#it wasn’t even the most important emotional scene in the movie

[jemgirl86]

The love/hate relationship I have with that cameo cannot be overstated

Jfc

[dyingswanpavlova]

"Your girl" - Part 14 | The Salesman x Reader

Summary: Life with him is really good...Right?

Warnings: dead dove do not eat, kidnapping, mentions of sexual abuse and other traumatic events in the past, numbness, helplessness, violence, threatening, mentions of blood, mentions of murder/gore/death, body issues, trauma talk, stockholm syndrome, forced relationship, unhealthy relationship, depression, manipulation and low self-esteem, mentions of sexual activities, loss of identity, threatening, penetration, breeding kink, degradation kink, cockwarming, edging, overstimulation, sleepy sex (both consent!), not beta-read, if I've missed any warnings or tags please tell me! mdni 18+!

"Your girl" - The Salesman x Reader Masterlist

Life was good.

Uncharacteristically so even.

There was still a tiny part of you that was tense around him and that was for various reasons. One of them being, that you never really knew when his evil persona would take over. So far you could tell, albeit roughly, but there were always moments, when he would simply snap and there was nothing you could do about it. Was that a problem? Probably, but not to you, anyways. Why? Because life was good.

The little trip to the balcony hadn’t been a one-time thing. In fact, it happened more and more regular. Not only to get naughty, because he was a freak, who liked the thought of possibly getting caught – but also because, as he said, you’ve been such a good girl for me all this time. And I told you, sweet girl, I don’t want to keep you locked away. I just needed to make sure you’re mine.

That you were. Quite obviously.

That one time when you told him you wanted to leave, it had been exactly that. One time. The reasons for that outburst were in the past so far. There were still moments when you feared punishment and rightfully so. But to your great relief, you were both learning.

You were learning not to expect a painful blow, whenever you went out of your way to speak your mind (which wasn’t quite as often as you wished, but you were getting there). Slow and steady.

And he? He was learning, too. He was learning to leave you be and control the wild beast that lived inside his mind and soul. The darkness that surrounded him became lighter every day or so it felt to you. Of course he wouldn’t let you downright insult him, without at least some punishment in sight. But he was working on himself and his behavior. He didn’t hurt you without a reason. He didn’t hurt severely. And on some lucky days, he didn’t hurt you at all.

Slow and steady.

What was probably the greatest part of it all, it felt like a relationship. A real one. Two people who shared a life together, doing all kinds of things, sharing an intimate relation, but most importantly, you talked.

You talked a lot.

And now it wasn’t only through games and the fear of punishment. It wasn’t even only you who was forced to talk. No, he talked as well. The important things were still a big issue, obviously. He didn’t have a name, an identity or a past, when it came to you. But you had the great, undying hope that one day he would trust you. Trust you enough to let you know who he was and where he came from, what made him who he was and what was truly important to him.

Sometimes you’d get those tiny, little flickers that shone through his façade, his tight mask. The moments when the look in his eyes became faraway and distant, when his voice became softer and the tension in his body gave way to something quiet. Maybe one day that would be the version of him that you would get. Entirely and without question. Without the filter to rule out his emotions for him.

Until then, though, you would make do with what you had. And what did you have?

His favorite movie? The good, the bad and the ugly. What a question. Actually, anything with Clint Eastwood in it. Haven’t you seen the man?

His favorite musician? Ennio Morricone. Did you watch that scene in Inglourious Basterds, right before the Bear Jew comes out of the cave? That scene – and that composition – it’s reason enough to watch the movie. Aside from all the Nazis getting burned, of course.

His favorite food? Tteokbokki. But they have to be spicy enough to make your tongue fall off.

You smirked to yourself as you stood by the stove, slowly stirring the rice cakes in a black pan. He was talking movies all the time and that was a language you understood well.

In a minute you needed to add the spices and that disturbingly hot, red sauce. It was something you had cooked before, back in England. You had been scrolling aimlessly through one of your countless apps, which you normally used so you wouldn’t have to think and there you found some recipe that had been viral for a while. A Korean recipe with rice cakes in a sauce, topped with sesame and green onions. It had been quite the ordeal to find rice cakes back where you lived, but when you finally did and you tasted the recipe you had so carefully and lovingly prepared, you found it was worth it. It had actually been the first step into the life you were now living.

South-Korea, you had thought. Why not?

You poured the sauce in and wanted to try it, but decided against it in the end. You’d spend the next hour trying to soothe the pain in your mouth with bread and milk. With a soft sigh, you turned off the stove and served the food on two plates. You set the table with the gentle precision of a lovely homemaker. Even the napkins were folded prettily, giving the whole scene the last touch it needed to come off as…thoughtful.

Of course you never mentioned to him that you knew the dish. He had mostly likely thought it was just another Korean word he threw around and you’d forget immediately. And you had made no attempts to make him believe differently. So, when you began to cook this, it was with the intention to surprise him. A short glance at the clock showed you that it was almost ten in the evening, so he would most likely be home soon.

Home. What an odd thought.

You sighed again and washed your hands. A lecture you had to learn only once before in your life – spicy food didn’t quite match well with eyes.

You glanced around the kitchen once more, half-expecting him to be late. After he luckily gave you the books back, you asked yourself if you should go and read something, until he arrived, but that question answered itself, the moment you heard the door creak open. A nervous smile grew on your face and you nibbled on your lower lip. For some reason, a part of you was still afraid. A tiny bit, at least. It was like you expected him to punish you for good things. For being affectionate or caring.

But the moment you saw his head perk through the door, you knew you wouldn’t get punished tonight. Well, at least not, until you gave him a reason to…or asked him to.

His face lit up in surprised delight, his brows furrowed in a mixture of disbelief and confusion.

“Hello?” He murmured as he stepped closer and set the briefcase down on a chair. Your smile grew somewhat and you folded your hands behind your back.

“Hey.” You took a step closer and tilted your head to the side. “I made dinner.”

“I can see that.” He glanced at the lovely decorated kitchen table. You had put in quite some effort, looking through all the drawers until you found a tablecloth, lit some candles and then there was his favorite food. He looked from the table to you and smiled.

“And what exactly did I do to deserve this?” He raised a brow in suspicion. You returned the smile.

“I just felt like it.”

“So, you know Tteokbokki!”

You laughed quietly. “We’ll see about that. You should try it first.”

He hummed softly and stepped closer. You expected him to head for the sink and wash his hands, which he most definitely would, but before that, he stepped close to you, so close that you felt the warmth radiating off him and pressed a soft kiss to your forehead. Then your cheek and then your lips.

You closed eyes and leaned into the kiss, immediately aching for more. But a second later he pulled his head back and smiled again.

“I just know I’m going to love it. Thank you.”

You felt yourself blush and so you averted your gaze. He finished up getting ready and then pulled out your chair for you, like the gentleman he was, or well, he could be.

The both of you settled down and you kept a keen eye on him to check his reaction, the second he brought the fork to his lips. You half-expected him to recoil in disgust, but instead, his brows furrowed and he hummed in approval.

“This is perfect.”

You scoffed in amusement. “Stop bullshitting me.”

“No, I mean it. It’s perfectly spicy, just the way I like it. And it’s homemade. Do you know how much that me-“ He stopped himself and cleared his throat. The filter. “I really love it. Thank you.” He squeezed your hand under the table.

You smiled again and leaned back in your chair, taking a moment to simply watch him eat.

When he saw you were staring at him, he cocked a brow. “What?”

“Nothing.”

“Now it’s you bullshitting me, huh?”

That made you laugh. God, how beautiful this was. Just simple, plain banter. Back and forth, like normal couples shared. You loved it.

You loved him.

When you laughed, a cocky grin grew on his face. “Mhm. I still have it in me, don’t I?”

You smirked. “Oh, shut up. For an old man.”

His grin widened and he picked up the fork, bringing it to your lips. Wordlessly, you parted them and took the food in your mouth. It was painful, of course, but you tried to keep a strong façade. And failed.

He laughed and held out a glass with milk to you, of which you took a big, grateful sip.

“Why are you making it, if you can’t even eat it?”

“You like it.”

He hummed softly. “And you remembered.”

“It’s not that hard. I collect the few things I know about you like postage stamps.”

He snorted. “Oh, so now we collect stamps, do we?”

You grinned cheekily and gently nudged his shoulder. “Eat your abnormal spicy food and shush.”

He shot you another smirk and eyed you up and down for a moment. It left you feeling oddly comfortable.

“You’re beautiful.” He mumbled before he took another bite. Your brows shot up and you titled your head to the side. You were better now, when it came to this. Compliments and accepting them. After all, he had no reason to lie to you whatsoever, now, did he?

“Thank you. But why are you saying that?” Not as good as you thought, but better.

He brows furrowed. “And why wouldn’t I?”

You shrugged and he shot you a long, suspicious look. “I’m not taking it back.”

That made you laugh again. He sounded like petulant child and you loved him even more when he was like this. Just…easy.

Easy to love.

“Why are you laughing at me?” He joined your laughter.

You smirked and took another sip of your milk. “If you can’t tell, it’s already too late.”

Days passed, weeks even, and life was still good. Very much so.

Every now and then you would ask yourself, when will things take a dark turn again? You couldn’t help yourself. These first few weeks were stuck in your mind like a nightmare you hardly remembered and yet felt in every inch of your body. Even when you didn’t...

Your body remembered.

He had that in him. That dark, that evil. It would undoubtedly come out again at some point. That’s why you always tried to remind yourself, not to dive too deep into what you called your perfect world. At some point, you’d surely be in pain again.

Though, you had to admit, you were hardly in pain nowadays. Your mysterious man was a gentle man, when he wanted to be and that happened more and more these days. Whenever he came home, he’d make a habit of kissing you and asking you about your day. His smile came out, more and more often. On very rare occasions, when you got really lucky, you even heard him laugh. And not the mock-kind of laugh he’d have so well-rehearsed in his repertoire of masks, he had for the world to see, but the real kind. A sound so unbridled and genuine, so warm and endearing, it made something inside of you ache. Why was it so rare?

Of course he still hurt you sometimes, but that was more of a consented kind of thing. In most cases.

Whenever he decided it was time for you to cockwarm him, for example. God, you hated, when he did. Because you loved it.

You loved the feeling of having him inside you on any occasion, really. Sometimes he’d be reading the newspaper and have you on his lap, his free hand on your hip to hold you perfectly still. You always asked yourself, how on earth did he manage to read like that, without even cocking an eye brow, while you were nearly fainting in agony, because all you wanted was for him to move?

On other nights, and you were ashamed to admit how much you enjoyed it, you’d even sleep like that. You’d lay either facing away or facing him, but often clenched around him. He’d nuzzle his face in your hair and after a while he’d usually drift off like that, his breathing slowly soothing down to a soft sound. Sometimes, when he’d wake up in the middle of the night, you felt him move and grind his hips against yours, giving you the friction you so desperately desired. Sometimes it happened quickly, sometimes it took a few hours and sometimes it didn’t happen at all. But when it did and when it did take hours to get to that point, you’d normally be half-asleep and yet desperate. The second you felt him move inside you, it was as though a switch got flipped. You became needy and…

Wicked.

 For you, it didn’t matter how many times he fucked you. How many times he made you cum. When you felt him like that, you needed him. Ardently.

But in most cases you managed to be good for him, just like he asked you to. Good and perfectly still. When you did, you got rewarded. Which, in most cases, consisted of him going down on you and making you feel things with his tongue that made your toes curl and your breath stutter. He made you cum so good that you nearly forgot your own name.

At times, you did forget it. But odd enough, you didn’t really miss it. Names weren’t important. Not with him.

And then there were those other times. The times, when you got too needy, too desperate and, despite your better will, you found yourself moving against him, desperate for any kind of friction. That was when you got punished still.

Sometimes with a firm slap to get you back on track. That wasn’t enough to make you forget about your need for him though. Normally, you’d just fall back into the same pattern, given enough time. And after a while, he got more creative with his punishments. When he realized that pain was something that you were rather immune to, compared to other things, you were fucked.

Quite literally.

When you moved and disobeyed his orders not to…

He fucked you. Which wasn’t necessarily a bad thing. Not at all, actually.

That was until…

You came. You came every time with him, which was something you had highly doubted, before you started this thing between you. But to your surprise, you were more than relaxed with him. And so you came.

But he didn’t stop there. No, it was a punishment after all, right?

So, he kept fucking into you, like a feral animal. Even after you came and the pleasure quickly shifted into overstimulation. You got so sensitive, it was close to painful. But he kept going.

And then, oh God, you’d come again. Of course you did. He was good at what he was doing. You came again, shuddering and gasping.

And he still wouldn’t stop.

Even when your body arched into the air and you tried to get away from him, all desperate, he’d continue fucking you, until your mind was a mess and all you could do was stutter and whimper, cry even.

It was one of his favorite ways to punish you.

When he didn’t keep you on edge or withdrew your release for the time being, he made you cum until you begged him to stop, sobbing and whimpering.

Oh, the crying turned him on, you could tell. Because it normally ended with him filling you up to the brim. And then he’d go back to sleep, wouldn’t he? With his length still buried deep inside to keep warm.

Let’s just hope you learned your lesson now, darling. I’d hate to punish you again.

He had done exactly that the night before and so you found yourself lying on the sofa, feeling sore and exhausted. When he came home that night, you were still passed out on the couch, too sleepy to even open your eyes. He regarded your broken frame with a warm, yet subtle smile and set his briefcase down. He took a few slow steps closer and watched over you for a long moment, before he reached for the nearby blanket and pulled it up to your shoulders. You weren’t really fast asleep, just somewhere in-between, so you felt his knuckles gently caress your cheek. You mumbled something in response and you heard the way he smiled, before he vanished to the bathroom and you heard the way the water got turned on.

After a while you slowly blinked your eyes open and yawned. When you saw the blanket, a smile crept onto your face and you hugged the material tightly to your body. Slowly and carefully, you sat up and rubbed your eyes, before you decided to try and cook something for a change. You got better and better at it, considering how little you knew about the Korean cuisine. Yet you had to admit, it seemed healthier than anything you had ever eaten back home.

When you couldn’t think of anything, you decided to be safe and went for Bibimbap. It was a mixture of near everything and also the fastest thing you could think of. But before you even started, you went back to your room to grab a claw clip for your hair. You swiftly did it up and made your way through the hallway, when you saw that the door to his bedroom stood open. You saw his white shirt splayed out on the bed and you just knew it smelled like him. You bit your lip as you slowly tiptoed inside and picked the shirt up, only to bury your face in the material and inhale softly.

If this wasn’t home, what would ever be?

You hummed softly to yourself, before you swiftly slid off your caramel colored skirt and your black tank top, to put his button down shirt on instead. The material hugged your body like a gentle hug and you smiled to yourself as you rolled the sleeves up in the way he would. Of course the shirt looked fairly huge on you. You took a long glance at the big mirror and smirked. It looked like a dress on you, albeit a short one. You twirled around like a ballerina and took in the way your thighs were barely covered by the material. That gave you a wicked idea.

Of course your body was begging you to leave it be, especially after last night, but the devil inside your mind forced you to keep the shirt on and make your way back to the kitchen.

In the meantime, he had finished his shower and now he sat on the couch, with the newspaper in his hand. He wore a pair of grey sweatpants (the damned bastard) and a black shirt. His hair was still damp and hung loosely into his face. He looked delicious.

When he heard you approach, he looked up, ready to greet you, when he hesitated. His gaze roamed up and down your body in a way that made you bite back a smirk.

“Hello, darling.” He murmured, without ever looking up at your face.

“Why, hello.” You purred cheerfully and approached him with slow, tiptoed steps. His gaze wandered up your legs and torso, until he finally met your gaze.

“You look…”

“I thought it suits me better than you.” You teased.

His lips curved up into a slow smile. “I can’t disagree.” He took your hand, ready to pull you onto his lap. But after last night, you felt in dire need to take some action and control.

Not, that you didn’t somehow enjoy it. But still.

You briefly squeezed his hand, before you pulled yours away. You gave him a quick peck on the lips, then took a step back.

“I’ll go cook.”

His brows shot up. “I can-“

“No.”

You hid your smirk, until you had your back facing him. With quick, measured steps, you disappeared into the kitchen, all the while pretending not to hear his frustrated groan.

The next few minutes went by rather quickly. You did a great job cooking up some ingredients and even an egg, Sunny Side Up. You quickly set the table and eventually left some rice on the stove, to slowly simmer. With a soft, exaggerated sigh you made your way back to the living room.

“It’s almost done.” You murmured as you slowly approached him. When you looked at him, you deliberately missed his face and his expression became more and more dour.

“Good. I was thinking-“

“I nearly finished my book.” You interrupted him in a sweet voice, as you sat down on his lap, causing him to freeze for a moment. It only took him a second to relax, though he seemed to have forgotten that you had interrupted him and what he even intended to say in the first place.

“That’s…good.” He murmured.

“Just two more pages. I’ll finish it quickly, before dinner, okay?”

He cocked a brow and shrugged slowly. “Sure. Suit yourself.”

His shirt rode up your thighs and revealed more and more of your skin to his gaze. He didn’t even try to be secretive about it, he was straight-up ogling you. All the while you buried your nose in your book, without reading a single word. You had to save up all your energy as not to smile.

His fingertips brushed over the skin of your thigh and you did your best to keep your expression neutral. And he, he was just…

“Are you-“

“Oh God, I didn’t see that twist coming.” You closed the book and sighed. Then you shot him an innocent look and smiled. “That was a really good book.”

You leaned back against his chest and kept up your innocent façade, all the while the look in his eyes equaled that of a bear with his fish.

“You really-“

“I’d better go and get myself another one. I’m sure the rice needs a few more minutes.”

His hand ended up in the middle of the air, while you practically jumped off of his lap. He let out a soft grunt of frustration, while you slowly swayed your way back to the bookshelf. Of course your hips swayed along and obviously his gaze did the same.

You held a finger against your lips, pretending to think, while you slowly went about the rows and rows of books. And then, what a coincidence, a book in the last row caught your attention. You smiled and bent down, pretending to read.

At the same time, his patience snapped. When his shirt rode up further, exposing just a hint of your rear to him, he let out a low growl.

“That’s enough.” He hissed. You smirked, before you slowly turned and replaced the smirk with innocent surprise.

“What? What’s enough?”

“Oh, stop this.” He slammed the newspaper down on the coffee table and stood up in a swift movement. “Stop acting all innocent. You’ve been parading around here, half-naked and ready to…”

“To what?” You murmured and tilted your head to the side in feigned curiosity. He growled again and ran a hand over his chin. Only then did you see the obvious tent in his grey sweatpants. It cost you half your life not to look down there and trust your peripheral view.

“Don’t play dumb.” He murmured. “Get over here. Now.”

You licked your lips. “But the rice-“

“Now!”

That made you laugh and there went your innocent act out of the window.

“You minx! You’re doing this on purpose!”

You chuckled. “Well…”

The look on his face was near rabid. Only the foam was missing.

“I’ll forgive you this once, if you’ll be a good girl for me and get your ass over here.”

You smirked and took a step back, circling the sofa. “And if I don’t?

He hissed in response. “You don’t want to test me today.”

And for some inexplicable reason, right then and there, you weren’t scared. That tiny part of your brain that had continued to keep up the fear, albeit briefly and barely, was completely silent. And you knew he wasn’t going to hurt you, no matter what you did.

“Make me then.”

His eyes widened and he tilted his chin up. “Oh, that’s a mistake.”

You grinned. “Oh, that’s a mistake.” You mocked his voice.

With a movement so quick that it almost made you wince, he jumped over the back of the couch and stood before you, eyeing you like a predator. You let out a soft shriek and turned on your heel, running and laughing, without looking over your shoulder.

It took him only a second to put his hand on your shoulder, but it took you only a second to shrug him off and circle the coffee table.

“That all you got, old man?”

You could have sworn you saw his lip twitch, but that would have been too easy. He tried hard to keep his expression serious.

“Grew a backbone, did you?”

You raised a brow and smirked. “Oh, boo-hoo. Did I hurt you, oppa?” You hinted a mocking curtsy.

“Oh, you just wait!” He rushed to catch you from one side, but you quickly ran the other way. When he tried the other way, you went the other way, yet again. He gave a frustrated growl.

“What now, hm?” You smirked. “Giving up already?”

He gave you a long, wild look. For a moment you almost thought he was indeed giving up, but then he rushed forward and kicked the table out of the way. It rolled over and crashed against the wall loudly. Your eyes widened in surprise and you took a step back, but before you knew it, your back was already pressed against the wall and you had to tilt your head back to stare up at him.

“You caught me.” You whispered.

He clenched his jaw and reached out a hand. You were sure. You were still sure, that you were safe.

And then…

His hand slowly tangled in your hair and gently grasped the back of your neck. He leaned down so that your lips nearly met.

“I caught you.” He whispered back, before he captured your lips in a bruising kiss.

And you let the rice burn.

A few days later, you couldn’t even tell which day it was, because every day was but a collection of memories you kept replaying in your head, he was off to work.

And to no one’s great surprise, you missed him.

Every waking moment without him was empty. The emptiness was so intense, it left you nearly suffocating. All the while, all you could do was wait. Wait and eat. Wait and sleep. Wait and read.

Sometimes, you wrote. You remembered that one time you told him about your greatest dream.

To become an author one day. You didn’t even care, if anyone knew your real name, you just wanted to touch people with your words. Like the Bronte-sisters.

Ellis Bell, huh? And who would you be?

Hana, maybe. The thought made you equally as sad as it filled you with hope.

But that was about all you did. And after hours and hours, the day neared its end. Eventually it was far past eleven, so you were sure he would be late tonight. Of course you were concerned. As you always were. You had no idea what his job was, but you could tell it was dangerous.

The man in his clean suit and a briefcase full of secrets.

When it got closer to midnight and he still wasn’t back, you decided to distract yourself, by getting yourself ready. You changed into a beautiful, white negligee with a neckline made of pretty, see-through lace. You loved it. The silk made you feel like you were the most beautiful girl on earth. And you were sure, once he saw you in it, he would totally destroy it. Chew it off or tear it down, whatever worked faster.

You did your hair down (it was slowly growing back and you barely thought back to the dreadful day that he cut it) and took a last glance at your appearance in the mirror. You smiled at yourself, something you rarely did, and eventually made your way back to his bedroom to surprise him. On his bed, wearing nothing but the negligee and a pair of…

Where were the handcuffs? You frowned as you glanced around and didn’t immediately find them. You bent down to look under the bed, but still no cuffs in sight. Your frown deepened and you gave another quick onceover, before you decided that they most likely were in the wardrobe.

You opened it and knelt down, finding the knife and several guns in the process. The small shudder brought you back to reality and you exhaled softly, before you sat back and looked at the countless weapons. Had he ever killed someone with them? Most likely.

But for a strange, inexplicable reason, you didn’t really care. Not really. Because it wasn’t real. Not then, not there, not in that moment. What was real, was him and his…

Desires.

You opened your mouth and closed it, before your fingers slowly closed around a small handgun. You swallowed thickly and carefully held it up, only to realize it was far heavier than you always assumed. The material felt cold and wrong in your hand.

Your mind involuntarily wandered back to the day he pressed one of them against your temple or…his. You closed your eyes. The thought of him…

Him…

With a shuddery gasp, the gun slipped through your fingers and landed on the carpet.

There was no thought more painful than that one. You couldn’t lose him. Not ever.

You loved him. And you loved him far too much.

Enough, to be what he wanted.

Enough, to give in to his desires.

You took another deep breath and picked up the gun again, determined to take it back to bed with you. You wanted to surprise him, right?

All you had to do beforehand was to make sure that it wasn’t loaded.

A frown formed on your face, when you realized you didn’t even know how to do that. The thought of accidentally shooting yourself, while waiting for him to come home…It didn’t sound all too appealing, though it did sound like something that could happen to you.

You sighed and already gave up the thought of ever finding the cuffs, when you caught sight of something else instead. It was far in the back of the wardrobe and you were sure, for some reason, you weren’t supposed to see it.

Of course you weren’t supposed to touch his gun, either, but you felt he would forgive you, once he realized you were slowly submitting to his every desire.

Even if it meant him fucking you, while he held a gun to your head. In your mouth…Or, God help you, somewhere else.

You were twisted. You were sure you were. Because you felt it. You felt how the thought did things to you.

But for now you tried to push the thought aside and instead glanced back at the box.

Then again, what terrible thing could be inside there?

Someone’s teeth maybe?

Your soft smile disappeared the second you realized it was possible. You nearly recoiled in disgust. But then you realized, you had to know.

It couldn’t be teeth. It was too sick. Too deranged.

Too…him?

No. No, no, no.

As if in a trance, you picked up the light, wooden box and took off the lid.

No teeth inside. Only…

Fuck.

What was in there was so much worse than teeth.

Your forehead creased into a small frown, which grew further with every second.

And suddenly you felt nauseous.

No.

Oh, no.

You nearly dropped the box and backed away like you’d been struck, the moment you heard it.

“Goddamn it." He sighed impatiently and the door slowly closed behind him. "You weren’t supposed to see that.”

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Tag list 1:

@mitsuki-dreamfree @kpopsmutty69 @heroine-chique @vkeyy @mizuwki @blu-brrys @z0mbi345 @yourpointbreak @ayieayee @freddyzeppsworld @lola11111111 @indifitel6661 @salesmanlover08 @laurenbenoit70 @lalalaa2210 @lila-marshal @auspicious-lilana @0-aubrie0 @lovelyaegyo @theredvelvetbitch @violentbluess @muriels-lover @dorayakissu @eviebuggg @muchwita @ririgy @strxlemon @obsessedwthdilfs @kiwilov3 @misty-q

Author's note: Did I lately mention that I love you, guys?

Ps. The Tteokbokki and the teasing were anon requests! I loved them and I hope I did them justice!

[hotvintagepoll]

Propaganda

Barbara Stanwyck (Ball of Fire, The Lady Eve, Double Indemnity)—I hope someone else has submitted better propaganda than I because I don't want my girl's prospects to rest on me just yelling PLEASE VOTE FOR MY TERRIBLE HOT GIRLFRIEND. She is a delight in everything! She is often a sexy jerk! (It's most of the plot of Baby Face!) Even when she plays a "good girl" (as an example, Christmas in Connecticut, which more people should see) she's still kind of a jerk and I love her for it! She won't take men's shit and she sure wouldn't take mine!

Setsuko Hara (Tokyo Story, Late Spring, The Idiot)— "'The only time I saw Susan Sontag cry,' a writer once told me, his voice hushed, 'was at a screening of a Setsuko film.' What Setsuko had wasn’t glamour—she was just too sensible for that—it was glow, one that ebbed away and left you concerned, involved. You got the sense that this glow, like that of dawn, couldn’t be bought. But her smiles were human and held minute-long acts, ones with important intermissions. When she looked away, she absented herself; you felt that she’d dimmed a fire and clapped a lid on something about to spill. Over the last decade, whenever anyone brought up her lips—'Setsuko’s eternal smile,' critics said, that day we learned that she’d died—I thought instead of the thing she made us feel when she let it fall." - Moeko Fujii

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Setsuko Hara:

One of the best Japanese actresses of all time; a symbol of the golden era of Japanese cinema of the 1950s After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"

One of the greatest Japanese actresses of all time!! Best known for acting in many of Yasujiro Ozu's films of the 40s and 50s. Also she has a stunning smile and beautiful charm!

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She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

"No other actor has ever mastered the art of the smile to the same extent as Setsuko Hara (1920–2015), a celebrated star and highly regarded idol who was one of the outstanding actors of 40s and 50s Japanese cinema. Her radiant smile floods whole scenes and at times cautiously undermines the expectations made of her in coy, ironic fashion. Yet her smile's impressive range also encompasses its darker shades: Hara's delicate, dignified, melancholy smile with which she responds to disappointments, papers over the emotions churning under the surface, and flanks life's sobering realizations. Her smiles don't just function as a condensed version of her ever-precise, expressive, yet understated acting ability, they also allow the very essence of the films they appear in to shine through for a brief moment, often studies of the everyday, post-war dramas which revolve around the break-up of family structures or the failure of marriages. Her performances tread a fine line between social expectation and personal desire in post-war Japan, as Hara attempts to lay claim to the autonomy of the female characters she plays – frequently with a smile." [link]

Leading lady of classic Japanese cinema with a million dollar smile

Maybe the most iconic Japanese actress ever? She rose to fame making films with Yasujiro Ozu, becoming one of the most well-known and beloved actresses in Japan, working from the 30s through the 60s in over 100 hundred. She is still considered one of the greatest Japanese actresses ever, and in my opinion, just one of the greatest actresses of all time. And she was HOT! Satoshi Kon's film Millennium Actress was largely based on her life and her career.

Barbara Stanwyck:

"THE leading lady of the golden age of hollywood. One of the only actresses to work independent of a studio, making short-term contracts that enabled her to make movies wherever she wanted. She had so much range, and could act in basically any genre. She's been rumored to be a lesbian literally since she was active in Hollywood; most notable is the rumor that she had a long time on-and-off relationship with famously bi Joan Crawford, her "best friend" for decades (They lived right next door to one another). She also lived with Helen Ferguson, her "live-in publicist" for many years. She was the quintessential femme fatale in Double Indemnity, and really pushed sexual boundaries in her pre-code films like Baby Face, and the famous screwball The Lady Eve, where she plays basically a downlow domme. Allegedly, when a journalist asked her if she was a lesbian, she straight up threw him out of her house. She even played a lesbian in Walk on the Wild Side"

"THE queen of screwball comedies. I adore her, I'd kill for her, I will cry if she's not gonna win this poll."

"listen ok she had awful politics she was a mccarthyist right wing wacko BUT she's so incredibly hot that i've deluded myself into believing i could fix her. if you see her onscreen she carries herself in a way that's just so effortlessly sexy AND she has just a stunning face. imo she was at her hottest in the 1940s but even as early as the late 1920s she had a rly captivating screen presence and just a beautiful face, and then post-1950 she was just irresistibly milfy so really she was just always incredibly hot. she was also an incredibly talented actress who was equally stellar in melodrama, film noir, and unhinged screwball comedy. the blonde wig they made her wear in double indemnity is notoriously silly looking but she still looks sexy in it so that's gotta count for something. i've watched so many terrible movies just for a chance at seeing her that i think her estate should be paying me damages."

"Not often thought of for her sultriness, Barbara Stanwyck was incredible in that she could actually choose to be hot if the role called for it, and then have a glow-down to look ordinary for another role. She wasn't the most beautiful or effervescent, but damn did she have rizz. Watch her with Gary Cooper in Ball of Fire teaching him about "yum-yum" or with Henry Fonda in The Lady Eve whispering huskily into his ear."

"She is always the smartest woman in the room. Watching her play Henry Fonda like a befuddled fiddle in The Lady Eve was a highlight of my life. Femme fatale in Double Indemnity, comedy queen in Ball of Fire. She can do anything."

"She was part of my gay awakening"

"SHE'S A PRE-CODE QUEEN. She did everything, drama, comedy. The most beautiful woman in the world to watch weep. Beg for to step on you with those legs. Fun Babs story: Ginger Rogers was offered the role in Ball of Fire but said, “Oh, I would never play that part, she’s too common.” So they called Barbara Stanwyck and they said “We offered this to Ginger Rogers but she’s turned it down, would you be interested?” And she read the script and she said; “You bet! I LOVE playing common broads. [link]"

[celestial-prime]

Sonic 4 movie. Theories and predictions

Hello everyone! I finally watched Sonic 3, and I can confidently say it was one of the best experiences I’ve ever had in a movie theater! It had been such a long time since I felt so much emotion and joy watching a film. The last time I experienced these feelings was with Michael Bay’s Transformers movies, especially the fourth and fifth installments. Just like back then, when I was super excited for the next movie, I now have the same anticipation for the fourth Sonic movie.

In the post-credits scene, we saw the first appearances of Metal Sonic and Amy, which already gives us a taste of the continuation of the Sonic live-action franchise. That’s why I’d like to share my theory about what might happen in the next movie and which game from the Sonic saga it might adapt.

AND... Just as Sonic 1 was an adaptation of the first classic game, Sonic 2 represented the second game, and Sonic 3 was based on Sonic Adventure 2, I believe the fourth movie will also follow this adaptation formula.

My idea is that the fourth movie will be inspired by two games: Sonic CD, where Metal Sonic makes his first appearance, and Sonic Heroes, where Metal Sonic becomes the main antagonist. In Heroes, he evolves into Neo Metal Sonic and later into Metal Overlord, the final boss. I believe the concept of time travel, central to Sonic CD, could be key to the plot of the next movie.

Now, let’s dive into the possible plot of the fourth movie and how the story might unfold.

Probably, Metal Sonic came from the future and returned to the past with the goal of defeating Sonic, driven by frustration at never being able to defeat him definitively. In turn, future Amy, upon discovering Metal Sonic’s plan, decides to also travel to the past to protect him. This could explain the post-credits scene where we see Amy hooded.

This raises some important questions: How did Amy know where Sonic would be, and how did she know who he was? The most logical answer would be that, in the future, Sonic and Amy eventually meet, and she decides to go back in time to save him. Another key point of the potential plot would be the origin of Metal Sonic. After all, who created him, considering that Dr. Eggman died in the ARK explosion in the third movie? While Shadow survived because he’s practically immortal, Eggman is just a regular human, making it extremely unlikely that he escaped.

With that in mind, here are some possibilities regarding Metal Sonic’s creation:

Agent Stone as the Creator:

Stone, loyal to Dr. Eggman, could create Metal Sonic as a way to avenge his mentor’s death. This would continue Stone’s arc, showing how he seeks to keep Eggman’s legacy alive.

G.U.N. and Director Rockwell:

Another possibility is that Director Rockwell, who showed distrust toward Sonic and his team, decides to create Metal Sonic. After the events of the third movie, where the planet was nearly destroyed, she might use Metal Sonic as a weapon to eliminate Sonic, believing that he and his team are too uncontrolled.

Eggman as the Original Creator:

There’s also the possibility that Dr. Eggman created Metal Sonic a long time ago, perhaps after returning to Earth at the beginning of the second movie. However, due to the humiliation he suffered when defeated by Super Sonic, he might have abandoned the use of Metal Sonic and kept the project stored along with other copies. These copies could have been activated later, continuing the storyline.

Any of these options could fit well into the fourth movie’s plot, depending on how the writers choose to proceed with the narrative.

Even though the three movies so far have adapted elements from the game franchise—two from the classics and one from the modern games—they contain many original elements. For example, Sonic’s origin was adapted for the movie, and the story takes place on Earth, not on his home island or planet of origin. Additionally, the Master Emerald wasn’t found on Angel Island but on Earth, and Shadow didn’t live on the ARK in space but also on Earth. So, it’s likely that the fourth movie will also introduce original elements while incorporating important aspects inspired by Sonic CD and Sonic Heroes.

Now, here’s my idea of how the fourth movie’s plot could unfold:

Just like in the second and third movies, Amy could appear after the movie starts, similar to how Tails was introduced in the second movie and Shadow in the third. The movie would likely begin with an introduction to Sonic and his team.

After the boys (Sonic, Tails, and Knuckles) decide to organize another friendly race, Sonic gets too far ahead and ends up in New York City. This becomes even more confusing due to the time difference since he, Knuckles, and Tails live on the other side of the United States with Tom and Maddie. It’s at this point that Metal Sonic and Amy enter, as hinted at in the post-credits scenes.

After Sonic is attacked by Metal Sonic and saved by Amy, he’s full of questions. He wants to know who she is, how she knows his name, and how she knew where to find him. His questions are similar to those he asked Knuckles and Tails when he met them. Amy then explains that she came from the future to help him defeat Metal Sonic once and for all.

With no other choice, Sonic decides to take Amy home. There, he introduces her to the rest of the team, and they begin discussing what’s happening. Amy explains that she came from the future to warn him about Metal Sonic and save him. She details Metal Sonic’s origin, explaining that he’s after Sonic to defeat him once and for all since he couldn’t win in the future. That’s why she followed him to the past, both to warn Sonic and help him in his mission.

With this information, Sonic, Tails, Knuckles, and Amy decide to form a team to face Metal Sonic. However, upon realizing that their enemy is extremely powerful, Sonic concludes that the only way to defeat him is by using the Master Emerald again to transform into his Super form and destroy him once and for all.

However, there’s a problem: at the end of the last movie, Sonic 3, Sonic lost his Super form while preventing a global catastrophe. During that moment, Shadow was also in his Super form but stayed behind after the final explosion. This caused the Chaos Emeralds to scatter across Earth due to the impact. Now, Team Sonic must gather the Emeralds again to have any chance against Metal Sonic.

Meanwhile, G.U.N. also steps in. After the events of the third movie, the organization begins questioning how Sonic and Shadow were able to prevent such a large-scale catastrophe. They eventually discover the existence of the Chaos Emeralds and, upon understanding their immense power, decide to locate them to keep them "safe." After all, the Master Emerald is seen as an extremely dangerous weapon, capable of turning a person into something close to a god.

This is where Rouge enters the story. As a G.U.N. spy, she’s sent to locate the Chaos Emeralds before Team Sonic. This sets up a race between both sides: Team Sonic needs the Emeralds to save the world and defeat Metal Sonic, while G.U.N. wants to capture them to prevent them from falling into the wrong hands (even though, for Sonic, that includes themselves).

This intense competition between Sonic and his team against G.U.N. adds a layer of tension and urgency to the film, especially since both sides have legitimate motivations for wanting the Emeralds. However, G.U.N.’s belief that Team Sonic isn’t trustworthy might spark conflicts and tense moments between them.

During this race to recover the Chaos Emeralds, Metal Sonic comes into play. He ends up encountering both sides—Team Sonic and G.U.N.—leading to a major battle among everyone, adding more tension to the plot. At this point, Shadow, who still holds a grudge against G.U.N. for what they did to Maria, temporarily joins Team Sonic. His main motivation is to prevent G.U.N. from keeping the Chaos Emeralds, as he believes the organization doesn’t deserve that power.

Since Shadow has a direct connection to Chaos energy, similar to what we saw in Sonic Heroes, Metal Sonic manages to obtain one of Shadow’s quills. He uses the power contained in it to amplify his abilities and eventually evolves into Neo Metal Sonic. By combining Shadow’s power with the Chaos Emeralds, Metal Sonic reaches his final form: Metal Overlord, the final boss in Sonic Heroes.

However, before this happens, G.U.N. manages to capture the Chaos Emeralds, putting them temporarily ahead in the race. At this moment, Rouge, true to her nature as a jewel thief, betrays G.U.N. She steals the Emeralds, but her escape doesn’t go as planned. She soon realizes the situation becomes critical when Metal Sonic, now more powerful, begins transforming into his primitive forms, leaving a trail of destruction in his wake.

Seeing no other choice and recognizing that Team Sonic is the only hope to defeat Metal Sonic, Rouge hands over the Chaos Emeralds to them. With the Emeralds in hand, Team Sonic activates the Master Emerald’s power, allowing Sonic to once again transform into his Super form. With this power, Sonic faces Metal Overlord in an epic final battle.

Shadow’s role at this moment remains uncertain. He might join Sonic in his Super form, as he did at the end of Sonic Adventure 2 and Sonic Heroes, or he might choose not to intervene directly. Regardless, this battle serves as a major climax for the film, bringing both classic and original elements to the story.

Although the previous films have adapted elements from the games, they’ve also added their own unique ideas, and it’s likely the fourth film will follow the same trend. The movie universe, after all, is separate from the games’ universe, giving the writers creative freedom to develop new stories and explore different dynamics between the characters.

Regarding Shadow’s presence in the fourth film, I believe he’ll play a key role, as his connection to Chaos energy is crucial for Metal Sonic’s transformation into Metal Overlord. Shadow’s involvement would also be an opportunity to further explore his relationship with his past and G.U.N., as well as strengthen the dynamics within the movie universe.

Introducing Rouge, hired by G.U.N. to steal the Chaos Emeralds, would be an excellent way to bring the character into the cinematic universe. This initial role, where she infiltrates as a spy and later betrays G.U.N., demonstrates her cunning and independence while establishing her motivations. By the end of the movie, Rouge could team up with Shadow and Agent Stone to form the famous Team Dark, opening doors for future storylines.

As for Omega, his introduction would be a bit more complicated. However, one possibility could be Agent Stone reactivating one of Dr. Eggman’s old robots, as Omega was originally created by Eggman to serve as a guardian and companion. This idea would fit well with the theme of reclaiming Eggman’s legacy in the movie, but his presence would need to be carefully balanced to avoid overwhelming the story.

Introducing too many characters in the fourth movie could be a challenge. While it’s exciting to expand the cast, it’s essential to keep the story’s main focus: the showdown between Metal Sonic and Sonic. In the first three movies, new characters were introduced in a balanced way, always keeping Sonic at the center. This balance ensured that Sonic’s protagonism remained intact, even with the addition of significant figures like Tails, Knuckles, and Shadow.

Therefore, while Rouge and Shadow’s presence seems essential, adding more characters like Omega could be challenging without diverting attention from the main plot. It’s important that the movie continues to highlight Sonic as the main hero, ensuring that new additions complement the story rather than overwhelm it.

The dynamic between Sonic and Amy in the fourth movie could indeed follow a friendship and camaraderie approach, similar to what we saw in the Super Mario Bros. animated movie. Just as they portrayed Princess Peach as a strong and independent warrior alongside Mario, Amy could be presented as a powerful and strategically important ally, without forcing a romantic relationship between her and Sonic.

Although Amy is traditionally Sonic’s romantic partner in the games and series, SEGA has already clarified that their relationship isn’t canon. This decision reinforces the creative freedom to adapt the character in the cinematic universe while maintaining the individuality of both characters. Sonic, with his adventurous and carefree personality, would hardly fit into a romantic role in the movies, as it could shift focus from his journey as the protagonist.

In the movie, Amy could be presented as someone who shares the same goals as Sonic, fighting alongside him and his team against threats like Metal Sonic. The post-credits scene of the third movie already gave us a glimpse of her combat skills and confidence, highlighting her iconic hammer as her weapon. This suggests her presence in the fourth movie will be more as a warrior and strategic ally rather than a character dependent on Sonic or hopelessly in love with him.

This approach also creates a more modern and inclusive dynamic for the audience, showing that a female character can be equally strong and independent without being defined by a romantic relationship. A deep friendship and mutual respect between Sonic and Amy could strengthen the development of both characters while maintaining the adventurous and lighthearted tone that characterizes the franchise.

Finally, let’s talk about the possible post-credits scenes of the fourth movie, which always leave clues for the next chapter in the franchise. Since it’s been confirmed that the fourth movie won’t be the last—the idea is to create a quintology (five movies) and not a sextology—it’s very likely that the post-credits scenes of the fourth movie will introduce a new character or hint at the plot of the next movie.

One of the strongest speculations among fans is the possible appearance of Silver the Hedgehog in the post-credits scenes. This would make perfect sense since Silver is a central character in the Sonic the Hedgehog 2006 game, whose storyline revolves around time travel. Just as Amy and Metal Sonic are essential to the plot of the fourth movie, introducing Silver in the post-credits scenes would be the perfect bridge to address the plot of Sonic 2006 in the fifth movie.

Silver could appear from the future, on a mission to alter past events to save the chaotic future he came from. His arrival would bring new dynamics to the story and expand the Sonic cinematic universe, exploring themes like fighting to change destiny and the challenges of time travel.

However, I prefer not to delve into theories for the fifth movie just yet, as the fourth movie hasn’t even been released. I think it’s better to wait for the official release of the fourth movie to understand the clues they’ll leave behind and then develop more solid theories about what to expect in the fifth film.

And that’s it, everyone! This is my theory for the fourth Sonic movie. I know some ideas might seem a bit out of the box, but as we’ve seen in the first three movies, they don’t exactly follow the stories from the games. There are many original additions and changes to fit the Sonic universe into the cinematic narrative, and I believe the same will happen in the next film.

If you’ve read this far, thank you for reading my theory! Now I’d like to know your opinion: what do you think might happen in the fourth movie? Share your ideas, and let’s keep this conversation going! :)

[yiichan]

oblivious ; kwon soonyoung | hoshi

PAIRINGS — yandere!hoshi x actor!male!reader WORD COUNT — 0.9k words. GENRE — yandere, nonidol au, request. WARNINGS — yandere/obsessive elements, reader is oblivious, your writer took too much time reading a/b/o works and playing jjk phantom parade and working that she keeps forgetting to write.

REQUEST — hiiii!! just found your blog, and let me just say that your works are amazing. like, i rarely see any svt x male reader fics, and as a fanboy, that was honestly sad. so your blog is literally a god send. may i request a yandere!hoshi x actor!male reader where they are close friends. hoshi obviously want something more, but reader is entirely oblivious to the hints hoshi is dropping. please, and thank you!! <3.

WRITER'S NOTES — i had to rewrite this like three times lol, hope you like it? also i changed the presentation format for requests hehe.

masterlist | navigation | main page | kofi | ao3

You adjusted your cap, focusing on the bubbling hotpot as Soonyoung carefully dipped a piece of meat into the broth. The steam curled up, warm and comforting, though the way Soonyoung watched you felt oddly intense.

“Here, you should eat more, hyung,” he said, fishing out the cooked meat and placing it on your plate with practiced care.

You smiled at him, pushing a cup of water his way. “Thanks for inviting me, Hoshi-ah.”

Soonyoung’s lips curved into a small smile, a blush dusting his cheeks. “How could I not? You’re the most important person to me, hyung.”

You chuckled, dipping the meat into the sauce he’d already prepared for you. “Of course, you’re my best friend, Hoshi-ah,” you replied casually, completely missing the way his jaw clenched for a split second.

As you turned your attention back to your phone, Soonyoung’s gaze lingered on your face, his eyes tracing every line and curve. His chest tightened as he watched you, your obliviousness both endearing and maddening. Why don’t you see it? he thought, biting the inside of his cheek.

The soft sound of your laughter broke him from his thoughts. “What’s so funny?” he asked, forcing a playful tone.

“Just something a friend sent me,” you said, showing him the screen briefly.

Soonyoung’s smile faltered for a heartbeat before he quickly recovered. “You’re always so popular, hyung,” he teased lightly, though his words carried a faint edge.

You laughed again, and Soonyoung swallowed hard, his gaze dropping to the table. “I’ll make sure you’re always laughing like this,” he muttered under his breath, the words barely audible.

“Hmm? Did you say something, Hoshi-ah?” you asked, glancing up at him.

He shook his head, masking his emotions with a bright smile. “Nothing, hyung. Just eat up—you’ll need the energy if we’re going to watch movies later.”

After setting up the guest room, Soonyoung returned to the living room, his grin as wide as ever. “Hey, hyung,” he said, holding up a Blu-ray case. “Look what I found in my collection. I didn’t even realize I had this one—your movie.”

You blinked, taken aback. “Wait, you have that? It’s so old.”

“Old but gold,” he quipped, already loading it into the player. “Besides, I don’t mind rewatching it. You’re amazing in this one.”

You felt your cheeks flush slightly. It wasn’t that you were unaccustomed to praise—being an actor, compliments came with the territory. But the way Soonyoung said it, his tone laced with something deeper, made you feel strangely self-conscious. “You really don’t have to…”

“Oh, but I do,” he interrupted, plopping down next to you. “You need to see how incredible you are. Maybe you don’t give yourself enough credit.”

The film began, and as the opening scene played out, you cringed slightly. “This was one of my first roles. I wasn’t even that good yet.”

“You’re being modest,” Soonyoung countered, his eyes glued to the screen. “Look at that expression. That intensity. You were born for this, hyung.”

You smiled sheepishly, focusing on the movie. Still, it was a little surreal watching yourself on screen while sitting next to your best friend. Soonyoung’s enthusiasm was infectious—he laughed at all the right moments, gasped at the action scenes, and even mimicked one of your lines in an exaggerated tone, earning a playful nudge from you.

But as the film progressed, you noticed Soonyoung stealing glances at you more often than the screen. His gaze was heavy, lingering on your profile, his lips quirking into a faint smile whenever you reacted to a scene. It was flattering, sure, but also… unsettling.

During a particularly emotional part of the movie, Soonyoung let out a low sigh. “You know,” he began, his voice softer now, “I always thought you were amazing. Even before you became famous. You’ve always had this… spark.”

You chuckled nervously. “Come on, Hoshi-ah, you’re making it sound like I’m a superstar or something.”

“You are,” he said simply, turning to face you fully. “To me.”

His words hung in the air, and you felt a strange tension settle between you. You were about to respond when the scene on screen shifted to a romantic moment—your character leaning in for a kiss with the lead actress.

Soonyoung’s jaw tightened almost imperceptibly. “That part,” he muttered, his voice dropping, “always felt... off. She didn’t deserve you.”

You blinked, caught off guard by the intensity in his tone. “It’s just a movie, Soonyoung.”

“Yeah, but still.” He laughed lightly, though it didn’t quite reach his eyes. “If I were the director, I would’ve cast someone else for that role.”

You didn’t know how to respond, so you settled for an awkward laugh, shifting slightly away from him on the couch. Soonyoung noticed but said nothing, his smile returning, though it felt more calculated now.

As the movie ended, you stretched and stood up, feigning a yawn. “Alright, I really should get to bed. Thanks for watching that with me, though.”

Soonyoung’s smile didn’t falter, but his eyes followed your every movement. “Of course, hyung. Sweet dreams.”

You retreated to the guest room, shutting the door behind you and leaning against it. For the first time since you’d arrived, you felt a strange unease creeping over you. There was something in the way Soonyoung looked at you tonight—like he wasn’t just watching you, but memorizing you.

As you lay in bed, your phone buzzed with a message from an unknown number.

“Do you ever wonder who truly knows you?”

© yiichan, 2024 origin of divider

[zhansww]

Earlier today, I randomly checked if there were any screenings of Legend of the Condor Heroes in my city, fully expecting there not to be, but there actually was one, just half an hour later. (I checked for any of dd’s movies, too, but I never got to watch those here so ofc, I didn’t expect to be able to watch gg’s new movie either. So glad that I could, tho) I immediately drove to the cinema to watch it and just got back home now and have some thoughts.

First of all, I loved seeing Zhan-ge’s face on the big screen. Absolutely loved it. They kept the Mandarin subtitles on-screen and it was quite interesting to hear him speak Mongolian which didn’t fit the subs at all. I have no clue if this was just a dialect but it sounded like a different language to me. (Very reminiscent of hearing dd speak with a dialect in WuMing) The fight scenes Guo Jing had were all probably the highlights of the movie imo. In fact, I think it’s quite obvious that the battle and fight scenes were what the movie focused on the most which unfortunately made the rest of the film suffer for it but I’ll get to that. Another very important thing to mention is that there was fortunately no kiss scene, thank the lord. And to be honest, that’s all the praise I can give the movie. I would still absolutely recommend it for the sheer joy of seeing Zhan-ge’s face in the cinema and Guo Jing, being a badass.

Getting to the bad parts, I think Guo Jing’s competence may be something to criticize. Aside from the prologue, there is pretty much no growth for this character. He basically starts off as an incredibly strong fighter and he ends as such, too. On one hand, it’s def cool to see a competent character like that but on the other hand, when you don’t really see a character struggle and grow, it makes them less... real? I dunno how else to put it. Like, it’s a bit hard to like and relate to a character who is basically perfect, from beginning to end. I would have liked to see more of how Guo Jing became who he was. But clearly, there wasn’t enough time for that in the movie.

spoilery stuff under the cut~

As far as Guo Jing’s “love story” goes, it’s a great example of tell-don’t-show. Within the first ten minutes, we get told that those two characters are in love and then they sorta break up and like the next two thirds of the movie are dedicated to them, finding each other again. None of their scenes worked, on an emotional level, because there is nothing I saw of their romance so I also didn’t care for it one bit. There’s a second female character whose entire story line is just that of being the third wheel in this love triangle. Literally, the chemistry between the two female leads was a lot more compelling than the chemistry between either of these girls with gg, tho. There was even some weirdly romantic music playing during two of their scenes like bruh. I ship it.

There is one scene when Guo Jing has to escape and he wants to grab his mother to leave together but she kills herself so as not to be a burden to him. I had to stop myself from laughing when that happened because jesus fucking christ. It was such a ridiculous, inane death. But it was ofc presented as a very dramatic and sad scene. Bless gg and his glorious acting skills.

The whole movie was thick with plot and yet the plot felt way too thin. There was so much that wasn’t properly shown or explained or simply didn’t make sense. But you just have to roll with it. It was also so dramatic, right from the get-go, one dramatic scene followed the other, with barely any quieter scenes in between. It was basically a bunch of stories, happening in quick succession and squeezed together into a movie with not enough coherence. So, quite different from the usual format of rising action and a climax before the falling action and conclusion. I strongly feel that this shoulda been a drama rather than a movie.

But still, I am really happy I got to see this and I would also still recommend it. The ending had some loose ends actually, which makes me wonder if there’s going to be a second part. We’ll see~

[a-boca-do-inferno]

when i look at you (al pacino x reader) [request]

summary: Al finds himself at a crossroads on set.

warnings: fluff, bit of angst

words: 1.0k

notes: hello guys! yes, im alive and well. just a clarification: i write for characters only, but i wrote this one thing specifically for a request that has been sitting in my inbox for a long time. at this moment requests are closed, but once they open again, it's for characters only!!! no real people. enjoy xx

NEW YORK CITY

1975

Amid the towering skyscrapers and labyrinthine streets, the movie set hummed with activity. Al was shooting his latest film and the director, Jack, a man known for his often stress-inducing standards and fiery temperament, stood at the helm. The set was abuzz with anticipation and nerves, but your figure was the only thing he could see. You had been a constant presence on set up until that point and such a vision, full of grace and quiet strength, never failed to catch his attention. 

Al was well aware you grew up in the world of cinema, your father’s passion seeping into your very being, however Jack was fiercely protective, ensuring you stayed away from the darker sides of the industry. And it was quite clear you loved your father dearly, yet longed for a taste of the freedom you saw in the actors and crew around you. The lingering gaze you directed at Al himself could attest to that; he’s seen that look on a woman’s face before. 

The longing for more.

Al first noticed you during a scene where he was meant to display raw emotion. He glanced over and saw you, half-hidden behind the camera, your attention locked onto him, watching intently. There’s just something in your globes—admiration, curiosity, who knows?—that struck him. For a moment, he almost broke character. It was on that day he decided he had enough. 

Al approached you on the lunch break, trying to keep his tone casual. “Hey.”

You looked up, a hint of surprise in your expression. “Hey! Uh… I’ve seen all your movies, Mr. Pacino. You’re incredible.”

He chuckled. “Just Al is fine, and thank you.” He displayed a playful bow. “I’ve seen you around a lot. You work on the set?”

You shook your head. “Not really. I just like being here, watching everything come together. It’s… magic.”

Your conversation was cut short by Jack’s booming voice calling Al back to the set. As he walked away, he glanced back and saw you still looking at him, your glance filled with that something he couldn’t quite place again.

Over the next few weeks, your interactions became more frequent, always under the radar. You would steal moments between takes, sharing stories and laughter, your connection growing stronger. Al found himself drawn to your intelligence and warmth, a stark contrast to the often superficial nature of Hollywood. And you, in turn, were captivated by his intensity and passion. He treated you as an equal, valuing your opinions and thoughts, which wasn’t a dynamic you were used to. 

It wasn’t long before these stolen moments began to feel like the most important parts of your day. Still, the shadow of Jack’s disapproval hung over you both. He would never approve of his daughter being involved with one of his actors, and especially not someone with Al’s reputation involving women. 

One evening, after a long day of shooting, Al found you alone on the rooftop of the building where they were filming that day. “Hey”, he said softly, joining you at the edge. “Penny for your thoughts?”

You smiled, though it seemed tight. “Just thinking about how much I love this city. And how much I hate keeping secrets.”

Al sighed, reaching out to take your hand. “I wish things were different.”

You turned to face him, your eyes searching his. “What if they didn’t have to be? What if we… just told him?”

“He’d be furious”, Al replied matter-of-factly. “He might even fire me. I can’t risk that, not with everything riding on this film.”

You squeezed his palm. “I can’t keep pretending we’re just friends, Al. It’s tearing me apart.”

Al pulled you into his arms, holding you close. “I know, sweetheart. We’ll figure something out, I promise.”

Your embrace was interrupted by the sound of the rooftop door opening. You sprang apart just as Jack appeared, his eyes narrowing suspiciously. “What are you two doing up here?” He demanded.

“Just talking”, Al said quickly. “Needed some fresh air.”

Jack’s gaze shifted between you, doubt flickering in his features. “(y/n), it’s late. You should head home.” 

You only nodded, giving Al a fleeting, pained look before going with your father inside. The days that followed were filled with tension. You continued to see Al in secret, your moments together a mix of stolen kisses and whispered confessions. The fear of being discovered loomed over you, but so did the hope that one day, you wouldn’t have to hide.

One afternoon, as the crew was setting up for a particularly challenging scene, Jack pulled Al aside. “We need to talk.” Al’s heart pounded as he followed Jack to a quieter area of the set. He turned to the younger man, his face unreadable. “I know something’s going on between you and my daughter”, he stated bluntly.

Al’s breath caught in his throat. “Jack…”

“I’m not a fool, Al. I see the way you look at her. And she’s been different lately. Happier.”

Al swallowed hard, choosing his words carefully. “I care about her, Jack. I really do.”

Jack’s eyes softened, albeit but a fraction. “She’s my world, Al. I’ve protected her from everything this industry can throw at her. If you hurt her, I don’t know what I...”

“I won’t”, Al stated quickly, in a single breath. “I love her.”

The confession hung in the air, heavy with unspoken emotions. Jack studied him for a long moment before sighing quietly. “I believe you” he sighed at last. “But if you’re serious about this, you need to do it right. No more sneaking around. Be honest with her. And with me.”

Al felt a wave of relief wash over him. “Thank you. I promise I’ll make her happy.”

Jack nodded briefly, then clapped a hand on Al’s shoulder. “Alright, let’s get back to work. And later, we’re all going to dinner together. That’s your second job interview.”

Al laughed in a mix of amusement and nervousness before leaving his side to try and find you. And there you were, the same vision he came to admire everyday on set; except now his eyes were the ones sparkling with something different. No more longing, though. 

Only love. 

[thescreaminghat]

so i watched suzume. . .

And it was good—the animators, vas, musicians, and other talented people who worked on this film deserve so much praise for their work.

On the other hand (and this is a purely personal exercise that isn't meant to detract from Makoto Shinkai's vision for the piece), I think the overall theme of the film might have been better served if the story centered on the ups and downs of Suzume's relationship with her aunt Tamaki, rather than Souta.

Suzume is very much a story about grief—set against the tragedy of the 2011 tohoku earthquake, Suzume's personal struggle with the loss of her mother is arguably our entryway into understanding how this tragedy continues to shape the relationship between Japan’s very geography, its history, and its people.  

I believe that central to this narrative focus is Suzume’s complicated relationship with Tamaki, her mother’s sister, who raised Suzume for much of her life after the loss of Suzume's mother. For me, one of the most important moments of Suzume and Tamaki’s relationship is shown at the climax of their disagreements with each other. After being Suzume's sudden departure from their small town (partially out of that rebellious teenage desire to not be "suffocated" by Tamaki's presence; we'll get to Souta’s role in this later) and Tamaki's understandable worry about Suzume's wellbeing (which leads her to embark on a wild goose chase after Suzume, though we’re not shown much of Tamaki’s personal journey), Tamaki yells at Suzume while the two are at a rest stop with Souta’s friend Serizawa. Tamaki bitterly states that raising Suzume after her sister's death had been a suffocating burden on her as well, as she couldn't find love and live the life that she had wanted because of her responsibility. This leads Suzume to shrink back in disbelief, as she recalls a pivotal memory where, after wandering in a snowstorm in search of her mother (and encountering the Ever After), she is found by Tamaki, who cries and affirms that Suzume will always be her daughter. It's a heartbreaking scene. We can empathize with both characters—Suzume is closer in age to most viewers, and we know that she doesn’t really hate her aunt’s presence, as the stress of her chase after Daijin and Souta’s temporary “demise” has whittled away at her emotions. Similarly, we can imagine that Tamaki herself likely hasn't overcome her grief at losing her sister, and that her outburst wasn’t truly genuine—she does love Suzume, but she wants her adoptive daughter to understand the sacrifices she had made, because she had no one else to confide in or rely on. We anticipate that this is the emotional crux of the movie, showing the relationship of a surrogate mother to a child who has gone through deep, unresolved trauma, now burdened with the consequences arising from the "imbalances" of the spirit world, itself a metaphor for the turbulence of living and of losing.

. . .and then the movie doesn't do anything with this scene. It's suddenly cut short with the random appearance of the keystone Sadaijin, and any lingering tension from that scene is resolved offscreen, with Tamaki and Suzume regaining each other's trust in the next scene. It feels unearned and deeply unsatisfying, especially when the emotional core of the film then gets transplanted onto Suzume's emotional relationship with Souta, a college-aged man whom she has known for less than a week (Suzume, by the way, is in high school, and even if they don’t “get together” in the movie, it makes me a bit uncomfortable seeing someone who is implied to be in their twenties being the implied romantic interest for a seventeen-year-old).

So, I thought, what if the movie kept its cast of characters, and the general sequence of events, but instead of Souta being the one cursed by Daijin to be the keystone (an act that initiates the film's events), it was Tamaki? This is going to be broken up into a few reblogs since it's too long for one post, but here's how I would structure it. (Part 1 of 2, and with a lot of my own hc interactions)

The beginning of the film can stay the same, including Souta's appearance. however, the driving force for Suzume to go to the isolated spot where the first door is located is an argument with Tamaki, rather than her implied curiosity regarding Souta. Perhaps, in this fight, we see bits of Tamaki's personality that may come across as "suffocating" to a teenager, even if she meant well.

Suzume, bothered by Tamaki's presence and the dream that she had of wandering through the Ever After, goes to this isolated spot to get away from everything, which is where she encounters the door and Daijin. Perhaps she's sulking a bit, and makes some sarcastic remark about someone like Souta being able to travel (something that would show her interest in leaving the small town she currently lives in). She then opens the door, Daijin escapes, and she goes about her day as in the film, until the worm appears above the skyline.

She then runs back to the door, where she encounters Souta again. They close the door, and Souta explains what he does and what the door represents. She brings Souta back to their house for medical treatment (except without any of the weird romantic tension between them), and they begin talking about Suzume’s life (perhaps about her room, the chair, and her dreams, as Suzume imagines the kinds of dangers—and thrills—that come with Souta’s position as a Closer).

This is where Tamaki comes back into the story. Tamaki, returning early to check on Suzume and encountering Suzume and Souta together, thinks the worst and begins to berate Suzume. They get into another argument, with Souta trying to calm the two down. Suzume, already stressed from the day's events, wishes that she can be "free" of Tamaki.

This is when Daijin appears on the windowsill, shit-eating grin and all, and says something along the lines of "Ok, Suzume. I can do that—because you're just like me." And then Tamaki is suddenly turned into a chair.

The same chaos ensues, with Tamaki, Souta, and Suzume chasing after Daijin until they get on the ferry. This is where Souta can give some more exposition, saying that he's never encountered this before, while encouraging Tamaki and Suzume to try and come together as he figures the whole thing out. Perhaps this is also the time where we get more information about Souta's personal life (in this version, it is information about his desire to become a teacher, as well as info about his relationship with his own mother, who was killed during a dangerous mission she took on as a Closer.)

The trio continue chasing after Daijin, with the group splitting up by necessity (thus allowing Tamaki and Suzume to have more screentime together). Specifically, Souta finds out that another door is opening off the path of travel they are taking after Daijin, and he instructs Tamaki and Suzume to continue their journey while he takes care of the other door. Before he leaves, he gives Suzume another key he keeps in his possession, which he reveals belonged to his mother.

Suzume and Tamaki continue onwards and meet Chika, the girl on the motorcycle. Suzume and Tamaki then cooperate in closing the door opened by Daijin. In this version, I think it would be interesting if Daijin is actually actively opening doors, not simply leading the pair to doors that are about to open. This serves as a huge bonding moment for Suzume and Tamaki, as they previously couldn’t go a day without arguing over the best way to do things.

Suzume and Tamaki stay at Chika's place (and have the downtime with Chika that is shown in the movie), except Suzume's dialogue with Tamaki consists of her confessing that she is jealous of Chika's independence and the bustling atmosphere at Chika's home. Tamaki is initially angered by this, but gradually calms down in her “chair corner” as she sees Suzume and Chika having fun, perhaps even reminding Tamaki of her own childhood with her sister.

When Tamaki falls asleep, she sees visions of her sister, which both frightens and immobilizes her (i.e. literally her survivor’s guilt “anchoring” her in place). This is meant to replace how Souta gradually descends into his “death” when he sleeps.

Suzume and Tamaki head off and are picked up by Rumi, the mother who works at the hostess bar. Initially, Tamaki whispers to Suzume that she doesn’t want Suzume hitchhiking with a stranger, but Suzume tells her that sometimes they need to rely on others to get by. The same comedy shenanigans with Rumi’s children can be kept in—I think it’s more fitting that Tamaki plays the role of the “toy chair that can speak” in order to keep the children entertained, because she probably, after all, raised Suzume on similar silly stories.

Suzume and Tamaki run to the abandoned fairgrounds to close the other door when the worm appears. I think this scene becomes more impactful when Tamaki is the chair and not Souta, as her decision to save Suzume from falling from the Ferris wheel and letting Daijin go would highlight her parental worry for Suzume, though perhaps this isn’t fully realized by Suzume in the midst of her adrenaline rush. Suzume, however, does look upon the fairground as a place that she wants to go to with Tamaki, when all of this is over, though she keeps this to herself.

Suzume, watching Rumi work her shift as a hostess, comes to appreciate the struggles of being a mother more. Similarly, Tamaki wants to connect with Rumi as a peer, but is limited by her chair form. Seeing Suzume bond with Rumi makes Tamaki want to be there for Suzume, as she sees Suzume slowly maturing into her own person. However, neither Suzume nor Tamaki feel ready to fully open up about these nuanced feelings, as they fall instead into a comical back-and-forth when they’re alone.

Suzume and Tamaki manage to get to Tokyo, where they meet up with Souta. He tells them that he’s been doing whatever research he can to try and figure out how to break Tamaki’s curse. This is where he can explain the keystone lore to Suzume and Tamaki.

The giant worm starts appearing over the city. Tamaki insists that Suzume get out of Tokyo. Souta agrees, and tells Suzume and Tamaki to leave, stating that he can handle the worm himself. Suzume refuses, stating that she’s not going to let anyone else die—the “else” implying that she too still feels survivor’s guilt over her mother’s death.

Despite Souta’s attempts at reasoning with her, Suzume is adamant on staying—Daijin appears and mocks her, telling her that she only knows how to let her aunt dictate how she lives. Suzume rushes ahead without Souta and Tamaki. Tamaki and Souta chase after Suzume, with Tamaki yelling at Suzume again, calling her “rash”, "always making her worry and chase after her," and “thinking and behaving like a child”.

Perhaps Suzume covers her ears, as Tamaki’s words begin to blend into Daijin’s laughter as he scrambles towards the worm. Perhaps Suzume screams out loud, screaming that she felt as though Tamaki had never believed in her, that even when an entire city is threatened, Tamaki cares only about herself, and knows only how to chastise and suffocate Suzume. This shocks Tamaki, but before she can respond, the trio are shot up to the worm’s back, and Souta attempts to seal the worm. However, Daijin interferes and Souta is injured. Suzume then tries to grab Daijin, only for Daijin to purr contentedly and state that he understands what Suzume is feeling—that is why Tamaki will now be the keystone, and both of them can be free.

Suzume turns to Tamaki, only to find that she is unresponsive. Ice is forming around her, as Suzume’s words echo over and over in her mind. Perhaps Tamaki then screams in grief as she sinks deeper into her regret and memories of her sister—that is when we get her screams about how much she had sacrificed for Suzume, and how much happiness Suzume took from her (basically what she said during the rest stop confrontation).

(pt 1 end)

[spider-mandaily]

What are your opinions on Gwen Stacy?

Alright, Anon, strap in because we’re about to go DEEP into every version of Gwen Stacy across comics, movies, TV, games, and animation. I think that Gwen Stacy isn’t just a character—she’s a cornerstone of the Spider-Man mythos who has transcended her origins. Let’s explore her legacy in excruciating detail.

COMICS GWEN STACY: THE FOUNDATION OF A LEGACY

Earth-616 Gwen Stacy: The Original Love Interest

Gwen Stacy’s first appearance in The Amazing Spider-Man #31 (1965) by Stan Lee and Steve Ditko establishes her as one of Peter Parker’s first major love interests. She’s a fellow student at Empire State University, introduced alongside Harry Osborn. Gwen is immediately striking: intelligent, confident, and beautiful. But her personality is far more layered than the archetype suggests.

In the early issues, Gwen is portrayed as a complex mix of warmth and insecurity. It is important for us to know and understand that Gwen did not initially build an attraction towards Peter here, not to mention that they only first met each other in college and not in highschool. While she and Peter obviously get much closer later, both in their own ways, at moment she did not really like him, as Peter’s constant worrying of Aunt May caused him to ignore his classmates almost entirely!

Yet, later, she obviously quickly develops feelings for Peter, but his double life as Spider-Man keeps pulling him away from their budding relationship. This causes tension, and Gwen’s emotional volatility mirrors Peter’s struggles. For example, in The Amazing Spider-Man #33, while Peter is fighting to save Aunt May’s life (the iconic “lifting the rubble” scene), Gwen is frustrated by his absence at school. This conflict becomes a recurring theme—Gwen represents Peter’s longing for a normal life, but his Spider-Man responsibilities constantly sabotage their happiness.

One of Gwen’s most defining moments comes in The Amazing Spider-Man #90 (1970), when her father, Captain George Stacy, dies during a fight between Spider-Man and Doctor Octopus. As Captain Stacy dies, he reveals that he knows Peter is Spider-Man and asks Peter to protect Gwen. This moment cements Peter’s sense of responsibility toward Gwen, but it also adds layers of guilt, as he indirectly blames himself for Captain Stacy’s death. Gwen, unaware of Spider-Man’s identity, is devastated and begins to distance herself emotionally.

“The Night Gwen Stacy Died”

Gwen’s death in The Amazing Spider-Man #121-122 (1973) is one of the most famous—and controversial—events in comic book history. The Green Goblin (Norman Osborn) kidnaps Gwen and throws her off the George Washington Bridge (though the comic mistakenly refers to it as the Brooklyn Bridge). Peter attempts to save her with his webbing, but the sudden stop causes her neck to snap, killing her instantly.

This event shattered readers in the 1970s. Gwen’s death marked a turning point in superhero storytelling, transitioning from the lighthearted Silver Age to the darker, more mature Bronze Age. It wasn’t just that Gwen died—it was how she died. Peter’s failure to save her, despite his best efforts, highlighted the harsh reality that even superheroes can’t save everyone. This moment haunts Peter for the rest of his life and becomes a foundational part of Spider-Man’s mythos.

Spider-Gwen/Spider-Woman (Earth-65): The Hero Reborn

Decades later, in Edge of Spider-Verse #2 (2014), Jason Latour and Robbi Rodriguez reimagined Gwen Stacy as Spider-Woman in an alternate universe. On Earth-65, it’s Gwen who is bitten by the radioactive spider instead of Peter Parker. This reinvention flips her traditional role on its head—she’s no longer a victim but a hero in her own right.

Spider-Gwen’s world is a vibrant punk-rock-infused universe. Gwen is the drummer for a band called The Mary Janes (with lead singer Mary Jane Watson). Her costume—sleek white with pink-and-black accents and a hood—is instantly iconic.

Her backstory carries shades of Peter’s original guilt: in this universe, her friend Peter Parker becomes the Lizard after experimenting on himself to gain powers. Gwen, as Spider-Woman, is forced to fight him, and he dies as a result. This tragedy defines her heroic journey, much like Uncle Ben’s death defines Peter’s. Spider-Gwen’s adventures explore themes of identity, guilt, and redemption, while also letting her team up with other Spider-heroes in events like Spider-Verse and Spider-Geddon.

In later series like Spider-Gwen: Ghost-Spider, Gwen’s multiverse-crossing adventures showcase her growth as a leader. She frequently interacts with Earth-616 Peter, Miles Morales, and other Spider-people, cementing her place as a fan-favorite in the Spider-Man family.

GWEN STACY IN LIVE-ACTION MOVIES

Bryce Dallas Howard in Spider-Man 3 (2007)

In Sam Raimi’s Spider-Man 3, Gwen Stacy is played by Bryce Dallas Howard, but this version of the character is underwhelming. She’s introduced as a rival love interest to Mary Jane Watson, functioning as little more than a plot device to create tension between Peter and MJ. While Howard looks the part and has a few moments of charm, I think this Gwen lacks depth or connection to the tragedy that defines her in the comics. But still, I did enjoy her portrayal of Gwen Stacy.

Emma Stone in The Amazing Spider-Man Series (2012-2014)

Emma Stone’s portrayal of Gwen Stacy in Marc Webb’s The Amazing Spider-Man and its sequel is widely regarded as one of the best live-action adaptations of a Spider-Man character. This Gwen is smart, ambitious, and deeply involved in Peter’s life, both as a romantic partner and a teammate which was seriously groundbreaking to watch in my opinion.

In the first film, Gwen works as an intern at Oscorp, where she demonstrates her scientific brilliance. She’s not just a damsel in distress—she actively helps Peter in his battle against the Lizard, providing the antidote to stop Dr. Curt Connors’ plan.

The chemistry between Emma Stone and Andrew Garfield is electric, making their relationship one of the highlights of the series. In The Amazing Spider-Man 2, Gwen’s ambitions take center stage—she plans to study in England, creating conflict with Peter, who fears for her safety.

Gwen’s death in The Amazing Spider-Man 2 is a direct homage to The Amazing Spider-Man #121. The scene is heart-wrenching, with Peter failing to save her in a moment that mirrors his comic-book tragedy. Emma Stone’s performance in this scene captures the raw emotion of Gwen’s loss, making it one of the most memorable moments in superhero cinema.

GWEN STACY IN ANIMATION

A Multiversal Version Of Gwen Stacy Only Appeared Once In Spider-Man: The Animated Series (1994-1998)

Gwen Stacy didn't initially appear in the hit '90s adaptation Spider-Man: The Animated Series, which focused on love interests like Mary Jane Watson and Felicia Hardy/Black Cat instead. However, an alternate reality version of Gwen Stacy later appeared in the season's two-part final, "Spider Wars." I think that this version (voiced by Mary Kay Bergman) was unique. She'd survived past her death in the comic timeline and gotten engaged to her Peter Parker, who'd created a powerful Spider-Armor before he was recruited to save the multiverse from Spider-Carnage.

The Spectacular Spider-Man (2008-2009)

In this critically acclaimed series, Gwen Stacy is voiced by Lacey Chabert. This version of Gwen is Peter’s best friend and academic rival, portrayed as shy and awkward but fiercely intelligent. The show builds her relationship with Peter slowly, making her feelings for him feel earned rather than rushed.

Gwen’s emotional depth is a highlight of the series, especially in her interactions with Peter and her struggles with her own insecurities. The show ended prematurely, but its portrayal of Gwen is widely regarded as one of the best adaptations.

Ghost-Spider Joined The Multiversal Web-Warriors In Ultimate Spider-Man vs. The Sinister Six (2012-2017)

DisneyXD aired the Ultimate Spider-Man animated series, which took on the new title of Ultimate Spider-Man vs. The Sinister Six for the fourth and final season. The series introduced an alternate version of Gwen Stacy/Spider-Gwen (voiced by Dove Cameron).

This version of the character hailed from Miles Morales/Kid Arachnid's home reality. She used technology to replicate Miles Morales' powers and became her reality's protector after Miles stayed in Spider-Man's home reality.

Ghost Spider Joined An Animated Team Of Secret Warriors In The Marvel Rising (2018 - ) Movie Specials

A new series of animated specials that highlighted new waves of young heroes debuted in 2018 under the Marvel Rising banner, which featured Daisy Johnson/Quake as she organized a team that would become known as the Secret Warriors. (This team would eventually include Gwen Stacy/Ghost-Spider).

The character's storyline followed Spider-Gwen's comic origins, although it was blended into the main Marvel universe continuity for Marvel Rising, which also saw Dove Cameron reprise her role as Gwen from Ultimate Spider-Man.

Marvel's Spider-Man (2017 - ) Explored Gwen Stacy's Connection To Dr. Miles Warren/The Jackal

The most recent animated series debuted in 2017 as Marvel's Spider-Man, and included Gwen Stacy (voiced by Laura Bailey) as one of the brilliant students of the reimagined Horizon High, alongside other popular characters like Miles Morales and Anya Corazon/Spider-Girl, all of whom would soon team up with Spider-Man as costumed superheroes. The series merged Gwen with her alternate reality Spider-Gwen character and reimagined her relationship with The Jackal, who became her uncle instead of a twisted admirer. Marvel's Spider-Man is the only adaptation that attempted to explore their long comic history in any form.

Ghost-Spider Appeared Alongside Spider-Man In Marvel Super Hero Adventures (2017-2020)

Spider-Man and his allies star in Disney Junior's Marvel Super Hero Adventures, which began airing in 2017 with kid-friendly stories that teamed the wall-crawler with various heroes in the Marvel Universe, including an alternate reality Gwen Stacy/Ghost-Spider (voiced by Emily Tennant).

Ghost-Spider only appeared in costume in the series, which never explored her character much beyond her various adventures with Spider-Man as they took on classic villains from his rogues' gallery, like Doctor Octopus and The Rhino.

Ghost-Spider Appeared In Disney Jr.'s Marvel's Spidey and His Amazing Friends (2021- )

Disney Jr. launched a new team-up series in 2021 called Spidey and his Amazing Friends, which teamed popular Marvel characters up with Spider-Man. Gwen Stacy appeared as Ghost-Spider in the series, voiced by Lily Sanfelippo.

Ghost-Spider's costume was simplified and adapted with web wings under her arms to allow her to glide, while her unmasked appearance was similar to her Marvel Rising design, which borrowed the pink highlights from the unrelated character Gwenpool.

Into the Spider-Verse (2018) and Across the Spider-Verse (2023)

Hailee Steinfeld voices Spider-Gwen in Into the Spider-Verse, bringing Earth-65’s Gwen to life in stunning animation. This Gwen is confident, stylish, and a skilled hero. Her tragic backstory—losing her universe’s Peter Parker—adds emotional weight to her character.

In Across the Spider-Verse, Gwen’s relationship with her father takes center stage, and the film delves deeper into her struggles as a hero. The watercolor-inspired visuals of her universe reflect her emotional state, creating some of the most visually stunning moments in the film.

LEGACY AND CULTURAL IMPACT

I think that Gwen Stacy’s journey from her debut in 1965 to her modern incarnations as Spider-Gwen is a testament to her lasting relevance in the Spider-Man mythos and beyond. Her character’s impact is profound, not just in shaping the narrative of Spider-Man comics but in redefining how female characters are treated in superhero storytelling. Gwen Stacy has evolved from a symbol of tragedy to one of empowerment, resonating across generations and media. Here’s a detailed exploration of her legacy and cultural significance.

1. A Pivotal Turning Point in Superhero Storytelling

“The Night Gwen Stacy Died” as a Defining Moment

Gwen’s death in The Amazing Spider-Man #121-122 (1973) marked a seismic shift in the tone of superhero comics. Before this storyline, most comic book narratives were marked by optimism and clear-cut morality. Heroes won, villains lost, and the status quo was preserved. However, Gwen’s death broke these conventions, ushering in the darker and more complex stories of the Bronze Age of Comics.

This moment is often credited with demonstrating that superhero stories could be serious literature. Gwen’s death wasn’t a mere plot device—it was a statement about the fallibility of heroes, the unpredictability of life, and the consequences of being a superhero. Spider-Man’s failure to save Gwen highlighted the vulnerability of even the most powerful characters, humanizing Peter Parker in a way few heroes had been before.

Her death also introduced the concept of “fridging” into the superhero genre, a term coined by comic book writer Gail Simone. Fridging refers to the trope of female characters being killed off or harmed to advance a male character’s story. While Gwen’s death is undeniably iconic, it has also been a focal point for criticism, as it set a precedent for how women in comics were often treated as disposable. This discourse around her death remains relevant in modern discussions about representation in media.

2. Redefining Gwen Stacy: From Tragedy to Empowerment

The Birth of Spider-Gwen

The creation of Spider-Gwen in 2014 transformed Gwen Stacy from a symbol of loss into a symbol of empowerment. Her alternate-universe counterpart on Earth-65 flips the script by making her the hero, not the victim. Spider-Gwen’s debut in Edge of Spider-Verse #2 immediately struck a chord with readers, proving that Gwen’s story wasn’t confined to being Peter Parker’s doomed love interest.

Spider-Gwen’s success is a reflection of changing cultural attitudes toward female characters in comics. Her stories center her agency, independence, and growth as a hero, allowing her to step out of Peter’s shadow. The themes of guilt and redemption that underpin her narrative add emotional complexity, but they are no longer defined by her relationship to a male character. Instead, Spider-Gwen grapples with her own choices and the consequences of her actions, solidifying her place as a standalone hero.

Spider-Gwen’s Cultural Resonance

Spider-Gwen’s punk-rock aesthetic and iconic costume design by Robbi Rodriguez have made her one of the most visually recognizable characters in the Marvel universe. Her white-and-pink suit with its hooded design is a cosplay favorite and has become synonymous with the modern reinvention of superheroes. This design’s success speaks to the importance of visual storytelling in creating a character’s identity, as Spider-Gwen’s look reflects her rebellious, independent spirit.

The popularity of Spider-Gwen also reflects a shift in comic book audiences. As the medium has expanded to include more women and younger readers, characters like Spider-Gwen have provided new entry points into the superhero genre. Her stories resonate with themes of self-discovery and perseverance, making her a role model for a diverse audience.

3. Gwen Stacy as a Multiverse Icon

I truly believe that the multiverse concept has allowed Gwen Stacy to exist in multiple forms, each contributing to her legacy in unique ways. While Earth-616 Gwen remains a tragic figure, Spider-Gwen has become a vital part of Marvel’s exploration of alternate realities. The Spider-Verse events, both in comics and on-screen, have positioned Gwen as a key player in multiverse narratives, showing how her character transcends her original timeline.

“Into the Spider-Verse” and “Across the Spider-Verse”

Once again, the animated films Spider-Man: Into the Spider-Verse (2018) and Across the Spider-Verse (2023) have brought Gwen Stacy’s multiversal identity to a global audience. Hailee Steinfeld’s portrayal of Spider-Gwen adds layers of emotional depth to the character, particularly in her relationship with Miles Morales and her struggles with her father, Captain Stacy.

In these films, Gwen’s arc is about finding her place in a world that often isolates her because of her dual identity as Spider-Woman. Her relationship with her father is a powerful exploration of love, trust, and the burden of responsibility. The films’ stunning visual representation of her world—rendered in watercolors and abstract designs—emphasizes her emotional journey, creating a visceral connection between her inner turmoil and her external reality.

Spider-Gwen’s prominence in these films cements her as more than just a secondary character in Spider-Man’s story. She’s a leading figure in her own right, driving the narrative and representing themes of resilience and self-discovery.

4. Gwen Stacy’s Evolution as a Feminist Symbol

I also think that Gwen Stacy’s journey from damsel in distress to hero is emblematic of broader cultural shifts in how women are portrayed in media, you know? Like, in her original incarnation, Gwen was intelligent and kind, but she was ultimately defined by her relationships with men—first her father, Captain Stacy, and then Peter Parker. Her death, while narratively impactful, reduced her to a catalyst for Peter’s growth.

The creation of Spider-Gwen reclaims Gwen’s agency, allowing her to define her own story. This reinvention reflects the growing demand for complex, fully realized female characters in superhero narratives. Spider-Gwen’s popularity demonstrates that audiences are hungry for stories where women are active participants in the action, rather than passive victims of it.

Her punk-rock persona and role as the drummer for The Mary Janes further position Gwen as a symbol of individuality and rebellion. She represents a break from traditional norms, embodying a modern feminist ethos that values self-expression and independence.

5. The Enduring Popularity of Gwen Stacy in Pop Culture

Gwen Stacy’s impact extends beyond comics into the broader realm of pop culture. Her appearances in live-action films, animated series, and video games have introduced her to new audiences, solidifying her status as a household name.

Merchandising and Iconography

Spider-Gwen has become a merchandising juggernaut, with her image adorning everything from action figures to clothing lines. Her costume, in particular, has achieved iconic status, representing the marriage of sleek design and storytelling.

A Legacy of Adaptation

The fact that Gwen Stacy continues to be reinvented across media speaks to her adaptability. Each new version of Gwen—whether it’s the tragic Earth-616 Gwen, the heroic Spider-Gwen, or the multiversal leader in the Spider-Verse films—adds new dimensions to her character. This adaptability ensures that Gwen remains relevant in a constantly evolving cultural landscape.

6. Gwen Stacy as a Reflection of Spider-Man’s Core Themes

At her core, Gwen Stacy represents some of the most essential themes in Spider-Man’s mythology: responsibility, loss, and resilience. Whether as Peter Parker’s first great love or as a hero in her own right, Gwen’s story reinforces the idea that tragedy and triumph are intertwined in the superhero experience.

For Peter Parker, Gwen’s death serves as a constant reminder of the stakes of his double life. For readers, Gwen’s rebirth as Spider-Gwen demonstrates that characters can evolve beyond their origins, taking on new meanings and roles for future generations.

Gwen Stacy’s Cultural Impact

My verdict is that Gwen Stacy’s legacy is one of reinvention and resilience. From her origins as a tragic love interest to her rebirth as a multiverse hero, Gwen has become a symbol of the evolving nature of storytelling in comics and media. She challenges traditional narratives, inspires new generations, and continues to be a defining figure in the Spider-Man universe. Whether you know her as Peter’s first love or as Spider-Gwen, Gwen Stacy’s story is one of the most enduring and impactful in superhero history.

[yuseirra]

I've actually become really.. Even more confident with my hikaai analyses (until I get proven wrong..haha) hear me out on why I feel this way, okay?

In the latest chapter, it was revealed that Ai's boyfriend is someone who offers things for Ai, and falls into ruin because of it. He believes there is some kind of destiny for himself. That much, we can all agree with, huh?

If that’s the case, then "Fatal" is this person’s song.

In that case, I’ve already secured the basic points if this were a test, and now I’m just waiting to collect the extra points!

It’s not really about me trying to convince myself...this is really true!

From the start, I always predicted that Hikaru’s breakdown only happened after Ai’s death. The question was never whether he fell apart, but rather how much. He’s always been such an ambiguous character whose exact actions were left unclear.

I got this part right, and honestly, it was the most important part. It wasn’t this person who harmed Ai. (So actually, Aqua’s target for revenge is no longer this person. It’s easy to miss this since the story moves so quickly.)

It’s also confirmed that he was originally a genuinely good person. This part was validated when the god herself confirmed he had a noble and refined soul.

This means Hikaru is not the kind of person who falls into ruin just because something bad happens to him. It was Ai’s death that led to his downfall. In fact, considering everything this character has been through, this makes him closer to "kind," and his mental fortitude is incredibly strong. The idea of him being "noble" aligns well with this. So, ultimately, this confirms that the personality depicted in the flashbacks(the movie arc) is accurate to his true character.

If this is the case, it also explains why Ai liked him so much and wanted to save him, making everything fall into place.

Now, the only question that remains is whether he will actually be saved or if he will remain a terrible criminal. (And honestly, this is the same situation the character was in before the movie arc—it’s like we’ve come full circle. However, now there’s the added advantage of two key pieces of information: Ai wanted to save him, and he really was originally a good person.)

To be honest... I feel like we need to see how the character himself acts before we can properly judge him.

It’s similar to judging a real person.

I feel it’s still too early to jump to conclusions just from seeing a text that goes he's a terrible guy who's killed a lot of people. There hasn’t been a single image of him doing anything specific yet... So, while we can take it into consideration, it is only when we get more detailed flashbacks or scenes where the character himself expresses his own thoughts, that will likely confirm everything.

Given that everything I predicted so far has been right(I really, really did get so many things accurately), it feels highly likely that the story will go the way Ai hoped, with this character being saved.

I’ve been following closely, and I've noticed that even in his "ruined" state, this character still shows a lot of kindness. Plus, he’s an actor and just as much of a liar as Ai was, so you have to really pay attention to interpret him correctly. You can’t just believe what you see!

Right now, I’ve scored over 70 points out of 100 if this were to be a test, but I feel confident that I’ll end up with over 90.

Since we’ve already established that he didn’t hurt Ai and that Ai genuinely wanted to help him, this means there’s a strong narrative push in that direction, and my conclusions about the character are likely to be right, which makes me feel even more confident.

If "Fatal" really is this character’s song, then yes, the emotions in that song—desire, disappointment, despair—are definitely present.

But surprisingly, the song has much less selfishness or possessiveness than one might expect. So, I felt like it wasn’t such a bad kind of love, which is why I’ve depicted that couple so much.

It’s a love where you give and give, without expecting much in return. You just want to hear their voice, to catch their gaze, to have them comfort your pain again. The lyrics even mention that their "fatale" belongs to "no one". It’s a kind of selfless love where you want them so desperately that you can’t live without them, while offering up everything you have, but asking for so little in return. This is a very devoted love. If it were one-sided, it might feel overwhelming or creepy, but with Ai and Hikaru, it’s mutual.

If you look at Hikaru’s actions in Chapter 160 (his testimony is likely the truth, even if Tsukuyomi’s stated goal is real, that kind of motivation would only arise after Ai’s death.) It means this person didn’t have confidence that Ai loved him, so he desperately craved her love in this way. That makes it pitiful. He makes a pass to be Ai's lover, in my book. He seems like a good person. And I take love VERY seriously... haha... I believe love isn’t about receiving, but more about giving. It’s about giving without regret... The narrators of "Mephisto" and "Fatal" embody this a lot.

They don’t ask for much from the other person while giving everything they have. That’s the kind of love Ai’s boyfriend has. What he gives may be a question,(or questionable) but I doubt Ai would have failed to notice a guy capable of harming Ruby(their own daughter for goodness sake) or involved in serial killings... haha. Plus, if he’s described as once having been "noble", a person like that probably wouldn’t cross that final line. Ruby didn't, and I find Ruby having taken after his character quite a bit, they make the same expressions. There’s a higher chance he kept his boundaries intact.

Things will unfold the way Ai wanted them to. The things this person has actually done are quite different from what’s been said about him.

He’s not someone who acts strongly or aggressively—he’s too gentle for that. It’s not that he’s pretending to be kind while having a foul heart; rather, I see he’s pretending to be dark when he’s actually not, which is why his true nature shows through.

It’s true that Ai found and fell in love with a genuinely good person, and they had a period where they were happily together. So I can already see the story heading towards him being saved after being broken by her loss. Ai wants to save the boy who's been deeply suffering and is straying far off after what's happened to her. That's the narrative the story is heading towards, it's the most natural path and I see it coming. Ai is right. She found someone REALLY sweet and he got destroyed, so she wants to help him get back to the way he was.

I’ve gotten the overall structure right, and now I just need to collect the extra points :)

[morgan-va]

Chapter 9: The Last Goodbye (Serial Designation N x Reader)

Masterlist

The soft glow of candlelight flickers against the polished surface of the table, illuminating a modest but inviting dinner setup. The faint sound of classical music plays in the background, mingling with the quiet hum of contentment in the air.

You’re seated across from N, who’s practically glowing with excitement, his ever-present smile brighter than the candles themselves.

“Wow, this looks amazing!” he exclaims, gesturing to the perfectly plated meal before him—though he has no need for food, his enthusiasm is entirely genuine. “You really went all out!”

You laugh softly, shaking your head. “Well, I had help, didn’t I?”

N nods vigorously. “True! I did hold the whisk for a solid three minutes. Very important contribution.”

His tone is so earnest, so endearingly proud of his small effort, that you can’t help but burst into laughter. It’s the kind of laugh that shakes your shoulders, leaving you breathless but lighthearted.

N laughs too, though you suspect it’s more because your joy is contagious than anything else.

The scene shifts seamlessly, as dreams often do.

Now you’re both seated on a plush couch, wrapped in the warmth of a cozy blanket. The screen before you glows with the faint colors of a movie you don’t quite recognize, but the details don’t matter.

What matters is the way N’s arms are securely around you, holding you close against his side. His frame radiates warmth—not the physical kind, but something deeper, something that seeps into your very core.

You feel utterly safe. Utterly cared for.

As the movie plays on, N’s soft chuckle at a particularly cheesy line reaches your ears. You look up at him, meeting his glowing white gaze. There’s a sense of ease, of belonging, in the way he smiles down at you, and your heart swells with an emotion you can’t quite name.

For the first time in what feels like forever, everything feels… right.

The dream lingers, wrapping you in its comforting embrace as the two of you sit there, basking in each other’s presence. You don’t want it to end, and for now, it doesn’t.

For now, the world is warm, safe, and filled with light.

You stir slowly, your mind hazy from one of the deepest, most comfortable sleeps you can remember. There’s an unfamiliar warmth enveloping you, a sense of security that feels like a remnant of the dream you were just lost in.

Your eyes flutter open, heavy with sleep, and you realize something unusual. There’s a steady pressure around you—arms gently wrapped, holding you in place.

As your vision clears, you’re greeted by the sight of a black blazer, its fabric soft against your cheek. The faint scent of popcorn lingers, mingling with something else—a unique metallic tang that you’ve started to associate with him.

N.

You blink, the realization sinking in. You’re wrapped in his arms, pressed close against his chest.

Your heart skips a beat, but you don’t move right away. Instead, you take a moment to process the situation, your thoughts tumbling over themselves in a mix of surprise and… something else. Something warm, something that makes you hesitate to pull away.

It’s not unwelcome.

Still, you shift slightly, the movement subtle but enough to draw N’s attention. His arms loosen immediately, as though he’s afraid he’s done something wrong.

“Ah! You’re awake!” he says softly, his voice filled with his usual cheerful energy but quieter, mindful of the moment. He tilts his head, looking down at you with those bright neon eyes that seem to light up even more at the sight of you. “Good morning!”

You blink up at him, still waking up, still piecing together what’s happening.

“Morning…” you mumble, your voice groggy but steady.

N tilts his head further, an apologetic look crossing his face. “Um, sorry if this is weird—I didn’t mean to overstep! You fell asleep, and I didn’t want to move you and accidentally wake you up, so I just… stayed like this. I promise I wasn’t trying to be creepy or anything!”

You stare at him for a moment, his nervous rambling bringing a faint smile to your lips.

“It’s okay,” you reassure him, your voice soft. “I didn’t mind.”

His face lights up at your words, his worry melting away into his usual bright grin. “Oh! That’s good. You seemed so peaceful, and I didn’t want to ruin it.”

You chuckle quietly, sitting up slightly but still lingering close. “Well, thanks for that. I haven’t slept that well in… a long time.”

His expression softens, his smile turning gentle. “I’m glad.”

The two of you stay like that for a moment longer, the morning light filtering into the room, casting a warm glow over everything. There’s an unspoken comfort between you, a sense that, for once, everything is exactly as it should be.

You let out a deep sigh, feeling the pull of reality as you slowly sit up. N’s arms slip away from you gently, and for a moment, the absence of his warmth makes the room feel a little colder.

N shifts to sit up as well, his movements careful and deliberate. He watches you closely, concern flickering in his neon eyes.

“Are you okay?” he asks, tilting his head.

You glance at him, offering a small smile. “Yeah, I’m okay. Just… thinking.”

His gaze softens, and he waits patiently, as if sensing you have more to say.

Taking a steadying breath, you meet his eyes. “N, you’re… really something, you know that? You’re not just good at what you do—you’re a great worker drone. But more than that…” You hesitate, your voice catching for a moment before you push through. “You’re a great friend.”

His eyes widen slightly, the glow in them seeming to brighten as your words sink in. He stares at you, stunned for a moment, before his face splits into the biggest, most genuine smile you’ve ever seen.

“R-Really?” he asks, his voice tinged with disbelief but overflowing with joy.

You nod, smiling despite the heaviness settling in your chest. “Really. I don’t know what I was expecting when I first got you, but… you’ve made these last couple of days better than I could’ve imagined. Thank you, N.”

He looks down, his expression soft and almost shy. “Thank you,” he says quietly. “For being so kind… and for letting me be your friend.”

The two of you sit there for a moment, sharing a quiet, tender understanding. But then, reality reasserts itself, as it always does.

You sigh again, rubbing the back of your neck. “Unfortunately, it’s Sunday… and you know what that means.”

N’s expression falters for a brief second before he perks up, giving you a reassuring smile. “It’s okay! I know I have to go back. Orders are orders, after all!”

His optimism is almost painful in its sincerity, but you know he’s just trying to make it easier for you.

“Yeah,” you say, your voice soft, “orders are orders.”

You stand up, stretching to shake off the lingering drowsiness. “Alright, let’s get you ready. The sooner we head out, the sooner I can get back to yelling at corporate for not paying me overtime.”

N laughs at that, standing up to join you. “I’ll help you pack up the truck!”

As he starts moving to gather your things, you glance at him, a pang of sadness tugging at your heart. You know this is just part of the arrangement—he’s a company asset, not yours. But still, the thought of losing his cheerful presence feels heavier than you expected.

Shaking off the thought, you focus on the task at hand. There’s no use dwelling on it. Not when there’s still time left to make the most of today.

The Manila folder feels heavier than it should as you clutch it tightly, stepping out the door with N trailing behind. You lock the door behind him, hearing the faint click of the deadbolt, and pause for a moment, letting the quiet morning air settle around you.

The two of you walk to the truck in silence. N, as always, is eager to help, checking the straps holding the crate in the truck bed. You give everything a once-over as well, double-checking his work, though you already know he’s been as meticulous as ever.

Satisfied, you step into the driver’s seat while N slides into the passenger side, settling in with his usual bright smile. You stare at the key in the ignition, your hand hovering over it as a deep, reluctant sigh escapes your lips.

You hesitate, the reality of the moment sinking in. This is it.

Before you can dwell on it too long, you feel a gentle touch on your hand. You look over to see N’s own hand resting on yours, his neon eyes meeting yours with a comforting glow.

“It’ll be okay,” he says softly, his tone filled with a surprising amount of certainty. “I’ll talk to whoever’s in charge and make sure I can come back to you.”

Your heart twists at his words. His optimism is so pure, so unshakable, but deep down you know that’s not how JCJenson works. Once he’s back in their system, there’s no guarantee you’ll ever see him again.

Still, you can’t bring yourself to crush his hope. Instead, you force a small smile, nodding as you blink back the sting in your eyes.

And then, to your surprise, he holds out his hand, extending his pinky toward you.

“Pinky promise,” he says with a wide, hopeful grin.

You freeze, staring at his outstretched hand. Your mind flashes back to the romcom you’d watched the night before, the scene where the two leads made a similar promise. He must’ve learned it from there.

A lump forms in your throat as you look at him, his expression so earnest and trusting. You don’t want to cry—you really don’t—but the tears are right there, threatening to spill over. Not wanting him to see, you quickly lift your hand, locking your pinky with his.

“Pinky promise,” you say, your voice barely above a whisper.

N’s grin somehow grows even wider, his glow brighter. He doesn’t let go immediately, his pinky holding onto yours for just a second longer, as if to cement the promise in place.

You turn back to the ignition, gripping the key firmly as you swallow hard and blink away the tears threatening to spill over. Taking a deep breath, you twist the key and start the engine, the familiar hum filling the cabin.

As the truck pulls out of the driveway, you glance at the rearview mirror, watching your house shrink into the distance. Your grip on the wheel tightens, and though you try to focus on the road ahead, your thoughts are stuck on the pinky promise you just made.

It’s a nice thought, you tell yourself. Even if it’s not possible, it’s still nice to believe—if only for a little while.

And as N hums a tune softly beside you, you can’t help but cling to that fragile hope, the weight of his words echoing in your mind.

“It’ll be okay.”

The drive to the corporate office feels both too long and not long enough. N chatters away beside you, his voice filling the cabin with lighthearted remarks and observations about the scenery flashing by.

“Did you know trees can communicate with each other through their roots?” he says, his tone brimming with wonder. “I read that in one of the books we got at the library. It’s so cool! Like… a secret tree society underground!”

You smile faintly, nodding along as he continues. His enthusiasm is infectious, and you do your best to soak up every moment of this—every laugh, every little fact he shares, every second of his boundless joy.

But no matter how hard you try, the weight in your chest only grows heavier as you near the towering JCJenson building.

The truck rolls to a stop at the loading docks, and the hum of the engine fades as you cut the ignition. For a moment, neither of you moves. You glance over at N, who’s still smiling, though his excitement seems to have dimmed just slightly.

“I guess this is it,” he says softly, his tone bittersweet.

You nod, swallowing the lump in your throat as you grip the folder tightly. “Yeah… guess so.”

Pushing open your door, you step out into the crisp air, N following suit. The familiar clang and chatter of the docks surrounds you as you both make your way to the back of the truck, where the crate still sits securely strapped in place.

As you start unfastening the straps, a voice cuts through the noise.

“Well, well, look who’s back!”

You glance up to see Brad striding toward you, clipboard in hand and his usual laid-back grin plastered across his face.

“Got the goods?” he asks, jerking a thumb toward the crate.

“Yeah,” you reply, your voice tight as you finish undoing the straps.

Brad’s eyes flick to N, who’s standing beside you with his hands clasped together, his smile as bright as ever. “And there’s our star of the show! How’s it goin’, buddy?”

“It’s going great!” N chirps, giving a little wave. “I had the best time with—”

“Yeah, yeah, that’s great,” Brad interrupts, already scribbling something on his clipboard. “Just need to make sure all the boxes are ticked, you know how it is. Liability and all that.”

You grit your teeth, forcing yourself to keep calm as you hand over the Manila folder. Brad flips through it with a casual air, barely glancing at the pages before nodding in approval.

“Looks good to me,” he says, tucking the clipboard under his arm. “Alright, let’s get this crate unloaded and—”

“Wait,” N says suddenly, stepping forward.

Brad raises an eyebrow. “Uh… what?”

“I just…” N glances back at you, his expression a mix of determination and nervousness. “I want to say goodbye first.”

Brad opens his mouth, clearly ready to brush him off, but something in N’s tone makes him pause. With a shrug, he steps back. “Alright, but make it quick. Clock’s ticking.”

You and N exchange a look, the noise of the docks fading into the background.

You both stand by the truck, the noisy bustle of the docks fading into an indistinct hum as you face each other. The weight of the moment hangs heavily between you.

“You’re gonna be okay,” N says, his voice soft but resolute. He steps closer, his usual exuberance tempered by the gravity of the situation. “I meant what I said. I’ll come back. I promised.”

You try to smile, but the lump in your throat makes it difficult. “Yeah, I know. You better not break that promise.”

N beams, holding out his pinky once more. Without hesitation, you loop yours around his, sealing the promise again.

But even that doesn’t feel like enough. Before you can stop yourself, you reach out and pull him into a tight hug.

N hesitates for only a second before wrapping his arms around you, his grip gentle yet reassuring. “Thank you,” he murmurs. “For everything.”

You close your eyes, holding onto the moment for as long as you can. “No,” you reply, your voice trembling slightly. “Thank you.”

The two of you linger there, the rest of the world fading away. But the spell is broken all too soon by an obnoxious throat-clearing.

“Alright, robo-weirdos, hate to break up the moment,” Brad says, sauntering over with his clipboard still tucked under his arm. “But we’ve got schedules to keep, and my boss gets cranky when I don’t clock out on time. So, chop-chop!”

You release N reluctantly, shooting Brad a withering look. N glances back at you, his smile returning as he nods. “It’ll be okay,” he repeats. “I promise.”

You swallow hard, forcing yourself to trust him. “Alright,” you say quietly. “Go ahead.”

N hesitates for just a moment, then turns and follows Brad toward the R&D department. You watch him go, his cheerful stride unbroken even as the distance grows.

Eventually, you climb back into the company truck, now crateless, the familiar hum of the engine doing little to soothe the ache in your chest.

.

The drive to the employee parking lot is quiet, the weight of the goodbye settling over you like a blanket. Once there, you exchange the truck keys at the office, the mundane task feeling surreal after everything.

As you slip into your own car, the comfort of its familiarity does little to ease the void N’s absence has left. You grip the steering wheel tightly, sitting there for a moment before starting the engine.

You promised yourself you wouldn’t cry again. But as you pull out of the lot, heading home to an empty house, the tears come anyway.

You unlock the front door and step inside, the silence of the house pressing against you like a physical weight. The air feels heavier, the space emptier without N’s cheerful presence filling it.

The thought of cooking or even unpacking your things crosses your mind briefly, but it feels pointless. You don’t want to deal with the loneliness waiting for you in every corner.

Without bothering to change, you make your way to the bedroom. The bed looks exactly as you left it, but it feels different now—colder, emptier. You lie down, curling into yourself beneath the covers.

You don’t care what time it is, don’t care that you haven’t eaten or checked your phone. You just close your eyes, desperate to escape the gnawing ache in your chest.

The memory of N’s laughter, his bright smile, his earnest promise echoes in your mind. For a moment, you imagine him still there, sitting beside you and eagerly reading you a story.

But when you reach out, there’s nothing but the cool sheets.

Sleep comes eventually, though it’s fitful and filled with fragmented dreams. And in the silence of the night, the house feels like it’s holding its breath, waiting for the warmth it lost to return.

[the-liars-art]

Slip into the Tragedy

Konrad/Sevatar

Sweet treats, family business, horror movies. a modern AU

1

Almost two decades ago, before his adoption, Konrad had dreamed of this night. Maybe it would end better than he knew. Maybe he'd find something worth a look beside his current horror movie obsession. Maybe it was why he let Fulgrim take him to the club.

When they arrived at the “hidden gem” in the darker city streets, Horus’ words, he was most disappointed that Mort wasn’t with them. He had hoped to talk for a while, but apparently Mortarion fell ill and stayed at a private hospital. Perturabo left early. Said he had work, and somewhere more important to be. Though he did nod at Konrad before he stormed out of the private room reserved for this half-scaled family reunion. Horus and Alpharius called it a strategy meeting. Konrad was promised, next time, a quieter and more personal celebration just for him: their troubled brother, grown to adulthood strapped in mental institutions and padded cells, finally free.

Freed from their father. Or so Horus says.

Not an hour in and his brothers were drinking too much, laughing and blaming each other, their hands full with glasses of different colored liquids. Konrad wasn’t allowed to drink for too many reasons, and he had no problem with that. Fulgrim asked if he was hungry and ordered him a large strawberry sundae, fancy and pink like film prop.

The ice cream turned out most helpful; he needed the sugar for the rest of the night. Even the interior of the club felt too bright and he couldn’t relax a muscle at first. He wore Fulgrim’s designers’, a loose-fitting robe with fluttering feathery fabric at his back and soft slippers , silky black from head to toe. He liked the theatrical style of it.

Several other brothers left. Then Horus and Fulgrim, arguing intensely while Magnus somehow had Perturabo on the phone. They tried not to yell when Konrad sat in the corner staring at them, confused. In the end, they had to walk outside into the large bar area. They asked him to wait and not to worry.

He wondered for a moment where Fulgrim was, but didn’t feel like finding him chatting and laughing, quoting things Konrad never read. Fulgrim would ask him if he’d like some soft drink or snacks, or how was the atmosphere, and smile and try to lace up his feathery shirt collar again.

It wasn’t bad. But Konrad could do without it for a while.

He grabbed his sundae glass and left the empty table. Pink half-eaten ice cream had begun to melt, mingling with the syrups and frozen berries.

The bar outside hosted a dozen strangers. He wondered how many of them had committed a crime. Maybe all of them. None shall be spared, if he makes the decisions.

Strolling through the empty spaces of the bar, he briefly thought of drinking. Around him, several people were drinking. In the scenes from his recent movie obsessions, people who drink carelessly got their good endings. But it was often the opposite. Then he remembered the doctors’ notes. He had no idea if the new medications were working, but they didn’t make him throw up or pass out. He didn’t want them to.

Bored and frustrated, he swallowed another mouthful of ice cream. He wanted to return to Fulgrim’s mansion, hide in the projector room, and bar the door through the night.

As he walked by, a man at the bar table eyed him absentmindedly, holding a half-empty whiskey glass. A plain black turtleneck wrapped tighly around his muscular shoulders and arms. A well-worn leather jacket, also black, hung on the back of his chair. He could get a silhouette of heavy biker boots under the table.

Konrad ignored the gaze, and went on his way through an empty row of seats. But the stranger in black turned to face him fully and began to stare.

He prepared for insults and tried to remember what his last therapist had said. Deep breaths. What color is your current emotion? (Red. He said red.)

“You look like my favorite slasher.” Said the man with a lip ring and an uneven eyebrow slit. It seem like he was sneering when he wasn’t. Was it the strange angle or lighting, or both?

Konrad didn’t expect that at all. He had just watched too many horror movies in too short a period of time without sufficient sleep. Nevertheless, he searched his mind unconsciously, finding nothing to match.

“Which one?” He raised an eyebrow at the man, who was likely closer to his age than Fulgrim’s.

That was when he realized the lighting was dimmer in this part of the bar. The stranger occupied the darkest spot, like blood rinsed away by water, swirling redness gathering at the lowest corner of the bathroom tiles.

“The one in my dreams.” Said the stranger, in all seriousness. His eyes were as black as Konrad’s own.

All of a sudden the sundae glass became unbearably cold in Konrad’s palm; he had to put it down somewhere. This felt new.

“Name’s Sevatar. You are?”

He hesitated, unsure which name to speak of. He was Night Haunter, always.

Sevatar nodded at his silence, intrigued.

“Ow, I get it. Who are you tonight, then?”

Tonight? Tonight he was Fulgrim’s brother. His father’s one of many failures. Proof that madness runs in the family.

“Tonight I am Konrad Curze.” He said solemnly. Sevatar’s expression remained unchanged.

He was glad Sevatar phrased the question that way. The answer tasted wrong on his tongue, though, like the one time he licked the inner side of his wrist to taste the atrocious perfume that made him grimace and itch.

“Konrad Curse’s hell of a name.” Sevatar blinked. “It’s not you.”

This time it was Konrad who stared. He noticed a thin but visible scar across Sevatar’s pale face which resulted in the inconsistency of his black brow and a left eye that appeared slightly smaller. For the first time in long agonizing years, he didn’t feel like a man named Konrad anymore. Not even for his brothers’ convenience. It was never his name.

“You already know me better than my therapists.”

He found himself grinning. He couldn’t help it. When he was a child, one of the doctors used to whisper stop that. He wondered where that little man ended up. It was difficult to return to his line of work without eyes.

A dull pain rose in the back of his head again. He had to bite his lip, suppressing the urge to bare all his teeth like a hissing feline.

But his cheeks flushed curiously hot, instead of cold all over.

Sevatar grinned back, giving his full attention. The silver ring in his lower lip gleamed.

“I’ll buy you a drink.”

Konrad shook his head. “Medication,” he explained, and tapped the ice cream glass with the long dainty spoon. “I’m here with my brothers.”

Sevatar shrugged, rested an elbow on the table, and downed what was left of his whiskey.

“Just a little taste, at least?” His voice sounded as if he was implying something, but Konrad couldn’t tell from the smile that never reached his eyes.

Konrad barely even tasted alcoholic drinks before. One night after he was brought out of father’s confinement, he attempted to get drunk just to know the feeling. He had half a glass of pale bitter wine from one of Fulgrim’s many cabinets and a few gulps of beer that tasted worse. He remembered an exhaustion that he never wanted to experience again.

“I do,” he said. “I do want a taste.”

TBC

(I’ll do my best to update in chapters, but it might be snippets only)

[idletransfigurations]

Suguru Geto: When The Villain Is Right

Villains can sometimes be the most loved characters in an anime but even if they are, it's always easy to understand why they aren’t right. But what happens when the villain is right? In this, I will be discussing the downfall of Suguru Geto and why he wasn’t /wrong/.

| | SPOILERS FOR JUJUTSU KAISEN SEASON 2; HIDDEN INVENTORY EPISODES | |

We’re first introduced to Suguru as a villain, in his first appearance he is Kenjaku, therefore, I will only be talking about Jujutsu Kaisen 0 (JJK0) and Jujutsu Kaisen Hidden Inventory (HI). Jujutsu Kaisen 0 is a prequel following Yuta Okkotsu who’s being haunted by his childhood best friend Rika. When we see Suguru in this movie he is a cult leader who hates non-curse users (whom he calls monkeys). I want to look at two members of his group, twins Nanako and Mimiko Hasaba. At this time both girls are 15 years old and shown to primarily be within Suguru’s general location. The reason why I specifically point out these two is because they hold more importance within the series than I initially gave them credit for.

Based on the time jump from JJK0 and HI both girls would be about 7 with what I will be talking about. Suguru’s first appearance during the Hidden Inventory episodes shows him as a student alongside Satoru Gojo and the other sorcerers such as Kento Nanami. The first few episodes feature Suguru and Satoru as they are tasked to protect Riko Amanai, the Star Plasma Vessel for Tengen. This version of Suguru is extremely different from the version we see later on as Suguru’s view of his power is that he feels a sorcerer's job is to protect those who cannot protect themselves. He takes his role seriously, believing there is a reason for this. When he and Satoru are sent out to protect Riko, they successfully ward off assassins up until Riko’s final moments. Suguru gives Riko the option for her future, she ultimately decides that she would like to stay with everybody but in an instant, she’s shot in the head by Toji Fushiguro. The man hired by the Star Religious Group to kill her. This is the exact moment that paves the path for Suguru’s later decisions. Riko Amanai is a 14-year-old girl who had been thrown into the Jujutsu World, this is something that Suguru thinks about. Upon retrieving her body he and Satoru come face to face with an extremely harsh reality.

Sorcerers are not cared about.

The members of the Star Religious Group are clapping and cheering for the death of a child. This is something that is shown to be very damaging for Suguru as he thinks of who he’s meant to be protecting. Why protect the people who may be just as bad as a curse itself for clapping over the murder of a kid? In the scene, Satoru asks if they should kill them but Suguru decides against it, stating sorcerers kill with reason. Suguru is dealing with an internal battle, shown by a pessimistic view of life. Suguru has a conversation with Yuki Tsukumo where he learns that curses are created by non-sorcerers and their emotions such as hatred (Mahito). Suguru is left with the realization that non-curse users like the members of the Star Religious Group are the cause of curses yet they’ll have no problem with the death of sorcerers or those who can use jujutsu despite being the people who can save them. This is made worse when a second-year student Yu Haibara dies on a mission. 

Suguru is sent on a solo mission to help a village that has curses, while there he is shown a cage that has two young girls in it. Those young girls are the previously mentioned twins Nanako and Mimiko who are about 7 or 5 at the time. With the knowledge of what causes curses, seeing these abused and scared little girls being caged up like animals set Suguru off to where he decides to kill not only the villagers but also his parents, with the new plan to eliminate all non-curse users to create a safe and in his eyes, perfect world. Now, I know after saying that his plan involved genocide having the title of this post saying that he wasn’t wrong may be a bit confusing so let me explain.

Suguru Geto’s plot is an example of somebody who had every right to become a villain. Becoming a sorcerer is signing away your life because, at the end of the day, death could be knocking at your door at any moment. Suguru isn’t a villain like Mahito who does what he wants for his own gain. Suguru is a villain but he cares for people, it is shown that Suguru was a caring person when both Nanako and Mimiko were willing to try and convince Ryomen Sukuna of all people to help which resulted in the death of the twins. Suguru was pushed to his limit after seeing that humans don’t care for what’s sacrificed for their lives, at least from what’s shown by the death of Riko Amanai. It’s easy to say that sorcerers are gifted the ability to know they saved lives but not many people would find that to be an award for everything they’ve done. From seeing people cheer for the death of a child to seeing children being locked up, Suguru just didn’t find meaning in his job in the end.

That’s all for this, if you enjoyed it then yay, if not please let me know how you feel. If there was something wrong do let me know and if you want more Jujutsu Kaisen writings or stories then follow.

[standreamy]

Miraculous The Movie Review: An admirable, imperfect attempt

PREMISE

It's not a masterpiece, it's not groundbreaking and it has flaws that limited the result quite a lot, which I'll point out. Yet it's also a very good product that I think should be praised for its efforts.

I watched this movie both with people who have followed the whole series, and with those who have seen it partially. I also watched it by myself and with people who have never seen the series and knew nothing about it.

I have therefore tried to keep my view as unbiased and objective as possible.

I will divide this analysis/review into various sections. I tried to leave comparisons with the series only in the last one, though inevitably, it wasn’t possible to never mention the differences. For this reason, I decided to leave a final vote that will be split into what I grade the movie by itself and what I grade it as part of the Miraculous brand.

However, I want to clarify that with this post I do not intend to discredit those who prefer the show, nor do I intend to encourage those who prefer the movie  to behave arrogantly and attack Astruc.

The final part is where I will directly compare movie and show and where I will explain my preferences. You are perfectly free to skip, as it’s the last part before my grades.

With that said, let's get started!

ANIMATION

I've seen little contrast of opinion on this topic. Indeed, it is undeniable that it is of the highest quality. I'm a big fan of 2D, and as for animation I prefer it to 3D by a long mile, but the choice of quality for the movie is impressive. You can’t just help but admire and it surely deserved a worldwide release in theaters. 

The backgrounds, the characters, the details, the textures and the focus on expressions… Nowadays, Disney movies spend almost double the budget and offer equal or almost inferior graphic quality. 

I also want to clarify that the focus on expressions is very important because by following the "show and don't tell" rule, it allows you to receive information on what the characters are feeling and therefore enriches their profile. You never see a stiff character, even in the background or from a distance there are characters expressing emotions or doing something, which is actually stunning for the eyes. One of the best 3D graphics I’ve seen personally.

MUSIC

The number of songs is a judgment that can only be subjective, as not everyone likes musicals. But for being a musical indeed, I personally find the number acceptable, especially for the role that the songs played.

I find that composition wise (I study music professionally) they are all very high quality. The harmonies chosen, the orchestration that Zag has composed are of a very high standard not generally seen often in modern animated movies.

This can also be seen in the background music, which is extremely impactful and recognizable. None goes unnoticed, embrace the scenes in harmony. The soundtrack in a movie is fundamental, it enriches the feeling that the scene can evoke. It is after all not an unknown factor that, for example, by removing the soundtrack of a horror movie, you remove much of the effect of fear and unsettlement it creates.

Returning to the songs, however, I particularly appreciated their usefulness for the plot and the characters. I have seen very opposite opinions on this matter, from people praising them and people thinking they were totally unrelated or repetitive. Personally, I think every single song expressed a well-defined concept that carried forward the intended messages.

Speaking from a purely personal point of view, on a melodic and interpretative level my favorite songs were "Courage in me" and "Stronger Together". However, I find the most important to be “If I believed in me”, “Chaos will reign today” and “Alone again”. A song for each of the film's main characters; Marinette, Adrien and Hawkmoth.

And I also found the most well executed “Reaching out”.

But for this analysis, I'm going to touch on each song.

“If I believed in me” This song is the perfect introduction and presentation of the character. It tells us all the key details to know about Marinette at first glance. She is very shy, awkward and introverted to the point of having social anxiety. This has led her to willingly shut people out, even though people who know her a bit more seem to like her, and even if deep down inside she wants to fit in and her creativity is a way for her to channel that. She has a dream as a fashion designer and takes all the inspiration from the world around her. However, this inner conflict leads her to self-sabotage and behave in a bizarre way. This is a classic and basic step that most of the best musical animated movies follow and in this one it was quite appropriate. Putting a song right at the start may seem unsettling for people who dislike musicals or found it unnecessary, however, it was a very right and basic rule to follow.

“Alone Again” Another very important song that expresses not only Adrien's pain for the loss of his mother, but also for his father's neglect. The text is universal enough to show that Adrien may want to reconnect with both Emilie and Gabriel. Not having enough minutes in the movie to properly focus on the Agreste family dynamic, this was key to fix that. Because of this, I think that removing it in non-French versions was a very big mistake.

"You are Ladybug" While it’s not one of the most fundamental, it’s a song very well handled, because it not only explains part of the lore, but actually shows that in this movie the Kwami are much more sentient.  Tikki demonstrates her knowledge of years of experience. She knows how it works, she knows which carriers are best for her and she also knows it might help Marinette to improve her confidence as she outright states while singing. On a musical level, the use of the show's original opening is also very effective. It's not easy to readapt a motif several times without getting bored of it, even building a new song on top of it, and in this case Zag did an excellent job.

"Ma Lady" Similar to "Alone Again", this song is also very important to show one of the new motivations for Adrien to open up. Chat Noir is Adrien's way of bringing out his inner self, and even though it didn't do it the best way at first because of his attitude, this is the beginning of his change. It’s a crucial song to a crucial improvement.

“Chaos will reign today” This song has a strong Disney villain vibe that fits very well with the model they followed for Hawk Moth in this movie. Another classic to express the desire of the villains is to convey it with a song that gives the right tone to the character, who can be more or less evil. In the case of Gabriel it is very smart to show him with a theater man attitude, given that his wife performed in the theater in the world of the movie. It fits well with the character they chose for Gabriel. This song is also the very moment Gabriel is sure about his path and finally decides to go on being a villain.

“Courage in me” This song, in addition to having excellent musicality and a change of tone that is always and gradually more triumphant, is very well represented. It begins with Marinette grappling with anxiety and her instincts and desperation growing stronger until they become a call to the mission. Marinette embraces her role after much hesitation and from this moment a change begins for her as well as for Chat in "Ma Lady". From here on Marinette will try to open up slowly and improve.

“Miraculous theme remix”  Nothing in particular to say about this. It's a pretty good adaptation and perfect for a montage, even if I'll explain later on why I would have substituted it with something else (“The wall between us”).

“Stronger together” Perhaps the most representative song of the movie. In addition to the impressive presentation, the portrayal of the relationship of the two protagonists under these forms is enhanced to the max. Both open their hearts, finding the pinnacle of their relationship and communicating it openly. Especially for Chat Noir, this is the quintessential moment where he finally opens up and reaches out to someone. He makes himself vulnerable for the first time in a long while, demonstrating the improvement in him as a person. Sadly, it doesn't end the way he hoped.

“Reaching out” Perhaps one of the best-performing songs in the movie. Marinette, similar to Chat, has improved and opened up, hoping to be able to find a mutual feeling that however, apparently, wasn’t reciprocated. This moment naturally creates a lot of doubt and insecurity in her and the song represents this difficulty and duality. By now she's grown up, she's learned to be herself and she can't just go back to zero point, however now her doubts and insecurity are growing because her efforts didn’t seem to work.

"Now I see" The song played during the end credits. An alternative version to "Stronger Together", with the same main melody, but different words, much more appropriate for the resolution of the movie and the now realized reveal. Their feelings were revealed in totality and they managed to connect. Their eyes and hearts can finally see.

"Careless Whisper" Yes. I will put it in the list because while its purpose is silly, it has one. Putting it in the moment Chat falls for Ladybug makes sense because those feelings are still incomplete and needs to grow and mature. It's understandable to make it a comedic moment. Just like it was a good idea to use it again later on as it's a break up song.

PLOT

Simple but functional plot, which follows a perhaps predictable path but also manages to exploit as much as possible in such a small time frame.

Compared to the series, at least the arc of Hawk Moth, everything is very simplified, but I think it's a good choice.

Not having too complex bases and having to fix everything in a limited time, but also needing to address important themes, the movie was able to focus better on the chosen details.

There are some cuts that unfortunately, however necessary, demonstrate that the movie’s potential would have been better expressed in a trilogy totally focused on Gabriel, rather than with a change of villain, thus allowing for more in-depth development.

However, it is understandable that with the Covid crisis and with the movie's few certainties of success a few years ago, Zag chose a safer path for the first and possible only installment, given the great uncertainty of possible sequels. The only thing that can be blamed then, is the possible fear of daring.

Beyond these elements, the film is certainly well studied in its three acts. Reinterpreting an existing story that spans several seasons and containing it in a movie is not for everyone and I find that as much as possible has been done and that it achieves the goal.

I also appreciated that many aspects of the PV have been restored for this version.

STRUCTURE AND RHYTHM

One of the main flaws of this movie, maybe the most critical, is the pacing.

Given the large number of characters, messages and plot twists, as well as the necessary gradual developments to be made and the relationships to be highlighted, everything happened very quickly and sometimes felt rushed. From the second act, it gallops towards the finale.

At my first viewing in French, this feeling was clear as water, but it improved on subsequent viewings in other languages as well.

It was an aspect I find impossible to prevent, but perhaps could have been lessed in some ways.

This problem goes hand in hand with the impetuous scene changes, even if mostly softened in the Italian version I watched afterwards.

Often there are sharp cuts that can be noticed between one scene and another, given the many perspectives to follow. It is clear that the time frame was limited and this detail would have been significantly improved with just a few more minutes.

In its favor it can be said that despite the short time frame, the many things to say and the too fast pace, the substance is clear. Characters are defined in who they are and what they want. The story is too, touching all the stages and completing itself, but still leaving room for the sequel. All reading levels are readable despite the flaws.

It’s a real shame though, that many aspects had to be rushed where instead they could have hugely benefited with more playing time or even splitting this arc into 3 movies.

DIALOGUES

Another mixed point of this movie are the dialogues. In some moments, for example the beginning with the conversation between Marinette and her mother Sabine, they fall into unnaturalness. They feel a bit out of place.

However, there are many other dialogues that are opposite to this; they are well thought out and excellent for explaining messages that cannot always be shown for playing time.

One such example is the dialogues between Tikki and Marinette when they get to know each other. “Exciting! You discovered electricity!”, “Girls can wear pants? Finally!”: these are dialogues that together with Tikki’s sung story not only make us understand the authority of the Kwami but also the historical context of the story and guess the time that has passed since there was enough chaos to call the Miraculous into action.

Also much of the characters' banter and comedic gags (with the exception of Plagg farting, which I find unnecessary as that kind of humor nowadays can be considered "outdated" for children and as the movie already had other comic reliefs) help to define the various contexts. Nothing the characters do or say really seems pointless.

DUBBING

On this aspect, I decided not to focus much because for each language there are positive and negative aspects. I have seen the movie in French, English and Italian (my native language) numerous times. In French and English, the known problem is that Marinette's voice is too deep in the singing and I agree that at least in English they should have let Cristina Vee sing. However, even here I don't feel like judging enormously because I also watched the movie in Italian and there these problems are completely absent. Indeed, the Italian version is probably the best in my opinion. Excellent acting and intonation, Marinette's chosen singing voice is very similar to speech as well as impressive in the expressiveness, and Adrien's is the same in both speaking and singing and is intoned and expressive.

The only voice that is out of place in Italian in the singing is Tikki, the same as in speech, a little out of rhythm and intonation.

However, I appreciated the different depth given to the characters compared to the show. Deeper and more expressive.

LORE

Starting from a purely introductory point of view, we can say that we have had a fairly complete one that immediately informs us of the basics; The miraculous of the cat and the ladybug contain enormous power and are balanced, they are called only in times of chaos and that of the butterfly is the most dangerous in case of incorrect use.

We are then informed in the movie that the Miraculous have been used since ancient times, that the Kwami are related to jewels and bestow powers but that they are also wise and skillful in their choices. They probably go dormiant when use is not needed.

We still don't know how the Miraculous were created, how Fu lost them (if he lost them in this version in the first place) and how much the Kwami have to obey their bearers. Furthermore, perhaps one of the defects is the absence of an explanation on how actually the Miraculous of Ladybug and Chat Noir could help Emilie. Would they bring her back to life? Would there be a sacrifice to be made?

Another aspect that I would have introduced in advance is the explanation of the powers of the Cataclysm and the Cure.

From a usage point of view, I think an excellent job has been done. Great idea to leave them at only the last drastic case, also for a matter of scenic effect. The idea of eliminating all of Ladybug's other powers to truly balance the two heroes is also excellent. Destruction and creation, Ladybug forced only to use her wits with what she has around, without extra help, and Chat engaged in a more physical role.

In this aspect, I think the movie did a better job of never making Ladybug and her Miraculous feel more important than her counterpart ever.

However, as mentioned, the lack of an explanation of these powers and introduction is a shortcoming of the film.

Even a mention of their danger and the fear of using them in any casual fight would have been of great help to better serve the surprise effect. Or propose that you need to reach a certain level of maturity or experience to unlock certain powers, even just inner acceptance.

The transformation limits have been removed, as well as that of only one Akuma at a time and a self-akumization of Hawk Moth while he was still transformed. All these changes in my opinion are not harmful and with the time limit it is a more than necessary cut.

It is also implied that the incorrect use of the miraculous can have negative effects on the bearer, as seen by Gabriel, increasingly destroyed and unkempt, as well as victim of fainting episodes. I found it a very ingenious choice, like making the enhancement of the powers of the two main miraculous literal when coordinated.

CHARACTERS

There are characters more or less different from the series, but regardless of whether they are good changes or not, the fact that they exist is not a mistake. It's a reboot, the characters don't have to be the same as their counterparts. They do not have the same roles, priorities or main characteristics. They are not supposed to be anything the show portrays them as.

The most remarkable thing is throughout the duration of the film the two protagonists have balanced roles.

Marinette/Ladybug

In this version, Marinette is a very different character from the series. Introverted and shy, and it is precisely this factor that makes her clumsy and awkward, even going as far as to assume bizarre attitudes in public, withdrawing into herself (as demonstrated with the teens who had tried to greet her and with Alya, whom she advises to stay away) and making mistakes that she apparently wouldn't make with more confidence in herself.

This leads not only others to avoid and mock her, but also to increase her anxiety.

A fairly predictable path for a protagonist where the superhero theme is concerned, but functional and excellent for counterbalancing Chat Noir and his readiness for the role.

From these points of view, Marinette is a character who is a victim of the situation, but also a victim of herself. She is flawed on purpose in the right ways. Her attitudes have a clear cause understood from setting, but realistically it’s still an unhealthy behavior for herself (hiding behind a car on first greeting, risking getting hurt repeatedly, loneliness).

Marinette is "chosen" by Master Fu and Tikki, for her instinctive and rapid heroic gesture, which almost failed. She doesn't hesitate for a moment to risk her life and almost throw it away, there are zero second thoughts. However, Tikki also chooses her because of her experience with past wearers of hers. Indeed, the call to become a hero, a very common theme in the stories of superheroes who are called to service in case they have the opportunity to help, even if perhaps they don’t wish to or never had an option to choose.

It can be said that Marinette is actually "the exception" for a girl of her age. Many would jump at the opportunity to have superpowers, like Adrien.

Indeed, Marinette keeps doubting clearly until "Courage in me", where fear is transformed into the need to act. Marinette has no choice, but she embraces the task and from that moment she begins to change.

She will begin to open up more to Chat's company, she will begin to open up to her friends and Adrien, to communicate with him, to get to know him.

And we see her blossoming into the same but also a new person, which leads her to a better life. However, the message given isn't that you have to change yourself to be accepted. But that effort must start from you. If you harm yourself and wait for others to step forward (even if the help of others is useful, as demonstrated in the movie) you will not be able to get back on your feet.

Marinette finds the confidence not to change herself, but to BE herself. To open up, to try courageously and relax, arriving at beneficial results for herself and this consequently leads to acceptance by others.

Marinette is already a fantastic person, but she has to let others see it and her experience as Ladybug, then leading to opening up first with Chat, with Alya and then with Nino and Adrien allows her to reflect what she has inside.

After rejecting Chat Noir with regret and inner doubts and after the rejection by Adrien, Marinette doubts again. After all, she made the effort, she got better… and it wasn't enough.

She doesn't know if it was worth it or not... yet she proves that the Marinette she once was is now different. She rushes into action to help when Hawk Moth strikes and after a moment of crisis she remembers the words from Chat and Tikki, during the very moment she hits rock bottom. She gets up in the form she believed most vulnerable, which she had already exposed once failing, she throws herself forwards and saves Chat Noir.

And finally, with the herself that she built, she rebuilds the city and steps forward to connect to Chat/Adrien. Difficult step because there will always be the slightest doubt of being rejected, but she embraces it and this time it brings her to a happy ending.

She no longer has to worry about having her parents drive her to school, she no longer has to worry about being watched, because now she can let her inner light shine and she knows that if she falls, she will rise again.

Adrien/Chat Noir

In this version the male protagonist is much more introverted as a civilian. Similarly to Marinette, he too has difficulty opening up and from a certain point of view he too by personal choice. Also demonstrated by the symbolism of the earbuds that he always wears in moments of insecurity. Indeed, in his case it is mainly a self-isolation that is imposed due to the trauma suffered by the death of the mother and the distancing that the father has placed in the relationship with his son.

Unlike the Adrien of the show, this Adrien grew up without particular restrictions, he can go where he wants and also had a good relationship with his father, who was present and affectionate. It's not hard to think that in this version Adrien was even encouraged by his father to go to school as a way to push him away, given Gabriel's confirmation in the finale that he couldn't bring himself to see his son's sad gaze.

As a consequence of this, we see an Adrien who, while kind and helpful, is not the same ray of sunshine of the show, whose main trait is kindness. But in this case, it doesn't HAVE to be.

This Adrien has trouble opening up and is afraid of becoming attached, which is why despite going along with Nino proposals of hanging out and helping out Marinette, he doesn't feel like being around them too much.

On the other hand, as Chat Noir, he is extremely stuck up and arrogant, proving that Chat is really an escape for the boy, who however exaggerates in letting this side out and ends up behaving in a quite negative way (albeit in moderation). A guy who probably really took on a few traits of the snotty rich kid.

This reading shows us a clearly flawed Chat Noir.

We don't see his meeting with Plagg or transformation, but from the get-go Chat is the one willing to wear the role, so while it would have been nice to see it, I don’t blame the cut. It was Marinette the one that needed more focus in this case.

Chat's attitude changes from the moment the boy develops a crush on Ladybug. This drives him to improve and gradually moderate his attitudes. Unlike the show's Chat he doesn't flirt and while it’s gradual, his banter with Ladybug becomes more playful and affectionate in nature and starts trusting her capacities. He becomes more humble and approachable, admitting that he doesn't see himself as the boss of the duo and offering to play sidekick. He collaborates with the girl during the fights, listens to her, begins to see her merits... and in civilian life he begins to go out with Nino, Alya and Marinette, to the point of opening up about his mother with the latter, an extremely personal topic for him. He no longer wears earbuds, no longer isolates himself from the outside world.

We see him again in class finally, when he didn't show up at the other lessons and we see him go back to a normal life.

His feelings for Ladybug in this case have improved him and come to a head when he also confides in Ladybug about his mother in his special place, confessing his feelings in a song and showing his vulnerability. Unfortunately, it does not end up as he would like and it leads him in the same situation Marinette will be into shortly after, doubting how good it was opening up. At the proposal to go to the gala with his friend, he will reject her with regret and what appears to be repentance and guilt.

This passage can be read both as insecurity about his feelings towards Marinette, and as insecurity about him opening up to others, given the hard blow immediately after finally opening up for the first time.

But even Adrien can't go back to zero point, and after a momentary moment of grudge, once he realizes that Ladybug is in danger, he runs to help.

Adrien throws himself into the fight against his father, which lands him in trouble. Thanks to his father's guilt, the villain stops and the two talk. Here Adrien's growth finally shines, who finally incites his father to let Emilie go, which he too had to learn to do and did, and forgives him.

That is a moment of acceptance and unfortunately, however, it is also a probable farewell, with the father who has presumably ended up in prison. Adrien thus remains alone and returns to isolate himself again due to the new trauma, even if not completely (he went to the dance, he doesn’t wear earbuds and Nino says he will join them). It's hard for him to go back to normal and heal, but he's learned and the step Marinette takes to reach his heart finally pays off and Adrien can start healing.

Gabriel/Hawk Moth

Perhaps the most human character in the movie. Gabriel, contrary to the show, is a man who shows constant crisis towards the loss of his wife. In the presence of others he proves to be composed, engaged in his working life (which we finally see more of), but in the private sphere he does not hesitate to show us all his desperation, also visible in his appearance which becomes increasingly scruffy as he continues with his hunt for the Miraculous.

We arrive at the end of the fight that he is a man destroyed by pain, by his own obsession that has taken over and by repentance.

As a character, although he comes across as cold and distant, he doesn't seem to abuse his son. Rather than an abusive parent, he is very neglectful and he pushes Adrien away for a matter of grief, not for his own standards of the family. He doesn't harshly reject Nathalie's proposal to eat with Adrien because he really doesn’t find it necessary, rather the reminder seems to hurt him because he knows he is wrong to not want his son around, which is why he acts so stern right after.

Thanks to the song and the revelation of his role, we discover that he is slowly descending further and further into madness, overwhelmed by his feelings. His own song, while not excusing his actions, treats him almost sympathetically and is the very moment he made the choice for his path. Up until then he was unsure which way to go, but the more his desperation and impatience grew, the more he lost control. And as Adrien freed himself from the chains of mourning, Gabriel became more and more engulfed in them.

Gabriel shows us that he cares about his son, while trying to detach himself emotionally to the point of believing he no longer has "Nothing to lose". To the point of believing that their relationship cannot be saved and that really the only way is to return Emilie to Adrien, even if that could mean losing his son's affection.

Still, Gabriel worries about his son's health and safety at all times, between making sure he's not at the scene of his attacks and wondering where he's been during the night. All this, while we see him more and more unkempt.

Gabriel, however, has been a loving man in the past and has all the bases for a possible redemption. It is precisely so that when he recognizes his son in Chat he decides to stop, realizing how far he has gone.

It doesn't excuse him from his actions, for which he will likely pay, but it does make him a villain we can sympathize with. He finally lets go of his wife, accepts the pain, and receives acceptance from his son who acknowledges that Gabriel too needed help. And then he hugs Adrien for the last time, in what seems like a desperate gesture that he's wanted to do for a long time. Heal the wounds of loss with the love of the one he still had, but who probably couldn't raise anymore.

However, a negative detail of Hawk Moth, perhaps the only one, is the fact that his costume does not fit with the character. In the series, his mask is understandable because at the beginning you don't want to immediately reveal his identity. However, this element is not introduced in the movie, so a redesign would have been appropriate.

For the post-credits scene, it is very unlikely that Gabriel left to Nathalie the duty of carrying on the plan, especially AFTER he surrendered, evidenced by the dialogue she recalls, implying that at the time of the confession no one else knew of his identity. After his surrender, all Paris was aware and it would have made no sense to talk about it as if it were a secret (although Emilie's body still was). Nor would the authorities let Gabriel loose after his surrender.

The kwamis

In this version we generally know little about the origins of the Kwamis as we do in the show. However we are aware of how much more sentient they are. Their authority is significantly greater and they are more difficult to manage. Theirs is not an attitude of chaotic innocence, but rather a "We do as we want because we have the right to", because they have enough years and experience behind them to be able to decide for themselves.

They impose themselves on their bearers and although they act as advisors, especially Tikki, they do not hesitate to reiterate several times that they are very expert beings in their job, to the point that they know how to recognize a pattern in all their bearers and also use it for choosing them. They are Gods, and as Zag wanted, they manage to prove it despite their cuteness.

We also know that Tikki and Plagg don't get along very well, but having not seen them interact we cannot yet define their relationship. Let's hope that in the sequel we’ll see this element, given the new relationship of their carriers.

Tikki is much more in-depth than Plagg in terms of screentime. Often advising Marinette to follow her feelings but also advising against it if needed, always following her own experience and gut.

Plagg on the other hand, unfortunately has much less screentime and another weak point of the movie is the fact that he was into the comic relief, in a somewhat avoidable way. Too bad, because despite his tough exterior he hides a soft heart, as demonstrated when he consoles Adrien over Ladybug's rejection.

Master Fu

Master Fu in this version appears more like a real guardian than a mentor. A person who looks at the Kwamis and makes sure they don't take too many liberties and then takes care of choosing new bearers together with their approval.

He does not approach the two heroes to instruct them except at the beginning, approaching both of them and at the end to recover the miraculous of the butterfly.

More than his absence as a master, the lack of his backstory and the missing miraculous can be seen as a flaw, although it is possible that it will be addressed as a theme in the sequels.

Fu in the movie is much weirder, ending up taking on a secondary comic relief role which in my opinion would have worked a lot more in this case, rather than on Plagg.

Secondary characters

Given the short time, many of them could not receive much space, but they were still able to show their usefulness.

First, Alya. The girl has a very charismatic personality and this leads her to approach Marinette and be the perfect person to match the girl, given the social problems she has and her tendency to push others away. This is one of the elements that helps Marinette open up, leading her from being drawn into a friendship to making friends of her own free will. Very important is that we are told early on about her dream of being a reporter and that it is used to motivate her attitude, which is never explicitly said on the show, even though it is part of her character.

Another character that I would like to mention is Chloé. The girl, contrary to the show, falls more into the kind of bully that cares about their reputation. She doesn't want to be seen doing bad things to Marinette, as shown more than once, especially in the scene where Alya purposely starts filming her to make her stop. She is bratty and bad-mannered, yet her refusal to be caught mistreating others is a sign that she recognizes her actions as wrong, which is a huge differentiator from the show. While it doesn't excuse her, this sets the stage for possible redemption in the sequels.

I also find the use of Nino and Marinette's parents positive, who are an excellent side element and help the characters move through the plot and in their development.

The akumatized

For a short movie, the handling of the akumatized people was excellent. The first showed us how transformation and its lore works in this universe, also showing us that a negative feeling is not just simple anger and sadness, but even intentions alone count.

The first clash serves us as an introduction and unleashes the story from every point of view, both for the roles and relationship of the protagonists, and for Gabriel's journey and the reaction of civilians. Each clash changes things and a notable contribution is made by the second. The two heroes learn to work together and are finally seen in a positive light by the still hesitant civilians.

The second clash also shows us action scenes during which Chat Noir and Ladybug strengthen their relationship, their powers and show the basis of their individual qualities, or the physical clash for one and creativity for the other.

Then we have a montage of villains, which saves minutes and despite everything allows the collaboration of the two heroes and the opinion of civilians to flourish.

The background characters/Civilians

Another element already mentioned are civilians. As I already talked about in the animation section, one notable aspect is how no character is standing still and everyone has their own reaction. I really appreciated the naturalness with which we see them trying to control the anxiety on a roller coaster, despair despite the worst was over after the final showdown and the slow acceptance towards the new heroes.

An aspect often overlooked in the series is the perception of civilians towards the heroes, almost completely enthusiastic right from the start if not for the competent authorities.

In the movie, we see them hesitant and intrigued, slowly in the process of opening up and trusting the two vigilantes, always not completely sure, given their mysteriousness. Contrary to the series, the two heroes seem much more unreachable at the beginning and it is visible and understandable that the inhabitants of Paris do not know whether to trust two strangers that hold powers as strange as those who started to haunt them.

RELATIONSHIPS

One of the obviously most important sides to analyze is the relationship aspect, especially the main couple… (as I already talked a lot already about Gabriel and Adrien’s relationship in the characters analysis, I will focus more on the romantic aspect in this section)

From a lovesquare point of view, it can be said that this movie has a total absence of Ladrien and almost total absence of Marichat, leaving room for a parallel path with the Adrienette and the Ladynoir. However, it is also clearly visible that the movie's main couple is Ladynoir.

Starting back…

Marinette and Adrien in this reboot are two characters both very introverted in civilian life, opposite to the show. The two have a similar problem of mostly self-imposed isolation, which is broken when wearing the mask, which seems to improve them and allow them to let go more of their inner self. From this point of view, the lack of the Adrienette seems less problematic, as their deepest parts come to the surface with the masks and they are shown to fall in love with them.

However, it remains a pity the little playing time given to the development of Adrien's feelings towards Marinette.

While it is made clear that Marinette is undecided between Chat Noir and Adrien, on the other hand, Adrien's indecision between Ladybug and Marinette is very hidden.

It is not totally absent of course, we can clearly see the regret mixed with guilt and frustration when he is forced to refuse Marinette's invitation to the gala. He seems mortified, at the verge of tears. And you can see it also in the happiness and simplicity with which he accepts Marinette after she reveals herself, as if it made perfect sense and reassured him.

We also see him open up to the girl about his mother, which is extremely personal, and we see him support her in the montage. All of this would have been better exalted if spoken dialogue had been kept in the definitive version (for example, in the book version of the movie Adrien loses his locket and Marinette helps search and finds it), or, if there had been the inclusion of "The wall between us" .

Unfortunately, this is one of the points on which I have to dwell in a negative way. The removal of this song was probably the movie's biggest mistake. Just replacing the remix theme song with this song, which accompanies the scenes and shows us Adrien's conflicting feelings, would have greatly improved the situation.

Like all the other songs in the movie, which have a very specific purpose, "The wall between us" also had one, perhaps one of the most important ones that would have balanced "Stronger Together". They are songs to pair, not replace on with each other, and the removal of one has affected the entire movie.

I want to say again that I don't think there is a total absence of Adrien's feelings towards Marinette, underneath, and that the damage doesn't mar the movie enormously, but it is still one of the major flaws, which could easily have been fixed with an extra song or a simple replacement.

I also found out that in the book version of the movie Adrien was indeed showing thoughts of being conflicted between Marinette and Ladybug and before the ball he retrieved the papillon she made for him, besides refusing to dance with Chloé because he only wanted to dance with Marinette.

Sooo yeah, I wonder if the timespan of the movie was really such a big issue, as they cut something important that they still had pretty much figured out.

Speaking on the other hand from the point of view of analyzing the feelings themselves, let’s first focus on Marinette.

Marinette's feelings for Adrien blossom when he helps her up and worries about her, which has never happened to her before. Sure, Alya had rescued her and was her first friend, but it was a different attitude. Adrien worried about her several times and patiently helped her and that gesture, for her who was always teased or ignored, was fundamental. Her slow realization and her desire to get to know him better slowly pushed her to solidify that feeling and to be able to develop their friendship, although this element unfortunately had little space.

The depiction of Marinette's feelings was excellent despite everything, starting from a gradual shy crush, growing towards friendship and then becoming a conflict with the feeling directed towards two different boys.

As for Adrien's feelings, as already mentioned, we're sadly pretty short on the Adrienette front from his perspective. However, we can still note that although he finds Marinette "strange" for her behavior, he does not make fun of her in her face or behind her back with other people. He is not saying it with ill intentions, it’s just a very true observation. He helps her gently and slowly opens up, supporting her in her needs and allowing her to support him back.

On the Chat Noir front, again as already mentioned, we can clearly see that his feelings for Ladybug were born as a crush, almost comically, just when the girl saved him. Initially, his feelings are quite confused, guided by the idea he has of her. However, already from the second mission, their attitude towards each other changes and Chat begins to discover the most creative sides of the partner. The boy is aware of Ladybug's fears, because she herself tells him about it and we can see in the timeskip that they have fought together for a long time and have also dedicated time simply to get to know each other. He knows she is scared but she is still trying and his feelings grow. Ladybug too clearly starts falling for him.

We can say the partnership of the two heroes in this version is very interesting, because it doesn't start in a positive way at all. The two argue, as their Kwamis apparently do. They are really in conflict, because they are opposites. However, their bickering slowly turns thanks to the acceptance into affectionate banter and retort, no offense.

Their partnership throughout the film demonstrates the need for a balance, between a Chat expert in physical combat that shows him easily beating Ladybug, and a more creative and flexible Ladybug in exchanging strategy.

We see them engaged in fighting schemes, in coordination, to the point where it is no longer just a saying "stronger together" but a real rule. Their miraculous actually strengthen when they are in sync, like the Ying and Yang, two figures that complement each other.

And the sidekick figure that switches from Ladybug to Chat, then disappears. Their simple partnership, their collaboration and support in an unknown situation, leads them to improve their character from every point of view, to the point of reflecting on their lives as civilians.

For the timeframe available, an excellent job has been done on these aspects.

The only flaw remains Adrien's conflict and the consequent lack of "The Wall Between Us".

It was also excellent how the natural conflict was moved to Ladynoir and all the relationships were treated in a very natural and realistic way. Adrien and Marinette’s initial conflict in the series lasted very short and was quite forced, while Ladynoir has all the reasons to have it for how their personalities were presented and for their roles. Them growing in their civilians and heroic parts was done very beautifully.

Speaking less of objectivity and more of personal taste, I would have liked them to use the Marichat route more than the parallel love of Adrinette and Ladynoir, always insertable.

Furthermore, I would have appreciated that the reveal came more for the fulfillment of the heart and less for events that forced it. That is, that falling in love led the heart to understand that the two loved ones were the same person.

However, these elements are pure personal taste, and I don't find their absence a real fault of the movie.

Another element that I greatly appreciated is the fact that we saw a montage of Alya, Nino, Marinette and Adrien coming out as friends and forming a tight group.

It is a very important detail for the development of the characters.

COMPARISON TO THE SERIES

*CRACKS KNUCKLES*

Ok, as said at the beginning of this post, you are free to skip this part. If you decide to read it, know that I don't expect you to agree with me or that I’m not judging who didn't like the movie and who loves the series more.

This is just my personal opinion and I apologize if at times it can come across as quite intense. That is totally not my intention!

It is no surprise that I liked the movie and that I enjoyed it more than the series.

I am aware that one is a movie, with limited time, and one is a series. And I am also aware that they are products written in different conditions.

However, with one being the original source, I feel it is impossible to avoid a comparison.

One thing I'd also like to point out is that it's not about what I like best as a trope. Because if that were the case, I wouldn't have liked the movie at all; Marichat is my favorite ship as a concept and I think it's the best development for the story, and as you well know it's totally absent from the movie and with the reveal already done there can't be any pre-reveal development in the sequel.

I also like the idea that they realize their identities with their hearts after they meet.

The show has tropes that I might like, some even more than the movie. However, it was the way things were handled that led me to the conclusion that the movie did a better job in the writing.

It's a common thing I've heard in the fandom that the movie in an hour and a half has done more than the series in 5 seasons.

And well, I think that's true, although I also think it's crucial to explain why and what was done better.

First of all…

I don't think a more confident Marinette is a problem. What I think has been the mistake in the way she's been handled on the show is to have her act so… extreme. Her weird behavior is a manageable element, but it's one thing to be weird cute that can embarrass you, it's another to make it so over the top that it becomes all of her character, especially while implying that those attitudes are a normal thing. Especially if when she makes a mistake she either doesn’t pay for it, or she does but goes back to stage 0 from the following episode. Or even if it’s portrayed as nothing is wrong at all.

I don't think it's a good move  to have her act like this for 4 out of 5 seasons of the first arc, rendering her unable to hold a conversation with Adrien and form a natural friendship with him BEFORE entering a relationship with him.

We barely saw the group of friends (Alya, Nino, Mari and Adrien) hang out, perhaps justifiable by Gabriel’s choice to keep Adrien locked up. But there was never an attempt to get around it and still allow the characters to interact for an adequate period of time except in very rare cases that lasted very little, when the series had all the time to do it.

Most of Adrien and Marinette's conversations were cut short and we can count on our fingers how many times the two had a heart-to-heart before getting together. It got to the point that Marinette admitted that she didn't know Adrien at all at the beginning of the fifth season and not recognizing Chat in Adrien in the fourth, which is very grave.

The movie, with its limited time frame, not only managed, albeit largely in a montage, to show us the group of friends that was forming, but also showed how Marinette attempted to get closer to her crush, to get to know him, and have formed a real bond of friendship!

I don't think adding trauma last minute in season 5 to explain Marinette's behavior fixes that. It doesn't work, as she's never had those problems in alternate realities or with other guys she had crushes on and her attitude has never been portrayed as a bad thing.

I much prefer the movie's approach to her feelings and her character, because from the beginning we know that she has problems, we know that what she does is not healthy for herself, but it gets better with time.

Just as I appreciate, as already mentioned, the removal of the initial conflict between Adrien and Marinette, as it was one-sided and basically short-lived. I think the intention of the series was to show that Marinette didn't fall in love at first sight with a pretty face or the boy's fame. However, for 4 seasons it never came out why Marinette liked Adrien, nor were those feelings deepened by the characters as they got to know each other more and more. Marinette has portrayed Adrien as the perfect boyfriend material for a long time in the series, which contradicts the purpose of their initial conflict.

Same goes for Show!Adrien, that barely shows his personal interests and thoughts that aren't Ladybug related (first) or Marinette (later).

The conflict in the movie however was given to Ladynoir, which makes a lot of sense as they are opposites anyway who have to learn to work together. It also brings a whole new development to their relationship which I appreciate.

Chat Noir and Ladybug are treated as equals in a way the series never has. Their powers are balanced, so are their roles in the story, screentime and in combat. Their relationship is never “subordinate and leader” and we watched them explore this aspect until they came to the conclusion that they were equal partners. Even Fu approaches them together Tikki calls them "guardians".

The series dealt with the topic by always leaving Chat Noir in the dark and creating an entire subplot that was never resolved and just showed us a still insistent Chat Noir and a Ladybug who treated her partner badly, with no guilt on the way and with no final apology. 

Using misunderstanding tropes is good if you can handle them.

If we are to believe that Chat and Ladybug are partners, that the characters are equal in roles and relationships, it is not only necessary to say it, but to prove it.

And surely the season 5 finale didn't help in that aspect…

I have delved into these topics in other analyzes that I have done. You can find the analysis of the Ladynoir subplot here.

While here you can find the analysis of the season 5 finale.

Characters with flaws are important, but these aspects must be addressed as such and corrected in an adequate amount of time.

While not as much as Marinette towards Adrien, Chat has also been too insistent on his feelings for too long and I appreciate that with his character change in the movie, we had a natural conflict that turned into respect later on.

Just like I appreciate that their relationship improves in the long run and gives them the courage to improve themselves.

As for the change of personalities itself, I think it's pretty subjective here. It's not wrong to choose a more open Marinette and the same goes for a sunny and innocent Adrien.

These are different interpretations of the characters. I just think with what it has at hand, the movie has managed its version with more skill.

I also much prefer the approach to the character of Gabriel, because while I like the abusive parent road to the core more, I also think it's something to be treated with a lot of care, which is not the case in the show. Gabriel in the movie is a very human character, who, although in conflict, never contradicts himself, unlike Gabriel in the show.

One thing I immediately explained about the movie is that the pacing is poorly managed. True, this is a big flaw. But it's also understandable given the playing time available and the amount of information and relationships they had to readjust.

The series has terrible pacing too. And it has had plenty of time to deal with its elements and most of the changes have occurred in the last season of the first arc, with more elements being dragged further and further and most of which have not been resolved.

It's even missing a lot of lore, when there was so much time to put it in! Even to delve into it in detail.

Or the management of the secondary characters, rightly cut a lot in the movie with limited playing time, but completely incorrect in the series which has every opportunity to make them stand out.

Marinette's falling in love with Chat lasted for a few episodes where she was constantly being told that she was just projecting her crush on Adrien. Adrien falling for Marinette only happened in the last season and that becoming again all he thinks about.

There isn't enough attention to the characters' passions, their lifestyles and they often don't react naturally to things that happen to them. They don't ask themselves out loud things they would naturally think in their situation. The characters don't get to know each other, they don't spend time together normally even just like anime would in their fillers.

This is something we lack in both what they say and what they do.

I would also like to mention that it doesn't matter how many seasons they add. The fact remains that we have had 5 seasons already badly managed. You can add as many seasons as you like afterwards, but you can't fix the issues you've had over 100 episodes with them.

The path is as important, if not more important than the final goal.

In the movie, however, we saw the characters open up about personal issues that they could reveal without worry, even with the masks. We've seen the characters spend time together, have natural conflicts due to their personalities and conditions then resolve still in a natural way. We have always seen a sometimes comical but realistic representation of the feelings of the characters.

What was cut and simplified, allowed for better management of what they had in their hands. That these elements correspond to the vision of many fans is no surprise because Miraculous in its structure is a very predictable series. A series that can have thousands of different developments, but all of which can be foreseen in a certain sense, at least the basic ones.

This however is not a bad thing. The use of clichés or predictable structure is not wrong if well managed. It is much better than the constant pretense of unpredictability which however leads to the distortion of the entire product, making it unnatural and giving unclear or negative messages.

If the movie was just fanservice, we would have had Marichat, the fan-favorite ship.

We would have had the most thorough Adrienette.

In the time available, the movie has proposed a development of relationships and characters that are not perfect, they are flawed but healthier.

We had a semi-conclusion which, however, leaves room for further development into the sequels, for example for the post-reveal relationship of the protagonists.

One never expects the perfect relationship, or the perfect character, but something coherent in its construction and treated for what it is and not pretending it managed something it never really had done.

The movie managed to make the heroes lose but also to make them win, to make love win, which was the message of the film.

Whether it's a non-abusive Gabriel who ends up face to face with his son, whether it's a Chloé with a chance of redemption, whether it's a reveal… all these elements have also been set up in a different way.

Chloé does not go beyond certain limits, the characters got to know each other enough to instantly accept each other at the reveal and react with extreme joy to the point of crying, Gabriel has always shown that he loves his son…

Choosing that Chloé doesn't redeem itself is fine, but it's how it was introduced, managed and set up that is wrong. Gabriel remaining bad through and until the end is fine, as long as the purpose of the villain fathering the male protagonist holds a sense writing wise, confrontations are allowed and no wrong messages are passed across.

Choosing to set character crushes as unhealthy in the beginning is fine, as long as getting to know each other leads them to develop those feelings in a more positive way.

Adding love rivals is fine, if they’re properly handled and they have a purpose that leads the character to learn something and then to a better endgame. 

Adding new villains is okay too if they’re realistic enough to not go outside the suspension of disbelief and they are slowly and constantly built up. Adding conflict and angst is fine, as long as it's natural, leads to an equally good resolution, and has a purpose.

A movie with so many limitations and with its visible flaws, has succeeded in an impressive feat and served up a great product.

Yes, it would have been better if it was the start of a trilogy for the first arc as a whole. It would have been better if it hadn't cut “The Wall Between Us”. It would have been better with a slower pace. It would have been better without the fart jokes!

This movie had the potential to do even more, to be something spectacular.

It did not make it.

But it still managed to be a great movie.

The movie has accomplished a lot in a sea of restrictions.

The series has accomplished very little in a sea of opportunities.

FINAL VOTE

Movie as a product by itself: 8- / 10

Great messages, great developments and comedy often well managed. High level animations and music. Extremely poor pace management.

Movie as a product of Miraculous: 9.5 / 10

Clearly more successful than the series, although it has strong limitations due to the vast content and the limited playing time. Aspects much better managed from every point of view. The only flaw is the Adrienette content they cut out or the lack of "The wall Between Us"

[bastetwastaken]

Hello, if you don't mind me asking another one for Dragonshipping, this time I'd love to see Yami/Atem being Top (not for smut but domestic) and Jou being bottom... will you write 9 You love me...? & 22. I thought you were taken... a lil emotional scene of Jou doubting love in Yami/Atem's confession, believing he's not that important and at the end I crave for their fluff & happy ending... 😭

Aaaa hi! I am so sorry this took so long, omg, but I hope that it was worth the wait and that you enjoy the lil drabble ^.^

I also hope your day is being kind to you wherever you are and whatever you're doing <3

.........

Jou had expected a night of gaming, eating his own body weight in takeout and hopefully finally winning a game against his friends. He hadn’t expected Yugi to make his excuses as soon as he got there, to insist that Jou stayed whilst he ran to the shop to get snacks. 

Hadn’t expected to be left alone with Atem so suddenly and completely without a plan. 

Being alone with Atem in itself wasn’t an issue, of course, he very much enjoyed the others company…the problem was that he enjoyed that company just a little too much. 

His feelings for Atem had confused him at first, but then he’d just accepted it for what it was. This man had saved his life on more than one occasion, he’d done so much for all of them and the world in general that it was only right for him to admire him…

Only he knew it wasn’t just friendly admiration, or even the kind of admiration he’d seen in movies where the hero saved the world and everyone looked up to them for it. 

No, it was deeper than that. 

Most people didn’t want to kiss their best friends. Most people didn’t feel an unspeakable need to see them when they’d just woken up in the morning, to see how they looked when they were completely at rest. To find every excuse just to be a little bit closer to them, to crave any kind of physical contact they could possibly get- 

He knew he’d fallen hard for his friend. So when Atem smiled at him and beckoned him to join him in the kitchen, his stomach filled with butterflies. Although he knew he was just waiting here with Atem until Yugi came back, he wished it was more than that. 

But how could he possibly say what he felt? How could he tell Atem of all people that he wanted to be more than friends, wanted to hold him, kiss him and just…be with him.

Looking at him now, just standing there looking so fucking perfect with literally no effort at all…his feelings were painfully obvious to him, as was one particular thought.

Atem was too good for someone like him. 

“You seem distracted.” Atem said, that damned smile on his face which always threatened to turn his insides to mush and unravel him completely. “Is everything okay?” 

He thought Atem sounded nervous, but maybe that was just wishful thinking on his part, his need to feel like he wasn’t alone in the way he felt. 

“Yeah, of course.” He said with a shrug, moving to lean against one of the counters opposite where Atem was standing. 

“Good.” Atem said, relief edging his tone. “Cause I actually wanted to talk to you about something.” 

He nodded slowly, trying to swallow the nervousness he felt. It was never good when someone wanted to talk to you…not in his experience anyway. 

“Okay.” Atem nodded decisively, leaning back against the counter and exuding that air of confidence which seemed to come so effortlessly to him. He supposed it came from his past life. “So I’ve been trying to tell you something for a while now but it’s come to my attention that maybe I should just be a little more direct when it comes to these things.” 

Atem paused and he tried to convince himself to be calm, to not let the way he was feeling show on the outside. He was good at that, he’d had plenty of practice. 

“I don’t know when it happened, but I started thinking about you in a different way…as more than a friend, and I tried to show you that, to sort of test how you felt too but my attempts seemed to fall flat. So now I’m just going to tell you. I want to be with you, to be the one you turn to when things get tough, to be by your side for as long as you’ll have me…” Atem paused and a soft sigh left his lips. “What I’m trying to say is, you’re the bravest, most clever and loyal person I’ve ever met and I love you.” 

For a brief moment he wondered if he’d even heard Atem right, surely he didn’t just say what he thought he’d said. 

It wasn’t possible…was it? 

Atem stood there opposite him and just looked back at him, a hopeful smile on his face and he had no idea what to say. 

“You…love me?” He asked, the words coming out way more shocked than he intended. 

Atem stared back at him, eyebrows raised, mouth open and suddenly he felt like he’d missed something really fucking obvious. 

“Are you serious?” Atem asked after a moment, crossing his arms and rolling his eyes, a quiet laugh leaving his lips. “I’ve only been trying to hint at all of this for months.” 

“Months?” He repeated, unsure of how to react to Atems words. He knew what he wanted to do…but surely they weren’t there yet. 

“Yes, Jou.” Atem sighed softly, his eyes closed for a moment then fixed on him once more, a smile tugged at kissable lips. “I’ve explored every other possible option and the only answer I have is that I love you.” 

There were those three words again, words which until this moment he hadn’t even known he wanted to hear from Atem, hadn’t known he wanted to say back. 

He shifted awkwardly where he was leaning against the kitchen counter, he suddenly felt very out of place in this house he’d been in countless times, in the space he knew as well as his own home. 

Because now things were just a little more real. 

Atem was standing on the other side of the small space, only the island separated them and he wondered what to do next. Oh, he should probably start by saying something, Yugi would probably be back any minute now- 

Yugi. 

He cleared his throat awkwardly and shifted his weight to his other foot then looked back up at Atem, preparing to ask him a question which would make or break him. 

“Um, I thought you were…you know.” He paused but Atem said nothing. “Taken.” He finished awkwardly. 

“By who?” Atem asked, a small frown on his face again. 

Now he really felt like an idiot. How blind had he been to misread something so badly? But really, who could blame him. Yugi and Atem were joined at the hip, practically inseparable ever since Atem was given his second chance at life. 

They lived together, took trips together, were always together. He was sure that to anyone it would be obvious there was something between them. Something more than friendship…but Atems reaction suggested he was wrong. 

“Yugi.” He said with a shrug. 

Atem laughed quietly and nodded. 

“I can see why you might assume we were…” Atem waved a hand vaguely. “But no. Our relationship is purely platonic.” He nodded and looked down at his feet. “We share a strong bond, one which I don’t think will ever be broken but it’s not what you think. You forget that we shared a body for a long time…how that felt and everything that happened isn’t just going to pass now we can live separately. I think we’ll always need each other on some level.” 

“Of course.” He said, looking back up at Atem and shrugging. “Yeah, sorry.” 

“No need.” Atem smiled, then he sighed quietly and pushed himself away from the counter, moving over to the island between them and leaning on the surface, elbows propped up on the top, one hand under his chin. “So…you know how I feel.” 

“Yeah…”

“”I’d like to know how you feel.” Atems voice was soft but insistent, curious but cautious and he couldn’t help but smile as he looked back at the man who he now realised he’d fallen for a long time ago. 

“I…love you too.” He said, the words lifted a weight off his chest which he hadn’t even known was there, filled him with such a sense of relief that he had to laugh. 

Atems smile only grew, then he pushed himself off the counter and stepped around it, that confident smile on his face which Jou loved to see. The one which held the promise of a challenge, the spark in his eyes promised even more and he felt his heart beat faster.

He remained still as Atem pulled at his arm gently, moving him to stand a little straighter as he leaned in closer, a hand brushed against his cheek then soft fingers gripped his chin, leaving him breathless as Atems eyes moved down to his lips. 

“This is the part where I kiss you.” Atem said softly. 

He found his breath again for just long enough to laugh quietly, a hand nervously touched Atems waist, disbelief at what was happening mixing with pure elation as he closed the distance between them. Atems lips were soft, warm and fit so perfectly against his own that he was convinced he was dreaming. 

The feeling of Atem pressing his body against his though, the hard surface of the countertop behind him pressing into his back and the soft breath he could hear from Atem were much too real for his mind to construct. 

Atems kisses were much different than how he imagined them, they were insistent and just the right side of too much but he loved it. He loved the feeling of Atems hands sliding into his hair and pulling him closer, demanding more from him and he was happy to give him whatever he wanted. 

When Atem moved away they both looked at each other, breathing heavily and he couldn’t fight the smile which worked its way onto his face. 

“I love you.” He breathed out, smiling so much it hurt and Atem laughed breathlessly. 

“Show me then.” Atem said, pressing their lips together once more. 

........

There's a list of prompts here and I never mind people asking for lil bits of writing ^.^ <3 <3

[adragonsfriend]

Why you no therapist, Starwars?

"The Jedi don't have therapists so they couldn't possibly understand emotions or how to raise kids"

"If Anakin got therapy he would've been totally fine"

"The Jedi would be against the idea of therapy"

i'm gonna scream at someone

Analyzing a work of fiction point 1:

The reason the Jedi don’t have dedicated therapists isn’t because SW characters are dumb or ignorant of how emotions work, it’s because SW came out starting in the 1970s and 80s.

I'm not saying talk therapy was non existent as a concept then, but I am I’m saying it was much less culturally prevalent, and shoe horning it into the world in the prequels would’ve been a shoddy, out of place world building decision for a world created in the 70s.

Actually important point 1:

For almost all of the world’s population, therapy is still a very new and very foreign concept, and most humans that have existed over the past 300,000 years or so have managed to successfully understand what an emotion was and done a functional job of raising their offspring. There are not skills that solely emerged from the study of psychology.

Analyzing a work of fiction point 2:

Because we're talking about a work of fiction, it's essential to note that George Lucas wasn’t making movies about the efficacy of therapy in treating childhood trauma. He was writing about family and love and individual moral choices, and there isn't the runtime in a couple hours of movie for half a dozen therapy scenes that wouldn't serve his themes at all.

Go watch like,,, Good Will Hunting, if you want a movie about therapy and trauma, it's great.

The Jedi would be super supportive of therapy if they lived in a universe where it was a concept, and if you want to read a version of that done well, I recommend reading Force of Many Sights by DAsObiQuiet on ao3. It’s a wonderful fic, linked below.

Actually Important point 2:

Talk therapy isn't a universal solution. It doesn't work for all people, for all problems, at all times. Just getting someone into therapy is not a guarantee of recovery or even any improvement at all. It's a really great tool, a good idea to try out if you haven't, cheers if it works for you! But saying that 'therapy would've fixed everything' is misleading, western/21st century centric, and utterly dismissive of the complexity of treating both trauma and mental illness.

Fic Rec: