truly love another person is to accept that the work of loving them is worth the pain of losing them.” Dani’s fatalism here could also serve as a different interpretation of James’s Beast in the Jungle; perhaps her sense of fatalism ebbs and flows, morphs and contorts along with the progression of her memory loss as she anticipates the gradual whittling-away of her selfhood—or even forgets that inevitability entirely. Still a tragic, heart-rending ending to the show, this scenario may not have the dramatic force of Jamie screaming into the waters of the lake, but it would be a relatable depiction of the ways that many real-life romances conclude. (And, having witnessed the extent of my mom’s ongoing caregiving for my dad, lemme tell ya: if y’all really want a portrayal of selflessness in romantic partnerships, I can think of nothing more selfless than caring for one’s terminally ill partner across their gradual death).

Additionally, this scenario could allow the show to maintain the frame narrative, while also packing fresh complexities into it.

Perhaps, in this case, Dani is still alive, but Jamie has come to Flora’s wedding alone, leaving Dani with in-home caregivers or within assisted living or some such. She comes there determined to ensure that Miles and Flora regain at least some awareness of what Dani did for them—that they remember her. The act of telling Dani’s story, then, becomes not only the performance of a mourning ritual, but also a vital way of preserving and perpetuating Dani’s memory where both the children and Dani, herself, can no longer remember. To be sure, such purposes already compel Jamie’s storytelling in the show: Narrator Jamie indicates that the new Lady of the Lake will eventually lose her recollection of the life she had with the gardener, “leaving the only trace of who she once was in the memory of the woman who loved her most.” But in the context of a conclusion so focused on memory loss, this statement would take on new dimensions of import. In this way, the frame narrative might also more forcefully prompt us, the audience, to reflect on the waysthat we can carry on the memories of our loved ones by telling their stories—and also, maybe, the responsibilities that we may have to do so. “Almost no one even remembers how she was when her mind hadn’t gone,” Jamie remarks after returning from Owen’s mother’s funeral, a subtle indictment of just how easily we can lose our own memories of those who suffer from conditions like dementia—how easily we can fail to carry on the stories of the people they were before and to keep their memories alive. (“We are all just stories in the end,” Olivia Crain emphasizes during the eulogy for Shirl’s kitten in The Haunting of Hill House. In fact, there’re some interesting comparative analyses we could do about storytelling and the responsibilities incumbent on storytellers between these two Flanagan shows).

Along those lines, I think that this would’ve been an excellent opportunity for the show to exacerbate and foreground those latent tensions between Jamie and Owen (and maybe also Henry) about whether to share Dani’s story with the now-adult children.

In the show’s explorations of memory loss, there’re already some interesting but largely neglected undercurrents churning around about the idea that maybe losing one’s memory isn’t just a curse or a heartbreaking misfortune (as it is for Viola, the ghosts of Bly Manor, and Owen’s mother), but can, in certain circumstances, be a blessing. Bly implies—via Owen and the frame narrative—that Miles and Flora have been able to flourish in their lives because they have forgotten what happened at Bly and still remain blissfully unaware of it…which, to be clear, is only possible because of the sacrifices that Dani and Jamie have made. But this situation raises, and leaves floating there, a bunch of questions about the responsibilities we have to impart traumatic histories to younger generations—whether interpersonally (e.g. within families) or societally (e.g. in history classrooms). Cycles of trauma don’t end by shielding younger generations from the past; they especially don’t end by forcing impacted, oppressed, traumatized populations (e.g. queer folks) to shoulder the burdens of trauma on their own for the sake of protecting another population’s innocent ignorance. But how do we impart traumatic histories? How do we do so responsibly, compassionately, in ways that respect those harrowing pasts—and those who lived them, those most directly impacted by them—without actively causing harm to receiving audiences? On the other hand, if we over-privilege the innocence of those who have forgotten or those who weren’t directly impacted, what do we lose and what do we risk by not having frank, open conversations about traumatic histories?

As it stands, I think that Bly is remiss in the way it tosses out these issues, but never actually does anything with them. It could have done much, much more. In this alternate ending, then, there could be some productive disagreement among Jamie, Owen, and Henry about whether to tell Flora and Miles, what to tell them, how to tell them. Perhaps, in her seizing of the conversation and her launching of the story in such a public way, Jamie has taken matters into her own hands and has done so in a way that Owen and Henry can’t easily derail. Perhaps Owen sympathizes but does, indeed, abruptly cut her off just before her audience can completely connect the dots. Perhaps Henry is conflicted and doesn’t take a stand—or perhaps he does. Perhaps we find out that Henry had been torn about whether to even invite Jamie because of the possibility of something like this happening. Or, perhaps Henry wants the children to know and believes that they should hear Dani’s story from Jamie. Perhaps we see scenes of past quarrels between Jamie and Owen, Owen and Henry. Perhaps, once the story has ended, we see a brief aftermath conversation between Owen and Jamie about what Jamie has done, their speculations about how it may impact Miles and Flora. Perhaps the show presents these conversations in ways that challenge us to reflect on them, even if it does not provide conclusive answers to the questions it raises, and even if it leaves these conflicts open-ended, largely unresolved.

Alternative Ending 2: Living with the Trauma

If Bly’s creators had wanted Viola’s inhabitation of Dani to represent the ongoing struggles of living—and loving someone—with severe mental illness and trauma, they could have also just…done that? Like, they could have just portrayed Jamie and Dani living their lives together and dealing with Viola along the way. They could have just let that be it. It wouldn’t have been necessary to include Dani’s death within the show’s depicted timeline at all.

The show could’ve more closely aligned its treatment of Dani’s fatalism with James’s Beast in the Jungle—but with, perhaps, a bit more of a hopeful spin. Perhaps, early on, Dani is convinced that her demise is imminent and incontrovertible, much as we already see in the final episode’s diner scene. For a while, this outlook continues to dominate her existence in ways that interfere with her daily functioning and her relationship with Jamie. Perhaps there’s an equivalent of the flooded bathtub scene, but it happens much earlier in the progression of their partnership: Dani despairs, and Jamie is there to reinforce her commitment to staying with Dani through it all, much like her extant “If you can’t feel anything, then I’ll feel everything for the both of us” remarks. But maybe, as a result of this, Dani comes to a realization much like The Beast in the Jungle’s John Marcher—but one that enables her to act on her newfound understanding, an opportunity that Marcher never finds before it’s too late. Maybe she realizes that her fatalism has been causing her to miss out on really, truly embracing the life that she and Jamie have been forging together, thus echoing the show’s earlier points about how unresolved trauma can impede our cultivation of meaningful relationships. Maybe she realizes that her life with Jamie has been passing her by while she’s remained so convinced that Viola will claim that life at any moment. Maybe she comes to understand that her perpetual sense of dread has been hurting Jamie—that Jamie needs her in the same ways that she needs Jamie, but that Dani’s ever-present sense of doom has been preventing her from providing for those needs. And maybe this leads to a re-framing of the “you, me, us,” conceit, with a scene in which Dani acknowledges the extent to which her fatalism has been dictating their lives; in light of this acknowledgement, she and Jamie resolve—together—to continue supporting each other as they navigate Viola’s lasting influences on their lives.

By making this suggestion, I once again do not want to seem like I’m advocating that “Dani should fight back against Viola” (or, in other words, that “Dani should fight harder to win the battle against her mental illness”). But I do want to direct us back to a point that I raised at the very beginning: grieving, traumatized, and mentally ill folks can, indeed, cause harm to our loved ones. Our grief, trauma, and mental illness don’t excuse that fact. But what that means is that we have to take responsibility for our harmful actions. What it absolutely does not mean is that our harms are inevitable or that our loved ones would be better off without us.It means recognizing that we still matter and have value to others, despite the narratives we craft to try to convince ourselves otherwise. It means acknowledging the wounds that fatalistic, “everybody is better without me” assumptions can inflict. It means identifying the ways that we can support and care for our loved ones, even through our own struggles with our mental health.

“Fighting harder to win the battle against mental illness” is a callous and downright incorrect framing of the matter; but there are, nevertheless, intentional steps that we must take to heal from trauma, to receive treatment for our mental illnesses, to care for ourselves, to care for our loved ones. For instance…the very process of writing this essay incited me to do a lot of reflecting on the self-defeating narratives that I have been telling myself about my mental health and my relationships with others. And that, in turn, incited me to do some course-correcting. I thought about how much I want to work towards healing, however convoluted and intricate that process may be. I thought about how I want to support my family. How I want to foster a robust social support network, such that I feel a genuine sense of community. How I want to be an attentive friend. How, someday, if I’m fortunate enough to have a girlfriend, I want to be a caring, present, and equal partner to her; I want to emotionally nourish her through life’s trials and turmoil, not just expect her to provide that emotional nourishment for me. I started writing this essay in August; and since then, because of it, I’ve held myself accountable by reaching out to friends, spending time with them, trying to support them. I’ve also managed to get myself, finally, to start therapy. And my therapist is already helping me address those self-defeating narratives that have led me to believe that I’m just a burden on my friends. So, y’know, I’m workin’ on it.

But it ain’t pretty. And it also ain’t a linear upward trajectory of consistent improvement. It’s messy. Sometimes, frankly, it’s real ugly.

It could be for Dani, too.

Even with her decision to accept the certainties and uncertainties of Viola’s intrusive presence in her life, to live her life as best she can in the face of it all, perhaps Dani still struggles from day to day. Perhaps some days are better than others. Perhaps Viola, as I suggested earlier, begins finding some modicum of peace through her possession of Dani; nonetheless, her rage and disquiet never entirely subside, and they still periodically overtake Dani. Perhaps Dani improves, only to then backslide, only to then find ways to stabilize once again. In this way, the show could’ve more precisely portrayed the muddled, tumultuous lastingness of grief and trauma throughout a lifetime—without concluding that struggle with a valorized suicide.

Such portrayals are not unprecedented in horror. As I contemplated this ending possibility, I couldn’t help but think of The Babadook (2014), another piece of horror media whose monster carries allegorical import as a representation of the endurance and obtrusion of unresolved trauma. The titular monster doesn’t disappear at the film’s end; Sam emphasizes, in fact, that “you can’t get rid of the Babadook.” And so, even after Amelia has confronted the Babadook and locked him in the basement of the family’s home, he continues to lurk there, still aggressive and threatening to overcome her, but able to be pacified with a bowlful of worms. Like loss and trauma, the Babadook can never be totally ignored or dispelled, only assuaged with necessary, recurrent attention and feedings.

Bly could have easily done something similar with Viola. Perhaps, in the same way that Amelia has to regularly provide the Babadook with an offering of worms, Dani must also “feed” Viola to soothe her rage. What might those feedings look like? What might they consist of? Perhaps Viola draws Dani back to Bly Manor, insisting on revisiting those same sites that have held implacable sway over her for centuries. Perhaps these visits are what permit Dani to gradually learn about Viola: who she was, what she has become, why she has tarried between life and death for so long. Perhaps Dani also learns that these “feedings” agitate Viola for a while, stirring her into fresh furor—but that, in their wake, Viola also settles more deeply and for longer periods. Perhaps they necessitate that Dani and Jamie both directly confront their own traumas, bring them to the surface, attend to them. Perhaps, together, they learn how to navigate their traumas in productive, mutually supportive ways. Perhaps this is also what quiets Viola over time, even if Dani is never quite sure whether Viola will return to claim her life.

You may be wondering, then, about what happens with the frame narrative in this scenario. If Dani doesn’t meet some tragic demise, what happens to the role and significance of grieving in the act of Jamie’s storytelling? Would Jamie’s storytelling even occur? Wouldn’t Dani just be at Flora’s wedding, too? Would we miss the emotional gut-punch of the reveal of the narrator’s identity at the end?  

Perhaps, in this case, the ending removes some of the weight off of the grief theme to instead foreground those troubled deliberations about how to impart traumatic histories (as we covered in the previous scenario). As such, the frame could feature those conflicts between Jamie (and Dani here too this time), Owen, and Henry concerning whether or not to tell Dani’s story to Miles and Flora. Perhaps Dani decides not to attend the wedding, wary of contributing to this conflict at the scene of what should be a joyous occasion for Flora; perhaps she feels like she can’t even face the children. And then, without Dani there, perhaps an overwrought Jamie jumps into the story when the opportunity presents itself—whether impulsively or premeditatedly.

Or…Perhaps the show could’ve just scrapped the frame at Flora’s wedding and could’ve done something else instead. What might that be? I have no idea! Sky’s the limit.

At any rate, even with these changes, it would’ve still been possible to have the show conclude in a sentimental, tear-jerking way (which seems to be Flanagan’s preference). Perhaps Jamie’s storytelling does spark the return of the children’s memories. Perhaps, as they begin to remember, they reach out to Dani and Jamie, wanting to connect with them, wanting especially to see Dani again. And then, perhaps, the show could’ve ended with a scene of Miles and Flora finally reuniting with Dani—emotional, sweet, and memorable, no valorized suicide or exploitation of queer tragedy needed.

Conclusion

In my writing of this essay—and over the course of the Bly Manor and Hill House rewatches that it inspired—I’ve been finding myself also doing a great deal of reflection about the possibilities and purposes of horror media. I’ve been thinking, in particular, about the potential for the horror genre to provide contained settings in which we can face and explore our deepest fears and traumas in (relatively) safe, controlled ways. Honestly, I think that this is part of why I enjoy Flanagan’s work so much (even if it also enrages me at the same time). If you’ve read this far, you’ll have seen just how profoundly I relate to so much of the subject matter of The Haunting of Bly Manor. It has been extremely meaningful and valuable for me to encounter the show’s depictions of topics like familial trauma, grief, loss, compulsory heterosexuality, caregiving for aging parents, so on, all of which bear so heavily on my own existence. Bly Manor produced opportunities for me to excavate and dig deeply into the worst experiences of and feelings about my life: to look at them, understand them, and give voice to them, when I’m otherwise inclined to bury them into inconspicuous docility.

Even so, the show does not handle these relatable topics as well as it could have. Flanagan and the many contributors to this horror anthology can’t just preach at us about the responsibilities of storytellers; they, too, have responsibilities as storytellers in the communication of these delicate, sensitive, weighty human experiences. And so, to reinforce a point that I made earlier, this is why I’ve written this extensive critique. It’s not because I revile the show and want to condemn it—it’s because I cherish Bly Manor immensely. It’s because I wanted more out of it. It’s because I want to hold it and its creators accountable. It’s because I want folks to think more critically about it (especially after how close I came to unreflectively accepting its messages in my own initial reception of it).

Television usually doesn’t get me this way. It’s been a long time since I was this emotionally attached to a show. So this essay has been my attempt to honor Bly with a careful, meticulous treatment. I appreciate all of the reflection and self-work that it has inspired me to undertake. I’ve wanted to pay my respects in the best way I know how: with close, thorough analysis.

If you’ve read all this mess, thanks for taking the time to do so. I hope that you’ve been able to get something out of it, too.

Representation matters, y’all.

The end.

[sukunasdirtylaugh]

a/n: based off of this piece I wrote literally like not even an hour ago I’m obsessed with these two. happy early Valentine’s Day to all 🤍

tags: gojo x f!reader, slowburn, reader is an older sister raising her brother and Satoru comes in, sort of like found family au, mentions of readers brother having an infection/going to the er and Satoru comforts reader, slight angst there but fluff at the end (inspired by this)

Satoru doesn’t know when it was he loved you.

He thinks maybe it was the time you answered one of his lonely late night calls. When the moon is faint and the silence too loud for his liking. the floor is too cold and he thinks he’s nothing but a man, with blankets that can’t give him the warmth he seeks. Only those but your words can warm a home, and when he finishes talking to you that night, he feels like maybe there is something to look forward to.

But that was before he met you, the real you in flesh and bone. He wasn’t blessed hearing the sound of your laugh inside the same room, only through landline, and he wasn’t blessed with seeing you blush. He didn’t know how holy it would be be to hold your hand, or how fulfilled he felt when he drove you home after a night full of laughter. No, it wasn’t then.

It could have started when he saw how troubled you were after your sprained ankle that he sent an order of your favorite food to you and your brothers door. He also sent a pack of ice wraps that could help your ankle according to ichiji who always had foot problems and was an expert himself. but that wasn’t it.

Or maybe it was when he heard your distraught call, your brother’s fever had not decreased after 3 days and he had spent most of his days sleeping. He thinks it was then when he loved you, when he helped carry your 10 year old brother into the ER waiting for the doctors to give you reports. He had consoled you that night, your hair was messy and your shirt two days old as you cried into his chest. “I’m such a failure,” you cried into him, “mom... if only mom-”

“You’re doing such a great job, sweetheart.” He tells you, rubbing your back, holding you tight. “I can see it and your mom can too. You love him, and you’ve been doing everything you could, no one can deny it.” He tells you.

“I’ve never met anyone who actively measures every cup or hour, you haven’t slept for days, angel. We’re okay, we’re at the doctor’s. He’s in good hands, okay? I’m here.”

He remembered how you nodded against him and how it broke his heart seeing your tear stained face. It turned out your brother had a minor infection that medication given to him that night lowered all of his fever overnight. He stayed with you that night.

But it wasn’t then.

He found a new sense of love for you after he offered to fix your door. It was late winter, cold air would enter your loose door, and he offered to close a gap within the door that a few screws could fix. Of course, why not change your lock into something safer while he was at it? And if your brother was here too, why not show him too? Serves as a learning experience, and he liked the kid.

When he finished fixing your door, your smile made him feel proud, almost nudging at him to look for something else in your apartment that was broken that he could fix, but before he could do anything else, you spoke. “I thought about making you something. You know, to thank you for fixing my door.” That day, he learned to love your cooking, no matter how small or elaborate. If it was made by you, he would love it.

It finally struck him that he loved you when you were in the comfort of your own home. Your brother long asleep in his room as satoru watched you cook some late night dinner. The two of you had gone out eating, but were both half heartedly dissatisfied with the portions. Still hungry, you suggested making something in your home.

“I told you I could help you,” he gently nudges then pouts at your soft laugh as you stand before the stove.

“I know, but what’s the fun of it since I can’t spoil you, hm?” You smile.

“You should be angry at me, I picked a terrible restaurant.”

“Maybe I should,” you muse, “but I’m not. Maybe I’ll give you the burnt piece, how does that sound?”

“You should be crueler,” he sighs dramatically, “make me do the dishes or something.”

“Maybe. Or how about I don’t kiss you for the night instead?” he gasps dramatically.

“You wouldn’t.”

“I could...”

“That’s too mean.”

“You think?”

“Yeah,” he huffs, setting his chin on your shoulder as he watches you cook. His arms nicely wrap around your waist. “You’re too pretty.”

“And you’re too...” you huff, melting into his embrace, “sweet.”

“Yeah?” He whispers, pressing a kiss to the underside of your jaw.

“Yeah.” You breathe, closing your eyes as your bloodstream fills with euphoria as does his. Satoru buries his face against the part where your shoulder and neck meet before pressing a kiss there.

“I love you.”

[wickedlysecret]

Something I’ve been lowkey obsessing over for the past few years has been The Muppet Christmas Carol (1992), which is quite possibly my favorite Christmas movie ever. It’s fun, it’s funny, it has cute moments, Michael Caine is absolutely the best Scrooge to ever Scrooge… I can’t sing this movie’s praises enough. I was so excited when it was included on Disney+, so I could watch it pretty much whenever the desire struck.

The thing is, there’s another Christmas Carol adaptation that I loved to watch as a child that’s also on Disney+: Mickey’s Christmas Carol (1983). It’s another retelling of the same story, and yet… it doesn’t really hit in the same way that the Muppet one does. And I can’t stop thinking about why that would be the case. What do the Muppets do in their adaptation that Mickey and his friends don’t do in theirs?

If you haven’t figured it out by now, I’m going to sit here and compare and contrast these adaptations, with pictures and quotes. This is gonna be one of those “In this essay I will” posts, except the essay actually follows under a cut. After all, I’m nothing if not a former English major with weird hyperfixations.

I broke down the places where the differences are strongest into four parts: The Spirits/Ghosts of Christmas Whatever; the inclusion of a comedic Narrator character; the simple fact that the Muppets are Actors in their own right; and the entire “Christmas Future” part of the story.

1. The Spirits. 

For the Muppets, new characters have been created for the roles. These characters were only ever used for these roles, and we never see them again in other Muppet productions, save for Jacob (and Robert) Marley, as played by Statler and Waldorf, whom I’ll talk about at another point.

These new characters make much of the dialogue work, as well, with much of their exchanges with Scrooge at least sounding, if not actually being exactly as written in the original Christmas Carol. The supernatural look of the little ghosty Spirit of Christmas Past helps to sell the whole picture when they say lines like, “A touch of my hand, and you shall fly.” The jolly, bumbly, ginger-haired-Santa lookalike Spirit of Christmas Present is personable and friendly, even able to make a mean and grumpy man like Scrooge joke and laugh with joy. And the Spirit of Christmas Yet to Come is faceless, imposing, and silent. They communicate through pointing, or a guiding hand, and they chill both Scrooge and the audience without saying a single word, merely showing Scrooge the future that awaits him.

Disney, perhaps understandably, made use of some of their existing Intellectual Properties (IPs) instead of creating new characters to serve as the Spirits. Jiminy Cricket is our Ghost of Christmas Past; The Giant (from Mickey and the Beanstalk) makes a surprising return to the screen as the Ghost of Christmas Present; and finally, in a jarring reveal which I could argue was made only for the purpose of having yet another IP make an appearance, Pete fills the role of the Ghost of Christmas Future. These are characters with personalities that the audience already presumably knows, and while they are able to fill their roles to a degree, they also come with baggage, for lack of a better term. They struggle to keep a balance of their original personalities, while also donning the personalities of their Christmas Carol roles.

Jiminy attempts to give sage advice to Ebenezer Scrooge (McDuck), in the same manner as he had with Pinnochio, but a stern little cricket lecturing an old man duck just doesn’t feel right. And the giant is also bumbling, sure, but more than that, he’s just… stupider than the Muppet Spirit. Caine’s Scrooge even remarks “You’re a little absentminded, spirit,” to which the Muppet Spirit of Christmas Present replies, “No, I’m a large absentminded spirit!” The giant’s version of the Spirit is just your run-of-the-mill comedic relief idiot. As for Pete’s ghost, he’s silent and somewhat imposing for almost the entire Christmas Future segment, until he removes his hood and scares Scrooge into his empty grave with some mean remark. And the mean remark is truly what ruins Pete as the Spirit of Christmas Future; this Spirit isn’t mean, but rather delivering harsh truths. The purpose of the Spirit of Christmas Future is to really drive home to Scrooge that, if he doesn’t change his ways, this is the unfortunate future that awaits him. It’s the future itself that’s supposed to scare Scrooge, not the Spirit delivering the message.

In essence, by not only using existing IPs for the Spirits in the story, but miscasting the Spirits with IPs that don’t work for their roles, Mickey’s Christmas Carol confuses the whole message that A Christmas Carol is supposed to convey.

Finally, as I mentioned, I want to talk about our Marleys. In The Muppet Christmas Carol, Marley is the only spirit for whom they’ve used an existing character–or, rather, characters. They’ve cast the grumpy old men, Statler and Waldorf, as Jacob and Robert Marley. They have a silly song they sing to Scrooge, which still manages to terrorize the man, and to be fair, the spirits of Scrooge’s old business partners are warning him of something terrible coming for him: more ghosts. We’re still early in the story at this point, so the Muppets wouldn’t be taking their big guns out yet, so imparting a scary warning in the form of a light and fun musical number is… well, it’s very on brand.

Meanwhile in Mickey’s, we have Goofy as Jacob Marley. I’ll talk more about this casting choice later, but the short of it is: why? Goofy’s not a mean OR selfish guy at all, and I can’t understand this role placement for him. He’s very stern with Scrooge, and it’s hard to take him seriously at all, and to top it all off he falls down the stairs at the end of his scene, with his trademark “Yaaaaah-hoo-hoo-hoo-eeeeeeee” shout and all. It doesn’t fit the character they’re trying to have him portray.

2. The comedic benefits of a Narrator Character. 

In the beginning of The Muppet Christmas Carol, the audience is introduced to Gonzo and Rizzo on the streets of the British Muppet City.

“Welcome to the Muppet Christmas Carol! I am here to tell the story!” “And I am here for the food!” “My name is Charles Dickens.” “And my name is Rizzo the Rat! Hey, wait a second…”

Gonzo and Rizzo, from this point forward, are the audience’s guide throughout the story of A Christmas Carol, there to explain, buffer, and offer comedic relief. They break the fourth wall, talking about and to the audience, and referring to any children who might be watching.

“Whoa, that’s scary stuff. Hey, should we be worried about the kids in the audience?” “Nah, that’s alright, this is culture.”

Gonzo and Rizzo carry a lot, and I mean a lot of the comedic moments within The Muppet Christmas Carol, leaving the story’s characters to portray the story, without strange interruptions from within. Well, for the most part. There are moments where comedy comes from within the story.

“If you please, Mr. Scrooge? It’s gotten colder… and the bookkeeping staff would like to have an extra shovelful of coal for the fire.” “We can’t do the bookkeeping.” “Yeah, all of our pens have turned to ink-cicles!” “Our assets are frozen!” “How would the bookkeepers like to be suddenly… UNEMPLOYED?!” “HEAT WAVE! This is my island in the sun!”

There are also moments where Gonzo Dickens and Rizzo interact with characters in the story, breaking the fourth wall further for more comedy.

“It is the American way!” “Sam! [Unintelligible whispering]” “Ah. It is the British way!” “Good.”

And of course there are moments where the characters’ existing personalities do come forward through their acting, such as when Miss Piggy, as Emily Crachit, calls Kermit (Bob Crachit) “Crachie”, in a play on her nickname for Kermit, “Kermie”.

The thing to note about all of these moments of comedy, is that none of them interrupt the story for the sake of a joke, or a catchphrase. The story continues without a hitch.

It also means that, when Gonzo Dickens and Rizzo leave at the beginning of Scrooge’s time with the Ghost of Christmas Future, they take just about every chance at joyful comedy with them. The audience knows their absence means things are about to get serious.

Without a similar character to bear some of the comedic weight, it all rests on the shoulders of the characters in Mickey’s Christmas Carol’s story. There’s plenty of jokes and humor, of course, but most of it is slapstick-ish, and typical of a cartoon; for example, Scrooge asking about Crachit’s daily pay, recalling it to be two shillings, only for Crachit to interrupt that it’s two shillings and a ha'penny–a raise that originated three years ago, when Crachit started doing Scrooge’s laundry. The jump into Christmas Future doesn’t have a smooth transition, leaving the audience rather jarred at the sudden change in tone; in particular, when Pete’s embodiment of the Spirit suddenly starts speaking, where previously he’d been silent.

3. The Muppets Are Actors. 

In every Muppet production, one of the things that makes the entire experience work is that nobody in the canon recognizes the Muppets as anything other than the characters they’re portraying. Nobody looks at Kermit and goes, ‘Why is there a talking frog made of felt here?’ That’s exactly the way someone should act with the Muppets, and, according to an interview with Brian Henson, that was Michael Caine’s intention from the very beginning when he was asked to play Scrooge.

"When I met Michael Caine to talk about playing Scrooge, one of the first things he said was: “I’m going to play this movie like I’m working with the Royal Shakespeare Company. I will never wink, I will never do anything Muppety. I am going to play Scrooge as if it is an utterly dramatic role and there are no puppets around me.”

The fact that the illustrious actor understood the assignment from the beginning, without even being told, works wonders for this movie. Caine said in an interview with GQ that, before The Muppet Christmas Carol, he’d never done a movie that a child, like his then-seven-year-old daughter, could see; this was his motivation in choosing the role. He then went on to discuss how one is meant to act with the Muppets.

Interviewer: When you’re talking to Kermit, where do you look? Do you look him in the eye? Caine: Yes. You look him straight in the eye. It’s like talking to a real actor. And the guy is just down below, buried in the floor.

This is a man with a great respect for and understanding of the Muppets, their work, and of course their puppeteers. When asked who is more famous, himself or Kermit, Caine replies that of course Kermit is the more famous, as he should be.

Caine: Oh Kermit is much more famous, because he’s known by children as well as all adults. And I’m known by many, many, many adults, but he’s known by all adults. And then I’m known by few children, but he’s known by every child.

(As a side note, this is a delightful interview with Michael Caine, and he’s just as pleased with and delighted by The Muppet Christmas Carol as the rest of us.)

In contrast with Mickey’s Christmas Carol, the casting for the Mickey Mouse & Friends characters into their Christmas Carol roles feels like it was done without much consideration or thought, beyond the logic of ‘Mickey Should Be Bob Crachit, Donald Should Be Scrooge’s Nephew, Of Course Scrooge McDuck Should Be Ebenezer Scrooge’, and so on.

For example, the part of Jacob Marley is played by Goofy. Marley’s character, or rather his ghost, is one that exists as Scrooge’s warning, both of his night to come and what awaits him if he doesn’t change his ways. Marley was just about as bad as Scrooge in life, hence all his chains weighing his spirit down, formed from his wicked deeds against his fellow man. He even warns Scrooge that he also wears such a chain.

The problem here is that Goofy Goof doesn’t have a single mean bone in his tall, lanky body. He’s a dogman that would never covet money like a miser, would never be cruel to others because he doesn’t deem them worth his time. So, why was he cast as Marley? It’s a confusing decision.

Another example lies with Mickey Mouse as Bob Crachit. Logically, I can understand the casting choice; Mickey is to Disney as Kermit is to the Muppets. Both made the same decision to cast their Big Name Character as the second lead in A Christmas Carol. However, the two portrayals go in very different directions, particularly in the Christmas Future segment. I’ll dig into this particular example in more detail in a bit, but in essence, it feels more like the Disney characters were plugged into their roles for the story, without much consideration for how their personalities would work with that of the characters they’d be portraying. The Muppets were matched with characters to portray, but it feels like careful thought was put into how each character would act and work as their Christmas Carol role.

4. The Entire “Ghost of Christmas Future” Chapter. 

I’ve referred to this part of the story, and the ways in which the Muppets and Disney handled it, several times so far, and this is because I believe that this is where the biggest differences lie, and where the Muppet adaptation truly outshines Disney’s.

First, the Spirit themselves. The Muppets created an entirely new, imposing, shadowy-cloaked Muppet specifically for this role, rather than casting a known Muppet as the Spirit. This Muppet never speaks, and has no face, and only communicates in gestures. It looms over the third act of the story, showing Ebenezer Scrooge what awaits him in this future, without words, instead letting the scenes speak for themselves. The Spirit is silent, but Scrooge understands what it’s telling him, asking questions and paraphrasing the messages he receives as the Spirit guides him through the scenes. And although the Spirit’s appearance is terrifying, that’s not the part that ultimately chills Scrooge to the core; instead, the future that awaits Scrooge (and Tiny Tim), should he continue down his path of cruelty and greed, is what prompts Scrooge to tearfully beg for forgiveness and a chance to prove that he can make things right.

Then, in Mickey’s Christmas Carol, the basic bones of the tale are there: an imposing, silent, hooded figure shows Scrooge glimpses of his possible future. But before this third act is over, the Spirit reveals its face and speaks: it’s not just a Spirit, but Pete. Nasty, mean, cigar-smoking Peg-Leg Pete. And he dumps Scrooge into his own grave to be consumed by flames until he awakens from his dream. Certainly, Scrooge has been shaken by the visions of an awful future, but he’s also been sent to hell by a mean, angry cat. Ultimately, this takes away from the big message of the Spirit of Christmas Yet to Come’s chapter: that we should change because we choose to, not because we’ve been scared into it.

Second, the sharing of Tiny Tim’s fate. In both the Muppet version and in Disney’s version, the audience and Scrooge have both been told that, if things don’t change, Tiny Tim’s going to die. Now that we’re being shown the future, Scrooge needs to go and check on the Crachit family, to see if this loss has come to pass.

In the Muppet Version, Scrooge approaches the home with relieved excitement, remembering the home of his employee as the warm and happy one he’d caught a glimpse of thanks to the Spirit of Christmas Present. However, Scrooge notices the silence of the house, and instantly knows something has changed. He peeks into the window and watches as Mrs. Crachit cries as she cooks Christmas dinner. Then, he learns that indeed, Tim has passed away. We watch the grieving family convene for dinner, and talk of loss; although they try to encourage each other, it’s clear that the loss of Tim has cut them so deep, they might never truly recover.

The fact that someone can watch this entire emotional scene performed by the Muppets and, somehow, not lose any suspension of disbelief, speaks of the incredible talent involved in the making of this scene; the puppeteers, the voice actors, the editors, the filmographers. 

In comparison, the scene we get in Disney’s version is short, and stiff. What we get is a panning view of a graveyard, and a closeup of Mickey Mouse crying while holding onto Tiny Tim’s crutch, before he sets it against the boy’s gravestone. The audience watches Mickey Mouse cry over his dead son before the movie continues.

It sounds sad when said aloud, but watching it happen doesn’t carry much emotion. It just feels awkward, almost forced. It feels like the people who decided that Mickey Mouse should be Bob Crachit finally had the consequences of their actions catch up to them, and they suddenly realized what they were going to have to put the company’s mascot through… and then they had no idea how to do it. The entire scene feels haphazard and strange; it’s upsetting to watch, but not in the way it should be. Instead of being sad about Tiny Tim, I’m just bummed they made me watch Mickey Mouse cry like that.

And here’s the thing: neither of these scenes have been performed by human actors. One has been played by puppets, the other has been animated. The fact that the Muppets, who, in order to show emotion have to move their head a certain way or have the felt of their faces scrunched, do a better job performing the scene than the one that is animated, in which people could make the characters make any face they wanted, speaks volumes.

Perhaps it’s because, while Kermit will always be Kermit, and Mickey will always be Mickey, it all draws back to the fact that the Muppets are actors. Kermit has played so many other roles in other Muppet movies. But Mickey Mouse? He’s almost always Mickey Mouse. Using him in a different role is difficult when he’s never been anything other than himself.

...

I’ve spent some time trying to think how to wrap up this ridiculous essay I chose to write for fun, because while this isn’t an assignment and doesn’t require a conclusion, it also feels wrong to just end it there. I suppose I can say again, that the Muppet Christmas Carol is my very favorite Christmas movie, and I love watching it over and over again. I love it so much that I’ve literally written an essay explaining why it’s good. And it’s not like I hate Mickey’s Christmas Carol; I grew up watching that movie just as much as the Muppet one. It’s just that… the Muppet version hits different, you feel me? The story moves in a different way, treats humor differently, and even treats the audience differently. I’m by no means an expert on film, and I certainly don’t expect everyone to agree with my opinions about this movie. In the end, these are just two child-targeted adaptations of a classic Christmas tale, and I’m just an ADHD girl who got way too invested in a passing thought. The different feelings evoked in me by the two different movies about the same story fascinated me, and I decided I’d try to analyze them and share my thoughts. If you made it this far, thanks for reading!

[girl4music]

I’ve just watched ‘Beware Greeks Bearing Gifts’ again.

Haven’t seen it for a while but something struck me on the rewatch. I know I never picked up on this before because I don’t really pay attention to Gabrielle with other love interests. Not even the more significant ones - which I guess you could say Perdicus is since she does end up marrying him - however fleeting their wedding and marriage was. But Gabrielle told Perdicus that he didn’t belong in a war zone. That he wasn’t a soldier and that he should go home before he gets hurt. Now,… I couldn’t care less about the romance between them but I think it was very interesting that she told him this when this has been the lifestyle she chose for herself.

Why - in her mind - is Perdicus not allowed to do the same? Is it possible that the reason she thinks this way is because he is on his own doing it and that she isn’t? Does she think he is more at risk of getting hurt or even killed than she is just because he doesn’t travel around with a notorious and formidable warrior and she does?

Second question following on with this line of thought:

Is that why she agreed to marry him? To protect him. Did she somehow think that if he had a companion by his side - one that is very aware of the amount of risks and consequences - he’d be safer? If so, that has got to add on to her guilt when he finally does get killed. That she couldn’t protect him. After all,… that is her Way.

But then again I’m not so sure because what we saw of them as married partners wasn’t the dynamic Xena and Gabrielle have. In fact - they both seemed to have just given up on warriorship entirely and just decided to do the stereotypical m/w settle down and have kids thing. The exact thing neither of them wanted to begin with.

Wasn’t this already a glaring hint that that wasn’t right? Not just that they shouldn’t be together but also that they shouldn’t be living the stereotypical m/w lifestyle. If anything - you’d think they’d be warriors together if any of this romance between them was ever meant to be. That’s so interesting though. A lot to peruse my thoughts on. A lot to analyze in show and out of it.

What were the writers even getting at with having this happen? it seems to me that they doomed the romantic arc in ‘Beware Greeks Bearing Gifts’ by having Gabrielle say what she does to Perdicus without looking in the mirror because what makes her choice any different?

The only thing that makes any difference is… Xena. 🫤

She has Xena. He doesn’t.

And when she marries him she tells him straight up on her honeymoon night that she was more worried about Xena because she doesn’t have anyone… unlike her…

So that’s got to be the only reason she married Perdicus. Not just so HE would have someone…

But so she could convince herself that she does too and that it doesn’t have to be a dark beautiful warrior woman who she still cannot stop thinking about even on her god damn wedding night... to a man,… no less.

And it’s not just Perdicus that this happens with.

He is just the best example. It happens every time.

Gabrielle - honey… straight girls don’t do this. Trust me.

Straight girls don’t start a romance with the opposite gender - straight girls don’t GET MARRIED to the opposite gender - only to ever think and talk about their same-sex best friend ON THEIR WEDDING NIGHT!

I had a point with this post. I seemed to have lost it. 🤡

Oh yeah, warriorship. She chose the lifestyle of a warrior. Apparently “fell in love” while in a war zone and got married to a soldier who she believed shouldn’t be one and should go home. Not for one second in all that time lecturing Perdicus did she think “Oh, ha. I also did that. So why am I saying he can’t?” Hypocrite much?

I’ll say it again for good measure: she was thinking about Xena ‘cause she’s always thinking about Xena.

She skipped on the self-awareness in that moment because she knew it can’t apply to her. She has Xena.

And there you go. There’s the answer to all of this arc.

She already has Xena.

So why does she marry Perdicus?

For Perdicus… because he doesn’t have a Xena. So that’s what she tries to be for him then. His Xena. Simultaneously, she tries to “fix him” like a Gabrielle.

So she marries Perdicus and now all she can think or talk about on her wedding night of all inconvenient times… is that Xena no longer has a Gabrielle. 🤷‍♀️🤦‍♀️

This chaotic lesbian. This absolutely crazy baby gay. This girl literally tried to hetero herself so many times she just ended up turning herself even more queer because she just kept presenting herself with more opportunities to think and talk even more about Xena.

Of course it’s sad what happens and I’m sure she never really got over the guilt that he practically died for her. But she should have just stuck with what she told Lila in the first episode because she never really did love him.

Perdicus would have likely gotten himself killed anyway.

It wasn’t on her what his lifestyle choices were in the same way that it was never on him what her lifestyle choices were and I cannot believe she didn’t realize this when she said what she did to him in ‘Beware Greeks Bearing Gifts’. The only thing I can believe is that her head was somewhere else - on someone else - at the time she said it because she’s not an absolute airhead.

What she is is completely oblivious of her queerness even though she’s chosen the queer narrative herself.

Rewatching these early episodes after not having seen any of them for a long time is a complete experience. I feel like I keep getting bashed over the head with new insight that all the more confirms that X&G is the ship.

[onomatopagu-et-cie]

The Killing Vote (ep. 1-5 notes)

I’ve been enjoying this drama and I wanted to post some thoughts about it! This last week’s episode kept me on my toes! It’s a crime they only air a single episode per week, truly a crime aaaa

I don’t really know if people watching this drama are on tumblr but I’ll post here anyway!

Have a nice week!!!

(SPOILERS UP TO EPISODE 5!!!!)

I love Joohyun’s relationship with Kwon Seokju so far, the scene where she played for him Mozart’s Requiem (if I’m not mistaken) while we see her hanging Narae’s stuffed bunny was soothing! Seeing a different approach than Kim Muchan is nice!

KMC’s relationship with KSJ is really intriguing: we only get KMC’s (quite unreliable, that’s what makes it even more interesting!) pov in the first episodes with almost no dialogue between the two of them, and the recent episodes give us another side to their story through KSJ! I really wonder how their relationship got soured (especially from KMC) to the point KMC advises Joohyun not to get too close and get manipulated by KSJ: besides his own guilt for not being able to save Narae in time nor catch her murderer and the fact that the one he looked up to killed Byun Wootaek, something else must’ve happened for it to get THIS sour. What is going onnnnnnn? Or is it all an act? (and KMC/Park Haejin has some sad puppy eyes on par with Im Siwan's and Jung Haein's I can't haha) He affirms KSJ is arrogant and wouldn’t hesitate to take the law in his own hands if it can’t solve the problem while he himself pushes investigations with ways off the record to arrest culprits. He shows a bitter attitude in front of KSJ and Joohyun most of the time when he talks about him, but at the same time he also confided his guilt to Joohyun in private and seemed to regularly ask how KSJ was doing in prison during the past 8 years. I also get the feeling he was asking the warden if KSJ was regularly getting health checks by a doctor out of worry besides the investigation.

(This is some crack theory, but what if the one who murdered BWT was KMC and not KSJ? At this point, the narration is really unreliable so I wouldn't even be surprised!)

On that subject, I wonder if the drama will address KSJ’s health issue with his collapsed lung/asthma again ; his medical visit also seemed shot in order not to show the doctor’s silhouette at all, I wonder if this will hold any significance later on (it could be Jihoon’s grandmother, who knows!)? Not to mention Uhm Eungyeong, the culprit on ep2, was poisoned by Gaetal knowing she had asthma????

When the judge ruled Byun Wootaek’s acquittal (ep4), his gavel (a symbol of the justice) was shot struck right in front of KSJ’s silhouette, above his head, as if justice itself crushed KSJ. A similar symbolism is used in ep5’s Killing Vote:

The flashbacks are beautifully shot, ep4 was really moving. This scene’s lighting furthered the tragedy: it’s as though the orange light and the blood on Narae burn into KSJ and KMC’s profile as they find her, contrasting with Narae and the background’s cold tones:

Also when KSJ recalls how he murdered BWT, the same orange hue colors the shots.

In ep5, we finally hear the voice of a man who is thought to be Gaetal, when he’s talking to KMC over the phone. The opening shows the cast’s profiles, but there’s this one character we haven’t seen yet:

The man in question could totally be this character that wasn’t introduced yet! He’s probably the ‘executor’ of the Killing Vote, who was chatting with the teacher Lee Minsu.

I think Gaetal is definitely not the work of only one person: there’s at least the executor, tech-savvy people organizing the vote (the stream, the text messages, the hacking, …), the one on the stream (or maybe there’s more than one on the stream, a different one per case because the tone and attitude are never the same: agressive, vengeful, or bubbly, or caustic…) and perhaps someone in the police.

The teacher could be Fan no. 1 and/or Gaetal (if it’s not the same person/group): In ep4, we learn KSJ’s « Fan no. 1 » (1호팬, [ilho fan]) regularly sent him letters which would describe in details how the culprits subject to the Killing Vote would be ‘judged’. In ep3, the teacher talks to this ‘executor’ under the pseudo ‘justice15’: if 15 is read with the sino-korean numbers for 1 (일 [il]) and 5 (오 [oh]), the pronunciation would be close to ‘no. 1’, so this could not be a simple coincidence. Also ‘justice’ could be a taunt directed towards KMC’s vision of justice (he uses 정의 to describe his ideal of justice to KSJ) since he seems to deeply resent KMC.

Gaetal uses KSJ and KMC’s words (‘devils deemed innocent’, ‘rational justice’) and interestingly, another character who talks about rationality is the assemblywoman (‘rationality, moral sense and mothers are stronger than the law’)!

Also, this dude is on some twisted christian trip: in ep4, we get a glimpse of the teacher’s tattoo, a cross on his chest that reads… ‘My daddy My hero’… which was what Narae used to say to her father (her hero, making her safe because he’s always there to protect her) and a part of her room’s decoration…

Well, if he killed Narae and his mother made Byun Wootaek the scapegoat for every crimes he committed this far, something must have gone wrong this time for him (and his mother) to deeply resent KMC to the point of wanting to kill him: they managed to pull the strings of the police and judicial system, but KMC must have discovered Lee Minsu was the real culprit (perhaps after KSJ killed BWT) and tried to kill him, which might’ve worsened his heart condition somehow.

(And it’s interesting how the second screenshot shows the teacher discarding his now bloodied watch in disgust after hearing KMC saying ‘I was willing to break rules to catch this heinous criminal as soon as possible’ mmmmh…)

Just as Captain Oh completely denied his liability in ep5, he must have felt wronged, Narae’s case being the only one that 'sullied' him (and this must be why he changed names, from Lee Yunseong to Lee Minsu). Associating the accusations he must’ve faced because of Narae’s case and KMC to the Passion of the Christ in a sick, twisted way, he must’ve thought this tattoo as his own crucifixion leading to his rebirth/his revenge through the Killing Vote?

If the teacher is the mastermind behind the Killing Vote, choosing culprits involved in CSE, SA and CA so far for the votes could be: 1 — to mask his true identity, seemingly siding with true justice while he’s one of those he judges. Also, choosing keywords associated to BOTH KSJ and KMC could be to mislead the police to believe Gaetal is close to KSJ and both KSJ and KMC to suspect one another 2 — a sick way to play with KMC’s concept of justice and using KSJ's trauma (and KMC) ; 3 — to hide the final objective of the Killing Vote: since he gives the public a pretty convincing and sophisticated fact-check all the circumstances surrounding the culprits’ crimes (Gaetal even said in one of their streams that a culprit wouldn’t be subject to the vote if their crimes weren’t true), this could lead the public to believe every case would be exposed truthfully. Which means one of these cases could be fabricated and nobody would realize it at first. If the teacher organized the Killing Vote to get back at KMC (this also seems to benefit his mother’s campaign), perhaps the last vote would accuse KMC or KSJ of Narae’s murder (since no culprit was found guilty) or another crime.

At his final trial, KSJ accused ’the police who released BWT because they cared more about their performance’. We now know the police commissionner, KMC’s superior and the assemblywoman were all linked somehow to what happened 8 years ago. We also got a flashback of Choi Jinsu, KMC’s colleague who was also the detective in charge in both Narae and KSJ’s case, who gave KMC the hint of Byun Wootaek being the culprit. KMC, unlike him, ‘isn’t interested in politics’… He also recognized the teacher as Lee Yunseong, potentially his name before murdering Narae. In ep5, Joohyun automatically ruled CJS out of the suspect list because he’s not close to KSJ… If the premise that Gaetal must be close to KSJ is wrong, then his involvement could be possible: perhaps he was ordered to tamper with the procedure and the pieces of evidence during the two cases? Also, I wonder if KMC’s reputation will get addressed, his superiors must’ve pressured him to follow unofficial orders or he got to discover these orders (eg. maybe in Narae’s case?) and ever since he’s the man to ask for to do the dirty work? Or KMC could have deliberately gained his ‘Wipeout’ reputation to get closer to the truth of what happened 8 years ago?

In the first episode, the video test Joohyun found on Joomin’s laptop is named ‘Lrae091515’: if the drama takes place in 2023, the tragic events surrounding KSJ, KMC and Joohyun ‘8 years ago’ would have taken place in 2015! Could this refer to the final day of KSJ’s trial (or the day Narae was killed)? The pseudo ‘justice15’ could also be a reference to that date.

As for the ‘Lrae’… It could be a wild WILD guess but ‘Lrae’ could be ‘irae’ as in Dies Irae/day of wrath (capital i looks like a lowercase L), which is a sequence in Requiem mass!

The video test was only found on Joomin’s laptop when all the Internet cafe computers got the virus: the one who hacked the computers likely targeted Joomin or her sister, a police officer deliberately.

The tag in Narae’s room (‘the 13th was wrong’):

(It’s also a bit disturbing the tag was sprayed right on top of the ‘My daddy My hero’…)

— the narrative makes us think the tag refers to the 13th failed stab but it could be something else entirely (and perhaps KSJ is keeping this hint to himself?) — if the christian subtext truly exists in this drama (especially with the teacher’s tattoo), 13 is a number often linked in superstitions to the Cena, Judas (who betrayed Jesus, thought to have been the 13th guest to sit down to the Last Supper) and bad luck: whoever tagged this maybe wanted to signal KSJ the man he killed wasn’t the true culprit.

There is also a similar version in the norse mythology I found here:

« In his book “Extraordinary Origins of Everyday Things,” Charles Panati traces the concept of the cursed back to Norse mythology, when Loki, the god of mischief, gate-crashed a banquet in Valhalla, bringing the number of gods in attendance to 13. Deceived by Loki, the blind god Hodr was tricked into shooting his brother Balder, the god of light, joy and goodness, with a mistletoe-tipped arrow, killing him instantly. » And… we see the teacher communicating through the ‘Loki’ network (a wordplay for what would be Tor I guess, just as Apple would become a pear on laptops in media haha)!

(This is quite a reach, but for posterity in the opening, the 13th character shown is KMC, and in reverse order Jihoon haha)

The tag neither the news articles on Narae and KSJ’s cases weren’t in Gaetal’s video test:

idk how to explain, but I get the feeling that person A (who leaked the video), B (the Gaetal we see on the video), C (the Gaetal who’s now organizing the Killing Vote) & D (who tagged the wall and pinned the news articles about KSJ and Narae) could be different characters with respective objectives too. The drama highlights a bit too much the premise that Gaetal is one single individual that’s close to KSJ haha At the very least, whoever leaked the video knew someone else, especially KMC, would eventually be able to recognize its contents (‘devils deemed innocent’, Narae’s room and her stuffed bunny). Also for posterity, KMC was the one who ostensibly redirected KSJ’s attention to the picture of the tag on the wall.

The assemblywoman and the teacher both have a habit to touch their ear sometimes (eg. when she talked to him about KMC ; when the teacher was watching the student during PE). Jihoon also did it right after the teacher left: was it to try to reproduce what he did to understand what he was watching or is he linked to them?

At the very least Jihoon seems to know some things about the Killing Vote, the teacher as well as KMC:

— In ep1, he bumped into Joohyun as he went to retrieve one of the cups the teacher seems to make a collection of.

On the cup, there’s an ’S’ graved on it, just as the telltale sign of the Killing Vote is the character ㅅ/siot (시옷), the first character of 사형 (death penalty/capital punishment).

— He seems to know more than he lets on about the Killing Vote and keeps staring at the teacher (as though he knows his past crimes, eg. the closeups on the teacher grabbing/borderline groping Joomin’s shoulder, watching the students during PE etc.).

— He seemed startled when Joomin talked about ‘zombie PCs’.

— In ep3, Jihoon says: « I think [he] took it too far this time. » right after he saw KMC being alive and the man with the cap escape (which could totally be this character in the opening we’ve not yet seen). In Korean, the subject is often omitted and deduced from the context, it’s the case here: the drama keeps the ambiguity on whatever Jihoon meant here.

— Him being Narae’s friend would also make sense: as Narae was 8yo, she would be around Joomin and Jihoon’s age if she was still alive. There’s also Narae’s drawings that keep being showed, a boy/young man is always drawn on it.

As a child’s representation of adults and children could be inaccurate (the height, physical appearance, etc.), the characters we see on her drawings could be alternatively KMC (who was close to KSJ and given KSJ’s answer, also doted on her daughter), KSJ, a boy Narae used to play with (it could be Jihoon), the teacher or BWT, the son of the driver and the housekeeper who were also close to Narae and KSJ.

The assemblywoman asked her assistant to observe her son closely: I guess that refers to his health but it’s also to make sure he doesn’t commit crimes anymore. She also said to her son he definitely knows she’s ready to do anything to make Gaetal join her so that her campaign is successful: this + joking on TV how a mother is above the law suggest she definitely pulled strings to save their reputation (eg. using BWT as a convenient scapegoat ; tampering with the trials ; changing his son’s name etc.).

Joohyun thinks Gaetal acts like a hacker. That would also make Jodan (in ep5, he revealed he was arrested for hacking), Jihoon, the teacher and Joohyun herself suspects!

KSJ’s interest in Joohyun is curious: he even looked into her background once he met her & seems to focus on her habit to scratch her scar ; KMC’s comment on how unusual KSJ’s behavior was (specifically requesting Joohyun to communicate with ; negotiating his pardon — while he didn’t regret what he did at all) makes me think that: — in the letters or in some other way, Gaetal must’ve instructed him to obtain a pardon (perhaps they even told him to get rid of the letters to make him indispensable to the police) — Gaetal must’ve told him he would seek the truth to what happened to Narae: for someone who didn’t regret avenging her daughter, revealing Byun Wootaek was a scapegoat and the true culprit is roaming free out there would be plenty enough drive for him to find a way to get out of prison — whoever they are, Gaetal must’ve an ulterior motive to involve Joohyun, KSJ and KMC together

The first episode showed similar shots of KSJ and KMC (same backlighting, same low-angle shot, KSJ avenging his daughter and KMC lashing out on Bae Gicheol to stop him from abusing his wife):

I wonder if we’ll get to see KMC’s relationship with the woman on his photo (likely his mother), this is probably the only shot we get of him smiling not out of spite ;;

For Mu in Muchan, one of the hanja that can be given as a name is 橅, which means law, and it’s ironic given how the law failed him and KSJ ; sometimes characters are given names that will hold meaning in their development eg. Donghoon & Jian in My Mister ; Dongsik and Juwon in Beyond Evil.

For Ju in Seokju, there is 澍, which means timely/long-awaited rain ; rain has marked 2 important events in KSJ’s life: when he discovered his daughter’s body and when he was arrested by KMC after murdering Byun Wootaek ; there’s also 炷 which means wick, aligning with the OST lyrics (a fire burning in one’s eyes)

[kuwdora]

Fanworks Con 2023 Vid Premieres Squee Recs Here’s my squee-and-recs for the @fanworkscon 2023 vidshow Premieres! There’s a few vids that I haven’t found online yet but I still included them because they’re great and I’ll edit the post when I find links. I haven’t managed to watch any of the premieres from the It Follows vidshow yet but for now!! Enjoy the bounty of awesome new vids for many fandoms. Over 20 recs under the cut!

Some humorous and lighthearted vids...

Don’t Be a Lawyer by starlady This vid!!! She-Hulk!! To a song from Crazy Ex-Girlfriend. Really nailing the humor of the show, the breaking the 4th wall and it’s just even funnier with this song. I was wheezing the whole fucking time.

Sexy and I Know It by nestra Oh my god it’s Jamie Tartt from Ted Lasso. I laughed, I wheezed. Jamie Tartt is indeed sexy and he knows it. This is so much fucking FUN.

Four words on the top of your tongue by donteatthebee Okay apparently this is for this new show called Vice Principals and I have no idea what is gong on in this vid (nobody in chat did either). But what we do know is that Walton Goggins is fucking incredible and you get two middle aged men who love each other and even hump each other on screen and give each other pining and adoring looks? Well of course people’s fannish ears are gonna perk up. Amazing use of Taylor Swift, I still have no idea what’s going on by the end of the vid except that they will do anything for each other. What the fuck was that hot tub scene? Amazing. Also note the amazingly bland and dorky ties they are wearing. I have seen enough to know that I will watch this show. Odds Are by rhea Omg this is for 9-1-1 and truly the pinnacle of ODDS ARE. This show is too ridiculous for words. “Struck by lightening” repeats how many times in this song? And every single clip is different lightning!! Everybody goes through so much. Lmao. Beautiful people and family and gay folks and feelings. Shades of Purple by BlueshiftOfDeath Vice Principals vid about Gamby and Russell loving each other. There’s also a tiger and some shooting and I still don’t know what is going on but I’m also seeing arson and… Wow there is so much happening. There’s clips in this vid that I didn’t see in the other Vice Principals vid and I am even more intrigued. I’ve also never heard this song before but the vibe of the music is *chefs kiss* Consider me recruited. Duel of the Fates by jonesandashes, pollyrepeat Star Wars. I was NOT PREPARED FOR THIS VID. Oh my god I am howling. I was not prepared for the song and… everything else. Literally just giggling and covering my face the whole vid saying “whatttttt??” over and over.  This might be the greatest Obi-Wan vid I’ve ever seen. How the glass breaks on the beat at 2:06!!!! Sheer perfection.

At Your Pace by Rhea 9-1-1 show ‘cos that’s where Rhea’s heart lies and it is SO FULL OF LOVE FOR THIS SHOW. This vid is all about Buck and Eddie being an amazingly slashy couple. Also reminded me how I never finished the first season but damn they are so slashy and adorable together. This vid gave me the warm fuzzies and nostalgic slashy feelings.

Amazing vids with Amazing Vibes...

Heated by ultraviolet_catastrophe BEYONCE VID!!! I haven’t seen a Beyonce fanvid in awhile. All I could think while watching this is just how much fun it must have been going through all the music videos because damn the production quality and style of Beyonce’s music videos is gorgeous and yummy to watch, whewww. Outstanding editing here.

Underworld by VielMouse Alright so this is Stargate the movie with some video game music from also a 90s game. Someone in chat said “is this what taking acid feels like?” and honestly I think that is the right question to be asking while watching this. Wild and sonorous and, great overlays that really did put me back in 1994. Also Jaye Davidson is so fucking beautiful, my god. Outstanding vid. Love seeing Stargate again. Amazing vibes. The Wandering Song by periru3 This is a vid for the comic/animation Over the Garden Wall. Which I have no idea what that’s about but this animation is gorgeous and the editing is ALL VIBES for THIS WHOLE SONG.   Hush, Little Baby by bStro The Sandman vid! INSPIRED song choice for the cover of Enter Sandman. Amazing look at Death, Desire and Johanna Constantine, Lucienne throughout the show with some incredible money shots of Dream of the Endless, of course. But waaahhhh this is supremely epic and satisfying to watch.

Some vids about living in an age of resistance...

A Hazy Shade of Winter by Jayne L (JayneL) The Dark Crystal: Age of Resistance vid! Fuuuuuuuuuuuuuuck this vid is epic. This definitely has become the vid that I will forever associate with this song (and I have even vidded this song before, hah). This vid has incredible pacing and uses the stunning visuals of the show so well. I didn’t want to blink the whole time because I didn’t want to miss a single frame. Like, damn. Epic.

The hammer and the nail by stardust_rain Star Wars. Cassian Andor’s political education. Fuuuuuuuck. Mind the warnings on this vid, naturally, but y’all?? Do you all know how amazing it is to see Thea Gillmore music used in a vid?? Lyrics + tone of the song is so perfect for Andor. The pacing has me nodding and grooving along and it’s definitely a must-watch if you are into the show.

Multi-source vids that will make your jaw drop...

This is It by sandalwoodbox This is a pan-fandom vid (over 50 sources!!) about characters playing Go. It’s brilliant and it took me about halfway through the vid to actually notice each clip features a character playing black or white and throughout the vid the whole game is progressing, holy fuck, it’s so much fun and the lyrics are bangin’ for it too.

Bicycle Race by seekingferret Putting a Queen song to ALL THE BICYCLES EVER! There’s so many movies and tv shows in this vid and the progression of bicycle riding and then the moving frames with everyone riding their bicycle just escalates the fun. I keep losing it when I get to the bell chiming section and everyone starts falling off the bicycles, wahaha.

Relationship dynamics like whoa... A and B Song by mithborien A new Steve/Bucky vid FROM MITIHBORIEN!! I have been loving mithborien’s vids for an eternity now and oh my god just roll up into the con with a new Steve/Bucky vid and smack me back into my slashy feelings all over again. Tom McRae used to get around in fanvids ages ago but man I was so happy to hear him again for this vid in particular. The lyrical associations are fabulous. I feel wrung out after watching this vid.

Destroying Angels by Tafadhali Yellowjackets. Shauna/Jackie, fucked up teenage sapphics and cannibalism. This show is so fucked up and this vid doubly so, for all the right bad reasons whew. I was watching this and literally muttering “oh fuck” every 15 seconds. The vocalist is eerie, the underlying instrumentation during the verses is HAUNTING and foreboding. This vid does not pull any punches. The lyrics about ink and blood on her shoes and icy skin??  It’s a very intense vid..

Grandpa Never Gives Up His Money by ghost_lingering OMG NEW GHOST LINGERING VID!! This is for the 2018 film Trust about Paul Getty’s family. Whew the content warnings. Eat the rich. What an incredible use of The Beatles, too. The tonal shift at 1:15 is killer and holy crap this vid just keeps going and going and GOING and everything gets worse and…what a fucking rollercoaster, holy fuck. I’ve never seen this film but goddamn. A great vid for a fucked up family and movie. I’m kind of obsessed with the edits on the guitar in the last minute of this vid, too. Incredible stuff.

Don’t Take the Money by Anoel - not uploaded yet I don’t think? Will edit this post when I find the video online. Tag me if you see it! This is a Succession siblings vid and honestly I was not sure what to expect because I thought it was going to be the original song but it’s actually an MTV Unplugged cover featuring The Bleachers and Lorde. And oh my god it just really epitomizes how much the right cover can do wonders for a vid idea. Jesus Christ. These siblings got so fucked up and fucked over by Logan and that just hurts even more when you see all the human moments the siblings have for each other in this vid.

Heartwrenchingly beautiful and aching vids...

Man is Not Made by His Fractures by videobaths - also not uploaded yet? If someone sees this online somewhere please tag me?? Moon Knight vid!! “A man is not made by his fractures; he is able to mine them as a chance to emerge whole.” Aw, I really fucking love Oscar Isaac’s portrayal of Marc. This is a song I’ve never seen vidded before! Lil’ Was X’s Tales of Dominica. “Sometimes you’re angry / sometimes you’re hurting / sometimes you’re all alone.” If that isn’t the epitome of Marc’s life I don’t know what it is. Spectacular editing through and through. Live to Tell by AurumCalendula Star Trek TOS, Animated Original Series and Star Trek Discovery. A whole vid focusing on the Guardian of Forever! And the portal and the characters who go through the portals. Aurum’s cropping of the disco footage was so interesting and I think it did a lot to help it fit in with the other footage because everything is filmed so differently. But Aurum always makes my heart sing or ache and this is no exception. The difficulties of saying goodbye, aaaaahHHHhhh, just masterful storytelling here.

I Remember Damage by ohvienna An Ilsa Faust fanvid using a voice over from Station Eleven. Voiceover vids as the main audio track can be hit or miss for me but damn this really hit me. Just nailing the hurt and pain and perseverance in the face of unbeatable odds and coming back to your person time and time again. Fucking realness here.

The World You Thought You Lived In by BeatriceEagle This is: Adventure Time, Stargate SG-1, Farscape, The Magicians and Star Trek: The Next Generation. This vid explores what it is like for characters who are trapped living an entire life during a day. Heartwrenchingly beautiful. And painful! Cause then they lean into living out their life. But then the day ends and the characters have to go back to their other life. Aaaah, “say goodbye to the world you thought you lived in.” 😭😭😭😭 Very good pain.

Thousand Eyes by nu_breed_vids (nu_breed) This is a Korean TV show 손 : The Guest (TV). Åppears to be horror and trauma and really walloping the main character with the angst and whump. Mind the vidder notes/tags. In fact the vidder tagged this “Yoon Hwapyung is a whump magnet” which seems to track. The song choice is so ominous and slow-burn-y and goddamn, I’m not sure if this is some kind of demonic possession or whatever but I gotta check it out. The instrumental section with the drums and escalating strings is so TERRIFYINGGG with the blood and pain and losing himself. My god.

Blow your mind intense vids...

Psycho by lolachrome 长月烬明 | Till the End of the Moon (TV). A new Lola vid!! This is so fucking lush and gorgeous and the fucking attitude of this devil god character is fucking dreamy and intoxicating and terrifying at the same time.

Reincarnation by ExtraPenguin Star Wars sequel trilogy. Rey vid!! This is a constructed reality vid about Rey being the reincarnation of Anakin. The editing on this is so fucking slick and intense and incredible. So warning for lots of quick cuts and later flickering lightening shots. Oh my god. The intercutting between Rey and the original trilogy footage. I am foaming at the mouth. This vid is a (ahem) force to be reckoned with. It’s so cool and interesting to see Star Wars canon get recontexualized for this concept. And it’s executed so well!! Do watch if you are a Star Wars fan.

Never forget the antiheroes and misfits... Antihero by theletterelle Loki vid! It’s exhausting to always be rooting for the antihero. Oh, this is definitely reawakening my Loki feelings. The lyrics (especially the chorus!!) are so good for Loki. Do love, will watch again.

Superstar by sandalwoodbox A Nimona vid!! To Tegan and Sara! Oh holy fuck, I’ve come to expect and hope for awesome vids for this movie but this one is dark and still grooving with the beat. I did not expect this song to work so well with fame and propaganda. Oh my god, Gloreth's betrayal and Nimona and all the fallout with that. My. Goddddd. "I saw my first angel and it was you" omg NIMONA. Goddamn, these lyrics really punch you in the face.

[silkclan-gossip]

SilkClan Halfyear Recap

By Snakespeckle 🐾

Six moons. A lot can happen in that time—alliances form, hearts break, and enemies rise. I’ve been watching closely, and believe me, SilkClan has had no shortage of action. If you missed anything, don’t worry. Let me take you through the most memorable moments of our halfyear, including a few stories I can’t wait to see unfold.

Moon 1: The Seeds of Trouble

The beginning of this tale starts with a strange sight—me, Snakepaw, spotting a Twoleg playing with a kittypet near our borders. Odd, right? And things only got stranger from there. Duskkit, young and restless, was sick of Minkpelt’s strictness, and tensions simmered between our leader Basilstar and Larkweb. To no one’s surprise, Wisteriaspeckle brought back a whole chicken from the Twolegplace—always the bold one.

But beneath the surface, relationships were beginning to shift. Minkpelt had eyes for Pondquill—and while that hasn’t gone anywhere yet, I’m keeping watch. In the meantime, Burrowfleck reflected on a dream from StarClan, and I got some much-needed advice from Posyclaw about my feelings of failure.

Moon 2: New Bonds, Old Scars

Here’s where things start to get really interesting. Duskpaw—now deciding to embrace being nonbinary—confided in Basilstar about strange dreams, while Larkweb had a nasty encounter with a badger that left him scarred. Call me superstitious, but maybe that was StarClan’s way of warning him. I’m not shedding any tears.

On the softer side, Minkpelt convinced a loner family—Clear, Parsleykit, and Robinkit—to join the clan. Even though Clear met a loner named Nightcat and fell in love, tragedy struck when Nightcat died. Clear’s been struggling to move on, but I think they’ll find their way. And don’t think I missed Burrowfleck playing pranks on Posyclaw. I’ve been keeping an eye on those two, hoping it turns into something more.

Moon 3: Secrets and Regrets

This moon was full of whispers. Larkweb—ugh—spread a hurtful rumor that I couldn’t ignore, and that only fueled my desire to see him get what’s coming. He can try to be better all he wants after his badger scar incident, but I’ll be watching.

Meanwhile, relationships grew tighter, and cracks started to show. Burrowfleck considered taking on an apprentice, while Wisteriaspeckle dismissed some suspicious pawprints near the border. And I overheard Posyclaw sharing prey with Burrowfleck—those two, I swear, there’s something brewing there. Maybe Burrowfleck just needs a push.

But it wasn’t all tension—Larkweb and I played a few pranks, lightening the mood before Leafbare truly set in. Of course, it didn’t make me like him any more than before.

Moon 4: Love, Loss, and Secrets

The biggest twist this moon? Minkpelt’s secret lover, Streakminnow, joining the clan, and with her came Cliffscar, an injured she-cat she saved from the Thunderpath. While they’re both fitting in, things have been quieter between Minkpelt and Pondquill. Could that spark still be there? Time will tell.

But not all stories have happy endings. Clear heard the heartbreaking news of Nightcat’s death and has been trying to pick up the pieces ever since. On the leadership front, Basilstar had one of those days where nothing seemed to go right. I can’t say I blame her—Pondquill’s been acting weird too, mumbling something about going crazy. I’ll keep my distance.

Larkweb continues to eavesdrop and play games, but I’m waiting for the moment his secrets catch up with him.

Moon 5: Fractures Deepen, Friendships Bloom

Basilstar spent this moon quietly checking on the kits in the nursery while Pondquill slipped into a gloomier mood. But I’ve got my eye on Wisteriaspeckle—he’s been pulling pranks on Basilstar, but I can see the way he and Pondquill gravitate toward each other. Don’t think I haven’t noticed! I’m rooting for those two to make it happen.

I’ve also been paying attention to Burrowfleck and Posyclaw. They’ve been growing closer, and honestly, they’re one prank away from becoming something more. I’ve seen how Posyclaw looks at him, and Burrowfleck seems to be warming up. This could be the start of something special.

But not all stories are hopeful—Larkweb revealed his secret relationship with a MumbleClan cat. Forbidden love? More like foolishness. I’m just waiting for this to blow up in his face.

Moon 6: A Warrior’s Tale

And now, here we are��Basilstar named me, Snakespeckle, a warrior. Fearlessness got me here, and it’ll carry me forward. I couldn’t have done it without the clan, and let me tell you, it feels good to leave the apprentice days behind.

But while I’ve been celebrating, Robinpaw and Parsleypaw have started their training under Larkweb and Posyclaw. Robinpaw—that brave little tom—tossed a snake out of camp before it could cause any harm. He’ll make a fine warrior someday.

Love and tension continue to grow. Streakminnow and Duskpaw have started to understand each other better, while Minkpelt rethinks how he feels about Robinpaw, giving the young tom another chance. But here’s the kicker: Cliffscar overheard Basilstar bad-mouthing her, and that’s bound to cause trouble.

So much is happening beneath the surface. Wisteriaspeckle and Pondquill still haven’t made a move, but I’m hopeful. And let’s not forget Burrowfleck and Posyclaw. I’m crossing my paws for those two as well.

That’s the story so far, SilkClan. Friendships, love, and rivalries are brewing, and it’s only a matter of time before things really explode. You can bet I’ll be there, keeping an eye on everything. Till next moon, stay sharp and keep your secrets close—because I’m watching.

Snakespeckle 🐾

[nerves-nebula]

Okay all of this 2k12 turtle talk is mildly hilarious as someone who, while grew up watching 2k3 and even the 2k7 movie before 2k12 popped up and I irregularly caught it on the TV, still found myself drawn to those turtles the most BECAUSE of abusive dynamics that resonated with me.

I haven’t watched Rise yet (gotta do that at some point !), to preface. But since I was a kid I was definitely aware of abuse within the 2k12 family simply because I interpolated my own interpretations to situations beyond their reach to match my own lived experience yknow? Like you said, creating art to make something of your own trauma. I was an angry eldest child who went through ODD and depression+anxiety diagnoses before the ADHD one (and a softcore autism diagnosis, ig? it’s complicated) so of course I was drawn to the way Raphael was angry. Of course I was drawn to the way he lashed out at his brothers and friends emotionally and physically in a way I’ve done a lot. I understood the feeling of being so upset that you want to upset others (particularly authority figures) to make them understand the way you feel, even though you love them. It’s easier to be angry than it is to be sad, too. And of course I was drawn to Leonardo, eldest sibling syndrome incarnate, as I grew into the role of a parent in the household. Of course I disliked Splinter, because those conversations with Leonardo about it all reminded me of my home in a negative way. Discipline, the word, still makes me emotional.

So, I DO think there’s abusive themes in 2k12, but that’s why I liked it. Arguing over how good and bad fictional characters are in earnest has always seemed silly, but to dismiss interpreted abuse as bashing the show or characters is worse imo. (I think people who definitively label characters in the same, unrelenting way to undermine a show, it’s characters, or the fans is equally silly). I don’t know, those conversations struck a chord with me as a 2k12 fan solely due to their dysfunction.

Ahck sorry for the text wall !! Jus wanna add that it’s also why I love YOUR comics and work so much, they’ve helped a lot of people understand and be open about themselves and their experiences and I think you can tell from the asks. Doesn’t hurt to say it though. It helped me, it brings me joy, so thank you! ❤️

still found myself drawn to those turtles the most BECAUSE of abusive dynamics that resonated with me.

NOO Like this is the main reason i was first interested in watching 2012 instead of any of the other iterations after Rise too!!

I understood the feeling of being so upset that you want to upset others (particularly authority figures) to make them understand the way you feel, even though you love them. It’s easier to be angry than it is to be sad, too.

relatable, tbh. when i was younger i CHOSE to be sad instead of angry most of the time. I chose to blame myself and shut down, because I'd never want to put someone through the terror and pain I felt. but then as I grew up i realized just how much it was hurting me and how UNFAIR it all was. And then I realized how much the people hurting me the most DIDNT EVEN CARE.

I'm still distressed tho cause now I have a habit of lashing out at people when I feel like they don't understand, to try to make them feel the way I do. but at the end of the day I don't ACTUALLY want them in tears, I want them to UNDERSTAND my feelings and that's just!! not gonna happen through cruelty!!

Arguing over how good and bad fictional characters are in earnest has always seemed silly, but to dismiss interpreted abuse as bashing the show or characters is worse imo.

vIBEs. good opinions here no notes. Only thing I can add is that I've been given a few accounts of what is CLEARLY character bashing in popular parts of the fandom so I totally get people who get annoyed/skeeved out by it.

Jus wanna add that it’s also why I love YOUR comics and work so much, they’ve helped a lot of people understand and be open about themselves and their experiences and I think you can tell from the asks.

augh you're all such daRLING sweethearts about it. literally don't even worry, I do this for myself for the most part and all the good that comes afterwards is just a happy side effect.

[starjxsung]

hai bb <3 ive missed youuu! i hope you’re doing so well.

i’m glad you received a lot of support from the neighborhood and that you raised awareness as well. it’s heartbreaking that these things happen and people get away with them more often than not </3

i’ve been bed rotting a lot lately. this semester was so stressful that i gained like 30 pounds bc ✨stress eating✨and i have not been able to lose them bc ✨pcos✨ (oh the things we have to go through as women </3). and i can’t handle looking in a mirror or thinking about outfits for lolla or lolla in general (only minho falling in love with me will break the curse😪) but i manage it through rewatching comfort shows and reading feminist literature that discourages my perfectionist needs.

i’ve never rewatched kingdom entirely soooo new bedrotting material👀 thanks!

rhodes island kitten sent me!! he/she’s doing so well but the mom is ever so protective and won’t even let me touch him/her anymore😪 (she only likes men)

the kitten interview is my new comfort skz content is2g. i love seeing non-cat parents handle kittens. it’s hilarious. everyone struggling and lee know just like “yeah i live like this”. channie was so good with them too! petition for cat dad! chan fr. and the claws!! my cats used to do that so much and at that age they don’t really have too much control of them so it is not for the faint of heart. i felt for them 😂

i haven’t preordered the album yet😪 and probs won’t order it until after lolla bc i have no self control either and kinda went off with my spending on baby stuff for my nephew (who’s due in a month btw such excitement! much scary!) and ateez comeback (kpop doesn’t help my finances).

i looooove your junhan pc aesthetic! i didn’t know you liked xdh🥹🥹 im waiting for my album to arrive bc i preordered it with some other things that weren’t in stock but it just shipped out🥹 i shall update on my pulls✨

take care bb! i love youuuu🫶🏻 i hope you have the best week ever!

MY ANGELLLLLLLL 🫶👼💘❤️💞 it’s so good to chat with you on here again I’ve missed you so so dearly

THE BEDROTTING…. IS SO REAL………… last week I genuinely woke up at 6pm and I thought I just napped or something for a good minute bc I was like there is no way I just slept the entire day away. There was in fact a way bc it was literally just 6pm and I lost my entire Saturday 😍 this bedrot slay

NAURRRR not the kitten who only likes men !!!!???.?.?.?.?.?..? PLSSSS my cat at my parents’ place is so particular to men for some reason and I’m like. GIRL. STAND UP. GET UP. Luckily Momo hates everyone so she’s kind of feminist in the “I only fw my mother” kind of way. Also side note she has so many fans in my apartment complex now and there’s a family with kids who look for her every day to take pics of her in my window 😭😭 she naps in my window all day long when I leave it open while I’m working so the whole neighborhood just ADORES her lol it’s the cutest thing everrrrrr

The amount of times I’ve watched the skz kitten interview. oh my fucking god. Jisung’s little “say something to the world” HWLELPPPDLDKKFDJ I genuinely cannot pick who’s more cutie between them 😭 Chan never struck me as a cat person but in hindsight he gets along with everyone and everything so. makes sense 🫶😭 and Minho is just Minho ofc

IM NGL I only preordered to get a signed album and it wasn’t until after I checked out that I realized I bought the regular ones and then the signed ones sold out 😀 I was like. Oh. Oh! Ok. My wallet is CRYINGGGGG but at least it’s preordered???? LMAO 💔💔💔

I bought my first xdh album a few weeks ago and I’ve been dragging my jh pcs around like a ghost child with their haunted victorian doll oh my god I am OBSESSEDDDD WITH HIM 🤞I also got so many xdh posters with it for some reason so I finally caved and hung all my big ass pob posters in my room and it fully looks like a kpop store in here now LMAO 🚶‍♀️YES update all your pulls !!!!!!!!! I’m so excited 👼

ALSO THE SKZ MEME PLEEAAKKXKXKDKEK SOOOO FUCKING REAL the way my sister texted me the shinee version of that meme this morning 😭😭 I love you bb I hope you have the best week !!!!!!!!!!!! 💓💓💓💓🫶🫶🫶

[emrlyn]

Ahh I tried very hard to get into the foundation series years ago and I struggled; I hear there’s a tv show made after it that I haven’t watched either, but I’m glad you enjoyed the book, as far through as you got. I have a pile of books I ought to have been reading lately that I haven’t. They sit on my shelf and stare at me and lament the attention I do not give them. The most recent book I have read was a poetry book called ‘in a time of distance’ by Alexander McCall smith. He’s a delightful author who also wrote ‘the no. 1 ladies detective agency’ series, which is set in rural Botswana and I loved it dearly. His poems are not dissimilar and a few of them struck me and stayed with me for their love, friendship and humanity, which is unsurprising as I’m an immense slut for those themes. Perhaps even more despicably I’ve started writing my own again, and while nothing i write now is ever as raw as when I was miserable I have come to appreciate them in their simplicity because it reflects my happiness and love for things, which I haven’t felt so vividly since like the summer I was 11. I fear I’ve gotten very far off track; the next book I read I will be sure to tell you about it. Ty for your patience

foundation I found to be a little difficult to read also, it's quite a lot to wade through. we soldier on anyways 💪. I didn't know about a tv show, I'll do some investigating and see if it's any good after I finish the books...

that pile of books is so real too. I have physical piles I have yet to read and then mental piles of books I've been meaning to check out. one day I'll read them all!

omg I read the first no. 1 ladies detective agency book years ago and loved it!!!! I remember liking alexander mccall smith's writing style so I will add this poetry book of his to my own mental pile of books. oh I love when writing is about love and friendship and humanity that shit gets me every time. always down to put out for a good literary theme.

how terrible! your own writing! I'll schedule you to be stoned in the town square next wednesday. but really, that sounds super exciting. I'm glad you're getting back into it! there's a lot of joy and satisfaction to be found in writing. in terms of rawness, maybe writing is like fish: raw fish can be excellent (delicious sushi), but non-raw fish can be just as good (fish and chips). I'm glad you're not feeling so miserable anymore, and that you've found your happiness and love. there is a whole lot to love in the world. childhood happiness is strange because you'll never be the person you were when you felt that way, but there are new ways to be happy too I think. I followed you right off track and down several rabbit holes so don't stress it. can't wait to hear about your next book! and there is zero need to thank me - it's always fun to chat. :-)

[jadequeen88]

Accidental Valentine

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This is my fic for The Citrus Dome Server Lover’s Day Literature Collab! Please go check out The Masterlist and support all of the amazing artists and writers that have contributed.🖤

A/N: WHEW guys... I don’t think I’ve put this much work into a fic EVER. I’ve been feeling pretty bad about my body and wanted to write a reader who struggled with it as well. Who better to boost your confidence than DILF Kiri feeding your praise kink?! I was heavily influenced by this amazing drabble by @rat-suki​ and got permission to use it as my inspiration for this fic.🖤 (for reference, reader is 30 and Kirishima is 42)

Thanks to @afictionalwhore and my dear friend Orchid for the beta read!🖤

RetiredProHero!Kirishima x YoungerF!Reader

Word Count: 5.3k

TW: size difference, oral (both receiving), daddy kink, praise kink (lots and lots of praise), TBH the sex is pretty vanilla but very passionate, both are insecure about their bodies.

When you trudged into work this morning, you didn’t ever dream of meeting your childhood idol/crush, but here you are, staring up at a beautiful mountain of a man. Eijiro Kirishima, or retired pro hero Red Riot, had never come into your coffee shop before and you’d never imagined he would. He was huge. Nearly 7 ft tall and built like a brick house. His hair was back to his natural black with flecks of silver at his temples and hung long and wild around his shoulders. He had on a pair of glasses and wore a dark maroon sweater and jeans.

Even though he’s aged, he looks just as handsome as the young man you fell for as a girl.

The year he made his debut, you were only six, and like most other six-year-olds, you idolized the pro heroes. Most of your friends loved Deku or Dynamite, but you always loved Red Riot. His smile, warmth, and his fiercely protective nature made your tiny heart burst with admiration. Throughout his hero career, you kept up with all of his interviews, the battles he’d been in, the awards he’d won, and his hero rankings. You’d also gotten as much merch as possible over the years and still wore your worn-out, oversized Red Riot t-shirt to sleep in. When he retired a couple of years ago, you still scanned articles online trying to gather bits and pieces of information about the hero, but he wasn’t one to seek out the spotlight. You think that’s probably why he’d always been your favorite. He was a true hero. Serving the citizens and keeping them safe was his top priority. You didn’t want to admit it, but you kept up with him for one main reason… You wanted to know if he was seeing anyone.

You remember being eaten up with jealousy when you’d see his arm around another woman going to galas and award ceremonies. Your sixteen-year-old brain knew that of course, he’d date women. He was a grown man and a pro hero. But your heart would ache, wanting to be the one his soft eyes and pointy-toothed grin was fixed on.

Now those same eyes were fixed on you, his mouth moving and forming words, but you were too star-struck to hear what he was saying. When you snapped out of your daze and remembered you were supposed to be taking his order, you were mortified.

“I-I’m so sorry sir! Could you please repeat that?”

“Sure thing!” his bright smile was hypnotizing, “Just a venti-sized flat white. Have you had your coffee yet? Ya looked a little far away there for a second, kid.”

Your heart leaped at the little nickname. “Yeah, sorry about that! I guess I should get a couple of shots of espresso in me before I try to be productive.” You chuckle nervously as you scribble his order on the cup and turn to make his drink.

“Oh, uhh…” he peeks around the counter to get your attention, “Do you need my name? For the order?”

You freeze realizing you forgot basic, barista 101 etiquette…

“Actually,” you face him, a sheepish grin on your face, avoiding eye contact, “I know your name. You… umm, were my favorite hero,” you blush, and your eyes widen in embarrassment, “you know when I was a kid...”

You turn back to your work, kicking yourself for being so awkward. 

“Really? I think you’re the first person to recognize me since ya know,” he circled his head with his pointer finger, “I stopped dying my hair..”

You turned your head to peer up at him through your dark lashes, a light dusting of blush still on your cheeks, “Well, I like it. It looks good on you.”

The retired pro’s heart was bursting at how damned cute you were. Was this pretty, young girl… embarrassed? Over him?! He watched your tiny hands move as they worked on his drink order, wondering how small they’d feel grasped in his massive ones. Your soft hair caught in the sunlight making you look like a literal angel and he sighed. You reached up to grab a canister from the top shelf and a sliver of soft skin between your t-shirt and jeans peeked through. His gaze became far away and he damn near drooled at the sight. Just how long had it been since he’d touched another woman? Kirishima wasn’t one for casual flings. He always got too invested in whoever he was seeing. So when he and his long-time girlfriend broke things off a couple of years ago, he wasn’t rushing back into the dating scene.

However, things were a little more… complicated than just not finding the right girl to commit to. He was getting older and it was starting to show. Over the past few years, he’d lost his confidence. He’s bulkier around the middle no matter what workouts or diets he tries. Overuse of his quirk has caused stretchmarks and scars all over his skin. He was starting to get crow’s feet and he was overall just TOO big and TOO hairy. He felt like some sort of gorilla walking around in human clothing. Kirishima isn’t stupid or trying to fool himself. A young, gorgeous thing like you wasn’t looking for anything from an old, washed-up man like him. But, fuck… It was nearly impossible for him to move his gaze away from your ass… Oh, the things he’d do to you if he were a few years younger...

You turned to look over your shoulder and notice his gaze… and it’s apparent that he’s checking you out. He looks like a man starved, eyes glued to your ass.

“Well, well, well… maybe he wasn’t so annoyed with my fangirling after all.”

When he realized you’d gone still, his eyes met yours and he quickly averted his gaze. His cheeks turned as red as his hair used to be. You busied yourself with the milk steamer to hide your big, goofy grin. With a new burst of confidence, you decide to take a chance and when you go to write his name on his to-go cup, you write

 “Big Red <3” 

You pause, bite your lip, and think to yourself, “why the hell not?” as you scribble your number underneath the nickname. You turn to give him his drink and your nerves almost make you retreat and make a whole new drink. Then he meets your gaze and your world stops spinning. His vermillion eyes crinkle at the edges as his scared lips turn upwards into a syrupy sweet smile.

When Kirishima takes his drink from you, your fingers brush his for the briefest second and he can tell they’re trembling. “Oh no, I hope I haven’t made her nervous or uncomfortable.” He wanted to go crawl in a hole… That was until he saw what you’d written on his cup.

He stammers, looking from the cup to your face like he’s checking to see if you’re pulling a prank on him or not. Before he can say anything, you bite your lip and look up at him. 

“I’m off work this Sunday. Just… if you’d like to hang out or something.” your gaze shifts and you tuck a strand of hair behind your ear. 

After a moment or two, his face lights up in a huge grin. “Y-yeah, great!” he turns and walks a few steps, then turns around and motions at the cup, “So… I should just, ahh… text you?”

You giggle and it’s the sweetest sound he’s heard in a long time, “That would be nice, yeah.”

“Okay, great!... Talk later then!” He waves and leaves the coffee shop, feeling light as a feather and ten years younger.

*****

Sunday rolls around and you spend the morning making sure the place is cleaner than it’s been in weeks. Your place was small but cozy. For a fleeting moment, you’re a little insecure about how modest your apartment is. You don’t know exactly how wealthy pros are when they retire, but you know he’s more familiar with much nicer places than yours. You decide he probably knew just what to expect on a barista’s salary and tried to put it out of your mind. You checked on the cookies baking in the oven. When you found out through your text conversations that he loved chocolate chip cookies with the large chunks of dark chocolate baked in, you went out and bought everything to make them the same day. You kept watching over them like a hawk to avoid burning them. They still looked pretty gooey, so you decided it would be safe to get changed into something a little nicer. Just as you were about to turn the corner into your bedroom, your doorbell rang.

“Shit!” you looked at your phone and sure enough, you let time get away from you. He was here and you were still in your cropped leggings and t-shirt, sporting a messy bun and dirty apron. You groaned as you realized you couldn’t leave him on your doorstep while you changed. Defeated, you hurried to the door.

You opened the door, hoping that you at least didn’t have flour in your hair, and looked up into the much larger man’s eyes. The realization that THE Red Riot was standing this close to you made your stomach flutter and a goofy grin slide across your face. While you stood there star-struck, he broke the silence.

“Wow, it smells amazing in here!”

“Oh!” you jumped a little then promptly ran over to your oven, “Sorry! Please come on in!” you said over your shoulder as you were pulling your oven mitts on. 

Kirishima walked into your cozy apartment and instantly felt at ease. He couldn’t pinpoint just what it was, but something about your place felt more like home than any place he’d ever lived before. As he finished scanning your apartment, his eyes landed on you taking the cookies out of the oven. The comfortable, domestic feel of the place coupled with your ass on full display as you bent down to remove the cookies from the oven had his jeans tightening. You stood up and he averted his gaze before you turned around, not wanting to get caught checking your ass out for a second time.

“Fair warning, I’m not a talented baker by any means,” you removed your oven mitts after placing the cookie sheets on the cooling rack and flashed a sly grin his way, “But when Red Riot tells you what his favorite cookies are… Ya kinda gotta make them, right?”

Oh… If you only knew how pent up this man was… he debated bending you over right then and there and fucking you until you couldn’t walk. He really hit the jackpot with you… a hot, younger woman with the perfect ass who bakes him cookies and for some reason thinks he hung the moon? Kirishima would have given you a ring right then and there if he didn’t think it would scare you off.

“Well,” he radiated warmth as he looked between you and the cookies cooling on the rack, “If you’re not the sweetest thing! I, ahh… might have gotten you a little something too.” he then held up a 6 pack of your favorite cider. “Because when Y/N, L/N tells you what her favorite cider is… Ya kinda gotta get her some.” he winked and you felt your knees buckle and your cheeks burn. You felt like you were in a fairytale.

Then you remembered that the princesses in fairytales definitely did not wear flour-riddled black leggings, old t-shirts, and dirty aprons.

“OH! Umm, I need to go get cleaned up. I’ll only be a minu-” his massive hand wrapped around your wrist as you walked past him. It covered half of your forearm and a shudder ran through you. You wanted those giant hands to roam every inch of your body.

“Please don’t,” his eyes were half-lidded and his voice was low, “...I think you look beautiful like this.” his calloused thumb traced little circles on your skin not meeting your gaze. His deep voice was impossibly tender.

Now that you’d felt his skin on yours, you couldn’t contain your churning desires any longer. You wanted, needed, more. Rising up on your tiptoes, you curled your fist into Kirishima’s shirt collar and pulled his face toward yours.

You felt him tense up for a moment, then relax into the kiss. His massive hands found purchase on your hips, digging into the pliant flesh there. A needy whimper caught in his throat spurring you on to deepen the kiss. 

It was like your bodies were working around each other in perfect harmony… lips parting at a slow pace, like honey dripping from the edge of a spoon and tongues meeting in the middle to taste each other. You both savored the kiss for as long as you could, eyes lazily drifting open and shared breaths causing your hearts to dance out of your chests. 

You saw him falter, his gaze dropping, and you feared that you overstepped. 

“Kirishima I-“

“Ejiro,” he stopped you with a hand against your cheek, “Call me Eijiro…” his thumb caressed your bottom lip slowly, back and forth. His touch held so much devotion in it.

“Eijiro…” you sighed, looking up at him with pleading eyes, “I need you…”

The giant of a man before you swept you up into his arms and began walking down your hallway. You quickly wrapped your arms and legs around his hulking frame as if you were climbing a tree. 

“Second door on the right,” you were panting into his neck, leaving sloppy kisses all over it. 

You blew a cool stream of air along his damp skin and felt him shudder. A giggle bubbled up from your chest at being able to weaken a retired pro-hero known for being a human shield against the worst villains Japan has ever known. Your little stunt resulted in a grunt and a firm, warning squeeze to your thigh.

“So that’s what we’re doing today, huh?” he tosses you on the bed just hard enough to make you bounce up a little… then he’s on you, placing light kisses all along your neck as he prods your sides looking for a ticklish spot. You can’t remember the last time you laughed this hard and the fact that it was your idol drawing it from you made you dizzy with joy.

“Mercy! Mercy!” you were breathless and your abdomen ached from the forceful laughs Ejiro was pulling from you. He blew a raspberry on your neck as a final tease then relented, sitting up to meet your gaze.

You were absolutely smitten. You caressed the lines around his eyes and the scar that split his lips as your eyes roamed across his features. Every crease, every scar… you wanted to kiss them all. When his gaze faltered and he pulled away to sit beside you on the bed, the feeling you’d done something wrong resurfaced. You sat up beside him and placed your hand on his thigh.

“Eijiro…” your voice was barely above a whisper, “I’m sorry, I know I can come on a little strong sometimes, and I don’t want to make you uncomfortable. I just…” your eyes meet and his gaze is unreadable.

“No, no…” his ruby eyes drop to the floor, “It’s just that,” he chuckles nervously, “Well, it’s been a while. I’m not very good with casual flings and the like. So I don’t really date much…”

You rise to your feet and move to stand in front of him. Sitting in front of you on your bed, you’re only slightly below eye level with him. You place your tiny hands on his thick thighs and nudge them apart so you can slot your hips between them.

“When I told you that you were my favorite hero,” you reach for his wrist and remove the hair tie from it, “What that actually meant was that I’d watch the news every day just to make sure you were safe.” 

Slender fingers move through his wild mane of silver-flecked hair untangling any knots, “It meant that when that villain with the sludge quirk put you in the hospital for a couple of days, my mom let me stay home from school because I was so distraught,” you pulled all of his untangled hair to the nape of his neck and began wrapping the hair tie around it.

“It meant that my silly sixteen-year-old heart would ache when I saw you hand in hand with a girl in a magazine going out on a date,” you grinned at how silly you felt admitting that. Once his hair was secured in a low ponytail, your hands trailed along his broad shoulders.

“Now that I’ve thoroughly embarrassed myself, I’ll get to the point.” your intense gaze held years of longing for the hero in front of you, “Nothing about this is casual for me.”

Tears pricked the corners of Kirishima’s eyes. Had anyone ever showed him this much tender devotion? All the years he’d taken beating after beating, a glorified human shield, content with leaving most of the game to his friends. He was all rough edges and bulk. He was the one doing the protecting every time. Even in his romantic relationships, he was the one who would give, and give, and give… never asking or expecting to be taken care of. Being handled with such care was utterly foreign to him and it stirred up a deep need he never knew was there.

“Eji…” his glassy eyes met yours, “Can I take care of you?” you sank to your knees, hands sliding up his thighs.

“Please…”

Your hands made quick work of his button and zipper. He shifted his hips upwards to help you ease his jeans down his thick thighs and you pulled his jeans and boxers down in one slow pull. Nothing would have prepared you for just how huge he was. Your eyes widened for a fraction of a second, wondering how you’d get that thing to fit inside your cunt, much less your mouth… but it was something you were eager to find out.

Looking up at him from under your dark lashes, you made a show of lewdly licking your lips. You flattened your tongue and drug the wet muscle from his base right above his neatly trimmed patch of black hair, all the way to the swollen, red tip of his head. You felt the powerful muscles in his thighs clench as his head rolled back and a delicious moan escaped his open mouth. Making your hero come undone with one lick to his cock was intoxicating. 

“Fuck, baby…” Kirishima fisted the sheets praying he wouldn’t come just from your teasing. He’s not sure his pride could handle it. It became a very real threat when he dared to look down at you kissing and licking all up and down his length. Once your mouth had gotten him wet enough, your soft hands joined your warm mouth in worshiping his cock. You met his gaze as you kissed his tip and licked up the pre that was escaping in pearlescent beads. When you had teased him to your contentment, you swallowed him down as deep as your throat would allow, wrapped your hand around his base, and moaned.

Kirishima had many blowjobs in his life. In fact, he’d had some that he would say were pretty amazing… but in all his adult life, he’d never been so thoroughly and enthusiastically devoured like this. He threaded his fingers of one hand in your loose bun and fisted your bed sheets in his other to ground himself. After a minute or two, he felt his release creeping up much faster than he wanted.

He placed his hands on either side of your face causing you to stop bobbing your head and look up at him. He ran his thumb against your swollen bottom lip and you leaned into his tender touch. He bends forward and places a kiss on the top of your head.

“Lay down on the bed,” he whispers into your hair. Nerves starting to catch up to you, you shook slightly as you stood from your spot on the floor. Before you lay down, you remember to take your apron off then lay on your pillows, heart pounding awaiting further instruction.

Kirishima hovers over you reminding you yet again just how tiny you are compared to him. His warm hand covers your knee and slowly travels up your thigh, stopping right before he meets your throbbing core. He runs his hand back down your thigh to gently nudge your knees apart. Leaning on his forearms, he positions himself between your thighs and you gasp at the friction created where your bodies meet. While planting tender kisses on your neck, he whispers, “I need you to promise that you’ll tell me if I need to stop or if something doesn’t feel okay. Can you do that?”

“Y-yes…” you moan as he nibbles on your earlobe, teasing with his sharp teeth but not breaking your skin.

“Mmm,” he places sweet kisses all along your jaw, your breath catching in your throat, “Good girl.”

Receiving praise from him made your chest swell. You wanted nothing more than to please this man you were rapidly falling for. He sat up, legs folded under his body, and slowly slid his hands under the hem of your oversized t-shirt. You felt his hands still on your stomach and looked up from where you were laying on your pillows to see what had made him freeze.

He met your gaze with a devilish grin, “Baby girl…” his thumbs run small circles on your skin, “Did you wear this for me?” 

When you realize what he’s talking about, you hide your face and groan into your hands. You completely forgot that you were still in your old Red Riot t-shirt that you usually slept in. “Oh my god, this is so embarrassing!” you mumbled behind your palms.

Kirishima chuckled and shushed you, “No, no, no… This is the sexiest thing you could have possibly worn.” He pulls the hem of your t-shirt up to expose your tummy, burying his face in the soft skin there. Gentle kisses were placed all along the waistline of your leggings, every squishy part and every little stretchmark that decorated your skin like tiny spiderwebs were lovingly caressed with his plush lips. Having the part of your body you were the most self-conscious of worshiped like this felt more vulnerable than sex.

As the kisses traveled higher, they became sloppier and more desperate. You lifted your arms to allow him to remove your shirt, exposing your plain white cotton bra. The feel of his stubble against your skin as he moaned into your cleavage sent shivers down your body. Instead of paying attention to your neglected nipples, his warm mouth carved a path up the column of your throat, head thrown back to give him as much access as possible.

Kirishima whispered against the tender skin under your earlobe, “This okay, baby?” two large fingers dip into the front of your leggings. You nod enthusiastically, unable to form a coherent answer, “Mmm… I need words, sweet thing. You can do that for me, can’t you?”

“Yes… it’s more than okay,” your chests are touching as he works his hand down the front of your pants.

When Kirishima’s thick fingers slid between your drenched folds, you arched your back and grasped his forearm. Slowly, he spread your slick around, dancing past your clit with each stroke. His teasing was turning you into a whimpering mess underneath him. 

He had all the time in the world and having you melt underneath his touch was the best way he could hope to spend it. After what felt like an eternity of him gently brushing against you, only slightly dipping into your needy hole and barely grazing your clit, you were openly panting and whining. A steady stream of praises flowed from his lips.

“You’re such a pretty girl… such a pretty little pussy.”

“Look at how wet you are for me. Like this, huh? My pretty girl likes my fingers teasing her?”

“I can’t wait to lick my fingers clean. You’re gonna taste so sweet.”

You were so worked up that tears began to form in your eyes, “Eji… I-“

“Hmm? What is it, baby girl? Need something?” His finger drags around your clit slowly, adding a fraction more pressure. 

“Please, I need more Eji,” your nails digging into his forearm were leaving little crescents in his thick skin.

“Sweet girl,” he meets your mouth with a slow, wet kiss, “you can have whatever you want.”

Without hesitation, he sits up and pulls your leggings down with your panties. A groan rattles his large chest when he sees a thread of your slick attached to the crotch. Once his face is buried in between your thighs, it’s a real possibility he might come just from eating you out. 

All the teasing had brought him to the edge as well and he was out of patience. With a few hurried kisses to each thigh, he dove into your dripping cleft. His tongue plunged into your core as he nudged his nose into your puffy clit. 

You cry out and convulse around his face. His arms wrap around your thighs, firmly but gently holding your legs open to give him full access to eat you as thoroughly as possible. When he moves to suck your clit, you know you won’t last much longer. As he nurses on your sensitive nub, you feel the familiar tightening in your lower body. He picks up on this and moans into your skin as he greedily sucks. 

“Ahh… Ahh, I’m- I’m gonna….”

“Oh that’s it,” he encourages you by praising you and massaging your thighs in his massive hands, “let me have it, baby girl. Come on, I’ve got you, I’ve got you.”

Your toes curl and back arches as you’re thrown over the edge. “Oh FUCK!! Coming, coming…. ooooh god… ahh D-daddy!…”

“Daddy, is it? Goddamn”

Kirishima felt his dick twitch and his breath caught in his throat.

He wipes his face on the back of his hands and makes a show of licking his fingers clean as he leans over you, nose touching yours.

“What was that baby?” His voice was strained as he pressed his dick into the warm, damp skin of your thigh…

You bat your lashes and ghost your lips over his as you whisper, “Daddy… please let me ride you. I need you inside me.” The nail in Kirishima’s coffin was when you licked his bottom lip then quickly followed with a chaste kiss.

You waste no time wrapping your thighs around his waist and twisting. He follows your lead and lays flat on his back letting you straddle him. You grab the hem of his shirt and similarly tease him, leaving a trail of kisses along his broad stomach. Kirishima flinches a little, self-conscious of his skin and how soft his middle had gotten over the years. You meet his eyes as you pull his shirt over his broad shoulders and run your hands back down his body. 

“Mmm, you have no idea how long I’ve wanted this,” hands and eyes roamed over the expanse of skin in front of you, “It’s even better than in my dreams.”

He wondered for the hundredth time how got this lucky. You really loved his body? Maybe… maybe he wasn’t in as bad of shape as he thought…

“No,” his hands rubbed your hips, kneading your soft skin, “You’re better than I’d ever hoped to find.” He sits upon the headboard and pulls you closer into his lap, “Now,” he pulls your hair free of the messy bun, “Can you be a good girl and come on my cock?”

You lift your hips and place his tip at your entrance. That alone caused a delicious stretch and you knew it would be a slow process getting him to fit comfortably.

“Yes, Daddy,” your hands wrapped around his neck and he growled as he pulled you into a rough kiss.

“Good fuckin girl.” 

He helped lower you onto his cock with lots of kisses, praises, and gentle squeezes. When you got closer to his base, the pain was too much for a moment. Kirishima used his thumb to rub circles into your clit, shushing you sweetly against your parted mouth. 

“Are you okay, baby?” He brushes your hair off your sweaty forehead with his free hand while his other is still working your clit over.

“Yes, Daddy,” you whisper, “You fill me up so well. I love your massive cock filling me up.”

“You’re gonna make me crazy, you know that? Huh?” He pulls your lower lip into his mouth and sucks. You both sit for a while, exchanging kisses and whispers while you adjust to his girth.

“Are you ready to move now, sweet girl?” 

“Yes, Daddy…” he helps you move, dragging your hips up and down his shaft.

After a few deep thrusts, you both increase your pace, matching each other’s movements. It’s not long before your head is thrown back, tears escaping the corners of your eyes. Loud moans and curses escape your mouth as one nipple is pulled into Kirishima’s mouth.

“Oh, Daddy! Fuck, fuck! Right there, right there… I… I’m… AHH!” Before you can even say anything, you’ve come undone, spasming around his cock. 

“Oh, good girl, good fuckin girl,” you go limp and bury your face into his neck while he slams your hips onto his, chasing his release. The feeling of him using your body to get off makes you dizzy with joy. You lean into his ear whispering, “Please come inside me. Wanna feel you come inside me, Daddy… please, need your come inside me, Daddy.” 

Your slurred pleas against his ear send him over the edge into a mind-numbing orgasm. As he comes down from his high and looks into your face full of adoration, he knows he’s caught… hook, line, and sinker. 

*****

The rest of the evening is spent eating cookies on your couch, drinking cider, and watching your favorite crime drama. The sweet kisses and touches sprinkled throughout the night feel so natural… Like you’ve been together for years instead of hours. 

You end up with Kirishima’s head in your lap, running your fingers through his hair as he closes his eyes and relaxes into your touch. The clock on your wall reads 12:30 am and it dawns on you what day it officially is.

“Eji?”

“Hmm?” He opens one eye and reaches up to scratch your scalp. 

“Will you be my valentine?” You bite your bottom lip to stifle a silly grin.

He sits up and pulls you into a bear hug. 

“What kinda silly question is that? Of course. I don’t ever want another valentine besides you.”

Your heart explodes and you kiss him, grabbing his cheeks in both hands. 

“Sixteen-year-old me is absolutely losing her shit right now,” you giggle, rubbing his nose with yours.

“Well,” he grabs your ass and raises an eyebrow, “Forty-two-year-old me is losing his shit right now over finding such a sweet girl with such a sweet ass on her,” he nips at your neck and you squeal.

“Ooh, you ready for another round, old man?”

He growls and throws you over his shoulder. A swift spank to your ass causes you to burst into a fit of laughter. 

“Oh, so I’m dealing with a brat now? You want me to show you what this old man does to little brats?” He squeezes your thighs as he makes his way to the bedroom. 

“But I’m your good girl! Remember?!”

“Yeah, yeah… We’ll see about that.”

[maraudersftw]

Glazed Glory

Hello, friends! This is my tribute to Shirtless James Potter May, which is now definitely a Thing™

Dedicated to all my lovely Jily Discord buddies! And special thanks to @mppmaraudergirl @the-dream-team @constancezin and @blitheringmcgonagall for making this happen.

“YES!”

A screech tears from her throat, excited and giddy and decidedly drunk, as the small ping-pong ball lands neatly inside the cup of beer across the table. Her partner’s roar of triumph is followed by an enthusiastic slap of hi-five that has her reeling, the blazing heat of his palm rather delicious against her own.

Quite generously, he decides to bestow more of this warmth onto her person when he lifts her off her feet, mad and grinning, arms tight around her waist. His cheeks, ruddy from all the drinks he’s downed, accompanied by the dazzling brightness of hazel eyes, causes something to clench painfully inside her.

He’s just a mate. He’s just a mate.

“James!” she yells, half-laughing, fully breathless. “Put me down, you big buffoon.”

“We won! Again!” he grins, letting her feet touch the floor after another spin.

Before she can so much as inwardly lament on the loss of his comforting warmth, a pair of lips land on her cheek. Heart thundering, she forgets how to breathe, a reaction that is by no means justified given the sloppy, open-mouthed, intoxicated nature of the kiss.

A kiss that is not even a kiss because it leaves her lips feeling petulantly ignored.

“You…are fucking brilliant, Evans,” James slurs, entirely oblivious to what he’s just gone and done. She can only stare at him with poorly-hidden surprise, face blazing, warmer and warmer by the second.

“Er, thank you,” she sputters eventually, immensely grateful that everyone around them seems too drunk to pay their little interaction any mind.

“Another game!” James announces.

But she can’t; it’s impossible now.

“I think I’m done for the night,” she tells him, fingers brushing over his arm apologetically. “I’ve had too much to drink already.”

“WHAT?” he shrieks, betrayed, glasses sliding off nose. “You can’t ditch me now, Evans! We’re this close to being named The Hogwarts Beer Pong Champions.”

“Winning the Quidditch Championship wasn’t enough for you?” she laughs, hands rising above her head to point at the banners and streamers dangling from the common room ceiling.

“Oh yeah,” he blinks, grins blindingly. “I’d almost forgotten about that. Next year is going to be even more amazing. We’re going to win all the matches!”

“I have full faith.”

James smiles, triggering that annoyingly familiar tumble in her stomach. “You sure you don’t want to play?”

“I’m sure. Why don’t you ask Sirius? He’s probably withered away to ash without you by now.”

“Good call,” he says, instantly cupping his palms around his mouth. “Padfoot! Up for a round?”

“Fuck, yeah!”

She saunters over to the drinks table as Sirius walks by to take her place, casually ruffling her hair as he passes by. “What’s the damage, Evans?”

She makes a show of observing James. “Mm, five shots from blackout.”

“Excellent. Gotta bring that down to one.”

“All the best.”

Sirius adopts a ridiculously fierce expression as he joins James, facing off against two fifth-years. “Let’s take them down, Prongs!”

She chuckles quietly at the silliness, fingers pulling out a bottle of butterbeer despite her previous proclamations of having had enough alcohol for the night. With some sensible distance yawning open between her and the stupidly affectionate Quidditch captain, oxygen is easier to draw inside. She sighs, chilling the bottle with a quick wave of wand.

With sixth-year coming to an end, she feels the significance of everything the past year has brought to her life rather tremendously, but especially on the James Potter front. While being his friend has been an experience she wouldn’t trade for anything in the world—well, it’s also a lie, because there is one thing she would trade it for: being more than his friend.

But she worries, quite justifiably, that they’ve already crossed a phase too many in such a short span of time to tease at their dynamics any more. There’s a strange fluttering in her chest every time her eyes land on crazy hair and goofy grins that she knows certainly aren’t friendly reactions though.  

She’s distracted from her thoughts by a sudden wave of excited hoots that ring out through the room. Curiosity piquing, she twists around to spot the fuss, eyes immediately flying to the beer pong table because there’s no doubt that that’s where the eye of the storm lies.

At the sight, the bottle of butterbeer almost slips from her fingers.

James stands, eyes even more glazed than before, crooked grin splitting over his face, bursting with laughter as he chest bumps Sirius. And if she hadn’t already noticed it before (she most certainly had) the action draws her gaze to his very sweaty, very bare chest, no doubt the target of the still ringing catcalls. She watches, mouth completely dry as the muscles in his abdominals ripple with movement when he runs a hand through his hair. It’s almost as if her ogling registers on his radar, because half a second later, James is looking at her.

She immediately lifts the bottle to her lips, hiding the awe-struck expression behind tinted glass. Fuck, was he fit! She’d guessed as much, of course; it was impossible not to when she hugged the boy as often as she did, but knowing and seeing, it turned out, were vastly different things.

“Lily!” he slurs, tongue rolling over the name as he walks over. “We trounced them. Did you see?”

“I think Evans was rather occupied with seeing something else,” Sirius smirks, the look he throws her entirely too knowing.

She takes another swig, unable to reply, unable to breathe, unable to think with James standing so close. The heat rolls off of him in waves, as sweltering as the fireplace in the room. To make matters worse, he raises his hand, swipes a thumb over her cheek. “You’re so red.”

She mumbles something unintelligibly while Sirius snickers.

“Sorry?”

“I’m tired. I’m gonna go to bed.”

And before either of them can protest, she chugs the rest of the beer and all but bolts from the party, heart pounding mercilessly in her ears. She almost makes it to the third step of the girl’s staircase before a hand wraps around her wrist, the warmth of the touch telling her enough. “James,” she sighs, turning around.

“Are you mad at me?” His brows pull together, sweat dripping from his hairline, down the side of his face, over that strong neck to pool into the hollow of his collar bone. She swallows, wondering if it would look too weird if she reaches up and licks it away.

Probably.

“No,” she wheezes.

He steps closer, makes it worse. “Then why won’t you look at me?”

She looks at him then—of course, she does—and something like adoration bursts inside her. “I’m not mad at you, James. You’re just too distracting right now.”

“What?”

Some remnant of Gryffindor courage has her reaching forward, placing a palm over his chest. She feels it, right beneath her skin, when the beat of his heart alters rhythm. “You’re quite shirtless, if you haven’t noticed.”

A rush of breath tickles the top of her head.

“Lily,” James breathes, fingers drifting to her waist, and when she catches his eye again, the look in them has changed wholly. Any previous glaze is wiped clean, replaced by some brightness that wars with the expanding darkness of his irises. “Will you—”

“Wait!” she says, almost moaning when his fingers squeeze her hip. “Not like this. Not now. We’re drunk.”

“I—” he looks down, eyes on her mouth, and she thinks he’ll lean forward anyway, kiss her anyway, fuck it all. It isn’t until he sighs, deep and resigned, that she realizes she wouldn’t have minded. “Yeah, alright.”

“James.”

“Yeah?”

She smiles, slow and confident, because now she knows, and leans forward to brush her lips over his cheek. The hints of stubble feel delectably coarse against her mouth, and even more so when he groans somewhere at the back of his throat. She pulls back sluggishly, weak in the face of her own want. “Ask me later,” she whispers.

James watches dazedly as she takes a step back, then another. Eventually, he finds his smile. “I’ll hold you to that, Evans.”

“You’d better.”