#i can't articulate. just. absolutely perfect.

[silversnowblossom]

I think what really gets me about kaveh's character story 5 is that a lot of people seem to think that alhaitham is cold. but like, the fallout of their friendship happened because he cared too much. because alhaitham was worried about kaveh and the self-destructive pursuit of his ideals/spiral he was trapped in thanks to his guilt, realized that this idealism would cause problems for kaveh in the future, and tried to warn him about it. and kaveh didn't take it well.

and yeah, he was probably too blunt about it as usual, but i'm sure kaveh telling him that he regretted ever being friends with him (considering they were best friends - also, that confirmation from mhy that is canon is great - and kaveh is likely alhaitham's first friend) must've deeply hurt alhaitham. because yeah, he's intelligent and rational and doesn't outwardly emote much when he's not arguing with kaveh, but he's still human. he still has feelings. and it's kaveh that crossed the line and destroyed what they had between them (which i'm sure he'd regretted later, something that probably only added to the immense guilt plageuing him). we all knew that whatever happened between them had to have been explosive, given the hints from alhaitham's character stories, but ouch.

honestly, poor alhaitham. and poor kaveh. </3

just. mhy really went all-in on the angst with kaveh's character stories, and it's delicious. absolutely adore what they did here

[kingdomoftyto]

Finished IwtV season 2 tonight and I need,, I just need a freaking minute to Recover from All of That™️ before I can bring myself to venture into the tag to forage for memes

[foxy-eva]

Spencer Reid x Reader Headcanons - Mutual Pining

(requested by anon and @khyleereads for my New Year's Celebration)

The first time Spencer lays eyes on you he is absolutely blown away by your beauty. With every day passing it becomes harder for him to form coherent sentences around you.

Whenever you're sitting close to him or casually touch his arm his cheeks take on a lovely rosy shade and his heart almost jumps out of his chest.

He pays attention whenever you mention details from your personal life. Even though the team agreed to not profile each other he can't help it when it comes to you.

More than anything in the world he loves to see your smile. Whenever he manages to make you laugh he couldn't be happier himself.

He notices instantly when you're having a bad day. Even though he has a hard time articulating his feelings he deeply cares about you and always tries to show you that he is there for you.

He makes it a habit to bring you coffee and little treats on long work days. Sometimes he even takes a couple of your files to help you with your paperwork.

The whole team notices long before the two of you that you are perfect for each other.

The issue is that even though Spencer is nice to you, you notice quickly that he barely ever talks to you and often looks away when you try to make eye contact. It takes you a long time to realize that the usually so eloquent doctor seems to be shy around you.

Even when you very obviously start flirting with him he still doesn't get the hint. Somehow he convinces himself that you're just being friendly.

The truth is that Spencer is terrified of ruining your friendship if he confesses his feelings. It becomes clear that you'd have to be the one to take the first step.

When you finally get a moment with him alone and take your chance to kiss him, it takes him almost too long to reciprocate the kiss because he is so shocked. But when he finally does, your kiss turns into the best thing you have ever experienced.

Masterlist

Please like, reblog and leave a comment! I need your lovely words to stay motivated to write more stories.

Taglist: @nomajdetective @reidsbookclub @gspenc @samuel-de-champagne-problems @matthew-gray-gubler-lover @malindacath @reidselle @alexxavicry @frickin-bats @spencersprettyslut @sebs-oxygen @happymangospot @cynbx @melifluorei-d @hotchandspencearedilfs @emiliaserpe @thenerdthatwrites @velvetthunder93 @saturnstringz @missabsey @guacam011y @hugyourlungs @reiderwriter @enamoradax @hales-17 @cham9ions @loaksulluyswife @ecneremili @xserenax-13 @grumpyy-bearr @luredwithpretzels @castiels-majestic-wings @super-nerd22 @pleasantwitchgarden @yeonalie @r-3dlips @evvy96 @torigorie @khyleereads

[hymn-to-mercury]

✨🪐Astrology observations🪐✨

These observations are all based off my own personal experience and are mostly generic - don't take it to heart if you disagree <3

🪐 No one seems to fully understand how Aquarius Moons work, including Aquarius Moons themselves.

🪐 I love how heavy Mars influence shows up in people's physical appearance! I’ve always noticed that people with a lot of mars dominance in their chart have a big forehead and/or a widows peak, as well as rosy cheeks or a naturally reddish/pinkish undertone to their skin.

🪐 Undeveloped Virgo and Sagittarius placements absolutely do not give a fuck about your feelings. They can be extremely self centred I've noticed to almost a dangerous detriment.

🪐 A lot of people give Scorpio women the Mean Girl rep, but honestly I think that title should be lent to Virgo women too 😭 They tend to have this hangup about perfection, and I think when undeveloped it shows more as an aversion to anything 'weird' or against the status quo.

🪐 Cardinal Mars signs (that's Aries, Cancer, Libra, Capricorn) reallyyyyy can't hide their dislike for things 😅 people, food, celebrities, whatever. If they don't announce it verbally then you can at least tell by their face lmao.

(I once had to put on my ~emergency socks~ when I was wearing heels on a night out, and every time someone came up to me to tell me how nice my outfit looked I would say thanks and then just not stop yapping about how the socks were not originally apart of the outfit 😭 I couldn't let people think I approved of socks and sandals alksjdgfsjdh)

🪐 Scorpio placements can dish it but can't take it. Cancer placements will sneakily dish it under the guise of a joke and then start crying if you try to dish it back.

🪐 People with Leo Moon tend to 'perform' their activism a lot. That's not to say that they don't practice what they preach, but I think when they do speak up their image has something to do with it

🪐 If you were born under a Mercury Retrograde it might feel like you were destined to be misunderstood no matter how well articulated you are 🙃 I don't think it's a problem with yourself as much as it is with the people you encounter through your life though. Your biggest 'ops' might be people who are very particular and specific about word choice - think Gemini and Virgo Placements (if you are a Gemini/Virgo yourself, this may manifest for you as harbouring some self-hatred or significant self-consciousness).

🪐 Pisces want very badly to be carefree, but a lot of the time they severely struggle getting over their need for outside validation. Being carefree is also a trait they might find attractive in other people.

[maxwell-grant]

The Penguin: Episode 8 "Great or Little Thing" Series Finale Breakdown

So first and foremost I need to give a shout-out to everyone who's been following this with me and helped me week after week process and articulate this show, this brilliant Penguin Braintrust without which I would be incredibly lost on how to even begin breaking this thing down this way: @davidmann95, @wil4x, @book--wyrm and my friend Lucas who is not on Tumblr.

And so we're here at last, in the end of the show. This took forever. I need a goddamn break. This isn't enough and will never be enough but it'll have to do. So let's get to the episode that has had the world joining hands in the unanimous urge to see the absolute shit kicked out of Oswald, and has made the character at last earn this:

(Episode 1) (Episode 2) (Episode 3) (Episode 4) (Episode 5) (Episode 6) (Episode 7)

So who would have guessed that cartoon dirtbag Rex Calabrese was still gonna turn out to be less of a cartoon dirtbag than Oz the moment we stop seeing him through Oz's eyes. Still a terrible person by every metric, but terrible in the same way a lot of Sopranos characters are terrible: this is, at the end of the day, a job, and you can talk to them, you can sit at a table to get down to business with them, and you probably know people in your life like them, and maybe you can even count of them to get real and even help you when the chips are down, even if it doesn't mitigate everything else that they are or do. At the very end, he was neither the benevolent god-king that Oz saw him as, nor was he the absurd dirtbag gangster we had him pegged as - there was never anything exceptional about Rex Calabrese, he's just a real criminal. Maybe the realest in the show.

I said in the last post that Francis burned with hate at everyone in the world except the person who most ruined her life and haha WOW was I wrong, because it turns she's known the entire goddamn time, and quite possibly no one has ever hated him more than Francis.

Most people in the show who hate Oz do so because he's a destructive bastard who craps on their lives directly, or because he's a lying sneaky fuck who does nothing while their lives are ruined, and Francis has had to deal with both longer than anyone else. I can't possibly count every single way this wildly recontextualizes every single interaction, every moment, everything that Francis has shown us and done since the first episode, because I'd have to recap EVERY scene and line of dialogue she has and we still have so much else to get through.

Why was Francis was so effectively able to withhold affection and hold his feet to the fire and give him that bottomless pit of yearning in his stomach that's driven him to move mountains in pursuit of it? Because Francis wouldn't have loved him even if he gave her the entire world at age 12. She never had any affection or love left for him. Oz was always chasing nothing.

And all along it was Rex who shaped the entire course of Oswald's life, as well as prefiguring his dynamic with Victor, with a single conversation. Oswald spend his childhood wanting for Rex Calabrese to notice and like him and be his friend, and he has no idea how much Rex actually affected his life.

That fateful night at Monroe's was never the feel-good story about his Ma summoning the willpower to live by dancing away the grief, and it was never even just the night of the eternal promise that Oz thinks back to, it was a fucking trap to kill Oz. Nothing he has in his life is real, nothing he says is true, he has never not lived in complete total delusion.

The sheer disgust in Deirdre O'Connell's face at the "I do too". How much of her personality we completely understand was born from this absolute resentment she's nursed for decades towards Oz.

And this rotten little turd comes at her with a perfect speech that hits her every insecurity and bitterness and spite and situation and convinces her to give him another chance. The nature versus nurture thing again - Oswald was shaped by hardship, by decades of hard work and neglect, by the total absence of his mother's love while in turn being forced to live in stunted childhood dedicating himself to always taking care of her, and maybe what we're seeing here is heavily distorted by Francis's POV - or maybe he was always a little monster, because this guy talking to her is The Penguin, the same guy doing the same things in the same way, either way it doesn't matter. Again, born fucking ready.

So now we see our three major supporting characters - Sofia, Victor and Francis - all of them have shown that they had a chance to walk away from Oz, to not let him ruin their lives further. All of them could have left Oswald behind, and all of them should have left Oswald behind, but they had to come back and justify the choice to do so, they had to get satisfaction, it couldn't have been for nothing. Victor had his car and a girlfriend in a bus waiting for him, Sofia had a jet to take her to Italy, and Francis had Rex Calabrese ready and waiting to put him down without a word. All of them had a chance to get out of the show and never look back, but like Oz, they had to rectify and overcorrect for an insult.

Sofia can't walk away from Gotham without punishing Oz for turning her in, for killing Alberto and further lying to her, she can't accept that this man, this embodiment of Carmine's legacy and hold over her, is still out there unpunished getting away with what he's done. Victor can't walk away from Gotham knowing that his parents did everything right and still died for nothing, that every hurtful thing Oz said was right, he can't let "They don't give out awards for dying in the projects" be the last word in his and their lives. And Francis can't walk away from Oz, who killed her two sons and keeps lying about it, who ruined her life and now keeps promising he will take care of her and acting like everything will be fine, she can't let this pass even if she can't kill him either, and so she'll make him give her the world and die trying.

The tragedy of what happened is what hurt/broke them - the added insult of what Oz said or did is what they just can't live with. It can't be for nothing.

Goddamnit it, it was really just too telegraphed for it to not happen the way it did.

I fucking knew it the moment the episode started and we got the grungy boss orchestral take on the funny Penguin chords that we were in for some calamitous shit.

We see at first that, in spite of seemingly failing, Vic has graduated to the point he can give his own speeches, gain his own allies, run his own cons - he's not just Oz's proxy, but will manage to convince the others to become such as well, and he's coming at this from a place of complete sincere belief in everything that Oz says, all of the man of the people rhetoric he will so thoroughly pervert and then sell to the people actually responsible for everything he told Victor he was fighting against.

Zeke walks up to him nearly crying about how Sofia blew it all up and Vic instantly asks back where's Oz - not because he doesn't care about Crown Point, but he's already processed it and has already learned with Oz how to just barrel forward regardless, now it's time to get to work. Victor who so readily throws himself into rescuing Oz again and again. Victor who's lost everything - he doesn't have his family, he doesn't have Graciela, he doesn't have the other mobs backing him up, and right now he doesn't even have Crown Point anymore, all he has is Oz.

The man in red who reads the Law Gave him three weeks of life, Three little weeks in which to heal His soul of his soul's strife, And cleanse from every blot of blood The hand that held the knife - The Ballad of Reading Gaol

Sofia dressed in two thematically appropriate outfits - the red scarf echoing both the first outfit we see her in, back to covering her neck but in control of her own collar, and the outfit we see her the farthest back in time with at the start of Episode 4, and with her final crimson fur coat outfit accompanying her final greatest triumph and ultimate defeat in the show. Not only that, but in this episode she also gets to perform characteristically appropriate stylized torture - holding a family intervention and therapy session with mafioso torture tactics to try and wrench the truth out of her victimizer, enacting calculated sadistic yet righteous justice via psychological breakdown, and ultimately allowing the woman he victimized and wronged to take her killshot at him.

See, it's not just that Sofia Gigante is a Batman Villain, or that she's well passed the threshold of supervillain. Cristin Milioti doesn't play Sofia like she's a new character, which she basically is, and she isn't just playing a tortured gangster lady protagonist dipping into camp villain territory, which she also is - she plays Sofia Gigante like she's been a Batman Rogues headliner for decades now stepping into the spotlight once again, like she's the dark modern revamp of someone Adam West would have thought and she's just always been around showing up in stuff along with The Penguin, like she's only not fighting or teaming up with Two-Face in this because he's not here yet. It is crucially important that Sofia passes every standard of Batman Villain imaginable with flying colors, in part because it helps to reinforce that The Penguin is a monster all his own.

Even here, with as much power as she's ever possibly held over him, reduced him to a whimpering begging mess to be killed off in a second, she is so shocked at the sheer brazen selfishness and delusion and level of bullshit on display, that even now he won't break character and think about his actions and admit to what he's done not even to save his own mother from mutilation, that she just loses the script entirely. Her entire show of power collapses and she physically recoils from sheer disgust at just how low Oswald is, at just how much he lacks the ability to even suffer for what he's done. Realizing that there is simply not enough of a soul in this filthy beast to even torture, and that however much she hates Oswald for ruining her life, someone had a prior claim all along.

Eve - Sofia - Francis in the end united in, however much they may dislike each other, however different their circumstances may be, there is nothing they could possibly do to each other that would be worse than what Oswald has done to all of them, joined in silent agreement that their rage ultimately belongs in a bullet fired at Oz's head and that they deserve their kill shot at this man.

"I had enough to give, Oswald".

This really is gonna be the high point of Francis's life from this point on.

Aw man, I liked Sofia's scruffy dirtbag detective, I wanted him to stick around as one of the reocurring characters like the movie cops

Oh Victor, sweet kind Victor, you couldn't possibly ask for anything worse in the entire world.

Oz feebly already beginning to lie and spin his new version of the events, that Sofia stabbed him and fucked up with Ma, and here comes Victor with the reversal of their dynamic, seeing this guy who's been brought low by the oppressive force looming over his life that he must defeat (because all that Victor knows about Sofia at this point is that she used to be Oz's boss and is now out to kill them, that she is scary as hell, and regardless of whether or not she was the Hangman, she just bombed his fucking neighborhood) and reaching out to him with a speech about solidarity and dignity and self-worth and picking yourself up by your fucking bootstraps to save the day. And Oz responds by coaching him on how to be a better bullshitter. Because to Oz, he knows the playbook by heart, but Victor meant it all.

Victor rebuilds Oz from basically nothing by providing him with the validation that he so desperately always craved and never got, saying all the things he always wanted to hear, poised so they can finish this together, poised to give him not only the army he asked for, but a full-blown revolution, and he never once asks for anything in return. Just, goddamnit this isn't hurting any less.

"She, sh-she'll never look at me again, all right?....unless I get this done. Got a promise to keep." Maybe the one and only time his mask ever fully cracks. For a second. He rebuilds it right back up and gets to work, but it cracked. He knows what he's doing, up until the moment he doesn't. It's that simple.

A lot of what drives Oz is acceptance, and a lot of what drives him is his desire to be accepted in worlds that have been declared, by how they run themselves and by the people that inhabit these worlds, as worlds that he was never going to be included in. And one of those worlds is the hierarchy and the hoi polloi of the political realm and the power within the political realm because he understands that all politics are corrupt essentially, and the damage that he could do then in being part of a political infrastructure of Gotham interests him. I thought it would be nice if, in that time jump, he had been invited to maybe a gala or two, you know what I mean? It'd be awkward. He'd be slurping out of the fucking teacup, there'd be stains on the table, he wouldn't really fit in, but he’d fucking love being there. - Colin Farrell

Mirroring the scene in Episode 01 where he adjusts himself next to the car, scuffing himself up to look like the sleazy funnyman the Falcones keep around for kicks, now he's dressing up as much as he can and asking Victor for input, because he truly values what the kid thinks and, goddamnit.

"C'mahn, I don't bite", pfft yeah, not in this movie universe anyway. And to the same guy you did the nose-gushing-blood bit to, even.

Minutes inside of City Hall and he already parks his ass right on Bella Real's seat - not as any kind of intentional slight against her, it's just naturally where he goes to, even before the scene ends and we see his new plans start to come to fruition.

Guy who takes offense at Viti calling Sofia a psycho and then goes up to Councilman Hady talking about the unhinged loony bin broad who went "full psycho" that he's handing to him on a platter, pointedly calling her Falcone.

At first I thought it was funny that Sal Maroni was getting blamed here for Bliss and the underground lab, but then I remembered that he was actually the one who introduced Drops to Gotham and the whole epidemic that became, so if anything it is an extremely easy part of the story to sell, even without his body being down there and all.

"You're gonna have some trouble, Oz" - pointedly smiling and calling him Oz instead of Oswald as he had up to this point, because by that point he's already a crony and already willing to work with this guy handing him all these miracles.

"You wanna be welcome? You gotta look, clean" Yes Father Pal, I Shall Become A Capitalist Caricature

You can see in the walk around, in his look at Bella Real and the mayor's office high up above and the steps, how little Ozzie's gears turn once again and rebuild his life after losing the streets and everything that happened with Ma - This is the next nest, this is the next throne, this is next schmuck I gotta cozy up to, this is the next boss looking down on me that I gotta destroy, there's the reward waiting for me if I do. This is the one that matters, I did everything in the shit and now I'm gonna get me sum goddamn respeck, Feh Ma of course.

And before all of this we see Sofia's next move, showing the ways in which she is good at this, the ways in which she truly is something outside of the worldview of what these gangsters are used to, and why she is going to lose. "Because I can". She is good at commanding a room and promising rewards beyond the wildest dreams of these street crimelords because she can offer everything they want and lose nothing she cares about for it, she will hand them everything and dip because she can, and she is going to lose because she can lose. Because she still thinks there is an end in sight for her, she thinks she will get to walk away from this universe and go meet a happy ending at a cafe in Florence.

It's not just that Sofia was born into privilege and never really lived in Gotham and could just hop onto a plane out of here anytime, it's also that she has room in her life for introspection, self-awareness, consideration towards others, and all those things that come easier when you're "born full", and not when you're the starving hustler for whom leaving the city was never an option even if he had all the money in the world, the hungry animal who wants this, wants everything, harder than anyone has ever wanted anything. The guy who has no room for anything else in his brain other than a perpetual bullshit generator set to a 24/7 chorus of "I GOTTA WIIIIIIN"

Another element to her that I really love is, she's good at this. She knows she's good at this, she was supposed to take over the family. She may not know the ins and outs of the game as it currently stands, but she is good at this. Some of it is, I think that's the only world she knows, and some of it is there's something in there, that's always been there, and she believes it is rightfully hers. There's an element of, "I need to have made it worth it for something", and if that means power, then okay. - Cristin Milioti

There’s a level for both of them that they enjoy each other’s suffering, and that sort of leads to Sofia’s downfall. If she didn’t need to see Oz suffer she might have been free. And she really gets in her own way in that regard and largely because Oz is this crutch that she just cannot let go of. - Lauren LeFranc

And here we get to the end of season 1 of HBO's The Sofia Show, the bittersweet in hindsight but extremely cathartic torching of the set as a last hard-earned spiritual victory by our hard-done-by lady protagonist. All of her family is dead, the city is out for her blood, she gathered all the remaining criminals for One Last Job with everything on the line, and she is having a very fun time with her montage destroying her home and family name beyond recovery. She is going to finish her character arc, get to finally kill her former comedy sidekick turned mortal nemesis, and hop on a plane to The White Lotus resort straight away into greener (if only marginally less fucked up) genre territory away from this ugly nightmare city. Alas, this is not The Sofia Show, and it's time for her theme suite to catch up to her once again and tell us of how very badly this is all going to go for her.

And she can't even be that shocked, when the high of burning it all down goes away, when she sees that old Ozzie Cobb wriggled his way out of this jam regardless and is now coming at her with a speech, she can't even react to it. Deep down she knows how the rest of the night is going to go. She may not have expected Arkham outright, but she was braced for a loathsome fate.

It rules so much they give him a big fat fight the power speech with a bloody revolution montage, and we can only sit there aghast with Sofia at the sheer audacity of him to act like this, like a man of the people, thinking he truly has the right to be talking like this and to her of all people.

And now we see how Oz won the gang war, and the next domino to fall on the downfall of Gotham City, and the first effect of his own rise to power: like The Riddler, he has toppled the order of things and he has turned people into extensions of himself, Victor being the first and the one who gave him this revolution, of all the little mini Penguins out there devouring the social structure of Gotham crime forever. You kill the boss, you become the boss now. Everyone can bleed and everyone can be killed and everyone must be killed in the quest to the top, no handrails or codes, they wouldn't invite him and so he crashed. After he unified the criminal underdogs, Victor rallied the underdogs beneath the underdogs, and now the streets are a jungle where there will never be an end to the wars over who gets to be atop the food chain, because they are all fighting to see who gets to be the next Penguin.

For decades people have written Oswald Cobblepot as a creep and a sleaze and an incel who hurts/kills women for rejecting him, or who is chronically insecure about them and I can very confidently say nobody ever did anything half as horrible and half as truthful and half as meaningful as LeFranc did here. We see the other reason why it was so imperative to her that Oswald not be a misogynist, and it has nothing to do with just making him more likeable or sympathetic or honorable. We get in this episode the pay off to the thoughtline: okay, he's actually a gangster who respects women, he does not act like every other prestige drama gangster who ever lived, we are going to center women in this show and he will treat them with respect - now let's watch how he HORRIBLY screws them over in the name of this respectful gentleman persona he lives by, let's watch how he betrays them in the ways that matter most, how he even makes them wish they were dead without personally ever lifting a finger to harm them, let's do some grown-up feminist commentary in Batman for a change and highlight the ways in which men profit from belittling and oppressing and destroying women even when they're pointedly not misogynistic and even self-professed genuine allies to them.

And so it is that the only Falcone mobster who isn't misogynistic towards Sofia is the one who screws her the most horribly. He will murder every man he comes across, he will murder every man he could have been and every man who is even marginally better than him in any way, he will push all of his brothers out of the nest and not tolerate any other big shot in town bigger than him and not even the only man, the only person, in town who loves him will be spared. But he is a gentleman, so he leaves the women alive (well, except for Nadia Maroni, but she was a rival big shot and worse, his boss for a day or two, so she obviously had to go eventually).

I thought about his greatest fear, and it made a lot of sense to me that his greatest fear would be that love is transactional. That if he does not achieve a level of power and give Francis certain types of things that he’s promised her she might not love him. And that informs every relationship he has on the show It was always important to me, and this was always part of my initial pitch, that if Oz was to achieve a level of power—and that is something that was not up for discussion, that was my job that I was tasked with for the season—that he has to lose something emotionally. It can’t come without a cost. - Lauren LeFranc

"the crooked politics that have allowed wealthy elites like Sofia Falcone to wreak havoc". Oz has weaponized the status quo against her so throughly that she is going away under the exact same image that she did it the first time, as a privileged serial killer and Falcone. She doesn't even get to have her new name anymore, and the rest of Gotham does not see her as the new and strange and horrific new threat that she embodied in Oz's life - she is going away as just another upper-class monster like her dad.

The triumph that Oswald has fought his entire life for, the Big One that he's scraped and fought and hoped his entire life would happen and he'd get to show his Ma at the end, the thing that he's going to throw a party for at this moment, is just a politician on tv saying things that Oswald claims he told him to say.

All of our 3 major supporting characters will thus reach the high point of their lives, on the moment before it is ripped away and they are destroyed forever. Francis gets to finally spit all of her hatred back to Oz and take her revenge on him, and her babies appear before her alive and unharmed. Sofia gets to burn down her father and his legacy once and for all, and is on her way to kill her nemesis and finally be free of it all. Victor succeeds in helping Oz win, they have revolutionized the gangs and defeated the big bad Falcone and he's done right by his new family what he couldn't do with his old one.

And of course, Oswald finally wins - he is the last man standing, he's defeated his greatest enemy, he is the big shot of Gotham and his victory is, so he claims, right there on the tv for his Ma to see, he can finally get what he's always wanted now - and then he doesn't, and then his soul crumbles, before he finishes the job by murdering his heart.

Oz didn’t need to do that, like it wasn’t actually necessary. In that moment, Victor did not betray him. He did nothing wrong. In fact, the thing that he did “wrong” in Oz’s eyes is that he loves him and that he cares about him and Oz actually cares about Victor. I think by the end Oz sees that as a really big problem because he loves his mother so deeply and Sofia took advantage of that love, and then it became sort of a weakness in his eyes. Victor saw him at his most vulnerable and for Oz to achieve the power that he thinks he needs, he can’t have that level of humanity. He can’t have that heart with him anymore. So he stifles his own heart. He kills it. - Lauren LeFranc

When he said to Vic in the sewer, “They'll tell stories about us one day, kid,” he meant it. At that stage, he actually saw that he could rise and Vic could come with him. It's only when the vulnerability and the shock of his mother being taken from him, and the place of vulnerability and danger that puts him in, that he realizes there's no more love, there's no more affection, there's no one else I'm going to have in my life that can lead me to such vulnerability as my mother has led me to or as this kid could potentially lead me to. - Colin Farrell

He's not relishing being horrible. When he realizes, "Oh God, Victor makes me vulnerable. I can't have that shit anymore." The way that Lauren wrote it, and the way Colin played, there's such sadness under the horror. You're like, oh my God, how fucked up do you have to be that the one person who you feel you have any connection with now, you have to snuff out because it makes you weak. What happened to you? - Matt Reeves

"You think she forgives me?" Once again, the mask cracks. Only around Victor. Only because of Victor. And he can't have that again.

And thus we get to the final parallel between our 3 side characters - that in the end, all they did was serve Oz's own rise to power, and hand him the world in exchange for their lives. All they were to him were additional steps in the ladder that began with his brothers. Francis gave him his life, his drive, his motivation and eternal justification, the insatiable pit in his gut driving him to do this forever. Sofia got him his promotion to Falcone lackey, and then she got him another promotion by handing him the tools with which he could become an underground boss and rally them, and then she got him another promotion by handing him the keys to his political career on a silver platter. And Victor saved his life, more than once. He helped him, provided the justification he has craved for a lifetime, rebuilt him, gave him his revolution, gave him the streets, and showed him the last thing he needed to kill to make it to the top.

Wow man let me tell my good friend, The Family Butcherer, who butchers every family he gets his hands on whether a crime family or a literal one, how much I think of him as family.

"They don't give out awards for dying in the projects"

Just like with Squid, Vic's emotional intelligence dooms him. He sees this man whom is like family to him brought to his lowest point, crushed beyond measure, in what he assumes was just a phenomenally terrible stroke of fate and not something he had any blame whatsoever for, and reaches out to pat him in the back, emotionally reassure him that it wasn't all for nothing, that his family would surely be proud of him, and that there's things to look forward to.

Vic threw away his chance to walk away into the sunset with Graciela and he just had to come back to save Oz (AND Sofia, the one who'd bomb his neighborhood) from the Maronis, the least of all possible evils in his life and his city and who never even noticed him. Victor only narrowly missed out in 2 situations that Oz would have absolutely left him to die in, so there just had to be a third where he'd die in the absolute worst way possible. Not with Sofia's gunshot to the head, not bombed to rubble along with his neighborhood, no, Mr. Carmine 2 had to make it as painful and intimate as possible.

Vic the only Number Two in town who couldn't kill his boss and in fact never even considered doing so, and so he dies - there is just no room for him anymore, not in Oz's life, nor in the new Gotham that the two built together.

LEFRANC: "You see Oz become this next level monster, I remember the take too. Jennifer and I look at each other, Colin transforms his face in this really remarkable way, that I don't think any of us fully anticipated could be achieved in that way." - The Penguin Podcast Episode 8

I knew that the general sentiment was that, by the end, they kind of wanted to, in a way, kill the Oz that we met in the film. I felt that there was a sense of creative responsibility that leaned towards, “We cannot have this man as a likable character,” which is hard I think they wanted that in the earth by the end of the eight hours. They wanted that RIP. That's gone. I hated that scene. I really did. I was fucking so pissed off. It felt in performing it as — guess what? — you would like it to feel in viewing it. It felt gross, it felt cruel, it felt absolutely insane, and it felt like Oz was reaching a point of no return. - Colin Farrell

So the day after I watched this episode, my friend Lucas messaged me in the afternoon sending me audio messages, "Son of a bitch! Son of a bitch! He stole his identity, he didn't even die with his fucking name! They'll never find him! Fuck, goddamnit!" "ELE MORREU COMO INDIGENTE, PORRA" and, yeah. Yeah. That gets to the heart of it.

If Vic was just a guy taking his money, if Vic was purely transactional, if he was just another Link, he'd have made it. Oz wouldn't have given a shit about him, Oz would have died on the sidewalk when the Maronis hit at minimum. All this piece of shit wants is love, and when he gets it, when it's finally non-transactional, from the ONLY person in the entire show who loved him, he has to kill it, he doesn't know how to deal with it, he has to smother his heart.

He has to become Carmine Falcone 2, strangling the poor and vulnerable of Gotham while pinning all of his crimes on Sofia.

Vic just wanted his family back, man. He just wanted a family again, to at least show his family that they didn't die for nothing. The thing that Oz spits in his face as he dies. It wasn't for nothin.

This show has so many dozen little variations of Penguin getting his heart broken and retaliating cruelly, but this one hurts the most partially because it has no basis whatsoever on any pre-existing insult or cruelty, there was nothing that warranted this, and you still get why Oz felt that he had to do it. The lowest, weakest moment of his life, and he can never permit anything like it ever again.

Victor was his heart, and The Penguin remembered that his heart only exists to be broken.

Victor punctures the illusion, and he cannot have that. Everything about The Penguin hinges on that singular fact of his life: he cannot and will not break character. He cannot break character, otherwise he dies, otherwise Gotham City will eat him alive, otherwise he has done it all for nothing. That is the ultimate threat Sofia posed to him, and why his ultimate victory comes only from creating a perfect delusion and spinning everything that happened in service of it. Because all those things said at Monroe's? They weren't true - his Ma, y'know, it was just her disease acting up, that psycho did something to her, she wasn't thinkin straight, and it was really Sofia that stabbed him and did all that fucked up shit, and his Ma is really happy that she got the penthouse in the end and that he didn't put her down, look, she's crying tears of joy even, I gotta keep doing everything for her.

Everything and everyone in his life, he can spin in service of the delusion, they can all play dress-up with him forever, except Victor. Victor may not have the slightest clue as to what Oz actually did, but he's seen too much, he knows he has vulnerabilities, he knows the thing that Oz needs to bury far, far more than all the horrible things he's done. Killing Victor is maybe the one thing that he absolutely cannot in the slightest spin a decent delusion out of, that he did it for him or did it for noble reasons or anything other than out of disgusting self-serving weakness.

But who's Victor? Some kid who died in the projects and didn't even have a name? Someone with nobody left to mourn him, not even a street to get back to, nothing but a guy who's already forgot him?

That Victor Aguilar? Never heard of him

“I will never think my mother doesn't love me. She was having a bad day when she stuck that bottle in me. She was under a lot of pressure. She nearly lost her finger. She stuck a bottle in my belly. It was a bad day. She didn't get a good night's sleep the night before.” It's that kind of thing. He'll make up fucking whatever. He's already lying when he goes, and he's stitching up his belly, and Vic says, “What happened?” And he says, “Sofia, she stuck me with a bottle.” He's already beginning to bury the truth. - Colin Farrell

He needed your love, and then you didn't give it to him, and you didn't obey, and you didn't do those things that he needed, and then you mentally aren't there for him in the way that he needs, but he's got to physically keep you around because he's too weak to not do that. He can't give you the gift that he promised you in Episode Six, he's too weak of a man to do that. And so he needs to hold onto you, but under his terms. - Lauren LeFranc

There's a thing that happened on that last day that made my blood run cold, which was I felt Oz not love me anymore. I felt his coldness, and I think that Francis felt it too, and she always had so much of his attention and so much of his love. I don't even think she realized how much she had until he withdrew it. And when he withdrew it, it was utter and… slightly terrified. I was just lying in that bed, I just felt the love leave the room. It's a real thing, and it's gone, yeah, and I think Francis feels it, too. - Deirdre O'Connell

He's this man who is clawing his way to the top, and I knew he wanted power, but what what does that mean for him? That's where I started to conceive of like, he wants his mother's love, and he wants people's affection. He wants to be revered. That was like the main thrust for me of what defines power for Oz, and then by the end you realize that, when he doesn't get those things, he doesn't get his mother's acceptance, he still gets it. He makes sure he gets it. - Lauren LeFranc

So bowled over and miserable I was that I didn't even notice until later that he was wearing a version of the classic Bronze Age/Triumphant get-up.

If the pattern of his life is unjustifiably cruel retribution for slights and insults, perceived or not, by the end Francis had done it to him as well. That she never loved him and in fact always hated him more than anything and anyone else is the biggest insult of all, and so he punishes her the most cruelly, knowingly or not.

"You are who you are, and you couldn't change if you tried."

He will never stop telling Rex Calabrese stories, he will never stop bringing up his brothers and mom as a sympathy ploy, and even if he will never truly love her again, he will never stop ruining the world in her name, he will never stop, he will never stop, he will never stop.

You had to sit through 8 hours chipping away at all of his fun and charm and wacko comedy antics and motivations and all the scruples and principles that he turns out to have less and less of, until he butchers them all in the very end along with the heart of the show. Penguin burning through all of his lovable quirks and charm, everything that we loved about him in the movie, until he comes through as a black-hearted bastard of unlimited malice who will never stop growing and getting worse and putting more lives in danger. Not only as much of a lowlife backstabber as we initially assumed him to be in the movie, but far worse than what we could have imagined.

I said as much that the first episode marks the transition from The Batman to The Penguin with the titlecard, and this brings it back around. The show dies with Victor, we get Sofia's post-credits Nick Fury Tease with Selina's letter and with Selina's theme playing and a final grace note of hope for Sofia, and thus the only character in the show to end with anything resembling positive, and then we get the first scene of The Batman Part 2. showing us the horrible thing in this world that Batman will have to defeat for us.

RIP Bella Real, we all know this asshole is gonna become mayor, and he's not waiting for the next election.

Credit to @book--wyrm for pointing out one more horrible fucking thing, that at the final dance, his hands are covered in scratches, much like the hands of Carmine Falcone when he comforted Sofia.

“One of the very early things that Lauren pitched was that ending with Eve where she looks like Francis,” said Reeves. “He can’t get what he needed from his mother because she’s no longer in that state because of the dark events and what he’s done, so he recreates it in this other way with Eve, and it’s very disturbing,” said Reeves. “That was something we thought was a great idea and was so emblematic of this guy’s internal state. It’s like, even as he now seems to have gotten that first major step toward being the kingpin, you know that some part of him will never be filled. - Matt Reeves

When I read that, I was like, “Oh my god, we're going full Bates Motel here.” But again, it speaks to what has become a pathological inability to accept the world that he has played such a heavy hand in creating. As far as he's concerned, he's just doing what he needs to do to live the life of a good son. And look, his mother can't talk anymore, so he needs a surrogate. I mean, it would be kept out of the sexual realm — it wasn't about that. It was about the intimacy and the tenderness and the pride that Oz always so deeply needed to feel his mother had for him, and pride in him, that he never really got from her. The one time when he finally can say to her, can go to her bedside and say, “It's done. Everything you said that I was capable of, everything you said that I should aspire to, it's done. I am now the boss. I took it from everyone else.” And he gets nothing back. His mother's already gone. That's just too horrific for him, so he needs a surrogate. He would say to Eve, “Look, I'm grieving. I'm finding it hard to deal with the fact that my mother's alive, but she's not here. She's gone, but she's fully present at the same time, physically, but she's nowhere there. She doesn't recognize me. I don't recognize the woman she's become. Do me a favor. We used to dance together and talk at the end of the night. Would you put on her dress and just let me pretend?” But it was twisted. It was twisted, but I dug it. He needs it from his mom so much. And again, his imagination is so potent that he just cast her as that figure, that most prominent and most powerful figurehead in his life, which has always been his mother. She's got to stay alive. He's got to hear that he did well from her. He's got to hear that she's proud. Look, by the end, he's bananas, as they say in the film. Good cop, batshit cop. At the end, he's batshit. - Colin Farrell

Remember when this show had fun Dolly Parton end credits, remember when this almost looked like it was gonna be fun and light-hearted compared to the movie and The Riddler: Year One

So turns out all along they actually had something real twisted planned with the name Karlo, and the Clayface concept that evokes. Asking his prostitute girlfriend to shapeshift into his crying comatose mom in the room upstairs so he can finally get the dance with her atop the world that he craved his entire life and have her tell him how proud she is that he ruined everything forever.

It is not a good ending, but it is his happy ending. He achieved everything he wanted in the smallest possible amount and at the highest cost imaginable, and thus he burns more than ever to take more and more in the name of a satisfaction he will never, ever have. He ended his arch-nemesis, and he didn't have to kill her, that's not what a gentleman does. He got the streets, and he's poised to take political power, and there is nobody left to care about, nobody except the only person who's ever mattered. He can still keep taking care of Ma as a justification for all the shit he will do now and forever, but he doesn't actually have to take care of her anymore, he doesn't even have to love her or grovel her for validation anymore: He has a Ma who will tell him everything he wants to hear, forever.

Of course, he may not have his three dance partners anymore - his Ma is in a vegetative state, Sofia has been locked away once again, and that kid, what was his name again, ain't around. But then, he will simply move on to new ones: He didn't actually lose his first dance partner, his Ma is fine, look at her telling him how proud she is of him and everything he's done and how unstoppable he is now. And he has a new partner in City Hall who is all too eager to play along to everything he says and does, who will receive and spit back his rhetoric just as Vic did to the streets of Gotham. And if he's defeated his nemesis and dance partner, well, not for long. There's a new one waiting for him. He never wins without losing. He will never again live without his next dance partner there to hound and foil him at every turn. There will always be something in the way.

It was exciting to me, the idea that we’re going to meet Oz as a mobster, and to play him as just a man. There’s nothing fantastical about him. There’s so many people like Oz in our world who hold a lot of power, who also connect with people because they speak, on some level, the truth. They can be charming and engaging, but also really terrifying and calculated, and not necessarily doing what they say that they will do or caring for people in the way that they say that they will. It felt so timely and so important to really engage with a guy like Oz and not turn away from him, but actually turn towards him so we can start to unpack, in our own society, what makes a man like Oz so appealing, and what makes him equally appalling. - Lauren LeFranc

I think Oz has always been someone who believes that everything he’s saying in the moment is true, and he creates worlds and illusions for himself to merit his actions. He does it sometimes very briefly in impulsive moments, and then sometimes more methodically, and in the end the fact that he didn’t get from his mother what he’s always desired isn’t good enough for him. So he has to create this strange fantasy live in this delusion of his own making, and pay Eve to dress as his mother and force her to tell him he she’s proud of him. So mentally, emotionally, Oz is embracing his own delusion. I think, for the audience, I hope they more deeply understand him psychologically and realize that there is a deeply broken man inside. He is violent and problematic and and very emotional. And that’s really the man that will carry into the next film. - Lauren LeFranc

And it has to end in a total reversal of the movie ending - The Batman ends with showing there is a light in the darkness, that this tortured broken man can fix his mistakes and lead us into something better. The Penguin ends by grabbing your face and desperately yelling at you SOMEBODY FUCKING SAVE US, HE WILL ONLY GET WORSE. The Batman ends with telling us Batman can save us all, and The Penguin ends with telling us Penguin will kill every last one of us in real life if he hasn't already, if nobody stops him.

And so I'll leave these last partings words to the Penguin Braintrust as we close off this series - see you all in therapy and in theaters when The Batman: Part 2 drives us all completely insane once more.

@wil4x

I don't think this Penguin is someone Batman can tolerate, I don't think Bruce can ever save Gotham's soul with a force of corruption as big as Penguin taking root in the seats of power. No amount of informant work can justify letting a monster like Penguin stay "King of Gotham". I think there's an argument to be made that Oz is a bigger threat to Batman's overall long-term mission than guys like Joker or Riddler. Those are huge immediate threats, but Penguin does a lot more long-term damage to the very soul of Gotham and its people. As long as The Penguin is on top, there's no hope, Gotham will never not be the most corrupt and nightmarish place on earth with him in charge

@book--wyrm

He will truly climb anything no loss so great it can't be flipped into an asseet A nuke Francis armed out of pain and grief and desperation and despair And poor vic Only wanting to do good And instead he saves gotham’s own typhoid mary of misery

@davidmann95

so the thing is Oz kills hope for Gotham forever in this

he's replacing the mayor who stands for hope at the end of The Batman with a corrupt comics rando built on a lie so he can install himself as the power behind the power forever Batman can't be alluded to in the slightest until the very end because it can't be until there's no lingering 'aw, I don't want my boy to get Batman'ed' it can't be until we understand truly and completely why this man proves the necessity of someone out there to stop him

The other stabs at this with Oswald, from what I’ve seen, are trying to make him low-down and dirty and vile enough to be a ‘proper’ Batman villain. But this already made him low-down and dirty and vile. And made us love him for it. This isn’t about ‘fixing him’, this is about taking him all the way to the top He’d accept no less

This is about making him operatically nightmarish enough to be a guy Batman is going to fight forever

Lucas

VENGEANCE, GET OUT RIGHT FUCKING NOW.

[not-poignant]

Raphael has a very poetic and grandiose way of speaking that is absolutely not the norm for day-to-day life. How do you get in the mindset to come up with his dialogues? They're perfection and I just can't even imagine how long it would take to do one paragraph of the way he talks, but you're writing an entire story with him...

Oh I love this question because I can answer it, lol sadlkjfsda

Okay so, Raphael's character is tough for me.

Normally I do a lot of dialogue research before starting to write a character in fanfiction and original fiction, but Raphael actually gets proportionately very few lines that really show his full emotional range (compared to say, Astarion), and he's got an incredibly specific way of talking that sounds similar to Astarion but at the same time is very different.

They share enough similarities (calling people darling and dear for example) that it's easy to fall into the trap of giving them the same 'voice.'

I find Astarion's voice a lot easier to 'get' and I feel like I can hear him better when I'm writing him. But Raphael I'm taking into emotional spaces we simply never see in the game, and then I have to really guess how he'd sound (like coming up with the idea that the theatricality vanishes when Raphael is genuinely panicking).

I ended up listening to a lot of interviews with Andrew Wincott, the Voice Actor for Raphael who is an incredible actor and extremely articulate. He was very clear in one of his interviews that one of the reasons he was selected to play Raphael was because, in part, he already sounded like him. Obviously there's differences / skill in changing cadence and more, but for the most part, Andrew Wincott uses similar vocabulary and talks in a similar manner to Raphael naturally, so I had an abundance of interviews that I could then listen to in order to get a feel for Raphael's voice. I picked the things that felt more 'Raphael' and added them to my dialogue notes.

I often have to go back and edit Raphael's dialogue. Sometimes it's very simple things, I had him say 'much more' in the chapter I'm editing right now, and I edited it to 'far more' because I think he'd just phrase it like that. Sometimes I expand a sentence into an entire paragraph.

I've also leaned a lot from Korilla's transcripts in the game, which have been super useful. They really cement, more than anything, how much he loves lullabies, nursery rhymes, children's tales and more.

HOW TO DO DIALOGUE RESEARCH:-

If you're new to dialogue research, it mostly involves listening to - and watching a character and then literally taking notes of how they talk. The things you observe are:

The tone of their voice - Fast or slow. Loud or soft. Musical or flat. Theatrical or matter-of-fact. High or low. Questioning or complete statements. Considered or hedging (i.e. very well constructed sentences, or a lot of pauses, ellipses, broken sentences). Rambling or concise.

How often they talk - Some characters actually say a lot with very little. Raphael is actually a lot of observation and facial expressions and eyebrow movements in between his dialogue. Little smirks, hand gestures and more. Do they interrupt or let people finish their sentences? Are they comfortable with silence? I find Raphael oscillates between long theatrical paragraphs, single sentences or words, and then a lot of silence. He's actually not very conversational, in that you can have a conversation with him, but I doubt he'd see the point of two hours of small-talk. (At this point you might be realising that dialogue research is also character research, how a character talks tells you so much about a character.)

The words (and metaphors/subjects) they use - This is a big one and I'm going to break this down a little bit more:

How they pause if they don't know what to say. Is it 'um' 'uh' 'ah' 'hm' 'mm' 'mn' or nothing at all (or something else) because they've mastered self-control over their dialogue? If Raphael says 'ah' he does so on purpose.

Filler words. Things like characters saying 'like' in a sentence. 'He was like, 'I can't believe it'' etc. This is very similar to how they pause, but it's the things people say to get from point A to point B. People who don't do this have often had training or think very hard about what they're going to say before they say it. But people say 'like' or 'and then' or 'well' or 'i realised that' or 'i thought that' etc. to carry them on. Some are more acceptable than others (people do just have realisations for example).

Profanity. How often do they swear, and how intentional is it? Some characters only swear when they get hurt or stub their toe or get angry. Some characters swear all the time for fun. Some characters only use some swear words and not others. Be specific. Be aware that some swear words are cultural! This includes blasphemy. In Faerun they use 'gods' and 'gods damn it' more often than we use 'god' or 'oh my god.'

Vulgarity. This is useful for Raphael (and Astarion) because he's very happy to be vulgar. This is like... how comfortable are they talking about sex, about sexual subjects, being crude, being seductive, flirtatious? And if they use it, do they use vulgarity to shock, seduce, scare, threaten, or for humour?

Salutations and farewells. How do they greet people? Silence? A calm hello? (A lot of greetings are omitted in dialogue but this is still good to know). How do they say hello, goodbye. How does that change between friends and enemies and strangers?

Single word sentences. This might sound weird, but sometimes when a character hears something that shocks them, or needs to acknowledge something, they may say anything from 'huh' to 'yeah' to 'fuck' to 'okay' to 'all right' to 'sure' to 'go on' to 'indeed' to just laughing out loud. The list goes on. Raphael is team 'indeed' lmao.

Sentence structure. Raphael's sentence structure is - when he's most comfortable - gently provoking, teasing, vaguely threatening, and makes liberal use of simile, metaphor, fairy tale, rhyme, sayings, colloquialisms and more. Raphael talks like someone who knows someone could quote him at any moment lmao. But from here, how a character structures their sentences can be helpful to know. Go back to 'the tone of their voice.' Those notes will give you an idea of structure.

Emotionality. How emotional are they? Do they have rage rants? Joyful giggling dialogue? Do they infodump with little emotion? Or with sheer excitement? Does their dialogue feel fake or real? Opaque or transparent? Some people wear their hearts on their sleeves, and others will never be able to say 'I love you' in anything other than actions. Raphael's emotionality in dialogue is more present in his anger and irritation, and also when he feels triumphant and/or turned on.

The symbols, sayings, colloquialisms and metaphors themselves. Not all characters use these. But some people/characters will talk through analogies, colloquialisms. This is actually Raphael's biggest dialogue departure from Astarion, imho, aside from the fact that Astarion is a lot more emotional with his dialogue.

Take into account their culture, ethnicity, conceits, upbringing, education and the people they're close to:

This one is vital. Firstly, some people tend to 'absorb' elements of those around them. A person raised by affluent people will often 'sound affluent' and a person raised in poverty will often have dialogue that reflects this and if they don't there will be reasons for that. It might be a conceit (some people self-teach themselves different accents), it might be education, it might be training, it might be the subculture/s they've entered into, and so on.

~

When doing this research, you'll end up with a kind of master-list of actual words and probably some sentences you've written down, along with a lot of notes. You can also do this for any original characters you're making at all, you're just then making it up based on the character, and this research will also give in many ways the shape of the character.

It's a fun exercise and I highly recommend everyone tries it literally for people who don't exist and also observe your friends and family, and do a dialogue cheat sheet for some of them. It's pretty eye-opening! Even one page will teach you more than nothing at all. You can go deep and write many pages, or you can do what I do and keep it lean at 2 pages. Anyone who struggles with characterisation I suggest at least try this exercise, because anyone can put on a YouTube video and/or streaming service or even a favourite Tiktoker and start doing dialogue research! It's a way of building a character from the top down while also getting information about their foundations.

[m1ssunderstanding]

Get Back Rewatch 55 Years On: Day Three

Literally saw the orange sweater and my heart sank. Here we go.

George's hair!! I hate him.

Also literally WHY does he have to lend them his own personal recording equipment? It really is ridiculous how bad the record company treated them considering they were the fucking BEATLES.

Magic Alex! Honestly though why is half of me like "Yes! Scamming king! Take their money and RUN!"

"My Imagination" is physical cringe level.

"The rhythms in the guitars anyway." It's a callback to their earliest days when they had to say that to hustle, but I think part of them really did believe that back then, and part of Paul still does. That the four of them are all they need.

And then in response to that callback to early days to convey current not-articulable feelings, John responds with one of his own. His mini rant about how stupid it is to use three mikes and never come together and sing as a GROUP. It's like he can't bear the thought.

Paul singing his guitar and drum ideas. Apparently my sexuality is women and unhinged men. There's nothing to be done about it. Poor George literally can't get a word between all Paul's "Downownownowneernernerner" and "chuchuchutah ba Ta. Ba." And if I was a good person I'd be annoyed. But no. It's too hot.

"Corny's alright on this one though because what he's doing's corny." Be fucking nice to him. He needs you to be like you were on 909 about every single thing he does because he cares so much what you think. Of course they don't talk about that kind of thing so Paul has no idea. But look at his face!

I also like "the same old shit," George. "Don't Let Me Down" is so fucking sexy idgaf what anyone says.

But here's the other thing is that John is SO down for all of these wrong suggestions Paul's making. If they're not literally saying the same thing at the same time, it's instantly "Yes. Exactly. Yeah."

So John says "alright girls" and sounds like he's just so above Paul and George squabbling and bickering and couldn't care less except for the fact that they're annoying him. Because that's his macho front, right? But then look at his face while they're fighting, eyes darting and full of love, sorrow, and what honestly looks like fear.

Ringo stays the hell out of all of it. Good for him.

Shortly after Paul says "I can't frickin do it on camera either" John starts strumming. And soon George joins, while Paul's pacing and gesturing. And at first I was confused like "they're not being very good listeners that's not very nice" but they're trying to cover up the dialogue for Paul's sake. Trying to take away the cameras if he can't do it with them. "Forget about candy camera." It's very loving, very protective, especially from George. John, we expect this kind of thing from, when it comes to Paul. But George is literally in a fight with him and protecting him at the same time and I find it to be so beautiful.

Gosh, there's so much in this little rant though. "I always feel as though I'm tryna put you down and stop you playing *voice cracks and goes higher* but I'm not." How he looks at John when he says "and I never get any support or anything" and the "and you know it's right." I usually find the 'Paul's the mom, John's the dad' analogy reductive, but boy is it perfect here.

But really, Paul, you've got to just let George do his thing. "I can only do me, you know." George is absolutely right in this argument. He's actually very emotionally mature for being the youngest.

Ugh it's hard to leave them on this note. But I'll pick back up tomorrow

[crimeronan]

Thinking about "Amity and Hunter being deranged and causing immense bodily harm to one another" Just how aware is Luz of the extent of the harm because they're obviously both keeping it from her for obvious reasons.

I can see Hunter straight up being "Well I can't let Luz know Amity did this because if she were to get mad at Amity or concerned for my safety and worried she might do it again... and that would seriously bum her out given the whole 'weirdly massive crush she can't articulate' thing going on." (and also general 'Can't let Luz worry about my injuries/nearly dying' based thoughts )

Amity is just convinced that if Luz knew about 'the time she sent half of Hunter's ribcage into his lungs she would be out of the castle or worse and knows that people posing a threat to Hunter's life have a habit of peacefully having heart attacks in their sleep. And in truth if she were anyone else that might not be a silly fear.

(I love the genuinely terrified with good reason of, to seeing you're safe with them to lover pipeline)

For a while she doesn't get that she isn't 'anyone else' and that a) Hunter genuinely likes her company, and b) Luz both likes her and respects Hunter's autonomy to not throw out his murder bestie even if she didn't... (even if she'd prefer he not be nearly dying all the time)

So for a while she is convinced Hunter is holding onto it as perfect blackmail material for whenever. I do think it's funny if they just... never tell her just how brutal their fights could be, or only tell her when they're all in their fourties or smthn

luz ABSOLUTELY does not know about the Matchstick Bones incident. and neither hunter nor amity are willing to tell her. i do like the idea of amity worrying about blackmail.... but i'm ALSO really fond of the thought that, like. the possibility of luz-related blackmail evaporates Really Fucking Fast. because hunter is so aggressively and edgily insistent that amity not mention this to luz.

so like. it seems like HE might be in trouble with her if he tells. mutually assured destruction!

amity Does have a vested interest in lilith not finding out, though. darius is not a snitch so no worries there, but hunter is a bitch. ultimately i don't think he Actually would tell her, because he doesn't actually expect lilith to give a fuck. but amity clearly believes lilith would give a fuck. hunter can use this

^worst boy In The World.

as for amity fearing luz finding out... i don't think she'd be Super afraid of luz exiling her or killing her for it. unless it's maybe in those first very fraught days after belos dies. she'd be way more scared if hunter had ended up with permanent injuries, but he's fine, so no harm no foul, right??

she IS worried luz will think less of her. and worried luz won't trust her / will think she's dangerous.

the thing about hunter and amity's fights -- both the physical and verbal ones -- are that they're mutually, equally vicious. both of them are really Going For It. amity accidentally hurt hunter but he could Just As Easily have snapped her spine or cracked her skull by accident.

it's less "luz is gonna think i'm torturing hunter" and more "luz is gonna think we're irresponsible and stupid." which. THEY ARE.

meanwhile on hunter's end, as usual he doesn't want to stress luz out. and more importantly, he doesn't want her to tell him to stop, and she Absolutely Fucking Would if she knew how dangerous things were getting. luz being like "can't you guys spar with some ground rules and cushions????" and hunter like "actually we're both so filled with formless aimless rage that if we don't do this we're probably gonna go on some kind of serial killing spree instead. i don't expect you to understand tho 💕" and luz like "You Are Right. I Do Not."

anyway. they've pulled the worst of their punches since darius yelled at them, at least. if luz ever finds out it'll 100% be when they're in their forties and amity or hunter references it as a fond adolescent memory, forgetting luz was out of the loop.

and luz is like. h. Hello. Excuse Me??

[blakbonnet]

curious about your favorite underrated artists/fic writers/creatives on here?? and maybe your specific favourite underrated fanwork??

Ooh. I love this question so much, anon ❤️

Underrated gif maker, and I say this with no bias, is definitely Ida @bizarrelittlemew because she just puts in so much effort in all her gifs. Ida looks through tutorials and then also does so much on their own, but mainly: if you look at all the recent gifs, they have such a unique Ida ™️ vibe to them. From rotoscoping (still don't know what that is) to playing with blending, Ida deserves to be right up there with one of the most creative gifmakers this fandom has produced recently.

Unfortunately I just very very rarely hang out reading ofmd fics T-T (I'm mostly in the hobbit and sandman fandom side of ao3) and there are a few writers I love and I tend to stick to them (xoxoemynn, forpiratereasons being the main ones) Most of what I read and like in the fandom is when a mutual ends up writing something that isn't modern au.

Having said that, underrated writer to me 100% is @palavapeite because their writing just never fails to transport me to whatever setting they're talking about. Listen, I just don't read modern AUs, they don't do it for me (def a me issue, I'm sure there are brilliant modern au writers in this fandom but it's something I filter out) but I would absolutely recommend this fic as something that brought me so so much joy, is fast becoming my more reread fic, because it did a perfect job with getting Stede's voice right. I can hear every single thing he says in my mind, it's SO good. Also their fic with priest!stede lives rent free in my head and I would soon find the time to read their non blackbonnet fics.

Another one is adamarks who, again, has such a good grasp on Ed and Stede's character that it doesn't matter which AU Jay has picked, it just always always works somehow. My favourite is this fic tho which is just so them that I might as well weep.

For artists, my recent faves (and I think they're underrated) are Lilo @harrylovesspaezle who's so so talented and I still can't get over that sketchbook tour - the growth and love for this show ough, @ofmderapolag whose pieces are just so so dreamy, and also @spookynadja whose style just floors me every single time.

I'd also like to shout out one underrated category, people who write such amazing text posts like @ourfag who obviously has the s3 scripts and is only sharing them with us in small increments due to the nda and @tulipseason for the currently unpublished book of "1 million ways I will articulate how much I love hit television show our flag means death"

and then there's my favourite most beloved cheerleaders who are always lifting up new writers and artists too like @marbledwings and @insteading ❤️ I especially love that everyone has a beautiful story with these two, you could ask any small or big writer in the fandom if they've been made to cry by wings or insteading and yeah, they're just lovely.

[fandomwritingbit]

Hi!! I don't know if you think about this or done something like this, but I've having HORRIBLE teacher William or professor since school started, idrk. But like horrible brainrot on professor!william shoving a remote controlled toy up reader and you just gotta sit through class like that if this is just ass, please free to throw this away as fast as you can <33

Hi there, I haven't done a proper teacher william fic yet because, tbh the last time I was in education, I was underage lmao. Anyhow...

Professor William x (gn) reader.

I hope this is decent and tickles your fancy.

Warnings: smut, public sex acts, voyeurism, power dynamic.

"But, Mr Afton..." You struggle to get your thoughts out, you mind balanced in want for this fantasy and the reality if doing it. You're sitting on his knee, his hand securely placed on your inner thigh and running his thumb over the sensitive skin. He holds the toy, turning it over to let you see it. It's imposing but what's more so is the fact he wants you to keep it inside and sit through his lesson like nothing could be wrong.

"...this is a bad idea." Is all you can vocalise.

Your professor sighs, completely removing his touch from you, delighting in the whiney noise you make immediately.

He slides you off his lap, leaving you to stumble before gaining your footing. "You asked for a coursework remark?" He makes you wait an awkward pause, a small grin on his face. "I'm a busy man... but I could do that for you if you're willing to show dedication to the course." He turns the toy on as he speaks. It's silent, or at least close to it, and that's a small comfort to you.

Biting your lip, you nod. Unable to deny how your stomach knots... and how much you need the extra marks.

~

It's impossible to concentrate on the lesson. Hell, you couldn't even say what the topic of his lecture was about, it's all meaningless diagrams that you force yourself to look at in an effort to not focus on the steady buzzing between your legs.

Your stomach is twisted in an attempt to not let yourself get lost in the vibrations, but it's hard, especially when he keeps catching your eye from the front of the class, wearing a ravishing smirk.

Still talking to the room about articulated joints, as you've come to discover, you watch as his hand darts inside his pocket, clicking up the intensity of your companion. Your hole clenches around the toy, the new speed absolutely perfect. It makes you bite down on the insides of your cheeks to keep your pleasure to yourself. Your legs press together tightly by instinct, making the rush of pleasure worse.

You're very aware of sweat coating your hands, and it's ridiculously hard to keep hold of your pen. Your face feels so hot, the mix of getting close and embarrassment making blood flood your cheeks.

"Y/n," Mr Afton calls from across the room, heads of classmates turning towards you in consequence. "Makes sure you're paying attention. I'm only going over this once." You nod frantically, begging for the eyes to be off you so you can go back to squirming in your chair.

He knows you can't listen to him right now. It's by design, fail this module, and you'll have to prove your 'dedication to the course' all over again. He continues going through the material, gazing at you frequently to watch as you come undone. It's difficult to keep his attention on the lesson with the thought of playing with that used little hole after this. It must be torturous for you.

That doesn't stop him from again turning up the intensity.

[saintsenara]

Absolutely no pressure if it really does make you uncomfortable to talk about but I would LOVE to hear about why dramione pisses you off... first and foremost because I'm a card-carrying dramione hater and there's nothing quite as enjoyable as a fellow hater articulating their haterade. Please. I'm handing you the mic. Go to town. (If you want!)

thank you very much for the ask, anon - and it's very sweet of you to ask whether dramione makes me sincerely uncomfortable [it doesn't, and if there's ever a day when i find harry potter shipping preferences that deep i shall face god and walk backwards into hell]. i subscribe to one belief in fandom above all others - that you can write yourself into, and out of, the most nonsensical premises if you are willing to engage with your characters in their full spectrum and if you have enough nerve. which is to say, there is almost certainly dramione out there that i would regard as interesting and well done, which feels coherent as a premise within which to situate both hermione and draco's canon selves, and which does so by being unsparing in how it deals with the whole "he thinks she's literally subhuman" thing...

but the reason i don't like dramione as a pairing is because i've never actually seen it done in a way that actually is interesting.

i'm on the record as a straightforward hater of fanon!hermione - the preternaturally perfect, incandescently beautiful "brightest witch of her age" [lupin means by this - please, i am begging you all to understand - that she's clever for a fourteen-year-old, not that she's some sort of epoch-defining intellect] who makes you wonder if we've all forgotten the early-00s flame wars over mary-sues. i am also on the record as a hater of the classic draco-in-leather-pants version of the other half of our pairing - draco is an insecure, pointy little dickhead whose jokes always flop, and he is so much more fun in this form than he is as the suavest man alive.

and, obviously, dramione is famous for being beholden to these characterisations [something, if i may, which is really letting harmony and snamione off the hook...]. and that is just so boring! even in a setting in which an author doesn't want to deal with the context of blood-supremacist prejudice - and good for them! why not! - i would much rather see fics think interestingly about how mashing draco and hermione's personalities together would actually go. how would he handle her constant need to debate things? how would she handle his fits of crippling jealousy? how would he handle her stubbornness? how would she handle his self-interestedness?

and i think something quite striking could actually come of this... as i've noted elsewhere, draco's narrative mirror is ron, who is obviously a ride-or-die hermione stan, and there is - therefore - a way set out within the arc of canon for thinking about how hermione and draco might interact. it could be a genuinely fantastic piece of enemies-to-lovers fun, but this would involve both hermione and draco's canonical characteristics being thought about [and harry and ron's: the former always seems to come around to dramione really quickly, while the latter is written as a death-eater-adjacent boor who doesn't want the woman who "belongs to him" to be happy], and i'm afraid that the vast, vast majority of dramione writing seems to have no interest in doing this when "just make him suave and her perfect" exists...

but, of course, there is a second major objection which i know many people have to dramione: that he is a member of a terrorist organisation which believes in eradicating people like her, and that he believes wholeheartedly in that organisation's beliefs.

and my feelings about this are more complicated.

because, to be frank, as someone who has - only this week - written harry having a sensual little snog with his parents' murderer, i can't really get up on my high-horse about people shipping the heroes with the villains. and, indeed, i won't - another fandom [and life!] principle i have is that the potential of redemption for everybody is one of the most important things about humanity; that even the most evil people can repent and repent sincerely; and that love is strange and unpredictable.

i do think something interesting could be done with draco having to unlearn literally everything about his life, and with both him and hermione grappling with their personal limits when it came to remorse and forgiveness as they realise that, against all the odds and no matter the heavy weight of the past, they want to make something together. but, once again, the standard move in dramione seems to be a sort of "nooo, he didn't really mean it!" or a "hermione gets over it immediately because he didn't rat them out when the snatchers caught them!" [no - he didn't rat harry out. he doesn't seem to have a problem with hermione getting tortured by bellatrix...] or a "well harry using sectumsempra means i'm over the fact he called me a mudblood" or "uwu he was sixteen". and, once again, i think it's dull!

and this, of course, brings us to the other category of dramione - the one in which she's a dirty little fucktoy for a sadistic pureblood lord. while this is at its worst in other hermione/death eater ships, we've all seen the fics: hermione is given to draco as a forced bride; hermione is given to draco as a sex slave; hermione is given to draco to be degraded etc.

i have no moral objection to people wanting to read and write this stuff, because i'm neither a cop nor a priest. my objection, once again, is that this is dull.

i think there is something really, really interesting which could be done with draco finding himself attracted to hermione despite what he's been raised to believe about her, above all for the way this could be used to play with the gendered dynamic we might expect to find when this trope is used.

discrimination is justified by societies - again and again throughout the course of history - with the claim that it protects women [and men's claim to them]. we can imagine easily that this is the same in the wizarding world because voldemort literally tells us so - in the opening chapter of deathly hallows he explicitly equates tonks' marriage to lupin as the cause of the "rot" in the black family tree, before he goes on to murder charity burbage while accusing her of supporting miscegenation.

what we see less frequently is the idea that men need to be protected from the other - societies are much more amenable to seeing men's behaviour as hypocrisy [and tolerating this] rather than moral corruption, and we can assume in the wizarding world that it would be perfectly acceptable for a pureblood man to have a muggleborn mistress or a half-blood love-child in a way it never would be for a pureblood woman.

so how does draco justify his attraction to hermione to himself? how does he keep her a secret? how does he think of women more generally, if he has a pureblood wife at home and a muggleborn woman he cheats on her with? does he see nothing contradictory about sneaking off into broom cupboards and then strutting into the slytherin common room and telling pansy parkinson that hermione is a digusting mudblood dog?

or, does he get the other side of the coin? do lucius and narcissa think he's being corrupted? is his temptation all-consuming? will he lie about hermione attacking him to save face? will he turn on the tears and place her in unimaginable danger and then feel only the slightest hint of regret?

and i just think that has so much more potential than your standard "draco's sadistic but, more importantly, he's hot" stuff.

because i will read things that are objectively baffling if they are, at least, interesting. dramione nation, i'm begging you... just be interesting.

[merakiui]

MERAAA AHH YOUR WINTER WOES !!! And I thought I was devout to Azul.. 🛐

Okay; Let me start thinking how I can articulate and express my feelings about this fic.

#1 The dialogue. You HAVE to understand, I was kicking my feet up, giggling so much. The way you incorporated Jade's down bad behavior into his thoughts which slightly differs from his dialogue- AH ┻⁠┻⁠︵⁠ヽ⁠(⁠`⁠Д⁠´⁠)⁠ﾉ⁠︵⁠┻⁠┻ I LOVE IT !!!!

#2 Deception. YOU REALLY CAPTURED JADE'S PERSONA HERE. His mildly hidden deception > < ) Oh the chokehold he has on me rn cause of ur fic!!! Bro was lying straight from his gaping serrated maw 🫶 And it was perfect! I was jumping up and down every time I saw the contrast in his thoughts and words, I can not STRESS the fact that I ended up laughing so heartily on that scene where he straight up lied to MC about the possible pregnancy; You're way of story telling and build up is so 👌✨ *chef's kiss*

#3 The interaction. Between Y/N and Jade is so 😩👉👈💗💓💘 Surprisingly, this is one of your most gentlest Jade in the Jade multiverse and it was certainly a treat. I feel like I was just fed a full course meal for free. Definitely an unforgettable experience (⁠๑⁠♡⁠⌓⁠♡⁠๑⁠) I mean, as IF Jade would ever let you forget about what happened. THE BANTER ?!?! The banter. Golden. MC's genuine concern vs Jade's hornybrained desperation (⁠*⁠˘⁠︶⁠˘⁠*⁠)⁠.⁠｡⁠*⁠♡ Yummy !

#4 Jade. Of course. GOSH, I wanna sit here and yap to you all about how startling soft and sappy this made me. Which really shows how amazing your writing issss!!! Who else can spread Jade propaganda like this but you 😔 Azul Nation stay strong ! ୧⁠(⁠ ⁠˵⁠ ⁠°⁠ ⁠~⁠ ⁠°⁠ ⁠˵⁠ ⁠)⁠୨

Anws I'm scared of absolutely bombing ur inbox so I'll stop it here > < ) Like Jade, I also still have some self control. Take care of urself <333 Ty for the fic !

- I can't choose an emoji; A garden flower.

( ≧ᗜ≦) AAAAAA THANK YOU SO SO MUCH, GARDEN FLOWER!!!!! Please never be scared of bombing my inbox!!! You can yap as much as you want!! I'll always be grateful to read your words!!!!! <3

I'm so happy all of those aspects of the fic were enjoyable!! I wanted to try my hand at writing another version of Jade who is soft and sweet. Writing from his pov is so fun, especially when he's in his mating season and is so very desperate and down bad. >:D as someone who is also very dedicated to Azul Nation, I fear Jade is trying to creep his way into my heart...... more than Azul!!!! >_< truly, we must all remain strong for tako!!!!!!

I really can't thank you enough for your kind words!!! I loved writing this type of Jade, and I think his relationship with the reader is very cute. Reader who is genuinely concerned for him contrasted with Jade's own one-track horny brain. I had fun writing all of his moray behaviors!! The gaping maw and the need to hunt an absurd amount of food for you in order to provide for mate. orz aaaaa his rizz is questionable, but his heart is in the right place (mostly ;;;; he's still lying about a few things, but that won't matter once you're knocked up).

I think a Jade who is vulnerable like this is very wonderful. He plays submissive just to better manipulate you, but it's difficult to tell where the line between act and truth is. <3 what a menace...... orz

[gogesimp]

I had this idea last night, I replayed it in my head a few times and then this morning I saw this absolutely beautiful thread which had an uncanny resemblance to what I had thought of.

I contemplated whether I should bother writing what I had down and posting it somewhere. I haven't yet done it for this ship.

But what urged me to go ahead was the fact that this was more like a headcanon rather than an AU, and hence I wouldn't be adding to my very long list of wips.

So here goes-

This is set in the canonverse and both Satoru and Suguru are in Jujutsu High. The timeline is maybe before the star plasma arc or let's say something like that doesn't happen here.

Either way, both of them are sort of in love with the other. They have not outright confessed yet, because that'd be cheesy and Suguru's never gonna be the one who brings it up. But sometimes he feels he wouldn't have to.

Especially at times like these, where they are all alone in Suguru's dorm room, lights out with only the moon's beams to illuminate them and their tangled limbs.

Suguru's clothes are scattered around, some lying on the bed while others have been deposited on the floor. Satoru's haven't even made it to the bed where he is lying over his precious Suguru, just pausing to take in how beautiful he looks.

Long black locks splayed out on the pillow, skin dewy with sweat and a blush slowly spreading across Suguru's lovely cheeks down to his neck.

Satoru looks like a dream as well, if one were to ask Suguru. He loves lying on his back because from his vantage he can take in the ethereal form of his lover. In the dark, his eyes glow effervescent, the blue shining like sapphires. His white hair is tousled and sticking up at odd angles. On his milky skin Suguru can spy the blush sitting high on Satoru's cheeks & he can't help but turn a deeper shade of red when his eyes track down that thick, corded neck to his defined chest and muscled core.

He doesn't need his eyes to deduce how well endowed Satoru is so he brings them back up. His gaze gets locked with that cerulean one and he feels a big calloused hand gently cradling his cheek. Soft caresses are bestowed on his face. The other hand is wrapped around Suguru's cinched waist, holding him delicately, thumb brushing against the hip bone.

A silly thought enters Suguru's head. Before he can articulate it though, Satoru starts introducing a lubed finger and soon Suguru trades moans and whines for coherent speech.

The bed creaks in time with Satoru's thrusts. He doesn't go too fast or slow. It's like this man is taking his time to unravel the beauty writhing under him. Suguru's high pitched moans and breathy whines find a perfect complement in Satoru's guttural groans and huffing.

It's only after Satoru has finished and is now slumped over Suguru, using the soft warm body as a comforting bedding for himself that Suguru's mind brings forth the thought he had a few moments ago.

The smile stretching his lips seems instinctual, so does the way in which his hand finds its way into Satoru's hair and gently starts carding his fingers through the soft white locks, adding a scritch intermittently.

"Satoru...!"

The answering hum resonates within his body given the way Satoru is draped over him.

"I wanted to tell you something, a silly thought I had."

There is a stir and the body lying on top of him moves. Using his elbows to prop himself up Satoru stares into Suguru's violet eyes.

The hand which had been petting Satoru's hair slips down to now hold that handsome face.

It is indeed silly.

The way his heart picks up speed as he gets lost in the depth of those ocean blue eyes.

The way his heart clenches at how Satoru makes love to him, gently and tenderly. Treating each inch of Suguru as something precious and worthy of being cherished. Of being held close to and looked after.

It is indeed silly that Suguru finds the strongest sorcerer, the ruthless man he knows that Satoru is as cute and adorable.

Well right now he does look like a cub with the way he is staring intently at Suguru, expecting some reward or trinket.

"What was it Suguru?"

Snapped out of his trance he decides to not divulge his prior thoughts.

"Nothing really, just ignore I said anything."

Satoru pouts and Suguru just has to look away for his own health because his heart can't take anymore hits today.

"Awwww.. but I wanted to know."

"Stop pouting now, it really wasn't something big. What? You don't believe me?"

There is a certain glint in those blue eyes and Suguru feels just a tad bit nervous.

When Satoru still doesn't elaborate Suguru's unease increases and he tries to fill in the silence.

"Come on Sat-- umph"

Soft pink lips descend on his and they move gently. And Suguru can't help but sigh.

He feels so ....

It's right there, on the tip of his tongue. It's what he feels when Satoru's strong hands wrap around his waist.

It's the emotion bursting within him and making butterflies' wings flutter in his tummy.

As the lips retreat and warm breaths of air fall on his sensitive, tingly lips he hears the low rumble of Satoru's voice.

The words are spoken right against his parted mouth, eyes fixed on his and staring straight into his soul.

"I know. I know Suguru. And it's ok."

The lips move down to his neck where Satoru mumbles against the marked skin.

"You can take your time."

Suguru has to use all of his willpower to not let anymore of his tears fall. He realized a bit too late when one or two stray drops had leaked away and flowed down to his ears.

Satoru can probably sense them but Suguru still wills the tears away.

After Satoru has settled himself once again on top of Suguru, he finds his hands gravitate towards the man lying over him.

His fingers find the tresses while the other draws patterns on that broad back. His head slowly angles itself closer to Satoru's and that's how Suguru falls asleep.

He sleeps peacefully even with Satoru draped over him.

And as for Satoru, the gentle heartbeat of his beloved was the only lullaby he needed to make his eyes heavy.

His heart feels full, knowing that even though the words haven't been uttered what they feel for each other is tangible.

It might take time but they'll eventually get to a stage where verbal confirmation of their mutual feelings will come easy to both.

But for now this is enough.

This is it.

Thank you for reading this word vomit. Honestly this isn't exactly what I had thought of. It was waaaaaaaay better in my head. I wonder why I bother writing 🙃 but here we are.

[felixcosm]

Thought about your Edgar post for like 5 seconds too long, and I wanted to say how much I think that it seems that Mike is really judging their characters based on personality rather than actions if that makes sense?

They've both done some truly awful and heinous things - Edgar especially - but when not caught up in time travel bullshit, Edgar is a genuinely kind and compassionate person. Something that, as his boyfriend, Mike sees a lot of. Mike on the other hand, can be a bit of a bitch sometimes. (said with all the love in my heart of course)

Obviously Mike Walters is the true champion at seeing his loved ones through rose-tinted glasses with Edgar being one of the two most blatant examples (the other being Anne imo), but I do think there's something about the Mikes saying that the truth is what they feel to be emotionally true. They have flaws that they don't like about themselves, whereas Edgar is someone they love, and someone who loves them back. They see a lot of cruelty from the both of them, but they also see a lot of kindness and love from Edgar. Therefore in the Mikes' eyes, they are a worse person than Edgar.

Not sure if I quite articulated this great, but your post got me thinking!

(also when I say Mike, I mean Mike Walters as a species)

No no you're absolutely right and I am obsessed with how Mike says things that feel true in the moment even if they are blatantly wrong or impossible to prove (him telling Matt he loved him may be a bad example since later Mikey says he was only trying to be nice but I feel like there is certainly more to that whole scene than Mikey was willing to admit to Matt or his podcast listeners at the time)

And I feel like even though Edgar has obvious personality flaws as well, like he can be petty and mean (re: Rugby) he often speaks over Mike as if Mike's feelings don't matter (making decisions for him, disregarding his opinions and emotions during missions, treating him like a warm body to be sent out into the field), or manipulating him (Dylan mentioned in the commentaries how often Edgar puts Mikey in a position where he's the "adult" and Mikey's the "petulant child" re: 118) - and it seems like the Mikes do sort of know about it. Like Michael's still holding a grudge about Rugby so he's clearly not blind to Edgar's less than savory moments.

But that won't matter to them because in the end they will look past facts.

I'm also fascinated at how much of an unreliable Narrator Mike Walters is. Even when we have an episode where he's speaking to other Mikes or to himself, we can't fully trust what he says because he will apply his emotions to a situation and make decisions based on that.

We rarely do see Edgar and the others alone in scenes where they are themselves without Mikey interjecting with his own narrative. Which makes sense, as this is WOE.BEGONE and its the story of Mike Walters, so we see the world through their eyes.

I think you can probably say Edgar is a better person than Mike though and I am completely agreeing with your points. But at the same time I do think its funny how Mikey leads us to believe that Edgar is perfect and holy while his boyfriend just can't fucking wait to get his hands dirty.

WOE.BEGONE is a show about power and how it can corrupt someone and I think Edgar is just as good of an example as Mikey. Mikey might've started as someone who was very happy to get into the time-travel murder game as he accuses himself of being in Episode 21, but Edgar goes from being scared and unsure to the actual leader controlling the fates of all of Base.

[darkpoisonouslove]

HotD S02E01

Many thoughts, head full, zero ability to articulate so I'm just gonna scream about it... on main. That'll end well.

First thing I have to say is that the atmosphere and tone definitely work very well here. You can feel the tragedy in the air, the way that it's already happened and it just waits to unfold, to be witnessed in its full glory. Everything is so eerie and bleak and everyone keeps going but they cannot escape the framework of the war. They're trapped in it and you feel it.

Daemon is... he kind of surprised me ngl. There are definitely layers of emotion there that isn't just rage or bloodthirstiness. I didn't want to strangle him the entire time so that's a positive.

Emma D'arcy was amazing in this episode and (I could be missing something; too lazy to check but) she only had that one line??? And still, you feel her grief. That was certainly an interesting approach and it worked for them!

Aegon is such a contrast to all the other characters! I know he's supposed to look completely out of place and incompetent but damn, I am On. His Side! He's ready to be so generous to the small folk. He's trying to compensate on what he missed with his own father by spending time with his son. He has no idea how to interact with Helaena but he's trying his best and goddamn, if that's not a summary of his character! 😭😭😭😭😭😭 (this is an Alicent AND Aegon stan account now, I guess)

(that scene of him and his buddies drinking in the throne room has such fuck boi vibes and yet, SOMEHOW he was utterly hilarious and still sympathetic in it (I'll talk about the place of that scene in the plot later))

@ Otto and Larys: STEP AWAY FROM THE CHILDREN!!!!!!

The scene with Otto and Alicent was surprisingly touching. They finally reach some kind of understanding... and then he turns right around and continues to scheme behind her back. Sure, what he was trying to accomplish with Aemond is in line with his talk with Alicent but he's going to have his own agenda 100%. This wasn't just a strategical decision because Aemond is mad at Alicent rn and wouldn't want to hear any of her opinions even if they're also Otto's opinions.

Which leads me to THE SITUATION BETWEEN ALICENT AND AEMOND AAAAAAAAAAAAAAAAAAAAAAAAAH!!!!!!! I. Am. Screaming (as you can see)! They are both so hurt and angry at each other 😭😭😭😭😭😭😭😭😭😭 And I can't even take a side because both of them are correct in different ways. What Aemond did is actively hurting the whole family because it certainly exacerbated the war proceedings. But he's also right to be upset that Alicent would (seemingly) place her old friendship with Rhaenyra above her love for her children. She should feel vindicated that the one that mutilated her son is now dead. But instead, she's angry and has turned away from Aemond. When she was the only one who stood by him (and vice versa) on that awful night when his eye was gouged out????? The disappointment that they each feel in the other is KILLING ME!!!!!!!!! (I have to say that I hadn't thought about the possibility of Aemond being angry but it makes perfect sense and it hurts me so badly. Look at the contrast of this and this)

And now for the absolute fuckery of this episode (pun unintended). I have zero problems with Alicent and Criston fucking. Good for them! Love the moral dilemmas that are 10000% going on in their heads. HOWEVER, the decision to make them have sex while Blood & Cheese is going down? More anti green propaganda from the writers and I am SICK of it. Alicent was originally part of the scene, she was there to experience the horror of it first hand and they choose to switch that for her having sex????? You know the same thing that Rhaenyra and Daemon were doing when the whole fight between the kids in 1x07 was going down and they got no shit for it whatsoever but, of course, Alicent and Criston are going to be torn apart about this, I am 100% positive about that! Once again, the writers are trying to manipulate the viewers by going "See! Not only is Alicent being a hypocrite because she said she wasn't going to do this with Criston again, but that's what she was doing when her grandson was getting murdered" when originally she was bound and gagged and had to watch the whole thing happen in front of her. You could say that they spared her that trauma but they literally could have had her doing anything else if that was the intent. I am ANGRY about this. Not to mention the fact that Helaena literally interrupting Alicole while they're having sex adds an obstacle to Alicent offering her comfort. At the very least she has to get dressed first before she can hug her and try to provide some kind of feeling of safety, which inserts awkwardness if not downright shame into Alicent's actions and choices during that night. (Oh, and this will probably make her stop having sex with Criston, which is going to be another big L; let her be marginally happy and have orgasms, goddammit!)

Let's go back to Aegon now! So while Alicent and Criston are too busy fucking to be any the wiser about what's happening with her grandchildren (even though they literally couldn't have known anything like that would happen), what is Aegon doing? (Probably) drinking and stroking his ego by trying to come up with titles for himself... as the assassins are walking past him, right under his nose. Don't think he's not gonna get shit about that by fans if not by the writers themselves! They have set everything up so perfectly to blame all the Greens for allowing this to happen (since Otto and Aemond are so ready for war and yet were nowhere to be found during this either) but what about the Blacks, who organized all of this? Well...

They are whitewashing Daemon now by making Jaehaerys's murder be the idea of the assassins themselves. You see, Daemon would have never gone after a 4-year-old! He was only going after Aemond! And this is yet another misunderstanding like with Lucerys' death, except that this was way more deliberate but you cannot blame the Blacks when the people that they hired acted on their own. I hate it here! The writers are cowards and cannot commit to the actual characters that they're supposed to be writing so they're just doing whatever they want. And doing it badly at that! (That whole sequence was so fucking disjointed and lackluster also so congrats to whoever wrote this on the terrible job that they are doing!)

Poor Helaena! She's literally not going to get anything in this season. They already did Blood & Cheese so now they're just going to make her lose her mind and give her nothing else to do. I hope I'm wrong about this but I don't think I am given their track record.

Anyway, go team Green!

*I already bitched about this in the tags of another post but the fact that in the extra ("inside the episode" or whatever it's called) they had the gall to say that Alicent was in a "marriage that was loving but not exactly romantic or physical for quite some time" is a fucking insult. HE CALLED HER BY AEMMA'S NAME! HE USED HER AS AN INCUBATOR AND COULDN'T EVEN BE BOTHERED TO CARE ABOUT HER OR THEIR KIDS. SHUT UP SHUT UP SHUT THE FUCK UP!!!!!!!

[raleighrador]

There is no real Star Wars, it is all real Star Wars

I have never much cared for debates over what "real" Star Wars is.

I don't particularly care what George Lucas (or any author) intended or what he (or anyone else) has said in interviews.

I think this is because I got into Star Wars when I was a literal child and the thought of reading reviews or watching interviews didn't occur to me until I was in way too deep; and I was always a huge fan of the EU - I quite literally read every single published novel - and enjoyed them just as much as the movies.

So for me Star Wars always went beyond some kind of narrow "canon" and was always inclusive of basically whatever published (slop or otherwise) material I could get my hands on.

I have also always been very comfortable picking and choosing what I enjoy and care about. I have no issue with a book or move being bad/not to my taste/not in line with my preferred interpretation and just... not really caring about it.

Any long running & expansive fictional series will inevitably throw up mixed quality and contradictions. Even with a single author. The good thing is literally none of it is real so who cares.

In fact this gives readers/consumers a lot of freedom. We are under no obligation to engage with all of it or try and build some kind of perfectly synthesised "correct" interpretation that takes into account absolutely everything that has ever been portrayed.

No one (despite what it sometimes feels like) is marking your homework. There is no pass or fail. You can't enjoy something incorrectly.

How fandom - and I have in the last few weeks been far more active on Tumblr, the only social media site I post on - interacts with Star Wars does bizarrely feel like some kind of peer reviewed pseudo academic process.

However, it feels like a peer reviewed pseudo academic process which - and this sounds unbearably arrogant so please forgive me - is envisaged by people who have limited experience of how academia treats textual studies.

My majors were history and literature (and I went to Universities in the Global South that were VERY dubious of the distinction between those two). Literally none of the academics I studied under believed in some kind of single correct interpretation of any text.

Any text. Fictional or historical.

So why would the most massive science fiction IP in history that has been consumed by billions of people, which is the aggregate effort of dozens or hundreds of people lend itself to some kind of single correct interpretation?

In fact kind of a big part of academic textual studies is deliberately re interpreting texts through multiple lenses and logics. Just to see if you can. Just to see if it fits.

Historiography is a necessary element of any historical study & you could argue the same is true for fictional texts. We should definitely keep authors biases and intentions in mind when engaging with a text.

But we do not, and cannot, know the inside of their minds. The idea that even what they say in interviews is somehow a perfect articulation of their "true" intention is flawed.

To whit - if you believe an author perfectly expressed the definitive articulation of an idea in an interview (a spoken format where even if they knew the questions before hand they are giving their answer somewhat off the cuff), why do you NOT believe that a movie script or novel manuscript that they have worked and reworked and edited and proof read and reedited and redrafted for hundreds of hours is any less perfect an articulation of an idea?

So all we can do is acknowledge what we think we know of the author and decided if we care and how much weight to give it.

But the text is the text and the evidence is the evidence. We can weight it differently or dismiss it or whatever we want but ultimately we either believe the text itself has independent value or what are we doing here?

We seem committed to prioritising textual evidence over historiographical evidence otherwise we are in a self defeating exercise. We need not watch the movie, we need only watch cast interviews. We need not read books, we need only read the author's blog.

There would be no viable interpretations of Beowulf because we can't speak to the author.

It defeats the very idea of ideas - that they are independent, transmissible, intelligible, far beyond the reach or remit of the people who had them.

Some are good, some are bad, all are out there, and we can pick and choose as we wish.

So do so.