#i don't like this one very much but i remember the first time i posted it somebody said the way i drew him-

[treefey]

I like this! But! I wish they had just made it explicitly Eowyn narrating rather than Miranda Otto doing her best Galadriel. I didn't really like the narration except for the prologue and epilogue parts (sorry). I also hate that they open with the Rings theme-- we'll get to my imaginary better alternative later

If they were gonna reference LOTR, I think a frame story where explicitly Eowyn is telling the WOTR story would be perf. She's telling the story to her kids, maybe they're sick à la Princess Bride. Which would also be perfect because she's a healer. We don't even need visuals; honestly it would probably be great without it because the audience could feel like we're the kids. And who doesn't want to feel like you're in a boring post-war Gondor with the best parents tucking you in and telling you a very bloody bedtime story? Also it would shut up the conspiracy theorists who think media is pushing women to not want kids, not that we need to bend to those people

I love the opening over the map, so open over a map of Gondor with the Gondor theme. And then have Eowyn talk about how she is gonna tell a story of her people, maybe that she knows we want to hear about the war of the ring, or Merry & Pippin's homeland, or one of their dad's ranger adventures, but instead she's gonna tell us a little known tale of the Rohirrim, a tale of adventure and loss and the human spirit. A time when the shieldmaidens' banner hung proudly in Meduseld. Then pan over to Rohan and say the story takes place during the first line of Rohan, x years before Theoden reigned. Idk, maybe it's cheesy, but the right lines could make it soo cozy and focus the story a little bit more.

Maybe there's kids in the voiceover, maybe not. Depends on just how much cheese we want. And how much you think the audience would believe that we could have a very maternal storyteller who is also so unfazed by blood she'd tell her kids this story. (I mean, she probably has had her hands up to her elbows inside people when there's a farm injury or a breech baby, so I'm not surprised we get a bit more gore than LOTR)

There's other things I would do to focus the story around the war more, give it more a three-act structure. But specifically in regards to doing a frame story rather than regular narration, I wouldn't do any more Eowyn voiceovers until the end. Or if we did wanna do the whole Princess Bride version, have a kid ask why Gondor didn't help out and have her or Faramir answer what was going on in Gondor at that time (would be funny if Faramir started answering and Eowyn interrupts and says it's time for a Rohan story right now, and the two kingdoms weren't always as close as close as they are now, let's get back to the story). But back to the end, I like the "that's how the first line ended and second line started." We could add more, like the throne passed from uncle to nephew as it did later. And remember whenever you feel alone or scared, that not only does the blood of Helm Hammerhand flow in your veins, but also the blood of his daughter who protected her people by wit and by sword. And even though most accounts have forgotten her name, we're all still here because of Hera's bravery.

I'm obsessed, actually, like parts of the story that reflect Eowyn's (and Eomer's but mostly Eowyn's) story from LotR sort of in an "each stanza rhymes" kind of way until it occurs to you that Miranda Otto is narrating with this sort of implication that it's Eowyn herself telling the story and reading it through her own experiences plus the fact that it's mostly a behind the scenes sort of story and all the great deeds were attributed to other people (Hera isn't even named in the appendices) alongside the explicit statement that Hera isn't remembered in any of the songs, making this something Eowyn either heard passed down in a non-traditional way, reconstructed from historical evidence she found herself, or possibly learned about from Gandalf, which loops back around into Eowyn's own complex with regards of all the great deeds being done by the men and not remembered for great deeds in songs -- and like okay maybe I'm reading too much into it but I'm obsessed okay

[fatliberation]

Sorry for leaving this in your inbox, but I need to vent and ask for advice in a place where people won't mock me. What do you do when sex is super difficult because of your fat? I've recently gotten into my first relationship and. I thought I had a handle on my internalized fatphobia and self hate but this has made it worse than ever. We can't have satisfying penetrative sex (we've tried all the tips and workarounds. Nothing works. I'm larger than most of the FA community.), and recieving oral sex is also difficult for me. I also get tired and sweaty extremely quickly if I have to like hold up myself on mostly my arms or something, so he has to do most of the work. So sex is just. Mostly the one that works on repeat, and we don't have it very often because it isn't that fun for either of us, and it also makes me cry afterwards sometimes because of how disappointing it is & me beating myself up over it.

I'm genuinely worried my boyfriend is going to leave me for this. He's clearly very frustrated with the situation, even though he tries to be nice about it most of the time. Earlier today I tried to like be flirty and hint at stuff and he just. got a bit sad. and then said that clearly neither of us enjoy the sex we're having and that he has a lot of trouble staying hard.and that he doesn't see the point when we're both forcing it for no reason. I think he's going to break up with me soon. His ex is way lighter than me, so he's probably comparing the normal sex he had with her with whatever the fuck this abnormal shitshow is :/

All the work I've done on myself to be happy with being fat (including working up the courage to date, what a mistake that was lmao) is all gone. This has ruined my self-esteem so much. I feel like one of those fatphobic jokes but a person.

first and foremost, please try your best to remember this: your body is not the problem. one more time. your body is not the problem. I'm so very sorry you're concerned that your boyfriend would leave you over this. it sounds like he has a lot of preconceived ideas about how sex is supposed to go. I promise you that it doesn't have to be this way. if this is something that could really end the relationship, know that this person is not compatible or open to exploring your needs, rather than your needs being "too difficult." I promise it's him, not you. I know folks who are 600+ pounds who have excellent sex lives and partners who satisfy them and enjoy satisfying them. when someone starts treating your pleasure like a chore, that's just shitty. I know how much it hurts. it also does damage to your own openness to pleasure. when you're caught up in feeling like sex/your body is something that needs to be "fixed," nothing is going to feel sexy, because all that pressure puts stress on and takes you out of the mental state where you're able to experience pleasure. does that make sense? so many couples get stuck in this cycle.

there are so many ways to engage in pleasure without penetration or orgasm. there's a lot that goes into foreplay, setting a mood, making your partner feel appreciated and attractive. words and touch play a huge part in this. something as simple as exploring each other's bodies, not with the intention of reaching climax, but simply to be vulnerable and engage each others' senses. have your partner give you a massage. play with your hair. tickle your back with a feather. shower together. kiss you. compliment you. if either of you are into any kinks or dirty talk, that could be a great way to engage each other sexually without the pressure of "achieving" a goal. the goal here is just to feel good, close, and connected. societal messaging about sex has placed so much importance on orgasm instead of pleasure - when taking the time and space to relax and receive attention, is key.

feel free to check out my other posts on fat sex ed, there's lots of assistive toys that can make pleasure more accessible, but I think that should be a tool for later, since the biggest issue here is the pressure to perform. know that pleasurable sex can exist for you! but for now, I would recommend taking a break from sex altogether since it is not pleasurable for you right now. because pleasure is the whole point. forcing it is only going to feel worse. you do not owe it to your boyfriend, especially if it doesn't feel good and is taking an emotional toll. I hope you both are able to take a step back, reassess and communicate, and are able to reconnect and create a safe space to explore.

I understand why you're beating yourself up over this, I've been there too. but also know that it's just another societal standard that's been internalized (and it doesn't sound like your boyfriend is helping). like you said, you've done a lot to unlearn fatphobia. there's a lot of internalized beliefs we absorb from society surrounding sex, just like body image. I promise that there is nothing wrong with you. If your boyfriend takes his frustration out on you instead of making you feel safe to express your needs, then he's not a supportive partner. you deserve someone who takes delight in your pleasure and your body. believe me, we're out there.

[randomfoggytiger]

Hello Tiger,

I've never spoken out on this subject and I'm not going to again, but seeing Sunday's discussion, I can't remain silent. We have different concepts of what it means for a young woman to “thrive” and what it means for a man to assume a relationship openly, without looking like a deer in the headlights every time he is seen with his partner. So far, so good. As for the glaring age difference, it's controversial, but it's not the end of the world either. But what about the fact that a 55-year-old rich man goes after a 22-year-old girl, enters into a sexual relationship and brings her to live with him? 22 years! Do we have a different concept of that too? Is a 55-year-old man with a 22-year-old girl acceptable to you? For me, there's no justification - I'm still a fan of Mulder, but only of the character. For now. Please don't be offended: I'm a long-time reader of your site and even though I don't agree with your position on this subject, I enjoy reading it very much and I appreciate your willingness to write about the series. I wish you a happy 2025!! 🙏

I'm not offended, don't worry. :DDDD Age gaps relationships boil down to whether an individual can stomach that sort of dynamic or not; and no amount of logic or reasoning is going to dissuade a gut reaction. So, I get it when others can't stand it.

And thank you for the compliments! I try to keep church and state (my irl opinions and the series' meta) separate. ;)))

My Thoughts

I don't mind age gaps because I've seen/heard them done successfully-- however, those successes are incredibly rare. Stereotypically, it involves someone younger with someone older, and there's usually money to some degree. Exploitation is a huge risk to watch out for; and I've found the toxic relationships have two prominent factors in common: A. they quickly lock down a younger individual by knocking her up, thus making it harder for said individual to leave; and B. they dangle and lie and push off the type of commitment the younger individual expected, dragging on the process as long as possible while demeaning and belittling the younger person's sense of identity.

Why am I okay with David and Monique?

First off, we don't know how old Monique was when she and David began dating. She first appeared publicly at The X-Files premiere (with her friends and boss from the smoothie shop) in 2016. The two didn't appear publicly together until 2017; and I'm pretty sure she was on set a time or two while S11 of the Revival was filming. She would have been 24 or 25 then.

However, let's assume they began dating in 2015 when she was 22 (after she followed Brad on Twitter or Instagram, I can't remember which): I would immediately raise my eyebrows and go on the defensive. That would lead me down a long rabbit hole of questioning and double questioning; and I would have to arrive at a final conclusion with some sort of evidence to indicate if this was a predatory, creepy, weird, neutral, positive, or healthy relationship-- part of that process would include looking at relationships outside of the two primary "targets": kids, family members, exes, etc. Which I did, because there was a lot of ruckus (on Tumblr, sometimes Twitter) about the nature of their relationship. Next, I would look at the individuality of the people involved: was there an improper balance between the two-- was one beholden to the other? Speaking of which--

Secondly, I long suspected Monique had independence of some form apart from him-- her Instagram posts didn't change substantially after they moved in together except to now include him; she hangs out regularly with her friends; she has hobbies and interests outside of the relationship; etc., etc.-- and confirmed my suspicions yesterday with an old interview. Her parents, per the interview, were well-off enough to give her horse riding lessons... and ice skating lessons... and tennis lessons... and violin lessons... and soccer lessons, all at once (?) She traveled the world for tournaments before meeting DD.

Regardless, I just don't see David as the type to leave an ex high and dry after they part ways-- he went above and beyond to pay alimony and his kids's expenses post divorce (at apparently higher rates than is usual for his $$ bracket in NY, if I recall), and he brings all his past associates, exes, and family forward in his projects. Even if one wanted to write off their relationship as a sugar baby transaction, MP would still have the ability to network as DD's ex after taking the assets both would split post- (potential) separation.

Now, for the moral/ethical aspect: while many are against and few for the idea of age gaps, I-- personally-- weigh each case individually. Most celebrity age gaps are based on transaction, but knowingly. Leonardo DiCaprio, for example, dates only women younger than 25; but his girlfriends seem aware of that fact, and he markets them and their careers pretty generously (comparatively) so that they're established as models or socialites or etc. etc. etc. by the time the relationship comes to a close. (I've never heard one speak badly of him, but there's always that possibility.) If there is exploitation there, it's at least propagated by both parties.

In David and Monique's case, she hasn't used her relationship with DD to market this or that venture-- despite speculation that she would-- but doesn't hide it, either. He, meanwhile, brought her everywhere with him; introduced her to friends, acquaintances, and professionals along the way; and snapped countless photos of her and let her snap countless photos of him. They seem-- on a surface level-- to be attached, in love, and secure in each other. Not to the same degree that he and Tea had, but he's not the same man post- public "sex scandal" and (especially) divorce. And having gone through countless paparazzi pics of the two of them over the years, I've noted that he doesn't treat her differently than any previous "private citizen" ex, and initiates more physical contact in public than she does.

Swinging back around to the moral/ethical argument, is it right that a man thirty years MP's senior should date her-- one with kids, no less? It depends, to me. What is the health of the relationship? What is the health of their relationships outside of that relationship? Are they growing and changing or stagnating and regressing? I've seen both seem to progress rather than regress-- he and his directorial and podcast efforts, she and her arts and crafts and flower business. He and his kids seem to have a solid, loving, loyal relationship even after she joined his life; he and Tea have a cordial, publicly supportive, even loving relationship after their divorce; and he never seemed to abandon his responsibilities to his mom in her last years on earth. As for Monique, she and her friends and family seem (don't have too much information to glean from here) to still have a solid, loving, loyal relationship; she seems to keep out of business that doesn't concern her (DD and Tea's co-parenting); and she seems to not push his kids into compromising or uncomfortable situations.

As far as age gap relationships go, this appears pretty drama free, even-keel, and seemingly positive and healthy-- 'healthy' as in there are numerous signs of personal growth from both parties.

Personally, I think people settle into relationships where they feel most at home, or ones that reflect where they are in their personal lives. Those dynamics could be healthy or wickedly unhealthy; but they're where the person wants to be. (It's up to family and loved ones to rescue an abuse victim, of course, but that person picked someone who reflects how they feel about themselves in their minds, for example.) I don't know what initially drew Monique and David to each other-- maybe she makes a mean green smoothie. Maybe he has a ton of money she likes to spend (though their rather unglamorous lives, factored in with her parents' more-than stable finances, leads me to take this with a grain of salt.) All I know is what I've seen written up on the internet-- that Monique "saved him, in a way" (said a close friend-- who was not a bootlicker, because she also had biting criticisms of David to share)-- or leaked online-- that DD is MP's world and she loves him.

So, in conclusion: I'm very skeptical of any relationship-- age gap or otherwise-- and need to see proof before I believe that two people are actually in love or thriving. Furthermore, it's their business; and as long as his kids aren't feeling neglected, abandoned, or "less than", and as long as there isn't abuse, manipulation, or control, then I figure let the two in the relationship sort themselves out. ;))))

[xinganhao]

some thoughts and extra content on my how is your youth? mini-series, where booseoksoon are your youth ✦ stories of the past (soonyoung), present (seokmin), and future (seungkwan).

(1) as mentioned, all titles are from day6's remember us : youth part 2. being a carat x myday strikes again lol. the references are very loose/barely there, but this is one of the first albums i think of when i think of the word 'youth'! it also has some of my favorite day6 songs of all time. (:

(2) when the series was but an idea clanging around in my brain, i went to maplegyu for advice. i gave her an inch ('dk is childhood crush coded'), and in turn, she gave me a mile ('a playmate u met for the summer that impacted ur life but never saw again'). when i say maple has helped me come up with some of my best ideas, i mean it. attaching her review here because it gave me so much joy!

(3) i couldn't find the photos that would pull it off, but i wanted seokmin to show off the rings that he still had from reader ): in my imagination, the rings are the plastic, toy type that you win from a gashapon machine/can buy at the cornerstone/et cetera. some visuals -ish:

(3.1) when reader and seokmin start dating, he starts wearing the ring in a necklace. he also never stops calling reader his 'wife' despite protests.

(4) no better place to drop this, but here's a panel that didn't make it into the final smau because of space/pacing issues! would have been towards the ending. (:

(5) i hadn't intended for lorde's ribs to be a recurring theme throughout the work, but it helped me realize that i wanted each of the readers to have internal conflicts (as much as bss might have). it ended up going as follows:

so cool!reader being scared of growing old

121U!reader holding grudges

days gone by!reader moving on from what-could-have-been's

(6) the first rain of may (referred to as unang ulan ng mayo in my country, and agua de mayo in spanish) is viewed as mentioned— something that's supposed to be 'healing'. it felt most appropriate to associate with seokmin, who embodies healing in his own way. 🌻

(7) the idea of focusing on soonyoung's taekwondo history is once again maple's, and the specifics on the rivalry (i.e. lacing up armor, pulling during stretches, racing during suicides) are all from sarangcoups. i felt very strongly about a childhood!soonyoung being a little bit annoying over having a crush— the type who mistakenly believed that bullying = affection.

(8) by this point, i started locking in the idea of each boy representing either the past, present, or future, which is laid out more clearly as follows:

seokmin, who associates reader as his youth which he wants in the present

soonyoung, who carried his past with him and learns from it on the daily

seungkwan, who plans to face the future with the love he received from his youth

(9) i realized belatedly that soonyoung's smau is shorter than the others, which is why i tried to compensate with a longer -ish headcanon format. nonetheless, it was fun to explore his voice both in the texts and the written part. he's still a little obnoxious, but it's endearing. out of all the work in the series, this one feels like the one that's likeliest to get more parts (but don't hold me to it! haha).

(10) up until posting, i was on the fence about whether i should conclude seungkwan's story the way that it ended. that's why i ended up publishing it a couple days off 'schedule', primarily because i had to contemplate whether i was cheating seungkwan out of a 'happy ending' because soonyoung/seokmin got theirs.

and so maybe that's why i feel like i have a soft spot for this particular verse now because it helped me remember something important: romantic love is not the end all be all. a happy ending is still possible without it. how foolish of me to forget that, and how apt is it for me to be reminded with a story of seungkwan when it's something he would very easily tell people in a heartbeat.

(11) the alternate romantic ending would have still featured a similar line wherein seungkwan insists that 'kwannie' belongs to reader, but i pulled it out at the last minute when i realized— 'kwannie' doesn't exist anymore. it's a past version of him, one that the reader has maybe romanticized in her head. so, yes.

high school almost-lover 'kwannie' is reader's, but present-day 'seungkwan' is not.

(12) MOAs might recognize this, but the last line of seungkwan's interview is from a well-known soobin quote. it's something i think of constantly, and i feel like it's also something that seungkwan himself would believe in.

(13) another slide i cut for space reasons (replaced with seungkwan's '27' tweet):

it was posed as a gentle reminder from reader -> seungkwan that, as the lyric goes, life has just begun. it's also a prompt for him to not pick up only on the sad parts of the song/life, when the good lyric/part is in the very next breath.

tl;dr, your youth is whatever you want it to be. whether you are stuck in the past, living in the present, or afraid of the future— know that there is a love that waits, and it will be a good love. i promise you that.

like i always say: this story was mine once, but it's all yours now. ❥ thank you for reading along, and happy bss comeback szn!

how is your youth? 📢 a booseoksoon three-parter.

three independent smaus featuring booseoksoon, who you've had the pleasure of knowing throughout various stages of your life. or: verses where bss are your youth.

ⓘ synopses under the cut. aus will be linked back here once posted. happy bss comeback season, everyone!

do you remember...

so cool ✮ seokmin x reader.

... the kid you pretend-married on the playground? you were only 'spouses' for one summer, but you have the photographic evidence to prove it. it would be nice to know how he's doing, right?

121U ✮ soonyoung x reader.

... the annoying guy from your after-school taekwondo class? you hated his guts. you don't even really care much for the sport anymore; you just want to get back at him for making your life a living hell.

days gone by ✮ seungkwan x reader.

... your first love from high school? sure, you never really dated him, but your feelings were very much valid. whether they've stood the test of time is the real question— and it looks like you're about to to get some answers.

with love, kae ✎ a very special shoutout to the best of the best, @maplegyu, for helping me brainstorm some of these (..◜ᴗ◝..) starting the year with bss, lfg!

all titles are from day6's remember us : youth part 2.

› scroll through all my work ദ്ദി ˉ͈̀꒳ˉ͈́ )✧ ᶻ 𝗓 𐰁 .ᐟ my masterlist | @xinganhao

[e-vay]

Hi!! First of all, I'm a BIG fan of yours and I love your work! My question is, do you still have your first reference sheet or your first design ideas for Aurora? Or maybe the names you have thought to give her? I'd love to know more about our girl!

Thank you so very much! I really appreciate that 🥰

A long time ago I posted a compilation of Aurora's designs throughout the years. She started out pink, then she was purple, then powder blue, then back to pink haha.

I'll give you the full rundown of Aurora's history but it's not all sunshine and rainbows, so buckle up!

When I very first started drawing her, her personality and background were COMPLETELY different. She was more of a reflection of all the shit I was going through at the time and she was my coping mechanism (🎶childhood trauma🎶). She was from a mechanoid, dystopian future and she was orphaned at a young age, so she was a very jaded character. She ended up traveling back in time and actually getting to meet Sonic and Amy (during the time we see them in the games), but she was really bitter and resentful towards them. I only have this one scan of a drawing from that era, I lost everything else:

I really do not know when this was drawn, but based on the art style and trying to recall what my living situation was like at the time, I am guessing this was probably around 2001.

Then between 2004-2006, things in my life started to drastically change again and so I don’t know, I guess I decided to reevaluate things? I don’t remember a lot from this time —again, childhood trauma—so I don’t remember exactly what sparked the change. But I think I was like "Wait a minute, Sonic and Amy and Aurora don't deserve this. I’ve been making this all about me. Let me try again." So then I rebuilt Aurora the proper way, thinking about what traits she’d inherit from her parents and the way they would raise her, and thinking about just how fun a family the three of them would be (because the ideals of “fun” and “adventure” are so important to both Sonic and Amy so of course they would make for a fun family). So that’s where her personality and relationship with Sonic and Amy became what you know it as today.

I fell out of the Sonic phase for awhile and was focused on other interests for several years, and then around 2014 I came back to Aurora and that’s where I ended up with her current design. Even then I was experimenting with her interests and motivations, and this is when I gave her the power of light. It just seemed to really suit her and I thought both Sonic and Amy are just such pure sources of light and love that it made sense for it to physically manifest as a power in her.

The one thing that's never changed was her name. She was always named Aurora, even from the very beginning.

I know this was a LOT of personal info about my own life, but my history played a huge part in the initial concept of Aurora which is so insanely different from the Aurora you all know, so that’s why I figured I’d explain.

[cirqyt]

2021 / 9 / 17

[bayetea]

unfortunately at a point where I just don't trust anyone's opinions on frank/hazel or frazel or their dynamic with percy anymore. a lot of u guys have not read son of neptune in 5 years and it shows

[obstinaterixatrix]

webtoon-wise:

Her Tale of Shim Chong (~90 chapters), retelling of korean folklore, solid art/pacing/writing from what I remember (though it's been a while), also good for almost-rancid (but not quite) vibes

I Love Amy (~60 chapters), high school setting, artist's goal was to have a yandere character get a happy ending, good reference for high energy/dysfunctional characters and relationship building while a main character is switching targets (as opposed to master of the fox bead which imo spent a little too much time on the red herring love interest guy)

Sherbet Above the Sea of Fog (~60+ chapters), good reference point for fantasy, one-sided relationships, and very gag-oriented super comedic writing that still leaves room for pathos and interesting developments (as opposed to hero and former general, which imo is too gag-oriented for emotional investment)

Partition (~60 chapters), office romance, hits a very BL-type vibe because both characters are high energy and the main character kinda sucks a little as a person (LOL), main story extends beyond establishing relationship

indie project-wise:

After Hours (20 pgs), office/supernatural romance, good reference for short-form genre-juggling and tension building, I LOVE THIS COMIC!!!!

Gimm*r Vol 1 (~100 pgs), anthology, a lot of good examples of short-form comics

Influenca (~80 pgs), supernatural slice of life, good reference point for more experimental/non-linear narrative stuff

Of Thunder and Lightning (~60 pgs), good point of reference for violence and vibes that don't hit explicit romance but are very loaded

Misc:

Fear and Trembling is a 2003 french-japanese film where part of it is the main character having a weird toxic unfulfilled relationship with her supervisor, watch it to get a reference point for weird toxic unfulfilled relationships

yuricon is a site run by erica friedman, who is the writer of 'by your side: the first 100 years of yuri anime and manga'--good english resource for the genre, I've been meaning to actually sit down and read it. the website has essays/podcasts/yuri news (just checked okazu and learned that galette is having a kickstarter...!), so it's a good academic/news reference. There's a lot of narratives/tropes that you kind of pick up when you learn about the genre, like class s narratives, which can contextualize older yuri and what some current yuri might be referencing/subverting.

translation of a jp blog post about yuri taxonomy

yuri made me human interview part 1 & part 2

Where Is My Place in the World?: Early Shojo Manga Portrayals of Lesbianism by Fujimoto Yukari, translated by Lucy Fraser (got the link to the paper from this tumblr post)

The Sexual and Textual Politics of Japanese Lesbian Comics: Reading Romantic and Erotic Yuri Narratives (using the archive.org link because the website is down)

Bit of an odd one here, but do you have any yuri/GL recommendations for people interested in learning how to learn and write the genre well? Stuff that fires on all cylinders and hits every target, even if it doesn't exactly break the mold (tbh I just want to write girls... no, I shan't say. But I want to do it WELL, y'know?)

YES, manga-wise:

Still Sick (3 volumes) is good for grounded but still silly office romance, the main character tables at cons selling yuri doujin and her coworker finds out her secret, the women are just some guys

Ayaka is in Love with Hiroko (3 volumes) is good for high energy high stupidity office romance (that still hits pathos, does explore internalized homophobia), ayaka is down bad for hiroko and hiroko is very ‘WOAH STRAIGHT WOMEN ARE SO SCARY… STAY BACK, TEMPTRESS’, the women are just some guys

5 Seconds Before a Witch Falls In Love (2 chapters + short extra) is good for short-form action-oriented romance with a witch hunter and a witch, the artist mainly writes BL, the women are just some guys

Hana to Hoshi (2 volumes) is good high energy high stupidity high school romance between table tennis ex-rivals, the gals are just some guy

my preferences skew towards romcom rather than drama/slice of life so if you’re looking for that I have some titles but not a lot to say (and I haven’t read all of these in-depth):

Run Away With Me, Girl where a woman reunited with her high school ex who is in a currently abusive relationship and they run away together. Good for distinct art style, heavier storyline that still wraps up in 3 volumes

Even Though We’re Adults, a woman hooks up with someone who turns out to be married; shimura is pretty prolific (I mean she wrote aoi hana), as far as I remember competent character writing and scope; good for long-form reference for heavier storylines (10 volumes)

How Do We Relationship, more coming of age than yuri imo but good for long-form messy college relationships

She Likes to Cook, She Likes to Eat, very slice of life, grounded to realistic emotions and experiences, definitely comes from a place of Wanting To Represent The Queer Experience, can be a reference for low-key romance

The Two of Them are Pretty Much Like This, age gap slice of life established relationship, good for slow atmosphere and conflicts beyond will-they-won’t-they

I have a couple webtoons to add to the list but this is eating up my snow frolicking time so I’ll add that in like 4-5 hours if I remember. also I have an ff recs tag

[sskk-manifesto]

Next time we should just skip over ep 3 and do a chapters 84-87 reread

[rabbithaver]

every so often i will see a post from a leftist on this website that is so egregiously ableist that i remember that like. oh yeah the userbase of leftists on this website is violently anti-disabled people and will jump at any chance to demonize any of us for any reason. i just forget that fact because i'm extremely dedicated to curating my space

i'm paraphrasing here but i saw a post that said, "every time i see an American [disabled person] mention being scared about the election because they're afraid of losing their benefits i have to laugh. anybody who wants blood-soaked money from the US government deserves to starve" which. like. goodness that's a lot to unpack. i think we should burn the whole suitcase instead !

[skrunksthatwunk]

ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

[lieutenantselnia]

Internet archive I love you❤️❤️❤️

[greyias]

Tagged by: @captainderyn -- thank you for the tag! Tagging: @meanbihexual, @keldae, @queen-scribbles (no pressure!) From the little au that could...

—

Valkorion had looked down at his progeny with ill-disguised contempt, lightning dancing at the tips of his fingers as he attempted to silence what he saw as the only threat in the room. He didn’t even look up until the cold barrel of a blaster buried itself at the base of his skull.

Which brought Theron back to where he wasn’t supposed to be.

Here.

Standing in someone else’s moment, stepping into a destiny that wasn’t his, and about to set into motion a cascade of events he had no hope of understanding. He was a disgraced spy. A Jedi washout. The Force-blind son of someone else’s greatness. A man always destined to live in the shadow of others.

“Do you really think that pathetic toy will hurt me?”

[hwanghyunjinenthusiast]

Tw: suicide

So, I just read about Moonbin. I wasn't sure whether or not I should mention what happened here given the nature of this blog but, I don't think I'd feel right not saying anything at all.

[arolesbianism]

Guess who's thinking abt eg au again

[pomegranatesarchive]

A female f1 driver who was featured in the barbie movie as the f1 driver. You could write about her scene and working with the Margot and Ryan lol, and how the grid reacts to it. Lanpd could be her bf or not if you don't want.

You don't have to absolutely write if it doesn't strike any inspiration and you obviously can write whatever you want you xoxo

barbie girl | redbull!reader

pairing: f1 grid x reader

summary: redbull!reader does a cameo in the barbie movie

part of my ‘redbull!reader’ series

liked by alex_albon, landonorris, and 816,027 others!

yourusername: this barbie is a f1 driver! 🎀 barbie is out now in theaters near you <33 (or not near you? idk where you lot live)

view comments below!

user1: yn is just hitting all these side quests because what?

user1: happy for her tho!

user2: is this what it’s like to be so rich that you can literally do whatever you want?

user3: YN CAMEO!!!!

user4: WE CHEERED

user5: omw to see barbie now

landonorris: i know where you live

user6: can someone tell me her part in the movie? my parents won’t let me see it 😓

user7: she’s a f1 driver barbie, and she’s gets into a relationship with f1 driver ken (played by glen powell) throughout the movie you could see like snippets of them going from friends to bf and gf!! you could probably find some clips on youtube or something :)

user6: thank you <33

user7: GLEN POWELL????

user8: THE CAPYBARA GUY???

charles_leclerc: i can be your ken 😊

yourusername: no thank you i already have my glen ken!

charles_leclerc: but he can’t drive a REAL f1 car

yourusername: i can teach him

charles_leclerc: FINE

charles_leclerc: BE LIKE THAT THEN

charles_leclerc: I DONT CARE

charles_leclerc: GOSH

glenpowell: i would like to make it very clear that i have no interest in learning how to drive a f1 car!

charles_leclerc: NO ONE CARES GLEN

user9: i love when yn posts because i just know the comments are going to be filled with the drivers acting like they have no decorum

landonorris: i know where you live

alex_albon: movie night?

maxverstappen1: i already watched it

georgerussell63: we know…we all saw the picture of you decked out in pink at the movie theater

user10: LMAO

user11: it makes so much sense that the first time we see max in pink is when he’s supporting yn

lewishamilton: so excited to see it! 🩷

yourusername: love you 💚

charles_leclerc: I LOVE YOU TOO YN

maxverstappen1: i want love

alex_albon: can’t remember the last time you said that to me…sigh…

georgerussell63: love me next?

oscarpiastri: playing favorites i see 🤨

landonorris: i love you too 🥰

user12: bring back shame

user13: their desperation makes me sick

oscarpiastri: i guess ill watch barbie now

yourusername: why are you pretending like you weren’t the first to ask me for spoilers?

oscarpiastri: no clue what you’re talking about???

yourusername: mhm sure osc sure

user14: osc 🥹

landonorris: i know where you live

yourusername: what is wrong with you?

landonorris: i’m outside your door

user15: it’s official, lando is killing yn so he can win more races

. . .

notes: thank you for requesting!! hope you don’t mind i used this for my redbull!reader au :)