#i answer most of these going in with the mindset of explaining how this would happen

[blindmagdalena]

IF Homelander S/O was also a supe but their powers was something that wasn't very heroic. I can't really think of something specifically but like something that Homelander would usually laugh at as d - list tier supe, do you think he would see that as a weakness? And no longer be interested?

Homelander has shown interest in supes and humans alike, but he definitely has a preference for supes. in his mind, even the weakest supe would still have an advantage over a human.

he does this funny thing when he experiences attraction where he pedestals people. his attraction, however it comes about, inherently elevates them, so things that would normally bother him suddenly are given a pass.

would he still be shitty about it if he thought it would affect his image? .... yeah. he'd probably lowkey insist on keeping their powers under wraps from the public. but honestly, once Homelander is invested, there are very few things that seem to dissuade him.

[f0point5]

would you consider writing the time when max realized that he loved yn?

i remember that he was like in a mindset of idgaf what happens with her im js happy being best friends and having her in my life but i wonder how he got to that point

The way this came out…idk I hope you like it 😂 I really wish I’d retconned this whole situation but I stayed true to the fic timeline.

I just…I really hope you don’t hate it 🫠

✨Set after Max wins his 3rd championship in Qatar✨

Honestly, who (is he) to fight the alchemy?

Max has been in love before. He knows what it feels like. It felt like winning a race. The adrenaline, the elation, the satisfaction, the sliver of relief. He didn’t think there was a better feeling, and if you feel that when you’re with someone, then that must be love.

He never felt like that with you. So he wasn’t in love. He loved you, but he wasn’t in love. Thank God for that, he’d always thought to himself. Max didn’t put effort into games he wouldn’t win and the games you played with men didn’t have a rule book. He was just so lucky, to have you as a friend, and a roommate, and a feline co-parent, and that’s how it would stay.

Except, when the journalist had asked him if you were going to live with him after he retired, he didn’t know what to say. Of course you would, except, how would your boyfriend feel about that? And of course he wanted you to, but he wanted a family, too. But you were family, in some complicated way that he’d never realised before that moment might mean that you wouldn’t always be…with him.

And he didn’t have the desire or the language skills to explain that to a random German journalist. He’d rattled off some answer about how he never knew what the future would bring. It was true, he didn’t think much about the future. But he should have, because when he did it always had you in it.

He wanted a house, and a wife, and kids. It wasn’t like he envisaged doing all that with you. Except, he hadn’t envisaged doing any of it without you, either. It was always you imagined having breakfast with, you he imagined would teach his kids to ski, you he thought about when he thought about buying one of those mansions in the hills above Monaco. Naively, he hadn’t imagined either of you with partners that would mind you and Max living your lives together. It sounded fucking stupid when he thought about it. But, it’s not like he was going to marry you, because he’s not in love with you.

It’s not like I’m in love with her. He’d said that before.

Aren’t you, Max?

Isn’t he?

Is he?

So now here he is, at this totally-not-a-party party, celebrating his this third world championship, wondering if he’s in love. Wondering if that even matters. The music is loud, not enough to drown out his thoughts. He can’t even drink too much because he still has a race tomorrow. He feels lightheaded enough.

He doesn’t know why he’s questioning himself. He has an answer. He knows what being in love feels like, and he doesn’t feel that about you. How he does feel about you, is…not quantifiable. Except he’d really like a name for it right about now. One that’s not going to spin his whole world off its axis. But then, he’s not exactly the axis, is he? Not really.

He should feel like the centre of the universe tonight. He’s lost count of how many times he’s received praise and congratulations, plaudits, and pictures, even gifts. Everyone wants to be in his orbit, everyone wants to talk to him, everyone except you.

You’re leaning against the balcony, bopping along to the music, talking to his dad of all people, your flushed face and lazy grin telltale signs you’ve had too much to drink. Jos is as close as he ever gets to smiling, a telltale sign he’s had too much to drink, and the two of you are, as usual, talking over each other. His eyes linger on your long legs and gentle curves. It would be cutting a corner, to say he’s in love with you, because how can you not be at least a little bit infatuated with the most beautiful woman you’ve ever seen? But that’s not love, exactly. Even half drunk, with all this talk of spinning and the party beginning to blur at its edges, the only thing he can see clearly is you. You don’t even notice him looking, because you’re so used to feeling eyes on you.

No, being around you has never felt like winning much of anything. It actually feels a bit like he’s fighting for his life. It feels like…driving, he realises, as the gin starts to hit.

Being around you was like being in the RB19. Like being behind the wheel of something that could kill you, but fits you like a second skin. Like the illusion of having control of a force of nature. It was like living on a knife edge, but building a home there. Comfortable with the uncomfortable, they’d called him, and nothing had ever made him as uncomfortable as you.

If that was being in love, he’d probably been in love with you for as long as his dad said he was.

You don’t notice him looking, but Jos does. He waves Max over, and Max is glad for an excuse. His body gets up before he’s decided to, and he blinks furiously as he walks, trying to focus his thoughts enough to hold a conversation with you when he’s beginning to think he might-

“Maxy,” you say, grinning like it’s the first time you’ve seen him all night.

Fuck. Fuck.

Oh, fuck. The gin’s coming back. For a second he feels like he’s either going to ask you to marry him or vomit all over you.

“I’m leaving. She’s all yours,” Jos says, and Max steadies himself. His dad leans over and gives him one last hug before switching to Dutch. “Get her to bed. And yourself, also. You’ve still got to race tomorrow,”

Max nods and waves him off, closing his arms around you when you wobble, leaning into him for stability. Jos gives you a pat on the shoulder before disappearing into the crowd, and you teeter again, pushing you further into Max. The extra weight is like a balm on what is now a gaping, raw wound, with the nerves exposed. He will never recover from this.

You turn in his arms, scrunching your nose in displeasure as you look up at him. “I hate this hat,” you flick the brim of his World Champion cap. “Worst hat they ever made you. Next year, we do a better one,”

“Okay,” he says, chuckling as the hat leaves his head.

“Can I have this?” You’ve already put it on.

“Sure,”

Take it. Take my Valkyrie. Take the trophy. Take my last name.

“Why are you looking at me like that?”

He doesn’t know how he’s looking at you. Is it different than he looked at you two hours ago? Different then when you were 19?

He just shrugs, tipping the hat back for you, since it’s so big. “You’re drunk,” he yells over the music.

You lean in, so close that he’s intoxicated by the scent of your perfume, champagne, and Red Bull. He turns away from you slightly, because he’s had too much to drink to be this close to you.

“I know,” you whisper to him, your lips grazing his cheek as you talk. That’s not helping. He turns back to you, finding your eyes searching his. For the first time, he’s worried what you might see. Because you’ve always seen him too clearly. It was awful, then exhilarating, now it’s just fucking terrifying. Your eyes narrow and Max thinks you’re about to outright accuse him of wanting- “You’re supposed to be drunk, too,”

He laughs. He laughs at your pout, at getting away with it, for a little while longer, at least, and he laughs because on the night he’s won a world championship he realises he lost his heart a long time ago.

Loving you didn’t feel like a winning a race, it felt like driving in one. And after all, isn’t driving all he ever wanted to do?

“I am, Engel,” he says, “trust me, I am.”

[immortalmrwavell]

Getting into Sports

(Written for @transformee)

(Original story posted December 31st 2021) This story has been significantly Updated!

Adam woke up bright and early with a big stretch. Today was his day off so naturally he was excited to just chill out and do whatever for the day. He pulled himself outta bed before groggily strolling up to his wardrobe to pick out some comfortable clothes. Though as he looked over his clothes, he sighed. He pretty much rotated between three different outfits nowadays as most of his clothes had worn out and needed replacing. Maybe it was time to do a bit of clothes shopping.

After throwing on whatever decent clothes he could find, Adam grabbed his keys and wallet before heading out. He was on his way down town when he passed a certain shop. He’d been down this road so many times but somehow he’d never noticed this shop. Just looking at it was giving him weird vibes…

It appeared to be a clothing shop. ‘Threads for Life’ it was called. It seemed so strange and out of place yet Adam couldn’t help feeling drawn to it. Well the whole reason he went out was for some new clothes so why not have a quick look around.

He soon found himself pushing open the door with a creak, causing a bell to jingle. The first thing he saw was multiple rows of clothing racks that extended down the length of the store. It almost certainly seemed bigger on the inside than it looked from the outside. Scanning his eyes across the shop he also noticed that the majority of the clothes seemed to be sold as outfits rather than individual items.

Soon after Adam was greeted by a short man looking to be in his mid 50’s. He kindly introduced himself as Tony. With a big smile, the man explained that he was the shopkeeper and was more than happy to help in any way that he could. He seemed sweet and even offered to walk Adam around the shop to help him find something. Adam shrugged and accepted the offer, allowing Tony to begin leading him down the many aisles of clothing.

As the two walked, Tony pointed out various outfits to Adam. Though as he did, Adam quickly began to notice the more unusual clothing the shop sold. There were some regular clothes sure but he could help noticing more and more costume fits as he was guided through the isles. Things like firefighter uniforms and police uniforms that definitely didn’t seem like the cheap costumes you’d find around Halloween. They were incredibly detailed and well made. They almost looked as though they’d been ripped for actual people in those professions…

“Would you mind if I asked a question sir? Tony asked politely, prompting Adam to respond with a simple nod. “Have you ever been into sports?”

Adam thought it was an odd question but gave an answer anyway. “Well I guess I like watching it sometimes but I wouldn’t say I’m into it. I always thought about playing more sports when I was younger but just never really found the motivation I guess.” He responded truthfully.

“Well it’s never too late to get into it. Especially at your age. What are you 30? 32?” The older man eyed Adam’s frame up and down. He was of average build. Not too fat but not too skinny either. “Maybe buying yourself something a little sporty will help get you into the right mindset!” Tony insisted as he led Adam towards the more sports themed section of the shop.

Adam didn’t really see how buying some random sports gear would make him wanna play more sports but decided he decided to humour the sweet older gentleman.

Looking through the clothing racks he saw kits for all kinds of different sports. Baseball, Tennis, Football and so on. They stopped however when Tony pulled a white Rugby kit off one of the racks. It looked far too big for Adam yet Tony insisted that he at least go and try it on. Adam raised an eyebrow. It had to be a joke right? He let out an amused huff as he took the large t-shirt and shorts before Tony handed him the matching rugby socks and cleats.

Tony pointed Adam in the direction of the changing rooms where he entered a stall and closed the curtain behind him. Placing the rugby kit on the bench, Adam fo7nd himself getting undressed and wondering what the hell he was even doing here. As he put his clothes to one side he looked at himself in the mirror. Looking at his somewhat out of shape body. He was fine with the way he looked now but the thought of losing some weight and gaining some muscle certainly was an attractive one. He figured trying to get into sports might not be that bad of an idea if he gets him into a more active lifestyle.

Picking up the white shorts from the bench, Adam chuckled to himself. There was no way this stuff was gonna fit him but it didn’t seem like Tony was gonna take no for an answer until he was proved wrong. And so, with a sigh, Adam slipped his legs into the shorts and pulled them up. To his surprise the waistband managed to keep the shorts up, albeit very loosely. Adam then tugged on the oversized shirt which hung just as loosely as it consumed his upper body.

It was then he realised that the clothes had a bit of an odd scent. Almost sweaty? As though they’d been recently worn and used. He would’ve complained but… he actually found himself enjoying the smell a little. It sounded weird but the faint masculine aroma was oddly alluring.

Shortly after Adam pulled on the rugby socks. Pulling them all the way up his calves and even then they still felt a little big. That said he found his feet feeling ever so slightly damp with the cold sweat of someone else having stained the socks. And yet he embraced it as he moved onto the cleats, shoving his feet inside. Once again they were clearly a few sizes too big like everything else. Only then did he finally get back up and take a look in the mirror.

He looked ridiculous.

As he already knew, the kit was far too big for him and was practically hanging off his body. “Tch… why did I let that guy talk me into this?” He muttered to himself with a small chuckle. He was just about to step out and prove to Tony how ill fitting the clothes were when he noticed something peculiar. On the shirt there appeared to be a name on the bottom left corner. It didn’t look to be be part of the brand name or anything. More like the name of an owner.

‘Joe Marler’ it said. Only then did a tingling sensation shoot like lightning through Adam’s body. It was finally beginning.

It all started with Adam’s hands growing. He looked down at them in shock and disbelief as they enlarged before his very eyes. Becoming thicker and more calloused by the second. To mirror this, his feet started to expand as well. The once oversized socks began to stretch as his growing feet started to fill out the rugby cleats comfortably.

After that the transformation began to intensify. The changes spread from his hands and feet up towards his arms and legs causing said limbs to shorten ever so slightly. Adam found himself stumbling a little as height shifted, dropping from 6’1 to 6’0 exactly. It was only a single inch but that alone was enough to throw Adam off balance. He leaned against the wall to steady himself as his limbs began to pulse. Pure transformative energy flooded through his body. Every vein. Every muscle. Preparing Adam’s body for the insane growth to come.

His legs were the first to hulk out. His calves and thighs swelled with new mass seemingly out of nowhere. Bulging thicker by the second with levels of size and strength Adam had never before experienced. They grew in enormous trunks of solid muscle meant for both speed and strength when carrying a powerful frame that was yet to come. His thighs were so huge that they couldn’t help rubbing together as they filled out the white shirts perfectly. If anything the shirts began to grow a little tight as Adam’s ass changed next, ballooning into a huge jock butt. His cheeks grew round and plump with a healthy mix of fat and muscle. The kind of ass that would threaten to rip the seams of any pair of pants he wore from now on if he dared to squat or bend down.

By this point Adam was in a daze. On the inside he was shocked by the ongoing transformation but the magic surrounding it filled his mind with a strong haze. It was almost like being drunk. However that didn’t stop him from letting out a long moan when the transformation spread towards his crotch.

There was a strange pulling sensation. It was as though an invisible hand was grabbing his cock and gently tugging on it. And with every tug his cock inched outwards, growing lengthier by the second. Adam couldn’t help subtly bucking his hips to the feeling due to his masculine instinct. His bulge became more and more noticeable until his dick reached a flaccid size of around 6 inches. With that his erect length was bound to be enormous. But it didn’t stop there as the tugging sensation he felt switched to the feeling of a hand squeezing his shaft instead. And with every squeeze it thickened. Becoming fatter and girthier until the outline of his cock was visible through the shorts. And to finish it off the feeling finally moved towards his balls. Massaging them gently like the prized jewels they were as they grew larger and heavier until Adam had a pair of fat full balls to match his intimidating cock.

Adam’s hazy mind didn’t get much chance to process his enormous new manhood as his arms started to pulse. The muscles tightening and relaxing over and over in quick succession as the magic moved through them. Then without warning his biceps, triceps and forearms engorged themselves with muscle. Once again mass added itself onto Adam’s frame seemingly out of thin air, causing his arms to balloon to new and powerful sizes. Once again adorning a layer of healthy fat on top of the muscle to give his arms a thicker, brawnier look just like his massive legs.

His torso had already begun to grow in response to his arms and legs but now the focus was shifting fully towards it. But not before his shoulders and traps had a chance to bulk up considerably. Further broadening his frame and forcing him to take up more space.

Adam jutted around a little as his waist grew wider. The small belly Adam had strengthened as it grew into a powerful gut. He still might not have had visible abs but his core still grew a hell of a lot stronger. And now that belly fat he once had was being fairly distributed to give him a far more burly frame. The type of body most would refer to as a muscle bear. This only became more true as Adam’s pecs practically inflated like two meaty beachballs waiting to be groped and massaged. They filled out the previously baggy shirt gloriously. Said shirt stretching nice and tight as his back finished broadening as well

By this point Adam’s entire body had morphed into something unrecognisable. Into his beefy collosus of a man he hardly recognised in the mirror before him. The meaty legs and bulky arms. Not to mention the bubbly butt. He had the body of a man who worked out almost every day and probably ate like an animal to maintain all this size. The only thing left that Adam could recognise was his face. But even that wouldn’t last.

His neck had already grown thicker along with his shoulders and traps, but now the lump in his throat was changing. Lowering his voice a couple octaves until he found himself letting out very deep and gruff moans. He now had the deep baritone voice of a man that would’ve previously melted him into a puddle. Just hearing it escape his lips in the form of masculine moans was making his cock twitch his knees wobble.

But with that his head started to buzz. It began reshaping itself as the features prepared themselves to morph. The feeling was different from everything else. Up until now his transformation had felt raw and forceful. But this was gentle and delicate. Like multiple pairs of hands massaging every inch of his head and remodeling it as if he were a clay sculpture. Sharpening certain features while dulling others. Mostly giving Adam’s face a rougher and more masculine look. This also extended to his hair as the short salt and pepper cut he adorned shrunk and receded back into his scalp, leaving him with a shaved head. Yet on the opposite side, his once clean shaven face found itself sprouting a thick full beard.

But the changes to his head weren’t just physical. They were mental too. He could feel his brain being molded just like everything else had been. Mostly he could feel his IQ draining. Getting dumber and dumber by the second. Replacing all that lost intelligence with knowledge about all sorts of different sports along with gym know how. Along with that he could feel his personality changing that of a boisterous and confident man who wasn’t afraid to speak his mind.

With that, Adam sensed the transformation was finally over as whatever strange magic had overtaken his body subsided. He looked in the mirror once again, awestruck by the sight.

One of the first things he did was run a thick hand across his bald head. All he felt was a thin and tiny layer of hair up there and not much of a hairline either. He then ran his hands through his new beard, really enjoying how it felt under his touch.

Adam’s entire body just transformed before his very eyes. He should’ve been freakung the fuck out! And yet somehow he felt calm. Not only that but just so focused on his new burly form. It was mesmerizing to look at. He knew it wasn’t his but at the same time it felt so right. Like this was how he was supposed to look.

Looking away from the mirror and down at his actual body, Adam could truly see that all the clothes now fit his body perfectly now. Almost like they made for him. His pecs pressed generously against the shirt in a way that showed off his rigid nipples. He just couldn’t stop himself from tweaking them a little, letting out a deep groan in the process. Going on to further explore his new chest and stomach by running those bearish hands up and down his torso.

Naturally he then did what almost any man in his situation would do. He curled each hand into a fist before raising up both arms and flexing his biceps nice and hard. Watching gleefully as the muscle bulged in a display of his newfound strength. Adam’s eyes didn’t know whether to dart between each arm or to look back into the mirror to see his bulky reflection flexing back at him.

All the while it was becoming increasingly difficult to ignore his hardening cock. By now it was nearing its full girthy length of 8.5 inches and the outline in his shorts was painfully obvious. He’d need to learn how to control his new beast because any unwanted erections from now on were gonna be difficult to hide.

A short time later Tony finally decided to check in on Adam and see if everything had gone to plan. “So, did you find everything alright?” Tony asked as he carelessly peered around the curtain. Immediately he was greeted by the sight of a hulking rugby player with his shorts around his ankles as he groped at his fat new jock butt. Jiggling it with a dumb laugh as his cock stood upright at full attention.

Adam should’ve been embarrassed when he saw Tony peeping in on him but he was too horny to care. “Yeah this kit is amazing brother! But would you mind if I just had a minute to… relieve some of this pressure?” He grabbed his cock with a stupid grin before facing the mirror again.

“Well normally I’d say yes. I don’t mind if my customers have a little fun after finding a new fit but a new customer just walked in and I’ve only got the one changing room.” Tony claimed before looking over his shoulder to see another man browsing the aisles behind him. “But I don’t want to leave you unsatisfied so how about I speed things along for you?” Tony smiled before pointing at Adam’s thick new cock. A little beam of light shot from Tony’s finger and hit Adam’s cock directly and caused it to glow.

“OooOOhhhh FuUUcccCckk… Whhaat did You Doooo??…” Adam groaned like an animal as immeasurable amounts of pleasure flowed through his crotch. It felt as if he were being given a hundred blowjobs all at once! He tossed his head back in pure bliss as his cock bucked and pulsed uncontrollably before finally erupting with a blast of cum that emptied his bull balls completely, splattering the mirror with his seed in the process.

“That was an orgasm spell. A little magic trick I learned quite a while back. Does exactly what it says and causes the target to have an extreamly powerful and almost instant orgasm.” Tony explained. “Now get those shorts pulled back up big fella. You’ve got a whole new life to live out there in the world.”

Adam did just that, wiping off his cock before tugging up *his* underwear and shorts. Once again adoring the reflection that stared back at him in that mirror. He’d never imagined having a body like this. Large, thick and powerful. But it all his now and he couldn’t have been more delighted.

“Oh and just before you leave… could you please take your mess with you?” Tony pointed a finger towards the cumstained mirror.

“Sure thing brother. You got anything I can use to clean it with!” Adam asked with a laugh.

Tony shook his head while still pointing a finger at the splattered mirror. “No need.” With that the sticky man seed found itself detaching from the mirror on its own as all the cum gathered itself in a small blob floating up in the air. Adam hardly had a chance to react before Tony pointed his finger towards the burly man. The entire load flew towards the new rugby player at blinding speed before forcing itself into his open mouth. Adam’s eyes widened with surprise as he found himself being forced to swallow his own salty nut.

��Jesus fucking Christ!” Adam shouted moments later. “Could’ve given me a warning…” he tried his best to sound annoyed but honestly he was kinda turned again already.

And with that, Adam was free to leave the shop which had changed his life forever. On his way out he saw the new customer who was still browsing. He grinned to himself knowing they wouldn’t be the same when they walked out either. But that's none of his concern.

Now he was just a big dumb rugby jock who’s only real concerns in life now were fucking dudes, getting fucked by dudes and playing sports.

[adragonsfriend]

Use this one trick to instantly fix all childhood trauma (Jedi Masters don’t want you to know this)!!!!!

That is what every “if Obi-Wan had just— *adds one extra scene to canon* —then Anakin would’ve had perfect mental health and never listened to Palpatine at all,” sounds like to me. Look I am not an expert on any kind of psychology at all let alone early childhood development but,

It is possible to do your very best to help or raise someone and still have bad or imperfect outcomes, especially when you have someone actively, secretly working against you (cough cough Sith Lord of the month cough), (for many reasons, but in this case particularly), because unravelling the mindset built in early childhood is hard, actually.

Coming at this from the “raised in a safe and loving environment” side of things, it took me years to figure out and internalize that my friends whose parents weren’t as great as mine were functioning in an entirely different landscape when it came to their interactions with adults.

Many years ago when I was in middle school a friend (acquaintance? idk I think most people thought I was annoying) told me that her ankle kept giving out and causing her pain. I asked if she'd told her parents so she could rest or go to the doctor. She told me she had, but her mother either hadn't listened or refused to help. My (approximate) responses?

"So it's not actually that bad then?"

"You should tell her again."

"Are you sure you explained it right?"

The only explanation I could comprehend at the time was that there must have been some unclear communication about the situation or its severity--if her mother had understood she was in pain, she couldn't possibly have just not done anything about it? Adults are responsible, caring, etcetera! They wouldn't do that?!

With more experience, I've come to understand better, and learned to respond in kinder, more helpful ways, but the shift in mindset was not and is not intuitive.

And I had the luxury of figuring all that out whilst being safe myself. Coming from the other direction, being in danger and trying to figure out why other people act like the world is safe? I can't say for sure, but I imagine it’s a lot more complicated.

Point with regard to Star Wars being, it really is harder for Anakin, coming in later, to acclimate to the Jedi ways and thought processes than it is for his peers who grew up in the safe environment of the Temple. And whatever arguments people want to have about how much psychology and therapy exist in the Star Wars universe, or how much “Jedi just do cognitive behavioral therapy” (not totally inaccurate, but reductive on several levels), no matter what the answers to those questions, it will still be harder for Anakin.

There is a reason the council changes its mind on training him only after he is suddenly famous and the Sith are proven to be back. When Anakin was not in significant danger of being snatched up by someone else, it was genuinely probably the easier and safer option—for him and everyone else—for him to live a different life.

The Jedi are not necessarily fully prepared for a child with Anakin's history, and, there is nothing bad about living an ordinary life. Anakin would not have been somehow unforgivably robbed by living life as a mechanic or an engineer or something, rather than being a Jedi.

Anakin is a victim of many things in his life—Sidious, Watto, Gardulla, Tatooine’s everything, his own conscious choices—but he is not a victim of malice, incompetence, or idiocy by the Jedi just because they couldn't—in only a decade or so—help him fully and perfectly unravel the mindset he developed in his early childhood. If there was any lack of qualification on their part, it was one they were aware of—but which was outweighed by the danger of little Anakin getting kidnapped out of normal-kid elementary school.

Being brought up in and around slavery absolutely made him more vulnerable to Sidous and became the basis of their dynamic as master and apprentice. Acting like the trauma that affects his mindset and actions for his entire life can be obliterated just by making minimal changes to the plot is wild to me.

And don’t get me wrong, fics and headcanons can do whatever they want, not everyone wants or is trying to write a deep psychological character study (also fanfic and even fiction in general cannot and should not be held to any standard of realism if it's not serving the story and the author)—simple fix-it’s (my love) are fun and an excellent short-cut to other things like happiness and fluff (my other loves)—but don’t act serious about the idea that adding one conversation about his feelings or one extra explanation about Jedi philosophy would automatically lead to Anakin having perfect mental health outcomes and always making good decisions.

Disclaimer (if the ones throughout weren't enough) : please go forth and do whatever you want. the moral of this post is actually just that (1) you won’t convince me, (2) I wanted to talk about this, (3) the clickbait title was too funny not to post, (4) i literally can't open my mouth without phrasing things like i'm in the middle of a heated debate, and (5) i continue to not be an expert in early childhood development—my evidence is very literally anecdotal

[derinthescarletpescatarian]

hey! I'm pretty new to your stories: currently reading curse words and loving it! (I started the first book with the mindset that I wouldn't be caught enough to miss some real life stuff because of reading... guess what, I missed some real life stuff reading.)

but now I have a question: the books have a pretty intricate plot with a lot of good payoffs for small things. which is very cool from a reader's point of view, but from the writer's one— can you maybe share some stuff about your process? especially in the early stages, how do you go from the initial spark of an idea and what this is about to a fully formed plot? would be cool if you're willing to share

anyway have a great day I'm off to start the third book hehe!

One thing to know about me is that I have just the worst possible imagination. Absolute pisspoor garbage imagination, nothing going on up there. When I want to plot, my process is simple:

Find a problem, then solve it.

Curse Words was born of several disparate story ideas coming together, but mostly I wanted to play with the magic system -- I wanted to write a story where spells were metaphysical parasites that possessed mages, and each mage could only cast their unique spell. The whole thing came about when reading The Princess Bride, specifically the chapter where Buttercup dreams of being a perfect baby and the doctor looking her over and regretfully informing her parents that she was born with mo heart -- I was possessed with this powerful impression of a slightly wacky doctor peering over the top of his rose tinted glasses to inform a pair of parents that their baby had a curse trapped in her heart. From there, it's find the problem, solve the problem.

I wanted to separate Kayden from his family and put him in an unfamiliar environment for the story so that he and the audience would be on a pretty similar level re: world information; isolated magic and a magic school is the easy way to do that. Okay, so why is this school isolated? Why is the curse thing not common knowledge? Why do the public fear curses and have such limited access to magic that it's not a part of Kayden's day-to-day, if it's so useful? Solve the problem; look at the economy. The unique nature of spells makes them difficult to scale up, and the unpredictable nature makes them inferior to technological solutions to problems in most large-scale issues. What does this say about how the Industrial Revolution would've affected the usefulness, and therefore the public perception, of magic? The logical conclusion is the Purity Revolution.

This school is gathering and teaching all these students; why? I wanted a clear division between witches like Kayden and a privileged elite that formed most of the school body; why are they different, how are the elite kids here, why are witches accepted and integrated into the student body? Solve the problem; look at the economy, the politics. Where are these rich kids getting their magic? Why pull in witches? One question answers the other. Why didn't Kayden and Kylie know that curses were spells in advance? Seems something that should be common knowledge. Look at the politics; tie that in. Logical conclusion: magic trap. We have this magic lake with a monster in it that we introduced super early for dramatic purposes and haven't explained yet. What can we do with that? Let's invent empowered water. Let's look at what that means for the creation of potions worldwide. Let's tie in the management of unmanageable spells. Let's elaborate on the structure our magic trap.

Now we have a channel of power. Curses parasitise witches; some are blessings, some are more trouble than they're worth. The school collects curses, domesticates them, makes them more useful, locks away or renders harmless that which it cannot make use of. More curses are collected over time, the school grows and grows and Refujeyo becomes stronger and stronger as they control more of the world's magic supply, but every system has a capacity. What's the effect of this infinite growth? Here we have a clear and unavoidable economic metaphor, so obvious that not centreing the story on this concept would basically be dishonest. Who's managing this collection, what does it say about the power of the school within mage society? How would such a school relate to the rest of Refujeyo; how would Refujeyo, collecting power like this, relate to and be viewed by other magical traditions, and by nonmagical society? Run through the reasoning, solve the problem.

Why would the school only approach Kayden as a teenager, after his curse caused problems? Surely the school would want to collect as many curses as if could as early as possible. There has to be a reason why they waited. This is a good one because it flows directly from the complex political relationships between Refujeyo and commonfolk politics that have to exist, AND ties neatly into critical character motivations that have to exist for book 1's main twist to function (notably, Malas Aksoy's actions). Sort this out for book 1 and accidentally create a critical political point for the rest of the entire series.

I started writing book 1 with the idea of the court case and subsequent twist about Kayden's curse being the big mystery, but Kayden still needs something to actually do at school. We have this mage who we threw in to rescue Kayden and Kylie from the lake, and had Max hero worship her for flavour; she seems to be becoming central to a lot of interactions for some reason. A lot of dramatic stuff is therefore automatically happening in her presence, but why is this incredibly accomplished and intelligent mage fucking up so much? We've established her as careful and thorough. We need a reason for all these accidents beyond random chance. Someone's sabotaging her -- why? Let's look at our established characters and figure out who has means and motive, and who the most fun red herrings would be.

How could a place like Refujeyo, such a complex and time-consuming project that would have to involve the cooperation of so very many mages, even get built? How would it survive long enough to be powerful? When and where did this happen? We've already established the Purity Revolution; maybe there was something more coordinated than just random undirected economic forces. We've established some incredibly powerful mage families and the old system of apprenticeship and inheritance; we know that the most powerful family in Refujeyo used to have a prophecy and owned a very powerful place that helps prophecies specifically. They could coordinate something, given enough motivation and the help of enough other powerful mages. What kind of motivation? Let's go back to the Purity Revolution. If tech develops alongside magic without central oversight of some kind, what could magic enhance? What problems could be foreseen that would make this kind of investment worth it? How does Refujeyo save the world?

Tie this into our power channel. Refujeyo's attempt to save the world endangers the world due to infinite growth and power being passively collected by those who benefit from the dangerous status quo. It fits our economy metaphor, because they're essentially the same thing, just putting in magic instead of money as a means of power.

Find a problem, then solve it.

The important thing with this method is to keep your solutions cohesive. If you come up with a new different reason for every thing, your plot will look scattered and disorganised. We don't want to look like we're just pulling the story out of our arse. I mean, we are pulling the story out of our arse, that's what writing fiction is, but it's a big part of our job to help our audience suspend their disbelief on that. Whenever possible, you should look for answers that solve multiple things and weave disparate parts of the story together; this is especially true when they relate to the core plot or central theme of your story.

Also, leave gaps for reader inference. You don't have to answer every single question, you just need to make sure that some plausible answer exists for every single question. Sometimes this involves saying less, not more, and letting the audience figure it out.

[astro-witchery]

—🔥Astro ‘Hot’ Takes🔥—

(Mostly lighthearted but also… it’s the truth.)

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There is no difference between man and women zodiac signs.

— A man Scorpio will not act different than a woman Scorpio. Some might be like “but what about the sexes! Males vs female!” And I would answer the same. A Scorpio is a Scorpio. This sort of mindset also doesn’t account for people that do not align with ‘man’ or ‘women’. It also doesn’t account for intersex people. The zodiac do not have gender and they don’t change in interpretation when applying to certain genders or sexes.

There is no difference in zodiac months in astrology

— This means that there is no difference between, say, an October Scorpio and a November Scorpio for example. I’m not sharing this as my opinion either, in the classical study and understanding of astrology this will not be taught. Deacons can be more useful in explaining this phenomenon.

No sign or placement is ‘worse’ than another.

— All astrological placements, especially zodiac, have the capacity for positive and negative features. Some placements might require more work or they might not be in complete harmony, but that does not inherently make the person with said sign placement bad. Everyone has positives and negatives in the chart, all human life requires work and resilience and hopefully growth into something better than when we started.

Nothing is set in stone in astrology

— Everything in life is fluid and has the capability to change over time. The placements of your natal chart indicate potential. A proclivity for behaving a certain way. You might not embody everything about a certain sign or placement. You might embody said placement at one time, then through growth you don’t anymore. Another placement or aspect might completely overshadow a certain signs behaviors making it so that you don’t behave a certain way. You can have horribly negative looking placements and aspects (signs in detriment or a lot of squares and oppositions) but you could totally work through them with ease and kick ass at life. Diminishing your existence to your astrological profile and having a rigid hold on yourself is not what astrology is meant for in my opinion.

If you study astrology, you’re an astrologer.

— You don’t need to open up a shop or go take some astro course to become an astrologer. I understand if you’re just starting out and you feel like a newbie that you might not want to call yourself an astrologer, and that’s fine. But if you have been self studying for years, know all the zodiacs in order by name and can recall most of the archetypes by memory, know how housing systems work and what they represent from memory, know the differences between aspects and how they are calculated, know about different types of astrology, housing systems, and synastry/composite chart reading I think it’s safe to say that you’re an astrologer. Congratulations! Even if you’re not there yet, but you have the desire to continue learning go ahead an call yourself an astrologer too. I give you the pass.

~~~~~~~~~~~~~~~~~~~~~~~~~~~

Those were some of my hot takes! Feel free to give me a follow for more astro and witchy content on your feed.

I also offer paid natal chart readings and I can do synastry and composite chart readings. I’m not super organized about it, I just do a sliding scale price for what you can offer. If you want some free advice just drop an ask and I’ll answer some of your astro questions ~

[dynamightmite]

you seem optimistic so you think we’re still getting shigaraki back? :( i’m really sad the way hori has handled the izuku tenko plotline as of right now like i just can’t wrap my head around this

I mean, I definitely think it's a possibility. We still don't know exactly what happened to overhaul/decay, and how it may be used in the future. We saw Tenko and Deku touch fists; theoretically there could have been some kind of exchange there, or he could be existing as a vestige in some way.

Then again, (and this is going to piss a lot of people off :')) I kind of... get where Horikoshi is going with it?

BEFORE YOU START BOOING!

I think a lot of the discomfort and hurt from fans comes from the perception that Izuku failed to save Tenko. That, by allowing him to die, the narrative is in fact saying he didn't deserve to be save--that Horikoshi himself doesn't believe Tenko truly deserved it. I have also seen a lot of talk about how it doesn't fit in with the ongoing, overarching themes of the narrative, and (while I'm not saying these people are wrong) I would like to push back on that a little, because I think there is precedence in the story as to why Tenko's death holds up, despite it being terrible.

The culmination of Tenko's arc broaches a crossroad of two major concepts in the story: heroes, and saving, and what both of those ideas mean. And, I think, in Tenko's death, we get and answer to both, and more importantly, an answer to his overall purpose.

What does it mean to save? In BNHA, the concept is a little vague. I've often people ascribe the "total victory" mindset as one of protection, as preventing any tragedy or harm. Through that lens, Tenko's death therefore is an automatic failure--a nonstarter. HE's dead, so he wasn't saved. The end. However, while "saving" might seem like a simple, straight forward concept, I would like to dig a little deeper, because I think what Horikoshi's doing is much more interesting.

Saving (Deku's definition of it, anyway) is a lot closer to freeing than it is to protecting. Which sounds weird, but I'll do my best to explain. I think the two best examples of this particular nuance to his definition are actually in two characters people tend to forget he saved: Shoto and Gentle Criminal.

Because he did save both of them. Not in the really obvious, black-and-white way he saved Eri, no, but he did save them. And both times were... painful, to say the least.

When Deku went after Shoto during the sport's festival, it wasn't, like, nice. He dug his little nerd fingers in where it hurt the worst and dragged out Shoto's biggest fears and insecurities, and then he said GET OVER THEM. Stop letting them control you. Stop letting your father control you. You're your own person, and you get to make your own choices.

He didn't punch Endeavor. He didn't even take pity on Shoto, or say he was sorry. But you know what he did do? Deku cut the leash. AND he damn near killed Shoto (and himself) making sure that Shoto understood that he was free. He gave Shoto back something that he'd been missing, something he was afraid to look in the face; something that Deku picked up, brushed off, and said, "please stop throwing this away, it's important. You're important".

And it works, goddamit.

Gentle is both different and similar. In a similar vein, the way Deku saves Gentle is sort of... not obvious. But I think if you look here:

Gentle isn't a bad person. He's ambitious and a little lax about the law, but he never set out to hurt anybody. But we see over the course of his arc how he gets so tangled up in his own pain and his desperation to be seen that he forgets his own ideals, his own morals. In the face of becoming someone, he loses sight of what matters most to him: just like Deku, Gentle wants to be a hero.

Which, in the end, he is. And Deku's the one who pushes him there.

But what about Tenko? What about the crying child inside him? Why wasn't he saved?

When people talk about child Tenko, they often seem to see him as a symbol of the person that Deku's trying to save. But I think that, just maybe, that's wrong. I think maybe, actually, Deku is trying to save Tenko from that child.

Child Tenko is, in many ways, a symbol of nothing but AFO's power. That is a child stripped of his name, of his original quirk, of his family, of his sense of self. That is a puppet controlled by AFO, without any autonomy of its own. That child is a wound that Tenko cannot escape for as long as AFO still holds any power over him.

That's why this chapter All Might said that maybe Deku did save Tenko, if he no longer saw the child version of him in the vestige realm. Deku did save him. Because Tenko isn't a child anymore, and he isn't AFO's puppet; he's a free man, for the first time in his life.

A free man who chooses to be a hero.

Heroes get talked about a lot in BNHA (duh), but what is the defining quality of a true hero? Someone who wins? Sure. Someone who saves? Yeah, of course. But the actual test of what differentiates a hero from everybody else is their willingness to sacrifice. To give up everything for the greater good. Even if it hurts. Sometimes especially if it hurts. I mean, this has come up a lot through the manga. Deku running in to attack the sludge villain, Mirio giving up his quirk, Eraserhead throwing himself in front of his students, Edgeshot shortening his lifespan to save Bakugo, All Might standing quirkless in front of the greatest evil of his time-- literally the constant refrain from the narrative has been that being willing to sacrifice it all is what makes a hero a hero.

Tenko's final wish from last chapter is gut wrenching, but: he wanted to be a hero for the Villains. The rest of the world can rot for all he cares, but his friends, those disenfranchised, hurt people that everyone else gave up on? Those people who have never been saved, those people who have never been protected... he wants to be their hero. In the face of danger, of certain doom, he is a free man, and he has a choice.

So he makes a sacrifice. His final act is to become a hero. For them.

Cue the sobbing tears.

Additionally, I think it's relevant to point out here how strongly the narrative has advocated for victimhood to be divorced from being a perpetual self-identity. It really emphasizes the power of choosing to rise above your situation and pain to help other people, while also suggesting that your pain does not excuse you from hurting people. You can be a victim and you can be a perpetrator; they are not mutually exclusive. And because of this, after Deku saves Tenko, he does not owe him. He saved Tenko, but he could not keep him alive, and... I don't think that it's about Tenko deserving or not deserving to die. It's just that Tenko had reached a point of no return where his only choices were to die a slave or die free and he broke his shackles. But he was always going to die. Doomed by the narrative, both literally and figuratively. We can argue all day as to what degree of responsibility he holds for his actions as a highly abused, traumatized, often shell of a person. But the point is that at every junction of the story, Tenko (and the story around him) escalated until he was trapped. There wasn't a way out, and it's heartbreaking, and maybe that's the point.

I'm not saying it's fair. I'm certainly not saying you have to like it. But... I don't know. I don't feel like this is some completely out of pocket, off-the-rails end that destroyed all its characters. And who knows! Maybe Tenko will be brought back later. Maybe the epilogue will get progressively worse and I'll hate it. Maybe I'll finally get some sleep and regret writing this at all. I have no idea. Really. But we're all in this together, so these are my thoughts right now :)

[genderqueerdykes]

I was reading through your replies to the lesbian who was explaining why they hated cis men, and I found you replies really insightful and well put. I've often had trouble articulating *why* man hating queer people is so frustrating and upsetting to me. I'd also love to add another point from my percpective to the conversation:

I've almost exclusively been sexually assaulted by women. The only time a man has ever done something that could be considered sexual assault to me was a situation I wouldn't consider sexual assault (more just, he did things in sex that I wasn't into and didn't like, felt more of a case of 'having bad, poorly communicated sex/kink' than anything else). I've also been told by people that I was quote unquote "lucky" for being sexually assaulted/harassed by a girl in my dorm room when I was fifteen (maybe sixteen? bad at time) because it wasn't a man. The worst transphobia, abuse and harassment I've been through has been from women. My ex was femme enby who was kinda man hating and they fucked me up badly. I still love women, as a queer sapphic who adores the people in my life rn women are still wonderful, but they aren't safer than men. In several ways I actually feel safer stuck alone in a room or at a bus stop at night with a man than a women. The fact people make spaces that are supposed to be queer but deeply hostile to men is so infurating bc they act like everyone has a right to 'be cautious of men because of bad experiences' and make spaces less open to queer men but no one would ever say that about my bad experiences with women. (and no I'm not usually in women's only spaces, the reason I've never been SAed by a man is not bc I'm not around men, I'm around men plenty)

Feel free to not answer ask if its too much, have a lovely day and thank you for talking about intersex issues, about the way gender essentialism and fear of men hurts people. I appreciate your blog greatly.

i really appreciate you sending this, thank you. i really cannot stop myself from talking about how man hating is fucking everything up because this experience is so important and it's being completely erased

i'm sorry you've gone through all of that. that's a lot to deal with, and it's an experience that doesn't deserve to be erased. pushing the thought that women are inherently safe to be around puts women who are assholes into a situation they're allowed to be mean as fuck to everyone else because "oh i'm traumatized from patriarchy". we all are. you're not special.

i have also been abused by women as well. my mom, sister, other family members, friends and exes have all abused me. i talk about it a lot, but one of the worst times in my life is when i lived in a queer punk house. i really thought it would be accepting, i thought i had found my people. there were a lot of trans girls who lived and stayed there and i got to know a lot of them because they found me cute.

whenever they would find out i'm also a trans man as well as genderqueer, these girls would clamor over each other to misgender me. i was ridiculed for not having a penis, being told that that's what makes a man a man. these girls would also brag about how they hated twinks, gay and bisexual men. they were proud to hate men, even the queer ones around them. there were so many pieces of trans art and things like estrogen bottles everywhere, but nothing transmasculine at all. even though transmascs showed up there often

it sucks that other queer people can sometimes be one of the most transphobic people you know. people have to start caring about how this affects people. women are not inherently safe to be around. men aren't inherently going to hurt you. we have to grow up past this mindset

[starrycassi]

Jayvik & their respective bad habits.

Most of these are just actually trauma responses but I needed a name aight. also they live after that whole sky soulmates thing for the purposes of this idgaf. Also kinda toxic sooo

Viktor rations food. Which also means that he hoards it. Jayce and him have SEVERAL fights about Viktor either buying way too much and it rotting away on the fridge or Viktor simply not eating because he's "saving" something for tougher times. Jayce has to insist really hard on convincing him out of this mindset, and it never fully goes away. He keeps finding canned food that neither of them actually like, and eventually just donates it as soon as it's bought.

After the Dante's inferno thing Jayce is just as bad with food. They end up getting a maid because things are getting dire.

After the whole alternative timeline thing, Jayce sucks at putting up boundaries. Yes, he's great at communicating, but doesn't necessarily excel in *putting up* something to communicate about. A lot of times, Viktor finds himself pushing too much with little to no repercussion, because Jayce would rather have an uncomfortable day with Viktor than a day alone.

This bleeds into a period of frustration for Viktor. He doesn't want to leave his boyfriend alone, but doesn't know when to stop or what is allowed. He finds Jayce to be much more malleable and kind of misses his headstrong attitude.

Jayce is VERY starved of any kind of affection and ready to bend and break for whatever Viktor wants. This is a common trauma response, and Viktor is relieved when he learns this because it means that he can help his boyfriend. He pours himself into the study of the fractured psyche and how to help it.

On the other hand, Viktor is living in a constant state of guilt. Pur guilt. Remorse and shame and embarrassment and disappointment. This manifests in him completely isolating himself when he gets overwhelmed, sometimes lashing out at Jayce in a way to try and "protect him" by "making him see how bad of a person he is" which... just ends up in Jayce worriedly staring at the bedroom door and wondering if Viktor will ever open it, or if this is just another hallucination and he's still on that cave.

They both recognize that the other needs professional help. Refuse to get for themselves. End up going to couples therapy after a fight in which Viktor looked himself up and Jayce had a panic attack when he started trying to talk to him and Viktor wouldn't answer. Then Viktor came out and saw Jayce wailing on the floor, and he felt so guilty that he considered just taking out and leaving so Jayce would never have to suffer like this for him again.

Yeah this is the author's thinly veiled desire for angst. What about it.

Jayce got used to being alone for so long that he now will sometimes forget that cleaning up is A Thing and just... doesn't do it. This is like a very brief thing because Ximena's spirit screams in his ear every time he doesn't do smth.

Viktor is horribly negligent with his own health and gets deeply irritated when Jayce tries to help. This is worse after the whole "I'm god" thing because he KNOWS now how it felt, to live without that burden. He never takes it out on Jayce (consciously) but his facial expressions are sooo obvious.

Sometimes Jayce says stuff about Zaun that makes Viktor consider becoming a widow by his own hand. Then he calmly leaves the room to come back with a glass of cold water to explain things to him

They both get Very Caught Up in their work. They actually made a rule of no more than 48 hours without sleep in the lab for the very reason that they would genuinely consider punching each other square on the mouth. Before ANY of you come at me "Oh Jayce would never-" I need you all to know that any college kid would. Give me them on finals week and I ASSURE you they're choking the living lights out of each other.

Like Jayce is trying SO hard to be kind and Viktor goes "Not so very bright, Gold Boy" under his breath and Jayce wonders how funny it would be to jump right now to make him feel bad

Yeah I think they should get to be kinda mean. Have I ever mentioned that I grew up shipping Vikjayce because my older brother played lol and gave me a lot of access to his free time. This is very machine herald/defender of tomorrow inspired so if you're squirmy about that dynamic maybe stop here.

Viktor tends to joke about taking himself out of life way too much for it to be funny. Not only to Jayce, mind you. 'I guess I should've jumped when I could've hahaha" because his favorite cafe is closed. He makes a lot of people uncomfortable with his humor in general, but Jayce finds it kind of comforting, to have someone who is so blunt with him.

Jayce goes "...maybe I should just disappear" when he really wants to manipulate someone OR is really tired. Sorry he needs to have his moments too you're telling Me Puppy Eyes has NEVER tried this tactic, even if disguised as a joke? Yeah no college changed him I know

He tried this once (1) with Viktor. Got out freaked. "If you do this I'm killing myself" "Okay. I'm jumping after you do. Yeah I will. Oh? Yeah? Suddenly quiet? That's what I thought. Pussy."

Jayce bites his nails until they bleed. Viktor always outs band-aids over the wounds and kisses each of his fingers while scolding him lightly.

If on the edge of any high place, they tend to stare down, wondering. Entranced. One time, they were doing this on the roof of a random hospital and touched each other's hand. They never say it out loud, but they thought about jumping together as soon as they did.

They both avoid confrontation like HELL after the glowing gays situation. Again, Mr Needy and Mr Guilty walk into a tense room with nothing but a bleeding and broken heart in hand. Knock, knock. Wait. I forgot the punchline.

Viktor sleeps with LOUD earphones. Going deaf early probs.

Viktor is always itching for a smoke. Yes he knows his lungs are dying leave him ALONE, Jayce.

Jayce has a slight problem with alcohol. Slight. He swears.

They can never agree on what movie to watch and end up with documentaries about some obscure discovery they both enjoy.

Jayce can never truly fully trust Viktor again, not when it comes to taking care of himself/others. He's always so scared of Viktor going down the same path. He does trust Viktor more than literally anyone else! Just... Not fully. He never says it. Viktor still knows. He doesn't blame him for it.

Similarly, Viktor tends to doubt Jayce's social decisions. He remembers how easily Jayce was swayed away. It isn't fair, to hold him to something he did when he was 20-someting and hopeful. He still does. He keeps this to himself. Jayce thinks his husband is just jealous.

He's half right. Viktor is super jealous All The Time. His husband is hot, kind, smart and emotionally competent. He already almost lost him once, he's NOT taking that risk again.

Jayce is actually also really jealous. He spent weeks, if not months, if not years completely alone thinking that everyone he knew and loved was dead (and kinda right). He's extremely caring, to the point of being overbearing.

This is actually a problem aside from his relationship with Viktor. Cait has to constantly tell him to leave her alone because he's being pushy with her.

Can he help it? She was dead. One day he woke up and she was dead, and everyone else was, too, and he was alone and cold and scared, and, Sprout, can he help it? That he wants to know where she is, what she's doing, how she's doing? Can he help it?

Vi and Jayce tend to enable each other's drinking problems by accident. They actually start going to AA together. Eventually. In like a decade.

Viktor will simply Not Speak to people he doesn't like. Which is, like, a lot, since he now knows the mind and inner thoughts of literally anyone.

Jayce puts on so much fucking perfume that sometimes Viktor feels like he's still in the fissures.

They very rarely get into screaming matches - even when they fight, it's usually in a controlled tone of voice - but when they do, they are SCREAMING at each other. It usually ends up with one or both crying.

They consider breaking up for each other's benefit, like, thrice a week, for at least a year after the Yaoi Jesus Incident. In the end, they're too selfish to try and live without the other, so they never bring it up.

Viktor constantly eats raw things. Which prompts a PowerPoint presentation of salmonella and its dangers. Jayce can't stand anything raw (except for, well, bedroom activities) after his dark souls plot. He WILL hyperventilate if the chicken is mildly soggy.

When drunk, Viktor will start insulting everyone and then pretending he said nothing. Jayce starts looking for a fight.

Jayce has tried to stop fights by making it sexy. Sometimes it works. Sometimes it just makes Viktor feel irritated at being treated "like a sex-blinded dog"

Holds the other to standards they definitely don't apply for themselves. "You should take a bath. You smell" "You've been in the lab for a day straight. I smell, you stink" "That's different"

They love each other more than themselves, despite everything. Which is, arguably, the worst thing on this list.

Idk guys I'm sleepy but... Angst... Hurting... So human yet literal deities...

Also why are people acting like vikjayce post butterfly stars would be cute together and live happily ever after. Jayce is Mr PTSD now and idk what you would even begin to diagnose Viktor as after allat. I would be surprised if they manage to go a week together without snapping at each other. So many feelings and a clear target... Yeah

I think that at their core they WANT to be tender and for everything to work out smoothly. Life, unfortunately, almost never gives you that. Also if anyone needs a palate cleanser I do have fluff headcanons of them. Not everything is grim in here I swear

[diegosumbrella]

My observations from s4 of Umbrella Academy

I dont even wanna talk about the main plot of whatever the fuck that car crash of a season four was, but heres some plot discrepancies I noticed while watching Umbrella Academy.

!! Season four spoilers under the 'see more' !!

- Luther's unnecessary body change

It's stated so clearly in s1 that Luther never gained his body from the marigold or developed it along with his powers. When he was up on that mission on the moon, he had an accident and Pogo had to donate his blood which resulted in Luther having that monkey body we all know and love.

So as Luther drank that said marigold, why would he suddenly gain back the blood donated from pogo and the body that comes along with that..? It's as if the writers themselves forgot why he had that body. Why write in unnecessary body dysphoria for my poor baby?

- Diego's sudden appearance of ab's

Listen. I am the last fucking person to complain about a Diego Hargreeves shirtless scene, where you see his pecs quite literally bounce BUT why did he change so drastically from 'dad bod' to suddenly 'ripped'?

I read an article interview with Steve Blackman and saw a few snippets from a podcast that explained that David (Diego's actor) didn't want to gain weight for the role, which is totally understandable. But if you have an actor who doesn't want to gain weight for this role, why not just keep Diego as fit?

Due to the short six episodes, it's extremely easy to miss how Diego slowly becomes more fit as time progressed. For most, and also myself at first, that fighting scene just looked confusing as fuck. Like two episodes before, Lila was calling you 'tubby' (or whatever the fuck she said), so why do you have abs now?? Where did the dilf diego dad bod disappear to :(

- Allison's beloved Ray just leaving her

I'm not sure if i'm taking this the wrong way completely but... In the scene after Allison had given Klaus the marigold against his wishes, but also to save his life. As Klaus is calling out every member of the family, he mentions how he 'took care of Allison when Ray walked out'.

Like i'm sorry but the fuck do you mean Ray just walked out?? Why did he leave Allison if she had no powers. She'd clearly built a better life for herself and began to change her mindset for the better, compared to s3 she's drastically better.

It's never explained (probably again for the lack of episodes) and it's never even mentioned again. Like does Allison share custody of Claire with Ray? Does Claire even see her father? I have so many questions and once again, a severe lack of answers.

- Klaus breaking his five year sobriety

As much as us as an audience are aware of Klaus' addictive tendencies and his utter thirst for form of drug in the former seasons, but why establish that he's not only been sober for three entire years but he's also now a huge germaphobe just for him to ruin it in five seconds.

The main problem I had with this is the fact none of the siblings, including and most importantly Allison, had zero reaction to this. They weren't upset, angry, disappointed or fuck it even happy. They practically ignored the fact their brothers three year detox went out the window.

Five's ability to time jump

Before I get you all jumping up my arse, i'm fully aware I could discuss how they completely just fucked his character development and his entire personality as a whole for a shitty romance that made absolutely no sense but I'm gonna make a separate post on that because oh boy do I have some shite to say.

ANYWAY.

I can't even go into much detail with this one but why is it that every time five attempts to do his time jumps, he ends up in that subway but when he does it with Lila in that end episode.. he can suddenly just jump..?? normally?? Like why. Why can he now only just time jump as he used too. WHY WAS THE SUBWAY NEEDED FOR OTHER THAN FOR THAT AWFUL FIVE X LILA PLOT????

It's as if the writers couldn't come up with a way to get the brellies into that building with Ben so instead of using critical thinking and writing them breaking in, they just said 'fuck it make him time jump with Lila'. Like no I have questions??

[adarkrainbow]

Why was Hansel the meal of the witch?

This is a question I was aked recently, and I thought it would make a good subject for a post. "Why did the witch only try to fatten up and eat Hansel? Why didn't she imprison and fattened up Gretel too? Why did she choose to make Gretel her slave instead of Hansel?"

Which is actually a fascinating question. Now, I do not promise that there is some grand truth or secret meaning behind this. It is just a little detail and some technical workings of fairytales. But it is a point that many authors and rewriters have taken an interest upon, and that if a true well of reinterpretations.

So let's go... Why was Hansel the meal, and Gretel the slave?

If we go by the "canon" of the text (of course "canonical" fairytales do not exist, this is just an expression) - if we go by the Brothers Grimm's text, we... well we do not know. It is not specified anywhere why the witch decides to lock up and fatten up Hansel out of the siblings, and to not do the same thing for Gretel. There is no reason explicitely spelled out or given. Maybe she simply prefers the meat of boys over the one of girls? This absence of justification, and the apparent "randomness" of the choice opens a door for authors who would like to change things: for example in "A Tale Dark and Grimm" (the book, not the Netflix series), it is both Hansel and Gretel that are fattened up by the witch, and she only picks Hansel as the first one to be roasted. The Looney Tunes Hansel and Gretel also were both in the cooking pot of the witch Hazel...

The text only leaves implications for the reader. For example, the need for the witch to have a slave/assistant to help her with the chores is implied by the facts that she is 1) elderly 2) has a very bad sight and 3) walks with crutches (a very important point). So it is understandable she would require a slave to help her - but then why pick Gretel, and not Hansel? Again, the text does not answer. Many people like to portray Hansel as the oldest child of the duo, and Gretel as a younger sister - this is because Hansel seems to be the strongest, bravest and most intelligent one, as well as with how his name always comes first in the text, Gretel being after him. Maybe the witch chose to eat him first because he was precisely older, and thus there was a more developed body to eat? Even if the siblings are of the same age, we can always imagine the very old and present male/female dichotomy that claims that men's body are naturaly stronger, larger and meatier than women's, who have graceful, slender, lighter bodies. Maybe such a concept is at work, putting forward a mindset where a cannibal witch will always go for boys first as a main course, and girls next as an appetizer...

One possible reading of the story is that the witch only had enough place to lock up ONE child and thus had to make a choice. Maybe there wasn't enough room for two kids in her prison for future meals? This interpretation is supported by the ORIGINAL text of the Grimm's fairytale. In the first edition of the brothers Grimm's fairytales (provided by Jack Zipes), there is an explicit mention of the place Hansel is locked in: it isn't some sort of stable or cage as it would later be described, oh no! It is a chicken coop so small Hansel can BARELY MOVE. It is a really tiny prison, in which he barely fits. Of course, on a practical side, it can help with the whole fattening process since having a child eat rich meals without ever moving is certain to make him plump in no time (just look at these horrible industrial farms and how they lock up animals in tiny cages) ; but this detail actually explained why the witch only placed her efforts on one child, and not two: she obviously had only enough to place to lock up one kid, and had to deal with the other in a different way.

But even if we admit all those implications - that the elderly, handicaped witch needed a help, that she had only enough room to lock up one child, that maybe Hansel as an older boy makes a better meal than Gretel - there are still some strange and bizarre logical holes. For example, the witch beats up and starves and exhausts Gretel. This is the complete opposite of what she does to Hansel, who is pampered and fattened up - does this imply the witch maybe does NOT want to eat Gretel? Or does she really have only enough resources to fatten up one child, and can only afford making Gretel more edible once she is done with Hansel?

Again, mysteries upon mysteries. Fairytales are not created to work on practical details or actual psychological processes - they are stories relying on powerful visuals and ancient motifs and a dream-logic-structure. When we are told that the witch locks up Hansel to fatten him up and eat him, and that Gretel is becoming an abused slave, we just accept it, because it works on a set of powerful visuals, such as the malnurished slave sister cooking and feeding her imprisoned and soon-to-be-killed brother. The idea of the sister being reduced to a tool in the process of killing her own brother is a very powerful one, never explicitly stated, but still present and sometimes used by adaptations. There was this German Hansel and Gretel movie released in 2005 that explicitly played on this: the children were never told by the witch her intentions when she locked up Hansel, and for the first week or so of Gretel being a slave and Hansel fattened up, they were left in the dark concerning the real intentions of their mysterious jailers. This was a stark contrast with many Americanized adaptations that have the witch gloating and explaining her cannibalistic desires to her victims, and which opened the door for some interesting plot points - in this movie's case, Gretel being quite jealous and envious of Hansel's new life of feasting and being kindly treated by the witch when she got all the insults and chores. Of course, when they discover the truth, their mutual feelings reverse as Hansel realizes his seemingly "easier" fate is actually the worst of the two.

Still, the text is left ambiguous and open-ended enough for us to imagine TONS of things. There could be a rewrite of the tale where the witch exclusively eats little boys, and hates little girls. One nterpretation of dark poetry of the tale can be found in Znescope's Gretel mini-series. Despite this mini-series having BIG flaws (the choice of the witch's true identity was... quite bad to be honest), it does have a very interestng and morbid answer to the "Why was Hansel the only one fattened up?" question. It chooses to depict this difference of treatment as a sick and cruel game the witch plays with her preys: Hansel and Gretel are both her prisoners, but she fattens up Hansel while she starves Gretel, to make a contrast between the two, simply out of a perverse amusement. There is one particularly striking image of the two children locked in two cages arranged like a weighing scale, with Hansel's cage going lower as he grows fatter and Gretel's going up as she becomes skeletal... It is a nice visual contrast that has been reused by various artists.

Now, I spoke mainly here of the content of the story and of the text itself. However, as I stated before, we must look beyond the story itself to understand why Hansel was to be the meal, and not Gretel. Or rather we need to look at the fairy tale's structure, on a meta-level.

As I said before, the fairy tale works here on a system of duality. Hansel and Gretel are meant to be a yin and a yang, complementary reflections. The boy and the girl, the brave and the coward, the cunning older brother and the crying little sister. The idea that their fates are "split" into the house of the witch not only furthers the anguish of the characters, who at this point were always together but now find themselves separated, unable to face together the same trials, but also keeps on playing on these visuals and motifs. As I said, there is something that many artists read in the tale, in the opposition between a malnourished Gretel and a feasting Hansel. This is part of the same duality of food and famine present all throughout the tale, such as the woodcutter's famished and poor household, opposed to the witch's house made of sweets and with chests full of pearls. The siblings represent two forms of abuse and evilness enacted by the witch, but in complementary forms: with Gretel the witch becomes a domestic abuser and an enslaver, with Hansel she becomes a jailer and an ogress.

One can also read in this an extension of the typical sexist duality between men and women in these old centuries: the fates the witch forces upon the two children can be caricatures of what each gender is supposed to "do" in such a society. Gretel, like women, is expected to do household chores and to cook for her "man" - here it is caricatured into her becoming a slave, and only helping fattening up her brother like some cattle. In return, Hansel, like a man, is supposed to be well-treated and well-fed, but here the caring wife/mother figure is a monstrous hag who only makes him feast so she could eat him later. In fact, it is quite interesting to see how both siblings are dehumanized and reduced to the status of animals - from Hansel being fattened up in the stables like some pig or chicken, to Gretel being fed leftovers like a dog.

All of that being said, there is another much needed argument that must be made: the answer fo thte question can be easily found in the story's structure. This is the most obvious solving of the problem when you consider it all: the story of Hansel and Gretel relies on the idea that the two children must save each other in turn. There is a balance in the tale, which bears the name of the two protagonists as heroes, but one before the other. During the first part of the tale, it is Hansel who takes the lead and the decisions. He is the cunning hero who tricks his parents, saves his sister from the woods, returns home thanks to his plan. Gretel is only seen being scared, and crying, and not doing anything except follow her brother around. In the second part of the tale, within the witch's house, it is Gretel who becomes the hero. Her brother is "out of the race", locked up away and unable to do anything, and it is Gretel who this time has to trick the deadly parental figure, come up with a clever ruse, and ultimately save her brother from death. This creates a perfect balance between the two characters: Hansel starts out as the hero protecting his useless sister, and then it is Gretel who vanquishes her uselessness to become the hero saving her own, impotent brother. The siblings need each other to survive, and thus save each other in turn. This is how the story works. And this is why Hansel must be the locked-up, fattened-up victim, so that his sister can save him. Else it would have been the story of "Hansel", and not "Hansel and Gretel".

All of that being said, a last point must be made about a final theory. A theory and reading of the tale that has been very prevalent and prominent in recent adaptations of the story.

The recent "Gretel and Hansel" horror movie did it. Before the (X horror movie) also did it. Neil Gaiman's Hansel and Gretel also used this idea. The comics Fables toyed with it in a side-way. And this idea is simple: the witch did not want to eat Gretel, but rather wanted to make her a witch like herself. Gretel wasn't the witch's slave, but unwilling apprentice.

This idea is born of course from a reconsideration of what a "witch" is, and the gender questions attached with the figure of the witch. In the original story, the witch is not a witch in the modern sense of the term, in fact she is a monster that is very clearly an ogress by another name. There is no question of learning how to be a witch, or making deal with dark powers, or anything like that. But when you read the tale with the modern sense of "witch", as a symbol of dark and hostile feminity, as a woman of power, who works against the domination of men, or the tyranny of patriarchy - when you consider all the gender questions surrounding real-life witches and the witch hunts, you see the witch's actions under a different eye. Her not wanting to eat Gretel at first, and making her do her chores, and forcing her to live with her, might hint at the fact she still considers her more "human" or more valuable than her brother, who is nothing but food, a mere cattle. Several of the modern reinventions of the tale, such as those stated above, decide to add the twist that the witch actually wants to shape or make the little girl into her image: from a slave doing the witch's chores, she becomes the witch apprentice, who is by her side in everything she does. Some of those readngs remove the elements of abuse towards Gretel, while others do not forget them. Neil Gaiman's take on the story is especially fascinating as the witch is explicitely described as oscillating between periods of sweetness and kidndness, promising Gretel all of her secrets and great powers, and periods of pure hatred and violence where she just insults and beats up the girl - all of it highlighting either the witch's madness, or a form of senility due to her old age.

But this theme of "Gretel as a future witch" or "Gretel as the witch's apprentice" ties in with another subtext well-hidden in the original text, but that many like to weave upon: Gretel as the "daughter" of the witch. In many of those rewrites and reinterpretations, the witch doesn't just treat Gretel as an apprentice, but as an heir or a replacement daughter. This is no surprise since it is very clear that in the original tale, the witch is the dark side of the mother figure, and an evil doppelganger of the wicked stepmother/mother of the siblings. As such, it makes sense for her to impose an abusive and unconsented motherhood upon Gretel - doesn't her forcing the girl to do all the chores not reminiscent of how famous fairytales stepmothers treat heroines like Cinderella? Such a perverse motherhood was already explicit and obvious in her treatment of Hansel: like a mother she nourishes and feeds Hansel (in fact she succeeds where the wicked stepmother failed), but this is all to devour him, in a ritual of "un-birth", she becomes a death-givers who doesn't expel a child out of her womb, but has it return to her stomach. [This is a very common and usual motif among ogres of fairytales, who are all caricatures of parenthood].

More generally, to have the witch act in such a way actually makes the fairytale more "feminist" somehow, but in a quite perverse way. Because in such a reading, we have a women-dominated world. The true active and powerful characters of the story are beings such as the wicked stepmother and the witch, who command, control and influence the other characters - especially the male ones. The father is a weak puppet who can't stand up to his wife, Hansel is reduced to a fat pig in a cage. Hansel did try to escape the tyranny of the wicked woman, but all he could do was push back his doom, and his plans ultimately failed. Gretel, as a woman herself, is given a special treatment - and in the "apprentice/daughter" interpretation, is "absorbed" by this world of wicked, dominating women. But she actually breaks from it, and kills the one that would have "turned" her - and it is telling and interesting that the only one who can have a true an full success, a definitive victory in this tale is Gretel. Hansel's plans work and save them, but only for a brief time, and his last plan fails dramaticaly, before he gets locked up and "out of the story". Gretel meanwhile, when she gets the courage and intelligence to act, proves herself much more efficient and definitive than her brother, as she puts a true end to the threat other them by killing the witch (and by extension killing the wicked stepmother/mother). This is something Hansel couldn't do - all he could was trck the wicked woman, and nullify her plans, but he could not remove the threat of the death and the hunger.

Anyway, as you can see, despite being a quite superficial and silly question, this fact (or rather absence of facts) opens up a whole jar of various interpretations, readings and themes, and proves the hidden complexity of these apparently "simple" stories.

[sleepy-aletheas]

I think we tend to pit Alhaitham and Kaveh as absolute opposites too often. It's always "one is loud, the other silent" or "one is warm and the other cold" or my favorite (i say sarcastically) "one is overemotional and the other is emotionally unavailable".

Am I gonna harp on the dehumanization of Alhaitham, because his rbf and title of genius makes it so easy to do? :) ...no, not this time, I swear. I stood on that defensive soap box a few too many times already. What I wanna point out how similar their personalities are through their communication/public perception way.

For one side comment before the comparison; their mirroring needs to have a common thing they can reflect off together, or they simply would never find the answers they need. Mindless reflections would just muddle their understanding of one another and themselves.

That being said...

I think all of us fell into the "let's make Alhaitham speak short and to the point" mindset. It's easier to think of him that way — he stands idly by, listening into conversations, and already contemplating the truth about what is going on. But I swear, when he opens his mouth, then he speaks, and not just factually. He wants others to come to their own conclusions, to find the truth of the matter on their own. He tosses some information here and there to lead people on the right path, and then steps back to observe. He is also someone who uses a lot of sarcasm and avoids direct answers for the most mundane things, obscuring his own truth along it. He doesn't mind going on and on to explain things, to take his time and be helpful when someone genuinely seeks answers. Is he blunt? In a sense, yes. Maybe clinical is the way I like to think of it. He often doesn't overstep boundaries (the only one who fully gets his opinion stated is Kaveh, but they're each other's exceptions anyway), so really, the "bluntness" is more of a disregard to "overfriendliness" that is seen as politeness towards strangers or the public at large.

Kaveh on the other hand is perceived as loud and passionate to its own downside, really. Can he be either of these things? Absolutely. He has the passion of a sun, the ambition of a tide. But it's usually perceived by people as overfriendliness and an emotionally charged thing, when he really is more, and I can't really find the right word for it so I'll go with, reserved. He is polite and tries to be as helpful to others as he can be, but he doesn't really divulge that much of himself. He focuses on others, but tries to keep the attention on them or the situation and not himself too much. He will toss in tidbits of himself here and there, but that doesn't mean he's suddenly spilling all his secrets — he keeps to himself, even if his outgoing personality makes it seem he doesn't. He can keep a cool head and be analytical (architect or not, he's still a scholar through and through), and his contemplation is more of a quiet moment that he doesn't mind vocalize to gain more input from the outside. His friendliness is seen as openness, when really he's just playing the social game, keeping his true self away from public eyes (Alhaitham is one of the few, if not the only one, who gets his full opinion, not sanitized, but candid, off the cuff that doesn't need to be "pleasant" and "for polite company").

Both of them use silence and vocalization in equal measure, just in different ways to divert attention from themselves. Alhaitham seemingly riddles people's attention span into a twist until they give up aften not being patient enough to decode it; Kaveh on the other hand speeds through pleasantries to get to the bottom of the problem so no one has, or can, focus on him specifically. Alhaitham doesn't see the point of the social game, and because he doesn't care about the public's opinion of him, he doesn't play along; Kaveh's reputation and work hinge on people's thoughts and knowledge of him, so he plays along, because people being kind to you (because they know you're kind) makes life easier. Two approaches, two ways of keeping their public perception away from their private one.

It's also why their conversations (or old married bickering, either wording works) are often so "explosive". One uses a direct approach to leave the vulnerability hidden, the other leads the attention away from vulnerability through convoluted misdirection; and both of them know this, and it's frustrating. And exhilarating. Because they're going down two paths that end up at the same destination; seemingly parallel lines that are actually intersecting lines.

They are two mirrors that reflect the same object, but one sees the object's shadow and the bright world around, the other sees the object clearly, but the world in shrouded in shadows. Who is who, doesn't really matter, because both of them can fit this.

[b0njourbeach]

So what are your thoughts on TreyKei?

They're besties, they're worsties. They're married and have two cats (then again, Trey seems to be more of a dog-person. Maybe a dog and a cat?), they'll never be a couple. They love each other, they'll never be able to love each other.

I'm so physically ill about them and their unlimited possibilities.

There are so many thoughts in my head and knowing that you always liked my rambles, I won't try to hold back and let it all out for once haha. I can't promise that I'm being able to express it all because you can imagine my thoughts as followed: Idia, Malleus and Jade infodumping about their special interests while Kalim screams for funsies in the distance and Cater runs around as if he's on a sugar rush - All of it happening at the same time, of course.

Anyways.

You can have Friends to Lovers if you want to, you can have a slow burn, you can have a fall in love on first sight, Friends with benefits, one sided affection, Angst in every shape and Form, a million different AUs that still fits them.

I personally see them both being bisexual. I'm not sure how to explain it but if I had to give an example of a bisexual, it would be them. But here's the thing: I genuinely can't imagine Cater being able to 'love' in the classic, romantic way - I'm not sure if it's projecting onto him or a deep understanding of his personality but I just can't see him being in love as your average romance novel describes. He shows his love in other ways and I swear by hell itself, Trey is one of the main targets of that affection (in my opinion, at least).

If you ask me, he has a lot of commitment issues due to his past and the lack of stable friendships. There are also some nuances of trust issues mixed in that, due to the learned mindset of "It won't last forever" that he had acquired throughout his life. He keeps people at an arms length, possibly to protect others and himself for the, eventually coming, parting. "If I don't get attached too close, it won't hurt as bad."

We can, in fact, see Cater do this in canon - Especially with Trey because he sees through his act. I do love to point out the Wish Upon a Star event where we have a, in my opinion, very important scene and I do have to admit that I honestly got emotional at the end of it: Trey asks Cater what his wish is - Having more success on Magicam (which is one hell of a predictable answer if you ask me). Trey points out he did wish for that the past year, remembering it from the time they shared a room. Cater then wishes for his life to be "chill", and they part ways. Standing in the Heartslabyul staircase, Trey talks to himself on how one 'would think that Cater would open up a bit more by now.' Following with a (in my opinion it sounded sad/upset) 'But maybe he does already. Just not with me.' (I do recommend to watch the scene on your own to get your own impression on it. You can easily find it on YouTube).

Yet, despite the seemingly distance, they're still considered a duo that is unsurprising to any student (Lilia calls Trey Caters Partner and Rook refers to Cater as Treys "Boon Companion").

I had the HC for a long time that Cater may try to escape his issues at home by going with Trey instead and only later I found out that it's not too far from canon. Trey most likely also knows about Caters' situation at home, which is seen in multiple different situations - which, if you ask me, is already a deep trust coming from Caters side.

Overall, they know each other's strengths AND weaknesses and know how to match each other well. Whether it is Cater boosting Treys confidence about his looks or Trey pointing out Caters skills in Astrology (and many other things but I ain't gonna point every single of them out rn).

Speaking of weaknesses and strengths: Remember how Trey called Cater out after Riddles OB?

[Including the Manga panel because Boy, do I love this one]

A while ago, I've read through Caters Birthday Boy Voicelines and you know what? This guy has been gifted a "diamond-shaped quiche" from "a student". While no names dropped, we all know who made this one - Especially because Cater does seem to be quite fond of Treys general cooking and baking, if it's not sweet, of course. Not that I can blame him, spicy dishes aren't easy to make. You can fuck them up easily and if your man can cook 'em well, you better marry him.

But enough of Cater, there is too much to unpack about him to show it all. Let's move on to Trey, which is not as easy as it first sounds like. Why, you ask? Well, because he's showing even less than Cater! Both of them are chronic actors, both hiding their true, their damaged, their 'weird' faces - acting to be 'normal', to not freak people out, to not make them worry. Trey is a really good example of the 'oldest child' syndrome, which is, in return, quite bad for him - But that turns his friendship with Cater into a positive thing. Ahem, one step at a time.

Why is Trey a perfect example of the 'oldest child' syndrome? Well, he's "oh so normal", yes? Or so they say, after all. If you're the oldest child, you need to be a certain way - not only for your parents or your siblings but for your own safety. As the oldest child, you're bound to be a "test subject". No matter how good your childhood may have been, your siblings will have a seemingly, easier path - Things you weren't allowed are suddenly okay for them to do. Your siblings have an older sibling to rely on while you, as the oldest, had to fight alone. You need to protect the younger ones because it's expected but you need to keep yourself running too because no one does it for you. By being born first, you're practically forced to be in a position of a role model, a teacher and a friend.

Especially if you're having odd interests, such as oral hygiene, mustard, hats and what-not - You are forced to act normal because you will be looked at weird otherwise (I mean, he's friends with the perfect example on what happens if you express your "weirdness" out loud: Rook Hunt). I really like to put Trey on a scale when it comes to "Acts normal, is weird" because if you're weird, there are three types:

1. Rook Hunt - Expresses weirdness out loud with no shame

2. Jade Leech - Suppresses weirdness but the suppression has become weird on his own because he's weird in quiet

3. Trey Clover - Swears to be normal and is successful for the most of it, does show weirdness in little moments

All three of them have different reasons, and valid ones once you realize why they're that way, to be the way they are but in the end, they're three weird people who have learned how to "express" their oddness.

[Disclaimer: I am not using weird as an insult. This term is used to refer to socially not as accepted behavior or actions that are frowned upon. In other words: I am using society's definition of "weird" and not my own.]

Anyways, despite being the oldest child he is, Trey still shows Cater a bit of the truth: Instead of awkwardly smiling when he's uncomfortable, Trey stops smiling if he's with Cater. And in the Vignette of Treys Dorm Uniform, we can see that Cater knows a few more faces of Trey that are rarely seen otherwise - In the given example: It was Treys pettiness, deserved but it was still a rare emotion. If I recall correctly, this Vignette was the only time where we had seen Treys' pettiness, which was quite satisfying to see but that's just my two cents.

It's just so genuinely fascinating to see how similar yet so different they are, it makes both of them a tragic lovestory (if wanted) that drags me across the entire planet and I'd thank them for that.

And what I personally find almost mesmerizing is Caters actions: On one side, he seems to keep Trey not too close, yet he seems to have a lot of trust in him and I think it's unintentionally mentally messing with him because it may not be intentional. I could see that Trey might have this specific vibe that makes Cater feel comfortable and chatty about topics he wouldn't often talk about (specifically when they're both alone). Another guess of mine is that Cater might make too many jokes about certain parts of his trauma/issues and instead of his other pals, Trey actually looks behind the "jokes" because as much coping with humor may help, it's still a way to vocalize pain. But Trey doesn't strike me to be the type of actually calling Caters jokes out the moment he does them (example that I just made up: "Man, my phone died. Wish that was me lol" "Cater, those jokes aren't funny" etc etc). I think he'd have a more subtle way of showing Cater that he saw through that laughing, such as speaking up when it feels appropriate (Book 1) or just acts of service and/or quality time - Simply showing him that Cater does have someone who listens.

I've lost track at least five times and I forgot half of what I wanted to add.. Man, I hate my brain sometimes. I also often try to express my thoughts about these in my memes - In fact, the Memes with/about Cater, Trey or both of them together are possibly the posts where I'm carefully inspecting if it fits the canon and my own pov of them. I do it for all my memes, of course but I want people to deeply understand how much of a disaster those two (both, on their own and together) are because it's extremely overlooked, in my opinion (especially Trey).

Anyways, have this very neat HC of mine that I have about those two because it has been rotting away in my brain (I had intended to add more HCs but it somehow doesn't fit in the text):

Whenever Cater uses his UM 'Split Card', Trey knows which Cater is the original one. They may be identical but Trey can still tell the difference. How? He isn't really sure himself, it might be just his instinct. Cater has made it a game at some point where he wants Trey to guess and has tried many ways to lead his instinct astray but he has yet to succeed.

Edit: For more rambling about those two, do check the reblogs :)

[random-non-shower-thoughts]

I'm sick of writers constantly complaining about how hard writing is and how they have to suffer for the craft and how you need to struggle to make it good. I find it so annoying

You are not being quirky or funny to beginning authors and writers, all you are doing is telling them that if they didn't bleed their soul on to the page it's shit and they should feel like shit. I fucking listened to this kind of mindset for years and spewed it to those around me. I was pretentious and told others this mindset was the only one and did nothing because I knew my writing was obviously a joke and not worth reading. Because that's what everyone else said. I didn't bleed, I was having fun. You had to crawl through hell and burn the first draft to spit on the ashes. I wasn't ready to publish because I was enjoying walking my little book babies across the page and doing what they wanted. The little characters knew what they wanted, so I had to rewrite and wrangle them in later. The couldn't just run around like the little ones they were.

And I was right, I wasn't ready. Not because of them, but because I kept swallowing the same slop about how writing is hard and that a first draft had to be shit. I rewrote my first baby and it suffered. I tried to fix it like all the others said, and killed that entire series. Four books, hundreds of thousands of words. DEAD. I will likely never touch them despite all I did to tell a compelling story with characters that were fun, interesting, and well-researched to represent multiple groups. I cannot get that spark back because I was convinced it was wrong. I never tasted enough bile by the nice first draft that was good enough for myself. RIGHT NOW. IT WAS ONLY WHAT I COULD DO NOW.

I legit gave up on ever publishing anything and convinced myself to just make it shit so maybe I could crawl out of the mud and build from scratch. It's what my professor did, and she was years into a book she still wasn't happy with. She insisted she knew the way to publish and we should do the same. How she struggles with typing and making notes for the next draft, how the next one would be better after a rewrite. I had to do the same. It was the only way...

I am so thankful that I did some research after that and found myself falling down a rabbit hole. I wasn't really ready to fully accept the mantra from my professor. Her words never sat right with me, and those who listened without question were quite frankly, too snobbish about white men making badly written black women and all showing zero energy around first drafts--good or bad. I had to get a new perspective. The itch to see more called me to find answers. I was off put by the way they worked like it was an obligation, not art.

And I found it with a group of authors far older and more experienced than myself in a writing blog. Not just the creator held a set of different beliefs and the entire community was excited to share entire books worth of advice for free online, including the author posting (physical copies cost money, but despite running a business, the information was so freely given). And I think the three most important pieces of advice I ever got from them and changed my life were:

Quality will always equal quality. There's is almost no other art form that I have seen talk less about this mindset. Compared to say, drawing, where they go in opposite direction and it's one of the most encouraged aspects of it. I do not see this as much in writing, unless you are boasting bad/shit drafts. This is not what this advice is talking about. This was explained to mean everything from first draft to publishing, the entire process. To go all the way with works put out there that might not be what you first imagined but can say was done. Get that stroy done and put out there so you can move on and learn from previous mistakes and lessons.

You can write a clean first draft. I mean this, throw away the idea what you have done in a moment of happiness or in a frenzy is inherently bad or flawed or needs to be scrapped for the second draft because you obviously need to fix it. It was pointed out that this was a new idea and absolutely a bad thing when you had limited resources and time (pulp fiction, times when you had to make your own supplies, you were not allowed access to better technology). Now that we have electronic word processers, it is now a thing to shit on a first draft because you technically can. But why? Why should you have to throw out your level of quality and care because you are putting your first words to the page. It will never be as good as what you write tomorrow, but that's because you have learned and practiced today. And if you start with shit, your entire foundation is. Show you care about what you write, and much like a house, if what you use for the base is good, the entire thing will have a better leg to stand on. Bricks can be replaced, the swamp you placed them on is going to be much harder.

Do not listen to the inner critic until the editing phase. You know that voice telling you something is off when you are using an editor? The one that sounds like a serious adult and points out all that needs fixing? It has its place, but never on the first draft. Embrace the three year old that is playing with the blocks and says why to everything, that embraces the absolute batshit ideas that whisper to you like a infatuated lover. This is all you should listen too (outlines can be a great guide, but who says you have to follow everything?) Treat the true muse, this fun writing voice, no different than a caregiver would with a child/pet playing at the park, and let it run wild. You can patch up bruises and cuts. You cannot take back telling them NO in a fit of anger. The muse is no different.

And honestly, after reading this, my life changed so much. It made me realize that while I am not where I want to be, I loved what I created in the meantime. I wanted to hold the hands of ideas pulling my sleeve. I wanted to go on an adventure and say, "Yeah, let's go! What should we see today? What monster is waiting for us to discover?"

I literally felt a joy and wrote again. Not right away (depression is a loving embrace and the softest of kissers) but I had not felt such love for myself since before I gave up. I found a character I had not let get tainted my poisoned mind and I treated them like they deserved (and realized some things about myself exploring their minds). Such a love was waiting to be found when I learned they wanted something bigger and pulled me into a new bigger world. I didn't need a novel writing month event to create more than 50k. I didn't care, I wanted them to find their loves and pain, victory and lessons learned. They helped me explore viewpoints outside myself (and throw away some hateful things I harbored about trans women and prostitution from my upbringing).

I bled for sure, but only because I needed to develop the callouses on my fingertips and to lick the blood from my lips as I embraced my muse like a irresistible lover. I found myself in the character I birthed from stardust and an elder god's love of the universe. I learned that if I did this again it would be different, but that's okay. I can go back and read my old works with pride and kind words. I loved what helped me reach this far with a smile and something fun I wanted to read.

I found that if I took a month or a day to pound out a chapter, I was okay. I could sit back and know dealing a closet death and pain was fine, I had something to look forward to when the waters calmed and I was going to be okay again. My muse didn't need me to poke and prod, I could let them slumber with me while my flesh was aching and tears stained my face. I could smoke and drink with my characters and they would be happy to laugh at all the stupid and silly things we can think of. I don't need to suffer when the world is so cold and harsh. It is okay to embrace the warmth of a fire I created in myself.

[the-s1lly-corner]

Oooh idk if someone already asked for it but what about how TADC cast would react if they were under a mistletoe with their S/O

TADC cast x reader under the mistletoe!

i know i literally just said that i was going to post because i just came down from a little..... emotional high (negative) but i feel too guilty not answering stuff today so im probably going to answer this and a few more simply because im going to feel so guilty if i dont do anything today which is just going to make me feel worse than i already do so uhuhuhuhuh... jack stauber coming in clutch rn i know i usually answer stuff in the order of them being sent in but to do a silly compromise for my silly people pleaser mindset im going to knock out the ones that are easier for me sooooooo

CAINE:

oh you just know that hes the one who planted the mistletoe in the first place.... i mean as soon as he found out about the tradition, assuming he didnt already know.. i just know hes going to do whatever he can to get you under it. does he know that he can ask for a kiss? yes! but he wants to be festive and do some traditions and stuff! gives you the biggest "kiss" he can give you when you finally get stuck together under one... probably knocks you back a little bit from how enthusiastic he is...

POMNI:

very shy about it, i think she would give you a cheek kiss rather than a mouth kiss, especially if there are other people around. pomni doesnt strike me as the type to one to full on kiss their partner when theres an audience, so i hope you can understand her aversion! its not that she doesnt want to kiss you, shes just shy about the eyes watching the two of you... though, she would be more inclined to do it if it were just the two of you in the area!

RAGATHA:

honestly she looks like she would love christmas. i dont know why and i cant explain why. so i think she would love most of the activities and traditions surrounding it. and yes, this includes the mistletoe! i think for most of these, the mistletoe would be hung up by caine to really sell the festive mood.... and ragatha likely wouldnt have planned this, but inevitably you guys get under it at the same time. not as against PDA as some of the others, i think, so i think she would give you a very gentle kiss on your lips. very bashful if you beat her to it, though. kind of folds her hands together and digs her foot into the ground... you know the stance, hopefully.. kind of swaying a little while her face is burning up

JAX:

probably makes a big stink of it, whether trying to deny the kiss or to lean into it. i can honestly see both... does NOT let you be the one to initiate the kiss, since while he hates PDA, i think he hates it more when hes on the receiving end. say it all the time, its a vulnerability thing for him. he doesnt like other people seeing him flustered... now will a simple kiss from you make him pink in the face? probably not, but he would rather not risk it! plus, he wants to take this as a moment to tease you! will not let you live it down if you even get the slightest bit embarrassed from whatever hes going to do under that mistletoe

KINGER:

think i mentioned this in the kiss cam request, but kinger is not against giving you kisses when theres an audience. like he wont full on make out with you in front of others (ignoring the fact that he doesnt have a mouth, much less a functional one) but i am a firm believer that he and other characters with a nontraditional mouth just nuzzle into your face in place of kisses... hmm... probably make a big show of asking if he can go ahead, afterall hes royalty! whats a royal without chivalry! very gently presses where his mouth would be against your lips for a few seconds before walking you guys to where ever you were planning to go before someone stopped you and alerted you both of the mistletoe above. generally very sweet and dorky, i think

ZOOBLE:

does not like giving or receiving affection in public, the furthest they are willing to go is hand holding and simple name calling.... if no one is around when you guys are under the mistletoe, theyre more than willing to let you have your kiss, but if theres even one person around, theyre going to show a little aversion to it... on one hand i want to say that they might suck it up and lean into their "its whatever" attitude, but i dont feel... like that suits them, and on top of that whats the point if someone is clearly not having fun/not comfortable, you know? so theyre more likely to gently reject you... though i like to think that they make up for it by giving you a kiss behind closed doors!

GANGLE:

freezes like a deer in headlights when someone loudly announces that you guys stopped together under a mistletoe, the eyes of her mask going wide and her mouth just going straight... if she has her comedy mask, she might be a little less.. frozen, but not by much... but with her tragedy mask? nope, shes totally still and quiet, poor thing.... you almost feel bad, so really theres a chance you just take her away from the scene rather than kissing her.... doesnt like being put on the spot for things like that, especially if the person alerting you guys of the mistletoe is making a huge scene (either caine or jax... though with caine it would be more so lighthearted fun with no malice, whereas jax is just being jax)

[thefandomenchantress]

A Very Long Morgie Analysis

Warning: As the title says, this is a very, very long post. You should fear that keep reading button. /j

So I watched Descendants 4 with pretty low expectations a week or so ago, since I heard a lot of people criticizing the film. I’d watched the first three Descendants and thought they were a very fun kind of over the top, and figured that this one would be similarly kinda cheesy but hopefully in a charming way.

The first time I watched the film, I liked it. While I thought the beginning of the movie’s plot dragged slightly only for a far too hasty conclusion, I figured that with a supposed part 2 coming, things could possibly wrap up nicely in the future. That was my mindset throughout almost the entire film…Until suddenly Morgie got a scene.

This is a post mainly for people who’ve seen the film, but just in case I’ll explain the scene. Morgie, son of Morgana, is assigned as look-out during the villain heist. He then makes an amusing comment about what the signal should be if he sees Merlin, and no one answers him. We leave his character for a bit before coming back when Merlin returns to his office, about to catch the villains. Morgie does his signal as planned, and when Merlin looks at him, he hides behind a branch as though that’s going to do literally anything to hide him.

By the end of his little dose of screen time, I was quite amused and wondered how I hadn’t really noticed him earlier in the film, since his character archetype seemed right up my alley. After a day or two, my curiosity peaked and I decided to watch the movie again, but this time pay lots of attention to him whenever he was in a scene. I both wanted to appreciate his character more as well as reevaluate the movie after my first viewing, wanting to decide if it really was ‘bad’ like people said it was (spoiler alert: I had fun watching it the second time as well, while it is flawed it’s a fun movie and I like it and I will die on this hill—).

On my second watch, I realized that Morgie is surprisingly pretty well-characterized for a character that doesn’t have too many speaking lines. And I really wanted to hyper-analyze his character and all that, so now I’m making a very long post about it. I really just need to ramble for a bit because for some reason I have become deeply fixated on this character and NEED to blurt out all my thoughts.

So without further ado, how about we watch this movie for a third time and point out every single little thing about Morgie and appreciate it? Let's go!

(There's also my theory about how the new and old timelines work below all the movie analysis, in case anyone just wants to see that).

YAY HE SAID HIS FIRST LINE WOOOO!!! After a whole 48 minutes, the best character has finally entered the movie /j.

Now on to actual thoughts and stuff. Morgie's first ever words in this film are, "Son of morgana", which, from an out-of-universe perspective, can be easily explained by the movie needing us to know who he is, since he's one of the two completely unheard-of characters in the villain gang.

But Uliana, notably, only has her relation to Ursula mentioned after her verse. So the "son of morgana" line didn't have to be the first thing to ever be said by him, but it is.

That could just be because it flows best from a music standpoint, but in-universe, I think it could possibly represent how Morgie got into the villain gang in the first place.

You see, while I was trying to dig up all the Morgie information available before I made this post, I found these blurbs:

(From an official Descendents book, 98% sure it's called "Descendants: The World Of Auradon: Royals And Villains").

Notably, Morgie's entry says he isn't the most well-liked in the group. But in that case...How is he still in the group??? The villain gang don't exactly seem like the types to keep someone around just to be nice. So here's what I think the reason is.

Uliana wants to be the most feared person at the school. She wants to surpass even her sister when it comes to being mean and scary. And that means that her gang has to be mean and scary. And when she hears that the literal son of Morgana--Morgana, in this universe, seems to be a very powerful sorceress who almost took over the world--is attending her school, she knows that having him on her side will definitely give her more of a powerful, evil image. Afterall, if the son of one of the most powerful villains was willing to follow her, people would think that she must be very mean and scary.

Of course, she needs people to know that Morgie is the son of Morgana, so I wouldn't be surprised if she asked him to mention it the first chance he got, and he listened to her.

This was all a very long way of saying that Morgie says this line first possibly because Uliana told him to, since having evil, scary people on her side makes her look better. And it's also interesting that the first words he ever speaks are about his relation to someone else, not his own character, unlike all the others in his group.

But we're not done with this shot yet! I also want to add that the Son of Morgana's name is Morgie, which means that Morgana has joined the long, long line of Descendents villains who basically just name their children after themselves, (probably because they view them as a sort of mini-me). I wouldn't be surprised if his name was actually Morgan, though, and Morgie's just a nickname.

Also, something I noticed is that, if you look at the book-pictures above again, Morgie's paragraph is in past tense, while Morgana's is in present tense. Morgie's being in the past tense makes sense, since we know that in the future, the villain gang in Rise of Red no longer exists, all of them being their own solo acts. But Morgana's paragraph being in present tense means that she is still alive, powerful, and presumably still wants to take over the world. So I guess that means she's technically a candidate for antagonist in the next movie. But I'll get back to speculation about that sort of thing later.

Now we can finally talk about the next moment, haha.

(Morgie is the one singing the line here)

The first time I watched this I didn't catch that he called Uliana hot but--Yeah, he did. Which means that he either thinks she's so hot he must declare it to random strangers, or Uliana specifically asked him to say that she's hot. Either way it's kind of hilarious.

I am genuinely unsure as to whether they are trying to get us to ship Morgie and Uliana because:

-On one hand, we've got Morgie not being well-liked, and him "desperately wanting Uliana to like and respect him". Which seems to imply that, at least to some extent, she does not like or respect him, or at least not as much as Morgie wants her to.

-But on the other hand, we've got Morgie calling her hot, staring at her longingly, and Uliana calling him 'honey' later in the movie. Disney what do you want from us--

Personally, after reading that Morgana is cruel person who doesn't care about innocent people and who's first priority is world domination, I guessed that Morgie probably didn't have the most loving upbringing. It could've possibly been something like Red's, where his mother could be 'kind', but only if he did what she said and helped her take over the world and all that. In this scenario, Morgie tries his best to follow her lead, but most of the time still doesn't do well enough to satisfy her and fails to get much validation or love from her. When he goes off to school, he tries to get validation and love and respect and all that from Uliana instead.

But that interpretation sort of implies he sees her as a stand-in mother figure, which makes me think that no, them being a couple doesn't feel quite right.

But it's not like that interpretation is canon or anything, it's just something I came up with. So it can't prove that he has no romantic interest in Uliana and that's why he's so desperate to please her. But I did want to share my thoughts on that matter, so here you go. :)

Aside from Morgie getting hit by Uliana's tentacle and falling over being really funny, there is something else interesting that this moment made me notice.

I read somewhere that a character being lower in frame than another, or lower from a high angle in general, can symbolize them being less powerful. And I noticed that there are a few scenes where Morgie does crouch or appear at a lower angle than the other villain gang members, which reinforces the idea that he isn't the most powerful/well-liked member and is at the bottom of the totem pole in the group.

I don't know if I'm reading into that too much, and I don't know a lot about film-making techniques so maybe that's not completely accurate, but I thought that was interesting.

There's nothing too important about this one, I just think that all the villains frowning or glaring while Morgie goes :D is really funny. He looks so head-empty in this moment.

Morgie uses 80's slang confirmed!!

Also, Uliana lets Morgie call her Uli. Considering the fact that Uliana says her full name (Uliana) is what will strike fear into people's hearts, her letting Morgie use a semi-cute nickname is fun. It proves they're at least a little close, since she didn't sock him in the face for calling her that, especially in public. She cares a lot about her image, so her not minding definitely seems to imply she cares for him at least a little bit.

I don't have much to say about this one, I just think it's amusing.

Though the fact that so much of Morgie's dialogue can go unheard/unnoticed without captions on or on a first viewing is interesting. I couldn't actually hear the 'wicked' line, I'm just trusting the captions. And both this line and the last he says while not on-screen, which seems to put the other's reactions in more of a spotlight than what he's saying.

I suppose this is part of the reason I found Morgie harder to notice and keep track of when I wasn't putting my undivided attention on him. Throughout a good chunk of the movie, he's treated as nothing more than Uliana's lackey. Him not having too much to do besides follow her is true to his character, though. His entire role is all based around doing anything to gain her affection. He cares about her more than anything, and sometimes that leads to him not being a character of his own. Which is pretty cool, if done purposefully.

Hm, I've noticed that Morgie's main ship in this fandom seems to be Hook and him, and is this one moment the reason for that? I've heard people say they have chemistry on-screen, but after watching the movie a few times, they only have a few close moments from what I can see. This and introducing Uliana are probably where their friendship is most prominent. Hook and Morgie definitely seem the most dedicated to Uliana, so they are similar in that regard. And the ship is cool, don't get me wrong. I suppose I just wonder if there's some sort of logic behind it, or if it was more of a "ah yes two conventionally attractive men it's shipping time" situation, haha.

This is an interesting frame, because Uliana is suffering as she's turned into a...uh...flamingo-squid-human hybrid? And you'd think that Morgie, since he cares so much about her, would be the most distressed. Instead, in this moment he seems to be smiling (not sure if you can tell as much in this screenshot, though). This could mean a few things:

As stated in the Descendents book, Morgie is rather dense and still hasn't realized that Uliana isn't fooling around anymore and is in genuine distress.

He is happy Uliana is in distress because that means he gets to help her, and she will feel grateful for that and like him more in result.

As shown later in the movie, he likes animals enough to even learn how to mimic the sounds they make, so he's just happy that two of his favorite things are being combined, haha.

Some sort of theory about him secretly not being super loyal to her, though there's not much of a case you could make for that other than this moment in particular, as far as I'm aware.

I'm not sure which one I believe, though I think I'm probably leaning towards the first one, even though possibility 2 would be quite interesting. After all, he looks very visibly worried when she falls into the fountain later, so him just not realizing at first probably lines up the most.

Not too much to say about these two moments, besides the fact that they once again showcase how desperate Morgie is to please Uliana. First by him being the first person to try to help her (but he fails and falls over, which he seems to do a lot). And second by him being the first to sprint out of the courtyard after her. Though it seems Hook caught up and got him to stay with the others to cut off Bridget and Ella at the other side, since we don't see him running behind Uliana anymore in the next shot, and then we see him standing beside Hades after we move to the fountain scene, implying he went the way Hades did instead.

(Side note, I think that Morgie's the one who shouts 'Uli!' but the captions just say student so maybe not, I can't tell).

Okay, so, the captions claim that Hook says this line, but not only can we see that Hook has his mouth shut as he pushes branches out of the way, not speaking, the voice also sounds way more like Morgie to me. Originally, I was going to use the nickname Uli as evidence that it was Morgie, but then I remembered Hook also calls her Uli earlier in the movie. So I guess I can't prove anything, but I'm 99% sure this was a mistake on the caption-er people's part.

To get on with the actual scene, Morgie compliments Uliana in an attempt to comfort and please her, though it doesn't seem to work like he'd hoped it would. Other than the last scene of the movie, this is probably the only scene that remotely shows that maybe she doesn't like him as much as some of the others, like the book claims. But more on that later.

I had a hard time getting a good frame of it, but I wanted to point out that Morgie kinda froggy-hops on the first two stones in this scene, before jumping across them normally. Whether he stopped because he realized the others weren't doing it or because he simply remembered that he is Not A Frog, I found it to be a fun detail and wanted to point it out.

Pfft, he's so eager to participate, his worryingly excited vocal delivery never gets old to me here. You could also argue that this is another lower-in-the-frame moment, since he sort of crouches and then rises up here.

It's noteworthy that Morgie is the only one of Uliana's gang to not come up with his own idea for a way to get revenge on Bridget. Which at first glance seems like a strange choice, since all the members getting individual lines is a chance to characterize each one a little bit more. And that's especially valuable with a character like Morgie, since most kids probably don't know a lot about Arthurian legend and therefore Morgana. And Morgie's not even actually her, he's her son. Meaning in his limited screentime, they really need to put the effort in to make his general personality clear.

But the fact that Morgie just copies someone else's answer does characterize him. Like I said earlier, at least to me, Morgie seems a lot more eager to participate in the conversation than to come up with ways to punish Bridget for what she totally definitely did. In fact, he begins to climb on top of the rock-thingy to jump off it and excitedly repeat Hades' idea before Hades even has a chance to finish his thought (he's still on "we could"), meaning Morgie was probably going to excitedly parrot whatever Hades said no matter what it was (or maybe that just happened because the actor didn't have enough time to climb up, jump, and say the line if he waited until Hades finished speaking but shhhhhh).

This would imply that Morgie doesn't really care as much about evilly getting revenge and whatnot as much as he cares about getting to be included in the conversation and following what the others are doing. This may be getting into more headcanon-y territory, but Morgie seems to crave the love and companionship of his friends, and I think this scene sort of demonstrates his want to do what they deem as good and acceptable and what will make them happy rather than come up with anything on his own.

I suppose that's one thing that makes his character morally grey to some extent. Sure, he doesn't seem to take as much direct joy/satisfaction in torturing Bridget, but he still cares far more about his friends' approval than her well-being. As long as his friends are happy and want to keep him around, Bridget and anyone else's happiness doesn't matter.

I have no idea why they put in a random shot of Morgie jumping in the middle of the song, but it's really amusing to me so I'm happy they did. I just needed to mention this really quick, I find the hard cut to Morgie dramatically jumping off something way too humorous not to.

Off-topic, but since it's sort of implied Morgie likes animals at the end of the movie, I like to think he feeds this guy sometimes, and when asked why he'll say sadly, "No one comes here besides us anymore, so he hasn't been able to eat any innocent people in a long time :(" like it's this terrible, tragic backstory. Idk I just think it'd be funny. Anyway, back to your regularly scheduled programming.

Ah yes, the scene I keep mentioning. The one that made me go, "woah, he's funny and has a discernable personality :0". The one where he asks what the signal should be and all that.

This scene finally shows us what the Descendents book from earlier kept claiming, that he wasn't the most well-liked among their evil clique. When Morgie talks, Uliana rolls her eyes in exasperation and walks off, not answering his questions. And the others follow suit, ignoring him.

For most of the film, Morgie seems to be on even ground with the other members, and at first, I thought maybe that wasn't on purpose and they just wanted to shove this in at the end, like how most of the ending was rushed. But now I'm thinking that maybe the reason Morgie isn't as well-liked is being shown throughout the scene, revealing why it's only more obvious now.

You see, Morgie's easily excitable personality fits in when Uliana and the gang are all just messing around, like how they were laughing and making jokes at someone else's expense earlier in the movie. Morgie just has to cackle evilly behind Uliana and be supportive. But when they try to do more 'serious' evil things, like this heist, his attitude doesn't translate quite as well.

Uliana wants to be taken seriously as the threat, and I assume the other villain gang members do as well. They want to be evil and scary and tough and all that. But Morgie doesn't really have a more serious, threatening mode. Well, he does, like when he's trying to be threatening during his introduction. But when there's no bystanders to impress, only his friends, the real Morgie isn't the serious type. He's still energetic and excitable, even in situations such as these. And the others find this a bit grating, since they want to be real villains. They don't want all of this to be childish or a game, they want to be taken seriously as villains. They want to be real villains. And Morgie's demeanor isn't as cut out for that sort of environment. Or at least his natural demeanor isn't, and he has trouble reading when they want him to be more serious.

Side-note: I swear I love every line this character delivers, something about the way he talks makes my ears happy. So I just wanted to point that out really quick.

"Ah yes, this extremely small branch will guarantee that no one will see me! >:D" I find this very funny. I want to say this isn't very smart of him, but I mean it works and Merlin doesn't see him so you can't argue with results--

Anyways, Morgie impersonates a few animals and hides behind a small tree branch. I thought about screenshotting all the animal noises but they're pretty straight-forward and for this you just need to acknowledge that they happened, so I didn't.

Morgie is the son of Morgana, and presumably has the capacity to be an extremely powerful magic-user like her. Which means there are a lot of cool magic things he could be doing. So I think the fact that we are directly shown that shape-shifting and mimicry are the skills he focuses his energy on the most, is important. Well, I suppose it's possible he isn't using magic to mimic the animals, but I've always assumed he is. And even if he isn't, the fact that even in scenes where he's completely alone he's still mimicking something else is rather telling.

...

...Oh, wow, we finished analyzing the actual movie! Yay! Time for one last thing, then!

Apparently, there was a deleted after-credits scene where Morgie finds the sorcerer's book. Unfortunately, I couldn't locate the original post, which supposedly came from Morgie's actor. It's not that I doubt it's real, I don't know how someone could fake this photo, but I would've liked to see it and know what he said about it.

(Warning, a lot of this gets even less objective than it already was, and most of it is just me theorizing with varying degrees of evidence to back my statements).

So what implications does this photo have? Well, it confirms my suspicions that Morgie being forced to stay behind wasn't for nothing and was setting up something else. I heard there was a lot of cut content in Rise of Red, and the fact they thought the 'Morgie barks like a dog scene' was important enough to keep over other things seemed telling.

If there was a scene dedicated to him finding the book, then him finding it must somehow be important. But in that case, I'm guessing we'd have to assume that Morgie can open the book. After all, if he can't open it, what's the point of him finding it? And it sort of ruins the original timeline, too.

If Morgie can't open the book, then that means all of the villain gang couldn't open it. And in that case, how would they prank Bridgette in the original timeline? They couldn't, because none of them would be able to read the recipe and give the cupcake to Bridgette.

However, if Morgie can open the book, then things make more sense. I wasn't sure if I was going to share my whole theory here, but so far I haven't seen anyone have the exact same idea as me (though I haven't read every Morgie post out there, so it's possible), so why not share it?

What if the thing that changes the timeline isn't that the villains were able to get the book without getting caught by Merlin, it's that the villain gang knew Morgie could open the book?

Let me explain.

Let's start with the fact that I don't think we often acknowledge, at least in my experience, how random of a choice putting Morgie in this movie was. They could've chosen any classic Disney villain to be in this movie, yet they chose Morgana. A character who has never even shown up in any Disney project, besides a live-action film and Sofia the First. They could've chosen to round out the pirate trio from the second movie and added in Gaston, or chosen one of the core four's parents from the first movie, or picked literally any famous character from any Disney movie ever. And yet, they decided to go with not just Morgana, but the son of Morgana.

And personally, I think that if Morgie really was just a throwaway character, they probably wouldn't have gone through the effort of making a whole new character instead of just choosing an already established one, like with Hook, Maleficent, and Hades. There has to be a reason they did this, right? Anything Morgie did in this movie could've been accomplished by anyone, since his only large contribution to the plot was being a look-out and failing.

And there are two things I realized. One, that being the child of a villain basically gives you automatic redemption arc privileges in this franchise. The core four, the pirate trio, and Red in this movie are all proven to be good deep down in the end, and we're supposed to see them as heroes. And for some reason, they decided their new character couldn't just be Morgana, it had to be the son of Morgana.

My guess is that they want to be able to push the "Oh their parents taught them that being evil is right but deep down they're a good person" angle they did in all the other movies with the Descendents. Especially since it would parallel Red, who's basically the main character of these movies, even if Chloe is at a close second.

The second thing I noticed is that even if you read just the first paragraph of Morgana Le Fay's Wikipedia page, it says that a significant aspect of her character is her unpredictability when it comes to being good or evil. She has the potential for both, and since they seem to have decided to just make Morgana evil in this universe, I'm guessing that trait is being handed down to Morgie.

They needed a morally ambiguous villain who could open the book in order for the timeline to work properly, and choosing a villain we know is 'evil' thanks to their movie, wouldn't allow that. So obscure villain's son it is.

Alright, so if we assume my logic makes sense and isn't just incoherent rambling, Morgie can open the book. How does this tie into the way Chloe and red changed the timeline? Here's what I've come up with:

In the new timeline, Red and Chloe steal the book for the villains and the villains take it, opening it in front of them just to brag and getting frozen. Red and Chloe take the book and, assuming that Uliana and her friends can't go to the dance, leave the book behind off-screen. In the deleted scene I think they left it...Is that their room? I genuinely can't tell, but Morgie finds it. Possibly via following them after seeing them leave the building, since we know that the trip from Red's room to Merlin's office is in direct eyeline of the tree.

But even though Morgie found the book, the prank isn't enacted in this timeline. If Morgie can open the book, why is that? After all, he could just do the prank for Uliana, right? Well, here's what i think happened:

Uliana and the gang don't know that the book is enchanted so that non-good people are unable to open it. That's why they try to open it without a second thought. Which means there are two possibilities going forward:

Morgie did indeed follow Red and Chloe back to their room so he could get the book back for Uliana, and overheard their conversation about how the book proves Red is a good person and won't turn out like her Mom, etcetera. When he finds it, he's aware of what could happen when he opens it, unlike his friends.

Morgie doesn't know about the enchantment on the book when he finds it, because he didn't follow them or couldn't hear them through the door or something else.

Both options, for my theory, garner the same outcome, it's just that things take slightly longer to happen.

If we go with the second option, Morgie is unaware that opening the book with no side effects means anything and after he opens it, he decides to show Uliana and the others the book whenever Merlin gets the spell off of them and all that. But when they do meet up, Morgie asks how they got caught before he shows them anything. And Uliana's answer would be something along the lines of, "That stupid book was enchanted and froze us in place! Only some goody-two-shoes could open it without that happening" (she would know because she heard Chloe's explanation of the spell when her and Red were talking). And Morgie takes a moment to process that...Uh oh, wait, that didn't happen to him. Why didn't that happen to him? Cue Morgie having an identity crisis as he realizes that the book doesn't seem to think he's a bad person, even though that's what he's supposed to be. He's the son of Morgana. He's part of a group that knows their actions are bad and they don't care. His entire motivations are around getting his mother, Uliana, and whoever else to give him validation for being good at being a villain.

But according to this book, he's not one.

Morgie tries to play it off and decides not to show them the book. Uliana and the gang are all about being evil, and they are all he has. What if this was the last straw and they kicked him out of the group because they think he's not evil enough? He'd have no one left.

He's decided that he can't tell them about the book, but what if they figure out that he has it? As long as he has the book, it's a liability. So, he does the only thing he can think of.

Burn it to a crisp.

And with the book destroyed, the prank can't happen. The recipe that can turn Bridget into a monster is no more.

If we went back to those first two options and say Morgie knew about the spell when he opened the book, then everything is the same except the book gets destroyed sooner, the night Morgie's friends are still frozen and won't be able to catch him actively sabotaging their revenge plans.

So that's the new red-and-Chloe timeline. What about the old timeline? Well, in that timeline, let's say Uliana doesn't feel the need to show off and open the book in front of Red and Chloe, so they escape Merlin's office unharmed. That means they get to meet up with Morgie, and whenever they open it, they're around to see that oh, Morgie isn't frozen, that's weird.

And they can't know for sure why, since they don't know what the enchantment is or what its qualifications are, but they do know that Morgie can read the recipe and do the revenge plan, so Morgie is able to read the instructions and they're able to prank Bridgette.

And ta-da! That's how the timeline got changed! At least in my mind, there are probably tons of other possibilities, but this is the one that made the most sense in my head.

And with that, the post is finally finished! I'd love to hear anyone's thoughts or ideas on this! Despite this being an analysis, a lot of it is dictated, at least slightly, by my own opinions. Morgie is the centerpiece of the timeline changes for a reason, haha. With such a large fanbase compared to some other pieces of media I like, I'd love to hear what the masses have come up with and like or disagree about in this post.

Thank you so much for reading if you've made it this far! I can only imagine that if you have read all this, you're some sort of Descendents or Morgie super-fan, and for that you have my respect.