#i would die for them fyi

[bad-wolf-circe]

guys im not ok i found this cosplay duo on tiktok that look like the younger versions of ten and rose and they just. they make the loveliest cosplays ever??? im actually crying idek why [@/fifty.shades.of.hae on tiktok btw!!!]

[loumauve]

Why do you like Ikrie? 😉😏

(sorry about the delay, smirky, winky anony-mouse)

..why do I like Ikrie. The question might as well be - what don't I like about Ikrie, or.. why do plants like sunlight. She's warm, her existence nourishes me, she comforts me.

I like her because she's Ikrie.

She takes her fears and doubts and shoves them deep into a glacier crack, together with her grief. She forsakes the ways of her people if they do more harm than good, she's not afraid to ask for help or offer it. She knows the value of shared burdens and past grievances laid to rest.

I don't know. I guess Ikrie (like Aloy and Beta, each in their own ways) represents parts of myself that I've done my best to nourish and grow, and some that I still struggle to come to terms with.

I like that she's her own person, that she knows what she wants and when to take some time to process before she proceeds. I want the best for her because she's been through a lot and she deserves love and rest and calm (and all the excitement and thrill she might want).

I don't know who you are, anony-mouse, but I think it would be easier to understand if you come hang out and ask more specific questions. I promise I don't bite and I'm always happy to chat about my fandom faves. I'd have done more of that lately but a big work project kinda ate up all of my time and energy, and I'm still recovering from that.

[kim-the-miserable-rat]

CITIZENS, yesterday I saw an hour and a half MONOLOGUE ABOUT GRANTAIRE where he talked about the revolution -and his cynicism-, Enjolras (GOSH I SWEAR THOSE WERE THE BEST PARTS) and his past.

IN THE MONOLOGUE, HE THINKS HE'S INSIDE A CONSCIOUS DREAM WHILE SLEEPING IN THE BARRICADES (spoiler: he was dead all along) AN YOU CAN SEE HIM WONDERING INSIDE HIS MIND, FINDING OBJECT THAT ARE ASSOCIATED WITH IMPORTANT THINGS IN HIS LIFE (a canvas, wine, Enjolras vest...) AND DURING THE MONOLOGUE YOU HEAR SHOTS AND GRANTAIRE GROWS MORE AND MORE CONCERNED WITH LES AMIS, TRYING TO REACH THEM (begging them to wake him up, to stop the revolution, telling them he'll stop drinking if that means that they will not leave him alone).

It was in Spanish, but I translated some of the quotes I liked and I'm gonna share them with you -please forgive me if the translations are shitty, im doing my best-:

"YOU BECOME A CYNIC ONCE YOU SHED YOUR LAST TEAR"

"who is more coward, the one who prefers to refuse change and save his life or the one who prefers a paradise even if it means the comrades with whom he's fighting it for must die? A PARADISE WITHOUT COMRADES CAN HARDLY BE CALLED A PARADISE"

I truly believed in you. I believed you blindly. There was no greater joy than seeing myself believing in what you believed so strongly.

The brilliance of your gaze was much more intense and convincing than any argument and if you said that misery would end I believed you.

I looked and listened to you talking; and then, Enjolras, I believed once more."

"Now that I'm dead, I feel like I must ask you: would you choose me over your Patria? You don't have to respond, I already know the answer. I just wanted to hear myself asking it out loud.

I know I can't ask for love from somebody who has sworn eternal love... And regardless, I'll never deserve such a pure heart as yours." (All of this is a conversation he has with Enjolras vest, FYI)

"At that moment I wished I were a national guard, so I could pierce your heart with a spear, to make you feel the pain that I felt in my own heart, if there's really something beating in your chest" (Talking about how he felt after the "you are incapable of believing" incident with Enjolras)

"maybe my friends were the reason I died today, in these barricades; but without them I would have died a long time ago"

"I woke up surrounded by corpses which I didn't dare to identify; and then I saw you.

You were the only survivor, and standing there, surrounded by those armed guards, you were worthy of being in a painting of Delacroix"

°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°

Maybe someday I'll try to make an edit with the best parts with captions in english for y'all.

Here's the link for anyone interested:

[bluerosefox]

Gothamites Never Really Rest

Small warning in this: very light swearing, light mentions of deaths, and tw light touching on the subject of abuse, like very light. But still an fyi.

Danny was used to his main Rogues (Boxy, Ember, Skulker, etc etc, you know those guys) showing up randomly and at odd hours, causing some chaos around town due to their own boredom or just wanting some fun (the more deadly ones were rare to show up and his main Rogues do at least respect him enough to give him the rest of the day off when they sense a ‘big bad�� fight), he fights them, wins, before he send them back to the portal. Then they rinse and repeat this for the next day.

So as he really wasn’t expecting, especially since he had just sent his ghostly quota for the day back to the portal a few hours ago (Boxy of course, and Youngblood (dressed as a Firefighter this time, though the ending for their fight actually ended on a good note. YB had been asking Danny about space, Danny kinda hoped YB will be an Astronaut next time cause that would be fun)), Johnny 13 (and Shadow) to phase into his room as he was heading to bed.

Honestly (he groaned when he realized who it was, dealing with Johnny, Kitty (and Shadow) during a ‘break up’ or ‘lovers spat’ always was a pain) he was expecting Johnny to just start attacking but before Danny could demanded to know what he was doing in his room Johnny hesitatingly asked if they could talk.

Now Danny, talking to his main Rogues, like legit talking was a very rare thing. But it has happened a few times.

With Johnny asking if they could talk, his face nervous but not in a 'I pissed off Kitty and idk where she ran off to again', Danny nodded and agreed.

"Hey, so like I know we all kinda agreed not to go roaming too far from Amity because of the whole government suits guys and bringing unwanted attention to us ghosts in the names of the Super Dorks but is it alright if Kitty and I head across the state for a few days? I promise we'll be back and stay under the radar..."

"What?! Why would you guys need to something like that?!"

"....."

"Johnny, look dude I know Amity can get boring sometimes but-"

"Someone killed Kitty's abusive waste of space father three weeks ago, you know that fucker that killed us in cold blood when he found out Kitty and I were enloping. Yeah him. We felt it, we felt him die and... kid I can tell you how our cores SANG about it when he croaked. Whoever ended him, they did so for us. It was a revenge kill... It felt amazing. Its why you havent seen us too, we... we needed time to process that." Johnny quickly explained and that shut any protest Danny had up, he knew a bit of the story how Johnny and Kitty died, and it was respectful to allow one's fellow ghost to talk about their deaths should they talk of it.

With a melancholy smile and a hand petting a chirping Shadow who sprung up to comfort his other half, Johnny then said "Kitty's been avoiding returning to Gotham for ages since we woke up in the Realms and whenever we found a natural portal back to it. She's always been terrified of running into him and even being a ghost she's still can't. But he's gone now, we felt his life end and he isn't a ghost either! Like legit, if he became a ghost we'd still be able to sense our murderer you know!... Anyways she wants to visits her old haunts and maybe see if we can find some old friends, see how they're doing you know. We won't mess with them or anything, just a small pop in..."

"We... We also kinda wanna find the guy who did it too... We could feel his emotions when he ended Kitty's old man and firstly let me tell you, rage. Like a lot of it. But also we felt his need for justice and... he felt familiar... like someone we knew and he knew us. That's how we know it's a revenge kill. Someone did that for us and well.... Kitty and I wanna thank him you know."

-x-x-

Meanwhile in Gotham about three week prior.

A budding Crime Lord had crossed out the face of a older man from a photograph pinned onto a corkboard, below and connected by red strings was two other papers as well. One held the newspaper clipping of two bodies being found in a ditch with the remains of a busted up motorcycle, a young male and female were reportedly found halfway buried in it. The male was reported to be a trouble maker from Crime Alley, knowen for stealing tires while the female was the daughter of a suspected mob boss.

The other string however, lead to a small, yellowed from age and tiny bit damaged photo of three people. The photo held two older, nearly out of their teens, male and female both looking like rough city street kids. A motorcycle could be seen behind them an it was missing a wheel. The young man with blonde hair was kneeling on the ground, his hands holding onto a tire iron and he looked rather proud, the young female was wearing red and had some dye in her hair and was smiling as she held the camera taking the picture in a selfie as best as she could.

In between the two was a young kid, blue eyes and black hair, a beaming smile on his face as his own hands were on top of a tire wheel. A wheel he had finally learned how to take off in record speed thanks to Johnny teaching him.

Green eyes that shifted for a second to teal stared at the photo for a moment before saying

"Hope you both are resting easily now. Kitty, Johnny."

[bloodwrittenletters]

KISS ME ONE MORE TIME

pairing . . . percy jackson x fem!mortal!reader

the cassette playing . . . waiting room! phoebe bridgers

the letter reads . . . perseus jackson was supposed to die at 16, not get a girlfriend who he could break.

warnings . . . angst, cursing ( slightly ), slight nsfw ( making out ), ptsd ( post-traumatic stress disorder ), survivor's guilt, mention of suicidal thoughts

a/n . . . hi guys! sorry it took me a little more than what I said to get it published, I got an emergency and didn't have time to work on it (everything is alright 🫡) I REALLY liked how this turned out, I love the son trio SOSOSO much so of course I had to give them a little mention, hope you all enjoy it!! actual part 2 is on the way, I promise :pp also, this doesn't really follow the canon, so just fyi!!

a continuation of this . . .

percy jackson knew he loved you the moment he laid his eyes on yours.

because they were pretty, full of light and happiness, two orbes made out of pure beauty that were protected by soft eyelashes.

and percy jackson was a sucker for pretty things. or he was a sucker for you in general, because every milestone he had given you with his hear full of hope (because, yes, he had saved a lot of his firsts for only you), or because for the first time in his life, he had allowed himself to want something for himself. only for him.

since he was twelve everything— everyone had told him he was going to die soon, 'you're not gonna make it' 'you're too weak to be the hero of the prophecy' 'you will die alone, just how you started' blah, blah, blah. it didn't matter, he knew he was doomed to die soon, and for a long while, he wanted it, too.

percy started the end of his life at twelve, and by the time he was fourteen he was exhausted.

he worked himself to exhaustion each summer, picking up on more quest (or forcing himself in some, for a little while), not even allowing himself to break after each loss.

luke, chris, bianca, zoë, lee, charlie, silena, ethan...

it was all his fault, they were supposed to live, even if one of them made it out alive, it was his fault they didn't have a better life— the one they deserved.

he lost so many people. and everything in his birthday, like fate wanted to remind him that this was his fault. for all the time where the camp was in Manhattan, he even had forgotten it was his birthday, he was too busy focusing on trying to keep everybody alive to remember his day.

for a moment, percy felt bad for forgetting, and for the next one he just wanted to cry and find his mother. he wanted to be six again and be smothered by sally in Montauk, while they were away from the hell of house that smelly gabe had made.

that couldn't be, though.

percy jackson had found you, passed out on the streets of new york, holding bags of gifts and a boque of blue roses and lilies, all of which you had gotten for him.

"no, no, no, no," he breathed, repeating the word over and over as he laid his hand on your forehead. "please... j-just—" he cut himself off when his thumb rubbed on your pulse point. "you're good, yeah?"

he left a soft kiss on your forehead, before pressing his hear over your heart, sighing when he heard it beat loudly.

listen to me, i'm here, i didn't leave.

percy gently detached your hands from the bags, grinning at your hard grip, as if you didn't want to lose what you've gotten him.

"i'm not taking them from you, sweet girl, let me hold you, please," he whispered to you, holding you up on his chest, and grabbing your things before taking you to the Empire State Building.

if olympus were to fall, it would be after overcoming hundreds of demigods; that was the only safe place for you.

the rest was the usual for a hero, his beloved one waking up to his breakdown and being convinced to date. usual stuff. happens every tuesday in your local divinity show to your favorite sweetheart. you pick it.

he celebrated every day of dating you differently, but all started with soft, gentle kisses.

though, your second month anniversary had gotten... a little heated.

"you're so beautiful," he murmured against your neck, kissing the exact vein he had rubbed to make sure you were alright two months ago. then, he left wet kisses up yor neck and jaw before kissing your mouth. "i'm so grateful for you, baby. so, so grateful."

"pers—"

"what do you need, sweet girl?" percy gently shifted the both of you, grabbing his stuffed penguin and turning it around, before looking at you with a grin. "we don't want to traumatize him," he said as he kissed the corner of your mouth.

there were soft giggles between the two of you, before percy took a hold of your jaw and tilted your head, kissing around your adam's apple with wet lips, gently nipping the skin with his teeth, giving you a tiny smile when you digged your nails into his shoulder, creating soft crescent moons into his skin.

"so, what was it, angel?"

"hush, your lips made me forget."

percy wiped his head out from the crook of your neck, and pressed his big smile against yours.

it was one of his favorite memories with you, one hera couldn't take away from him as well as a lot of his memories.

there were only two things he was able to keep, your name, and the soft memory of your lips.

his only two amulets against all the hardships he faced in the little time he wasn't asleep.

"you should really consider calling home," frank, of course, had called after percy when he was slipping away into the endless pit of loneliness that had grown into his chest.

green eyes met brown ones, and soon percy's eyes had the water his irises imitated.

frank stepped forward and wrapped an arm around percy's body, and then the other, hugging him tightly as he held percy through cries.

"i miss her so much," percy voice was broken and low, yet the words cut through sobs.

"i know you do."

"y-you would love her, and she would love you," percy cried harder. "i.. i'm sorry, frank."

when percy tried to pull away, frank held him tighter.

"you're okay, percy, just cry until you feel a little better."

frank's body was like a living teddy bear, warm and safe, soon percy was gripping the purple shirt as he cried in his friend's shoulder, breaking apart after months— years, of holding it together.

every day for all the months he was missing had taken form of tears, falling and falling through his cheeks, burning his skin as more and more tears fell.

huffs and puffs, sobs and tears, all fell out of percy. soon he fell to his knees, only being held together by frank.

the boys sat on the sidewalk, frank's hand gently patted percy's head, supporting him through everything.

"t-thanks, frank," percy patted the shoulder his head wasn't resting on. "usually i'm good keeping it together."

"me, hazel and that girlfriend of yours are gonna have a talk about you putting too much pressure on yourself."

"what—"

frank pulled two coins from his pocket, like a magic trick, and offered them to percy.

"call home, percy."

percy looked like a fish out of water, an o instead of a mouth as he stumbled over his words, before swallowing them and grabbing the money, to then run over to the closest phone booth.

he punched in the only number he could remember, being the one from the jackson apartment, and hoped with every bit of his soul for his mother to pick up.

for someone to pick up.

"hi?"

percy wasn't expecting your voice, his stomach fell to the floor, feeling his organs creep and drool around his feet.

he opened his mouth, but then closed. once, twice, until your voice revived the line.

"anyone there? is this just some stupid prank?"

it wasn't. percy almost broke down again, gripping the phone tighter.

please, just say something, he begged himself in silence, feeling like he could pass out in a moment.

"i'm going to hang up if you don't talk soon—"

percy finally spoke up, feeling like he could cry.

"hi, baby... i miss you."

"holy shit."

percy laughed, finally hearing your voice, he just wanted you to beg you to keep talking. to never shut up.

percy laughed, more like a breath of relief.

"hi, pretty girl... can you talk?"

"y-you— me— percy, oh my god. where the hell are you?! oh my god, oh my god, ohmygod, i'mgoingtocry."

"uhm... well, it's a long story."

there was sobbing on the other line, and percy's knees went weak. he had to take a long drag of breath to stop himself from crying, too.

"sweetie.. please, don't cry, i'm too far away to hold you."

you composed yourself, hugging tightly the blue bunny you had, tears rolling down your neck. you had to focus on him.

"'kay. percy, my love, where are you? i'll tell annabeth and we'll go get you."

"tell her to tell you about camp, and to come get me from camp jupiter."

"alright... we'll meet you there," and before he could fight you on it, you rushed to your next sentence. "i love you, percy jackson. please don't run off to where i can't find you."

holy shit, indeed.

"i... i love you, too."

[suzukiblu]

Do you read much fic yourself? and if u do, do u have any recs?

I kinda read fic in fits and starts, to be honest? Like it ebbs and it flows, pretty much, hah. So sometimes I read a TON of it and sometimes I pretty much don't read any at all. So like, currently not really, but previously enough that I def DO have recs, haha.

Not an exhaustive list of my faves, just some random Good Ones I can think of off the top of my head ( all some variant of DC or DPxDC ).

( also def read the tags on these, there's def some tags on a few of them that at least some people would wanna know about before reading. )

Catching Icarus by Fantasyfire ( YJA!Conner gets Super-adopted, interdimensionally-speaking. Fully the inspo for that "the last son of Krypton meets Hypertime Kon" WIP of mine, for the record. )

I Want It That Way by WynterSky ( Tim/Kon but make it 90's and also an emotional rollercoaster. )

Stress Relief by daemoninwhite [ nsfw ] ( Kon goes to a sex club in space for some free-use/stuck-in-wall-style stress relief and gets exactly what he wants. )

Jasmine Luthor by Die_Erlkonigin6083 ( Jazz finds out her biodad is Lex Luthor and literally does not care until she finds out CONNER Luthor exists. )

The Unnecessarily Dramatic Death of One Jasmine Fenton by Rowan_the_Escapist ( Jazz and Jason meet at a party and it all goes to shit pretty quick. fyi I will chew on this worldbuilding and also this version of Jazz/Jason until I ALSO die. )

Lazy Sunday by Faeriekit [ nsfw ] ( . . . I did not think I'd be so into Jason/Tucker but uhhhhh turns out I'm real into Jason/Tucker and especially into Jason getting consensually hypnotized into a househusband while absolutely desperate for his boyfriend Dom to fuck him, go fig!! )

The French Mistake by Vamillepudding ( The wrong Bruce is in this reality but he's a much better dad than the right one, so is that really a problem?? )

Buy One, Get One by iselsis ( Incubus!Jason gets rescued/surprise-adopted by Batman and then tries to figure out if it's safe to ask Bruce to save his succubus!mom from his shitty dad. )

Catherine/Bruce Medieval AU by iselsis and PotatoLady ( I am not emotionally well about this whole entire concept, hahaha. Omegaverse medieval AU where Bruce beats Willis in a fight and therefore wins whatever belongs to him. Which in this scenario includes Catherine and Jason. )

bystander by greeneyedfirework ( Batfam omegaverse where alpha!Jason finds a messed-up Robin!Dick in heat and it is a Problem(tm). One of the specific genre of omegaverse-Robins-in-distress that was inspo for the "Robin gets nested" WIP. )

Eyes Like Kryptonite by dragonez ( Lena Luthor gets a strange Kryptonian on her balcony who doesn't know if he's from an alternate reality or time-travelling and wants specifically HER help. Kara/Lena. )

your ghost i will gladly bear by merils ( Interdimensional Timkon featuring two Robins on a rooftop while they're both dead. THIS CONCEPT, I LOVE IT. )

This isn't how things are supposed to go. But we've always been unorthodox. by RenkonNairu ( Please and thank you for this slightly niche and highly interesting omegaverse take including omega!Kon, bless. Also Tim/Kon and Bruce/Clark, accidental and deliberate and deliberately-AVOIDED bonding, and the shitty version of Lex/Clark. )

Fairy Godbrother by envysparkler ( Batbrothers accidentally-on-purpose decide to meddle in another reality's version of themselves in quick succession, or over the course of several years, depending on how you timestream it. )

. . . . . . like, just go check out thebodydies and Briarwitched, I cannot effectively narrow down the options there, haha, just gooooo.

[mcflymemes]

PROMPTS FROM SHREK 2 *  assorted dialogue from the 2004 film, adjust as necessary

quick! tell a lie!

i can't believe you're just gonna walk away from the best thing that ever happened to you.

say something crazy, like "i'm wearing ladies underwear!"

i most certainly am not!

it's a thong!

i don't feel any different. do i look any different?

you still look like an ass to me.

nobody said i have the right to remain silent!

you have the right to remain silent. what you lack is the capacity.

stop. i have misjudged you.

join the club. we got jackets.

look, she's not seeing any clients today.

we're from the union.

we represent the workers in all magical industries, both evil and benign.

are you feeling at all degraded or oppressed?

okay, we're going to have a look around.

think of the saddest thing that's ever happened to you.

oh man. where do i begin?

they all got drunk and started hitting me with sticks, yelling "piñata! piñata!"

i need you to cry!

all i got in my room was shampoo.

i hate mondays.

who on earth are they?

that's not little. that's a really big problem.

we came, we saw them, now let's go before they light the torches.

they're my parents!

good! now's our chance! let's go back inside and pretend we're not home.

quick, while they're not looking, we can make a run for it.

you can do this.

i don't want to die!

oh sweet sister mother of mercy! i'm melting! i'm melting!

i'm sorry, the position of annoying talking animal has already been taken.

oh look! a little cat!

look out! he's got a piece!

are we there yet?

oh god help me! please!

tell the truth. will i ever be able to play the violin again?

i drank the potion and well, now... i'm sexy.

oh pick me! i'll be your true love!

someday i will repay you, unless of course i can't find you, or if i forget.

fear me, if you dare.

i had hoped you would never see me like this.

i'm sorry to both of you.

i just wish i could be the man that you deserve.

go! your lady needs you!

today, i repay my debt.

who dares enter my room?

i hope i'm not interrupting anything.

you are told correct, but for this i charge a great deal of money.

for five minutes, could you not be yourself?

it wasn't my fault! he didn't get there in time!

are you kidding? he's gorgeous! his face looks like it was carved by angels?

i see london! i see france!

why don't we drop in for a spell?

oh mexican food! my favorite!

you have forced me to do something i really don't want to do.

my diet is ruined! i hope you're happy.

they just want to give us their blessing.

who said i want to be part of this family?

look out! here comes the new me!

first things first. we need to get you out of those clothes.

did i miss?

pardon me. would you mind letting me go?

quit messing around!

almost everybody who meets you wants to kill you.

whatever happens... i must not cry.

can i help you, your majesty?

tell us about where you live.

i guess that will be a fine place to raise the children.

oh, stop being such a drama king.

i don't care whose fault this was, just get this place cleaned up.

i'm not going.

he's completely lost his mind!

we can't be lost.

i wasn't the one who refused to stop for directions.

you're so tense.

do you think you could get up there?

i've made changes for you. think about that.

i guess i gave her the wrong tea.

sorry. i thought that question was directed at me.

uh... FYI. not my fault.

we just need to work out something smarter, that's all.

i need to have someone "taken care of."

[love-belle]

king of my heart !!!

*ੈ✩‧₊˚ in which they finally share their little life with the world.

or

for when it's just peaceful and happy. ˚ ༘♡ ⋆｡˚

social media au // lewis hamilton x fem!reader

warnings - language

author's note - loved writing this so much!! im trying to post all of social media requests first before moving onto one shots so if u requested a one shot, im so sorry for the delay, i've been busy with tests all day long. hopefully i can post them over the next couple days!! i love you, thank you for reading this. this was requested by @tbb01 hope you like it love!!

≡;- ꒰ °instagram ꒱

liked by lewishamilton, carmenmmundt, danielricciardo and 964,826 others

yourusername king of my heart, body and soul 🤍

tagged lewishamilton

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username PARENTS

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*liked by yourusername*

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≡;- ꒰ °instagram ꒱

liked by yourusername, carlossainz55, maxverstappen1 and 986,627 others

lewishamilton years of being together and i manage to fall in love with you even more as time goes on. forever seemed like a long time back then but now i feel like it'll never be enough. i would walk through hell with you, for you, as long as it's you holding my hand. i love you, my love, in all my past lives, in this one and all those to come. happy 5th anniversary ❤️

tagged yourusername

username THEY'RE MARRIED?????????

username WHAT THE FUCK WHATCTHEBFUCK WHAT THE FHCK

username 5 YEARS OH MY GOD

username "forever seemed like a long time back then but now i feel like it'll never be enough" CAN YOU HEAR ME CRYING.

danielricciardo fyi y/n is crying x

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yourusername dakotah antonio y/l/n-hamilton ❤️ (lewis is on the couch folding laundry and will be doing that for an entire month, thank you)

tagged lewishamilton

8,927 comments

username THEY HAVE A BABY

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-> danielricciardo excuse me?

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-> yourusername ...

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lewishamilton i love you ❤️‍🩹

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lewishamilton my everything summed up in two pictures 🤍

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username in love with this family omg

username u don't get it im SCREAMING

username baby y/l/n-hamilton is so adorable i could cry

danielricciardo so much love for you guys ❤️

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username he's gonna be the most fashionable baby on the paddock i can feel it

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username LEWIS AS A DAD I CANNOT

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username im so normal about this hahahahAhahahAHaha

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-> lewishamilton all i can say is thank you, our baby boy is so lucky to have you as his mother

username they're so in love im.

[tomas-smoked-sasuage]

MK1 Kast reaction to AOU! Scarlet Witch! Reader (Earthrealm Addition)

*I don't want any controversies, I'm a sucker for Wanda, FYI, you're Johnny's assistant*

Warning??: Down Grading, Johnny wanting you in his movie, Geras being threatened, me doing side events with this one, Liu Kang Double cheeked up on a Thursday afternoon

Requests are available

LIU KANG

He already knew...

I mean what, you were in the last timeline, but neutral? You had your reasons for being evil (or so you would say), but also good

Much of speaking, you won't necessarily die or be erased from history, because without chaos, there would be no balance in the universe

So he has options to either Shinjuku mind erase your ass and restart or seal, cause yea...

He finds your power intriguing the more you learn and develop, there even somethings he didn't see you do previous timeline

You also almost killed a few of his students "accidentally" per say

He also finds out you have relatives that are Edenian ancestors of the magic, even if you come on top, you have much to learn

He prevented you from interfering with Johnny's fighting against the Lin Kuei brothers when they arrived at his mansion

He also noticed you cast an illusion when you were about to leave after Johnny fought the brothers, to not be involved in what was happening

RAIDEN

He's surprised you even had powers, let alone be born with them

He likes the combination of his lighting with your magic, impressed that you can mimic lighting, he will also feel a little intimidated about it

He totally kicks your ass in combat, hand to hand precise

He will lecture about using combat more than your powers, but is impressed about your abilities

He annoys the living the fuck out of you with his humbleness

He finds it amazing that you are able to hold more than you once did

He still wants to know if you're able to do more with your magic than what he's read in books about ancient magic in Edenian

He worries of your mental state with your abilities the more you learn about them, but he finds you interesting that you are abnormal

He's surprised that you can tolerate Johnny, hearing about his previous assistants, you are the only one who can tolerate the egotistic (but generous) man-child

KUNG LAO

Cocky son of a bitch...

He'll work too hard to try and impress his abilities to you and brag that you can't prevent them

Overall, he does like the sight of your abilities glowing and swirling in your hands

He finds them ticklish when it holds when they calmly wrap around him

He's literally the type of guy to ask you to "do it again!" just to make him feel like he's flying

You somehow managed to block his blade hat, but nearly got your head split into two

He's wondering about your limits and wanting to try and overdo them, in other words he wants to cheat

The more your power grows the less he understands

KENSHI TAKAHASHI

He and Sento can sense you, just like you can sense them.

He was curious if you could hear Sento without any contact with the blade. Both him and you were surprised that your ancestors knew each other

You both help each other with telekinesis and mind reading

Johnny and Kung Lao call you two the "Perfect Duo"

Johnny tries setting y'all up, but you declined due to "not seeing it" (neither can Kenshi)

It weirds out Takeda that there was someone else quite similar to Kenshi

Takeda also comments that she's out of his league...

They will literally talk shit telepathically, especially about Johnny. I headcanon the way they do it is like in Young Justice, especially when they argue. The entire squad just looks at y'all as you two throw your arms and yelling at each other in y'all minds like y'all crazy...✋🏾😭

JOHNNY CAGE

Brother is STUNNED

How dare you keep this secret from your boss, he's livid AND dramatic...

Even those Liu Kang prevented you from interfering, you didn't really listen to him. You knew Johnny for six years and was close with him

Helping him push Bi-Han with your magic was always entertaining for him during the fight

You did kinda slapped him for trying to use you for his movie as you said you didn't want to and your power was too unpredictable anday cause harm

He enjoyed watching you beating the shit and levitating Shang Tsung and slamming him on the ground

He does notice your magic gets darker the more you use it, he also noticed you get headaches and hear voices from it

He was losing his fucking mind when Shang Tsung kidnapped you after he set out poisonous gas in his gruesome basement of Tarkat clones, man was ranting and worrying about you to Liu Kang who kept telling him to calm down

He remembers your ex, Kira, (Yes, the Kira from the previous games), that she got out of prison for trying to kill you, or more like someone let her out and she joined the Red Dragon group

He's extremely worried about you all the time, like that's you bad bitch, you're bestie✨💅🏾

Y'all are literally the Mean Girls, along with Kenshi

✨BONUS ✨

GERAS

He's more cautious about your abilities than Liu Kang, even though Liu Kang is aware, Geras is more strict about it

He knows the extent of your abilities and various triggers that can happen. Throughout the times in other timelines, he always see you are going from good to evil.

There's even one timeline where he sees you erasing all the realms due to sadness of someone you love during a realm battle of all realms

He remembers you were Shinnok's spawn in a previous timeline, but it glad you were down a different path, still causes of what you might do

He will eventually see you as a threat if your power corrupts you, knowing he can't erase you due to chaos and order balance, he deems of sealing you, which Johnny was mainly against

He knows you don't intentionally mean harm, but does trust your mind set

Geras is a bonus since he's not intentionally an Earthrealmer, this list is mainly for those who are born in Earthrealm, for example since Liu Kang is a God and Keeper of Time, he still was and is an Earthrealmer

I was gonna add Thunder God Raiden, but if I'm in the mood or someone requests the MK11 version, I will do it

I will make an Outworlder one but I won't add the villains, they'll have their separate section

Again! Requests are open!

[edennill]

In which I puzzle over metaphysical implications as regards the peoples inhabiting Arda

fyi, a certain familiarity with the (predominantly Christian, I think) concept of fallenness/unfallenness is assumed, although it turns out that it doesn't necessarily work here. Feel free to ask for clarifications

So. I'm once again wracking my head as I try to make sense of what I shall call: 'metaphysical states' of elves, men and others, because the subject is emphasised and lampshaded a lot in the books, and I can't force it all to make sense when taken together.

Ainur are a specific case and I should really leave them aside for now. They certainly can fall — and, unlike angels, change their mind, apparently (which goes both ways) — although they do seem to be more all-or-nothing than everyone else. Still, I think as long as one doesn't go into the implications of time and what its existence or nonexistence changes, they're almost straightforward. But then you have:

Elves. The 'Fall of the Noldor' is very strongly emphasised as a metaphysical fall from grace and further evils, even ones unconnected with the matter of the Silmarils themselves, are blamed on it later (Maeglin!) So far so good. Except. Non-Noldor are also liable to behave in ways that are not exemplary in the slightest, and it doesn't seem to signify a cesura in the same way — and the Noldor in Valinor were able to commit acts that perhaps weren't as heinous as what we call crimes, but weren't good either. Getting into rancid fights with your brother isn't much in comparison, but these are not the actions of unfallen people.

And on the other hand, authorial quote (paraphrased): "Elves in some ways represent Man in an unfallen state". And I'm inclined to agree: they aren't subject to death (except they may be killed, so doesn't this already break down?), and there is something very poignant in the image of their artistry, "extempt from earthly limitations". But they do not lose it, not in any easily tangible way. We can argue that evil diminishes creativity and it's probably true, but there is no hard line anyone passes. And this is again lampshaded in-world with the Númenoreans ("If we die because of some darkness that lay on us before, than why don't the Noldor?").

Which brings us to Men. The existence of a direct cause-effect relationship between fallenness and mortality in Arda cannot be ascertained (Even taking into account a Catholic framework, I feel that logically it need not be the same relationship as the Biblical one since, in contrast with the Garden of Eden, the world was already marred when humans appeared). While I consider the Tale of Adanel to be Gondorian in origin, I can also see the possibility that whatever Men did back then, beyond memory (or in other words "we purposefully forgot") was just that much worse than Alqualondë and the Oath. In any case, Man is very straightforwardly Fallen.

Hobbits. The rules for Halflings are presumably the same as for Men, which is certainly notable, given that they seem to be the least inclined to evil of all incarnates. Not perfect, not by a long shot, but unknowing of wars and violence. A pastoral image, only in-world it's true.

And at the same time, my musings bring me to the unexpected conclusion that dwarves are the only notable "generally unfallen" kindred. Which is, in context of everything that regards them, weird — because by their actions, they are very similar to Men. And yet — either the circumstances of their creation make them disadvantaged from the start (which doesn't really make that much sense), or something happened off-screen, or it's the same case as Saeros, or Thingol sending Beren to his death.

Ents? I honestly don't know if we've seen enough of ents to judge, although they seem generally good-inclined? Huorns are a different kettle of fish.

Before I try to explain orcs, it would do well to know what they are exactly.

In other words, I cannot make sense of it all, enough that I've resorted to calling the default state of incarnates in Arda "semi-fallen" (or, as is, "semi-unfallen"). Which is not a thing that makes sense, philosophically speaking — but I can find no better way.

(Although, to be quite honest, the default state of being in Arda (because of the discord?) seems to be significantly different from the unfallen state of Man as described by religious thinkers in some ways, and not all of them regard merely such things as physical marring, so perhaps "semi" isn't the worst way to describe it.)

In any case, if someone has thoughts on the subject, I'm very open to hearing them.

[yourmomxx]

— random relationship headcanons for jj maybank —

male!reader

a bit nsfw under the cut

just to be clear from the very beginning, we are talking about a secret relationship here

I mean come on, jj has a dead-beat dad, he’s not just gonna go all out and tell him “yeah i’m fucking someone with a dick fyi”

ain’t happening

starting a relationship with jj was hard, he kept pushing you away because of his fear of attachment and his trust issues

But you didn’t let him push you away

It took a while for him to let you in

But after those walls were broken, he was justKirk the most affectionate boyfriend ever

Everyday he would wake you and not know how he deserved you, and the pogues would never hear the end of it

so yes, obviously the pogues know about your relationship

even if he kept it a secret from them, too, at first

kie was the first to actually figure it out

because john b is a bit slow

and pope thought y’all were just really good friends

(no one had the heart to tell him what really made the bumping noises in the next room)

but they all love you

while you’re dating jj, you’re a pogue now, like it or not

you most definitely had it easier than sarah

but hey maybe that’s because your brother wants a psychopathic killer

speaking of siblings, if you have some (younger ones), jj adores them

like, seriously, he always tries to include them whenever you do things together, and jokes and plays around with them

if your siblings are older, they’re a bit suspicious of him first, but eventually grow really fond of him and start seeing him like a sort of a little brother too

we ain’t mentioning JJ’s dad in this house

except for the times where you threatened to beat him up until it was him lying in a hospital bed rather than his son

jj always held you back tho

he told you his father wasn’t worth a sentence in prison

you always take care of JJ’s wounds, even when he’s reluctant about it at first

silent smoking sessions where the two of you simply enjoy each other’s company

“who’s the man in the relationship?” “there’s no man in our relationship, idiot, but if there was, it’d be me.”

he always brags about you when he’s with the pogues

“did you know that y/n did …”

“y/n actually told me …”

“have you seen how fucking good y/n looks today?”

“can’t believe I fucking pulled that.”

the pogues mostly just smile and nod along, knowing how happy you truly make him

he’s just drooling whenever you walk over to him, shirtless with wet hair and only in swim shorts

his brain short circuits

It’s like that one slowmo scene in baywatch ya know

jj plans the cutest dates

like stargazing, small roadtrips, surfing together, campfires with roasting marshmallows

soft touches

and because you two aren’t in a public relationship, I am so heavy on this

like imagine you’re walking to the beach with the pogues, all together laughing and chatting

and you walk so close to jj that your shoulder always *accidentally* bumps his. all the time.

or bonfires

sitting next to each other and each talking to someone, but your knees are so close that they are just touching the entire time

you can feel jj’s warm skin against yours and it sends something like electric waves down your body

fingers linking slightly when you stand near each other or walk with the pogues to the beach

putting your head on the other’s shoulder because that’s not gay you’re “just tired”

shoulders or arms grazing when you’re close

your pinky linking with his thumb when your hands are placed near each other

f o r e h e a d t o u c h e s

hello and goodbye kisses

puts his arms around your waist from behind and lays his head on your shoulder or upper back when he’s tired (and you’re with the pogues)

falls asleep leaned against you when you’re at john b’s hanging out with the pogues

such dramatic golden retriever puppy energy

says he will literally die if he doesn’t get enough touches and kisses from you

jj practically lives at your apartment

he has his own toothbrushes over there and everything

when he’s at home he sleeps in your clothes because they smell like you and it comforts him

will literally return said clothes to you and tell you to wash/wear them because they lost your scent

with jj’s impulsive personality it’s hard, but the two of you do your best to argue as little as possible

and even when, you try your best to not yell and trigger him, but to be honest - the two of you rarely argue. like, heavily

of course there’s some harsh exchanges from time to time but not ever screaming fights or something like that

communication is key in your relationship

you’ve ensured that from the very beginning

you promised to talk things out when you feel like there are problems or something that needs to be talked about and then you can work on it together

there is literally no grudges you hold that could be thrown at each other to worsen arguments

cooking breakfast for him because you want to let him sleep in

stealing away from parties or bonfires to have some private time

his wardrobe is mostly your clothes

you would go to jail for each other

“jj i swear if you don’t stop pissing off police officers-“

you meet him at the beach to watch him surf

because he’s so talented, of course, not because you want to see him shirtless or anything

he’s the best at cheering you up

he’s everything but a dry texter

you mostly cook because the only meal this man knows how to make is toast and pasta

how he’s survived this long without you is a mystery

jealousy because, again, secret relationship

“I thought you weren’t the jealous type?”

“oh, I’m not.”

“so the girl over there that’s talking and smiling all over jj has totally nothing to do with the fact that you’ve absolutely crushed your plastic cup?”

“mhm.”

but not in an i don’t trust you and I think that you will cheat on me-way jealous, more in a you’re mine and seeing you with other people that i know don’t know that physically hurts me-typa way

has his own private smile for you, all teeth and giggles, and just so in love

you give jj your clothes and he gave you one of his leather bracelets to wear

knuckle kisses

just staying in bed all day and cuddling

he has less nightmares when he sleeps next to you

whenever jj got out of the water after surfing, he would make sure to hug you, no matter how much you struggled to push him off you, so you would get just as wet as him

— nsfw ————————————————

you actually had to introduce jj to a few things because he had never done them before or ever even heard of them

he’s good with girls but the whole boy thing? that was new territory

so you had to teach him some stuff

but it turns out, jj is a quick learner - when he wants to be

he’s a switch but mostly bottoms

it’s his inner child that just wants someone to take care of him

sometimes the sex helps him to calm down after his dad hurt him, but that is a thin line to walk

he whimpers

he has a praise kink

“so beautiful” “my handsome boy” “atta boy that’s a good one”

those just do it for him

there’s times when it’s just rough and emotional and angsty (cue choking, knife-play, heavy dirty talk and degradation)

and other times that are slow and soft and loving (cue praise, careful movements, private mornings, many and long kisses)

he takes a shower and you just surprise him by stepping in too

quickies on the boats that jj is supposed to clean (you officially keep him company for “moral support”)

his sweaty surfer curls sticking to his forehead after while he’s grinning at you😫😫

head in small caves at the beach

hickies because “if that girl tries hitting on you one more time, I am gonna hit her. with my car- ”

the pogues tease him about them the morning after

“ayo jj had a rough night I see?”

teasing. like so much. from both sides

whether it be “innocent” touches or well-placed words … it’s all over the place

high sex

handjobs in the back of john b’s twinkie

[vidavalor]

Ah, I remembered!

My question was: what are your thoughts on Crowley saying ‘I lost my best friend’ when he’s directly talking to Aziraphale’s non-corporate ghost in season 1? I always thought that line was strange. Is it that he can’t say ‘I lost you directly’ because others might be listening?

Hi @procrastiel ooh, nice! I *love* this scene so I'm super happy to share an opinion on it. Thank you. :)

Meta on the meanings behind what they call each other, what they intentionally *don't* call each other, how they actually said they loved each other and came up with a shorthand for it in 1941, and why they still don't just use those damn words already...

This goes everywhere, just FYI lol. I think I started with "no nightingales" and took a scenic route through 1600, 1941 and bits of S2 before coming back to the scene you asked about but I've been told it makes sense. Thanks for indulging me. :)

There are certain things that Crowley & Aziraphale feel that they can't call one another and can't say to one another directly. It's not just because they could be overheard if they're in public, though that's always a concern. They don't say them when they're alone, either.

It's because it hurts too much.

They've always tried to be optimistic about surviving Armageddon and being able to be together somehow but they're terrified that they won't and the odds, in their minds, aren't great, being that it's the whole will of God and all. As a result, they've lived their whole relationship expecting it to end in tragedy. They could both live for all of time, forced apart by Heaven and Hell. One of them could die and leave the other alone for eternity with nothing but the memory of the other. Meanwhile, in the now? It's not a great situation, either.

They can't really be together. They are together but not openly and they can't promise each other everything and they absolutely would if they could. Heaven and Hell could literally murder them if they got caught together so they have to be careful and keep it a secret. This means that even as the human world they live in opens up and starts to change to a point that queer humans like them are living more open lives with one another, Crowley and Aziraphale still cannot at this stage in the story.

So, it all becomes then an unspoken question of: what would make this easier? (As if it could ever really be made easier?) They don't wish to cause each other any additional pain. What would make it easier, they think, is if they don't say certain things so that what they can't have now or what might be lost to them in the future is and will be easier to bear.

This is delusional but they're doing it anyway because it gives them some measure of control over things they can't totally control.

They think it is easier to deal with not being able to be together if they just never say directly aloud what they are in terms that are surface-level undeniable. They speak in a coded language with one another and they say all the things in those words. But the doublespeak gives them some cover. Not to ever deny any of it but it softens the edges of it.

It's also because they live with the fact that they can't fully be together but they also both are fundamentally optimists and want to think that maybe, someday, they could find a way to have what they want to have with one another. That's also why they don't say the things fully. A part of them thinks that if they just don't right now and they wait until some time comes when it seems like they could have a life together, then they still get to have those moments. They're almost saving some of it for a life they hope they get to have but aren't sure if they will.

As a result, they are romantic as all fuck towards one another but they don't use words like romance or love aloud. If they do find they have to talk about it, they've shorthanded it in a way that they both understand because it's based on their past together. We already can see bits of it uncoded-- nightingales, dining at the Ritz-- but there are more than that that we can see if we deep dive a bit here so let's do that...

What's evident in the scene in 2.06 wherein Crowley decides to try to abandon the doublespeak is how deeply ingrained this way of speaking is for both of them. Also, how they don't abandon it when they're alone (the 1967 scene also illustrates this.) Crowley actually reverts back to their doublespeak *three sentences* into his proposal. He doesn't get much further than establishing that they've both been on this planet for a long time before he starts evoking coded messaging. He flicks his hands between them during the "you and me" line in a way that is echoing how Aziraphale gestured at him to mean "couple" in 1941. He winds up using coded language all over the place, peaking with the "no nightingales" moment that is actually coded language twice over because of "nightingales" being their word for romance and the asking Aziraphale to listen for birds evoking the Job minisode and the moment in the courtyard when they came up with the doublespeak.

Part of why Crowley can't get through the proposal without it is because he doesn't want to do it like this. Both the doublespeak and the idea of someday loosening it a bit mean things to them. They like their private language. Maggie and Nina are not exactly correct in assuming that they never say how they really feel. They're not wrong, either, but they're not fully right. Crowley and Aziraphale do talk. They just do it in a way that hurts them less because they can't bear to hurt each other because they're batshit crazy in love with each other. Maggie and Nina are correct in saying that Crowley and Aziraphale don't say how they truly feel if saying how you truly feel means using traditional language but they are wrong to say that they don't express these feelings at all because we have literally been watching them do so this entire time.

Notice how Crowley, even risking more with breaking their code in 2.06, still doesn't say some things. Amazing how he said all of that and he didn't say I love you, isn't it? He could have. He is, in what else he's saying, but the words they don't say are still there on the table. Aziraphale, later in the scene, almost does. He almost does because he is a mess over the situation and he wants to give Crowley something but then he doesn't and he spits out a self-aware I forgive you instead. That horrid, complicated version of it that he's used before and is code they both kind of hate. He's angry that this is all happening the way it's happening because it's taking some of the things they leave unsaid for hopeful, better days and it's saying them in a less than ideal moment.

That they both leave out that I love you, though, is the most I love you thing they could have possibly done.

They think it will be easier to not be free to be together and unafraid in the present-- and to maybe lose one another in the future, if they eventually have to-- if they pretend they're not a team or a group of the two of them and one way to do that is to never say words like the one we were all silently screaming at Crowley to say in that scene in 2.06 lol: "couple."

Are they a couple? Yes. Are they lovers? Yes. Are they partners, the term Nina used? Yes. Do they refer to their relationship using any of the terms in this paragraph? Oh God no...

That is why Crowley freaks out when Nina tries to get him to use uncoded, normal, human person language to help her understand what Crowley and Aziraphale's relationship is. She calls them partners and this is Crowley:

We're in agreement with Nina then when she responds with:

Nina isn't wrong here. She's just from a different world than Crowley. Nina lives in a world like ours in the year 2023 and she's puzzling Crowley and Aziraphale out through that filter. She doesn't know at this point that they are an angel and a demon who could be murdered by Heaven/Hell for being together. Her best rationale for why she's never seen Crowley and Aziraphale in her cafe together and didn't know until this week that the bookseller has a fella is her theory that Crowley is married and that he and Aziraphale are having an affair. To her, it explains why they've got chemistry for days but they're secretive. Crowley denies that-- defending Aziraphale's honor like the good old fashioned lover boy he is :)-- but the reason why he quickly denied that he and Aziraphale are partners, even if they absolutely are, is twofold. They are used to hiding it, it's dangerous for them to get caught out, and he probably feels uncomfortable with the idea of telling someone what they are exactly without talking with Aziraphale about it first-- that's all one reason.

The other reason is that he and Aziraphale don't use that word. It's not that it's an inaccurate one; it's probably the most accurate one, actually. They have a word, as we'll see, but partners isn't it because partners is the same thing as a couple and these are embargoed words to them. They don't use those phrases, even if that's what this is, just as they don't say I love you because if they don't call it love directly, they'll never lose that love, in their minds. If they don't know what it's like to hear the other say it, they don't ever have to bear the pain of never hearing it again. Better to hold those words back and only use them if they ever can somehow really be fully, openly together without fear. If Crowley doesn't use those words with Aziraphale, then he's not about to use them with the Coffee Shop Human he's only just recently met.

Along these same lines, they refrain from traditionally romantic terms of endearment on the surface. No my love, no darling, no sweetheart. Angel was there at the start and it stays because while it's always really angel (romantic), it's also angel (species/occupational), so it works well enough with their code. But its equivalent in reverse is Crowley. It's intimate, in the sense that only Crowley and Aziraphale know what it means. Only they were there in Job's courtyard. That's the coded layer of it-- it's Crowley's name to everyone else on the surface but it's that and a pet name to Aziraphale. It's why Aziraphale just calls him that constantly. Crowley changed his name to something only Aziraphale also really understands, making the use of it by Aziraphale then a way of expressing affection. When Nina asks them both separately about their relationship, both Crowley and Aziraphale actually revert to using what they call one another in an effort to explain it, even though they know that it doesn't translate fully in human terms without more words. Crowley says Aziraphale is an angel he knows; Aziraphale says:

Ironically? They are actually making it all *more* intimate by speaking in their own, private, coded language. They can't give each other everything but this they can, right? The language is their own, little world and not being able to explain their relationship to humans that well in 2023 doesn't mean they don't know what they mean to one another, which is more important. Since they can't make each other promises of forever that they can't keep and they can't have a life in the present that they'd choose for themselves, something they can do is use their little language to be sweet towards one another and they do. By having to work a little harder at conveying meaning through doublespeak, they wind up with something ironically actually at least as romantic as the traditional words, if not more so.

Anyone can call a lover darling and it can be lovely but can just anyone make my dear fellow romantic? Aziraphale can. This one was all him. He loved standing there in front of a dozen deadly human soldiers in the Kingdom of Wessex in 597 A.D., getting away with a pet name under the guise of stealing the "old sport"-style of male, moneyed, British speak and turning it romantic. This scene is great with the pet names because it opens with Aziraphale being a bit of a tease with "is that you under there, Crawley?" which he only does so that Crowley will roll his eyes and correct him. Aziraphale loves that Crowley changed his name to something coded between them based off of the moment they started their doublespeak. It was very romantic and this scene shows that Aziraphale sometimes, in earlier days, would call Crowley the old name just to get Crowley to correct him, which is all just a coded way of getting Crowley to say that, yes, he still feels the same way and yes, he still wants Aziraphale to call him that. This same scene, a few sentences later, then has Aziraphale's my DEAR fellow-- heavy emphasis on the 'dear'-- which is then answering Crowley's admission by just skipping any and all of Crowley's names entirely lol and calling The Black Knight my dear in front of a bunch of bloodthirsty soldiers and mercenaries.

The my [] fellow is perfect in their little language because of how it sounds all "I say, old chap!" on the surface but contains words that are romantic to them in their doublespeak. It's intentional that it's *not* "old chap" or "old sport" that they appropriated for their own purposes, it's my [] fellow. Fellow as in human, which is how they see their relationship (because it is) and that's something that comes up when Crowley uses a variant of this in 1941, which we'll get to in a second. My adds an intimate element to it of admitting that they are each other's in whatever ways they can be.

Aziraphale, like we said a moment ago, will sometimes sauce Crowley with the pet names a little and he does in S1 when he calls Anathema my dear when reassuring her in a scene in which he and Crowley are having a playful coded argument over Crowley's driving. Aziraphale miracles a bike rack onto the back of The Bentley and unnecessarily codes the word "bicycle" ("a perfectly normal velocipede"), smirking when Crowley grumbles "bicycle" at him. It's joking with him a bit at the lunacy of their little language *in* their little language. (Crowley playing back during this sequence is also calling Aziraphale angel (romantic) in front of Anathema, which was also a strategic decision to signal to her that he might look like a murder hornet but he's really just long-suffering gone on the sunshine-y one. Very we're just an old gay married couple, hen. We won't hurt you. in tone.) Anyway, Aziraphale using my dear with Anathema-- and his little smirks towards Crowley around it-- was really just underlining the way he uses my DEAR fellow with Crowley by using the same core phrase with a human in normal, uncoded, human conversation.

Other than this and the big one we're going to get to, there are really only two other things we've seen them use to refer to one another. In S1's Eleven Years Ago/2008, there's the moment when Crowley and Aziraphale have arrived back at the bookshop and Aziraphale is flirting with Crowley and says this, tongue firmly in cheek:

I mentioned this in another post about the wall slam in Tadfield but this is a very much intentionally blasphemous specific sexual request that is more at home in the sex meta post you all have me working on lol but for the purposes of this conversation, "foul fiend" is Bible for "wicked demon", so this is Aziraphale just kind of flirtily, jokingly calling Crowley a wicked demon in the one area in life where Crowley would probably happily own that description lol. It also has the other layer of humor in it in that Crowley calls Aziraphale angel (romantic) all the time, more often than he uses Aziraphale's actual name, and you'd think he wouldn't want to because Heaven hasn't exactly done right by Crowley and he's not especially fond of it. By calling Aziraphale angel with love behind the meaning of it, he's calling Aziraphale a good angel. He's saying that Aziraphale is what an angel is *supposed*to be, something that Aziraphale struggles with. It's both sweet and reassuring at the same time. As a result, Aziraphale has never just started calling Crowley "demon" for the same reasons-- he thinks if being a demon is being demonic and truly evil, then Crowley is a terrible demon because he's a lovely person. He is, however, positively wicked in bed, and Aziraphale likes to mock their whole situation with blasphemous Bible innuendo when requesting a little hellfire.

The other thing to briefly mention before we get into the friend discussion is a scene not long after the one we just talked about, when they're both smashed in the bookshop in S1. When he's drunk and attempting to say "bouillabaisse", Crowley gets distracted staring at Aziraphale for a moment and calls him baby before going back to his attempts at saying a word (in French, their romance language, per S2) and we get the "fish stew-- anyway!" segue back into the rest of the scene. Aziraphale was too drunk to notice enough to react so this opens up the question of whether or not the rules can get slightly more lax in bed. Does Crowley call Aziraphale baby in more intimate moments or does he just want to and it slipped out when he was drunk? It's a fairly normal phrase so it both would and would not be a surprise either way but it's still something of a question mark by the end of S2.

But there's one thing that they use that pertains to your question from the Discorporated!Aziraphale scene (told you we'd start to get here eventually lol) and that's how they use the word friend.

The rules of their language apply-- what is said on the surface is what one of the meanings of what they are saying is. It has to be what it sounds like on the surface to also be a coded thing. Aziraphale is Aziraphale's name and angel is what he is and Crowley is the name Crowley chose for himself. That angel and Crowley have hidden meanings-- that angel is given a tone that turns it from referring to Aziraphale by his species and more into angel (romantic); that Crowley is the name everyone calls Crowley now-- from angels to demons to humans alike-- but only Aziraphale knows that it's an in-joke referencing Crowley having to playact at being demonic and evil to hide his truer, sweeter nature... this is what makes these terms acceptable in their mutual language. My [] fellow is then also meeting the rules of the language because of the humor of taking a non-romantic phrase and using it for this romance of theirs that they don't refer to as one. It sounds like a perfect common thing for British men of any kind of relationship to use in conversation on the surface but it's romantic to them underneath.

So when they say friend, by their own rules of this language, it has to first contain the surface meaning. It has to be true on that level to reoccur in their language. So 'friend' does mean 'friend' in a friendship sense. They are friends. They are good friends-- best friends. Using the word is an admittance that they are each other's closest friends, which is both lovely in its own right and healthy in a romantic relationship. You want to be friends with your romantic partner. It doesn't mean you can't have other friends, of course, but if you're not friends with your partner, it's not really going to be a terribly satisfying relationship and since that is what they are-- the longest-running of long-term relationships lol-- that they are friends is important and a good thing. It's also a big deal for them to admit to it, since they are actually *supposed* to be mortal enemies. Their whole enemies-to-lovers thing never really got off the ground because they adored each other on sight but that they're friends despite the danger and the conflicts is a big thing in its own right.

But that's not the *only* meaning of friend to them, so let's look at how they evolved that bit of their language.

From what we've seen so far, it started in 1600 in The Globe Theatre scene with this:

In 1600, Burbage drops some human, queer coding into the secret language. Friend, the way Burbage is using it, is something that's actually implying lover. The surface word is technically related to friendship but the tone changes the meaning of friendship in this context to be that of a sexual relationship. Burbage's tone implies that he thinks Crowley and Aziraphale are fucking (which Crowley, laughing, silently agrees with is obvious, since he's been ignoring Burbage in favor of buzzing around Aziraphale and clearly trying to flirt his way into his bed).

Burbage is pissed that these two-- who, as we know, are basically the entire audience-- have been ignoring his monologue in favor of flirting with each other so when Aziraphale tries at a modicum of politeness (that somehow is even bitchier subtly than Burbage lol-- "I love all the... talking" is the best he can come up with), Burbage slings back by trying to drag Crowley into it by calling him Aziraphale's friend, with that loaded tone that makes the question really: 'and what does your lover think?'

Aziraphale gets the innuendo-- he's not exactly a novice at this in 1600-- but his immediate response is just to panic at the idea of anyone noticing him and Crowley together and, as Aziraphale does when stressed, he lies in increasingly absurd levels of untruth. (See also: the scene with Shax in The Bentley in S2, when he spirals up into ludicrously claiming to *not even know who Gabriel is* in an effort to say that he has nothing to do with his disappearance.)

Crowley is bemused by Aziraphale's increasingly desperate attempts to deny what is abundantly obvious to everyone around them and by Burbage's attempt to make a thing out of them to try to assuage his bruised ego. He chooses a little violence with this particularly amusing bit of go fuck yourself, you insecure little twerp:

Anyway lol what this scene then does is give us a moment in the story wherein we see them in a situation where friend (loaded) is defined as friend used euphemistically for lover and they both know it. This isn't coding they came up with but that they will wind up appropriating from the humans around them and repurposing for themselves, though they won't for awhile still to come yet.

What's worth noting here is that friend (loaded) in this human code is euphemistic for a pretty wide array of loaded friend relationships. There's no separation in it for friends with benefits versus someone you're seeing but aren't comfortable admitting that versus someone you've been with for awhile versus the person that is basically your secret spouse, etc.. All of these things are friend (loaded) in human code because the main purpose of it is to identify a pair of people who are involved as such without directly saying so on the surface, even if it's implied heavily via tone.

So what happens when Crowley and Aziraphale eventually decide to repurpose it for themselves?

They've got to be clear on what it means. They'll need to define it more specifically amongst themselves in order to use it.

For awhile still after 1600, they just aren't defining their relationship. They don't need friend (loaded) because they have things they call each other, right? They've got angel and Crowley and my dear fellow and the like. They're not usually around a lot of other humans together that are going to do what Burbage did and try to force a definition of it. (This changes, as we know, in the modern era-- especially S2-- but back in the day, it was true for them.) As a result, they've never had to define this and that's absolutely fucking perfect, as far as they're concerned.

Not defining this? Lovely. Yes. More of that. Makes the fact that they can't just call each other my love hurt a lot less, they're convinced. It helps now for sure and it'll make it less painful if they lose each other. They totally will not at all continue to spend thousands of years wondering what it would sound like if they said the things. They don't each have fourteen million fantasies about being able to use the traditional words and how they'd do it-- absolutely not lol. *Not* using the traditional words isn't at all making both the allure of those words-- and the ones they *do* use-- hotter and more romantic or anything. Not in the slightest...

So then we eventually get the Holy Water Arc, right, and in the middle of that scene, we see them run into a definition problem. In 1862, what actually causes them to fight isn't the holy water request. It's Aziraphale giving it all a word and that word being "fraternizing." First rule of We Don't Say It Club is that we don't say it... but it's also that if you're going to say a word that means the two of you and what you have, maybe don't use the one that Heaven would-- the one that means 'socializing with the enemy.' In Aziraphale's defense, they're both a mess and half-broken up in this scene and there's more going on it than we're going to get into here but the point is that suddenly not having a word caused big drama and caused the whole holy water conversation to de-evolve into an argument that broke them up for the eleven or so minutes that they can stay broken up.

But they still hadn't really resolved the whole holy water argument debacle by 1941, even if there is evidence in the show that they saw one another between 1862 and 1941, and the reason why they haven't is because holy water is irretrievably linked to defining what they are.

Crowley asking for it meant they had to consider what they are to one another and talk about it and 1862 proved their language didn't have words for that at the time. There is a level of panic to it because the request contains a certain level of acknowledgement about how they feel about each other. Aziraphale jumps onto holy water being a suicide pill not just because he's terribly worried that that's why a visibly anxious and depressed Crowley wants it but because if it's not what Crowley wants it for, then Crowley is saying he wants it for defense and whose defense, right? Not just his own, potentially. It's very much saying that he wants it to protect not just himself but Aziraphale from Hell and now we're talking about Crowley being willing to risk the wrath of Hell and maybe get himself killed trying to protect Aziraphale from harm and now, we're closer than ever to that I love you under the surface and they panic and they avoid it for 80 some odd years entirely until World War II...

...and then we arrive at The Blitz in 1941. We are now a scant one hundred years or so until 6,000 years being up since the creation of Earth and Armageddon was always going to happen in "*about* 6,000 years" so, for all they know, this is it... and Crowley in 1600 told you how he feels about sad endings:

So while rescuing Aziraphale is nothing new, Crowley turned up in 1941 with the intent of making a better ending, in case they had now found themselves at the start of the end of the world. They were almost out of time either way and he didn't want it all to end without them having said the things but also they didn't know *for sure* if this was it... and they still can't be together if it isn't... so Crowley can't just show up and be like so, angel, I've been meaning to tell you in the actual words for the last six millennia-- I'm madly in love with you. He has to find a way to do it in their language of doublespeak. And so, here's Crowley using friend (loaded) in front of the Nazis in 1941:

By using my friend in the church, Crowley is then actually euphemistically calling Aziraphale my lover by calling back to The Globe Theatre and stealing the human coded term that Burbage used. Crowley does not care what the Nazis think. The comment isn't for them; it's for Aziraphale. So is letting Aziraphale find out about his first name, which is also calling back to The Globe Theatre. ("Anthony", pronounced "Antony", as in Shakespeare's 'Antony and Cleopatra', the play in which Shakespeare put the love poetry he stole that Crowley wrote for Aziraphale.) So is referencing the unguarded holy water in the church, which is then trying to talk about it a little by connecting it to this romantic grand gesture here and acknowledging why they panicked over it all those years ago. It's all saying I'm in love with you in their little language in the best way Crowley can in this moment.

But what did we say about friend (loaded)? We said they have to define it, right?

Because it can mean different things. Crowley isn't wrong to use it and Aziraphale understands it the way he does in the church. He understands it to euphemistically refer to them as lovers, which they are. It's just that all of this combined with Crowley saving the books then makes Aziraphale realize that it's one thing to say my friend (loaded) but if you say it and then there's holy water referencing and then there's more of the Shakespeare scene in there with Anthony and the little "you don't like it?" pout and then there's the entered a church for you and... you put all of that together with little demonic miracle of my own and saving the books...

...and Aziraphale realizes that Crowley is taking the thing that they always were-- my friend (loaded)-- and using it in the middle of saying that he's in love with him.

Crowley is trying to give it a word.

The word he's using meets all their language rules. It's from a moment in their past. It has a true surface meaning and a loaded undertone and subtext for days. He's not asking Aziraphale to use it. He's not saying the actual thing, as that would be breaking their rules, but he is absolutely saying it in their language.

He's not asking Aziraphale for it in return. He's just saying that this could all be over soon and he needed Aziraphale to know and in some ways, it's an apology of sorts. He's sorry they fought. He's sorry they lost years over it. He's sorry for the pain of it. He was in love, you see. The sex while pining got to be a lot. All of this got to be a lot. You get it now right, Aziraphale? Yes? Good. Lift home...

The phrase my friend (loaded) takes on a different meaning after Crowley saves the books and after their conversation inside and outside The Bentley. That's the point of the two "shut up"s-- the one from Part 1 and the one right after it where Part 2 picks up. Why have this conversation twice? Because it's actually two different conversations.

The first one outside The Bentley is Aziraphale in a love stupor, just telling Crowley that saving the books was a nice thing and Crowley responding with a half-effort "shut up" while he cleans his glasses. It's the only scene in the entire series to date in which Crowley is cleaning his glasses and he is in this moment to give Aziraphale his eyes for a moment. But The Blitz, Part 2 shows us this again... and then gives us the scene in The Bentley with what starts out sounding like the same conversation on the surface to start. It is, though, not the same conversation *under* the surface...

There's a reason why Aziraphale says a second time that saving the books was a nice thing. They're now in The Bentley, which is a little more private, and Aziraphale can't let this drop because he needs to know for sure what Crowley is saying with this and if Crowley's sure he wants to be saying what it seems like he's saying. This is basically Aziraphale's version of Crowley's "are you sure? are you sure you're sure?" in the magic shop later on. Aziraphale knows Crowley just said he's in love with him but Aziraphale also knows *Crowley*, right?

He's been with Crowley for a long time. He knows him very well. He knows that Crowley is anxious and emotional and hopelessly romantic and that the world is literally ending around them as they're driving through bombs raining down over London and part of Aziraphale is thinking of the fact that even in this seemingly apocalyptic Armageddon that could be starting here, Crowley was coded in what he just did. He left the traditional words on the table. He said the things in their language and that is, in some ways, even more romantic, but he's left them the things they leave out of hope for a better future, just in case. There's a caution to that and while Aziraphale appreciates the caution, he also can sense that Crowley was nervous about doing this. He is a little concerned that Crowley's going to have said he loved him and then regret it and pull away from him again and Aziraphale can't do the first bit of the Holy Water Arc all over again. He's really wanting to start to move into a lighter era here lol. He also really wants to be sure that he's understanding what Crowley is saying entirely.

And he wants to hear it again.

If Crowley isn't going to shut down on him entirely now, Aziraphale very much liked all of this and would like more of it but he first has to be sure he knows for sure what Crowley means and he can't just ask directly or he's both saying the things they leave unsaid and he'd be undoing Crowley's effort so he has to find a way to ask without directly asking and in such a way that an already sensitive about all of this Crowley won't take offense or be embarrassed and that gives them a way back from this if Crowley shows signs that he feels like he might have gone too far.

So Aziraphale offers Crowley an out.

He tells him again that it was such a nice thing Crowley did for him. He means this and it was a nice thing but this is also saying that he heard that I'm in love with you that Crowley was saying by saving his books and that he liked hearing it, that it was nice, that it was okay that Crowley did that, but that it's also okay if he feels like he made a mistake with it.

Crowley's response to again being told that it was nice is to again tell Aziraphale to "shut up", this one a bit more emphatically than he did outside The Bentley a few moments before. It's unclear to what extent this language, at this time, is sexualized, but by 2019/S1, this back and forth of Aziraphale calling Crowley "nice" and Crowley responding with some bite is a self-parodic sex game that they're playing in Tadfield.

Much of what happens in Tadfield is playing on other parts of their story-- think about the paintball bit with the gun but now with knowledge of The Bullet Catch in The Blitz, Part 2-- and there is a big difference in the ways Aziraphale calls Crowley "nice" in 1941 and in 2019. In Tadfield in 2019, Aziraphale is literally smirking in a way that implies that this is a little game they play and he's saying a series of things that he knows will prompt this intentionally outsized reaction from Crowley, who is playing it with him. The game is likely tied *to* this bit of 1941 that we see in The Blitz, Part 2 in S2, in that it's referencing it a bit (if very obviously going in a different direction lol), but also because Aziraphale's phrasing and tone in 1941 is not smirking. It's softer and quieter and not designed, through their language, to prompt a certain response out of Crowley. It's not yet a sex game, it's still a kind of conversation they've had in the past that will serve as inspiration for said sex game in the future.

While it's a bit unclear if a version of this already existed in 1941 or if 1941 is part of the evolution to what it becomes by 2019, there's a tone to it in The Bentley in 1941 that says that, at the least, Crowley suspects that Aziraphale is trying to lure him towards sex by calling him nice and that's reinforced by the next thing Aziraphale says, which continues it, but is also doing so to provide Crowley with an out to his confession of love, in case Crowley wants to take it.

Aziraphale's out comes in the form of offering him sex, which is absolutely what this is:

Oh, gee, Aziraphale, whatever could you do in this moment here in The Bentley? You aren't at all telling him you'd do literally anything he says he wants right now, right here, in his damn car, are you?

But while Aziraphale would so absolutely yes because lawd, 1941 Crowley is sldjwkejele... look at what he's *really* saying as well...

What he's saying here is we can pretend you just did all of that for sex, if you want to. I know you didn't and you know you didn't but we are good at pretending and if you're silently having an anxiety attack behind your glasses over there, we don't have do this...

Crowley's response?

The quiet "forget it, will you?"

Meaning: I don't want to take it back. I'm in love with you. I wanted to say it. I meant to say it. Everything might be going to go pear-shaped and I wanted to have said it somehow. I don't need you to say it. I don't know what I expected but I also maybe kinda didn't want the response to be 'aww, you're sweet... do you want a blowjob?' so maybe let's just drop this. We're going to never speak of this again now. Moving onto spreading the demon drink...

Crowley turns down Aziraphale's offer to make it about sex and, in doing so, Crowley says indisputably that it's about love. If he had taken up Aziraphale's offer in that moment, then it would have been agreeing to pretend that he's never said he's in love with Aziraphale and to instead pretend that the romantic-looking things were all an effort to get into Aziraphale's pants. When he turns down sex, Aziraphale smiles softly because, to him, *this* is then really the moment that Crowley said he loves him.

Aziraphale knows for sure now what Crowley was saying and my friend (loaded) now has a definition between them that means the whole deal. Since Crowley said the thing that meant lovers euphemistically as part of saying he's in love with him, then my friend (loaded) is now forever part of the night during The Blitz in 1941 when Crowley said he was in love with him, which means that they can't use any version of friend (loaded) with each other without that being part of it. Friend (loaded) always meant lovers (sexual partners) but now it also means lovers (romantic partners) as well. It's not that they just suddenly became romantic partners because it's been a romance all along but now they're acknowledging it in a way they can't go back from and they do so by giving what they are to one another a word in their secret language.

Aziraphale then wants to return the feeling. Crowley is saying that he doesn't need him to by telling him to forget it about it and wanting to move on from it but Aziraphale can't accept that. Crowley might be right-- this could be it-- and like Aziraphale's going to let Crowley potentially soon go to his grave without telling him he's not alone in how he feels. That's not happening. However you think the events happened to give Aziraphale the opportunity to rescue Crowley from the wrath of Mrs. H-- divine fate, Aziraphale miracling the bottles broken, The Bentley shipping it and helping Aziraphale, all of the above, etc..-- he gets the chance not ten minutes later and he takes it... and, of course, what does he use?

My good friend (loaded af lol).

They've already just redefined my friend (loaded) by this point, so to turn around and use it is to tell Crowley I feel the same way. I love you, too. This is Crowley's change in expression in reaction in that above gif. It's one thing when Aziraphale volunteers to help-- that is sweet and Crowley's all eyebrows raised in intrigued surprise. His whole expression then slips from that into being stunned when he hears my good friend and he realizes that Aziraphale is now grand gesturing *him*. He's realizing that the bit in the car really was just an offer of an out, not just that plus Aziraphale saying he was uncomfortable with what Crowley had said and needing it to stay a lot more hidden beneath a cover of sex. It was Aziraphale needing to be sure he understood and needing to be sure that Crowley was sure he wanted to make this change in how they are but now that he's sure on those things, Aziraphale is actually all in for it.

Worth mentioning that my good friend (loaded) is a mashup of my friend and my dear fellow, which makes it extra sweet. Just as Crowley started this by calling back to The Globe Theatre by using my friend (loaded), Aziraphale is calling back to the my dear fellow rhythm of what he's called Crowley for centuries. It says I love you and every 'my dear fellow' was not just fondness but an 'I love you', if you didn't already know. I've loved you forever.

It's also quite literally calling Crowley 'good', which is not something that he really believes about himself but is something Aziraphale believes about him. His good friend, as in close friend, but also his good friend, as in good person. He also does nothing to discourage Mrs. H's inevitable understanding that he and Crowley are a couple. He gestures between them to indicate it. He uses my good friend in such a way that it's just the same thing queer humans of the time would have said to someone low-risk (a theatre person) in London during WW2. It's completely inverted from his response to Burbage in a different theatre in 1600, in the moment this whole friend thing became a thing for them, which is also intentional. It's telling Crowley he understood all the things Crowley was saying in the church and he feels them, too.

Then, there's this, once they're back the bookshop:

Here, we're acknowledging what friends means now by pausing and emphasizing it. "That's what friends are for" is not a phrase that would require the pause and the tone on friends if friendship was all "friends" meant to them. It's not now and this is acknowledging that.

Note Crowley's little lip twitch/almost-sad-smile at what Aziraphale is saying. It's agreement. It's assent. This is them confirming that they understand what the other is saying and giving this new word a home in their language.

This is then what they call each other now when they need to talk about it and it's my friend on the surface and it's my love underneath.

There's a sadness to it. How nice it would be to just be able to say it... It's also a moment of realizing that they aren't sure they can use this word all the time. It's good to have a word and a shared understanding of what it means and they have no desire to take back these confessions of love here but while it's lovely to have said this now, it's also a bit heartbreaking.

Aziraphale's heartbreak, his little Crowley move of putting on his (transparent lol) glasses, his brave smile, and then how quickly they both transition from this conversation into The West End, The West End and I'm a lonely G.I... and The farthing *has vanished*! It shows you how accustomed they are to burying the pain under trying to live in the moment for one another.

A few moments after this, Aziraphale will be showing Crowley some of his human magic tricks in preparation for performing on stage and when they get to the point where Aziraphale is telling Crowley about Goldstone's Magic Shop, he then tells him that it's not for him because it's "for professional conjurers only."

This is somewhat unintentional metaphor on Aziraphale's part that Crowley then acknowledges and turns into coded language in his response. Aziraphale's love of human magic is metaphorical for his love of humanity and living in a way as to indulge his humanity in a way that angels have been taught not to do. The reason why Aziraphale's love of magic is this metaphor and not, say, his love of books or music or food, is because all of the other things that Aziraphale likes about the human experiences can be dismissed by him as relating to understanding the human experience *so as to be a better angel.* He's really not a student of humanity just to learn how to better guide them. He admits to Adam in front of Crowley in S1 that he thinks that humans are the ones who get it when he tells him that he hoped Adam would be good and worried he'd be evil but that he's something better than either of those-- he's human incarnate. Aziraphale can justify most of his indulgences as being related to learning human ways to relate to them to help them-- food, books (his home and his book collection can be justified as necessary cover for his angelic embassy), music, etc.... but the love of human magic?

Aziraphale just loves it. It's for him. It's his hobby. He thinks it's a little selfish and probably a lot unbecoming of an angel. He'd completely just want this for a job and he's not supposed to want a job other than to be an angel, which is supposed to be the bestest job imaginable lol. What kind of angel wants a silly human job? What kind of angel with actual magical powers is obsessed with human magic? Aziraphale is. He's endlessly fascinated. It makes him happy. It brings him joy. It's the part of living as a human that he's done in such a way that it's just for him and in such a way that it conflicts a bit with his role as an angel. The only other way Aziraphale loves like this, in this human way? The only other thing he studies at to be a better human over being a better angel?

Crowley.

So when Aziraphale says that he can't go to Goldstone's because it's "for professional conjurers only", Crowley knows that what Aziraphale is really saying is that the shop is "for actual humans only". He knows Aziraphale is admitting that he's sometimes insecure about his ability to be human because of how his humanity is tied to being an angel. Crowley knows that they're talking about Aziraphale and his human magic love on one level but that they're also talking about them and their relationship on another level. This is Aziraphale saying that he loves human magic with a passion but he's not sure he's as good as it as he could be or as he wants to be because maybe he doesn't know everything about being a human in the way that the "professional conjurers"-- humans-- know... and everything we just said he's unsure about with relation to human magic is also how he feels sometimes about loving Crowley.

This conversation is happening in an overlapping way with their friend confessions and Crowley hears that Aziraphale is saying in there that he loves Crowley with a passion but he's not always sure that he's studied enough, that he knows enough, about being human to be what Crowley deserves. He would love to go to this magic shop but he's afraid that it's not meant for him. He struggles, as Crowley already knows, with how he's not supposed to want it but oh he wants and he can't help but love magic and he can't help but love Crowley... all of which prompts Crowley to reassure him, using a now-familiar bit of their language:

"You, my Nefertiti-fooling fellow, are about to perform on the West End stage. If that doesn't make you a 'professional conjurer'... I don't know what does."

Meaning:

You, my human-passing man, are so good at this that you fooled the Ancient Egyptian Queen. You're about to perform your human magic on stage-- to make yourself vulnerable in a way that scares humans. You are always willing to take risks like that and try something new and learn more about being human and that makes you human. It's human to not totally know how to be human, I think. You're doing all of this tonight because you love me. It doesn't matter if you're a good magician or not. This love of ours is human and you're very good at it. You love me very well. If loving me doesn't make you a 'professional conjurer'... I don't know what does.

Crowley uses my [] fellow to emphasize my friend (loaded) by using the term of endearment that Aziraphale himself started that has human connotations to make the point that their love makes them human and to tell Aziraphale that he's very good at their love.

Aziraphale, understandably melting over that:

And then? They just keep using my friend. For decades. Through S2.

What makes it work for so long is the fact that it's human-coded in origin so if they run into a situation where they need to refer to one another like this, they can use it and it doesn't get a lot of questions. After the partners scene with Nina, Crowley uses my friend without thinking twice about it, telling her that she'll be safe in the bookshop because "my friend would never let anything happen to you." Nina already gets that they're friend (loaded) and she doesn't know what using friend means to them because only they know about 1941 but it's a phrase that they can use with the outside world if they need to but that mostly stays between them because only they know that, in their language, my friend = my love.

So when Crowley says I lost my best friend in the Discorporated!Aziraphale scene in S1, he means that he lost his best friend but he *also* really means I lost the love of my life.

The first thing my best friend means is just the actual, uncoded definition-- what the words really mean as they are. Aziraphale is Crowley's best friend. Whatever else they are to one another, they've always been that. The idea that he'd have to go through the end of the world and whatever came after without his best friend devastated him. In a lot of ways, it's sweeter than saying anything else, even if they weren't in a public space, because it's saying that what he'd miss the most is just having his partner in crime in life. The other layer of it is the coded layer. Since they are a couple that uses my friend in an euphemistic way for my love, then Crowley's my best friend in 2019 is the same thing as Aziraphale's my good friend was in 1941. It is my best friend on the surface and it is that but it's also my love beneath it.

This scene is also then the same thing in meaning:

And by S1's present of 2019, they're at a point of using it in an argument, which provides them the means to talk in a way they didn't have in 1862. Yeah, they have their dramatic little breakup spats but this is actually a marked improvement over where they were before the holy water mess. So now watch this bit of the bandstand again here below for the friend (loaded)...

Remember that Aziraphale lies increasing bits of absurdity when stressed and that Crowley knows that. He dismisses what Aziraphale says with that "you doooo" when Aziraphale tries the *utterly ridiculous* "I don't even like you" lol. They're both panicked about the end of the world here in Ineffable Divorce: Round One and Crowley's trying to get them to run away again, which is a terrible idea, but in the process of suggesting it, Crowley is calling them friends (now eternally loaded, as we just spent this meta proving lol) and...

...*how long* have they been friends does he say?

So, how long have they been in love, per their language, per Crowley in the bandstand scene?

Six thousand years.

Since the start.

Vavoom. Sorted. :)

[thecoolerliauditore]

Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

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

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

[writerthatcannotwrite]

TROP SEASON FINALE SPOILERS!!!!!

Elrond, my baby, my little guy, my poor soul.

DWARF RANT:

King Durin, may you rest in the Halls of Aule with honor.

I've seen a common theme in this series: people who had lost their minds, but found them in the last moment of shocking clarity that was (almost) their last noble act.

Celebrimbor, cutting off his thumb to escape (Which was very "I'm honoring my Uncle Maedhros" core, which I very much appreciate) and saying, "Whose will is the mightier?"

I can go on another rant about that phrase and the implications, but that was last episode.

King Durin III awoke the balrog, literally Durin's Bane.

Prince Durin and Disa's kiss was iconic, fyi.

Prince Durin tried so hard to help his father, but in the end, he couldn't stop him. Well, he alone couldn't stop his father; what truly set King Durin over the edge was the knowledge that his son might die. King Durin saw the balrog, something that he had willingly called forth, and went, "Holy shit, get the boy OUT". And how did King Durin get his boy out of the balrog's fire? He sacrificed himself.

Throughout this entire season, I have seen nothing but poor parenting from King Durin; he never listened to his son's advice; he literally shoved him away, and into a wall (My first thought was, "CHILD ABUSE!!! CHILD ABUSE!!!! GO GET DWARF DFCS!!!"). But here, we see the true affection King Durin had for his son.

The cataclysm that brought King Durin clarity was not anything his son could have done by himself, but the knowledge that his son was helpless. King Durin was not going to let his son suffer something of his own making, so he charged the balrog.

And then died.

HUMAN RANT:

Okay, so Kemen (I finally learned his name, unfortunately) needs to get off of his swampy ass and tumble into a grave. It'd be so simple; Isildur just needs to *grab by lapels* *shift three spaces to the right* *drop in hole*. Simple! Easy solution! Would the Valar be very happy? Probably not, but hey! We'd get rid of Kemen!

And I do appreciate Earien's technically treasonous act for her father; by now, she is a pretty prominent figure in Numenorean politics; the right hand of the king's right hand.

And you know what confused me?

The way Pharazon---I'm not calling him Ar-Pharazon, he doesn't deserve that---gathered up all of the RELIGIOUS LEADERS of the Faithful and said, "Yeah, sorry you're conspiring with Sauron, aka the DEVIL so you and all of the Faithful are to be arrested. Sorry."

One of the main things that always strikes a cord for me is religious freedom; when these wrongs are shown in this show, it makes me SO angry, because people should be able to practice their faith freely, regardless of whatever religion the government favors.

The sacking of Nienna's temple, the prosecution of the Faithful in earlier episodes, and now the legit imprisoning of people who are Faithful.

Recently, I have been reading "The Crucible" in class, and we have been discussing the causes and effects of mass hysteria, one of the contributing factors of the Salem Witch Hunts. I feel like there might be bought of mass hysteria going around Numenor now; the king/queen-ship is a major dispute, the Faithful are being arrested, major political and social leaders of the community have been imprisoned. People can likely accuse others of being Faithful (Even if they aren't) because of petty rivalries. In the Crucible, Mr. Putnam accused George Jacobs, his neighbor who had lots of land, of witchcraft, so that he would be able to purchase his land.

How many people in Numenor would face a similar dilemma?

Would Mr. Smith the Sailor accuse Mrs. Johnson the Tailor of being an Elf-Friend because her tapestries looked a little too much like those of Vaire? But it doesn't matter that Mrs. Johnson's only daughter is of marriageable age and Mr. Smith has had his eye on her. But who would be watching that if Mrs. Johnson was an Elf-Friend?

All of these factors are the most basic ingredient for a good ol' bought of mass hysteria; my English teacher doesn't watch this show, but I'm tempted to tell her the similarities.

then, to Isildur.

I thought Theo and Isildur's hug was very nice.

Theo was like, "Ah, yes, I shall bid my friend farewell after discussing the traumatic deaths of our mothers. I wish him well!"

And Isildur's like, "Why is the kid who hated me yesterday wanting a hug???"

I always got bad vibes from Estrid. I get swearing servitude to Adar in exchange for your life, I get that, but.

I never felt comfortable with her and Isildur's relationship. I get that she wasn't able to decipher her feelings for Hagen, her betrothed, until she met Isildur, but seriously. I also know that Isildur has an "unnamed wife" (SCREW THE NOT NAMING OF FEMALE CHARACTERS IT MAKES ME ANGRY), so I know he's gonna get somebody EVENTUALLY, and before Numenor sinks.

But then, Isildur and Estrid started MAKING OUT in Theo's kitchen. Like, bro. THAT'S NOT YOUR HOUSE!!!! Do that ELSEWHERE!!!!! Better yet, don't even do it!

And then, that slimy bitch Kemen had to stroll up, all, "Yeah, we'll put the watchtower there, knock down a few houses to do it." And then, he tries to be all buddy-buddy with Isildur, who obviously realizes that something is a bit off.

Then, Kemen drops the ball, saying that his father is wanted for treason, Queen Miriel is no longer queen, and "low men" are not allowed in Numenor.

First off: very classist of you, go kill yourself, Kemen.

Second off: Isildur learns that the woman he saved from the fire is no longer queen; is he thinking that his sacrifice, everything that he's endured in Middle Earth, has been for naught?

Third off: Kemen mentioned Earien. Does Isildur know that his sister has gotten a little racist in his absence? How will he react to seeing his sister betray their entire family by literally trying to put them all in prison (Anarion, Elendil, AND Isildur)?

Kinda happy that Estrid wasn't going to Numenor. Don't like the circumstances, but I'm glad that she isn't going.

I also think that Earien is coming to her senses; she might not have wanted Miriel on the throne, but now, Pharazon's tyranny is affecting HER. HER family is being prosecuted. HER father is wanted for "treason". HER people are at risk. Earien is getting a rude awakening to this thing.

I also think that its interesting how that guard left when Earien told him to; it shows how people in power are STILL defying the law in Numenor, all because, "Oh, she knows the king's son."

Of course, Earien did this for a good reason, but it still demonstrates the corruption of Numenor's political system.

Then, Miriel and Elendil. As I was watching this my mom, I was like, "Hey, do you ship it?" and she was like, "Oh, yeah" and I was like, "Good, my assumptions are not unfounded."

So yeah, Anarion, Isildur, and Earien are going to be getting a step-mom, good for them!!

What messed me up was when Miriel was like, "No Elendil, you must go, I will stay." Like Elendil (And us) were under the impression that she would remain with the Faithful; Elendil draped the cloak over her shoulders and she didn't flinch, she listened to his plan, but when the time came to make the decision she stayed. Frankly, I don't understand WHY, but go off girlie, I guess.

ELVES:

Okay, so Galadriel getting the refugees out of Eregion, I really liked; in cannon, Galadriel and many of Eregion's fled Eregion and headed south. Then, Galadriel gave up the Nine to save the refugees (Iconic, Queen Behavior), and we see Adar, leaning against a fallen tree. Is he injured? Is he hiding? Has his hand been conveniently cut off by some guy on an eagle? What happened?

After dismissing the orcs, Adar turns around. At first, I didn't see any difference (I'm not very observant, sometimes, alright?), until I looked a little closer. His face was no longer scared and burned; his hair seemed thicker, cleaner; he looked less gaunt. The ring had healed him.

And then, Galadriel asked for his name, but he evaded the question, like a little BITCH.

"Adar was the name I chose for myself" blah, blah, blah, bah, JUST SAY MAKALAURE YOU IDIOT!!! Sure, there are some details in cannon that don't line up (Maglor wasn't strung up on Thangorodrim, Maedhros was) but here's the thing: not only has trop changed a few things, it made some things more accessible.

In trop, Elrond and Elros were found by Galadriel after the Third Kinslaying, not the sons of Feanor. Celebrimbor was supposed to be tortured for TWO YEARS before his death. Celeborn is still supposed to be present.

I also have a cannon-probable idea for Maglor being Adar; in Maglor's trauma and grief at loosing his last and first brother, could he have not clung to his brother, in all aspects? Maglor may have curated this story of hanging from a cliff because that's what happened to his brother, that idea is what keeps him close. The things about being with the orcs and Sauron, I can't really explain for this idea. That's just about as far as I got.

But Adar WILLINGLY returned the ring to Galadriel, proving that he truly meant to defeat Sauron with elven help. But then, there is an injured Uruk nearby, and Adar goes to help; he might not even be able to heal him, but he will be with that Uruk in his last moments.

And then.

The Uruk, Glug, I think? leapt up and stabbed him. All of the others followed suit. It was a mirror to Sauron's own death in the first episode: betrayed, stabbed, stabbed, stabbed, stabbed, stabbed, stabbed, stabbed, stabbed---

You get the gist.

By the end, Adar is well and truly gone. He raises his hand to touch one of the orcs, his children, and calls them such, but the orc stabs him again, one, final time.

The entire situation is disheartening; sure Adar might have been willing to risk his "children" in his hunt for revenge against Sauron, but he cared about them, well and truly. In exchange, the orcs killed him for his kindness.

In the end, I really do want to know who Adar was before his chaining to a mountain. Did he have a family? People he loved? He must have come from Cuivienen, so he probably did.

I also wonder where he would go after death. Now that his hroa (Physical body) is well and truly... extinguished, where will his fea (Spirit) go? Do orcish fear (Spirit, plural) go to the Halls of Mandos, or somewhere else?

Adar looked vaguely elven; he could walk in sunlight, unlike his children. I feel like he should go to the Halls of Mandos; he did many terrible things, but were they not in the pursuit of good?

Then, Celebrimbor's death (These are not in the order of the scenes, just what I remember).

We see streaks of blood on stone floor, and we know something has happened.

Then, there's Celebrimbor, BEING USED AS TARGET PRACTICE, with arrows in his arms. Sauron stand over him, grim, and he wants to know where the rings are. They bicker and banter, there's some (un)healthy badinage, and Sauron STILL says that Celebrimbor's pain is HIS fault, that Celebrimbor brought this upon himself. Even though Celebrimbor is well and truly destroyed, Sauron STILL wants to have Celebrimbor guilt-ridden and full of self-loathing. It sickens me.

And then, Celebrimbor has something to say. He says, "forsee", and Sauron stops. I doubt Celebrimbor has had many visions of foresight, but the line of Finwe is not without them; did Miriel not have a vision of foresight to name her son Feanaro? Was Galadriel not gifted in seeing versions of the future? So it is possible, especially since Celebrimbor is SPOT ON. It WILL be one ring that brings about Sauron's downfall, and Sauron will fall. Sauron realizes this, and runs him through with a spear. Celebrimbor is lifted onto the pillar (Which is what I think we're going to get as the Celebrimbanner, unfortunately; I would have loved to see his cannonical death) and finally dies.

Then, Galadriel and Sauron's duel. Sauron turns into different people to try and fool Galadriel, but by now, she is used to trickery. He turns into puppy-dog-eyed Halbrand (Annatar was literally just Halbrand in a heat-damaged wig and shaved, Celebrimbor should have seen that IMMEDIATELY). Then, he's Galadriel herself, depicting her darkest, most evil deeds and desires. Then, Celebrimbor, mocking her for her retreat. Franky, I thought he was going to be Finrod as well, but alas, it was not so.

And then, he stabbed her with the crown (rude) and Galadriel, salty to the last, PRETENDED to give Sauron the ring. Very slowly, just to watch the pride and greed flash in his eyes, and then, "If I can't have it, then neither can you." Not what she said, but what she MEANT.

And girlie does and Elwing. Too many people in season two have dove off of cliffs; Elrond failed to beat the mama's boy allegations by jumping off a cliff with an object of power (In this case, three). And I was wondering if these guys actually thought that Ulmo was gonna come in clutch and turn them into birds. I mean, he did it for Elwing, so why not her son? Why not some other random person jumping off of a cliff?

In the end, Gil-Galad approaches (I'll get to that part in the beginning with Gilly and Elrond, hold on) and knows that Galadriel cannot be healed. She has the Second Age equivalent of a Morgul wound. It festers with dark magic and cannot be healed.

But who do they have?

THE healer!

The top dog of his graduation class from Lindon's School of Magical and Physical Healing!! Elrond Peredhel Earendilion whatever other name you give him! He's THE healer! Just standing there!

So of course, Mr. Healer is all dramatic, like, "No, we can heal her" through the power of friendship of course, and perhaps these magical rings.

I do think it's interesting how the rings will heal scarring and a Morgul wound; I think they only heal physical wounds, not those done to the spirit (Fea).

And then, we appear in a grassy, bright area, with Gil-Galad watching over Galadriel. He says that it is safe, a sanctuary made by the rings. This is, of course, the beginnings of Imladris, Rivendell, the Last Homely House. In cannon, Elrond and refugees of Eregion fled north, and founded Rivendell.

The river down the center HAS to be the Anduin, I guarantee it.

When the offer of the sword or shield pops up, I though that Galadriel would choose the shield; after all, this series is basically about how Galadriel went from a brutish, hyper-angry, traumatized elleth to a proud, wise, kind Lady of Lothlorien. I thought she would choose the shield, protect what her people had lost so much of, but she remains silent. Gil-Galad chooses the sword.

That scene of the elves raising their fists in defiance felt odd to me; even the children were seen raising their hands. Elves reach their majority at approx. 100 years, so what are these children, who have never seen battle and bloodshed except for that day, doing, wanting to wage war? It reminds me of Feanor and the unrest of the Noldor; a people that knew no bloodshed, and in their innocence, went to their deaths. It worries me.

Alright, one of my favorite parts: Elrond and the Scrolls.

Elrond, Gil-Galad, and Arondir are brough to a city square and we see orcs piling scrolls to be burned. Elrond, who is obviously a scholar, I mean look at him, is outraged. Not only are these the last ties he has to his cousin Celebrimbor, they also hold invaluable scientific information; it's like destroying the elven version of the Library of Alexandria.

Then, my baby boy Gil-Galad is at sword-point (Very scary, but I know what his doom is so I wasn't THAT scared), and just barely saved. Ngl, I had thought Arondir had died in Episode 7, so it was good to see him still kicking!

My favorite parts were Celebrimbor and Annatar's scenes and Elrond's dismay at the scrolls. I would also like to say that I think Gil-Galad slayed in every scene he was in.

Well, then. I must go google when Season Three is expected to show up.

[hehehereliesmysanity]

a perfect couple

Sara comes back with a boy in tow after school one day. Apparently the boy recently transferred, and they have a couple of classes together and have some assignments to do. But he keeps coming back after school, and they spend a lot of time together. Simon would be glad she was making new friends except the boy, Wilhelm, is the most gorgeous person Simon has ever seen, and they start acting like they are maybe more than friends. 

It's been a couple of months since school started and Sara began bringing Wille home. He always waves awkwardly at Simon, and then they get inside Sara's bedroom, and Simon storms off the house after they hear their giggling behind the walls. 

He knows he is not fair. It is not fair when he sees them at school holding hands and smiling at each other. It is not fair that he has a huge crush on his sister's boyfriend, even though she introduced him as her friend and never bothered to tell him that Wille is her boyfriend now. He knows that this is not why he is so pissed, though. Not because she didn't tell him but because it just happened. Maybe it would be different if he saw Wille first. If he saw him first, maybe Simon and Wille would be the ones giggling and kissing behind closed doors with the excuse of hanging out or doing homework. It is not that they don't spend time with Simon at the house, but Simon can't stand the sight of them together, so he just bails.

It is one of those days when Wille and Sara are cooped up in the bedroom and Simon is seething in the living room, hearing the laughter coming from the next door. He gets up from his seat, angry and frustrated that he is not the reason Wille is laughing. Fuck, since when is he a horrible person? He is jealous of someone who is in a relationship with his own sister.

He barges in the room and yells, "Can you keep it quiet? I am trying to study here." However, the words die down on his throat because Wille and Sara are sitting relatively far from each other; they are not making out or anything, which is enough to make Simon sick to his stomach just to think about it. 

"Sorry," Wille apologizes with a small smile. Fuck, how can he look so charming even now? Simon already loses the train of thought; nothing else comes to his mind, and his anger is already dissipating. He can feel Sara's eyes on him, hoping that Sara doesn't realize that Simon is already half way in love with her boyfriend. He can't look at her face ever again, so this can never be out. He needs to bury his feelings and just live with them. He can only realize the little smirk on Sara's face before he mumbles something like "fine or whatever" and leaves the room.

As soon as the door clicks shut, Sara can't hold her laughter any longer.

"You both are so useless." She huffs in annoyance.

"What?" Wille buries his face in the pillow on her bed. "Stop laughing at me."

"When are you going to ask him out?" she asks, coming to sit beside him. "My wedding speech is getting dusty, just FYI," she chuckles.

"Shut up, Sara." Wille grumbles again. "He doesn't like me that way."

"He is my brother, you know? I know what he is like. He has the biggest crush on you. I can tell," she says softly, caressing Wille's arm. 

"Shut up." Wille blushes.

"And I can't be your beard forever."

“There was only one time. Or two,” he chuckles. “And that was stupid. I don’t have to prove anything to anybody.”

“Good,” Sara smiles. “I’m glad that you are more comfortable with who you are now. You only need to go talk to your crush.”

"He never talks to me when I am here, though. How can you be so sure that he likes me? For all I know, he hates me and can’t stand seeing me around."

"I just do. He likes you."

"I don't know." Wille mumbles under his breath. 

"Just go and ask him out. Now." Sara orders him, and Wille stays still, not attempting to move at all. "If you don't move right now, I am going to tell him you have been talking my ear off about him for months and you are a lovesick puppy."

"Don't you dare!" Wille yells, chucking her a pillow. Sara catches the pillow and throws it right back at him, and they burst into a fit of giggles.

"Fine, I will do it." Wille sighs.

"Don't act like you are doing me a favour."

“Whatever,” he grumbles. He gets up and leaves the room to find Simon in the living room.

The next day, Simon and Wille go to school hand in hand, giggling and smiling like the losers they are. And after school, Sara storms out of the house after hearing their kissing and making out noises coming from Simon’s bedroom. Like the embarrassing conversation all three of them had yesterday after Wille left her room wasn’t enough. Maybe she should have stayed quiet and let them be pining losers forever. On the other hand, her idiotic brother and her pathetic best friend make a perfect couple after all.

[textsfromthetva]

I would have made a post sooner, but I've been too distressed to even talk about this.

Mobius is sick. That's my cat, for the uninitiated. He started throwing up food Thursday night, like, a lot, so we went to the vet on Friday, who concluded he had a fever, but other than that and the nausea, there were no symptoms. So that's an infection, right? No telling where, but he got a shot of anty-nausea meds, a shot of antibiotics, and I got a box of catch-all antibiotics in pill form, and home we went.

Problem is, he kept getting worse. Cats do this thing where, when they feel a bit under the weather, they go 'guess I'll die 🤷‍♂️' and stop eating and drinking, like little drama queens. So you need to keep them from starving themselves to death until medication starts working. Friday night I had to start force feeding him, which in the case of cats means mixing wet food with water, forcing their jaw open, and using a syringe (without a needle, obvs) to squirt food into their mouth, holding their head back to force them to swallow. It's not fun for either party, and for 36 hours I did that every other hour, including throughout the night. But he continued to get worse. He was sluggish and dehydrated. I kept feeding him. No improvement. He was miserable, I was miserable, it was fucking horrible.

Sunday night we went to an emergency vet clinic, because I couldn't handle it any longer, I needed someone to have another look. She concluded that his fever had gone up, despite him being on antibiotics. This is obviously very troubling. She convinced me to pay for some blood work, just the basics, and he's insured, so whatever. I told her the Good Girl died two months ago, from FIP (feline infectious peritonitis). When she came back she looked very grim, and had brought scanning equipment. A ton of stuff was totally fine, but there was one thing, that was alarming. A number that should be over 8 in healthy cats, with 4-8 being troubling, and under 4 being 'that cat probably has FIP' was clocking in at a 3 for Mobius. But his red blood cells were fine and his organ markers were fine, so she did an ultra sound to look for fluids in his abdominal cavity, which is another sign of FIP. There was nothing. She's worried that it's just because we caught it super early.

But, we decided to proceed as if he's got a crazy infection, he got another injection of anti-nausea medication, new antibiotics, some fever-reduction pills, and an appetite stimulant that's a cream you rub on the inside of their ears, so it's absorbed through the skin.

He started perking up a lot. Still wasn't eating though. So this afternoon my mom stopped by with ten different kinds of wet food they had lying around (cat breeder behaviour), and we created a huge buffet on the kitchen floor. All my plates are in play. And eventually he started eating some shredded chicken in jelly. I don't know if you've ever cried from watching a cat eat, but I was fucking sobbing.

At this point, 12 hours later, I've had to refill the plate with that single fucking kind of wet food four times. He's almost halfway through a big can by now!

So I'm choosing to be delulu right now. I'm choosing to believe that those numbers were off because he hadn't eaten. Because he's completely back to normal now, behaviourally, and surely, surely he would not get better like this if he was fatally ill and about to die.

Anyway, if he does die I'm going to break. Just FYI.