#i am interested to see where her music goes

[nerdishpursuits]

The novelita really hit the gas pedal these episodes and everyone is still reeling (worth mentioning, maybe, that this post is hella lengthy and rambles about various characters and plotlines) And by everyone I mean the fandom, because the characters themselves jumped through some mental hoops and, allegedly, stuck the landing? Kinda. Sorta. Maybe. 1. I think it makes sense for Fina to have spent the night at the colony. They are, after all, trying to keep a low profile as much as possible, even if it hurts to be apart. And Marta couldn't have visited Fina's room without raising suspicion or confirming rumors. Therefore, because their circumstances are as painful as they are? Marta has to fall apart on her own and Fina ends up finding out from the newspaper.

2. Marta's devastation when Fina all but begs her to please, marry Pelayo? To please do it for them, for herself and for Fina too? Because the rumor-mill, the slurs and the danger they are in? It’s all suffocating? Because Fina cannot bear the thought of Marta being exposed and unprotected and because they need a safety net that actually works? Because all Fina wants is to be with Marta, unafraid, and sees Pelayo's proposal as the only way to achieve their dream of a life together, long-term?

It goes without saying there is nothing Marta wouldn't do for Fina: she'd walk through fire, she'd cross an ocean and she'd wear the shackles of a marriage she doesn't want. After all, the sole reason Marta, despondently, acquiesces? Is because she witnesses Fina's own despair. And that breaks Marta. It breaks her heart and her resolve and sets them down an unknown path. One they are hoping will lead to protection for them both and a life together. But one that is also riddled with unknown variables and the unexpected. Which is, I assume, where the upcoming drama stems from.

While theirs will no longer be a relationship that solely involves the two of them? This doesn’t mean it won’t be rewarding. Yes, it would seem Pelayo is here to stay. Whether we like it or not, and as well-intentioned as he may be, he will also become a center-piece, weighing on their time together.

At any rate, this marriage has social, financial and personal consequences neither of them is truly aware of. It will be interesting to see them explore it. If they carve out a path as friends and accomplices, who care about each other and protect each other? It will be a joy to watch.

I know we'd all like Marta & Fina to live happily ever after in their own little bubble. But is it a viable scenario? I think not. It’s not sustainable on a show and it’s not sustainable in real life. More so, Marta & Fina exist as characters outside of Mafin. They have their own obligations, ambitions and desires and there will always be other people, or circumstances, demanding their time and attention. What matters? Is that at the end of the day they find their way back to each other. They are each other’s home, and so to each other they eagerly return.

In the meantime? Absence makes the heart grow fonder and all that pent up need? It will be waiting for the right moment to be unleashed. Their most passionate moments (the EMPOTRAMIENTO and Despachamiento) were a direct result of being kept apart somehow, of missing each other desperately, of reaching a breaking point where holding back ceased to be an option. I, for one, am all in favor of that kind of delicious tension and angst. It makes their coming together (pun very much intended) all the more satisfying. Meanwhile, we’ll have to see what happens with OP (Operation Pelayo). Who knows, theirs might end up being a long engagement that doesn’t culminate in marriage. Pelayo might end up simply being the ally Marta needs in the boardroom. Wherever they take this? My hope is they become good friends, the three of them. Los tres Diverteros. All for gay and gay for all.

I mean. This kind of scenes are peak comedy. The music, the expressions, the gestures. I hope they keep at it.

And on to arid pastures. TOSSio de la Ruina is a treacherous, back-stabbing lowlife. I find myself wondering if this character can be redeemed. Personally, I don't think so anymore and I’m done holding out hope. Truth be told, I’d really enjoy seeing him fall with the Merino. It's only a matter of time.

The nepo-baby who claims he didn´t ascend due to preferential treatment is named second in command because he voted for the Merino. It´s utterly laughable. He also runs his mouth claiming he´s the same old Tossio and a surname won´t change him? Well, newsflash. His every move is motivated by a profound feeling of inadequacy. He never stops feeling like he’s on the outside looking in. Never stops feeling he is less. But he misunderstands the reason. He is less not because he’s the illegitimate son. He his less because of a lack of moral fiber and an abundance of self-righteous pettiness and delusions of grandeur.

Speaking of Tossio being pretty. The chip on his shoulder? Of not feeling equal to his siblings? He’s so profoundly obfuscated by it it’s hilarious. In some ways, he will never be their equal. Not because of social standing or them looking down on him. They will always be different because they grew up in different worlds.

That being said, Fina is the best example that such differences don’t really matter. The woman Marta proudly calls her wife belongs to the working class. And Marta couldn’t be more proud of her, brimming with admiration and respect. Fina? Fina is every bit Marta’s equal. But TOSSio? He might as well carry a sign around his neck reading It’s me, Hi. I’m the problem, it’s me.

And that’s why Tossio de la Ruina and the MeriNO? A match made in treason and one of the main reasons this business formula will fail, spectacularly. Iceberg, right ahead. The Titanic also had a crew and look where it got them. After all, Joaquin knows he gave Marta's former position to Tossio solely because he voted for him. Not so long ago he too was condemning Tossio's every move and didn't agree with Damián ascending him. In fact, he vehemently disapproved of it, same as Marta. And look at him now: taking over via manipulations, treachery and favoritism. They will fail so badly and I cannot wait to see it all blow up in their faces.

I mean. It’s already started. Luis in charge of logistics, Tossio second in command? They only need to promote Gema as Encargada, replacing Carmen, and idiocy will reign supreme. If that were to happen, watch Tossio rejoice because he’d finally have Carmen where he truly wants her: jobless, while he plays man of the house. Oh well. Place the cart before the horse, why don’t you. See how it all goes. It would seem the Merino have inherited their father’s nose for business, or lack thereof. Leading the business has left no one unscathed, so it will be fun to watch the Merino eat dirt and choke on it. Also. Will be interesting to see if Carmen sides with husband dearest, given she's still annoyed with Marta. That brief phone call with Tossio, in which she sounded thrilled with his ascension and promised to celebrate it with pomp and circumstance upon her return? It gives me pause. Carmen has been shown to be fair and righteous, taking shit from no one. Should she end up not caring her husband betrayed the very woman who supported and ascended Carmen? Who ascended them both? Well. Let’s just say it would be hugely disappointing and a complete 180 for this character. My hope is she’ll, rightfully, give him hell. We’ll have to wait and see.

It also just hit me that Carmen’s kind of the catalyst for Tossio poor decisions. Ever since she dropped the ball on Marta and Fina’s relationship? Tossio has been seeing things that aren’t and making piss-poor decisions based on optical-delusions. Knowing that Fina is Marta’s partner has led him down a path of outlandish conclusions. The mental gymnastics this man performs defy all reason. I can’t wait for his brilliance to shine upon the new directorship. 1 + 1 and we’re all done! Drunk on power, he’s already started making bad decisions and exasperating his partner in crime. Downhill, with aplomb, yes siree.

And damn, I absolutely loved Marta ignoring him completely and bypassing him as if he were a stain on the carpet. I’m surprised he didn’t freeze over when she glided past. Ice Queen Marta is a thing of beauty.

It also seems Carpena is dead set on removing Marta entirely. He's not satisfied with having deposed as her CEO. No, he knows she's the Queen on this chess board, the one who could hinder their plans. I suspect the Merino will soon find themselves at a crossroads, faced with a familiar conundrum: either make the same choice Damián lived to regret, or show some backbone. Should the plotline lead there, it will be interesting to see how they handle it. Ultimately, trying to destroy Marta for loving a woman, because they cannot destroy her any other way? It might just be the wake-up call they need. Carpena will continue to push for that particular outcome, no doubt about it. We’ll have to see if the Merino's much touted moral checks and balances actually hold, or if their desire for power irrevocably blinds them.

I’d also love to see a Fina vs. Digna confrontation. Honestly, Fina's reaction once she learns Digna was instrumental in deposing Marta? It would be high on my list. To learn that this woman, who claims to love her like a daughter, used information about them to further her own agenda against Marta’s family. And, ultimately, against Marta herself, whom she also claims to love. Digna needs a good dose of unvarnished truth and Fina delivering it? Would be chef’s kiss. I can also see Digna trying to badmouth Marta once she learns about her marriage to Pelayo: of course she'd throw you aside for power, she's a de la Reina. Alright, alright, I confess. I really want to see Fina rip Digna a new one.

Last but not least. Of course Andres is innocent of murder. The only thing he does is Begona. The rest of the time he can be found between the pages of the dictionary, under the definition of useless. He doesn't deserve Marta’a loyalty. He truly doesn't. El soso más inutil del planeta. Then again, Marta’s the bigger person. Always has been. Special mention to Damián’s all-knowing grin, confronting Marta about her impending nuptials? Gurl, I wasn't born yesterday so out with the fine-print.

Damián’s recently upgraded gaydar working overtime:

I may not be as modem as you, young folk. But I know you’re all about WIFE-I Marta. This Lan connection business offers the security of jiber optics but it’s not the way you’re routed. Did I troubleshoot that or what? *wink wink, nudge nudge*

I love their dynamic so much.

Post-cleanser needed because I’ve spent way too much time ranting about undesirables.

I’ll never get over the way Fina and Marta look at each other. The way they melt for each other. The way their love and devotion for each other cannot be contained. Ever. They way they seek each other out constantly, needing to be close, needing to touch, to reaffirm and love. They are each other’s home. Endlessly.

[guessghost]

friend told me to listen to speak now tv, and i haven't heard any of her albums other than the one thats a photo of the back of her head with her hair in a braid (i always forget the name)

but not the point

I listened to it, and HOLY SHIT?! ITS SO GOOD!!

i have been missing out like omg that album was fucking fire dude

So I decided to listen to all of her albums cause if speak now was that good, I wanna hear the others

now im listening to fearless after hearing the debut one

and thoughts will come later

but I just wanna say that I think the main reason I never listened to her was growing up, to fit in with other kids, the consensus was to hate on her. For no reason and its so dumb and unfair but you had to agree to fit in and i am thankful that i am able to listen to her music now and fully appreciate given the life experiences ive had so down the taylor swift music rabbit hole i go

wish me luck

[winepresswrath]

I do gotta say tho, even tho I’m mad at aziraphale because he’s being a terrible boyfriend like what you said about the “I forgive you like” because WHAT. But also I really like the way the show really demonstrates the underlying cruelty of heaven and it’s angels. Really shows the hypocrisy of a group of beings who are supposed to do good, especially aziraphale who really buys into the heaven propaganda, who hurts people, particularly the person who means the most to him. Because like you said he fully just takes advantage of that devotion Crowley has for him. Insane, this shwo makes me INSANE

I missed this anon and yeah! The angels were one of my favourite parts of the season, and I think the strongest element aside from Neil Gaiman deciding he's just a simple man who wants to put his otp in situations. They are deeply awful and I kind of love them. They are the exact kind of moralizing hypocrites who are callous and cruel precisely because they think being on team good means everything they do is justified and it's actually impossible for them to be in the wrong (they're angels! is it even possible for them to do the wrong thing?).

but!! To me, they also seem like they're basically kids? Obviously they're not literally children, but there is this very consistent reoccurring joke about how childish/sheltered/immature they are. Muriel is the most obvious example, but the archangels come off like bratty twelve year olds to her sweet little kid.

Gabriel is basically teenager in love flipping off his family as he runs away with his backstreet guy. Uriel is constantly picking at Michael, Michael is playing at being in charge like it's a game, and it's ridiculously easy for both Aziraphale and Crowely to trick them obvious half assed lies. They're not allowed to ask questions! The Metatron treats them like badly behaved kids out past their curfew. At any point an old man with a beard may pop up to scold them and send them home, and they're all scared of doing something wrong by his standards and getting in trouble with this guy who is pointedly not God but who lines up exactly with the pop-culture idea of god the father, and who offers Aziraphale, among other things, a respite from the hard work of figuring out what the right thing to do is for himself. It's fine! You don't have to question the belief system you were born into or make a painful break with everything you've ever known! Aziraphale has had six thousand years on earth to grow up, but the other angels have been sitting in a sterile white box playing "i'm not touching you" games with each other and filing paperwork.

And I think that's extra interesting because this season also really emphasizes:

Heaven has Institutional Problems

Aziraphale isn't the only angel who's unhappy in heaven. Gabriel and Muriel were both completely miserable. They just didn't understand that they were unhappy because they'd never experienced anything else.

Angels who aren't Aziraphale can change and grow! There's very explicitly Gabriel being changed by love and Muriel growing up a bit on earth, and from a more fan-theory angle there's also Jimbriel, who I think is probably basically Gabriel minus the war and six thousand years of playing referee for Michael and Uriel while unleashing an assortment of plague and calamities on earth because that's God's will! Buck up champ.

We also get Gabriel and Beezelebub talking about how their underlings basically live for Armageddon, "if you can call that living." This is so bleak. They've all been on a six thousand year time out just dreaming of the day they get to beat the shit out of each other until they feel better, but it won't work because eternity is just more of the box.

Anyway I think it's going in a distinctly eden adjacent direction. Aziraphale is going to tempt those angels with knowledge and the capacity for change. I have veered so far from your ask anon i'm sorry you're right heaven really went all out on sucking this season & while Crowley and Aziraphale are both fucking it up Crowley refrains from being spectacularly cruel to Aziraphale about it and Aziraphale should learn to return the favour. I forgive you!! I forGIVE you. I forgive YOU. "you can be an angel again" is actually a worse thing to say than "you're a demon. i don't even like you." when he finally picks crowley over heaven i'm going to lose my mind.

[deeplyshalllow]

An in depth study of Fiyero and Elphaba's first meeting in the Wicked movie

So I've wanted to do an analysis of this scene from the moment I saw it. It's such a great addition to canon and gives such a fascinating insight into both of their personalities and the facades they put on to others. It also gives hints of the fact that both of them are pretty good at breaking down each other's walls.

From the top:

“Woah, Woah there, woah.”

“I did not see her.”

“Yeah, neither did I.”

“You might want to, um”

“Ok.”

“You know,”

“Yeah. I’m so sorry miss, I didn’t see you there, you must have...”

The first impression we get of Fiyero is that he’s kind. Obviously careless enough to hit a girl in the dark, but he immediately slows down and, even before Feldspar has told him to apologise, he’s got down and is about to make his way over.

It’s also important to note we that seeing him talk to a Horse as a friend, when just the scene prior we have seen that a large amount of the population don’t want Animals to talk at all. In fact, this is the only other human we see friends with an Animal in the entire movie, and it sets up immediately the fact that he will agree with Elphaba on her cause.

“...blended with the foliage.”

Here is his first reaction to Elphaba’s greenness. It is the rudest thing that Fiyero says to her all scene, and something that immediately puts Elphaba on the defensive, having heard shit like this all her life, but it’s also very on par with Fiyero and his constant habit of saying dumb shit whenever Elphaba is around (“yeah, or maybe it scratched me or something,” and “well, actually it was, but it wasn’t” come to mind), he’s surprised and he reacts with humour (something we see he does a lot).

It’s interesting to contrast this to his musical comment, “Well maybe the driver saw green and thought it meant go,” which is a lot more pointed and insulting, blaming the situation on her (though to be fair she does wake him up and attack him for what his carriage driver did), Fiyero in the movie reacts dumbly but not maliciously.

“Is this how you go through life? Just running amuck and trampling anyone in your path?”

Elphaba is immediately on the defensive. She’s already stressed about Doctor Dillamond, pissed off about being knocked over and now, as usual, she has met a new person who is insulting her skin tone. So she does what she does best, she puts her walls up and hides behind them.

“No.”

*Feldspar laughs*

Fiyero is shocked by this attack. He’s naturally charming, to the point where he relies on his charm to get him out of situations. So the fact it doesn’t work stuns him a little. This is why Feldspar laughs, because he knows Fiyero and how he normally acts, and it is funny to see him not immediately manage the situation.

“No, sometimes I’m asleep.” *looks at her flirtily*

Fiyero recovers, his walls are back up. He’s over the shock of seeing someone green and how she’s reacted to him, so he goes back to charm by flirting with her. Notice how he is using self derogatory humour, it’s easy charm that he knows how to use – he’s trying to ease the situation by insulting himself and making her laugh. It’s also another way of cultivating his image, Fiyero very deliberately portrays himself as stupid, flirty and lazy (he sings an entire song about it!) and here he is playing it up.

Also, I’m pretty sure this is a reference to their meeting in the musical (where he is actually asleep), which is cute.

*Awkward pause*, “Yeah, alright, alright, here we go. No, I’m not seasick.”

Elphaba, who is not at all used to people flirting with her, but is used to people asking questions and insulting her skin tone – has picked up none of the playful implications and only that he is stupid and lazy, and therefore starts the rant that she’s said 100 times before.

“Neither am I.”

“No. I did not eat grass as a child.”

“Oh you didn’t? I did!”

But Fiyero starts replying! Again, it’s all charm and self derogatory humour, but he’s sensed the unease, he did not come to insult or attack her, and he’s trying to lighten the situation with his usual techniques he uses on everyone – but they are not working.

“And yes, I have always been green.”

“And the defensiveness? Is that a recent development?”

And here we see Fiyero let down his shield a little, and let on that he’s less dumb than he’s acting. Fiyero is remarkably good at understanding people, it’s how he manages to maintain his facade in the first place – and it’s how he ends up being an effective double agent through most of act 2. Fiyero immediately realises that Elphaba is putting on an act too, that she’s not just attacking him because she’s annoyed at him but that there’s something more going on there.

I love it. I love it so much. It’s such a good addition to the musical canon, because all the traits for Fiyero to be like this are already there, and it adds an extra bit of depth to our understanding of why he’s fascinated with Elphaba – because he knows that she’s another person hiding her true self from the world. It’s such a good link to the Lion Cub scene later where Elphaba pretty much calls him out on the same thing.

*Elphaba stares*

*Fiyero tries a smoulder*

“Hm.”

There is a second here where Elphaba realises that she’s been called out. That she’s attacked him when he wasn’t being malicious and it does cause her to retreat slightly.

Fiyero, now in safer territory, puts his walls back up and goes back to flirting. Elphaba, again not used to this at all, doesn’t really understand this and is still in a bad mood about the Animals, so breaks the moment.

*Feldspar laughs, Fiyero tries to shh him but laughs too.*

*Elphaba notices and stalks off.*

So this is interesting. From context clues, what Feldspar is laughing at earlier and Fiyero’s comment later, it appears he’s laughing at Fiyero, that his easy charm hasn’t worked and he’s found himself on the back foot. Fiyero, bewildered, but still playing up his persona, laughs too. Elphaba sees this and, obviously, immediately takes this as them laughing at her greenness, and therefore any goodwill from what he’s said is gone, and she stalks off.

“I’m off for some more trampling, may we offer you a ride?”

Fiyero, bless him, tries again. He’s seen he’s offended her, though probably hasn’t quite connected exactly why, and tries to make right. So he goes in with more self derogatory humour as well as a genuinely kind offer – it probably isn’t safe for her to walk back in the dark – but the moment has been lost.

“No thanks. Get stuffed.”

Elphaba’s walls are back up again. She might regret the “stuffed” comment by the end of act 2 though...

“Wow, Feldspar, we have just been spurned by a girl.”

“Indeed.”

“Guess there’s a first time for everything.”

Fiyero ends the scene baffled, unsettled, but interested. He plays it off as if he’s normal and also reassembles his walls and defensiveness, again playing into the lazy playboy persona he puts on, ready for his next scene with Galinda.

Analysis of Fiyeraba interactions in the Dancing Through Life/Ozdust Scene

Analysis of Fiyeraba interactions in the Lion Cub Scene in the movie

An In Depth Study of Elphaba and Fiyero in the Train Station Scene

[squidthusiast]

Ok, but why do I imagine Eight being the unofficial child of Pearl x Marina?

Because I imagine Eight was minding their business and all of a sudden, Pearl would slam the paper down and said “You’re adopted now”

Basically OTH at the start of their world tour haha, I love that they took Eight with them.

I have more detailed thoughts under the cut for those interested in my ramblings, analysis and interpretations of the characters.

Disclaimer: This is my own take on it, don’t let it ruin your fun!

I personally don’t really subscribe to the fandom’s ‘pearlina moms’ headcanon.

On the one hand, I am an absolute sucker for the ‘found family’ trope, and I definitely think Agent 8 and OTH fit in it!

On the other hand, I think people immediately put Pearl and Marina into the ‘parenthood’ box, a little too eagerly. Not saying this specific ask is that, btw, it just reminded me of some instances i’ve seen.

I personally think that the relationship between OTH and Agent 8 is a little more nuanced & sibling-esque, for the following reasons:

1. Within canon, we often see 8 being referred to as a friend by both Pearl and Marina.

Pearl does it more explicitly (see that one interview at her house), whereas with Marina it’s more insinuated (ex. In the Side Order dev diaries, she starts calling Agent 8 as ‘Eight’, which is stated to be a name used by their friends).

Pearl seems to be an accidental-duck-parent of sorts who haphazardly collects octoling teenagers & young musical talent. It goes in line with her whole mentor-esque leader personality, and i’m sure these disoriented teens find relief in an idol who seemingly knows what she’s doing (she really doesn’t).

However she doesn’t act in a parental manner. More-so like your estranged gay cousin who hit it big in another country and is down to show your queer little butt the ropes.

Marina on the other hand seems to have a more empathetic approach with Agent 8 (opposite to Pearl’s brashness). Marina clearly connects with Agent 8 through their shared experience as defected octoling soldiers, and probably sees her younger self in them. She’s already caring as it is, but this is accentuated during octo expansion given the circumstances.

I feel however that, unlike Pearl, Marina has a bit of a harder time actually forming a bond with Eight at the beginning. Their similarities (seemingly) end at their shared experience, and probably leaves Marina awkwardly wondering how to approach them further. What we can assume though is that they become closer friends during OTH’s world tour, given the events described in the Memverse Dev Diaries.

Meeting Eight during difficult circumstances (OE) and helping them get out creates a sense of camaraderie between them, which probably devolves into genuine care, established friendship and a strong bond amongst the three overtime.

2. Pearl and Marina are very career-centric both in Splat 2 and 3.

It is reasonable that the two young idols, who see their fame and musical recognition rise spectacularly & fast, are not particularly interested in settling down at this point in their lives.

Now entering her late 20s, Pearl is most definitely still interested in keeping the ball rolling with Off the Hook’s international success. Her character often points towards restlessness, freedom and discovery. There has definitely been character development in regards to her maturity in Splatoon 3, but these aforementioned traits are still ever present in her demeanour & decision-making.

Marina on the other hand can be seen slowly blossoming from a supporting character to being her own person. She definitely develops more self-confidence by Splatoon 3, but is still naturally bashful. It’s clear that she is allowing herself to explore & open up to new things for her own sake. She remains a caring and somewhat nurturing individual, but she is at a stage where she’s learning to live for herself and not for others.

Parenthood (and all the responsibilities and sacrifices it entails) at this moment of their lives would probably freak Pearl out, and stunt Marina’s personal growth.

3. The age gaps between OTH and Agent 8 are too close for it to create a parent/kid bond.

This makes their relationship a little hazy in regards to roles; 8 is still young enough that they may seek out rolemodels and mentors (still relatively influenceable), but they’re also nearing their 20s. By this point they are fairly self sufficient, have a sense of their personal values & identity, and they are relatively responsible & mature.

Pearl and Marina are 8’s seniors by approximately 4-6 years. However, in Splatoon 2 they’re entering their early 20s and their career has just begun to take off.

They are both still relatively youngsters, albeit older & more mature(? glancing at Pearl) youngsters than 8. This places them in a position where they can guide 8 and offer certain support and resources, but lack the maturity and experience of a full-fledged adult. This would approximate their relationship closer to that of siblings in a family setting.

Pearl & Marina are also less likely to feel a duty towards Eight as an adult would with a child. Instead, the latter’s circumstances are more likely to incite feelings of rapport and compassion as a fellow young inkfish.

Now, with all of this said, I will acknowledge that friendship/found family is MUCH more nuanced than a strict binary.

From personal experience in my last years of college, I did find myself caring for my fellow freshmen as though they were my kids, in certain ways. Hell, I called them my kids.

I acted as a proud parent whenever some of them achieved something, attempted to pass down my knowledge to them, and was protective of them to a certain extent.

They also annoyed me sometimes, like younger people do haha. And i’m sure I annoyed them too!

So I wouldn’t put it past OTH to call Eight their kid and have this mentor/parent-esque rapport with them in certain circumstances.

This is all based both on canon & my own interpretations of it, but still closely aligned to what has been shown in-game.

So if you have a different interpretation of Agent 8 and OTH, that’s great! I love to see people’s personal headcanons. Ultimately, Agent 8 is meant to be somewhat of a blank slate for the players to mold, with some hinted-at personality traits of their own.

As long as you have fun with these characters, that’s all that matters. This is just my personal opinion on their relationship in-game.

If you read all of this, you deserve the biggest golden star for listening to my incessant yapping 🤲⭐️

Feel free to bother me about this or other opinions you may have in my inbox, just be kind please!

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[redcoralpot]

Tougher Than Nails - Mike Schmidt X M!Reader

Warnings/Details: NSFW content, implied substance abuse, alcohol, cowboy!reader, hankie/cowboy hat code.

Summary: Mike goes to a bar downtown in hopes of getting his mind off of court, but instead finds something much healthier.

A/N: Everyone should thank my boyfriend for this idea; he's always the one that reminds me that I am technically a 'cowboy'. He saves a horse very often.

Word Count: 1.8K

-

-

Bars weren’t really Mike’s thing. Any alcohol he’s ever had tasted like crap, and becoming an alcoholic would just be another check on Aunt Jane’s list to prove to the court that he wasn’t suitable for custody. Hell, he swore her perfume was still clinging onto his nose hairs, and all he wanted to do was escape her. Escape reality, too. Mike remembered when his father used to do just that after Garret disappeared, drowning himself in the bitter liquid at night, his speech slurred. That’s why he was here, at a bar in downtown Afton, while Maxine stayed with Abby. He was desperate.

The building was crowded, delightful chatter and jazz music filling the air. Lights were strung along the wooden walls, narrowly dodging the black and white photos hanging by themselves. More customers squeezed in behind him; Mike frantically searched for any open spot in the room. Hallelujah– a single stool was left vacant near the serving counter, and Mike shuffled into it, shoulders tense. The bartender seemed to notice his presence, as she leaned towards the man, still shaking another person’s drink. 

“You’re a new face,” she rattled, “may I see your license?”

Mike fumbled with his wallet, sliding the card for her to see, “Uh, sure.”

“Right, you’re all clear; would you like to open a tab?”

A man cut in before he could answer, and for the first time, Mike got a good look at the person sitting beside him, “Just add whatever he orders to mine, Molly.” 

She shrugged, the key hanging from her left pocket jingling, “Easier for me.”

You chuckled, the brim of your hat covering your eyes. It was decorated with embroidery and leather, complimenting your purple button up shirt, though that was partially hidden by a black vest. Two hankies hung out of your back, left pocket, similar to Molly’s keychain. One was rust colored, but the other was a complimentary gray; Mike thought it was an interesting stylistic choice. 

“I’ll just have a beer, thanks.”

As the bartender turned, scribbling in a notebook, you inquired, “So, what’s a fine boy like you doing ‘round these parts?”

Mike grabbed the foaming beer that was placed in front of him, “I live nearby.”

“That’s not the only reason, is it?”

He hesitated to answer, instead choosing to take a long sip of the beverage. It burned down his throat, the flavor making his lips curl and his head a little more dizzy. Somehow, it loosened his will, and he found his lips moving without his permission. Your energy was just hypnotizing; he felt himself being pulled in.

“Needed a break from stress,” Mike admitted, picking at the glass’ label.

You cocked your head to the side, your hat tipping upward, “Just ‘cause you’re in a hole, doesn’t mean you gotta keep digging. Alcohol isn’t the cure to what you’re feelin’.”

“What am I supposed to do? Not even my medicine works anymore.”

“I go here for stress relief too,” you assured, downing a shot, “but not necessarily for the drinks.”

Your hand hovered over the small of his back, looking at him for consent. When he didn’t move away, you settled your fingers there, feeling a shiver run through Mike’s body. Some of the previous tension released from his shoulders, and he almost leaned back in relief. Many of the customers in this bar were paired with the same sex, unlike most of the movies he’d seen that included the subject. So, he supposed it wouldn’t look too weird if he did.

You elaborated, “People can be cruel, can’t they, sweetheart? Comin’ to a place like this, where everyone’s like me in some way or another, is a damn good bonus.”

“Like you?”

“Y’know,” you gestured to your handkerchiefs, “queer and such.”

He paused, “Ah.”

“You didn’t know this was a boy bar?”

Mike replied, “I kinda just looked up the closest bar to my house.”

…

“Good to know.” Your hand fell away from his back.

He almost chased it. Mike liked the feeling, the weight of your fingers pressing into such an intimate spot. However, he wasn’t tipsy enough for that, and controlled himself. He watched as you spoke to Molly, the lady’s eyes flicking towards him and back, and you slipped her the money needed to cover the tab. You tipped your hat towards Mike, a respectful way to put distance between you, before disappearing into the suffocating crowd. Molly side eyed him, sweeping away his bottle, before leaving as well. Mike swallowed, pulling loose skin from his bottom lip with his teeth. It was now, or never– perhaps alcohol wasn’t the only way, after all. You were right. 

Mike could still see the very top of your hat swerving above the crowd, and he trailed after it to the best of his ability. A random girl almost elbowed him in the face, and he was sure his shins would be bruised after tonight. Your shadow was reflecting in the glass door, growing fainter and fainter as you walked further away, your hips swaying. Mike pushed it open, the vision dissolving, and cold air stung his cheeks. The moon reflected off of car hoods, the only way he was able to see where he was running. His hand reached out and grabbed your arm, as you flinched.

Mike’s ears were red, probably from the alcohol, and you stared at him, “What’re you doing?”

“I don’t know,” was the only answer you got before your collar was jerked forward.

Your lips crashed violently with his; your teeth clicking as he struggled to pull you closer. Mike was still fisting your shirt as you brought your hands to cup his jaw and the back of his neck, trying to gentle the kiss. 

You mumbled against his mouth, “Better not be some experiment of yours, pretty boy.”

“Nope,” he whispered, the aftertaste of whiskey on his tongue.

His back hit the side of your car, and his hands moved from your collar to swinging his arms around your neck. Your knee found its way in between Mike’s thighs, pressing against his crotch, and his groan was swallowed by your lips. Mike whined when you trailed down, aiming instead for his neck. Dark marks and bites soon decorated the pale flesh, his blood dripping a contrasting splash of color. 

Tugging on his earlobe, you challenged, “Gonna come back to my place?”

Mike doubted he ever agreed to something so quickly.

The drive was long, too long in his opinion. Though, it was most likely only fifteen minutes, at most. Mike didn’t even have to walk up the driveway to your cabin; his legs were locked around your hips as you carried him through the door and up the stairs. He ground his groin against you, searching for any possible friction. You tossed him onto your bed, unbuckling your belt, holding it taut. The man in front of you wiggled back and spread his legs to make room for you. You snickered at how willing Mike was, considering his hesitation when you first met.

You regularly kept lube on the bedside table, just to be prepared for when you brought men home from the bar. However, this one was different in a way you had trouble putting into words, other than positive. His thighs shook as you massaged the liquid into his hole, a hand covering his mouth to prevent you from hearing his noises. Ah, now that wouldn’t do, would it?

In response, you tugged his hand off of his mouth, “Lemme hear you.”

Such pretty sounds from a pretty mouth, it was truly a shame. When Mike immediately went back to covering them up, you slid your fingers out of him, instead reaching for your abandoned belt. His eyes trailed after your hands as they bound his wrists together in front of him, almost akin to handcuffs. Mike couldn’t see much of your expression after your head dipped down, only the shit-eating grin playing on your lips. Of course, that was before you took your hat off by the crown and placed it firmly on his head, though it was a tad too big for him.

“Why don’t you keep that safe for me, sweetheart?”

For a second, Mike was confused. Keep it safe? Just what were you planning on doing? He felt a grip on his waist, right before his world spun around him, and the positions were practically reversed. The guard was now sitting on top of you, or more so your crotch, his thighs caging in your hips. Mike’s hair was disheveled and the light on the ceiling created a sort of halo around him, and fuck, did you think he was pretty. Only a few select people had ever gotten to wear your hat, and you could confidently say that he was the most beautiful in it.

You unbuttoned your jeans, letting your cock slip through the opening, “You ready?”

“I’ve never done this before.”

You had a grip on his waist again, slowly guiding him down. You didn’t thrust, didn’t force him to go fast, and allowed him his proper time to adjust, “How’s that feelin’?”

“G-good,” he shuddered, precum leaking from his tip, “think ‘m ready.”

“You haven’t seen the brunt of it yet, boy!” You grunt, thrusting the rest of you inside, brushing against Mike’s prostate. 

The man on top of you moaned, and the sound was so uncharacteristically loud that even he seemed surprised by it. Mike leaned down, resting his tied fists on your chest in order to keep his balance. His sweat dampened your collarbones, his drool smearing on your neck, and the pathetic excuse of a guard tried leaving kisses over the areas he could reach. You soon found a rhythm to your thrusts; groans were punched out of your throat on their own.

Mike could feel heat rushing through his brain, bringing tears that stuck to his eyelashes, covering any thoughts or hesitance he may have had before. That wasn’t enough for it– it spread like wildfire down his body, down to where your fingers were leaving bruises, and down to his red, leaking dick. Something deep was brewing inside of him, nothing he’s felt since his hormonal teenage years. Hell, he didn’t even have time to process it when you kissed his cheek, whispering in his ear that he’s such a needy slut; it exploded.

When he finally came to, he could feel his thighs twitching and your heaving, sticky abs below him. His eyelids felt heavy, and all he wanted to do was stay there with you. You were rubbing circles into his back, attempting to pull out, but a grumble from Mike made you stop. In fact, you were saying things, but it sounded muffled and far away. He took great comfort in your voice, no matter what you were talking about. It was getting farther and farther away, yet still managed to follow him into his dreams. For the first time since the incident with Garret, he did not have a nightmare. 

-

Taglist: @cannabrisano @kai_beanz @fandomz-brainrot @slimemakermas

[rassicas]

my general Side Order thoughts:

I don't have much of anything groundbreaking to say. I haven't publicly said much in relation to side order in the first place, i don't want to build up crazy expectations, and I've seen much of the fanbase making solid theories anyways. also there has been a lot less information compared to ROTM which is great, I don't want to be able to predict the whole story before the game comes out. I'd rather be surprised like i was with octo expansion! here I just want to put out my thoughts real quick so people know where I stand and that yes i am aware of the Hints and Foreshadowing

Marina's quote at the end of her interview in Splatune 3 is relevant of course, gives us a sense of what this whole world of order is. But did she build it this whole digital simulation, or was it something she found? (mix of both perhaps? found it, contributed to parts of it and it went out of her control?)

Mem cakes, agent 8, cerebral theming...very interested where this all goes. love all the references to OE keep em coming

People have been talking about this already, and the foreshadowing was acknowledged back in haikara walker in 2018. the hat logos on dedf1sh and paul gotta be connected to this thing.

It'd be a huge waste for a more grown-up paul to not show up in s3, either as someone mentioned by Acht or for him to make some sort of musical return post side order.

Glen fiddler has always been interesting to me (in that i anticipated he would become plot relevant somehow) with how he was fully 3d modeled in his sunken scroll. im not 100% on if hes gonna be in side order but the copy machine connections in side order (the fish skeletons in splatoween, also the recent poster?) are sus

^has to be agent 4. of course. seeing enemy inklings instead of enemy octolings sounds awesome btw

I'm expecting the inkopolis square hub to come back as a thing you can access post-game. pearl and marina splatfest concerts

iso padre please come back to me (maybe in said inkopolis square hub world)

who the fuck are you. not a mantis shrimp, looks too soft to be a crustacean to me. closest thing i can compare this to is a black dragonfish nymph but i kind of doubt it. maybe it is some guy who was created to manage things, like CQ to the deepsea metro?

[sofs16]

clearly

pair lando norris x singer!reader

note if you guys want to decorate my tree with a little note, I’d appreciate it:,)

tree!

++ dont be a silent reader pls hehe

ln4updates

liked by 10, 475 others

ln4updates Lando goes live on twitch again and mentions his longtime crush, yn. (she’s a** — i got the subtitles wrong)

view all 261 comments

ynslover F1 and yn?!? 😭😭😭

norrizznutsz THE BUTTON UP O HTMGOFD

user73 if i was yn, i’d be dead. lando.jpg yn

⤷ ln4updates mans has no shame 😭

landonorris

tagged: yn liked by yn, and 7,373,383 others

landonoriss that’s a wrapppppp 😁

view all 263,383 comments

user33 the thirst trap right before the yn tagged slide 😭😭😭

yn congrats, lando 🧡🤍

⤷ landonorris thankyou so much! your music was my wakeup music

[ COMMENT DELETED ! ] ⤷ landonorris thank you so much, yn! your music was always blasting at the mclaren garage 🫡

⤷ yn awwww thank you AHAHAHA hope to meet you some time! ⤷ landonorris See you at your UK show :)

⤷ yn omg what!!!! see you soon!!!

⤷ carlossainz55 DMS exist

[(carlossainz55) landonorris: DELETE THAT CARLOS STOP SHUTUTP STOP]

[ COMMENT DELETED ! ]

⤷ yn AHAHAH, come in them then 😝

(LANDONORRIS) yn just followed you back!

[ (landonorris) carlossainz55: You’re welcome]

yn

uk, manchester

liked by landonorris, and 12,462,299 others

yn cop or drop???

view all 1,484,484 comments

landonorris cop 👮‍♀️

⤷ yn thought dms existed?? :)

⤷ user4 oh ITS HAPPENING. user44 lando thinks he’s real slick with commenting ‘cop’ 4 seconds after this was posted 😭

ynspeed yn’s response to lando’s thirst trap:

⤷ yn landonorris isn’t the only one who can do that

⤷ user2 i bet lando is dying rn

yn

manchester, uk

liked by landonorris, and 9,284,019 others

yn and that’s the end of the silence between songs tour 😵‍💫😵‍💫manchester, you are something else 🧡 i’m glad it was you closing this magical tour! thank you, thank you, thank you!

view all 463,585 comments

user3 the orange heart???? something is a little 🐟hy around here…

⤷ user4 I CANT WITH THE FISH EMOJI😭

ln4updddts WHERE’S OUR YNLANDO CONTENT!!

lando.jpg

liked by yn, and 3,586,203 others

lando.jpg I woke up happy, watched the sun rise. I wonder why

view all 219,456 comments

yn the I Wonder caption 🥹🥹🥹

⤷ lando.jpg Too good of an opportunity to not use it

yn i adore you

⤷ lando.jpg i adore YOU! ⤷ lnrizzyn theyre actually my parents. ⤷ ynsloverr lnrizzyn THE LAST SLIDE!!!!!

user39 THE FLOWERS!!! YNS FAV ARE TULIPS 🥹

ynsource

liked by landonorris, and 15,490 others

ynsource yn coming out backstage with her favorite tulips in hand! rumored to be given by landonorris

view all 95 comments

user484 HELLO???

ynsource

liked by landonorris, and 13,586 others

ynsource yn goes live on twitch again and mentions lando norris! view all 382 comments

uppyn landonorris are you okay? user37 YNLANDO NATION RISE!!!

landoyn4

liked by landonorris, and 21,927 others

landoyn4 LANDO NORRIS WHEN I CATCH YOU. HER WAITING FOR THE DM😭😭😭😭😭 HER SEEING OUT POSTS 😭😭😭

view all 918 comments

lllmclerc Lando liking the posts 😭

(99+) INSTAGRAM MESSAGES 𐙚˙✧˖°

— december 9, 2023

Lando Norris

i am sooooo sorry for not messaging sooner. i pussied out and thought you were joking about it:( please forgive me please

yn 🫧🤍

hi landooo! don’t worry about it:) sorry if i outed you online, i kind of pussied out as well to message you 😭 you just seemed interested so i didn’t know what to think after you came to the uk show last week with those flowers and you ghosted me

Lando Norris

No i feel even worse now. I really did want to hang out or go out with you (whichever you prefer) but, again, i pussied out… think we could have a redo?

and about the online thing, it’s totally alright, nothing they didn’t already know anyways 🤗

yn 🫧🤍

it’s alright and i would love to go out with you :)) what’s important is we were able to talk in our most random way possible 👍🏻

Lando Norris

do you mind if i get your number?

yn 🫧🤍

not at all! it’s xx-xxx- xxx

yn

liked by landonorris, and 15,976,019 others

yn sorry i haven’t been active :) i’ve been happier than ever

view all 2,811,092 comments

landonorris nice heart

⤷ yn thanks! ynlando 😵‍💫👀

landonorris

liked by yn, and 8,923,019 others

landonorris snow days ☃️

view all 3,869,028 comments

yn hey, nice heart! ⤷ landonorris your snow heart is better ☹️

ynlannn …

ynlannn HELLO?????? LANDO CAMCORDER -> POST OF YN FROM A CAMCORDER. THE HEART SNOW -> YN WITH HEART SNOW. THE COMMENTS. THE BOYFRIEND EFFECT IN THE 4TH PIC. SO MUCH TO UNFOLD AFTER 3 WEEKS OF SILENCE.

ynsource

liked by ln4, and 17,383 others

ynsource photos taken of yn by the paps this week! view all 1,982 comments

lnyln we’re all thinking the same thing, aren’t we..

⤷ynsource ynlando real and they’re on a ski trip🥹

landonorris and yn

liked by 19,294,064 others

landonorris and yn Lando is the photographer in the relationship, clearly. - yn 🧡

y/n/n is clearly the better looking one in the relationship, clearly - lando 🤍

view all 5,797,019 comments

yn hey! that last part isnt true ☹️

⤷ landonorris yes it is

⤷ yn thats a lie

⤷ landonorris you’re like the most beautiful person in this universe. what are you on

⤷ carlossainz55 Not even three months and disgusting in the comments already 😝

⤷ landonorris shhh dad

user4 THEYRS SOOOO🥹😝

ynslove i bet that first clip is yn for her 2nd leg of the tour 😵‍💫😵‍💫

user73 y/n/n?? she said she doesn’t like being called that except for her future partner UGHHHHDHAJAALALA

mclaren 🧡🧡🧡

#SOF : anotha lando fic!! bump on the tree 🤗

happy holidays! 🤍🤍

[tteokdoroki]

so jock yuuji and weird girl reader right? am i right?

weird girl who is the one who initiates any form of hostility. jocks arent jerks by defaults, yuuji definitely not. weird girl sees the world in popular / unpopular, uninteresting / interesting, pretty / meaningful, and general black / white thinking. extremes.

yuuji would just have no idea any of this is going on. like why is she mad at me. i wanted to ask her about the keychain on her bag. whyd she accept my follow request but not follow me back.

i love the dynamic of jaded reader x clueless blorbo!!! where they are both somewhat attracted to eachother the more they observe eachother around campus, but one pulls closer and the other pushes him away!!

jock yuuji def hangs out in the gymnasium instead of going to class btw. plays music out loud on his speakers thru the halls. if u even care. he carries around one of those big ass water bottles and he never got a backpack w him. just showing up to econ with nothing but a drawstring bag of ground down pencils and vibes

𖤐๋࣭ — JOCK BF!YUUJI ENTRY #9. first meetings.

about. a scenario in which the campus’ favourite jock lays eyes on his future freaky girlfriend for the first time.

warnings. minors, blank and ageless blogs do not interact! sfw, fluff, meet cute, jock bf!itadori, weird gf + fem!reader.

imagine yuuji signing up to one of your classes and he kinda makes a fool of himself on the first day. like he shows up late because practice ran over, his laptop his dead and he doesn’t have a pen but your professor (and it’s taken like two years for you to have gotten on his good side) just lets it SLIDE !!! so you’ve already got your back up with yuuji — thinking he’s some dumb jock here to mess around in your class !!!

he takes the seat right next to you of course, introduces himself to you with a sunshine smile that keeps on burning even when you cut your eyes at him and ignore the poor guy. yuuji even goes as far as to ask you for a pen half way through the lecture — and your heart stops when your fingers brush as you pass one to him. he’s a stupid jock, you remind yourself, he’s probably just making fun of you.

the pink haired jock never leaves you alone after that day!! he says hi to you in the halls at dorms he visits or on the way to the library — his music playing obnoxiously through the speaker he carries even when the librarian politely tells him to quiet down.

yuuji sits with you at study cubicles every week even though you’ve made it clear that you don’t want anything to do with him — but he follows you on Instagram, and asks you for notes from your shared classes, texts you about the socials coming up (even though you never go to them). and even though you think that he’s annoying… itadori is charming in a way.

he’s good to his friends, knows all of his teachers by name, he even studies hard — despite you thinking that he doesn’t.

maybe you misjudged itadori, maybe you were a little too harsh.

maybe you’re starting to think better of him, and he can kind of tell when wave him over to sit next to you during class and lend him the same pen you gave him when you’d first met.

꒰ end. — all rights reserved © tteokdoroki 2024. do not copy, repost, translate & recommend elsewhere.

[partycatty]

Hello!

I read your last story with the Lin Kuei brothers and it was really amazing. Could I please ask for a story with the Lin Kuei brothers (I love them❤) where they watch their s/o's dance performance at Madam Bo's? Kind regards!

GOD. YES. and thank you pookie :D

lin kuei trio > dancer

bi-han, kuai liang, and tomas vrbada watching the reader dance at madam bo's!!

notes: KUAI FAVORITISM AGAIN IM SO SORRY. this is a sweet change from the heinous shit i've been writing eeeeee kicking my feet and twirling my hair! also i know that says s/o but i had some ideas i just couldn't ignore..

masterlist <3

♡

bi-han >

• somehow, the lin kuei brothers are convinced by the earthrealm chosen ones to attend a dinner at madam bo's after their victory at armageddon. come on, just once! bi-han only attends because his brothers do, and because liu kang might show offense if he declined. so, here he was, pretending he wasn't enjoying the food as much as he was.

• as his mouth hung open to take a bite of a dumpling, kung lao and johnny find a couple of spare instruments and get that "you thinkin' what i'm thinkin'?" smirk. nobody in their sane mind thought either one of them were musically enclined, but then suddenly there was a two-man band singing and galloping about. you, as one of the earthrealmers, start laughing and clap to the beat, as does the entire group. kenshi, liu kang, kuai liang, and raiden chuckle, syzoth, tomas and ashrah get up to dance, and bi-han puts his chopsticks down with crossed arms and a frown.

• he couldn't help but be mildly amused at the ridiculousness, scoffing to himself. but his scowled expression turns soft when he glances over at you and watches you lift yourself from the chair you sat on and shimmied over to the dancing group, starting to enjoy yourself. you moved in such a coordinated way that bi-han was only accustomed to seeing in combat. he didn't think such elegance could be used... for fun.

• the entire group is mostly ignoring bi-han, but not intentionally. everyone's just caught up in their own enjoyment. you playfully dance to the impromptu rhythm, twirling ashrah and bumping shoulders with kung lao. as you twirl, you lock eyes with the cryomancer and he tenses up when he realizes he'd been staring.

• "come on, blueberry ice!" you shout over the crowd and music, extending an arm. "you're too damn rigid all the time. loosen up with me?"

• "no," he replies, accidentally far colder than necessary. you groan.

• "it's one night! i'll tell johnny not to record. you work too hard. shang tsung is in prison, and our timeline's intact. that doesn't deserve at least a little shimmy?"

• "i don't dance," bi-han again replies, leaning back in his chair. he wouldn't admit it, but he finds your persistence cute. perhaps he won't give in just to see you keep trying.

• you try to do anything possible to get him to join you without actually pissing him off. the lasso trick doesn't work, and neither does the "pass on the wave" trick. you give up, throwing your hands in the air in a surrendering pose before walking backwards back into the group.

• the dancing and celebrating goes well into the night, and the entire time, his icy ass is PLANTED in that damn chair. he eventually becomes a part of the furniture.

• kuai liang leans over to speak to his brother with a grin.

• "you aren't going to dance with her, brother?" kuai liang asks, cheeks tinted with pink from the alcohol. "i understand our clan has much work to tend to, but must you have turned her down on a night like this?"

• "i am not dipping so low as to act a fool," bi-han replies, eyes fixated on your dancing still. you're now dancing with johnny in a ridiculous duo choreography you're pulling from your ass as you go.

• "bi-han, you are as dull as you are sharp," kuai liang laughs. "she was showing interest."

• bi-han launches his glance to his pyromancer brother, eyebrows shooting up. he doesn't seem to believe it, but then it clicks. you wanted to dance with him! YOU wanted to dance with HIM! it wasn't just a kind offer, dammit, it was flirting!!

• you let out a loud laugh above the crowd as you enjoy the festivities. as you calm down, you once again lock eyes with the grandmaster. it feels like only you two know of this secret tension. you extend your arm with a raised brow and flushed grin.

• perhaps one night of foolishness won't hurt.

♡

kuai liang >

• a quiet night in the shirai ryu was unheard of, considering it's still trying to pick itself up. kuai liang was always so damn stressed with work, training hanzo and finding more recruits while also upgrading the compound.

• you were one of the first recruits, so you held a sense of seniority within the clan. kuai liang often confided in you regarding these aforementioned stressors. you were his favorite rubber duck to rant to while he tried to figure things out.

• his head was buried in his hands as he sighed deeply, books and papers strewn across his workspace. you frowned, standing in the doorway.

• "how about a night away from the clan, grandmaster?" you'd politely suggest. you didn't actually expect for him to agree so easily... or know a place... or invite you.

• madam bo greets kuai liang with a sweet smile, offering up whatever she cooked for the night. he insists that anything she makes is perfect, and requests one of everything.

• you sit across the table from your grandmaster, not really sure on what to talk about. it was always work, training, and hatred for bi-han. but now you had to talk about... everything else? even so, his tense shoulders easily surpass your own nerves.

• "at ease, grandmaster," you gently say, reaching across to put a hand on his arm. he visually does ease, comforted by your touch. "enjoy yourself."

• hold on sorry i'm tweakin rn he is so fucking fine i need to chew on his man bun

• "i appreciate you more than you'll know," he replies gently with a smile. "i needed this, i suppose. to be away from a table that isn't cluttered. to eat a nice meal..."

• the plates are cleared as you two chat peacefully about anything and everything. as it turns out, you actually had a great deal in common with your grandmaster. and damn, in the restaurant's dim lighting, his features really stood out..

• as the thought crosses your mind, a small band of fengjian musicians step up to the center of the room and start to play a slow, sweet song. kuai liang swivels in his chair to view the band before turning toward you.

• "do you dance?" he asks suddenly, a little smirk playing at his lips.

• "d-do i...?" you stammer out, almost choking on your tea.

• "dance," kuai liang repeats. "do you?"

• "i-i was a dancer when i was younger. on occasion. yes."

• suddenly, kuai liang stands up and holds his hand out to you. your jaw drops.

• "i shouldn't," you insist shyly. "you're..."

• "i'm your grandmaster," he finishes your sentence. damn, this guy does that often. "yes, yes, i know. but you said tonight is to enjoy ourselves. tonight, i'm not your grandmaster. i'm kuai liang, and i'm asking for a dance."

• he eventually pulls you into a small crowd of other dancers, and you two start with shy steps, eventually understanding each other's style and speed. you wouldn't believe it, but he's actually a good dancer! he follows your every move and allows you to lead. if he focused even a little bit more on you, he'd surely lose his footing. you were just so natural with your movements. there was an attraction there that wasn't there before, and it made kuai liang feel impossibly hotter.

• a small crowd gathers at your coordinated dance. anyone would've assumed it was choreographed ahead of time, but this was entirely you two having a deep understanding of each other's movements. the music felt like a fuzzy white noise and the people disappeared. it was just you and kuai liang.

• the songs ends with you in a dip. you're both catching your breath, flushed, and giggly at the spontaneity.

• "i need nights out more often, if they're with you," he'll mumble to you still in his dip.

♡

tomas >

• tomas only had one objective that day: to determine if kung lao and raiden were ready for to be recruited. what he didn't anticipate, however, was that tonight was the night you were meant to perform at madam bo's.

• a tiny stage sat in the center of the room, and you stepped atop the platform. a couple of men to the side played their instruments for you, and you instantly got to work. as your hips swayed, your flowy garments swung around you, like a perfect gust of wind twirling you.

• tomas stood on the roof alongside his brothers, ogling at the sight. his jaw dropped behind his mask, and his eyes softened. he was supposed to be the big strong leader of the staged confrontation, but god. it was just so hard to be stone cold in front of such a beauty.

• the entire room was so focused on your dance moves. tomas could only mentally equate you to a gorgeous swirl of smoke. or perhaps a cloud—?

• bi-han elbows him in the side with a scowl.

• "focus, you idiot. the farmers, not some foolish performer. do you see them?"

• tomas is that meme where the guy goes "SHE IS VERY GORGEOUS TO ME!!! ☝️"

• tomas shakes his head with a light blush, partially shocked with himself for being so distracted by just one person. he's a ninja. he's killed, defended earthrealm, seen so much shit, and yet he's winded by a dancer. he just had to know more, had to see if you were as alluring up close as you were from afar.

• the men drop from their position and wait outside of the entrance for a moment, mentally preparing themselves. once they are, tomas enters first and stands in front of kung lao and raiden menacingly.

• just as planned, him and madam bo go at it with a fake argument ending in a fight. madam bo gets flung over the railing, mere feet away from where you froze on your little stage. tomas stops completely, forgetting that the two farmers were charging at him. he glances over at you, and how your movement stopped and was now terrified. you scream and take cover behind the bar, peering over to watch the fight.

• he was so trapped in his adoration for you that he forgets to fight back when raiden lands a damn hard punch to his chest, sending him backward. groaning and standing up, he chucks a smoke bomb at the ground and vanishes completely.

• then, before you could process anything, a puff of smoke shrouds your vision and tomas is beside you. you yelp out and crawl backward, terrified by his strength and sudden appearance. making sure bi-han and kuai liang are adequately occupied, tomas leans down to you.

• "hey, hey," he'll say cautiously with his hands out. "shh. you're alright. you're in no danger." your breathing slows from the hyperventilation, looking up at him with innocent eyes. he almost melts then and there. if he could turn into a comical puff of smoke, he would.

• a lin kuei ninja crashes down the railing and lands on top of the bar. you flinch, tomas doesn't.

• "what do you want? money?" you reply in a weak voice, still uneased and confused. tomas frowns, coming up with an answer. he doesn't blame you for being confused when three colorful ninjas and their little sidekicks saunter into a small village restaurant.

• "no, no money," he replies quietly, now crouching down to your level. "everything will make sense in time. now... now please—" tomas gestures toward a nearby exit. "be safe. i apologize for frightening you."

• he extends a hand out, and you take it. for a moment, it feels like it's only you two in the room. no "dead" madam bo, no raiden kicking the shit out of scorpion, or kung lao flinging his hat at sub-zero. it's just you and this mysterious, muscly man in grey.

• "your dancing was... beautiful, by the way," he'll admit sheepishly, his eyes showing his smile behind the mask. "i hope to return to watch it, sometime."

[drenched-in-sunlight]

Can I just say how in love I am with the way you draw Marika? Like every art you post of her has my jaw dropping…you add such a beautiful layer of humanity to her with her dynamic expressions and poses—it’s so refreshing to see especially when so many fan arts of her needlessly sexualize her or dial her down to a one-dimensional stone-faced villain (which a villain she is—but she is still complex)

And I adore how you draw her partial nudity as something natural, meaning that you don’t draw her without a top for the sake of objectifying her,

Your art is overall so pleasant and colourful and fun to look at, and your takes of Marika’s character in your fanart is literally what made me more interested in who she is in-game.

Thank you for drawing her the way you do! (And for drawing Elden Ring fanart in general💕)

i've been letting this ask stewing in my inbox for a while because it makes me so emotional 🥲

if you look at how i drew Marika before anything in the DLC was announced, it did fall into the two categories you were talking about, because despite having a little more positive view on her than the rest of the fandom at the time, i still had no idea who she was as a person. and by that time i were more interested in Malenia, so even though i did try to envision how Marika was, it's a very distant and vague image. which is what i love about Elden Ring lore in general: we see Marika via how her children see her.

it was easy back then to conclude we'd never get her, and "mother" is a distant term that will always be overshadowed by "God", so i just went along with the general haha evil sexy girlboss thing that the fandom was doing. but then the DLC teaser dropped the another elusive (possibly firstborn) child of her, with a statue of her holding a baby in his boss room, she started to get more little quirks that's so human in my work (the small smile, the little lock of hair that curls gently) because for the first time, we see her through the eye of a son that evidently adores her, so she gets a bit more human, because someone views her with emotions that are not fear nor distance.

then the DLC drops, and it's not just through Messmer's eye (or the entirety of his being that carry so much of her love it weighs him down and twist into the most horrible curse in the end), it's through the eyes of her family that were no longer there at all. it's the jar innard enemy that huddled in a jar and clutched at a piece of raw meat, it's the Grandmother's gentle smile as she rest among a sea of flowers, it's the solitary minor erdtree that bathed the whole place in the kindness of gold, it's the Fire Knights and soldiers that clearly viewed her as Mother as much as she was God, it's Miquella throwing away his love and doubt because he didn't know how to deal with the revelation that his mother was once a fallible human just like the rest of them, it's Trina's entreaty that Godhood was just a cage that would kill him slowly, it's the final boss music with the female voice belting "Hail, Marika the Eternal" - in the place where she had to wade through a sea of flesh and blood, her family included, to ascend to Godhood. it's finally understanding that to her, Eternity is to live for all her loved ones that have fallen down.

and somehow, it all comes back to this portrait at the base game, right at the Roundtable Hold, of a woman with permanently lowered eyes.

yeah i know after the DLC i've put on such a Messmer-style protective glasses for her, it shows very clearly in my art. now she could cry, looks sad, small smile, big smile, looks silly, looks cute, looks serious, her hair is pulled up in twenty different ways, she jokes and talks to animals and goes back to be just a simple young girl rolling around in the grass, blah blah... im drawing all these with eyes wide open. and i have no intention of stopping lol.

sometimes, things that already come alive will never go back to be a cardboard cutout anymore. if ppl don't like it, block me or whatever, in my space, i'll do that makes me happy. and im very glad that other ppl could find their own happiness and solace with my work too :) thank you for such a thoughtful and kind messages!

[gamorahww]

Analyzing Glinda Upland Through MBTI - Why She Doesn't Go With Elphaba, Why Ableism is Just Part of Her Worldview and Why She’s Upset, Fiyero Started “Thinking” -

Hello, this is a Glinda analysis no one asked for. It doesn’t contain any spoilers for Wicked: Part 2.

Glinda is one of the most interesting characters with one of the most interesting story arcs I have ever seen in any media. I love the deconstructed “good” of her character and all the layers that the music, the actresses playing her, even the choreography, and in the movie, the editing gave her. Which is why I am slightly annoyed that a portion of the fandom refuses to see her as anything but Pink Fairy Princess With a Girl Crush™. This analysis is meant to look at how Glinda functions, and why she clashes with the two other important characters of the story, Elphaba and Fiyero, based on their personality types.

Yes, I am biased. I ship Fiyeraba, and I even wrote a similar essay on why they work so well, also through the MBTI lense. This is one of the reasons why I will not look at Gelphie only, I would like this to be as broad as possible. I don’t mean to attack anyone’s shipping preferences, this is just a character study. If you are here for that, welcome! Grab a snack, this won’t be short.

Disclaimer Regarding MBTI

I know many people think MBTI is bullshit and even a bit limiting, when we talk about real life, and the people inhabiting it, but in the case of well-written, consistent fictional characters (which applies to Glinda, Elphaba and Fiyero) I think MBTI can be used without worrying about negative effects.

I.) Context, If You Are Not Familiar with MBTI

When it comes to MBTI, there are two angles of looking at the types. One you are probably familiar with is the four-letter abbreviation (ENFP, INTJ, ESTJ, etc), but there is a deeper layer, where looking at those cognitive functions that each type uses. There are 16 variations of the four-letter types, but only 8 functions, that vary in order, and preference in each type. 

We identify four main cognitive functions in each type. Introverted types (their four-letter type stars with an I) are most comfortable using their introverted functions, and extroverted types (their four letters start with an E) are most comfortable with their extroverted functions. However as a person grows up, goes through life and evolves, they learn to harness their initially weaker functions better, and this gives them a more well-rounded personality, and a more healthier way of living in the world and be their authentic selves.

The order of the functions is also important, so whatever is in first place is their strongest function, and whatever is their last is their weakest.

You may be looking at this thinking “I didn’t ask for this”. And you are right, you didn’t, but bear with me.

So, lets sum it up: Each four-letter type has four main functions, and the extroverts are good at extrovert stuff, while introverts are good at introvert stuff. Got it!

II.) Glinda and her MBTI Type and Cognitive Functions

Glinda is an ESFJ personality type. ESFJs are also known as “caregivers”, because they are deeply social people, and they use their skills of being able to read people to influence the lives of those around them. Usually they thrive on giving to others, and they genuinely don’t want anything in return. ESFJ is the most common personality type among women, with their introverted counterpart (the ISFJ) they are considered the “mother” stereotype. They enjoy hosting parties, making sure everyone around them has a great time. They hate conflict, and in an ideal world for them, everyone would just get along, while upholding their own ideal of the world.

ESFJs have a deep sense of community, but they are also deeply traditionalists. They have a hard time letting go of the idea of “how things should be” according to them. Their ideals however don’t come from personal beliefs, they come from learned and social input that they interacted with throughout their lives. "How it should be" for them, always stems from what they are used to, and they usually struggle with thinking out of that box.

Glinda - ESFJ - Cognitive Functions: Fe-Si-Ne-Ti

(Fe) Extraverted Feeling: Focuses on creating harmony and meeting others’ emotional needs, making decisions based on group values and relationships. Glinda goes with the flow of the groups she inhabits. Whatever environment she is in, she wants to ensure the people around her are in harmony. When people around her have differing emotional needs, then she hits a wall, because she has to decide which one she prioritizes over the other.

(Si) Introverted Sensing: Draws on past experiences and traditions to create stability and provide a reliable sense of order. She relies on what she knows, and what she has experienced before. If she has to chose between what is new and what is familiar and therefore reliable, she will always chose the latter.

(Ne) Extraverted Intuition: Explores possibilities and connections, generating new ideas and perspectives for problem-solving. This function is used by ESFJs to explore creative ideas on how to improve the lives of the people around her. "Popular" is a great example of her trying a bunch of versions out to see how she can improve Elphaba’s life - mainly in ways that Galinda herself finds useful.

(Ti) Introverted Thinking: Analyzes information internally to find logical consistency, supporting nuanced and precise understanding. Glinda has this internal sense of logic, where she sees how in her mind, things hang together. This is an internal system, that is rather rigid, and to change one aspect of it would mean to change everything else around it as well. She uses this to decide what is actually possible, and what’s not - according to her.

III.) Clashing Values and Peronalities

Elphaba and Fiyero are obviously the two main characters Glinda interacts with the most throughout the story, but her relationship with either of them mostly works on a superficial level only, and the main reason for that lies in the cognitive functions each character uses. Let’s take a look below. To see how two characters are similar in their personalities, what we are looking for is the same functions in their function stack.

Fe-Si-Ne-Ti > Glinda

vs

Ni-Te-Fi-Se > Elphaba

Se-Fi-Te-Ni > Fiyero

As you can see, Glinda doesn’t share a single one of the functions of the other two. On the surface this would not be a huge issue. Different people find beauty in their differences all the time, and can greatly benefit from those differences. If this was a story, where personal values are of no significance, if there wasn’t you know, an authoritarian regime on the horizon, they all could be friends, as they are. But that is not the case, and in the context of the story, this situation first makes, but then also breaks both of these two relationships she has. And the main culprit in their personality for that is…

Elphaba and Fiyero's Introverted Feeling clashing with Glinda's Extroverted Feeling and Introverted Sensing.

You see, Introverted Feeling (Fi) is what Fiyero and Elphaba bond over. (Fi) is the part of a person that holds their values and integrity. It’s what they hold dear, it’s their sense of what is right, and how things should be. People with introverted feeling are more driven by what they perceive as just, vs what people around them see as just acceptable and normal. You can read more about my exploration of (Fi) in Elphaba and Fiyero here.

Glinda doesn’t have (Fi). This is very obvious in how she reacts to injustice around her, and how she doesn’t really care about Dr. Dillamond’s fate, even when she saw him getting dragged out of the classroom with her own eyes. 

In the deleted scenes, Glinda tells Elphaba that she would have helped, if Elphaba asked her to do that. Glinda is telling the truth. She would have helped, but not because she thought it was the right thing to do, but because Elphaba asked. Her motivations stem from what the outside world wants her to do, and if she loves the person asking her to do the thing, and it doesn't clash with her how others view her or what she thinks others expect from her, then she will do the thing. But had Elphaba put a spell on everyone, except for herself and Glinda, Glinda wouldn’t have done what Fiyero did. She wouldn’t have jumped out of her seat immediately to pick up the cub, on her own accord, and if it was the two girls in that situation, they probably would have stood there for a while, not really knowing what to do.

Neither of them are the taking action type of people, that's Fiyero.

See, Glinda's love for Elphaba can take her as far as helping her save one lion cub when everyone else is asleep, and there are little to no consequences for doing this. She is absolutely right, she would have helped. But this is the limitation of her helpfulness, and essentially, her love for Elphaba as well.

Glinda can’t help who and what she is. “Popular” is not her “I want” song in the musical, but it is a declaration of her values, and how she thinks the world works. I feel many people write "Popular" off as a comic relief moment, but it actually spells out exactly what she is, and what is important for her. She sees social standing as the most important thing in the world, so far that she even would teach Elphaba whom she cares for at that point, how to get a more appropriate status, so she can get by. She truly believes that “networking” with anyone, and maintaining good relationship and a beneficial personal brand is the best way to get what you want. She is not wrong, in many cases, her way of diplomacy are useful, impactful, and may also lead to some level of change.

Glinda is very manipulative, in bigger and smaller ways, but she is usually able to manipulate people in a way that they don't get angry with her for it. (see her directing Boq's attention towards Nessa, something that Glinda thinks kind, but it actually also a self serving act.)

However... Elphaba’s integrity does not let her to compromise in the face of what she percieves as injustice. Her morals don't allow her to network with people, who are so willing to do… well, fascism.

IV.) Satisfying the System

I won’t go into details of how far Glinda goes to be the part of the established system, as that is spoilers territory for part 2, and maybe not everyone is here for that. Nor do we know, how this will play out in the movies. But…

Glinda has no interest in questioning the system and how it works. She understands how it functions, and she uses it to her advantage whenever she can. She uses her social standing and the image she cultivated to get what she wants, and this takes her as far as she can go, like she said in "Popular", without “brains or knowledge”, but she hits a wall with Madame Morrible, and the sorcery class. Magic is so rare in Oz, and Glinda wants to be able to do magic so bad. There is an almost throwaway joke that, when we examine it closer, I think explains why she wants to be a sorceress.

In her conversation with Morrible, Glinda mentions she submited and essay titled “Magic Wands: Need They Have a Point?” which is a pun on the shape of wands (and Glinda eventually not having a wand that has a point at the end of her transformation into Glinda, the Good, but one with a sphere and crystals at the end) but also, if we break it down a bit, she is saying “does magic need to have a point?”. I believe this means she wants to do magic for the sake of it. Not to change the system, or improve it, no. Of course, she also wants to help others with her magic, but, importantly, to help them in a way she sees fit, and to help others meet the standards of the system and the society they live in, so they fit in nicely into Glinda's world.

Not everyone is able to fit in like that however. I would like to briefly touch on the ableism she exhibits by manipulating societal perceptions of Nessa as “tragically beautiful” and giving her a suitor Glinda herself doesn’t want. Glinda exploits the pity she knows people feel for Nessa to manipulate Boq, using the ableist system to her benefit while perpetuating it. She views herself as superior to both Boq and Nessa, which is why she feels justified in orchestrating this situation.

Another example of her ableism is when she criticizes Dr. Dillamond for his inability to pronounce her name. The professor explains that his lack of upper front teeth, a physical difference that impacts his ability to articulate certain sounds in human language, prevents him from doing so. However, Glinda dismisses this explanation, insisting that “every other professor” can manage. She fails to recognize that a skill she considers basic might not be universally achievable, and she unfairly holds him to a standard he cannot meet.

Glinda’s actions perpetuate an ableist system by upholding and exploiting societal biases against those with disabilities or physical differences. By manipulating perceptions of Nessa and disregarding Dr. Dillamond’s explanation, she reinforces the idea that people must conform to arbitrary standards of “normalcy” to be valued. This behavior not only marginalizes individuals with unique challenges but also normalizes the expectation that their worth is contingent upon overcoming or compensating for those differences.

V.) It’s Safer inside the Bubble

To ignore the fact that Glinda comes from great privilege in a story that has this much politics in it would be a silly thing to do, but I will kinda do that anyway. The only level of privilege I would like to touch on is the fact that her and Fiyero come from similar backgrounds, royalty and power. They both had a presumably an easy and sheltered life before meeting Elphaba. Elphaba also comes from wealth, but society and her family made life a lot more difficult for her.

Glinda sees this similarity with her and Fiyero, and feels like she found her match. In the state Fiyero is in, when they initially meet, he seems like the perfect fit for her. But the thing about Fiyero is that he is in a very-very emotionally unhealthy state when they meet. (You can read about his looping in my Fiyero and Elphaba analysis) 

Isn’t it interesting, that Glinda sings about popularity not needing “brains or knowledge” and Fiyero claims to dance through life “painless” and “brainless”?

Fiyero lives superficially and carelessly, literally shutting his brain off, and not engaging his inner world. This inner world is where his Introverted Feeling lives, so him not using that keeps him from clashing with Glinda on the points mentioned in III.) above.

But that is not Fiyero’s natural state, and he shouldn’t behave like that. However the fact that they can only connect when one of them is not entirely themselves is something Glinda clocks, when she says he is being “distant” and that he “has been thinking”. After his encounter with Elphaba, Fiyero starts engaging his (Fi) - again, more about that in the other analysis - and Glinda has no idea, what to do with that. He presumably even told him that it had to do with the day Dr. Dillamond was taken, but Glinda cannot connect to this on an emotional level, and she calls him “an old goat”, which is pretty insensitive of her. She can’t really cope with the fact that Elphaba and Fiyero were both affected by this thing that seems almost trivial to her, just another day at school, and she didn’t like Dillamond anyway.

She is very pereptive, and she can see the change in both of them. And change for a traditionalist like Glinda is devastatingly scary.

Little does she know that Fiyero from that point onward is no longer inside the same bubble as she is, and he is a lot less afraid of seeing it all in the rearview mirror, and never to return to it again. Well, if he could help it, that is.

So, taking Fiyero and the lion cub, and school, and all that away, Elphaba and Glinda go to see the Wizard. Once they realized (well, Elphaba does) that the Wizard has no magic, and he is also behind all the things happening to the animals, Glinda's bubble doesn't... pop. She aligns herself with the crowd, preserving the status quo.

She has to chose between what is right, and what feels right for her, and well... she stays behind. And she doesn't do the right thing. This time.

[star-lights-up]

I'm having thoughts again (it's a very dangerous thing, thinking is): Cherik matilda au, with Jean as matilda. Honestly, it'd probably be a jean-centric fic, background cherik, because i mean miss honey doesn't have a love interest in the original lol. (Oh, right, Charles = miss honey. Erik also kind of = miss honey. they're sharing the role.)

ALSO i'm basing this on the book and the original movie, not the musical and musical movies. I love all incarnations of matilda but I am too tired to work in the whole premonition story thing.

So Jean is just chilling. She's like two years old and already she can cook and clean and pretty much be self sufficient. Her parents are self-absorbed assholes who don't really pay her any mind, and her brother is a little shit who's older than her and never home anyways.

She goes to the library, and she reads. She expands her horizons. She learns. She develops a yearning to see the world outside of her lonely little life -- she may be self-sufficient, but it doesn't mean she doesn't want any friends.

Now, when she's six, she tells her parents that she really should've started school already, and her dad makes a deal with this terrifying man to send her off to Hellfire Elementary (sounds like a great place for kids, amiright?)

There she meets Ororo, who's funny and nice, and then there's Logan, this older kid who's absolutely TERRIFYING (at least he thinks he is, jean's calling his bs). He warns them about the headmaster -- Shaw. The truly terrifying one.

Shaw in this isn't really the kevin bacon shaw. He's like if shaw lost his fucking marbles and became a really buff lunatic. He throws a girl wearing her hair in pigtails over the fence. It's insane.

Then Jean goes to her class. The first years have two teachers -- Mr. Lehnsherr and Mr. Xavier, who tells them just to call him Charles as long as Shaw's not around.

The classroom is kind of amazing. They've got art by students hanging everywhere and cute little posters and vases of wildflowers, the doors opened to the school grounds and filtering in the last of the warm summer air. To Jean, it feels magical. She's finally at school. She finally feels like she's going to get to be in the world. She chats with Ororo and some kid named Scott before the bell rings.

(Now for teaching duo cherik! I'm thinking for them, this is an established relationship fic. )

They've both been hurt by shaw (more on that later) to the point where they've become more muted versions of their personalities.

Charles is kind, as he always is, but in this he's very soft-spoken and stuff. Even as he smiles warmly at the kids, checking on the girl with the pigtails, Jean notices this deep sadness in his eyes.

And then there's Erik. He's quiet, very matter-of-fact when he does speak up, methodical. He's very gentle with all of the children, though, and Jean sees him tracking Charles with his eyes, as though he's sure something awful will happen to him as soon as he lets him out of his sight. Again, his eyes hold some deep sadness, some hidden pain.

As the lessons begin, they're shocked by Jean. Her reading, her writing. Her incredible math abilities.

( found this cute little line from the original book, and i wanted to adapt it (very erik-core):

"It's not fair," Ororo says, "How can she do it and we can't?"

"Don't worry, Ororo, you'll soon catch up," Mr. Lehnsherr says, lying through his teeth. )

After class is over, Charles wants to talk to Shaw, try and get Jean in a more advanced grade. Erik doesn't want him to go. They go together, and Shaw pretty much yells at them and threatens them until they leave.

They decide to think of another way to go -- they can't have jean just sitting in class, learning how to spell r-a-t when she's read shakespeare already.

Back at home, for another week or so, Jean's life continues much the same as it always does. Her parents: the assholes. Then her father takes her and her brother into work one day, telling his son he needs to learn the family trade. Jean's just there.

He shows them all sorts of illegal things he does to the cars before he sells them -- sawdust in the engine, running the miles backwards until the car seems barely used. It's not legal. Worse, it's not safe.

Jean speaks out and gets yelled at.

So she finds some superglue and glues his stupid hat to his head the next day. And so starts her rebellion.

Charles and Erik decide that perhaps it's best to speak to Jean's parents directly. Cue creepy CGI cherik from the last stand. No, no, I'm kidding. They just show up there, try to talk to the greys, who really aren't having it, and before they leave Erik sneaks a book behind a coat rack, Jean smiling at him from where she's hidden on the stairwell, having listened to the whole thing.

Jean plays another prank on her parents for treating her teachers so bad (blabbermouth parrot in the chimney. Mrs. Grey is convinced they've got a ghost).

Meanwhile, at school, Charles and Mr. Lehnsherr give her all these workbooks with more difficult math and language and science, apologizing that they can't instruct her directly or get her into a more advanced class but promising to help if she has any questions (she doesn't).

Anyways. Then we get to the interesting part.

It's been a while, and Jean's seen the horrors of Shaw. He made a boy eat a whole cake in front of the school. he throws kids out windows. And there's this terrible thing called the chokey.

Shaw comes into their classroom to teach his monthly class -- Charles and Mr. Lehnsherr quickly hiding all the art and decorations in the room.

Ororo sneaks a newt into shaw's water. Pandemonium breaks out. Shaw starts targeting poor scott, of all people, who's not capable of breaking a rule.

Something in Jean snaps. And the glass tips over, sending the newt right onto shaw and shaw right out of their classroom.

After class, she explains it to Charles and Mr. Lehnsherr. She shows them what she can do. With just a little bit of anger, she can push the glass over.

The two teachers glance at each other (after being quite shocked, of course), then Charles asks if she'd like to have tea, and talk about this more, if her parents wouldn't mind.

Jean knows that they most certainly don't care where she is, and agrees.

Charles and Mr. Lehnsherr bring her to a small cottage, surrounded by wildflowers. The walls are whitewashed. There are two little windows. Charles spreads cheap margarine on the toast. Mr. Lehnsherr pulls two chipped mugs out -- there doesn't appear to be a third. The kitchen is just a shelf, really, with a little portable stove.

Charles asks Jean if she'd be willing to get them some water from the well out back. She has a wonderful time doing so, never having drawn from a well before.

She and Charles have tea and toast, sitting on the crates that are the only furniture in the whole of the tiny cottage. Mr. Lehnsherr sits cross-legged on the floor, leaning against Charles's crate a little and not eating or drinking anything.

Jean, as a small child -- because, yes, no matter how smart and independent she is, she's still a small child -- asks a few questions that might be a little too personal, inquiring about just how poor their salaries are to live like this.

"Why shouldn't you ask?" Charles says, after Jean apologizes. "You were bound to ask in the end. You are much to bright to not have wondered. Perhaps... Perhaps we even wanted you to ask."

Erik nods his head, saying his solemn voice, "You're our first visitor, after all."

Quietly, a little sadly, Charles begins to tell Jean a story. He once lived in a large brick house in town. His mother passed when he was born, and his father was absent until he died, leaving him in the care of an uncle. The uncle brought with him a ward, Erik.

The uncle was an unkind man. He forced them to work around the clock, doing the household chores and the cooking and anything else he could think of, like they were servants and not young children. He would beat them if they disobeyed -- and even when they didn't.

They managed to go to the teacher's college about forty minutes away when they both turned eighteen. They could've gone to university -- but the evil man wouldn't allow it.

"How did you get away?" Jean asks, equally riveted and in deep sympathy for her kind teachers.

They tell a story of being forced to sign away their salaries to the uncle, since apparently they "owed him thousands" for being just barely fed and clothed for ten years. With the little that they got to keep, it seemed they would never get a place of their own...

But Mr. Lehnsherr, on his early morning walks, stumbled into a small, empty cottage. He went to find out who owned it, and the farmer, after insisting he didn't want to live there, agreed to rent it out for ten pence a month.

Charles and Mr. Lehnsherr (who, at a point, sighed and told Jean just to call him Erik since they're not at school) quietly packed their things, informed the evil man that they'd rented a house, and rushed out the door.

While Jean is happy for their triumph, she's aghast of the idea of the evil man still living in Charles's old home. He says that his father's will was apparently destroyed ("no prizes for guessing who," Jean says, and Erik huffs a laugh) and his uncle produced a piece of paper saying the house was to go to him -- Charles is sure it was counterfeit, but there's nothing he can do.

"He still owns my family property a town over, too," Erik says quietly. "Won in much the same fashion." His hands are balled into fists, his face mournful and angry. He doesn't elaborate, and Jean and Charles are smart enough not to push.

Jean asks who the evil man is.

With a glance at his partner, Charles says the name "Shaw."

After the initial shock, the conversation changes, and Jean eventually excuses herself to go home. Charles and Erik apologize for keeping her so late, walking her to the end of the dirt road and back to the sidewalk.

Before they part, Jean asks a few questions: what did Charles's father call him before he passed? Charlie. He hated it. What did charles and Erik's parents call Shaw? Sebastian. His first name. And what did he call their parents? Brian, Charles answers. ...Edie, Erik whispers after a moment of hesitation.

Jean practices her new gift at home. It's not long until she can lift things at whim, pointing at them or staring at them or just thinking of it. She plots. She plans. She practices what's needed for her plots and her plans.

The next time Shaw comes into their classroom, he's startled by the whiteboard chalk floating into the air, beginning to write a message:

Sebastian, give my Charlie back his house. Give him and Erik their wages. Give Erik his land. Then get out of here. If you don't, we will get you. We will get you like you got us. We are watching you, Sebastian.

There is a great commotion as Shaw passes out on the floor in shock. He's carted out of the school. He leaves the brick house within a day. Reportedly, Brian Xavier's will turns up. Charles and Erik move into the great house. Charles is appointed headmaster of the newly christened "Big Friendly School." (Note: this is taken from the source material. I don't think charles would name something after himself in this au tbh). Jean is a welcome visitor anytime.

Then, one day, arriving back from the brick house in the evening, she finds her parents packing up the car. They're moving to spain, they say. Her father has been caught, which they don't say, but is clear.

Jean runs all the way back to Charles and Erik's house. Jean begs them to let her stay -- she doesn't want to leave, and she certainly doesn't want to be trapped with her parents forever in a foreign country.

Charles and Erik come with her back to her house. She takes some adoption papers out, which, funnily enough, she's had since she was tall enough to use the copier at the library! Boss move, Jean.

her parents don't fucking care, so they sign the papers. Charles and Erik are pretty much about to cry. They're parents, now, something they never thought they could be. They hug Jean, something her own parents never did, and don't bother to watch them leave.

Now, they all live in the big brick house together, and it's a house full of reading and laughter and life, all three of them, daughter and her fathers, finding a kind of happiness they never thought they'd be able to have.

and that's it. Why did I spend two hours writing this. 😂

[katerinaaqu]

Have you seen the new epic saga, it's something alright lmao

Of course I haven't seen it given that I never followed the live streaming to begin with not even in the first two sagas that I genuinely liked, much less now but a friend wanted to fill me in and since you asked and I wanted to be accurate, I tormented myself for almost 16 minutes to listen to the plot changes that I was told there would be and I am like

WHAT THE FUCK DID I HEAR?!!!!!!!!

I am sorry but again speakig purely on plot of course because honestly the music is really solid as always and the singers were amazing to transfer the emotions they wanted to transfer. Loved some of the melodies given, for example the intro of Charybdis was my favorite part I think but I am like HOW IS IT POSSIBLE THAT ALMOST ABSOLUTELY NOTHING OF THE FREAKING ODYSSEY IS IN THIS SAGA?!!!!!! Like he just kept the bare minimum again!

Sorry for the runt but yeah here goes:

"Not sorry for loving you"=> After all that backlash that song got even from the most loyal Epic fans he still kept it. I mean I admire his loyalty to his ideas but like he should have known that the song was not a good idea. I mean it was almost clear from the song's ideas that Jorge would dodge the subject of SA and that he would leave his fans guessing (smart move gotta give him that) at first given the suicide attempt Odysseus make but now it seems almost clear that he would want to dodge the subject just like he dodged the Circe thing it is just that right now he couldn't do it as blatantly because Calypso was an infamous moment of the Odyssey And of course the "I love you" Odysseus said...I said it before and I say it again it reminds me a blunt way to translate the reconsiliation of Odysseus and Calypso in the Odyssey. Okay even Odyssey was interesting in that (see my other analysis) even Homer uses the phrase "they rested by each other's side enjoying their closeness" so in one way even Homer seems to be implying that Odysseus forgives her and even tries to see it from her point of view but honestly what else could he do? Hold a grudge? A day before he would be FINALLY given the tools to make a raft? I think not. It almost felt like Odysseus felt sorry for Calyspo for one second in the Odyssey, when Calypso, a literal goddess, compared herself to his wife. It was an almost pity move on his part at that moment. Dunno what the musical wanted to do with this but this was not the way to do it! All the context of their talk and all was lost! If anything he tried to use a made-up thing, AGAIN to show some compassion for Calyspo. Calypso was already a lonely deity. That tragedy was enough for her. She didn't need any more tear-jerking stories for people to feel for her more in my opinion (kinda like whatever PJO did if I am not mistaken...either way yeah...)

"Dangerous"=> You know...at this point I am not even surprised that he made Hermes and Odysseus interract....like that would be my least of my problems. He does make Odysseus interract with all the gods under the sun in the musical even if Odysseus only interracts with is Hermes at Circe's island ONLY and Athena in the Odyssey and that after he has been through everything! Either way of course we would have Hermes there but like again with all the things we have from "video game logic" or whatever he wants to do...Hermes gives him another bag?! like I have no idea what is going on here! The only thing I would praise here is the emotional preparation for a possible reunion with Athena given how Hermes doesn't tell Odysseus who helped him so maybe he has an emotional load there.

"Charybdis"=> Okay for starters.....WHAT THE FUCK?! What is Charybdis doing AFTER Ogygia?! Not even a flashback!? (and I was wondering where the "Hermes told me" thing came from in that preview) Like where is that damn desperation of Odysseus having to face Charybdis right after he lost everyone?! Alone and hungry in the sea after a terrible storm that took away his men?! I also love it really how everyone thought originally that at least Charybdis would be accurate to the text and everyone was making their analysis and "look how fighting he is here compared to after when he wants to throw himself in the sea in Ogygia" and now it is clear that this thing came AFTER Ogygia for some reason. Like I am not even surprised anymore that some of the most iconic moments of the Odyssey were twisted. It almost seems deliberate at this point like "yeah let's change exactly the most iconic parts" that's why Circe was changed, Sirens were changed, Skylla was changed, Charybdis was changed...even the storm after the Helios island... The intro slaps no lie there but honest I have expressed my opinion on that before and got in trouble but I think that moment of desperation shouldn't be a fucking epic song. It was a man hanging for dear life from a tree! Trying his best not to die! (made also one small thing here) And like I get it, if someone sees that escape as "epic" for being so dramatic and impressive, I get it. have epic music in the background but what on earth with the lyrics? Like "destroy you"?! Really? or "bring it on!" like the last thing Odysseus wanted in the Odyssey was Charybdis to...bring it on! Lol! You may as well speak on the "I'm still fightng here" thing, I totally get it why, but to actually challenge the beast seems totally random. But then again I guess it fits more with THIS context given how he thinks he is now favored by the gods? In the Odyssey he was alone abandoned by all and everything with no hope left so I guess...

"Get in the Water"=> Like okay I have seen this in more replays than I can count from the very beginning from the demos till now. Ironically out of this whole thing it could be lowkey my favorite! Lol! Mainly because it fits the Odyssey PARTIALLY (yeah again Poseidon never wanted to kill Odysseus. That was written straight out in the freaking Odyssey! Even 1997 version that was inacurate as hell in many things did that right!). I would have loved it if this song was Poseidon having a monolog and Odysseus having his cries like "oh no!" or prayers as a second monolog. Like not actually interracting but have two parallel monologs! This trope is not used much and I wish I saw it more. Like Odysseus praying to Poseidon but Poseidon doing his thing alone and the two not having a dialog to each other. Apart from that the song was as we expected so far. Maybe the last part had me a bit iked but again I feel like it would be massively fixed if the two characters had parallel monologs and not actually interracting. I also love it how casually we have Odysseus accuse Poseidon in this saga for destroying his men while he CONSCIOUSLY killed the last of those himself.

"600 strikes"=> I'm sorry but....WHAT THE HELL DID I JUST SEE?!?!?!?!?!?!?!?!?!?!??!?!??!?!?!?! Like I am sorry never felt like good music was so wasted in my entire life ever since the Siren fiasco! Like the song is amazing musically but what the hell did just happen?!?!?!?!?! For starters the underworld has a bus service apparently and all come up... I feel like Jorge uses this as a pattern at this point. When scenes like the underworld attracted so much fans and emotions from people who praised his choice to bring the ghosts and the voices up he wants to use it every time to focus on emotional load in a similar manner (like I said never followed him for real so I am not sure how much of it was planned before and how much of it was done on the way). But yeah of course we would expect the appearance especially with the hype at Love in Paradise. But excuse the fuck out of me WHAT!? Odysseus beating up Poseidon with his FUCKING TRIDENT with the power of friendship?! LOL! I have no idea what to take of this! We do know humans fought gods before (Diomedes looking at you) but ironically to my knowledge NEVER THE BIG THREE! Like you know...fucking ZEUS POSEIDON AND HADES?!? The three main pillars of the world (Heaven Earth Underworld)?! I don't think I ever loved a lyric so much (Odysseus admitting what he became from his trip) and so cringe at the same time (Fucking POSEIDON begging for mercy?! and calling him "monster" for fighting back?!" I am not sure to which to cringe first). Is this supposed to be the part where Odysseus redeems himself against Poseidon?! To dodge the fact that Tiresias DIDN'T give him instructions to break the curse?! So basically Odysseus redeems himself for what he did...by stabbing a fucking god?! Like...remember how Diomedes was cursed by the narrative for stabbing fucking Aphrodite after fucking ATHENA ordered him to?! Yeah right that works! What the hell?! And the final part was supposed to be some sort of redemption from the pattern "All I hear are screams"?! Like "how will you seel at night?" and the response "next to my wife"?! Is that supposed to be the last of the "all I hear are screams" pattern?! Is this supposed to be the ultimate "monster move" of Odysseus or something?! And of course we had to have an encore from the previous bag of winds scene as well like yeah once more the god Poseidon the fucking literal god of seas and land inhabited by humans, the guy who has the epithet Προσκλύστιος (Prosklystios)= the one who strikes against (to imply the waves) was taken down by a bag of winds?! I mean yeah makes total sense!

You know...it almost feels like Jorge read my fanfiction with his men supporting him against the Trojans! Looooool just kidding I just am too shook by the random things that come out of that magic hat! Like yeah Odysseus swimming, literally SWIMMING for two days in a fucking storm to reach Scheria was not epic enough apparently...we needed some sort of final boss god fight here...like Hades game or something like yeah...what's next?! Odysseus will shoot fucking ZEUS with his bow with the blessings of Athena to get even in thenext saga?!

Also of course we have sped up plot again because screw the Phaeaceans, the very reason Odysseus even TELLS HIS STORY! The one we could have his redemption, his cry and the move of compassion from them (not to mention it makes so much more sense than someone traveling on a freaking RAFT from Calyspo's island all the way to Ithaca since the Phaeaces gave him a ship and all) unless they somehow pop up later which I doubt... I also heard that the storm or whatever is signifying Penelope the coming home of her husband? Not sure again not following but yeah

To conclude as always music-wise really solid work very good harmonies and by n large very good intros

Plot wise

WHAT THE ACTUAL FUCK?!?!?!?!?!?!?

Again I deeply apologize on the Epic fans out there and even to the creator himself if I sound harsh! I know but still...I just cannot anymore...the plot is like killing me!

and these are my PERSONAL OPINIONS! If you love it good for you guys! I just had enough of it really. Is it impressive? HELL YEAH is it creative ABSOLUTELY!! is it good? To me absolutely not! Honest never expected to say that but I think the "Get in the Water" is the song that makes the most sense out of it.

PS: I am sure the animators did a FANTASTIC JOB in their work too! And I believe I will see impressive stuff from now on! The same good job as the singers did!

[cryptidghostgirl]

Hello hello!! You're probably swamped with asks, but if you have the time and energy, you should do a slow burn Alastor x reader set in the 1920s where the reader is a performer at mimzys speakeasy and that's where Alastor goes to chose his victims. He sees the reader for the first time and immediately thinks that they are his next victim but he keeps getting thwarted by small incidents, such as the reader leaving early and him barely missing his chance. After a while he notices small things about them and their personality after sort of observing them, and then they meet and he loses his interest in killing them. Of course the slow burn happens, the drama ensues, he's still a killer but keeps it a secret and then after a while the reader finds out. You can choose if you want a happy ending or not, but I had that idea in my mind and your one of the only writers I see that could do it justice. Thanks for sharing your talents!!! Your amazing and gifted in ways that inspire everyone who interacts with your blog🫶🫶🫶

A/N You’re literally so sweet?? Wtf?? I love you?? Thank you??? I hope you like what I did with this fun and fluffy idea!!! ahhhhhh!!!! also, I am running with the ambiguity of the ending. I am such a little slut for ambiguity.

Burn (Human!Alastor x Human!Gn!Reader)

Pairing: Alastor x Reader

Warnings: SLOW BURN. SLOW. BURNING IMAGERY. A LITTLE OVER THE TOP ON THE BURNING IMAGERY THING. Dead bodies, blood, murder, killing, mentions of stalking. This one got away from me a bit.

Word Count: 4,197

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Ravenous, that was the word. Not in the way where everything dissolves, leaving only the object of your affection. Not in the way that someone is controlled by desire. Hungry in the way fire eats paper, in the way kindling catches light. Starved in the way that leads to a progressive repeated sense of the word, a starving. A constant state of being famished that turns into a well loved and cared for blaze. Alastor burned.

The box of matches pulled from the pocket had been Alastor going to the bar, all those months before. Nearly a year now, once he sat and really thought about it. He had been going to Mimzy's little speakeasy on the outskirts of town since it had been just that, a little speakeasy on the outskirts of town rather than the full fledged, illegal club she ran today.

Back when it was a speak easy, there had never been a problem. On that fateful day, though he hadn't known it then, the club had changed its form. It had become the kindling. Sitting down at the table had been pulling a match from the box and Y/n.... Y/n had been the rough hewn striker paper he lit it on. It was all so obvious now, looking back. The expression 'hindsight is 20/20' existed for a reason.

So, Alastor had entered the club (matchbox out of pocket). As soon as Mimzy had spotted him, she had run over with a bright smile and a glass of whiskey on the house as always. Alastor had always liked Mimzy. She was wild and positively hilarious when she wanted to be but, at the same time, she had a good head for business. Her morals were just wobbly enough that Alastor felt comfortable with her, a camaraderie he felt with no other.

The lights had gone down suddenly and Mimzy, cutting herself off mid sentence, had turned to the stage in excitement.

"Good show tonight?" Alastor had asked.

Alastor never came to Mimzy's club for the music. She knew he didn't care, not really. Still, he had the curtesy to ask and so, she whipped back towards him.

"You betcha." she grinned up at him, "I just got this new kid? Came from all the way up north, can you believe that? Anyway, they have a set of pipes like you wouldn't believe! Just the bees knees, I tell you."

Grabbing Alastor's arm, Mimzy dragged him to a table by the stage. Alastor sat down across from her (match from the box) with an air of mild reluctance. Mimzy tapped her hands on the table impatiently.

A spot light flickered on and a scrawny young kid stepped onto the stage. He couldn't be much younger than Alastor or Mimzy themselves but he was one of those people that always look younger than they are. He had been working for Mimzy for a while now but, Alastor had never bothered to learn his name. He was simply 'Mimz's Manager' in his view of the world. The kid cleared his throat, leaning in towards the microphone which had been placed at center stage.

"How are we feeling out there tonight?" he asked the room at large and there had been a miscellaneous cheer from the room at large, "Well that's good to hear! We've got a real treat for you tonight folks. All the way from the Big Apple, we bring you, Y/n!"

The kid left the stage and a new figure stepped out from the shadows (revelation of match striker paper). The minute Alastor saw them, in the well cut suit that shone dark in the light, he knew. They were perfect. Slim, but not too fit and shorter than he was. Morally ambiguous enough in their aims that they had come running from New York to work at a speakeasy. This 'Y/n,' if that was even their real name, was his ideal next victim. Alastor smiled in the dim light as somewhere off stage, a piano began to play.

"I'll be loving you, always" the person sang and Alastor was taken aback.

Mimzy had been right. He had never heard a voice like it before. They sang with an emotional depth that could be heard from few. Somehow, they still managed to keep it sounding like music.

"When the things you plan Need a helping hand I will understand, always, always"

Mimzy leaned across the table to Alastor, her eyes alight.

"What did I tell you?" she whispered.

Alastor nodded his head to the side in vague agreement.

"Not for just an hour Not for just a day"

When they finished their set a half hour later, it was to raucous applause. The house lights raised and with them, Mimzy stood from her chair.

"I'll be back in two shakes." she promised before disappearing off into the crowd.

Alastor leaned back in his chair, the wood creaking beneath his weight. Contemplatively, he took a sip from his drink. The time before a kill was nearly as an enjoyable as the act itself. It was ritualistic, it brought him closer to god.

Before he knew it, Mimzy was back, dragging the singer behind her. They looked slightly frazzled, their hair a bit messy and their brow furrowed.

"Mimzy!" they exclaimed as they struggled to keep up with the woman holding their wrist in her vice-like grip.

Their speaking voice was... different than Alastor had expected. From the way they had sung on stage, he had thought it would be sharp, loud, ebullient. Instead, it was rather soft. Alastor couldn't help but think of the creek out back of the house he had grown up in.

"Al, meet my new favorite!" Mimzy announced, coming to a stop beside Alastor.

"I..."

The situation had been unexpected to say the least. Alastor had had a long day. He hadn't come here to socialize, he came here to drink. Now, he was at a loss for words, the haze of sleep and irritation clouding his mind.

Y/n looked at Mimzy before fixing their gaze back on him. The took a step forward, fixing a smile on their face, and held out their hand.

"Y/n."

So it was their real name. The one they presented to the world, at least.

Alastor smiled, standing from his seat and taking their hand in his.

"Alastor."

They had a firm handshake. There was something authoritative about it, something just a bit too confident.

"Pleasure to be meeting you." they said.

"Quite the pleasure." Alastor nodded.

They broke contact and Y/n turned to Mimzy, suddenly seeming very tired.

"I'm gonna head, Mimzy." they hummed, their voice nearly drowned out by the cacophony surrounding them.

Before Mimzy could say a word against their statement, they were gone. The crowd sheltered them from sight almost immediately. After that night, Alastor started coming to the club a lot more often.

He always sat in the same seat, the table near stage left. It was right next to the exit. Anyone getting off the stage had to go right past him. It was a calculated choice. Step one of his little projects, so to speak, had always been learning more about his victims, finding out their patterns.

The problem was, Y/n never seemed to do the same thing twice. Every time Alastor would think himself ready, would ready everything for the action, something different happen. The first time, it had been that Y/n had simply managed to slip out earlier than normal. Mimzy was always introducing them to someone or another after their shows, delaying their departure. That night, it seemed, they had somehow been able to avoid the mayhem.

Another time, the problem had been that Y/n had stayed at the club too long. Alastor was a working man and once the clock hit midnight, it was time to cut his losses and go home. A third time, Y/n had just happened to call out sick the very night he had gotten everything back in order.

A month in, and Alastor was ready for his fourth attempt. He sat at his usual table, drinking his usual drink. When Y/n left the stage, he kept his eyes trained on them as always. It went like clockwork - Mimzy pulled them away, they tried desperately to escape and eventually, they succeeded. That was when everything went south again.

One second, Y/n was by the bar and the next? Gone. Alastor got to his feet, tossing a bill or two to the bar tender and disappearing out through the door. He was determined. Tonight had to be the night. If tonight wasn't the night? He was done. Alastor was not a foolish man, he knew when he was beat.

Quietly, nothing but the sound of cicadas and the occasional echo of a car from elsewhere in the city accompanying him, Alastor slipped down the ally he knew the club's back door let out into.

"There you are."

Alastor spun around.

"I was beginning to think you wouldn't show."

Y/n leaned casually against the wall, the dark fabric of their dress blending softly with the night. When Alastor didn't reply, standing in their gaze like a deer in headlights, they stood themselves up and walked the step and a half it took for them to be face to face with him.

"I'd like it if you stopped following me. Or, trying to follow me. It's getting kind of old.'' (match struck paper, match remained unlit.)

Alastor resumed his composure. Sliding his hands into his pockets, he leaned forward, fixing a teasing grin onto his face.

"Oh, would you now?"

Y/n, much to his surprise, held their ground.

"Yeah, I would. Whats your interest in me anyways?"

Thinking on his feet had never been an issue for Alastor. Besides, he really did have some questions for the illusive singer. Or, he had one question for them. One that might lead to others.

"Oh, you know." he hummed, straightening back up, "All the way from the 'Big Apple.'"

Y/n scoffed at his parody of their nightly introduction to the stage. They crossed their arms, glancing off to the ally's entrance as a drunk couple stumbled by.

"Yep."

"Why?"

Turning to face him again, Y/n narrowed their eyes.

"Why do you wanna know?"

The hint of an accent. At least he knew they weren't lying about where they came from.

"I suppose you can call me a curious fan."

"I think being a bit less of both those things would suit you."

They fell into a brief, nearly uncomfortable silence. Letting out a sigh, Y/n was the one to break it.

"Look," they began, "I know you're friends with my boss and all but... I am going to go back into that dive and I am going to stay there until you are long gone. I'll stay the night if I have to, d'ya get it?"

Alastor's smile tightened.

"Loud and clear."

"Good."

Y/n didn't see Alastor for another week. Slowly, the tension that had permeated their every waking moment since meeting Alastor that first night, the constant ache of his eyes on their back, began to fade. Just a little, but it was enough. When they saw him sitting at the bar almost two weeks after their little altercation, the amount it had faded was just enough to make them angry at his return.

Alastor hadn't really meant to come back. His plan was to give it a month, maybe even two. His plan was to come back and resume life like it had been before he had ever even known Y/n existed. His mind had other plans.

He had tried to find another target, occupy himself with a new victim. There was something unsatisfying about it, he couldn't quite get his head in the game. Every time he went to trail a potential victim, he heard their voice ringing out in the silence of his mind.

There you are.

Alastor had been killing for about three years now. He had a good number of victims under his belt and was in no ways a newbie. Even back when he had been one, no one had ever caught him out like that before. There had been a couple close calls, sure. There always were but waiting for him? Thwarting his plans repeatedly? Beating him at his own game?

"I thought I told you to leave me alone."

Alastor looked up from his glass of whiskey, smiling politely up at Y/n. He could feel the anger radiating off them in waves.

"Mimzy would be rather sad if I just up and disappeared like that, no explanation."

He caught sight of her across the open space and waved. With a bright smile, Mimzy waved back before returning to the conversation she had been embroiled in. Alastor turned back to Y/n.

"Oh, wouldn't you hear that? You're getting sober. Congratulations."

"Ah, but there is still the music and that wonderful new singer who came down from up north not too long ago."

Y/n took a deep breath, calming themselves.

"It's not that hard of a question to answer. Or at least, it shouldn't be for most people. What, are you on the run from the cops? I heard life is oh so dangerous in those big cities up there, after all. Maybe part of the reason was you."

"If I answer your question, will you leave me alone?"

Alastor was silent for a short moment before he replied.

"If I like the answer? Sure. I'll leave you alone."

In a single, sharp movement, Y/n dragged the stool beside him out and sat down. Tapping their fingers on the table, they got the bartender's attention and ordered themselves a drink.

"You want to know why I left New York?" they hummed thoughtfully, "It's because of guys like you."

A shock of sudden nerves fought through Alastor's system. Did they somehow know? After all this time, had someone figured it out? After just under two months?

"Guys like me? What ever on earth do you mean?"

"You know, pretty boys. Pretty boys who turn out to be creepy boys that don't know the meaning of the word 'no.'" (match struck paper, match remained unlit.)

It wasn't the first time Alastor had been called pretty or handsome or something of the like. In fact, he knew he was pretty. It was part of why the whole ruse worked. Normally, however, when people told him he was, it was accompanied by far too much blushing and looks to the side. Y/n held his gaze firmly the whole time.

"So, you're escaping an ex? A jaded lover?"

"A jaded 'someone-who-watched-me-perform-once-and-decided-it-meant-we-were-married'? Yeah."

The bartender placed the drink in front of Y/n. They picked up the glass, downing it in one go. They grimaced.

"You like my answer?"

"Hmmm... no." Alastor grinned, ear to ear, "I don't think I do."

Y/n sighed.

"What is it you want from me?"

Alastor's brow furrowed in confusion. He was very good at keeping the inside from showing on the outside. The question had just caught him so off guard, or maybe it was something about Y/n that had him on his toes, he couldn't help it. They kept seeming to make his head spin.

"Want from you?"

"Money? Sex? Fame? A fall guy? What."

"I don't want anything from you." (match struck paper, match remained unlit.)

Y/n eyed him suspiciously. The answer had been automatic. Alastor himself was struggling to comprehend the words that had left his mouth. He wanted to kill them, right? What he wanted from them was their life, right? That was what he had been working for over all these days, fighting for. He knew it was true so why did the statement not feel like a lie as it had traveled from his tongue?

"Yeah right." Y/n placed their hands on the bar, pulling themselves to stand, "I totally believe that."

"Just your time, Songbird. Just your time."

They turned to him.

"I don't understand you."

"You don't have to. I don't understand you either."

They paused.

"It frustrates me." Y/n admitted, "Who even are you? I don't know anything except your name."

Alastor gave their now empty chair a pointed look. Y/n stood in contemplation for a few seconds before they nodded their head once, seemingly to themselves, and took their seat once again. Confidently, they tapped two fingers on the lip of their empty glass.

"Another."

(match strikes paper, match lights.)

Alastor was the match, Y/n was the paper. The club stopped being kindling the moment the pair took their conversation outside its boundaries for the first time, about a month or so later. For a while, there was no kindling, there was just match and paper. Alastor liked it that way.

It had been hard enough to come to terms with the fact that he really did have no interest in killing them anymore. That the moment such an idea occurred, he could see them in his minds eye, smiling or picking at the hem of their shirt the way they did when they were nervous.

The kindling reappeared when Alastor realized the match had been struck in the first place. That was a whole other thing. The friendship suddenly seemed easy, the loss of bloodlust directed toward them was like nothing in the face of a realization like that. Once he recognized the flame, Alastor stopped being a match and Y/n stopped being paper. The match became the little flutter of their stomachs when they caught sight of one another, the tension of the moments where they could make contact. Y/n and Alastor were kindling now and they were standing oh so very close to that dangerous flame.

It was Alastor's sleeve that caught fire first. It happened when they had gotten caught in the rain. Y/n had opened their umbrella and, seeing Alastor had none, insisted he join them in its cover. Alastor had, of course, refused. With a roll of their eyes, they had grabbed his hand and yanked him forcefully into place beside them. Alastor hadn't realized they had only touched once, when they first shook hands, until Y/n's skin made contact with his once again.

The worst part about it all, was that it made sense. It made so much sense. They were quiet, contemplative, and calculative. Before long, being with them felt like being with an extension of himself in an odd way. Alastor couldn't quite describe it, he didn't have the words.

Y/n always seemed to notice things no one else did. When Alastor had forgotten his umbrella the next three or four times it had rained, they had confronted him.

"Almost like you're doing this on purpose." they had hummed softly.

Though they didn't look at him, Y/n knew Alastor was blushing.

"Shut up."

The next thing to catch had been Y/n's collar. Y/n had been chatting with him, sharing a drink before their set and they had lost track of time. At the sound of the stage manager, Alastor still did not know his name, beginning their introduction to the stage, they had jumped up in fright, hurriedly tightening their tie which they had loosened in the casual atmosphere. Noticing that the action had caused part of their collar to fold awkwardly, Alastor had gotten to his feet as well. With a gentleness he had not made use of since his mother died, he had fixed Y/n's collar.

"Wh-" they had stopped mid question, having realized what he was doing.

His hand lingered on their collar. Y/n's eyes traveled up his arm, at last meeting his own.

"Thank you."

Those big wide eyes, full of curiosity and comfort. Alastor could get lost in those.

"Y/n!" the stage manager announced.

"Shit!" they exclaimed and the magic of the moment was broken as they pulled themselves away.

All it took was that. It wasn't much but, fire has a way of working with what it has. When a few days later Y/n had stepped out into the street without looking, being too caught up in the story they were telling Alastor, and he had pulled them back just as a car passed, it was too late. The house couldn't be saved, the flames had gone too far. A few blocks later, after thanking him, Y/n had realized they were still holding hands. They stopped, pulling Alastor to a halt beside them.

"What are we doing?"

"We're going for lunch. Are you quite alright? You were the one who sugge-"

"No, Alastor. I mean: what are we doing?"

Alastor followed the path of their eyes to their interlaced fingers.

"Oh."

"Yeah."

There was a pause. The world turned around them.

"I don't... I don't know if I can do this anymore."

Alastor took a deep breath before braving the sight of their bewildered and slightly saddened face once again.

"I said all I wanted was your time."

"That's the problem."

Y/n let go of his hand, running their own through their loose hair.

"That's the problem, Alastor." they said again.

"What is?"

Y/n had a habit of telling him the most serious things eye to eye with a stoney demeanor. He was surprised to see them break from this confident custom of theirs as they looked away, their arms wrapping protectively around themself.

"I want more. I want you to want more."

Alastor was stunned, he was speechless.

"I... I'll see you tomorrow, Al."

Before they could make it more than a step away, Alastor grabbed their shoulder, spinning them to him. Y/n looked up at him, confusion painting their features with the most delicate brush.

Alastor struggled, he fought. Still, there were no words.

"Don't you get it?" he asked, "I want your time. Y/n, I want you."

Alastor kept finding himself in trickier and trickier situations. First there had been trying to kill them, then the hurdle of not wanting to kill them. Friendship had given way to its own bag of worms and now that they were more than friends?

He had thought that it all would stop. He had thought that if things ever worked out the way they had, everything would be okay. He had forgotten his nature.

At first, hiding the killings was just as easy as it had been before. It did not stay that way. Alastor was good at hiding things, always had been. That wasn't the issue. What was the issue was that he cared about Y/n, he didn't want to hurt them. Keeping secrets... well, his mother had always told him that no one ever fools anybody. His mother was a wise woman. His mother had been right.

Y/n had stopped by as a surprise. They had a home cooked meal in a basket and a bag over their shoulder full of records they thought he would like. When they stepped into the foyer of Alastor's large, garden district home, they had called their usual greeting.

Alastor's heart had stopped at the sound of their voice. He froze, his cleaver still firmly wedged between the shoulder and chest of the man he was chopping into pieces for easier disposal. Hoping it was his mind playing tricks on him, he waited. They called again.

"Al! I have a surprise for you! The surprise is me! And also? I made you dinner. Come out! I know you're home!"

Under any other circumstances, them showing up like this would have filled him with unbridled joy. However, it wasn't any other circumstances. It was these circumstances. Alastor was covered in another man's blood. There was a body just a few rooms from his beloved. Either way, they would find out the truth. They were a nosey thing, always so inquisitive.

"Alastor!" he heard them call again.

They were closer now, much closer. He watched in a mixture of horror, despair, and a twinge of excitement as the doorknob jiiggled.

"Alastor?"

How would Y/n react to such a sight? Would they cower in fear? Was their love alone enough to hold them here, to tie them to him in loyalty? Would they run to the cops? Would they cry? Would they ask to help? Would he have to kill them too?

It was sickeningly delightful, all the unknowns. His heart pounded violently in his ears. The door swung open.

"There you are!"

Ravenous, that was the word. Not in the way where everything dissolves, leaving only the object of your affection. Not in the way that someone is controlled by desire. Hungry in the way fire eats paper, in the way kindling catches light. Starved in the way that leads to a progressive repeated sense of the word, a starving. A constant state of being famished that turns into a well loved and cared for blaze. Alastor burned.

"My dear! How wonderful to see you."

----

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Sorry if the end made you angry,,, I just think the not knowing is so much more fun!

Also the song is "Always" by Irving Berlin.