#in one of the frames of cure. there is also a scene where it looks like dna is being duplicated

[crustyfloor]

Content warning (light) : Experiments / Abuse / Body and eye horror tw(?)

The album cover is sick as hell, I initially thought it was skeletal parts, but it looks the most like an MRI scan showing a brain with a lot of abnormalities, including signs of head trauma.

The most profound detail I found in the "brain" is the dark spots.

Dark spots in the brain are usually the result of a brain lesion, a permanently damaged area of the brain usually caused by injury, infections, exposure to certain chemicals, etc. General trauma.

If it's someone's brain, I suspect it's Till's brain. aside from Luka, he has been through the worst of the Alien's mistreatment since he was a child, under Urak's (the bastard's) care he had been exposed to much abuse. The sheer harshness and hostility of Urak's "training" make it obvious why he was probably one of the only pets to withstand it all.

Life-long injury in some form is surely a given to me. Seeing as it's already been mentioned that because of Urak's abuse, his pets rarely make it to the end because of the mental issues they had developed, and experiments can kill them before they even make it to the stage.

Back to the brain, it has a lot of abnormalities (especially in its appearance). I can't explain much, I'm not a neurologist. But based on the research I did the the most damage seems to be near the Frontal lobe and the Precentral gyrus.

source source source

This could explain Till's already implied mental problems, one of them (In my opinion) being some form of dissociation, round 6 was the most telling as his behavior was out of sorts having been broken down he changed drastically, throughout the whole round he was emotionally distant, i'd probably describe it as him being in a daze.

And his hallucination of Mizi during the karaoke scene could be a symptom of that to ease out of the moment.

(I also see that as more of a coping mechanism for Till, but I'm taking it into account for this since it's likely.)

Experiments always looked intense, I wonder just what chemicals and substances he was exposed to, in one of the opening scenes of CURE we're shown what looks to be DNA splitting, or duplicating? there could be a multitude of reasons for that. But it makes me curious just how deep this goes, and how much it affected Till. There is a lot of things about him that could be explained with Urak's presence in his life.

Having his brain tampered with to such a degree, I think we'll start to see the horrific effects come to light here soon.

[moirindeclermont]

5+ things I love about the Mirror Scene

also know as horny edition, reprise, again I decline every responsability if "feelings" arise during the reading of this thread. I'll be tempted of discussing the scene frame by frame, but I shall restrain myself to the most important points maybe

1) Words. This is not just about the speech at the beginning of the scene but also throughout the entire piece. I'm a writer, ofc I love when people use words well. Pleas don't make me say how many times I though about Mr Colin "I love dirty talking" Bridgerton (a couple of people actually knows) because it could become uncomfortable very quick.

2) Consent. Consent. Consent. I'll repeat every time because it's the sexiest thing I've seen. What do you mean it ruins the mood? Your partner is checking in with you and it builds trust connection and intimacy. It's not apart from the act. It's a fundamental part of the act.

3) Boobs. I'm sorry to report that, even as a fellow member of the perfect breasts club, I'm absolutely not immune. Not even one bit. I'm not even sorry I'm not immune. Thank you, Nicola, your service was wildly appreciated. (But seriously, did I buy a more revealing dress because I was a bit more confident of my own because of this bit? Yes! So, jokes aside thank you Nicola for your service)

4) Guidance. Gentle Dom Colin is my favorite Colin and I will never be able to hear the word "lie down" without thinking of him. But also, the tenderness displayed, the softness, the attention to the partner's needs, it's all part of a pattern of Colin being the most attentive partner.

5) "You are so beautiful", I'm not going to lie, I'm still walking 5 feet taller because of that. It healed something in me. It doesn't magically cure all the self issues problems, but it hit me the first time and it hit me again everytime. And if it was healing for you as much as it was for me, let me give you a hug. You are so beautiful!

(I can't believe I can't find the gif, if someone knows where to find it, please tell me, i'll edit the post)

6) "Not there. Not yet." Colin Bridgerton, Master of Edging. I see you Sir. I approve you wanted to wait for round 2 for that. But don't hide you did say that because you would finish in 0.1 second if she would arrive that. Still, even just for the cutest expression on Pen's face, it was worth it.

7) "Is there more?", Pen I want to hug you (respectfully and dressed, of course). His nod. Her blinding smile. Lord (don't) forgive me, I do not care about sinning when it never looked and felt better.

Gif by @polinsated

8) All the moments where you can see the lust and the pleasure in Pen's eyes. I will never shut up about it. They send me always into the stratosphere because it feels real. I don't know they do it, but it just feel real.

9) "Can we do it again?" What can I tell you? It's always the quiet one (I should know, I'm also a quiet one 😏) I'm not sure Colin realize what he did awake but he will become aware soon. I'm sure he doesn't mind.

(it's not my gif, stupid Tumblr, it's from @polinsated )

10) Let's be honest. All the above are real, but what really sell this scene is trust, connection and intimacy. It's not an easy thing to communicate but somehow they do it perfectly. And the nudity is functional to this goal. It adds another layer.

I love this scene but the me I was some years ago might have hated it because it is a mirror indeed for me. The me I am now is grateful that this scene exist. Because it's kind of the goal, to have that trust, intimacy and connection. So maybe it's a sign from the Universe. Maybe it's a sign of things to come. I certainly do hope so.

Maybe one day I might be able to talk about this scene without tearing up, but today is not that day.

[eilidh-eternal]

Your Nasty Man™️ Johnny is fueling my freaky side, and I don't know how to handle it.

I must have more....(pretty please)

What would that smug, disgusting bastard of a man do if he found reader also had a nasty side?

Say she found out about his little video collection? She hacks into it, and to just one up his arrogant ass, posts it to OnlyFans and is now getting paid for it! (Realistically, don't ever do this. I'm just being hypothetically horny here)

OR.....

Car Salesman Johnny. She borrows Ghost's classic vehicular muscle baby, finds an abandoned parking lot, and straps herself into the front seat. Uses the vibrator Johnny bought her to overly pleasure herself, capturing the whole ordeal on her phone. But it's not Johnny's name she's moaning. It's Ghost's. And, of course, she sends it to both just to really stick that knife into that Nasty Man™️'s side.

I'm going down the Nasty Man™️ MacTavish drain here. Must cure it with SingleDad!Johnny before I become a complete fiend for that repulsively sexy, damaged man...

Hehehehe that Nasty Man™️… he’s going to have a heart attack because he’s just overheard you asking Simon if he’d be willing to lend you his car again, but not for another driving lesson.

As it turns out, Simon is pretty good with a camera. Has an eye for photography, at least where his car is concerned (He actually has a sizable following on insta and is pretty well known in the car scene) but what you weren’t expecting is how well he directs you as a model.

Knows exactly how to pose you, has learned the angles you look the best from in a matter of about 5 minutes. And the best part? He’s not creepy about it. He’s actually sort of unfazed by your skimpy clothing and the suggestive poses he’s snapping you in. Lets you wear the leather jacket he wears at meets with his name embroidered across the back of it between shots while you both look over the raw photos. And maybe, just maybe, when you have your back turned to him, adjusting an errant strand of hair or preening in the reflection of the tinted windows, he’s snapped a few shots of you in his jacket with his phone.

And oops! His thumb slipped. Accidentally sent them to Johnny.

And Gaz.

And Price.

When you get to the dealership on Monday there’s a shipment of office supplies that needs to be unboxed and put away. More paper, extra ink cartridges, pens and paper clips in bulk, and, because it’s the start of the new year, calendars for the office.

But wait… these… don’t look like the calendars ordered from the supply store? That looks an awful lot like Simons car on the front…

You chalk it up to coincidence, think maybe your manager wanted something a little less bland and more on theme to help liven the place up. It’s probably just some classic car calendar or something.

You don’t realize what it is until a few hours later when you walk by Johnny’s cubicle and something snags your attention. You backpedal, round his desk to look at the calendar pinned to the fabric-lined divider, and freeze, stomach leaping in your chest because that’s you.

That’s you on the hood of Simons car, laid out in your skimpy dress.

What the fuck?

“I think August is my favorite,” a heavily accented voice breathes from behind you. You whirl on him, back pressed to the divider, and stare up in shock at Johnny, grinning down at you impishly.

“Didnae ken they did custom calendars at the supply store. Think we’ll be doin’ these from now on.” He takes a step forward, cages you between him and the divider when he braces a hand on the metal frame. His breathing is heavy, eyes glazed, and the fabric of his button down pulled taught over the bunching muscles in his arms. “Next year though… I think next year should be ye, in that slutty dress, sittin’ pretty on my ride.”

[pinkeoni]

...but what was Will really saying in the van?

This a post a year after the fact, when post people have already said what needs to be said, but you know what!! This is my blog and I can say whatever I want.

Will talking about himself and using El as a guise is pretty obvious. The handful of people who say that it really was from El are few and far between. El doesn't gaf about DnD, she's not even in the painting, and she even told Mike herself that she didn't know what Will was making.

Whether or not Mike actually believed Will's lie is something that I'm personally on the fence about, but I'm not talking about him today! There are plenty of great Mike posts about this if you want a Mike analysis.

The cinematography supports this as well. At the start of the scene, Will is established on the left side of the frame, and Mike is on the right. When Will tells Mike that El commissioned the painting, we get a shot of the mirror where they swap places.

The switching of frame placement suggests that something is off, and mirrors in film can be used to show deception. The shot supports the idea that Will is not being fully truthful, which is backed up by what we already know. Each mirror shot is also prompted by a shot of Jonathan, suggesting that this is always from his point of view. We also know that he was able to see through Will's lie, so that supports this idea.

But we don't get the entire monologue from this angle, because really Will isn't entirely lying, he's just lying about whose feelings it really is.

It's no secret that the painting is an expression of Will's love for his friends, but also his romantic feelings for Mike. The positioning of the painting itself as a phallus (take a shot every time I've said "phallus" in a recent analysis) displays this in the visual language of the show along with the written one.

I think that gender and the use of pronouns is important here. Will states the entire monologue using "she" and "her" and places El in the place of himself. So what he's essentially saying "My sexuality is a wonderful thing that can bring both of us joy, but only if comes from a girl." In context Mike seems specifically anxious about El so Will is reassuring him from that angle, but it also stands that Will doesn't see his sexuality and feelings as good enough to cure an ailing Mike.

There was scriptgate and the infamous "I hate who I am" line which everyone remembers where they were for, but when the scripts were said to be fake, this line seemed to no longer hold any weight within the fandom and was widely disregarded. He loves himself, actually!

But legitimacy of the script aside, does this line still ring true? Even if it were real, a unspoken internal dialogue in an action line doesn't matter unless the show actually expresses it. So do they?

After all Will said it himself, "you make [me] feel like [I'm] not a mistake at all. Like [I'm] better for being different." So that must be how he feels, right? And yet—

—he doesn't really look like someone proud of his sexuality, does he?

I find the idea that Will doesn't suffer from any internalized homophobia rather absurd. It's definitely informed by external homophobia, but it would be different if Will fought back, but instead we see time and time again Will turning his pain inward. "Zombie Boy" leads to "It just makes me feel like more of a freak." and "It's not my fault you don't like girls" leads to the destruction of Castle Byers. I know that that line is informed by Mike's internal projection and might not be intended to be homophobic, although the statement still is homophobic despite intent. If Will knows he is gay and just heard that from his friend, of course he's going to take it that way. We see a little bit of Will standing up for himself, although this usually results in Will apologizing or not accepting apologies from others even when he deserves it. The bedroom scene in Dear Billy is a big step forward because not only does Mike apologize and assert that Will wasn't in the wrong, but Will actually listens.

It is true that Will accepts that he is gay and doesn't seem to fight it, although as others have pointed out, this doesn't necessarily mean that Will is necessarily proud of who he is. The van scene is just another example of Will taking that external pain and forcing it inward. There is likely to be consequences resulting from his lie that affects all three of them, but Will has decided to go a route that (he believes) will benefit Mike and El and only cause himself pain.

Look at this way. Let's say that Will hadn't lied about the painting being from El, that he was totally honest about the painting coming from him, but Mike didn't understand it as a romantic gesture. Not only would this not really make sense, and require Mike to be a level of oblivious on an absurd level, but it would also communicate something completely different. The new meaning would be this: Will is proud of his sexuality and able to take ownership of it, and the trouble comes from Mike not understanding. The conflict is now completely external.

I've seen debate on whether or not Mike really did understand what Will was saying although I think that's beside the point. If Mike did understand that Will was talking about himself, then this was not communicated to Will. The above scenario leads the conflict to be solely relieved by Mike finally understanding, and while there is surely to still be an external conflict between Will and Mike, Will's conflict of sexuality remains to be internal. Even if Mike did tell Will that he knew it was from him, this wouldn't necessarily solve Will's problem. The remedy to Will's internal conflict can only come from himself, by being able to proudly put his name to his painting.

[the-girl-wh0-cries-w0lf]

You're waiting for a train...(11)

Go to sleep, Miss Y/n

Robert Fischer x reader

description - Robert learns the truth of the plot to infiltrate his dreams...well...Cobb's version of the truth.

word count - 1.6k

warnings - betrayal, shitty fathers

a/n - I've realised the chapters are getting shorter and I think it's because when I'm writing I'm finding natural stopping points and I find I get more productive if I'm writing small chapters frequently than stressing about getting a large chapter finished.

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We arrived on the fifth floor, exiting out of the elevator, Robert first with a gesture from Cobb in faux attentiveness. I lagged behind, the tremendous terror I felt in combination from my last encounter and whatever was about to befall us buzzed within me. Even as the two men entered before me, my stride was shyer than theirs. Every so often Robert would chance a peak behind him at my frame. So I was ready at a moment to right myself once again.

With only his back to look at, I still managed to discern the shudders that racked Robert’s body. As I saw one sliver down his spine, the same feeling was repeated on my own. As if our hearts were actually the same, being passed back and forth between the two.

Silhouettes appeared out from the end of the hallway and Robert stumbled at another presence, the memory of our previous encounter merely one picture away.

“They’re with me.” My dad assured with a hand on Robert’s back. Offering a comfort I had yet to know. “Go on.” With this confirmation Robert’s eyes darted around the room numbers in search of any sense of familiarity. His body moved faster than his mind could comprehend. His eyes ended up bearing the brunt, shooting back and forth to catch what his mind had missed the first time.  

Feeling dismissed in my current position I found my feet shuffling towards Arthur. I clasped his arm in mine, leaning into his body to inhale his scent. The embrace I’d shared with Robert had cured my aching heart but to truly be healed I needed the feel of something I’d known before. In Arthur’s arms I could feel safe, whilst being undoubtedly assured no harm could come. He raised his arms so he could meet my hand with his. He clasped them together and brought them back down, my two fitting in his one. He looked at me, and I willed myself to meet his eyes. I gave a gentle nod. No more words were required before he met my hairline and christened it in his kiss. Unfortunately, I was unable to convey the platonic nature of this interaction before I saw Robert’s head fall low upon witnessing the two of us. I so badly wanted to jump back out into his arms but my sense of duty to the team and to my own promise held me still. Upon pondering this I also failed to catch the steel glare that landed on my father and the fist clenched close to where my own were being comforted.

The door labelled 528 stood before us. Robert’s panic grew as the familiar numbers jumped out to him. His head flicked back and forth from the door to my father in a silent agreement of what they both knew. Cobb gestured for Robert to stand with Ariadne and I as him and Arthur brandished their guns. They kicked the door down in perfect choreography for the scene they were trying to convince. They were led in by their weapons and they scoured the room in search for imagined intruders. Arthur paced towards the bathroom in perfect timing to ‘discover’ the briefcase.

“Mr Charles,” He announced. I did wonder if Arthur was going to do a different voice, remembering fondly when he would try different accents to make the jobs more fun.

“Do you know what that is Mr Fischer?” Dad asked.

“Yeah I—I think so, yeah.” Robert stuttered out and I sensed how close he was as he had gravitated towards my frame. My pinkie extended in search of something to hold. It was rewarded as I felt his own curl around it.

“They were trying to put you under.” Dad hurriedly uttered out.

“But I’m already under.” Roberts confusion spread through his adrenaline, linking the two.

“Under again.”

“What do you mean, a dream within a dream?”

An intruding sound alerted the room and we became aware of the fact we were no longer alone. For Robert he feared the oncoming consequences. The rest prepared for the next arrival.

“Shh.”

Cobb was aimed at the door as Arthur approached from the side. The door was unlocked, and Browning entered with his own key card. Arthur swiftly grabbed his arm in order to subdue him into compliance.

“Uncle Peter?” Robert appeared desperate to go to his godfathers aid, but I held him back with a slight tug on his sleeve. He responded to my action and remained still.

“You said you were kidnapped together?” My father asked.

“Well not – exactly – they –they already had him.” Roberts stutter was starting to become more prominent in the high-pressure environment and I had to wonder whether this was something he had been prone to before. Returning when he is placed in an environment which strains his heart. “They were tor—torturing him.”

“You saw this happen?” He breathed heavily when the question of sincerity was placed on the table. His eyes flitted to his godfather and seemed to truly focus for the first time. His conclusions became fully formed in the slight slouch of his godfather.

“The kidnappers are working for you?” Robert managed to push out in a whisper of disbelief.

“Oh Robert.” Browning sighed out as if in shame of the boy before him. The situation may have been an allusion but in Robert’s fallen expression I sensed that a scene like the one before was not unusual in his memories.

“You’re trying to get the safe open?” Robert’s voice shook. “To get the alternate will?”

“Fischer Morrow has been my whole life.” Browning said. “I can’t let you destroy it.” I had never had more of an urge to punch a projection in my whole life. And Robert knew it through the hand he gently placed over my newly clenched fist.

“I’m not gonna throw away my inheritance!” Robert shouted. “Why would I?”

“I couldn’t let you rise to your father’s last taunt.”

“What taunt?”

“The will Robert. That will? That’s his last insult. A challenge for you to build something for yourself. By telling you you’re not worthy of his accomplishments.” Browning hit the final nail.

Robert faced away and brought his hands up as if he could wipe away all the unpleasant feelings which were being forced upon him. I followed where his body paced, hoping any semblance of my presence would make him hurt a little less. He returned incredulously asking Browning to continue.

“What, but that – that he was, um, disappointed?” His words were intertwined with self-effacing laughs.

“I’m sorry.” Browning had the decency to refuse to meet Robert’s eyes in light of what he was revealing. “But he’s wrong. You can build a better company than he ever did.”

“Mr Fischer? He’s lying.” My dad approached to whisper to Robert.

“How do you know?”

“Trust me, it’s what I do, he’s hiding something, and we need to find out what that is.” Eames stalked into the room with Saito tailing behind. His weak frame confirmed my worry that the temporary heal of the deeper dream was starting to peel off to awaken a new countdown to the end. “I need you to do the same thing to him, that he was going to do to you.”

Eames and Arthur both held Browning down to "prepare him" for the next level. Ariadne and I did the same thing but in preparation for the others.

“We’re going to go into his subconscious and find out what he doesn’t want you to know.” My father continued to explain.

“All right.” Robert agreed determinedly. He approached where Arthur had his IV prepared but he faltered and angled himself towards where I stood. I was busy arranging for Ariadne and failed to notice him until he tapped me on the shoulder. I turned around and was taken aback at his choice to converse with me. “Will you do it? For me?” He softly spoke and offered me the IV he had taken off Arthur. His eyes pierced down to capture just the two of us and they spoke to me to convey that I was the only one he could trust. I felt the burning glare of my father at the deviation from the scene. It had startled me as well but I was nothing if not an improviser.

“Of course.” I soothed, and gently clasped his bare arm in my hand to lightly insert the needle. I guided him to sit down on the bed. As the sedative seeped through my hand glided towards his neck. His weight fell onto it and I laid him down offering as much care as I could to ease him into this change. Once his head met the soft mattress, my fingers dragged back to the front. They lingered on his soft cheek and danced their way to his full pink lips. I was overcome seeing true peace line his features. But I was shot back to the situation at hand once Eames clapped my back in a warning.

“He’s out.” I announced.

“Wait whose subconscious are we going into exactly?” Ariadne questioned.

“We’re going into Fischer’s.” Cobb answered. “But I told him it was Brownings so he’d come be part of our team.”

“He’s gonna help us break into his own subconscious?” Arthur looked towards my father with doubt in his brow.

“That’s right.”

I laid down on the floor as Arthur kneeled over me, helping to prepare the IV.

“Security’s gonna run you hard.” I warned understanding the danger of leaving the dreamer at the whim of the projections and feeling genuine fear for Arthur up here on his own.

“Then I will lead them on a merry chase.” He teased as he smirked down at me knowing to reassure me in this moment, so my head would be clear of frivolous worries for his safety.

I giggled at his choice of words. “Just be back before the kick.” I relaxed my head back in wait of my slumber.

He lowered his voice to a soothing whisper. “Go to sleep, y/n.” he hushed.

LAYER THREE: THE SNOW

-x-x-x-x-x-x-x-x-x-x-x-x-

Because y/n will have experienced stuff like the previous chapter before, it makes sense she would want to go to Arthur for comfort as it's her tried and tested way

Also like I said at the start, I know its a short chapter but I felt like it was a natural stopping point and it means I'm not trying to cram loads of plot at once.

taglist: @jonsncws @h-l-vlovesvintage @theethy @fashionki11a @felicity1994 @bearchermer @idkyoutellmesmh @mimimarvelingmarvel @butterfly-lies-chase-them-away @neotanpopper @deliriouslybi @folklorde24 @thefandomdiaries07 @viarosemcmissile @noirrose21-blog @thepoeticfirefly @xoxo-gothic-girl @skeletonwrite @jellyzelek @kaylamarie306-blog

[rebelumbrella46]

Joker: Folie à Deux

What if we're totally reading this wrong? Think about it:

That last scene in the trailer, with the lipstick on the glass? What if that's the first scene in the movie?

That's why she says... "I want to see the real you..." she's already trying to make him trust her. And you can see the moment Arthur turns into Joker (He goes from vulnerable to mischievous)

Besides you can see the sleeve of her shirt, it looks like a black suit, and her hair seems brushed and clean in the reflection of the glass

Imagine Arthur meeting Dr. Harleen Quinzel early on and becoming obsessed with her. He starts daydreaming about her, imagining her as crazy as him. (That's why she looks so elegant and angelic in here, he's seeing her as his doctor while he's full on Joker)

Harley is there to analyze him, to determine if he is insane or not, her testimony is what will change the veredict of the trial

Then, as the story progresses, we see Harley trying to understand him, investigating about him. Discovering some hard truths about his past and going from being her psychiatrist to feeling sorry for him and finally falling in love with him.

Maybe she will also start fantasizing about him, about the Joker.

Maybe she's struggling with her feelings and it's starting to drive her crazy, the need to understand him, to know that he's wrong, to know that she could condemn him or save him, to feel an obsessive need to be able to cure him, but failing so at the end the only way is to join him.

Then we hit the trial scene, and there's Harley, decked out as Harley freakin' Quinn, blowing up the courthouse. And everyone is surprised by that (Isn't that the doctor? Harleen Quinzel? Not anymore)

Maybe this would be one of the joint fantasies, when he is testifying.

Maybe we'll have several court scenes. Turned into musical sequences

They escape from the courthouse in the explosion. and if you look at the clothes they are the same as those we see in some leaked images

So maybe something went wrong and Harley turned him in to the police, maybe she tried to frame him for the courthouse explosion. Arthur flees.

Arthur is caught, thrown back to Arkham, and has his heart stomped on. He is in worst shape now.

(This is also a hint from the comics, the Joker escaped so many times and got caught again and so on…)

Then we are shown the first scenes of the trailer.

They put him in isolation and when he finally comes out, he is surprised to see Harley back, but this time as a patient. (That's the meaning behind the long stare share between them, not a love at first sight moment)

The headshot scene is a gesture that shows that Harley remembers all the conversations in therapy with Arthur, and a way of communicating that she is on his side, that she has not betray him but has joined his madness.

And I think the end of the movie could be them escaping Arkham, blowing up the place like it's the courthouse.

And the final scene is of them, finally dancing in the real world, unaware of the chaos around them.

I apologize if this seems crazy, obviously it can't be that way but I would love to see a version where Dr. Harley slowly descends into madness.

[elvisabutler]

can I request a consider! or a blurb or hc or full on fic of austin looking after p!a during a sub drop 🥺

satisfied and empty inside

summary: austin swears that he'll never let you have a sub drop after hearing your horror stories. he fails this one time. fandom: austin butler | elvis ( 2022 ) rating: t? this is tricky because sexual things are described but they don't really have sex. so i suppose high t? pairing: austin butler x priscilla actress reader ( little dove verse ) word count: 2441 warnings: the normal warnings apply for this verse. daddy kink. dom/sub dynamics. choking. brief mentions of past relationships that were not at all pleasant. sub drop. anxiety. negative self talk. author’s note: consider this faintly canon for the main verse? i always make the argument that austin never really ever lets dove experience sub drop but maybe that's only for when it's caused by papi. time frame is post met and cannes but pre press tour. you know that little tiny bit of time between them. beyond that, christ anon i adored this prompt and adored you for giving it to me. i truly hope you enjoy and deeply apologize for the wait. also welcome to my first time in forever and an age since i've written a sub drop.

The first thing you notice, the first thing that you notice when your body slowly drags itself into the land of being awake is that you're cold. There's no reason you should be cold, it's a practically balmy 73 degrees outside and Austin wasn't one to keep the house you two now owned together cold. That would always take some getting used to. The fact that you and Austin after every single ounce of bullshit that you and him put in your way have come out on the other end of things together. Sure, there's still so much you both have to work on with your own therapists and your couple therapist but here you are with your boyfriend, your dom, your- Austin.

Except, you're not here with him in the moment, are you? He's- he should be here in the bed but he's not, he's- where is he? Did he leave you? Were you that bad last night? You had- the scene was fine you thought, everything about last night was fine- almost perfect even but you're waking up alone in bed and Austin- Daddy hasn't been there for long enough for his side of the bed to get cold.

Maybe- no, Austin promised. Austin had said the two of you were fine, that things were going to get- going to be better. It wasn't perhaps the healthiest thing that you two had immediately gone back to being wrapped up in each other, you deciding to move at least temporarily to LA even while keeping your apartment in New York. It was just that being apart from one another after everything, after you had called his phone in the hotel shaking and so needy that you'd have thought his touch was the only thing that could cure you. That was the thing though, Austin knows that you- Austin knows more than anything at least for right now, you need to feel him touching you more often than not. You might not have been touch starved with other people, but you had missed his so much that it was like a missing limb. You had missed him like a missing limb in those hours you weren't busy and he wasn't talking to you because of course, just like Elvis and Priscilla somehow you break up and can't even do a clean break.

It's different now, it's supposed to be different now because you're here and he's here and you're supposed to work things out, make things better between the two of you so that you can build a truly solid relationship. The relationship is supposed to be between you and Austin, not you as Priscilla and him as Elvis or between Priscilla and Elvis. Having a solid relationship means not leaving the person alone when you said you wouldn't without a note or a little text or a voice memo. Austin would leave a message somehow someway but here you are with an empty bed and no note. You roll over, shivering despite your best efforts of curling into the covers as if they'll protect you from the thoughts that are starting to swirl around in your mind like a witch's brew in a pot. There's no missed calls, no missed messages, nothing missed on your phone or on the nightstand near it.

There is just you and a bed with half of it cold. There is just you and no Austin. There is just you and your mind. There is just you and the ghosts of people who are dead or still living but have themselves burrowed into your very psyche.

The crash hits you like the sudden drop of an elevator and you kept help the way a quiet whimper leaves your lips at it. You can feel where Austin's hand was around your neck, clenching and flexing and whispering such filth into your ear. "My good girl, taking my cock so well even when she can't breathe. Think I could leave a mark? Think the paparazzi would ask you what you did to earn that?" You can feel the sting of where his hands had slapped your ass, where he had palmed your ass and squeezed. You can feel the burning trail of his kisses only to be replaced by the cool air against your skin right now. None of those things are happening right now, the person you did them with isn't here right now. You're alone.

You're going to be alone forever aren't you? He's going to break things off with you like you did with him. This is him breaking things off with you like you did to him. Leaving him without a word until you decided to talk. You- He doesn't love you, he loves the you he met on set. He loves you as Priscilla not you and you and only you. He's probably meeting up with Kaia or some other new girl. He won't come back until you've left the bedroom. Or maybe he just wants you to fuck- to let out his dominant side- his daddy side so that whatever girl he's dating doesn't have to take it because they don't want to. Maybe him and Kaia never had broken up. It feels as if your chest has caved in on itself your lungs struggling to bring air into your body as you start to cry. He promised- He said he loved you, why isn't he here with you. Why are you alone again? Why isn't your collar on- nevermind that Austin had taken it off the night before because you had wanted to just feel his bare hand against your neck.

The tears start to fall before you realize what's happening as you curl even tighter into the blankets. The ceiling fan that's circling above you makes the subtle creaking noise it always does and it feels like the loudest thing in the room. A reminder that as much as you want to try with Austin again he has to want to try with you, has to want to be with you. Time passes as you cry, you think, the numbers on the clock by the bed not really registering until you hear your bedroom door open and a cheerful oh you're up before you swear you hear a curse.

It just makes you cry harder and has you sitting up and curling your knees to your chest as best you can as you try and wipe your tears because it hurts and you feel everything right now and you can't shut off your brain and and and-

"Dove?" Austin's voice feels like it's in a tunnel, like he's in the far away place you're certain he's in. After all, his side of the bed was cold when you woke up without him. You register his side of the bed sinking with his weight and his warm hand on your shoulder. Austin always does feel like your own personal furnace. You wonder if he felt that way for the other girls he's been with. "Oh my- my little dove."

Austin is there. Austin is touching you. Austin- Daddy is there. Breathing comes back in a rush and you take one, two, three shaky breaths before you feel Austin's arms wrap around you and you choke out a single word. "Where?"

He's confused for a moment before he realizes that you're asking him where he was. Asking him where he had run off to and left you alone. He doesn't know what time you woke up only that he came into the bedroom ready to wake you up with a kiss and instead found you crying looking as small as you could in the bed. You tense in his arms, still unsure that he's actually there or that you deserve having him around you but you don't shake his arms off, don't force him to stop touching you. "I- I thought I told you, little dove. I had a bunch of early interviews, didn't want to wake you up. I was going to take you out to brunch or lunch when I got done. You- I'm here."

"But you weren't." You hate how it sounds coming out of your mouth, all pectualance and sadness and you sound so much younger than you are when you say it. "You left me alone and it's- it's cold, Austin."

His arms tighten around you as he starts to stroke your back slowly, his lips kissing the crown of your head. "I know- and Daddy's sorry about that, dove. So so sorry about that. I should have written a note for you or sent you a text. I haven't even left the house. I've been in the office." He pauses, exhaling a little shakily. "I'm warm, Y/N, my perfect little dove, my girl- no my woman who puts up with me being an idiot and who's had my heart since our first hello."

Your fingers move to the dove necklace on his neck, it's almost identical to yours, but just subtly different enough that it's uniquely his. You press your own initials into your thumb as you fiddle with it and Austin does the same thing with your necklace around your neck. Neither of you speak for a moment, your tears turning into a sea of shivers before you finally muster up the ability to speak. "I thought- I thought you changed your mind."

About us is what goes unsaid. Because you've been there before, this isn't- he isn't Papi but it feels like it in the moment. Feels as if you're abandoned all over again. Feels as if you're tossed in the trash because you're not useful anymore, you're not the one for him any more and it crushes you. Austin lets out a huff of air and shakes his head.

"I didn't change my mind when you left me in Australia, if I didn't then, I don't think I ever really will." The way he moves to tilt your head up, grabbing your chin lightly and looks at you betrays the fact that he knows you're going to try and argue with him. "Ignoring the girls, dove. Just like I ignore the dates you went on."

A hint of a smile crosses your lips before you frown again, still shivering and trying to burrow into his arms, almost as if you want to become one with him. "Promise? I know I'm being stupid- and you know I'm not-"

"Dove- Y/N- you're not stupid. And I know you're usually so strong and tough and I love that about you but I left you alone and you- you dropped without me here. Because I wasn't here to see what was happening." He pulls you in for a soft kiss. "I promise. You're stuck with me until you get tired of me, because I'm not getting tired of you any time soon."

You still feel drained, still feel like the world has closed in on itself but there's a glimmer of sunshine there, a glimmer of hope your mind is latching onto in an attempt to pull you up from the depths that only brightens as you look at Austin and feel and smell Austin all around you. "Can we take a bath?" You ask softly, knowing the heat of it will help you calm down, will help bring you back up quicker.

Austin hums before nodding. "Can I get you to eat a snack first? I'll order in some food, we'll run a bath and we can just-"

"Yes." You answer, cutting him off before he can finish and looking a little alarmed when you do. "Yeah, I'd- I'll eat something and I don't- I just don't want to be alone. I need you, Au-Daddy."

Austin doesn't say a word for a moment before looks at you like you hung the moon and the stars. It's a little mind-boggling to see that look even after everything and your lips finally actually do fully form a smile so touched that you can't do anything but. When he finally speaks nuzzling your hair. "I always give you what you ask for and need, Dove." He moves to get off the bed despite your groan and whimper of protest at the loss of his body heat and his body in general. Once he stands up on the side of the bed he pulls you over and up next to him. "Come on, quick snack and then bath."

It doesn't take you a second to burrow yourself back under his arm as he pulls you close to his chest. In fact, in a fit of what he likes to pretend is genius he maneuvers you to be in front of him and allows himself to just walk with you holding onto him in the front. It's silly and a bit uncomfortable but it works well enough and makes you happy enough that he deals with it. You eat a bagel because it's easiest thing to scarf down in the kitchen before you and him make that same walk back to the bedroom and into the bathroom.

He takes his time as the water runs to take off your nightgown, placing soft kisses at every bit of exposed skin as he reveals them. You're still shivering a bit but sometimes it's from your own emotions while other times it's from the kisses his lips give you. Climbing into the tub after he manages to get in there is a bit of an adventure with how fuzzy your brain feels but you manage, Austin's arm snaking around your waist and pulling you up against his chest. "Starting to feel better?" He asks, his lips caressing your ear in a gesture you can't help but enjoy.

"A little." A simple answer but it's the only one your brain can wrap itself around. You pause and realize that you've stopped shivering. "I'm warm."

Austin's lips curl into a smile that you can feel against your skin. "I don't know, I think you're pretty hot."

That glimmer of hope, that thing your brain started to cling to explodes like a supernova, filling your brain with just enough happiness to make you actually laugh. It's not fixed- you know from experience pulling you out of this state takes a bit longer but it's a start.

His smile widens and he nips at the back of your neck. "There's my little Dove. Love you."

You hum a little happily and drowsily as you lean back and settle yourself against him as he slowly starts to bathe the both of you. "Love you too, Daddy."

[sophietv]

Where "You're Losing Me" fits in the Kaylor Timeline

Ok, so I wanted to sum up what I thought “You’re Losing Me” meant for Kaylor. But most of all, where does it all fit in the Timeline.

First and foremost. It’s important to remember that Midnights is in Taylor’s words: “the stories of 13 sleepless nights scattered throughout my life”.

Which means that the songs on this album are not all recent stories. Some happened a long time ago. 

Like:

Snow On The Beach: being about the Victoria Secret Fashion Show in 2013.

Question…?: About Kissgate in 2014.

One thing that is interesting with Midnights is that songs are sampled over older songs. I believe this serves multiple purposes:

Pointing at the muse (Maroon sampled over KOMH and Cornelia Street),

Pointing at the time and cause of the song (The Great War sampled on Only The Young)

Pointing at the similar emotions the event might have with others (Question…? sampled on OOTW).

So where does that leave us with "You’re Losing Me"? 

When you listen to the song you notice that it’s very similar and seem to have practically the same intro as "Cornelia Street".

More than that, if you play both songs at the same time, the timing is perfect, the intro of one song answers the intro of the other.

So what is Taylor trying to tell us with this?

Everyone was puzzled when the song came out, because it does not fit with the narrative of Champagne Problems and Midnight Rain. Those songs seem to point at Karlie wanting to commit and Taylor being unable to choose her over everything else.

But in You’re Losing Me. It’s quite the contrary. Taylor seems to want to commit and seems unsure of Karlie’s intentions in this relationship. 

So what does it mean?

I think the song points to Cornelia Street to offer a timeline of when the events took place.

And I don’t think they took place at the same time the song Cornelia Street takes place (in 2019), but more likely, when they were living at Cornelia Street.

Taylor rented Cornelia Street from June 2016 to early 2017. 

What happened during this time with Kaylor?

I think, looking back on all the events of 2019. Everyone can at least agree that they were still together at that time.

If you don’t believe it. Watch Miss Americana. The Call It What You Want scene, and you’ll see that Kaylor was indeed alive and well.

I did a thread on Twitter about this, but here’s some important events. 

Octobre 11th 2016: “It’s all part of the fucking story”

Octobre 12th 2016: Taylor went out to the concert where she “started dating Joe”.

Octobre 13th 2016: Taylor is out at the Bowery Ballroom with Karlie and Serena William (yes this is suspicious).

Novembre 7th 2016: Karlie and Taylor are out at Lorde’s birthday.

Novembre 8th 2016: Trump is elected. Karlie posted the famous picture of her and Taylor kissing Lorde’s cheek with the ring (last post of them together at an event)

Novembre 9th 2016: Start of the Love Blackout 

(There’s also the engagement theory that happened in Wyoming in August 2016)

What makes me say the song takes place then and not in 2019?

Well she references the Cornelia Street apartment, with the song sample obviously, but also with those lyrics:

 “remember lookin’ at this room, we loved it ‘cause of the light. Now, I just sit in the dark and wonder if it’s time.” 

I think the lyric “We thought a cure would come through in time, now I fear it won’t” might be about them having to hide their relationship.

And I suspect the results of the 2016 elections has something to do with it (as well as with the Love Blackout).

In the song Taylor is begging Karlie to choose her. 

The song is also not a finality. 

When the song ends we don’t know what happened.

There’s fear, hurt, indecision, but also a bit of hope: “Unless you’re choosin’ me”

Taylor is still wishing it might work out.

So I think the song being sampled on Cornelia Street is to tell us it happened during this time frame (June 2016 - early 2017).

And in the song Cornelia Street there’s:

“Windows swung right open, autumn air

Jacket 'round my shoulders is yours

We bless the rains on Cornelia Street

Memorize the creaks in the floor”

Which points to the Autumn of 2016 (if we follow the timeline).

"Back when we were card sharks, playing games

I thought you were leading me on

I packed my bags, left Cornelia Street

Before you even knew I was gone"

This part points to before that. But still at Cornelia Street. So between June and Septembre 2016.

And it’s talking about a fight they had where Taylor thought Karlie was not genuine with her “I thought you were leading me on” 

Interesting because it fits perfectly with the narrative of “You’re Losing Me”.

"But then you called, showed your hand

I turned around before I hit the tunnel

Sat on the roof, you and I"

And this fight had a happy ending! 

So for all those reasons, this is where I think this sleepless night took place and the fight it’s talking about. 

What does it means for LSK? Not much. But it sure doesn’t mean that they are not together. 

[baileypie-writes]

Hello I am back for A request

How about A plantonic Adult Nozomi & gender neutral (male reader if it’s ok) where ingoring Otona existence (as most do) around the same time frame the palmier kingdom is going through A crisis for the third time and Nozomi is unable to transform to cure dream to help and during A monster attack in the city she sees A kid around her age when she first became cure dream attack at the monster and then she notices that it’s the new cure dream

Maybe how she would react or would she become A mentor type character to them

A/N ~ Sure! I love this idea! And btw, yes, the Reader can be male. I do all gender Readers:) Also, I assumed you meant that Reader’s cure name is Cure Dream. I apologize if it wasn’t what you meant haha. I can always edit it later anyway. Hope you enjoy!

~The New Cure Dream~

Nozomi Yumehara + Male!Pretty Cure!Reader

~~~💫~~~💫~~~💫~~~

Fandoms: Yes! Precure 5, Otona Precure(though the actual show never happened)

Fanfic Type: Oneshot

Reader: Male, Pretty Cure, younger teen

Relationship: Platonic

Genre: Action?

Rating: PG

Synopsis: Nozomi wished she could be of help during a new monster attack. But to her shock and surprise, a new Pretty Cure jumped into battle.

Warnings: Minor violence and destruction, Coco and Nuts mentioned, sort of abrupt ending?

~Masterlists~

~Yes! Precure 5 Masterlist~

In this oneshot, the story/events of Otona Precure never happened

~~~💫~~~💫~~~💫~~~

One of the worst parts about growing up is that you’re not really able to do some things anymore. Things like playing on playgrounds, playing with toys or having slumber parties at your friend’s houses aren’t as fun or socially acceptable. Those are things that Nozomi reminisces about occasionally. But what she reminisces about the most is her time being a Pretty Cure.

Those two years may have been a long time ago, but they were truly the highlight of her life. She wouldn’t be the person she is today if it weren’t for them. She often wishes she could experience them once more.

But she’s never wished that more than she was now.

~~~~

Clouds of dust enveloped the scene of destruction in front of her. Rubble flew in all directions, causing Nozomi to run into a nearby alley for safety. It was a smart move, as right when she did, a large chunk of concrete crashed into her previous spot. The culprit of this incident was a monster in the form of a traffic cone. It very much resembled the Kowaina and Hoshina she used to battle in her early teenage years.

Nozomi had no clue what to do. She knew that this was a job for the Pretty Cure, but she wasn’t one anymore. She hasn’t been in over twelve years! Her eyes darted around, desperately looking for a pink butterfly to come and allow her to transform. But there was none.

Right as her heart sank in despair, a figure swooped past her. Hoping that it was what she was looking for, she exited the alley, following its direction. However, she quickly realized it was an idiotic choice, considering there was still rubble flying everywhere. A particularly large piece came falling towards her, making her raise her arms over her head as a weak defense mechanism.

Just as she prepared herself for the blow, a crash and a grunt was heard from in front of her.

“Are you alright ma’am?” A boy’s voice called out. Nozomi opened her eyes, and froze.

In front of her was you; a young boy. But it wasn’t you alone that shocked her, it was what you were wearing. It looked very similar to what she wore as a Pretty Cure all those years ago. Also, the crumbled bits on the ground implied that you had crushed the large piece of rubble that nearly crashed into her. No normal person has that strength.

“You’re a… Pretty Cure?” Nozomi asked without thinking.

You gasped in surprise, revealing to her that she was correct. You opened your mouth to speak, but you were interrupted by a call.

“Cure Dream!”

Cure Dream.

Nozomi gasped at the mention of her former Pretty Cure name. The one she hadn’t heard in years. But judging by the way you responded by turning in the voice’s direction, it was now your name.

Before she could ask any further questions, you placed your hands on her shoulders. “Please, you have to get out of here!”

Nozomi didn’t say anything, but nodded. She then bolted back to her previous hiding spot. Though, she peeked from behind the brick wall, just to see what you were going to do.

You landed a hard kick to the monster, making it tumble to the ground. It didn’t even get a chance to get up, as you kicked it again.

“Dream, now!” The voice called out again. Nozomi could see who it was this time, though. It was a small fairy, standing on a nearby bench. It resembled a flying squirrel, and had tan fur. She assumed they were from the Palmier Kingdom.

“Alright!” You said, then began powering up.

Nozomi’s mouth hung open in shock, as she remembered the exact movements you were doing. It was her attack.

“Pretty Cure! Shooting Star!” You called out. The attack hit the monster square in the face. Not a second later, it disappeared, only leaving a normal traffic cone behind.

You both watched as your surroundings changed back to normal. It was as if no destruction had happened at all.

“You did it Dream!” The small fairy cheered. Though you ignored them, instead, looking around. “What’s wrong?” They asked.

“Someone knew I was a Pretty Cure.” You said, still looking.

“What? But no one knows what the Pretty Cure are!”

“I do.” Nozomi called out, emerging from her hiding spot. You and the fairy turned to her, shock and confusion written on your faces.

“My name is Nozomi Yumehara.” She introduced herself. She walked up to you, kneeling down just a bit to meet your height. “And around twelve years ago, I was a Pretty Cure, just like you.”

You gasped, absolutely speechless. But it seemed that the fairy wasn’t. “Nozomi? No way! You’re the Cure Dream of the past!”

She chuckled. “Yes, I was.” She reached down, and pet the little creature’s head. “And what’s your name?”

“Cinnamon!” She responded. She got down on all fours, bowing to Nozomi. “It’s such an honor to meet you!” She tapped your foot, signaling for you to bow as well. You did, putting your hands to your sides, and leaning down.

“Oh please, you don’t have to do that!” She blushed a bit, and scratched the back of her neck bashfully. “I can’t believe there’s a new Pretty Cure! And you’re a boy too! I didn’t know there could be boy Cures. That’s amazing!”

“Heh, yeah. I guess all the past ones were girls.” You said. You then de-transformed, revealing your true self to Nozomi. “But anyway, I’m (full name).” You laughed, and stuck out your hand for her to shake, to which she happily did. But only for a few seconds, as she suddenly gasped, and stopped.

“Wait! If there’s a new Pretty Cure, that must mean that Palmier Kingdom’s in danger again! What’s going on?” She panicked.

“Oh, yes! There’s a new threat to the kingdom! That’s why King Coco and King Nuts sent me to find new Pretty Cures!” Cinnamon responded.

“Oh no! What’s the threat?”

“We’re not exactly sure. All we know is that the palace was attacked, and an ominous note was left! And after that, monsters began appearing here!”

“Yeah. I only became a Pretty Cure yesterday. It all happened so fast. And I don’t even know what to do to find the others…” You said, clearly a bit stressed.

Nozomi smiled gently, and placed a comforting hand on your shoulder. “Hey, it’ll be alright. Besides, I know a thing or two about being a Pretty Cure. So how about I help you out?”

“No way!” Cinnamon gasped. “(name), Nozomi wants to be your mentor! You cannot pass up this opportunity!”

“Really? You’ll teach me everything?” You asked.

“Of course! It’s my job as the old Cure Dream to help out the new one!” She said.

“Thank you so much Miss Yumehara!” You bowed yet again, this time much lower to show even more gratitude and respect.

Nozomi chuckled. “It’s no problem. Now come on, I know a building by a lake we can use as a sort of ‘headquarters’.” She said, and began leading you all to the mentioned destination.

Nozomi knew that she’d never be able to be a Pretty Cure ever again. The introduction of a new generation of Cures further proved that. However, she discovered that while she may not be able to transform and fight, she can still help out. And that’s just what she was going to do.

~~~💫~~~💫~~~💫~~~

~~baileypie-writes

[notoverjoyed]

Final Chapter! All that's left is a brief epilogue. Here's where I warn for depictions of blood and gore and implied cannibalism. Also, check out the great art that @chaseacer-ghostedition and @auroboroch made for this story. (this is from chapter 4, go look at it!)

As before, Chapter 5 is below the cut.

Chapter 5: Satisfaction

Teenage voices echo through dark halls as the four walk through the eerily empty manor.

“Ancients, I almost hope the fruitloop is up to something. Whatever is wrong with the place is making me feel sick,” Danny says.

“Are we sure he’s isn’t up to something? He could be faking sick.”

“He looked… really bad when I saw him before though,” Dani says. Her brow was furrowed with worry.

Valerie wrinkles her nose. “He sure looked sick when I saw him last,” she says. “Staring at me all sweaty and gross, then screaming at me to leave.”

“Did he have gross green looking pimples all over?” Tucker asks.

“What, ew, gross, no!” Valerie gags.“Why the fuck would have that?!”

“Ecto-acne.” Sam says, “He had it in college, thought maybe he had a relapse.”

“Okay one, no gross pimples, just sweaty and weird. Two, how the hell do you know that.”

He did have a relapse like, a few months ago, then gave it to me and Sam to force Danny to help find a cure.” Tucker answers.

“Of fucking course he did,” Dani mutters.

“And he trusted Mr. lucky-to-get-a-D-minus-in-Chemistry over here to do that?” Valerie adds.

“Hey! I figured it out in the end!”

And he was super sick then! Even when he’s sick he’s still a slimy bastard. Why should we trust him now?” Sam adds.

“We don’t, but..” Valerie starts to say, but trails off. She really can’t say much to that.

“Anyway… wait.” Danny stops, having noticed a door hanging nearly off its hinges farther up the hallway. The rug in front of it was bunched up like someone had slipped on it running through the hall.

The group comes to a halt by the door. Sam and Tucker weren’t really expecting to find anything that unusual, but the suddenly sober expressions of the other three make them grow quiet. The five of them stand in front of the broken door

Valerie is the first one to break. “Did Vlad do this?”

“Dunno, probably,” Danny says.

“Clumsy as hell though, he must really be sick,” Tucker says.

“Where was he trying to go, d’you think?” Sam asks.

“I guess we’ll find out,” Danny replies, and starts toward the door. The others follow behind him.

“Sure, follow the ominous path of destruction. If we find Vlad having some sort of seizure one of you guys is gonna call the ambulance,” Tucker jokes weakly as the rest of the group files past him, but he steps after them. No one laughs as they each step through the broken door and continue into this new, darker passage.

The path of destruction is clear even in the dim light, and they follow it down and down until they reach the door to Vlad’s lab. This door, at least, is intact, but it’s not closed. Instead, it’s opened just a crack to let an eerie emerald light peek through. Nobody speaks as Danny pushes it fully open. It creaks sharply as it reveals a horrifying scene.

Vlad’s lab is bathed in the green light of the portal with its doors wide open. No. not just open, but broken. The left hand door is crooked in its frame, while the right rests wholly on the metal floor. Had something clawed the portal open?

Damage extends beyond the portal. The walls and floor, normally pristine, look… dirty. In the green glow of the portal, it’s hard to tell with sight alone just what the mess is made. Sam is the first to react, her face contorting in revulsion at the pungent iron and citrus and something else scent. Danny, however, is the first to recognize the odor that can only be ectoplasm tainted blood. The disgust on each of their faces turns to horror as they share his recognition.

Tucker recoils, stumbling back against the doorway, but the others don’t notice him.

“Is that…” Valerie starts, then chokes out, “Is that Masters?”

“It’s gotta be,” Sam replies shakily.

“No,” Dani whispers.

“Oh god,” Tucker says, now leaning weakly against the wall and looking up, away from the mess.

“No,” Danny says, looking nauseous, “It’s not.”

Dani’s head whips toward him and asks with a shriek, “How do you know?”

“I know what my own blood smells like!” Danny shouts. His face, already drawn in horror, contorts with the terrible realization.

“What the hell are you talking about?” Valerie yells, verging on hysterical.

“Oh no,” Dani says. “Oh no oh no.” She shakes her had and look closes her eyes against the sight.

“What-” Sam begins to ask, but stops to catch Dani as she slowly crumples.

The cloning tubes are wide open, and empty of all but smears of greenish blood. Danny’s right; none of it belongs to Vlad.

[vulturevanity]

Screenshot redraw because the way that scene was framed haunted me (negative). I love drawing crystals though so it was worth the uh... *checks date* unjustifiably long time it took me to finish this.

Original shot + little pretentious rant below the cut (also spoilers)

Like. This is, on paper, an utterly crushing moment. The Cures just found out that the Heart Tree has been destroyed, and upon waking up they found their entire city turned into sand. They're desperate to find their families, but where their homes once stood there's only ruins. It's horrifying.

So why does this look like a sunny day at Candy Beach City World

Nothing about this shot helps sell the idea of an apocalypse besides the fact that there's sand and crystals everywhere. The composition is a stable and static wide shot with Tsubomi sitting in the center. The colors are the same as any other average episode. The buildings are tilted haphazardly and partly under the sand, but otherwise completely untouched. Even in context, this shot's emotional weight is, at most, barely enough for me to think "that's kinda sad".

And it's not like Heartcatch hasn't done something interesting with lighting before. The season's art style caught my eye as far back as episode 1, but it really shone during the episode 9 fight scene:

And I guess the weirdness of that first shot was a sign that the rest of the 5-part finale wouldn't sit right with me -- which it didn't. It left a lot to be desired, and that's why I don't rank it above Fresh like many in the fandom seem to.

This season was overall really good though, and that's why I was kinda disappointed with the final arc. I suppose it set my expectations a little too high for what it delivered in the end. But I don't hold the subpar finale against what's otherwise a solid 9/10 season. It's still definitely one of the must-watch seasons, for several reasons that aren't the way they wrapped the story up. Lol

Anyway sorry for being a pretentious asshole about glorified toy commercials lmao mlp g4 set my expectations high about those

[superman86to99]

Superman #89 (May 1994)

Superman's in space again... again! This time, because he's getting so big that pretty soon he won't even fit on Earth. Last issue, we left the increasingly grotesque Super-Superman strapped to a giant rocket that was taking him to a space station where Dr. Anthony "Big Words" Rodriguez of Project Cadmus is supposed to cure the condition that's turning him into The Hulk But With More Clothes. In this issue we find out that Superman has improbably gotten even bigger. The only thing of his that has shrunk seems to be his vocabulary.

Dr. Rodriguez' idea is to ask Superman to shoot his heat vision into a somewhat “Weapon X”-looking helmet that will safely channel his excess energy into space. Seven hours later, Superman's heat vision is still going, but he STILL looks like a caveman doing Superman cosplay. Eventually, the helmet gives out and Superman's ultra-potent heat vision destroys the entire space station. (Why, it's so potent, it even seems to be coming out of his mouth and chin!)

Superman has to figure out how to save Dr. Rodriguez from the vacuum of space despite the fact that 1) he can't see (he had to wrap some metal around his eyes like a bandana to stop the heat vision), 2) they can’t hear each other, and 3) Superman can't even touch the guy without crushing every bone in his body. Eventually, Big Words manages to grab onto Superman's cape and hop on top of him like a big space horsey. Then, Superman has to manage to fly back into Earth's atmosphere without turning Dr. Rodriguez into a flaming skeleton. I'd say that Superman was able to do this by extending his special "aura" so it protected Big Words too, but we all know the real explanation for this scene is "it’s comics, shut up."

Once the two have safely landed on Metropolis' bay, there's the small matter of the big, burning space station tumbling down towards Metropolis. That's where Superman's ultra-potent eye lasers finally come in handy, since they allow him to pulverize the whole station with one blast. Hooray! The only problem is that he's still huge and clumsy, and this storyline didn't really progress beyond making him a little bit huge-er. CONTINUED!

Plotline-Watch:

We get a brief update on Lex Luthor Jr.'s health, and it just hit me (almost 30 years after first reading these issues) that his storyline is the complete opposite of Superman's: while Supes gets bigger and stronger, Lex is basically shrinking down and looks like he’ll probably disappear into his Professor X hover chair any second now. I like that, despite the deadly clone virus ravaging his body and the fact that he's at war with a powerful government organization, none of that worries him as much as a pesky reporter snooping into his business...

Speaking of which, we find out that Lex has used his hacking abilities to plant ANOTHER wacky headline into the Daily Planet under Lois Lane's byline, although this one is a little more believable than the alien lovechild one: "LEX LUTHOR II IS REALLY ELVIS PRESLEY". On top of that, he also framed her for embezzling hundreds of thousands of dollars from the Planet. As a result, publisher Franklin "Frankenstern" Stern forces Perry White to fire Lois. This is a bit of a "You shouldn't have signed it" moment for Lois, as she realizes Lex MUST be behind her misfortunes and she has to "get him" before he gets her.

Regarding this storyline, Don Sparrow says: “Jurgens is generally the most frequent user of the Daily Planet’s articles as a story element, and the results are usually mixed (I remember Perry’s editorial about generosity at Christmastime way back in Adventures #462 being a particularly unrealistically maudlin piece of journalism—though nowhere near as awful as the “articles” in the Joe Kelly/Joe Casey era—the last page of Action #780 being perhaps the very worst it got) but the idea that a newspaper would go to print with obviously fake, wacky headlines twice really strains credulity, even in a comic book about a solar powered god in a cape. One time, mayyyyyybe, but after that, you can guarantee that the editors and publishers would be all over the printing process for the next issue. I quibble, I know, but it sticks out (as does the idea that Lois Lane would somehow suddenly have access or ability to embezzle hundreds of thousands of dollars). Also, if Lois really had embezzled hundreds of thousands of dollars, it would be a matter for the police, not merely HR.” I agree that having TWO wacky headlines slip in is completely unrealistic... but they’re pretty funny, so I’ll give them a pass.

Perry seems to be taking Lois' firing even harder than her. He points out that he's known her since she was a girl, which is true, as we found out during the World of Metropolis miniseries. In fact, he's so distraught over having to fire someone who's "like a daughter" to him that he doesn't even seem to notice the space station blowing up right behind him! Then again, this is Metropolis; they probably see a giant explosion go off in the middle of the city about two or three times a day.

Patreon-Watch:

Fun fact: This post was started on a stolen computer! (As in, one that has since been stolen from me, not one I stole myself.) The main reason I’m getting off my butt and retyping/finishing it now is because we promised monthly posts to our awesome patrons, Aaron, Chris “Ace” Hendrix, britneyspearsatemyshorts, Patrick D. Ryall, Bheki Latha, Mark Syp, Ryan Bush, Raphael Fischer, Kit, Sam, and Bol, who read half of this at the end of May over at https://www.patreon.com/superman86to99. If it wasn’t for our patrons we’d probably still be at “Reign of the Supermen,” so shout out to them!

And now: more from the also awesome Don Sparrow, after the jump:

Art-Watch (by @donsparrow​):

Another caveman Superman cover, enhanced by some nice rim lighting.  It’s interesting that the generally wavy/curly Superman/Fabio hair has become limp and straight for the more Neanderthal Superman.  The brush spatter stars here are well done, but the space junk looks a little rushed to me.  Kudos for the off-centre UPC, which adds to the chaotic feel of this upside-down cover.

Inside we get another look at the dying clone body of Lex Luthor II, notably completely hairless, which is quite a switch for this lion of a man. This scene gives way to a two page spread of our hulking Superman, which is a transformation, even over the last issue.

Super-Caveman’s eyes are completely white for much of the story, adding to the inhuman feeling established by the oversized body, and pea-sized head.  I do have some logistical questions about how Superman’s belt and belt-buckle appear to be stretching proportionately with his body, but—it’s comics—so I shouldn’t probe too deeply.  The tiny fingernails are a nice touch, that help indicate this massive growth was sudden.

A little later into the story, Franklin Stern is well-drawn, though I miss the days when artists would hand-draw headlines—this computer text has some perspective issues.  The conflict on Perry’s face as Stern demands Lois be terminated is well drawn (even if it would be glaringly obvious to an old journo like Perry that Lois is being framed, but more on that later).

The double page spread as Superman’s heat vision overwhelms the Newsboy Legion’s collection gadget is appropriately explosive.  I particularly like the use of grease pencil on the outline of Superman’s heat vision. Though perhaps the dialogue on that page sends something of a mixed message.

Lastly, the bleak, blank expression on Perry as he fires Lois is well-done, though I perhaps might have expected a little more emotion on her face in reaction to the news.  

STRAY OBSERVATIONS:

The super-team is dangerously close to risking the ire of the notoriously litigious Disney corporation on the credits page, where three overlapping planets create a distinctive silhouette.  

I feel like the Elvis Presley connection of the headline is something of a nod to the King-obsessed Perry White on the then-currently-airing Lois and Clark TV show. [Max: I’ve always felt like it was a callback to that issue they did with all the Elvis-like sightings for the recently “dead” Lex Luthor Sr., Action #668, but it could be both things.]

I absolutely love the character consistency that when a space station suddenly explodes, and he is thrust into the vacuum of space instantaneously, Big Words still takes the time to say “An irreparable breech in the hull?  I am at a loss for words.” Classic. It must be both fun and challenging for the writer to come up with improbably tangled ways of saying simple things throughout the story.

[wyllzel]

my very correct reviews of the bridgerton novels 😎

stars and spiciness (scale of 1-3) and tidbits below

please note that the following numbers are my opinion and largely exist relative to one another and to my limited understanding of the genre haha

The Duke and I (⭐ 3.5/5 +🔥): Ok I have very mixed feelings about this one haha 😞 The dub-con/non-con scene between the leads is framed as a mistake by the perpetrator (Daphne), which is good! But it's also not fully acknowledged or apologized for... which is bad... But at the same time, there's some really good things in this novel - the chemistry between the leads, Simon's persistent issues and Daphne realizing that she can't fix him overnight, Daphne recognizing her own privilege, the humor and comedic timing, Daphne's Weird Girlness...

The Viscount Who Loved Me (⭐ 4/5 +🔥🔥): Anthony as a character was very fascinating, and Kate's sororal relationship with Edwina was lovingly written! I also thought Quinn's approach to mental health as something unknowable & unpredictable was great (her descriptions of panic attacks were pretty spot-on too)

An Offer from a Gentleman (⭐ 2/5 +🔥🔥): 2 stars for Benedict chokeslamming the abusive stepmom, 0 stars for Benedict creating a toxic workplace environment 🤮

Romancing Mister Bridgerton (⭐ 4/5 +🔥): Penelope is a very interesting character, and the primary conflict being one of jealousy between the two leads was really interesting!? (ie. Colin is jealous of Penelope's success 👀)

To Sir Phillip, With Love (⭐ 5/5 +🔥🔥🔥): Really complex and I'm glad that a) Quinn allows her leads to make mistakes and b) Phillip was not insta-cured by marriage or A Woman's Healing Touch but instead had to do some self-reflection and come to conclusions on his own (with her help)

When He Was Wicked (⭐ 4.5/5 +🔥🔥🔥): 5 stars for Michael being pathetically in love, -0.5 stars for Michael being an active participant in English colonization 🫥 It's thematic, and his commentary sounded accurate to contemporary stuff I've read lmao, so I see the vision - but given that Quinn is a modern author, she should know better and it could've been handled better... The overall gothic/ghostly vibes were fascinating tho !

It's in His Kiss (⭐ 4/5 +🔥): Hyacinth is just like me fr, and Gareth was a nice change in pace from the Tall Dark And Handsome Brooding ML LOL Also the treasure hunt as a plot vehicle was fun!

sidenote but i just think it's so funny how phillip & michael each had a scene where they gave the FL an orgasm but didn't finish:

On the Way to the Wedding (⭐ 3.5/5 +🔥): Gregory is a goof and I appreciate his madly-in-love vibes, also he shot a man??!!?! A well-executed finale to such a vibrant series 👏

but to be clear, none of these books are perfect, and there are definitely tropes/moments that quinn likes playing to but that i find dicey (such as most, if not all, her male leads having "sexy" (?) anger issues lol... also she is not the best author if you're looking for a critique of english classism/imperialism lmao)

yet there are also a lot of really good and interesting things (mostly internal growth/conflict rather than external, haha) that she explores through the Bridgerton Regency Tropes Vehicle 👀

also i think it genuinely takes a hugely skillful author to write good humor / erotica, which quinn definitely excels at, so i will give her her flowers there 👍

AND it's interesting to read a modern american woman's interpretation of early 19th century upper-class english society 👀 there's some interesting things going on there w historicity and the non/necessity of accuracy 👀 and ofc american-english cultural relations haha

phillip got up and jerked off in the bathroom LOL

meanwhile michael, possibly horniest man alive, just took a cold shower lmaooo

idk why this is so funny to me

also phillip and michael get extra kudos for going down on their love interests (gareth might have as well, i can't remember, if he did then good for him too)

and i will end this post on that note lol

[adamwatchesmovies]

Isle of Dogs (2018)

Isle of Dogs is such a unique film it’s hard to categorize it. There’s comedy but the story isn’t afraid to be emotional. It’s animated… but not made for kids. The dialogue is partially in English, the rest is in Japanese and there are no subtitles. There’s nothing else like it out there, which makes it fascinating from beginning to end.

In Japan, 2038, Megasaki City's Mayor Kobayashi (voiced by Kunichi Nomura) uses a sudden dog-flu epidemic as an excuse to banish all the city's dogs to Trash Island. Six months later, his adopted nephew, Atari (voiced by Koyu Rankin), travels to the island to rescue his beloved pet, Spot. With the help of a pack of dogs - Chief (Bryan Cranston), Rex (Edward Norton), King (Bob Balaban), Duke (Jeff Goldblum), and Boss (Billy Murray) - he navigates the perilous terrain. Meanwhile, dog-lovers on the mainland try to find a cure for the dog-flu.

The visuals strike you immediately. Rather than try and have silky-smooth stop-motion animation, director Wes Anderson shows us the animator's "finger prints" on all of the dogs. You can tell by each animal's fur where the models have been manipulated for each shot. The color palette is gorgeous, even when you’re looking at mounds of trash. Every frame is worthy of being hung up on your wall. The backgrounds are so full of detail you could look at them for hours, admiring the composition, framing, and different hues used to emphasize the mood of each scene. Smoke is created with little white tuffs, TV screens cut to traditional 2D animation, we see traditional Japanese-style paintings - there's always something new.

The story’s absurdity perfectly matches the deadpan humour. All five dogs in the pack accompanying Atari are alphas - you can tell because their names are all synonymous with “leader". This means they have to vote on every decision. It’s ridiculous in the best way. The uniquely comedic tone means you never know what's next. You think we’re headed into a dramatic moment, that this character is dead - that’s a shock but it fits in the movie - but then the movie will point out that there’s NO WAY things would go that way and reveals the scene you just saw as a fantasy. You’re so taken aback it might take you a second to laugh but you’ll be in stitches.

It’s a bold film that experiments and innovates at each opportunity… except for one. As mentioned earlier, the film is set in Japan but most of the dialogue is in English to show that dogs and people can kind of understand each other a little bit but ultimately speak different languages. The dogs in this movie don’t actually speak English but for the audience’s purpose, they do. There are also other characters which speak English - real English. They often say things to help us fill in the details. It isn’t clunky exposition but it does make you wish the film was not in two but THREE languages. Two for the humans and one for the canines so there would be a true separation between the species. Is that worth docking points for? I don't think so.

Isle of Dogs does things that in any other movie would be called sloppy. In one scene, Mayor Kobayashi leaves a critical piece of information lying around. Someone he doesn't want seeing it finds the information. The fact that it’s there makes no sense but the character who discovers this info does nothing with it. Ultimately, it's unnecessary to that particular storyline but for the film as a whole, it's important. It fills the viewers in on something that’s coming later. Rather than be stuck on the surprise when it arrives, you sit back and have a laugh at the characters’ reactions. It’s so unconventional it's perfect and could only work in a film like this one.

Like most of Wes Anderson's other projects, Isle of Dogs is so off-beat it will leave some viewers behind. Let it sit with you for a while. Better yet, watch it along with other Wes Anderson movies. Let yourself fall into the groove. You'll see. Isle of Dogs gets better with each rewatch. (August 21, 2020)

[smuppethole]

Recently, I saw the Barbie movie. It was enjoyable but I had some issues with it.

The main issue I had was that it failed to commit to either “serious look into feminism”, “silly movie about Barbie”, or “artistic brand biopic”. Had one been the main focus instead of all three fighting for attention, it would have made the messages less muddy, but as such, they were conflicting and cheapened the very real messages.

For a movie about feminism, having a plot point centered around an oppressed class rising up and becoming the oppressors was antithetical to the message that we should be equal, and frankly reminds me of antifeminist fear-mongering about how women want the world to be a matriarchy instead of wanting equality.

Another issue was the casual stigmatization of cellulite, which is how fat looks on an estrogen dominant body. It’s not a particularly feminist move to explicitly treat natural traits most often seen in women as a disease after all.

For a lighthearted movie about Barbie, it had too many moments where it swerved into serious topics and heartfelt moments in ways that felt jarring and feverishly real instead of extensions of the Barbie universe.

For example, when the Kens ask for equal rights, the Barbies give them token positions instead, directly and intentionally mirroring the real world history of women’s equal rights.

Another example would be the scene that leads up to Barbie’s assault. The way it was framed made my skin crawl in ways it hasn’t crawled in years, which worked very well for the feminist Barbie movie, but took away from Lighthearted Barbie movie.

This subtractive muddying between the serious and the lighthearted was especially showcased in the deprogramming chapter, which I felt was a strangely cheap and shallow look at internalized misogyny (as in, I believe the programmed Barbies failed to portray internalized misogyny at all, to the point of their actions while programmed being much more relatable and understandable when analyzed through the lens of sub frenzy.)

This is also ignoring that programming in the real world is a form of intentional conditioning using abuse, and as such, cannot be “cured” or recovered from in a single day, let alone in 40 seconds of some stranger venting at you.

For an artistic brand biopic, it barely talked about the brand. The movie was 90% feminism and silly Barbie antics that was bookended by and peppered with occasional Barbie-related infodumps, none of which leaving me with less questions than what I started with.

-

Another reviewer said that Barbieland was dry and that the real world was wet, and I agree. The pink arid sterility of Barbieland isn’t something you notice immediately, but it’s something that sticks to your brain like bone to tongue and follows you home.

In Barbieland, you can be any color or profession or ability. In fact, to be a Barbie, you can be anything, as long as it is dry, sterile, and hairless.

Nobody in Barbieland is alive, nor are they actively dead, confining them to a sort of unalive (but not undead) purgatory. They do not eat, drink, or breathe, nor do they change, with the exception of malfunctions.

The yonic shape of Barbieland itself, as well as the signature pink color only add to my thesis: That Barbie is best viewed as a movie about being born into humanity. (Especially in the context of being a fictive.)

Barbieland is the arid, sterile womb which functions as source media for Steriotypical Barbie, later named Barbara. It, and the dolls within, lack life. It is “perfect”, not because it has what the real world does not, but because it lacks.

The dolls lack life, and move under the power of the invisible Other, the author. Barbara only begins to be infused with life after a human forms an emotional bond to her, using Steriotypical Barbie as a way to cope with the stressors of life, as well as her daughter beginning to distance herself from her.

As Barbara becomes more alive, she does something wonderful and horrifying. She changes.

At first she rejects this, wanting to sink back into the comfortable sterility and stagnation of her source, but in order for things to return to what they were, Barbara must cross over into the real world to find the person playing with her, whom I will refer to as her host for the pleasant double-meaning.

Barbara is… woefully underprepared for the real world because she was raised in another. She and Ken struggle to figure out the “new rules” and to find her host, whose memories are bleeding through to her.

Barbara has to navigate the world as an adult in adolescence, as someone who is Becoming and changing at a very rapid pace, but also as someone without the safety net of caregivers and local community. It is only when her host, Gloria, recognizes and then saves her, that she can begin to form community rapport.

When they return to Barbieland, it is still sterile, but no longer stagnant. At this point, Barbieland is no longer the source media, but an inner world filled with the psychodrama of a woman experiencing misogyny for the first time. It also contains the psychodrama of a man attempting to display power and control to paradoxically attract and enact revenge on his intended lover, as well as garner respect from his peers.

As a momentary tangent, I would like to pivot into diet psychoanalysis of our main Ken. He is the poster child of co-dependance, which makes his relationship (and lack thereof) with Barbie/Barbara interesting. Co-dependence is usually shown inside of a relationship and usually by a woman, so seeing a co-dependent man who isn’t in a relationship with the person he’s co-dependent on is… fascinating to say the least.

It is then only with the help of Gloria that the Barbies are able to restore power, explicitly due to her having more experience with the real world and its complexities.

Near the end of the movie, Barbara makes the choice to because human after talking to the creator of Barbie (brand/original doll) in an explicitly liminal off-white void. Their conversation tugs at many strings in the fictive’s psyche, such as the oxymoronic grief and joy of change, the awareness of death, and the strange position of having a human creator and if/how close to being a parent they are.

It’s interesting actually, that Barbara becomes less of a creation and more of a daughter once crossing over into the real world, even taking the name of her creator’s daughter.

The movie ends with her arriving to her gynecologist appointment, marking her definitively as human and no longer her source (while still clearly having it have had been a part of her).

-

In conclusion, 7/10 movie best enjoyed as a story about fictivehood.

[night-hell]

Luz’s Palisman - Snake Theory

I know everyone and their mother at this point has made a theory on why Luz’s palisman is going to be a snake, so this isn’t really a theory per se more so a compilation of every single instance in which Luz is associated with snakes or references a snake that I decided to do.

In the very first episode, we see Luz narrating her Azura book report of fighting the Gildersnake.

And our first introduction to Luz herself:

We learn that Luz has an affinity for snakes, and that she was in the principal’s office for that reason of bringing live snakes to school and that she has a way with them that Camila later on points out that snakes are (sadly) her only friends.

Camila: How many friends do you have? Real ones. Not imagined. Or drawn. Or reptilian.

Immediately after in Witches Before Wizards, there’s a joke about snake oil.

Next we interestingly enough don’t get anymore snake references until episode 13, The First Day, where during Luz’s first day of school she has to fight a serpentine-like creature a basilisk, hinting at a future character later on.

It’s another long while until another snake reference which is in Keeping-Up-A-Fearances. It’s more of a throwaway line that was meant as a joke but when Gwen and Luz try to cure Eda, Luz mentions “flying snakes.” *fingers crossed for a winged snake*

The next instance of Luz mentioning snakes was another throwaway line meant as a joke in Eclipse Lake where Luz is sick with Common Mold and hallucinates her arms as snakes.

Immediately after is Yesterday’s Lie, where we’re introduced to another basilik Vee, who from that point on eventually becomes Luz’s snake sister.

Next up comes Reaching Out where when Luz finally comes clean to Amity about what’s been bothering all day, Amity scrolls through a few photo’s on Luz’s phone and we one of her wearing a snake shirt.

Finally we get to Thanks to Them, the season 3 premiere having snake references all over the place. First off being Luz’s tshirt that she wears to school being a caduceus, or accurately what Luz is wearing specifically, the Rod of Asclepius, or whatever you want to call it. more hope for a winged snake

The Rod of Asclepius today is known as the symbol of medicine, which is fitting as Camila is a veterinarian. In addition to Luz wearing a Rod of Asclepius shirt, the rest of the Hexsquad were all wearing outfits at one point that were associated with their palismans.

I know Gus’ isn’t an exact 1:1 match but it still works

Next being Camila’s nightmare of memories, one of them being Luz playing in the park and digging up a dead snake’s skin.

After the nightmare we see that Camila kept the snake skin and framed it. Interestingly enough about the frame where we see the framed snake skin Luz places her palisman egg right next to it and she says:

Luz: Give the palisman a kiss too.

As she says that and places her palisman down we can hear a musical chime, which feels signicficant. Like that sound bite wouldn’t be there unless there was a reason.

Also, as a lot of people have already pointed out, the egg form looks a lot like a coiled snake. Later we cut to a scene of Luz in Camila’s office at the vet looking over a book of what animals come from eggs (egg encyclopedia?) and the picture of the left is pretty on the nose.

The last scene we get in Thanks to Them is of a sticker on Luz’s laptop of a snake in an ouroboros, funnily enough, next to a sticker of Azura’s staff and of a sticker of what looks like Owlbert in his dormant form.

One other instance of a snake reference is one that people have been theorizing for a long time since the beginning is the The Owl House logo itself, and how the “O” over the “H” kind of looks like it’s making a staff with an owl palisman and the “l” at the end over the “s” looks like an upside down staff with a snake palisman.

And finally, Dana’s old twitter bio before The Owl House had been announced: