#i love these scenes where shes actually in action

[syngularitysyn]

It's all fun and memes to joke about how Caitlyn immediately switched sides the moment she hears Vi call her cupcake again. And I do it too. But to me, the switch wasn't abrupt at all.

From the first scene in episode four, Caitlyn already says that the martial law has been going on much longer than she wanted. In the next scene, you see her standing up to Ambessa, using her words back at her, for which Ambessa calls her fearless. It shows that Caitlin has not given up control and is not being puppeteered by Ambessa. She's in control still, but her singular focus is still on Jinx like it was in act one.

Vi was right that Caitlyn is behaving like Jinx, but it was probably the worst thing Vi could have said to her, no matter how true, cause Caitlyn was too deep in her quest for 'justice' in her grief. That's why she reacted so violently.

Jinx is the target of her obsession, or her in her mind for justice, even though what she really wants is vengeance, and being compared to Jinx cut deep. Vi had noticed the similarity before in season one, but that was before Jinx kidnapped Caitlyn and wanted her dead.

In the beginning of episode four, she feels that it's been going on too long, but even after all those months her obsession is still stronger. Her obsession with getting vengeance, finding Jinx, killing Jinx, is still stronger than her moral compass, which she has abandoned to avenge her mother and fill her mother's shoes.

But over the course of the second act before she sees Vi again, there are multiple things that happen that make Caitlyn understand she has to stop, that what she's doing isn't right or justifiable.

Some of these were not initially clear to me when I first watched it. but one thing I realized today while I was working out is that one crucial moment for Caitlyn's arc in act two is with Singed.

Taking her singular focus off Jinx for a moment, Caitlyn does what she does best and figures out who Singed is, and what he's responsible for. She uncovers that Singed is actually the formerly revered alchemist Dr. Corin Reveck, who used to work with Heimerdinger at the academy. Arcane implies he is from Piltover and became a Zaunite after being kicked out of Piltover. He helped build up Piltover to what it is, and now he is ravaging Zaun with shimmer, weapons and monsters.

When she calls him a monster and asks him "why do all this?", he tells her he did it 'for love'. Out of love for his deceased daughter.

And I think that that is one of the crucial moments where Caitlyn starts to realize that what she is doing is not very different from him.

She's doing things her old self would never have approved, of out of love and grief for her deceased mother.

When she sees Vi again, she doesn't suddenly switch sides, she's already been doubting her chosen course of action. She initially says "you can't be here", because Caitlyn is trying to believe she's doing the right thing still, and knows Vi is a threat to that belief/lie.

Vi calling her cupcake though, is one of the last drops in the bucket. She left Vi to do what she thought she needed to do, what her mother might have done. What she's doing out of guilt for not saving her mother when she had the chance. She even tried to be with a girl her mother would have approved of.

When Vi calls her cupcake, all the feelings she's been trying to stuff away come flooding back. She snaps out of this self-imposed love-deprived state she's been in, and she can no longer deny she loves Vi.

When Vi tells her that she's trying to save her dad, I think that is the moment she actually switches sides. That was the last drop. That is the moment where she realizes there are still people she loves, who love her, who are still alive and they need her help, and that is more important than her horrible campaign for vengeance out of grief, otherwise she's no different than Singed.

[teaboot]

TOP 10 PERSONAL FAVE MOVIES TO WATCH WHEN YOU FEEL LIKE ASS

I don't like movies that stress me out because life is already stressful but I DO love catharsis comedy found family friendship fantasy and violence so here are my top 10 movies and series to have a good time watching

Numbered for convenience but not in any particular order

John Wick 1 and 2: An ordinary man grieving the loss of his wife gets dragged back into his past as a shadowy, invisible world of international killers for hire is slowly revealed to be living among us. A love note to set design, lighting, and choreography. My favourite part is fixating on the symbolism. DO NOT WATCH 3. 4 is okay. DO NOT WATCH 3. There is a dog death in 1 that will make you cry so skip that part if you have to. DO NOT WATCH 3.

The lord of the Rings, all 3, extended edition best watched if you're on the couch with the flu and expect to fall asleep OR if it's your day off and it's raining outside OR if you have like 5 people lounging around in pajamas

Six Underground: Essentially an hour and a half long car commercial music video with found family and a fresher take on acommon plot. Ryan Reynolds essentially writes and directs a Michael Bay movie where 6 independant criminals gather together to overthrow a violent foreign dictatorship. You show up for a dumb heist and walk out ready to build a guillotine. TW for violence, car crashes, chemical warfare, and genocide. A very cathartic ending. Does unfortunately do the whole "vague, impoverished middle-eastern country" thing but the citizens are actually show as human beings which is a nice change of pace and oh wow that's depressing isn't it

The Princess Diaries 1 and 2: A sort-of-a-loser teenage girl, played by a 2001 Annie Hathaway, learns that her late father was a king of a foreign nation and must become a confident and responsible leader for his people. There is a scene in the rain where you will experience emotions. Best watched with snacks. 2 features an enemies-to-lovers type deal with Chris Pine.

Ella Enchanted: A shrek-style semi-musical fantasy romance in which a young woman is cursed at birth to do everything anyone tells her to do. Features several Queen songs and dance numbers sung by Annie Hathaway and that guy who plays the sad dog guy in Hannibal.

Stardust: A huge loser travels from 1800s England (?) to a magical world in order to fetch a fallen star for the insufferable love of his life before she marries a massive douchebag. The huge loser? Charlie Cox. The star? A living person. Also a whole bunch of princes are ALSO looking for them as a race for the throne while discreetly killing each other off. And also a bunch of witches want to eat her so they can be young and sexy. 11/10. I used to watch this 10 minutes at a time on a YouTube channel that posted it in chunks filmed on a digital camera in their living room

The Last Holiday: Queen Latifah, playing someone played by Queen Latifah, has been working an underappreciated minimum wage job for years, living a safe and conservative life trying to lose weight and save money. Then she finds out she has months to live, and decides to finally quit her job and blow it all on one massive luxury holiday vacation complete with five-star dining, making friends and finding love and confidence along the way. It's definitely corny but it makes me so happy thank you Queen Latifah

Zathura: It's the plot to the original Jumanji but in space instead of the rainforest. But listen to me: There's a twist reveal at the end that you need to pretend isn't there. It is vitally important when you get to that part- and you will know what part when it happens- that you pretend it didn't. Otherwise, a fresh and enjoyable adventure for any age!

The Dr. Doolittle movies 1-3. He's a wacky guy who can talk to animals, and I thought the new lead in the 3rd was cute growing up, I don't have to explain myself to you.

Bullet Train. You go in expecting a ham-fisted find-the-mcguffin style action comedy and are blindsided by excellent narrative symmetry and genuinely likeable characters. Fresh takes on old themes and creative action sequences. My little brother said "It's good", and he's a man who once sincerely argued that Lord of the Rings could have been better. It's fun and punchy violence with just enough smart stuff to not let your brain get bored

[copperhawks]

You're not the first person to make this comparison on this post, but when I wrote this, I hadn't done a re-read of SOTL yet (and the last time I'd read In the Hand of the Goddess was... a LONG time ago, so I couldn't really make a good comparison between these two scenes), but I have now and I've been sort-of thinking this over and have some thoughts on it.

For me, this isn't so much an indication of them being similar so much as it is just an unusually similar narrative beat. A character chooses to disobey an order about not crossing a border during a war in order to go save someone who has been captured and, in so doing, takes out a major antagonist that leads to the end of the war.

But the MOTIVES behind the two actions seem very different to me. Jon goes to save Alanna because he's in love with her and can't bear to lose her. Kel goes to save the refugees because she's responsible for them and takes that extremely seriously. She does CARE about the people, obviously, it's still being done out of love, but she's not doing it because she can't stand to live without them so much as that she's INSANELY duty-driven. She goes up to save Lalasa for similar reasons after being told that a noble's duty to their servants is basically sacrosanct. Kel goes across the border because she believes it's the honorable thing to do. Jon's motives aren't about honor and are, arguably, somewhat more selfish in origin.

So while this is obviously a very similar storyline, I don't find that it's an example of these two characters being similar to each other.

Kel is willing to give up EVERYTHING out of a sense of duty to the people she's responsible for. While Jon is someone who does a LOT of things for his people and spends a lot of his time and energy making life better for them, I can't recall a moment where Jon is ready to give up everything he wants and everything he's worked for just to save his people. Jon actually tells Kel in Squire that he and Thayet work pretty hard to keep themselves OUT of that kind of danger whenever possible, that's the point behind all of the compromises. All of the arranged marriages for his kids are to try to ensure peace through political connections and stop fighting in wars.

This is where they DO differ because Kel feels like someone who, at least at this point in her life, is willing to die to protect her people. But Jon is someone who will do whatever it takes to LIVE for his people for as long as possible. Jon understands that, in his position, it's more beneficial for everybody for him to make compromises in order to stay alive so he can keep making changes that will make people's lives better in the long run. This is a lesson that, while we do see Kel LEARNING it a little during Lady Knight, isn't one that really plays into the final conflict of the book. It's possible that Kel will end up being even more like Jon in this way as she gets older, more willing to stay back herself and trust others to do what needs to be done in her place, but by the end of Lady Knight, that just isn't who she is yet.

And maybe that's what's interesting about the comparison. Kel isn't all that much like Jon YET, and she's certainly not all that much like Jon when HE was 19, but Kel shows signs of being a lot more like Jon as he is during HER series as she gets older and gains more experience. Kel is very righteous, very inclined to just act and get things done, but over the 9 years we get to know her, she has to learn more and more about when to act and when to WAIT. She has to learn when to push and when to bend a little.

As a woman, she's going to be held to different standards than her male counterparts like Raoul or Wyldon, she'll be dealing with different limitations and setbacks than they ever did. And so her approach to leadership will, by necessity, have to be different than theirs was. She does look to them for inspiration, but in execution, I think she'll likely end up far more like Jon. Jon is obviously not a woman himself, but as King he's ALSO held to different higher standards than his compatriots and he was very young when he took the throne and has been very progressive throughout his reign which means he's dealing with certain limitations and setbacks that more conservative people might not.

Kel has strong opinions and firm ideas of what the world SHOULD be like, and that's going to lead her down a similar path of trying to CHANGE things, but she'll be dealing with all of the same limitations that Jon is, which will force her to approach things the way he does. She's going to have to compromise, she's going to have to bend, she's going to have to learn when a fight is worth having, she's going to have to learn to give a little in order to get a little later.

Kel would probably not have crossed the border for just one person. If it had been Neal, for example, and Neal alone, she may not have decided to take that risk. Neal is a trained knight like herself and probably won't thank her for giving up everything to come save him. Kel could probably have been convinced not to cross the border for him, as much as it would've pained her. And Jon I think would not necessarily give up everything to save a few hundred people the way Kel did, even though it would pain him to have to make that choice.

Kel IS like Jon and will likely become even more so as she ages, but crossing the border just isn't one of those places where their similarities are showcased to me.

The funniest thing to me about Kel, and maybe one of the most interesting because of how understated it is, is that Kel becomes a good commander in the end, not by emulating Wyldon who was cold and implacable and insensitive, or by emulating Raoul who mostly only disobeys orders out of principle or because he has an issue with what the order says about his personal relationship with Jon, but by emulating JON.

Kel doesn't even LIKE Jon, she BARELY respects him as a person. He's a good enough ruler that she's willing to fight for him and swear loyalty to him and to at least mostly believe that he wouldn't work with Blayce to make his own killing monsters, but that's as far as it goes for Kel. If he's kind to her, she finds it uncomfortable and almost untrustworthy because she assumes he doesn't care about her and so his kindness and respect towards her must be fake.

But from the outside, as readers, we know just how much Jon fought for Kel. We know how much he does respect her right to be a knight. Jon is the sole reason that Kel DID get the opportunity to prove herself, if he'd capitulated to Wyldon completely, she just wouldn't have ever been allowed to join. Kel doesn't KNOW THAT, obviously, but we do. We know that Jon did everything he could to find a way to convince Wyldon to let Kel become a page. While Wyldon claims later that the reason he chose to let her stay at the end of the probation year was because his better judgment convinced him she'd earned it, I'd be willing to bet that part of that better judgment also included knowing if he couldn't prove to JON that she needed to go, then he'd be in trouble. Kel was training and working in front of plenty of other trainers and teachers who could easily contradict Wyldon's lies if he'd tried it, many of whom are closer to Jon than they are to Wyldon.

Kel's experiences and feelings about that experience are entirely valid, and she doesn't have the knowledge we do about how hard Jon fought for her, so it's not shocking that she's upset with him for a good portion of her series. She never even discovers this truth by the end of her series, even though she does get a lesson from Jon and Thayet (and Raoul to some degree) about how politics and compromises work in order to make changes happen. So her opinion of him by the end is boiled down to the quote from Squire: "good kings weren't always good men." It makes sense for her to think this, but because Kel's knowledge base is so limited (and her worldview so black and white for much of her series), it makes her an EXTREMELY unreliable narrator about this particular issue.

Kel believes that while Jon generally does his duty and keeps the peace, he doesn't actually care all that much about his people as individuals. But in their only meaningful conversation in Squire, Jon is able to point out that he (and Thayet, who is actually equal to Jon in power, something Kel either doesn't know which would be a failure in her education or just tends to ignore so she can focus her ire on Jon) has to make a LOT of compromises in order to get ANYTHING useful done at all. Sometimes, often, it means making deals with people he doesn't like or people he just fundamentally disagrees with, because it's the first step in a multi-step plan to help more people in the long run. He also points out that just throwing his weight and authority around in order to be able to change everything he wants to change immediately regardless of what anyone else thinks about it is a great way to get himself and his family killed. Because even if he had good intentions, that would be tyranny. It does make Kel think a little, but she doesn't tend to like him much still afterwards, her resentment from her page years will always color her opinion of him a little.

However, then she gets to Haven and she's suddenly tossed into a position of leadership over a lot of other people, many of whom disagree with each other or disagree with her or both. And all of the sudden, Kel has to make compromises. She doesn't LIKE the way the sergeants often treat their men, especially the sergeants whose men are convicts, but there's very very little she can do about it without really pissing off those same sergeants and that's not something she can afford to do. There's a moment when Neal starts getting frustrated about the treatment of the convicts and she takes him out to vent to her so he doesn't vent to the sergeants, something that the sergeants would then take out on their men. Kel's reasoning as she does this is that she "preferred to avoid battles with them now so she would have authority with them later if she needed to use it." Later, Kel is talking to Daine and she says "That's all this job is... Trying to please everyone and pleasing no one. And it will only get worse, not better."

Both of these moments showcase Kel choosing to make compromises. She may not like the way the sergeants treat the convicts, but she needs to stay on the sergeants' good sides because she doesn't have enough resources to butt heads with them nor enough authority to just force the issue, and even if she DID, it could cause the sergeants to become troublesome or take out their frustration with her on the men in ways she can't see as well. But staying on the sergeants' good sides might mean letting some of their maltreatment slide if it's not physically harming the convicts. And even setting that aside, she's dealing with nearly 500 refugees eventually, all of which are from different towns in the area and have different needs, not all of which she can accommodate. This requires compromise. Sometimes she can please some of them and not others, but mostly she probably just ends up not pleasing anybody because that's often how compromises WORK.

She never makes the active connection to Jon and his lesson on leadership from Squire while she's in Haven, but that quote up there about how this job (aka being a commander) is all about trying to please everyone and pleasing no one? It sounds a HECK of a lot like "good kings weren't always good men." You can try your best to help others, but often doing the right thing can involve making everyone unhappy. You can't be everybody's friend if you're going to get anything done.

Some of this she might've learned from Raoul's style of command, but Raoul commands a fairly small amount of people (at least in comparison to a King), and so we see him able to be pretty friendly to the people he commands in a way that Jon is perhaps unable to do. And she might believe that she learned some of this from Wyldon, but Wyldon had a tendency to be very unfair and biased due to his raging bigotry and conservative values, as well as the fact that he doesn't actually even LIKE being a training master and that likely impacted the way he treated the pages (he's almost never that kind to the pages, whereas we see him capable of being quite kind with the refugees later, which is where Kel comes to the conclusion that he hadn't enjoyed being a training master).

But Jon makes an entire speech about how he (and Thayet) have been working THEIR ENTIRE REIGN to change laws that help people. He explains how they have to consider the needs of merchants, nobles, farmers, street people, priests/priestesses, and mages. They have to consider not only what these people might need or want, but also what they could do when they feel sufficiently offended and how that could impact not just the royal family or the nobility but the realm as a whole. Jon points out that they HAVE made changes, for the better, and that just because they don't always succeed at everything or because they have to compromise sometimes, doesn't mean they aren't working at making changes or that they don't care about helping people. Not everyone you have power over is going to be your friend, they might not even be someone you like. But if you're going to take on the job of leadership, that's something you have to be willing to accept and work with, which often means making compromises with people whose needs and values are contradictory to your own.

Jon probably knows when he makes the compromise with Wyldon that it will likely impact a lot of people's good opinion of him. Alanna is right there and clearly angry, and we know Thayet doesn't like the decision, either. And it's entirely possible that Jon knows in the moment that Kel herself will put the blame on him because he's the King. But he also knows that if he insists on Kel being allowed to be a page without trying to compromise with Wyldon, Wyldon will quit over it and he'll end up with ten DIFFERENT problems that could cause a lot bigger issues to far more people than just one girl. So he makes the compromise. He sacrifices Alanna and Thayet and even Kel's good opinion of him in order to ensure that Kel gets the opportunity to become a Knight without turning all of his nobles against him which could ultimately lead to a civil war. Is it fair? No, and he knows it. But it's the best option he has in order to get the outcome they all actually want which is just for Kel to have the chance to prove herself.

Kel has to make similar choices once she's finally in a position of leadership of her own. And whether she realizes it or not, without ever even spending more than a few minutes with Jon, she ends up emulating his leadership style more than anybody else's because it WORKS and it works WELL. She'll probably never admit it, she might never even realize it herself, but she's so much more like Jon than any of the other men she sees as role models. And I love that. I love the dramatic irony of that, that the one person Kel only barely respects because of a compromise he made on her behalf that she'll never even know about, is the person Kel ends up most resembling. Jon is the reason she has the opportunity to become the Protector of the Small in the first place, Jon is the person who created that environment that allowed her to nurture those values, and she'll probably never even really be able to acknowledge that, because sometimes that's what being a good leader means.

[bumblebeehug]

When do u think Natsu actually realized that he fell for Lucy and i know he treats her differently but can u give moments where it's initiated from his side?

This is going to be a long post so buckle up!

Okay, first of all: the Phantom Lord arc. Though I don't think he fell in love with her at that point of time, I think it was the events that seriously solidified his partialness to her. I'd go into detail but I can already feel a long post incoming, so I'll keep it short: Lucy telling Natsu that she loves being a Fairy Tail wizard, while crying over the fact that she didn't want to leave ↓

After just trusting her life in Natsu, jumping from an insanely high tower, with a mere belief that maybe she had heard him in the distance – I think it struck a chord with Natsu. Like, it would be normal to cry after a fall like that, but Lucy wasn't concerned about that aspect. Her head and heart was all about the guild, how she didn't want to go, and that resonates with Natsu. Natsu's entire life at that point is 1) Finding Igneel, and 2) being with/protecting the guild.

Then I'd say it's a pretty gradual build in their relationship. They go on a lot of missions, hang out together, and just in general spend a lot of time connecting. There's some Natsu-saves-Lucy, some Lucy-saves-Natsu, some hand holding (tenrou arc I won't forget about that, thank you anime team for adding that scene), and then comes the next pivotal moment. GMG arc and the dragon festival that follows.

By then I'd say Natsu and Lucy are very much in this friends-with-emotional-benefit zone: much more than friends, absolutely not yet lovers. But with Lucy's near-death experiences in her battles, Natsu has to refrain himself from getting involved each time Lucy gets beaten up - he becomes helpless, and the worry that's sowed inside of him gets watered each time Lucy still puts his faith in him, still trusts him to come out a winner. That entire section when Lucy's in the infirmary and she tells Natsu that her entire being trusts that Natsu can do anything, I think that's when Natsu falls in love.

Now wait!! He still doesn't quite understand that he loves her. But he understands that his feelings for Lucy are more tender than any other feelings he's ever had. He treasures her in a new, heavier way. She's become precious to him.

Precious. Where have we heard that... oh >:) ↓

Now the Dragon Festival was LETHAL in a trillion ways, but especially for nalu fans. The whole Future Lucy plot and the forehead touches and the Future Natsu and Future Lucy fighting in a wasteland moments and the Natsu skipping the final GMG match to save Lucy. And of course. Future Lucy dying. It's not the first time we see Natsu get so heavily affected - it happened in the tower of heaven, when Erza was ready to give her life up. But it is the first time we see Natsu see a friend die. Like, a team mate, someone who he's responsible for bringing to the guild. And after the whole GMG conundrum? Had a single more bad thing happened Lucy during the dragon festival, he’d probably turn into a demon right there and then. Dare I even say: their relationship was the strongest at this point in time.

After the GMG and the Dragon Festival, we get the Sun Village arc (I don’t like the Eclipse celestial spirit arc so I’m not counting it, same with Key of the Starry Sky arc — technically some nalu moments but not exactly building imo) and then another big one: Tartaros. Ooooh brother, THE best arc of all times, wish Mashima knew how to replicate it. But alas, he doesn’t.

The Tartaros arc isn’t exactly a pivotal moment where Natsu “falls in love” but rather an important aspect to understand his later actions. Like this guy goes through some pretty grusome stuff, learns a lot of complicated, bad things about himself, and finishes off the arc with losing Igneel — his father that he's spent ages searching for. Natsu's entire life is turned upside down, so he decides that he has to become stronger: cue, he heads off for a year to train.

His time away isn't very elaborated on — not from Natsu's viewpoint or Lucy's. But I think it's understood that he chose not to bring along Lucy because she could be put into danger too much for him to be able to concentrate on building his strength: he knew his training would be dangerous. During this time we also have the Gildarts-scene in chapter (idk i can't be bothered to look it up but y'all know the one ↓) which is kinda debated on — who was Natsu talking about here?

I'm still not certain on if it was a heart to heart on the Igneel-matter, or if it was about his guilt of leaving Lucy behind, like many theorise. I'm not even certain that it's limited to one of them — he could be talking about both. But at the very least, this entire year was one of those "distance makes the heart grow fonder" moments for him. He wanted to get back to his normal life with Lucy so bad. After all, it wasn't like him showing up at the GMG was in order to meet Lucy — had he wanted more training after that, he'd head off again, but I don't think he could physically bring himself to do it, even if it hadn't turned out that the guild had disbanded. Though that's just me speculating a bit.

And about the guild disbandment: oh jolly, he was not happy. He had finally taken the step to grow stronger to protect everyone in his beloved guild, and here Makarov went and disbanded it? Leaving Lucy completely alone? Lucy, who once jumped from a hella high tower because she was just so devoted to stay in the Fairy Tail guild? Yeah, I think that broke him a little. At this point there was just so much guilt involved around his whole relationship with Lucy, because now he had put her through so much pain only because he brought her to Fairy Tail that day in Hargeon.

The next arcs I'd say Natsu's trying to spend his time redeeming himself for the countless things he's done bad (getting the guild back together, just generally staying by Lucy's side as much as possible). And naturally he keeps getting hit by challenge after challenge (it's not easy to be a book written by his immortal brother, yk?). And it's even harder to watch Lucy die again, this time for real (he thinks bc he's stupid and also has a tumour that's nothing less than a ticking bomb) (give this guy a break lol).

Anyways: Lucy's death nr2. Natsu can't live a life without her. Now I know — he still doesn't quite understand that it's romantic love, but I think he does understand that it's pure love. No matter if kissing and reproducing was involved, all he knew was that a life without Lucy is completely unimaginable, so blinded by rage he becomes and decides to decapitate everyone in his way (sorry about that Gray).

The last couple of moments I'll go out of my way to mention as signs of love is 1. when he's won over Acnologia and falls towards Lucy, crazy relieved, saying "I'm home", 2. Gajeel pointing out Natsu's crush on Anna, Natsu basically saying "oh that's why I like Lucy so much" (I embellished it lol) and 3. "We're still gonna be together from here on out, right?" yeah that man won't ever leave her. Ever. It's just not an option.

Now since I've only talked about specific moments, here's what I have to say about his relationship with her in general:

Throughout the main plot line, we also see a shift in Natsu's behaviour. Someone here on Tumblr pointed out that Natsu always finds a way to shield Lucy if something unexpected happens, after not being able to shield her from Future Rogue. There's also the small detail of the order he calls out to people - it goes from being pretty random, to Lucy almost alwyas being on the top of the list: likely because she's always on the top of his head. And in general I'd say that Natsu initiates (i'm adding this entire paragraph bc i realised that you asked about when Natsu initiated stuff, more than when he fell in love lol) almost all of their interractions. It's Natsu who wants Lucy to join Fairy Tail, to form a team, he's the one who enters her apartment constantly, he's always searching her out - his interest in her is at a constant high so we never feel like we get "moments" that he's paying her extra attention. He has one setting, and it's "Lucy" cranked to the max. Lol.

I could also add some HYQ moments to the mix here, but they've been few and far inbetween, and also mostly played off as jokes, so I can't really consider them as moments when Natsu initiates his love. I guess his jealousy can be considered a sign? And when (spoilers from the manga) he runs around to protect her/save her from creepy-freaky-jail (the only one who made it freaky was him, with those wild fantasies lol). Maybe I need to jog my memory a bit, but so far there hasn't been any non-pervy nalu moments initiated by Natsu in the HYQ, aside from jealousy-chap. Sadly.

Hope this gave you the answer you were hoping for! Sorry it took so long, I started writing on it and realised it would be a bible so I put it in my drafts to fetch some pics to make it less wordy, and then I forgot about it, lol. But here it is!

[thebroccolination]

KAWI WAS ALWAYS OBSESSED WITH PISAENG

Hey, hi, how're you? Do you ever think about this kiss here:

and how, in that original timeline, Kawi was, like, definitely more obsessed with Pisaeng for twelve years than he was with Pear?

Because, I mean, think about it, right?

Look at his face when he's reminiscing about Pear (left) compared to Pisaeng (right):

I'd argue that if Pear had dated and gotten engaged to anyone else, Kawi would have gotten over it. Because it's not Pear he wants, even in that beginning timeline.

It's always been Pisaeng.

And that's the underlying message throughout the series.

When Kawi thinks he's in a dream, he uses what he believes to be a consequence-free opportunity in the past to…follow Pisaeng around all day. Kawi could, at any point, go find Pear. I mean, when he gets to the classroom the gift exchange was in, he's only just missed her. He could have easily turned right back around and asked someone where she went and found her.

Instead:

He meets Pisaeng, and his inner gremlin activates.

Kawi bothers Pisaeng,

steals his clothes,

follows him to work,

naps on him,

and antagonizes gang members with him.

And every now and then he mentions Pear, but obviously he's not trying that hard to find her. The entire first episode is Kawi telling us that he wants Pear and showing us that he actually wants Pisaeng. Which makes the writing in this show so stupidly brilliant it makes my teeth hurt.

And the episode's ending shot is the strongest representation of that:

And of course, it keeps going!

After Pear leaves the mall with her friends after Kawi and Pisaeng's terrible failed attempt to set up Kawi and Pear on a date, Kawi calls Pisaeng.

When Kawi reminisces on the Mystery Man's advice to "be sure where your present is," he decides not to check on the future and smiles fondly at the turtle Pisaeng won for him.

When Kawi gets his first kiss from Pear, he invites Pisaeng to see him record for the first time.

When Pear invites Kawi on a date to meet her father, Kawi dips and runs to Pisaeng.

When Kawi gets the timeline where he does date Pear, he loses her because he cannot let Pisaeng go.

LIKE! The midpoint of Be My Favorite is so perfectly written because yes, the pivotal action that changes everything is Pisaeng finally walking away from Kawi for good. But I'd also posit that Kawi finally looks at his own behavior and realizes he was using Pear to hide from his feelings for Pisaeng all along.

Which is why, as soon as he goes back in time again, he's completely platonic with her in every measurable way.

He still cares for her because of everything he thought he loved about her. He just isn't in love with her, and now that he's accepted it, their friendship can become the support pillar in their lives that they both need.

Which leaves Kawi open to admit what he's been lying to himself about from the beginning:

To me, this is the scene where Kawi finally says aloud what he always wanted, but was too afraid to ask for.

And he spends the second half of the series fighting himself every step of the way to deserve their happy ending.

THIS! FUCKING! PERFECT! SERIES!

[ri-writes-if]

I just finished reading the new chapter and damn! It was such a rollercoaster of emotions!

And I can't even begin to describe just how much I hate Selene! Not saying it in a bad way though, just to be clear! She's just the kind of character I can't stand, even if she's delightfully written. Az suggested to my MC to be cordial with her for the time being, and the plan is sound, but damn, it'll be hard. She's that kind of character I find interesting because I think her circumstances are awful and tragic, but at the same time I can't bring myself to feel bad for her because it doesn't justify the way she currently acts (as explaining someone's behavior is not the same as justifying it). With that being said, I thank you so SO much for allowing us to tell the siblings (well, the siblings in my case since I'm on Az's route) about Selene already. I was genuinely scared it would be one of these situations where the MC just clams up and doesn't tell anyone about what's happening for who knows how many chapters, which is a trope I really tend to dislike. It was such a pleasant surprise to avoid it altogether!

Now, onto more "positive feelings", I'm so in love with Az. They are such a wonderful character on all accounts. The clothing and ring shopping was just so perfect, and damn that hug! Though I'm really insanely curious about what is the underlying issue they have in relation with the MC. I sort of "felt" it already before in the way they acted, but now thanks to the PoV change I had their actual thoughts on it, but I'm no closer to knowing what's going on, though at least I had confirmation of what I felt about it (so I guess it's still something!). It still fascinates me how Az isn't even "my type" of RO normally, and in any other story I would have probably picked one of the two royals, but I don't know, something about them immediately captured me entirely. I'm also pretty curious about what's the relationship between the siblings, because the more I think about them, the more I realize I don't know much about their dynamics. With the two royals, we at least know more of their dynamics thanks to some asks on the blog and what not, but the two siblings... I don't recall you saying much. And well, in that infirmary scene, it was a bit hard to read it considering they were both preoccupied with the MC and their injury and the Selene stuff and so on.

That aside, after re-reading from scratch (I changed computers and don't have my saves anymore), I had a theory that sprung in my mind. I think there is indeed an oracle blocking MC's visions of their own future that is NOT Selene. And that oracle would be MC's mother. She may be a powerful enough oracle to see pretty far in the future, and it's possible she saw something in her child's future that had her deciding to not only abandon them, but prevent them from seeing their future. Or rather, the future she saw. Meaning as long as MC was on a path or time frame where what she saw wouldn't appear to them, then they could see their future normally. But once they found themself on said path - probably related to the apocalyptic vision at the start of the game - it triggered the "block" as now we enter the territory of what MC's mother saw and thus knows well enough to block. Of course, I may be wildly overthinking it or just be plain wrong haha!

Oh and finally, a small bit of (I assume?) stray code:

I don't think the "cordial" is meant to be there?

Okay, that's it. Yeah, it's a VERY long ask that... isn't even an "ask" since I'm not asking anything! But I had so many feelings about this chapter! It was probably the best so far!

! Spoilers for Chapter 5

I hoped some would like Selene and some would not, so I’m pleased to see people have different feelings about her! I personally really love her because she’s a tragic character and tragic characters are my thing 😂 though I agree that her past doesn’t justify her current actions.

Yeahh. I was thinking of allowing to hide the incident with Selene, but the Oracle has their priorities straight, so it wouldn’t make sense for their character to sacrifice their own standing for Selene. They went to Vez to get their freedom back, and they’re not giving it away so easily. So I had to throw out that branch.

I’m happy you enjoyed Az’s route, especially considering they’re not your type! You’ll learn what their deal is with the Oracle in the future 😉 The next couple of chapters should have more Az + Ash combo, so I’ll have time to show their dynamic. But they’re pretty uh normal siblings? Az is a troublemaker, and Ash’s perpetually but fondly tired of their antics.

Your theory was very interesting to read. Thank you for sharing it! It’s wild and cool that people actually have theories about my story 🥺 Obviously I can’t confirm or deny it, but you’ll get the answer eventually.

Thanks for pointing that out, I’ll remove that code leftover.

I appreciate you taking the time to share your thoughts about the chapter. Reading these messages brings me joy every time! 💛

[every-grelle-sutcliff]

[tornoleander]

Nya has the best writing out of anyone in skybound an I will not hear otherwise

(this is just a rant but I will finish my argument with evidence soon but I was feeling like yelling at phone)

Just watched a video completely butchering her character.

I’m fuming about Nya’s treatment in general like RRRRR SHE IS LIKE THE BEST WRITTEN. Most people I see talk about her never tried to see Nya’s motivation.

And because she’s grumpy and won’t take bullshit treatment. And a large part of the audience Treat her like she’s a brat for it like…

Her ark against all odds is great. The only reason so many people don’t get that is ALL because of the awful framing and them focusing on Jay at all the wrong times I PROMISE YOU.

The audience is made to focus on Jay’s feelings in moments that should’ve been about her.

Nya always thought she would end up with Jay like she said later on. She always loved him She wasn’t trying to hurt or play with his feelings but she had bigger problems, and she simply didn’t want to be dating him. Because she hated how that would make her be perceived. Which was the issues that she overcame by the end.

She is frustrated by way she’s perceived by the city. They only see her as her gender. A self insert of sorts. (There’s a scene about it first ep subtle but boils my blood) Not a person. She HATES IT.

BRRRR

Nya has A lot more going on like it was never her Job to walk on eggshells around Jays feelings. She was having a lot harder of a time that first episode but more screen time was dedicated to Jays moping about her.

Just AAA ggghg

LIKE EVERYONE REWATCH SKYBOUND AND FOCUS ON NYA Specifically. Ignore how much the narrative drags you to look at Jay. I swear Nya’s struggle is shockingly the most well written bit

[pegasusdrawnchariots]

🛡⚔️🏰🐎

[bloom-agreste-cheng]

I feel like Bridgette’s idea of TALKING could be more violent than it needs to be

There’s a lot to be learned from Miraculous-swapping, and spending the whole time elbowing your partner around and making fun of them isn’t the way to do it! 

Between Syren and Reflekdoll (and Adrien’s steadily dwindling confidence) Bridgette’s finally running out of patience with the new Ladybug’s idea of ‘teamwork’ and has a few things to say to her. 

Now’s as good a time as ever for Marinette to learn about the old Miraculous holders too, right?

( twitter | patreon )

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

[girlbeyondthegrave]

THINGS I NOTICED WHILE WATCHING BEETLEJUICE BEETLEJUICE AGAIN:

This is a very Beetlebabes-centric post, so if you don’t like the ship, please feel free to scroll away. <3

Beetlejuice cut Delores’ ring finger off, and while it was originally a fun joke in the first movie, there’s deep implications about that action when we look at it with the context of the second film. Beetlejuice attacked her after she betrayed him. Anyone would want to kill the person that poisoned them, but the fact that he took the time to find her finger and deliberately cut her ring finger off (and ONLY that finger) reflects how much that marriage meant to him. It also symbolizes that he’s effectively dissolving their marriage. He’s cut off the physical representation of their love and taken the ring, which he tries to give to Lydia hundreds of years later. He held onto that ring for centuries in hopes of finding someone he deemed worthy of it.

He calls his dynamic with Lydia a long-distance relationship, which could’ve been a throwaway joke if not for the fact that when he clearly notices how hot Janet is, he never talks to her or gropes her like he did with Barbara prior to meeting Lydia. Keaton said BJ wouldn’t be politically correct, so this isn’t to reflect the current political climate, but rather to reflect BJ’s motivations.

Beetlejuice was jobless at the start of the first movie, and in thirty years he’s built a company for his bio-exorcisms. Coupled with the picture of Lydia on his desk, it’s possible he did this to impress her. After all, she’s famous and rich now. BJ’s gotta step it up, y’know?

Probably overheard the convo between Lydia and Rory and deliberately bugged her at that time, because if he can possess the phone or whatever, he can probably use it to eavesdrop. This can be further supported by how he got rid of the influencers but kept the people that mattered to Lydia present—Delia and Astrid.

We can also assume he overheard the conversation where Lydia said that Rory loves her and that has to be enough because of the panning to a gravestone. BJ has a special fascination with graveyards, even tiny model ones. If he did overhear them, it explains why he used the truth serum on Rory. He’s testing him. He wants to see if this guy actually loves Lydia or if he’s using her, and then he gives Lydia the means to exact revenge on Rory rather than doing anything himself.

Lydia spends half the movie being strong -armed into a marriage with Rory, and in a way, it’s reminiscent of the first movie’s marriage attempt. Rory dangles their “love” in front of her like a carrot, and if she doesn’t want to be alone, she has to accept his manipulation and agree to get married. Yet she immediately offers it to Beetlejuice, only sounding annoyed rather than terrified. And the movie spends a lot of time proving that BJ has sincere motives this time around, whereas Rory doesn’t. It pushes an underlying message that if one of these guys is going to be a better choice, it’ll be BJ.

Despite Lydia having a tendency to back out of their deals, he still helps her first. He prioritizes saving Astrid even before finding his “runaway bride” again.

Casually calls Lydia the love of his life, looks so sincere when he says he’ll make her so happy. Clearly spent those 30 years planning that dream-dance sequence.

He doesn’t seem to care that Lydia’s sending him away. That coupled with the end scene illustrates how confident he is this time around. Lydia is still stuck with him, and even if he didn’t get her this time, he will eventually. But he also knows how spooked she is by marriage after being a snoop, so it’s possible that he’s just taking it slow on purpose.

In conclusion: Beetlejuice genuinely does want to be with Lydia and care about her. His feelings have evolved beyond permanent residence in the mortal world. If anything, if he still wants that, it’s so he can be by her side.

[couldeatthatgirlforlunch]

Yandere batfam or justice league with a reader who’s afraid of strong people/men due to a past abusive relationship? She never wants to feel that powerless and weak again so she actively avoids interacting with anyone stronger, bigger, taller any more than necessary. She doesn’t hold it against other ppl she just has a lot of trauma that she’d rather not work through and feel safe in her little bubble

Hit me Hard and Soft

Synopsis: You get saved by Robin, but not everything is as it seems.

Pairing: Yandere!Poly!Romantic!Batboys X Gn!Reader

Tw: All characters aged up, of course; Mentions and descriptions of violence, including physical, psychological, sexual and financial abuse, and Damian fighting criminals (I'm particularly proud of the action scene I wrote); Drugging and being unconscious; Mentions of death of minor characters and suicide; Mentions of past grooming (Reader's ex) and age gap (Reader’s ex, Reader X Bruce, and the batboys age is not mentioned); Implied stalking; Mentions of kidnapping; Reader's very traumatized and weary of everyone; Reader doesn't trust the police; Mention of a panic attack and descriptions of actual panic; Guns and knifes; Mention of cigarettes; Implied needles; English isn't my 1st language.

Requested? Yes.

Extra notes: Wish I had more interactions between Reader and the batboys here, but I'm more than willing to make a part 2 with the right idea.

General masterlist | Hit me Hard and Soft - Series masterlist

He's back again. You wish you could say you didn't know why he always came back, but you did. The food wasn't that great and it wasn't that close to where he told you he worked or lived. It also didn't help that he always made sure to be served by you. And that he flirted with you.

— Evening, (N/N)! Is there something as sweet as you on today’s menu? — You gave a small and polite laugh.

— Strawberry pie… As always…

It was kinda sad, but mostly scary. If it wasn't for your ex, you would be thrilled to have gotten the attention of Dick fucking Grayson. The whole city knew he was handsome, rich, talented and charismatic. Gotham's sweetheart, Gotham's golden boy. And from your daily interactions, he lived up to the expectations. He was polite even when flirting with you and asking you out. Yet, something held you back.

— Nice! Since you get out in a few, why don't you bring in two slices? One for me and one for you, it's on me, of course. — You shook your head quickly, with an empty heart, just wanting to get away from him as fast as possible.

You were with your ex since you were 17 to 26. Almost 10 years wasted on a dirtbag. He convinced you to leave your friends, to leave your family, to leave your job. As soon as you started living together, you were completely dependent on him. Sometimes you blamed him, sometimes yourself, sometimes the people you had around you, but back then, where you came from, people weren't questioning the imbalance of powers between a 17 year old highschooler with no job and a 23 year old man with a steady job and living alone.

He convinced you that going to college and ending your relationship was the worst decision you could take. Then, that you didn't need your family, he could take care of you. One day, he decided you couldn't have friends.

He often locked you inside the house, cursed your skills and appearance, neglected your overall health, intimidated you, screamed at you, broke your things that he did and didn't pay for. He hurt you physically, even sexually. You knew both dating him and leaving him was hard, you just expected living with the scars was going to be easier.

And it was! You decided to run away from him and to Gotham when you received the news that your mom died and he didn't even want to let you go to the funeral. The grieving made you reflexive and you realized how shitty your situation was. For years you just thought that it would eventually get better, that you just needed to be strong, that he showed he loved you when he wasn't being an asshole, that you couldn't get anything better, that he made you feel special.

You couldn't even go to the police, he was a cop, you knew the chances that in any scenario you would lose. So you ran.

You knew it was dangerous, but you had nothing to lose. If he didn't kill you, you would do it yourself. You made a plan, drugged him, took some of his money, used his house keys, left everything behind for the second time in your life. You didn't waste time asking for help from the people you knew. You took the bus and went as far away as you could.

Your paranoia was so bad that for almost a year, you would settle in a city, work to save up enough, and leave again, rinse and repeat. Eventually, Gotham seemed big and far enough to go by unnoticed.

Or that's what you thought, until Dick Grayson stopped by the diner you worked to have breakfast before going to work, as a cop, and decided you caught his attention.

Since then, he came back everyday. Either breakfast, lunch, dinner, or just to hang out with some family member, usually one of his brothers, his dad appeared with him sometimes too. Your boss loved the attention Bruce and Tim attracted, the two most media active ones, since they both led Wayne Enterprises.

Eventually, even them started appearing multiple times a week. You thought you were healing, until you found yourself crying for almost four hours at home in a panic attack.

You didn't want their attention. Not only was it weird, but they were just so… Superior to you.

They were all taller, more muscular, faster, smarter, richer. It was like reliving the beginning of your relationship at 17, plus 10 times worse. Five because they were five people mirroring your ex, and more five just because of your trauma, experience, negativity and lack of naiveness.

Also, why were they ALL into you??? And they were aware of it! It was weird! Why??

Bruce Wayne was disarmingly charming in his dilf way. Dick was surprisingly accessible. Jason was soft spoken despite his resting bitch face and leather jacket. Tim was cute in a nerdy way. Damian almost made you laugh with his sarcastic humor.

Either way, you never wanted to feel as little as you felt before, so you just did your job, acted polite, but ultimately kept your distance.

Freedom has its difficulties, one of them being that you need money, and for money, you need a job, which means sometimes you have to stay until closing time, at 11 PM, in Gotham.

You're not the only employee to stay so late, but you and your co-worker live in opposite directions, so walking alone it is. They're taking the bus, but you only live two blocks away, so you gulp down your anxiety and keep walking. One hand on your pocket, holding your taser firmly, and keeping your head up, turning to look at every sound.

It's cold, and the street is empty and dimly lit. Some places are so dark that you wonder why you're even paying taxes if the streetlamps won't work.

Two men turn the corner a few meters in front of you, one at least a foot taller, the other, two inches max. They're wearing hoodies and their hands are on their pockets, the light behind them creates a shadow that doesn't allow you to see their faces, nor where they're looking at, but they are coming in your direction.

There's a car, parked between you both. Some people might think at this point it's just paranoia, but you’ve heard stories of people walking next to cars, getting pulled inside by someone who was hiding in there, and getting kidnapped.

Your first instinct is flight, so you turn around, ready to run, even if you look weird in case those guys weren't planning to do anything with you, just to see other two guys emerging from the other corner, those two almost as tall as that first guy. Aside from the smaller one, they're all broad, even with their thick clothes covering them.

One of them has a cigarette on his mouth, which he throws on the ground when you turn your attention to him. Your fear might have caused you to hallucinate, but you're almost sure he's smirking.

You freeze for a second, your only escape is to run to the side, and pray their long legs don't get to you first. You think you hear one of them start hollering at you.

You only take a step to the side, when a loud crash startles you so hard that you have to look behind, while walking backwards to the street. You take a second to process the sight.

Robin is standing in the middle, just a few steps behind where you were standing a second ago. He's at least half a foot taller than all of them, and a lot broader. He's holding the tall one by his neck with his right hand, repeatedly hitting his head against the car’s window.

You're shell shocked, torn between staying put to watch this disaster, as interesting as a car crash, or running away. Gotham is so big that you never thought you would encounter one of its heroes, you weren't sure if you even wanted to.

When the guy seems to stop moving, Robin throws him against one of the other tall ones, the guy practically flies across 2 meters before hitting him, and when he does, they both fall to the ground. You remember all the times when your ex pushed you to the ground.

Your eyes are wide, horrified, watching the shortest guy take a pocket knife out of his pocket. Your throat locks, even if you want to scream for Robin to turn around, you only manage to stare and stay in place, however, the vigilant turns halfway around just in time to grab the guy by his wrist and his arm, just as he launched to stab him. He uses his body’s impulse to push the guy forward, the knife going to the fourth guy's shoulder, you hadn't even seen him get so close to him.

You look at the man from the car, he's still unconscious, the one who got tackled with him, however, is already standing and walking to the fight.

Everything’s happening too fast, you turn to the side to see the guy with the knife on his back on the ground, groaning and twitching in pain, while Robin is punching the shit out of the other guy, movements faster than you could ever dream of achieving. You remember being on the receiving end of someone's fists before.

With a final elbow to the cheek, the guy stumbles to the ground, you don't know what level of consciousness he’s in, by his posture before, you knew he was already compromised since the first hits he took.

Robin doesn't move, doesn't even turn to look at the guy who just fell, he's just looking forward, and when you notice this, you look at the remaining guy.

He's pointing a gun at him.

You don't think you can watch someone get shot in front of you, and you know if he gets rid of Robin, it's over for you. Logically, you knew these vigilantes somehow never die, still, it's counterintuitive to think he won't.

And he doesn't, in the blink of an eye, Robin's on the air, his right boot kicking the gun away, while still on the air, he wraps his legs around the guy's head, bends backwards, puts his hands on the ground, then launches his whole body to the front, the guy getting thrown over him. He falls to the ground, Robin stands on top of him with perfect balance. You don't even have time to process what just happened, the coolest and scariest thing you saw your whole life, when Robin punches him one last time. Now, he's definitely unconscious.

You’ve felt like a bystander this whole interaction, it felt like ages, but in reality all of this couldn't have taken more than 20 seconds, maybe even less than 15. You don't know what to do now. You're theoretically safe, but Robin’s still too big, too strong, too fast. He knocked out four guys without getting touched a single time. He broke a car's window. He threw around two guys who weighed at least 80kg. He's not even panting. And now he's looking at you.

A whimper gets stuck in your throat. You don't know if you should thank him, stay silent, or yell at him to stay away from you. When he takes a step in your direction, your instincts get the better of you and you turn around, running.

You hear him call your name, although your brain doesn't process it. You see headlights and look towards it. It's a car. You don't trust you’ll get help, but at least you're not alone. You run in it's direction, waving your arms and screaming bloody murder.

The car almost hits you, but you don’t process that until the last minute, but you get tackled to the ground just in time by the hero from before. You scream again, he's too close. Now, he's trying to hold you down. You keep screaming and trying to escape. You look to the side and the car just kept driving away, likely the driver wouldn't stay behind to be another victim to Robin's hands. You know you're not being rational right now, those guys are known for helping people, he just saved you, he's still trying to stop you from getting hurt, but you're scared. You've been scared since you were a teenager.

Your eyes burn, your arms and throat hurt, but adrenaline doesn't let you feel anything. Not even the invasion of a needle on your side.

— Was it really necessary? — Tim deadpans Damian, who growls.

— You would have done the same, Drake.

— No, I wouldn't. You were supposed to use the psychological first aid approach and (Y/N) would've calmed down and trust us more in the future. But of course, you never use your brain. — Damian growls, stepping towards Tim, but he is stopped by Dick’s hand resting on his chest.

— Damian, calm down, Tim’s right. You knew better than to sedate them. You knew of (Y/N)’s trauma and you knew the route we wanted to take. — Damian's brows furrowed and he crossed his arms.

— I knew your feelings toward (Y/N) would make you become impulsive again. — Tim looked at Bruce, who was silent, with hands intertwined and elbows on the table, focused on your vitals on the screen and the sight of you laid on the bed on the medbay. — Will you now consider just letting you, me and Dick keep an eye on them during patrol? — Damian and Jason scoffed.

— Why you aiming at me now? It was the demon who gave that guy brain death! — Jason protested and Tim looked at him.

— Just to be sure you won't freak out like him and kill thrice as many people, on purpose this time. — Jason glared at him.

— B, you better add more security measures around (Y/N), before Timbo tries to clone them or something. — He muttered with snark.

Dick shook his head and sighed, going to stand on Bruce's side, crossing his arms and looking at you through the camera with him.

— What's the plan now, B? They're probably waking up soon. — Bruce hummed, relaxing his stance and resting his back against his chair. The silence lingered for a few seconds, everyone just looking at you, waiting for the oldest’s opinion.

Bruce turned around, looking at them.

— … Damian, Tim's right. You were impulsive today and you killed someone, even if it was an accident. I stopped expecting that from you since you were 12, you're an adult now. You not only broke our trust, but (Y/N)’s already shattered trust. They need to know they're safe with us, and drugging them, instead of puting to use more time and effort to bring the comfort to them, is not going to do that. You weren't much different than the man who hurt them tonight. — His father's words were like a punch to Damian's stomach, leaving him speechless. Dick pursed his lips, not turning around as to make it easier to not comfort his brother just yet. Bruce turned to Tim. — Tim, I understand you want to take measures seriously. But you need to give Jason a chance. That was unasked for. — The mentioned blinked, still unacostummed with the treatment he received from his dad when he followed his rules. Tim looked away. Bruce turned to Damian again. — Damian, no patrolling around (Y/N) until you prove we can trust your temper again. — He waited for a confirmation, which came with a sneered lip.

— Yes, father.

Dick looked back a Bruce.

— What about (Y/N)? — He bit his lips. Bruce hummed, turning to look at the monitor again.

— … What do you all think?

— Well… Damian said their name, they might not remember it, but they can't just wake up at home. They’d try to flee from us. We could bring them home earlier, but our ideal plan was to make them come willingly, in the period of at least two years, in the best case. We could leave them at the hospital, and just keep our plan going. — Dick listed the possible strategies they could take. Bruce hummed.

Tim piped up.

— I already altered their phone's algorithm to send the job application as my assistant at Wayne Enterprises to them. And the Wayne Foundation’s application for the internship at Gotham Uni. — Bruce nodded.

— Damian? What do you understand about that? — It was clearly the beginning of his test.

— The more secure in their independence they feel, the easier it is to heal and open themselves up to new opportunities. — Damian exclaimed with confidence. Bruce nodded.

— Jason, are you still interested in college? — Everyone looked at Jason surprised, he was also surprised, he hadn't talked to Bruce about college since before he died.

It took a few seconds to processes what it would mean.

— Uh… I think so?! — Bruce nodded.

— What about me, father? — Damian spoke inquisitively. — I also want more opportunities to get closer to (Y/N)! — Bruce narrowed his eyes at him.

— We will think about that when you're in the clear.

— But-

— That's final. You reap what you sow. — Damian huffed and nodded begrudgingly. — … Now, since Robin was the one to save them, take the batmobile and leave them in the hospital. Then come straight back home. Understood? — Damian clenched his jaw and nodded silently, leaving to get your unconscious body.

Moments later, when you were both out, on the way to the hospital, Tim fiddled with the computer, the scream showed the batmobile’s tracker, your tracker, Damian's tracker, Damian's contact lenses’s camera and the car’s camera. They all looked at him.

— … It's just to make sure…

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[crushpunky]

drew and actress!reader shoot an intense scene

masterlist | actress!reader masterlist

based on this ask. for the sake of the story, actress!reader’s character’s name is caroline <3

The day had finally come. The day the two of them had been dreading for months: it was finally time to shoot Caroline’s death. It wasn’t like she wasn’t expecting it, having known that this season would be her last for a while, but the finality of actually shooting it was beginning to weigh on her as they finished wrapping her abdomen with the faux blood packs.

“Alright, you’re all set.” The assistant said, patting y/n’s shoulder before reaching into a bag and handing her Rafe’s mother’s ring. Y/n put it into her pocket, Rafe having grabbed it while the two of them had torn through Tanneyhill grabbing anything of value before they made their departure. Rafe and Caroline were hoping to escape Kildare with the gold they had acquired, some former business partner of Ward’s hot on their tail and hoping to get the gold that was “rightfully his”... and revenge.

They were set up to shoot on a dock, the sun setting behind the numerous boats that floated in the bay. Drew leaned against the railing, chatting with one of the actors who would be playing their adversaries in the following scene. He looked good on the outside, his usual stoic demeanor presenting itself as he waited for shooting to begin, but y/n could tell by the way he kept running his hands along his jaw and fiddling with the hem of his shirt that he was nervous.

“Okay, places please!” One of the directors shouted as y/n made her way towards where Drew stood on the dock. He straightened, flashing a small smile at her.

“Love you.” Drew whispered, kissing the top of y/n’s head quickly before getting into his position.

“Love you.” Y/n said quietly, taking her mark next to him, grabbing his hand.

“And… action!” The director shouted. At his signal, Drew stalked down the dock, looking around sporadically as he drug y/n behind him.

“C’mon, we’re almost there.” Drew said gruffly, sparing a glance behind them as they neared the spot where their boat was parked. Drew dropped into the boat, his grip on y/n’s hand loosening just enough so that when she was suddenly yanked backwards, he couldn’t stop it. Y/n let out a shriek, flailing in the arms of her attacker until she suddenly saw a glint of metal nearing her throat. Drew’s eyes widened as he clamored back onto the dock, his breathing ragged.

“Where did you think you were going, Cameron?” The attacker pressed the blade against Y/n’s neck harder, causing her to let out a cry.

“Let go of her, Grant! This is between you and me.” Drew shouted, his hands clenched into fists at his side. Caroline’s attacker, Grant, chuckled darkly. Tears began to stream down y/n’s cheeks as she struggled against Grant’s grip.

“Just give me what I deserve and you can have her… that is, if you think she’s worth it.” Grant hissed, his hands clawing at y/n’s stomach.

“It’s all on the boat, take it! Just let her go—” Drew began to dig into his pocket for the key to Rafe’s boat.

“Hey!” Grant shouted at him, the blade digging into y/n’s skin even deeper. “Slowly! And you better not be messing around with me Cameron or I swear the girl’s dead!”

Y/n let out a whimper, Drew swallowing harshly as he slowly dipped his trembling hands into his pocket. He took the key out before tossing it down on the dock a few feet away from them before raising his hands. Grant snarled, removing the knife from y/n’s throat before shoving her forward into Drew’s arms. Y/n collapsed into him, Drew pulling her against his chest tightly.

“I got you, I got you.” Drew said into the crook of y/n’s neck, holding her shaking body.

“See, Cameron, that wasn’t so hard, was it?” Grant chuckled, spinning the keys on his fingers as he paced forwards. Drew held y/n against him impossibly tighter, his eyes meeting Grant over y/n’s shoulder.

“You got what you wanted, go.” Drew snarled, y/n still crying against his body.

“Oh but that’s where you’re wrong…” Grant said lowly. “There’s still one more thing that I want.”

Grant gestured to his ring finger with the blade of his knife, a devilish grin spreading across his face. Drew swallowed harshly, glancing down at the gold Cameron ring that adorned his thumb, one of Rafe’s most prized possessions and the definitive mark of his connection to his father. With a deep breath, Drew looked at y/n once more before twisting the ring off of his finger and offering it out. Grant came forward, his grin still wide as he reached for the ring.

“I want revenge.” Grant sneered, stepping forward slicing his knife at Drew. Y/n screamed as Drew reached out, grabbing Grant’s forearm before slamming his fist into his face. Grant stumbled backwards, Drew punching him again as the two grappled over the knife. Drew finally pried the knife from his grip, sending it clattering onto the dock, before sending Grant into the water with a shove, his head hitting the boat with a harsh crack. Drew grabbed for the knife, his eyes watching as Grant sunk into the bay.

“Rafe.” Y/n said quietly, tearing Drew’s grip away from the water. Y/n stood in front of him, grasping her stomach tightly as blood seeped through her shirt. Drew inhaled sharply, looking down at the knife in his grasp… and the blade covered in blood.

“No, no, no, no.” Drew dropped the blade, running over to y/n as she fell to her knees, her breathing strained. Drew grabbed y/n, watching as the blood continued to seep from the gaping wound on her front.

“Rafe… Rafe.” Y/n said with a gasp, her mouth filled with blood. Drew’s hands shook as he brushed the hair from her face, his lips trembling as she peered up at him.

“Hey, you’re ok. You’re ok.” Drew choked out, his eyes welling with tears. “I’m gonna get help, you’re going to be ok, a’ight? You’re going to be ok.”

Y/n chuckled, wincing at the pain as Drew fumbled for his phone. Drew swore, both Rafe and Caroline having left their phones to avoid any possible sort of detection, his head whipping around quickly as he screamed for help.

“Here.” Y/n whispered, her breath labored as she offered one of her hands out. In her blood soaked palm sat Rafe’s mother’s ring, glittering in the moonlight. Drew’s eyes widened, the site in front of him causing his stomach to churn as y/n’s eyes fluttered weakly.

“Hey, hey, you’re going to be ok, you’re going to be ok.” Drew closed y/n’s hand around the ring… the ring Rafe had always hoped to give to Caroline one day. Drew’s body shook as he screamed desperately, sobs raking through his body.

“I love you, Rafe.” Y/n whispered, a small smile spreading across her lips as Caroline let out a soft, final breath. Drew froze for a second, his eyes darting across y/n’s limp body.

“No! No! No!” Drew screamed, shaking y/n’s shoulders.

“I love you, I love you, please— no!” Drew sobbed, his head hanging down in front of him…

“Cut!” The director shouted, cutting through the tense atmosphere. “Great job, guys!”

Y/n eyes fluttered open, looking up at Drew above her. Despite the end of the scene, however, Drew was still holding onto her tightly, tears streaming down his cheeks.

“Drew, hey, it’s over.” Y/n straightened, moving to rest her faux blood soaked hand against the side of Drew’s face. He let out a ragged breath, pulling her into his chest as he dug his face into her neck. Y/n could feel her heart break as she held onto him, the pain making her sick to her stomach.

“It’s ok, I’m ok.” Y/n whispered against jaw, her hands soothing down his back. Once they finally pulled away, Drew looked over y/n’s faux bloody body, his lip still trembling slightly. He hadn’t intended for any of this to happen, but when he saw her “dying” in his arms, it all became too much. Too scary. Too real.

“I love you.” Y/n said, her eyes glistening with tears.

“Fuck, I love you.” Drew wiped his cheek, pressing a kiss to y/n’s forehead before pulling her into his chest again. The two of them sat on the dock, embracing each other as they slowly came down from the emotional intensity of the scene, the death being fake, but the love between them very much real.

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

[undreaming-fanfiction]

I am massively busy with work and finalizing my Big Bang, but this idea just won't leave...

Steve and Eddie are both actors. They're in their mid thirties, well established, but they never starred together in anything. Steve tends to be cast in the same type, the dumb but pretty love interest, Eddie has lots of indie and disturbing movies under his belt. But this time, they both landed something big.

They get cast in the new Batman movie.

Steve is, of course, Batman. He insists on doing his own stunts. He refuses to get dehydrated for his shirtless scenes because he knows how damaging it is to both young men and women alike, he's not going to contribute to shitty expectations. The director (Dustin, duh!) sees something in him other directors never have - a potential for depth, for internal turmoil. He gives Steve the chance to prove himself as an actor and Steve pounces on it.

He's still very hot.

Eddie is cast as the Joker. He is a fan of the comics and scoffs at how absurd and deranged the character is becoming. He gets hired because he immediately says he doesn't think the character needs to rely on cheap tricks and shock value to be terrifying. Cutting off his face? Not cool. He suggests to play the Joker according to one of the older comics he has - one where the Joker is actually absolutely sane, but hides it to never be held accountable for his actions. The only person who ever saw through his ruse was Dr. Harleen Quinzel. Joker took care of that issue very quickly.

The chemistry between Steve and Eddie on screen is insane. They go toe to toe, it's impossible to look away when they interact. Eddie utilizes his bright smile to the maximum, tweaking it just right within moments so it becomes unsettling. The first time he laughs, Steve gets goosebumps.

Steve encompasses Bruce's loneliness so well Eddie's heart breaks for him. Dustin finds him in the trailer, giving himself gentle slaps over the face and muttering "you're evil, damn it, you don't want to comfort the Bat!!".

Batgirl (Robin) and Harley Quinn (Chrissy) find their slow descent into love hilarious. They all become good friends on the set.

Hopper, an acting veteran who plays Commissioner Gordon, grasps Steve's shoulder after an intense fight scene and mutters: "Good job, Steve, but maybe don't stare at his lips so much?"

Robin doesn't give him the same courtesy and once Dustin yells "Cut!", she screeches: "NOW KISS!"

The movie is a hit. People love the cast and the story, some of the OG fans complain as they always do, but the ratings are great, there are many interviews, panels, all of that.

And of course, there's gossip about Steve and Eddie being a thing, which enrages the macho Batman fanbase. Their Batman isn't gay!

But the rumors quickly disappear after an award ceremony where Eddie is nominated for the best supporting actor. He wins, of course. And as he gets up to accept the small statue and deliver a speech with enough "fuck"s to give the censor a headache, he drags Steve up and kisses him in front of the whole world.

A week later, Steve and Eddie are together in front of a camera again, answering questions in an interview.

The host asks: "What do you say to those fans that are disappointed, who say that their Batman isn't gay?"

Steve just snorts, pulls Eddie closer and answers: "They're right. Their Batman isn't gay. But he's definitely bi."

Also the comic story I'm mentioning exits and is short but fantastic. 10/10 recommend.

Oh also. The first spark happens when Steve sees Eddie's hair and blurts out: "Please tell me they're not making you cut it shorter. It's too gorgeous for that."

Also because people were asking about the comics - it's Batman Black and White - Case Study and it can be found on Tumblr HERE