#it was an actually great show with lots of audience

[idolomantises]

Have you watched Murder Drones, and if so what’s your opinion on it?

Also your art is great, keep it up.

Thank you!

And uh. Man. I may make an enemy out of another indie fandom because I don’t really like this show.

I actually loved the pilot and thought episodes 1-3 were incredible, if a bit too fast paced. But episode 4 was kind of a breaking point for me and I dropped off after that.

I don’t think it’s very funny. I think it relies too much on Bathos and it makes it hard to take its cast seriously. As a black comedy it mostly worked for episodes 1-3, but 4? No.

It does this thing I really despise in media where it has themes of genocide but like… heavily deprioritizes it and often portrays it like a comedy. It’s supposed to be funny when innocent characters are murdered because they’re just goofy side characters but when it’s a major character suddenly we have to care, and I don’t like that at all. The main character has a meltdown over finding out that murder drones are sent to kill her people at the end of the pilot, and then in episode 4 she’s murdering her classmates and crying because a boy she likes might think she’s weird. I actually find it pretty frustrating that the robots are portrayed as incredibly cowardly because they’re slowly dying off and scared to die and then they’re hanging out with V who casually murders random children and nobody reacts to it.

I actually do like the idea of a character who’s not reformed but is kind of forced to stick around but when I see her murder characters, traumatize children and then go “haha I just have mental problems” and everyone just… moves on, I just cannot bring myself to care. It causes such a massive dissonance and not in a fun way.

I think it’s very frustrating and unengaging when a story about people doing the right thing and trying to help others has no interest in helping those they’re trying to save.

I think the female cast is solid but I did kind of raise my eye a bit when the only major female character that was killed off was a victim of genocide while the other genocidal characters, two of which gleefully murdered her fucking parents, are just allowed to hang out with the rest of the cast. Uzi especially lost a lot of sympathy for me when she was more emotional about freaking out N than murdering her classmates. Like yeah, they weren’t the nicest to her but it’s weird to establish a character wants to end genocide and then… barely reacts when they also indulge in that genocide.

I don’t really like the characters at all. I don’t like Uzi, I found N irritating and boring (and gives me anime harem protagonist vibes), I thought V was a tryhard and I couldn’t really care for the rest of the cast. I liked Doll but lol, you know how that turned out.

It also has this problem of having an overloaded cast with very little breathing room. I really wish the show just had one, low stakes episode, so we can actually get to know these characters and collect their thoughts. It’s actually one of my concerns for TADC, because as much as I do like that show, I think “no filler” with constant story is going to make or break the show for me. It’s too fast paced and no, I don’t think it’s good that you have to rewatch an episode 4 times to understand what’s going on. I don’t watch indie shows to play where’s Waldo, information should be explained to the audience in a way that feels digestible and natural.

The animation is incredible and the stuff that came out from the finale was insane, but at times it just felt like jangling keys in my face. Like don’t pay attention to rushed story, underdeveloped characters and bizarre tonal whiplash, look at the cool fights. I dont think it does horror well either. In fact I kind of cringe a bit when characters a big wide grins and giggle evilly and it’s mean to be intimidating and it just. Doesn’t work. Feels a bit juvenile honestly.

And. This is a very personal thing. I don’t like the robot designs.

[toothlespoggers]

I got silly and infodumped again…

The fact that crystalised despite being the worst ninjago season by far- showed that for a long time now, possibly since season 11 has had his emotions turned off. Is crazy to me. Because I know Cole had a pretty okay moment with Zane about it and he ended up turning it back on in the same season or maybe even same episode I can’t fully recall. But I don’t know how mentally fucked these characters are or what- but I feel like no one stopped to think about that for enough time. Like Cole, he’s a very caring, affectionate, empathetic guy. Yet even he didn’t really seem to register the implications this had for Zane’s mental health. Zane is filled with so much emotional turmoil that he physically couldn’t bear to feel anymore. And this group of traumatised young adults were like- “oh haha Zane, that’s so quirky, that’s so silly of you, haha relatable anyway-“ Like duuuude I don’t know if this is the writers wanting to avoid actually discussing mental health in a “children’s” show or if these characters have had such little emotional awareness and support through their lives, almost dying everyday since they were teenagers that they are so desensitised to the horrors tm that they literally cannot tell when someone is basically holding a sign over their head saying “I NEED SERIOUS HELP.”

That kinda says a lot about Sensei wu, doesn’t it? I mean he’s great we Stan- but he did kinda adopt a bunch of struggling teenagers and burden them with saving the world and then allowed them to put themselves in harms way for years, without ever sitting them down and asking them if they were okay, emotionally? Like I don’t know if this happened and I didn’t see it or if it was implied to happen off screen but I really doubt wu was any sort of a support system for these guys that treated him like a father figure.  

Maybe it’s because this cycle of pain goes back to wu as well, because he’s not the most stable person in the world either, but idk it feels crazy to me that these people that were basically family. Just- never checked in on eachothers well being or looked out for each others mental issues.

I mean they never really got a break and when they did- hell the only reason season 11 happened was because wu, so obsessed with the ninja being in tip top condition urged them to do something, which led these idiots to unleashing Aspheera and then ended up with probably the worst fate you could wish upon a Lego, for Zane. Seriously the fact they turned the ice emperor thing into a joke is so tone deaf to me like if this happened to your friend. In real life, (just suspend disbelief for a second) you would be absolutely GUTTED. You’d probably feel SO BAD. And that person? Probably can’t function like a normal individual anymore. Probably needs serious therapy.  Not a joke.

I don’t hate wu, I never did. But I just think he’s been very irresponsible with the way he’s handled his students and while he’s wise in some aspects 70% of problems in the show could’ve been avoided if this old man valued communication.

And if this isn’t based on the characters flaws. And it’s Lego refusing to discuss mental illness and mental health. COME ON LEGO IT WOULD EDUCATE YOUR YOUNG AUDIENCE ON PTSD, ANXIETY AND HOW TO HEALTHILY DEAL WITH YOUR PROBLEMS. Because right now, if you wanna deal with issues the ninja way, YOU BURY THEM AND TAKE THEM TO THE GRAVE AND YOU NEVER COMPLAIN OR REST.

All I want is at least one episode where it’s not all about the current bad guy or plot and it’s just about the ninja actually confiding in one another and trying to help their friends out. Maybe Zane or Lloyd finally snap and have a full mental breakdown and the only way to deal with it is for them to actually talk about it and work it out. I’m sure you can make a compelling episode with that in mind. They’ve tried to address mental health in the show with Lloyds anxiety arc thing in DR they need to do better.

We need a scene in DR where Zane and Frohicky are at the monastery while the other ninja are doing stuff, (maybe I’ll work out the details more and write something on this) and something happens where all the pain and trauma and just, awfulness just builds up in Zane’s mind and he just. Has a moment where he cracks. And he stops working on whatever he’s working on. And Frohicky notices the shift in the air and suddenly his entire demeanour changes and he comes over concerned and Zane is standing there or kneeling and Frohicky puts his hand on his shoulder and asks. “Are you okay?” And Zane just doesn’t know how to respond. He tries to shake everything off but he can’t, he’s never been asked that before. And Frohicky starts babbling on trying to help him and offers to get him set up so he can rest, and Zane doesn’t have the strength to object or the will to say anything and he’s just like.

“I.. don’t know.” In a final response to the previous question. 

And it’s just a scene where Zane accepts Frohickys gesture of kindness. And while not everything is fixed obviously. You can slowly see the tension leaving him.

Because it matters if someone asks you if you’re okay. It reaches into the darkest place and offers a hand saying “I’ll listen.” And that could genuinely change someone’s life.

[grison-in-space]

okay so I wanted to show @coffee-mage-sans-caffeine some terrible field Beagle stacks, so that they could see how uncomfortable the dogs look, and therefore I went hunting for field rabbit beagle kennels.

I turned up one pet "rare color" breeder and one that turned out to be a breed-specific article from a fucking content mill. Which: Gross. But the third one actually was a field rabbit-hunting beagle breeder, one who had the most good ol' boy [appreciative] blog description of his goals I've seen in a very long time:

Woodpont Beagles are a pack of dual-purpose (show and field bred) hunting hounds located in Southern Ohio, USA.  Some of our female lines now stretch back as many as 16 generations, spanning nearly 40 years.  Hounds from this kennel have been very successful in the past at field trials and shows, although the primary focus the past 20 years has been on pack work after cottontail rabbit or snowshoe hare. 

[...]

Feel free to contact us if this sounds like the type of hound for you.  Not everyone likes the same kind of beagle.  If your interest is field trials, or showing, you may want to keep looking.  If you want good, honest hounds for pack work or gunning, these just may suit you.  Puppies occasionally available.

Like, you know that is an old white man with the most rural of backgrounds and interests. His philosophy is fantastic, mind you, the dogs themselves are a blend of conformation and working beagle lines with the goal of maintaining the best of both worlds, if I wanted a beagle or to hunt rabbits I'd be on that man's doorstep in a heartbeat. I'm reading his stuff and I'm watching very carefully, and I see a post title and pre-emptively flinch:

Immediately what pops into my head is QAnon and hideous right-wing politics have invaded all kinds of circles over the years, and look I was starting to really like this guy, his opinions about working hounds are kickass, and oh no he's going to take time out of his day to make it clear he thinks people like me are scum--what does it read--oh no, oh no, what is it gonna say--

Things You Will Not See Here

Hounds with No Show Blood

Hounds with No Field Blood

Hounds in above ground kennels (i.e., raised on wire rather than being reared on the ground. always. no stacking kennels or god forbid runs.) ...

Yeah. Okay. I can live with this. It's a website straight out of 2013 (or 2003) rather than 2023. And oh, what a breath of fresh air the blog is!

[twinsarekeepers]

Reading some of the critiques of pjotv and now I know why y’all are on tumblr and not in the writer’s room 💀💀

[iwritenarrativesandstuff]

so, final verdict: I’m neutral on the Netflix live action avatar. It’s ok. It had some really effective scenes that made me super excited and cheering at my screen, and one particular scene that actually made me tear up, but also a lot of clunkiness and odd characterization and narrative choices that weakened the experience. Overall, it was decidedly average to me, but I’m really really hoping it doesn’t get cancelled. What a treat to see an entirely poc cast kicking ass on my screen. Now someone please give them a better script and dialogue for season 2.

[lonely--seeker]

The concert is over and I miss them already, Cuarteto de nos, mis papás ay ay

Also!! They said they were gonna put out a surprise before the year ends. The new album is probably gonna release next year aw

[callixton]

hmm i think another thing i like abt kencen is chess should be played on a smaller stage. now i am an intimate staging truther for almost every play so i may be biased but that doesn't make it less true for chess. like i get the appeal of the big sets bc of the way they travel thru location and our initial reaction upon literally visualizing chess on a stage, but i think it makes it so easy for characters to get swallowed and for the stage to feel very empty. which may work like. conceptually but i think in practice it just limits the actor's effect. & i know that you can argue that chess is a show that needs to get by partially on spectacle bc of the quality of the book but i disagree just choose a good book. or make up for it w staging and strong character choices. it's not like it has a shallow plot bc it really doesn't it just doesn't have a well resolved one. which is actually another argument for it to be in an intimate space bc it will make the audience feel more personally invested in the characters rather than the story and will care what happens to them even if they leave with questions (does this distinction make sense?). i'm also not saying that chess Couldn't be done well on a big stage i just think most of the time it isn't

[oveliagirlhaditright]

-randomly sees a screenshot of jamie and lily from the city of bones movie, where they seem to embody jace and clary, and am once again sad that we didn't get a city of ashes movie-

[thedreadvampy]

I mean sure, I can understand this perspective, but I'm not sure whether most people feel less shaken to be thrust into conversations about "self-unaliving" than conversations about "suicide"

and I for one as a survivor would much rather unexpectedly encounter somebody talking about "rape" than somebody talking about how funny it is to have sex with somebody when they don't want to, a normal thing that doesn't need to be named because it's So Normal.

which is to say. this is a post about words. the words are not the distressing thing about the discussion. the distressing thing is the distressing thing about the discussion. sugarcoating, dodging or renaming the distressing thing doesn't make it less distressing but it DOES often make it harder to have a frank discussion about it or address it in serious terms.

[pinch of salt: solid probability from their blog that this person is a Literal 14 Year Old and the perspective from 30 and 14 are very different. I do stand by all the points I'm making but I think this conversation lands a lot different for people at different life stages - there is something to be said for the general issue that the internet has flattened social groups to the degree that I as a 30 year old can make a post to my audience of largely adult millennials that immediately enters the same conversational space as people half my age and still in school. that seems. ungreat. as the primary way we engage in conversation. but I don't have solutions to offer.]

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[pa-pa-plasma]

look i know it's probably just really petty (it isn't, the whole message of this episode, even ignoring the twitch namedrop, was disgusting tbh) but i don't think i'll ever get over how one day at a time decided to alienate an entire chunk of their audience because of an assumption/stereotype they decided to not look into at all before making a whole ass episode about it. "oh just get over it" THEY DON'T EVEN KNOW WHAT A SUBSCRIPTION IS. OR AN EMOTE. I DON'T EVEN THINK THEY KNOW WHAT STREAMING IS LIKE GENERALLY. TWITCH IS FREE. THERE IS NO PAYWALL TO USING THE SITE OR APP. THEY COULD'VE JUST LOOKED THIS SHIT UP OR ASKED SOMEONE WHO USES IT. DO YOU SEE HOW STUPID & FUCKED UP THIS WHOLE EPISODE IS COMPARED TO EVERYTHING THAT CAME BEFORE IT. I CAN'T GET OVER IT.

[neofelis----nebulosa]

watched the second full scene released from kfp 4 and it is significantly lowering my expectations

[twopercentboy]

god I'm devastated about almost 6 year old drama about a relatively mediocre show 😭 like they had options to either continue the show w the actors who actually cared about the project or at the very least give Riggs a happy ending and they chose neither ???? I'm devasted at the ending they gave Riggs, after all that character arc buildup for him to finally get his happily ever after and they do THAT like are you fucking with me right now 😭

[oatmealaddiction]

Okay but the weirdest thing about the whole "Brotherhood is better you should skip 03" discourse that's become commonplace now, it sort of forgets the world Brotherhood came out in and why you should watch the original Fullmetal Alchemist. When Brotherhood came out, the original Fullmetal Alchemist was one of the most beloved and most watched animes of all time. Brotherhood assumes you the audience have already seen it because of course you have, everyone has seen it, so it skips important information and speeds the story up because it doesn't want to bore you with things you already know. Have you ever wondered "hey why does the first episode of Brotherhood kind of suck, and why am I being introduced to like 50 new characters, and why are they acting like I know what the hell an alchemist is?" It's because Brotherhood thinks you've seen 03.

The first 7 or so episodes of Brotherhood constitute dozens of chapters in the manga, and the first 25 or so episodes of the original Fullmetal Alchemist. The Nina Tucker episode in Brotherhood, in FMA 03 takes up nearly three episodes. Yoki gets a backstory in 03 and it's genuinely one of the best episodes and taken directly from the manga and Brotherhood glosses over it because: duh, you've already seen it. And so if you skip the original you miss out on dozens of really great character building episodes like Ed and Al meeting Hughes for the first time and getting to spend a whole episode helping him free a train from terrorists, or Ed and Roy having a duel that expands on the relationship they have, or episodes where the brothers just help out random people in towns before the major story gets going.

The original also paces itself quite a bit better than Brotherhood and is more in line with the mangas storytelling. In the manga we don't find out about The Gate until nearly two dozen chapters in, and the same goes for the original anime. Like, that's a twist reveal in those stories, and it's weird that the most watched series is the one where they tell you all about The Gate in the first two episodes because they assume you've already seen the original show.

What's more, people don't know that Hiromu Arakawa helped write for the anime while she was still in the middle of writing the manga, and as a result was inspired to write scenes in Brotherhood that the anime did first. That scene of Edward getting impaled by a falling beam? Directly inspired by a similar scene in the original anime. There's a lot of little instances of that and they're great when you can recognize parallels and things in Brotherhood that are direct references to the original anime, but people don't notice any of that anymore. Because the original anime is just an automatic skip these days, and it's a bummer because people don't realize what a giant it was back before Brotherhood was released. They treat it as *bad,* not realizing it was one of the most beloved anime of its time and the problems people take issue with have a lot more to do with personal taste than any kind of actual flaw in the writing. Brotherhood was never meant to dethrone it, and the original anime was always supposed to be part of the viewing experience which is why those first few episodes of Brotherhood are so fast paced. So like, please stop telling people Fullmetal Alchemist 2003 is a skip, or it's bad, or you don't need it because Brotherhood is better. Regardless if you think Brotherhood is better or not, the original wrote Brotherhood's check. It was huge, it was beloved, and Brotherhood is *banking* on the knowledge you've seen all of it and loved it. And trust me when I say there is so much to love about the original series. It's still my favorite branch of the FMA franchise, and it's worth your time, I promise you.

[whispers-whump]

Some writing advice

that I like to use when I write. None of this is meant to be taken as hard and fast rules, they’re just things I like to do/keep in mind when I’m writing and I thought maybe other people would enjoy! <3

Never say what you mean

This is an offshoot of the very common “show don’t tell” advice, which I think can be confusing in application and unhelpful for scenes where telling is actually the right move. Instead, I keep the advice to never say exactly what I mean in stories.

By using a combination of showing and telling to hint at what you really mean, you force your reader to think and figure it out on their own, which makes for a more satisfying reading experience.

You might show a character getting angry and defensive in response to genuine care and concern. You could tell the audience that the character doesn’t see/talk to their parents often. But never outright give the real meaning that the character feels unlovable because of their strained relationship with their parents and as a result they don’t know how to react to being cared for.

Your readers are smart, you don’t need to spoon feed them.

Be sparse with the important things

You know how in a lot of movies there’s that tense scene where a character is hiding from something/someone and you can only just see this person/thing chasing them through a crack in the door? You get a very small glimpse of whatever’s after the character, sometimes only shadows being visible.

Do that in your writing. Obscure the important things in scenes by overdescribing the unimportant and underdescribing the important.

You might describe the smell of a space, the type of wood the floor is made of, the sound of work boots moving slowly across the room, a flashlight in the character’s hand. And there’s a dead body, laying in a pool of blood in the far corner of the room, red soaking into the rug. Then move on, what kind of rug is it? What is the color, patterns, and type of fabric of the rug?

Don’t linger on the details of the body, give your reader’s imagination some room to work while they digest the mundane you give them.

Dialogue is there to tell your story too

There’s a lot of advice out there about how to make dialogue more realistic, which is absolutely great: read aloud to yourself, put breaks where you feel yourself take a breath, reword if you’re stuttering over your written dialogue. But sometimes, in trying to make dialogue sound more realistic, a little bit of its function is lost.

Dialogue is more than just what your characters say, dialogue should serve a purpose. It’s a part of storytelling, and it can even be a bridging part of your narration.

If you have a scene with a lot of internal conflict that is very narration-heavy, breaking it up with some spoken dialogue can be a way to give some variety to those paragraphs without moving onto a new idea yet; people talk to themselves out loud all of the time.

Dialogue is also about what your characters don’t say. This can mean the character literally doesn’t say anything, they give half-truths, give an expected answer rather than the truth (“I’m fine”), omit important information, or outright lie.

Play with syntax and sentence structure

You’ve heard this advice before probably. Short, choppy sentences and a little onomatopoeia work great for fast-paced action scenes, and longer sentences with more description help slow your pacing back down.

That’s solid advice, but what else can you play with? Syntax and sentence structure are more than just the length of a sentence.

Think about things like: repetition of words or ideas, sentence fragments, stream of consciousness writing, breaking syntax conventions, and the like. Done well, breaking some of those rules we were taught about language can be a more compelling way to deliver an emotion, theme, or idea that words just can’t convey.

Would love to hear any other tips and tricks other people like to use, so feel free to share!!!

[wolflover2426]

I agree! The finale is clearly set up in a way that has left a lot to be explored much later in the next season and hate it as much as you want but some people actually liked how it wrapped up and I’m part of that crowd even though I also have some criticism on the execution.

istg half of the post-s5 finale fics i see have some sort of disclaimer in the tags or summary (or i even just saw one in the title!!) saying the fic was written because the show sucks or the finale sucked or they just hated everything about it

and it's frustrating because i probably would have enjoyed a lot of these fics! but now i'm not even going to touch them because i don't want to engage with people shitting on the show

[obxsummer]

P4L // JJ Maybank

pairing: jj maybank x reader

summary: aka the season 4 ending the audience and pogues deserved.

warnings: S4P2 SPOILERS

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--

Morocco was proving to be one hell of a challenge for all of you. Every corner had more of your friends pulling off to play defense or act as a distraction. Pope, Kiara, and Cleo had left in an attempt to hold off the mercenary crew, leaving you, JJ, and Rafe to finish the mission and find the crown.

With Rafe out on the option to climb, JJ had volunteered which left you all in the current situation. JJ was trying to pull himself up on the stone statue as wind and sand whipped at your faces. 

“Be careful!” You yelled up to him, hoping your voice wouldn’t get carried away before it reached him.

You’d been so heartbroken for JJ over the past few weeks - from losing Poguelandia, finding out Luke wasn’t his dad, all the shit with the gold and Enduro… you could really use a win. JJ deserved a win more than anything. 

“Shit, here they come,” Rafe spoke up as he caught sight of the mercenaries who were catching up. “Stay here! I’ll go down and buy us some time.”

“Rafe, no!” You tried to ignore the pit of fear in your stomach but it was grabbing you tighter than you had ever felt before. “They’ll kill you!”

Rafe shook his head. “I’m a killer too! Got nothing to lose!”

Your face contorted into an odd expression at his response before you let him go and turned your attention back to JJ. He was getting closer and closer to the top but you knew he had no clue what to look for.

“JJ, hurry!” You coughed around the sand in your throat and walked closer to see him better.

After a moment, you could hear him cheer in excitement. “Yeah, baby! We did it!”

You tucked your head down as a particularly strong blast nearly knocked you off your feet. You could barely make out his figure in the storm around you as he stumbled his way toward you. “JJ! We gotta get out of here!”

 “I’m good, I’m good!” He reassured as he got closer. “I’m great, actually.”

He shifted the scarf around his neck to reveal the crown, the Blue Crown, that you guys had risked your lives to get here in search of. 

“Oh my God,” You gasped before cheering in excitement. “Do you know what this means?”

JJ pulled the headwrap off to see you better, his hands moving the crown closer so you could hold it yourself. “We’re getting it back. We’re getting our home back.”

The celebrating was cut short as JJ caught sight of something behind you before shoving the show of you out of the way. A gunshot rang out seconds later, warning enough that the two of you needed to keep moving. 

“Go, go, go. I’ve got ya!” JJ’s hand wrapped itself into yours as he took the lead, weaving the two of you through tunnels and structures before you could even blink. The storm was starting to die down, the wind and sand slowing as you guys moved deeper into the town. 

Your run was cut short as JJ slammed on the brakes and you ran into his back. “J?” You asked, confused before you caught sight of the person in front of him.

Chandler Groff had caused JJ so much pain in the few weeks your group had come to know him. From disowning him as a baby, to almost killing him, and the constant manipulation, you were beginning to wonder if Luke was the lesser of the two evils. Life had been so unkind to JJ and you refused to let this man take anything else from him. 

Groff gave the two of you a wicked smile. His knife gleamed against the sunshine, the reflection coasting your eyes as you realized you were defenseless. He moved the blade closer in your direction. “You know what I want.”

JJ’s grip on your hand tightened. There’s a lot of things he would do if you weren’t here, but you were, and that meant you were his top priority.

“And if we don’t?” You tilted your head, mockingly. It was two against one here, even if he had a shitty knife.

“Then I’ll kill you both and leave your friends to find you in bits and pieces.”

You squeezed JJ’s hand twice, a silent signal that you were ready if he was. “Yeah, not happening.”

The two of you moved in tandem, your leg kicking up to knock the knife from his grip and JJ pouncing forward to pin his so-called father against the stone wall with an aggressiveness you hadn’t seen before. 

Groff groaned as his head slammed into the rough surface, eyes struggling to refocus. JJ leaned closer, his forearm pressing against the man’s throat harder. “Don’t you ever threaten her again, ya hear me?”

When Groff didn’t answer, JJ applied more force, relishing in the way the man groaned in pain. “You’ll regret ever crossing me.”

JJ wasn’t risking it and pulled back before slamming Chandler’s head back, effectively knocking the man unconscious. “Hard pass,” The blond teen spat, giving the man a hefty punch to the head to drive his point home. 

“You okay?” You asked quietly as JJ stared at the form of the man who he was beginning to trust. 

He twitched at the question before taking a deep breath. “Yeah, yeah.” His hand reached back to you, waiting for you to grab on. “Let’s go find our friends and get the hell out of here, yeah?”

You took his offer, kissing him softly before nodding in agreement. “Let’s do it.”

And the two of you ran off, leaving Chandler Groff to bleed out on his own, taking the karma he deserved with him to the grave. You had a treasure to celebrate.

--

a/n: fuck u obx writers and goodbye.

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