#it's an objectively good song but its not for me

[endangeredrandomfanfics]

"A Mother's Calm in the Storm"

Taglist- @circe143 @skittlebum

Summary: A few days past and you and Agatha continued to live on with her draining witches but one fateful day you happen to trigger your powers and don't know how to react luckily your mother is there to help -Chapter III

Chapter I

Chapter II

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The forest was alive with the soft whispers of leaves in the wind, birds singing their afternoon songs as Agatha and her child walked together. It was the child’s tenth birthday, a day Agatha had known for years would be special in more ways than one. She’d sensed the potential growing within them, like a seed waiting for the right moment to bloom.

But she hadn’t expected that moment to arrive so suddenly.

One second, her child was bending to pick up a small stone by the river, and the next, it was as though the forest itself had come alive in response to their touch. The stone hovered, spinning in the air between their fingers, and all around them, pebbles and leaves began to rise, circling in a strange, beautiful dance. The child’s eyes widened, watching in shock as the power spread outward, pulling more of the forest into its grasp.

Agatha stepped closer, her heart swelling with pride and wonder, but her child’s face held only fear.

“Mama,” they whimpered, their voice shaking, “I don’t know what’s happening… Make it stop, please!”

The child’s breaths came faster, panicked, as more objects lifted into the air—small stones, branches, even the water from the river lifting in droplets, suspended in a shimmering ring around them. They backed up a step, clutching their hands to their chest, eyes brimming with tears.

“Shhh, shhh, it’s alright, my love,” Agatha murmured, kneeling down to their level, her voice gentle and warm. “It’s just your magic coming to life. You’re not in danger, and I’m here with you.”

But the child shook their head, squeezing their eyes shut as tears spilled down their cheeks. “I don’t want this—I don’t know how to make it stop!” They sobbed, trembling as the energy surged stronger, the floating objects circling them faster, caught in a storm they didn’t understand.

Agatha’s heart ached to see their distress, but she kept her voice calm, her hands reaching out to gently rest on their shoulders. “Look at me, sweetheart,” she said softly, her thumbs brushing away their tears. “Take a deep breath, just like we do when we’re practicing our songs. Remember? Breathe in… and out.”

They opened their eyes, looking into her calm, reassuring gaze. Her voice, soft and steady, seemed to reach them even through their panic. They sniffled, trying to breathe with her, their small hands clutching hers like a lifeline. Agatha’s presence was a steady, warm anchor in the chaos.

“Good,” she whispered, brushing a stray hair from their face. “You’re doing so well, my brave one. Now, let’s try another breath. Nice and slow.”

They breathed in again, following her rhythm, and Agatha felt the storm of energy around them begin to calm, the floating objects dropping slightly. She held their gaze, smiling softly. “There you go. You’re safe, my love. Nothing bad will happen—you’re in control.”

But even as the child tried to steady their breath, another wave of energy surged within them, wild and powerful. The stones, leaves, and river water rose again, swirling in chaotic orbits around them. They gasped, feeling the power slip from their grasp, their tears returning in a flood.

“I… I can’t do it, Mama!” they cried, their small voice breaking with fear and frustration. “Everything’s spinning, and I don’t know how to make it stop. I’m so scared…”

Without a moment’s hesitation, Agatha pulled them into her arms, wrapping them in a warm, comforting embrace. “It’s okay, my love,” she murmured, stroking their hair, letting her touch soothe them. “You don’t have to be afraid. I’m right here, and I’ll help you.”

The child clung to her, burying their face in her shoulder, sobs shaking their body as they tried to calm down. Agatha held them close, rubbing small circles on their back, her voice a steady whisper. “Listen to me, sweetheart. This magic—your magic—is a gift, and it’s a part of who you are. Right now, it feels strange and new, but with time, it will become familiar. You’re so strong, my brave little one.”

They pulled back slightly, looking up at her with tear-filled eyes. “But I… I can’t control it. It’s too much, Mama.”

Agatha cupped their cheek, her gaze soft and full of love. “That’s why I’m here, my love. I’ll help you learn to control it, bit by bit. For now, just focus on me, and remember that this magic is yours. It belongs to you. It can’t hurt you if you learn to welcome it.”

They sniffled, nodding slightly, still clinging to her hand as they tried to process her words. “What if… what if I can’t make it go away?”

She smiled, leaning down to kiss their forehead. “Then we’ll face it together, every step of the way. But I promise you, my darling, you’re much stronger than you think.”

Her words seemed to sink in, and slowly, they felt the storm inside begin to calm. The wild energy quieted, and the objects around them began to lower back to the ground—stones and branches settling softly, the droplets of water falling gently into the river.

Agatha watched with pride as they breathed deeply, steadying themselves, their small shoulders relaxing. She held their hands, guiding them through each breath, her warmth and strength steady and reassuring.

When the last of the chaos had faded, the child looked around, astonished by the stillness, the quiet. “I… I did it,” they whispered, a small, uncertain smile crossing their face.

Agatha’s heart swelled, and she pulled them close again, wrapping her arms around them. “You did, my brave one. I’m so proud of you.”

They hugged her tightly, letting out a shaky breath. “Thank you, Mama. I don’t think I could’ve done it without you.”

Agatha held them close, her own eyes misting over as she kissed the top of their head. “You’re stronger than you know, my love. And I’ll always be here to help you understand your gifts, every step of the way.”

They stayed wrapped in each other’s embrace, letting the warmth and safety of Agatha’s love settle over them. And as they began to walk back along the forest path, Agatha kept her arm around their shoulders, a smile on her lips as they talked about their newfound powers and the exciting journey that lay ahead. Together, they were ready to face whatever came next—mother and child, bound by a love that was as fierce and enduring as the magic within them.

===============================

A/n: Please leave a comment 💜 I wanna read your thoughts 💭 about this, it's only the beginning I made more interactions happen between Agatha and the reader

[takami-takami]

My biggest red flag is my favorite Motionless in White album (probably) being Infamous. The one critics hated. That got no radio time. The album chris motionless immensely hates. That no one liked. I love infamous. I love it so much.

And it's not just because Hatefuck is on there and that's the funniest song I've ever heard in my life. Like genuinely Infamous is just so much fucking FUN. The transition from the first song, Black Damask, to Devil's Night makes me SO happy. The creepy crawliness of BD to the foot stomping BAM. BAM. BAM. of DN. It just makes me so happy.

God. It's so angry and it's so fucking FUN. <3

I know If It's Dead We'll Kill It is a fan favorite of MiW fans too, and it's on Infamous. People forget that!!!

Ugh. I'm halfway through relistening, currently on the Divine Infection and it's PURE fun. I mean come onnnnn. Virgins beggin for a hit with original style 😌 !! CROSSED OUT WRISTS BOUND, EVERYBODY GET DOWN!!! COME ON AND GET ME!!! COME ON AND GET ME!!!!!! 💞

[rise-my-angel]

I am here for your takes on Dani. I'm glad I'm not the only one who thought her x Jon smelled of hot garbage. Like at best she was meh, and then when the two of them met I was just like "oh no....you're an entitled bitch". And now that its been years since I last consumed GoT, my thoughts have fermented into "oh no, she really is a conqueror" "oh no, everyone loves her because 'pretty badass lady'" "oh no i'm the fandom minority again". Anyway, where was I. She and Jon had no chemistry. The end.

The *only* way putting them in a romance even makes sense in concept is when you realize Benioff and Weiss gave Jon the Young Griff arc. It's why they gave him a Targ name, beacuse if they call him "aegon" then they can fufill that part of the books without ever having to establish Young Griff as his own character. He is the supposed son of Rhaegar Targaryean and Elia Martell, he goes to Westeros with intentions of using his better claim to take the throne and intends initially on marrying Dany, and it's theorized heavily that Dany will see his claim as a threat and the Burning of Kings Landing will come down to Aegon against Dany.

Jon Snow has nothing to do with that. He is a moral opposite to Dany as a charecter, and we've seen him time and time again be at strong odds against people with her morals. But by giving him the Young Griff arc, it means putting him into the romance spot when it makes no sense for him.

Hey I put a read more beacuse I cannot shut the fuck up about how this relationship is just rape and abuse but beacuse Jon's a man we think he wants it.

All of season 7 Jon is so out of place because he doesn't belong anywhere near Dany's Iron Throne plot, and he's being forced to interact romantically with a charecter that clearly he does not like as a person and is uncomfortable with.

But, Dany is the sacred cow of the GoT/asoiaf fandom. You love her and if you critizize her for villanious actions or morals then you are using bad faith towards her. While I personally don't like her, I don't mind other people liking her but I despise that her stans all refuse to allow any conversation about her being a morally bad person. A person who enjoys cruelty and death, enjoys creating fear and is smug when she can control others. That is not a person Jon would love, let alone even respect.

Their entire relationship wreaks of abuse, of Jon being forced into this and knows he cannot leave it without risking his and his families lives. Remember when Tyrion gave a very small level critisism of her actions and she angrily accused him of treason and siding with his family instead of her? Well what do people think would she have done, if her attraction to Jon was refused? Someone who she took all the defenses away from, all the power from, and could have killed at any moment (dont make an ygritte comparison mimi dont make an yrgitte comparison this is a different anti jon x fandom female fave charecter post).

I don't care how the show frames it, or what the intent was. What we got on screen, was Jon Snow being held prisoner to an immoral, cruel, military conquerer. And when that woman was attracted to him, she essentially forced herself into his life and gave him all but no choice. The Jon bending the knee scene and..the uh...boat...scene...later...uhhh....anyways, those to me feel so out of charecter. You cannot convince me Jon did any of this willingly. He is clearly trapped in this situation and cannot leave and is only with her beacuse she is violent and bloodthrirsty. But beacause Jon is a strong, capable man, it's not talked about as if he's the victim and that is insane to me. (Oh my good god the ygritte comparisons are almost laughable send help).

I don't consider a lot past season 5 to be canon, but if I am forced too, then I refuse to accept Jon was a willing participant in that relationship.

Jon's parentage reveal will always be about the revelations of his mother, and the understanding and acceptance of WHY Ned raised him the way he did. And how it was both his parents, his mother and his adopted father who loved him and kept him safe. The very fact that Young Griff's entire story is based around whether or not he truly is Rhaegar's son as opposed to that being a twist reveal is beacuse HE is the charecter whose Targaryean links is the important one. Jon's story is about him as Stark, and is always shown to be the moral opposite of Dany.

Their relationship in the best senario is not canon, but if it has to be, then there is no world in which Jon is there of his own free will. He is being forced into this relationship against his will. But considering his other love interest was another charecter who essentially forced him into a relationship against his will, and we were supposed to root for that tells me all I need to know.

Dany is a sacred cow charecter, and her stans are unreasonable in defending her. When you can like a charecter and critize them for their actions. Ned Stark was an idiot for ever trusting Petyr Baelish, Catelyn Stark's spiteful attitude and neglect of Jon Snow is was abusive behavior, Theon Greyjoy was a moron who ruined his own life for a father who long since abandonded him. Bam all charecters I love and there are some major flaws that I refuse to defend them for but thats also what makes them good charecters. Their flaws arent writing flaws, they are personal flaws for them as people.

Dany is not allowed to have personal flaws she is always to be justified even with incredibly bad faith defenses, but when she is flawed it's the writings fault not hers. Dany is a cruel, sadistic, controlling, military tyrant who enjoys watching her subjects fear her and her dragons. And she forced Jon Snow into a relationship with her beacuse otherwise then he is against her and we already knew she has no use for people who dont support her to be alive.

Jon Snow deserved better then to have both his love interests be domineering, controlling, abusive women who forced him into a romantic and sexual relationship.

Also, I mean, incest being normal is only a learned trait from Targaryens supporting their own blood purity. Jon was not raised to think incest is normal. Dany thinks its normal beacuse she and Viserys both were raised to think that, and Young Griff thinks marrying Dany is normal beacuse he too was raised with the mentality that Rhaegar would've been raised with. Jon finding out Dany was his aunt would've had Jon looking right at Sam and just

[puppyeared]

for like 3 weeks i was wondering why i was sleeping so much and felt listless. and just now I managed to email 3 people and responded to a month old message in the span of an hour because I got back to TAKING MY FUCKIN MEDS..........

[lateseptemberdawn]

SHUT UP SHOOT! DOES HAVE A CHOREOGRAPHY OMGGGGG AAAAAA BET ILL LEARN ITTTTT

[omegalomania]

i keep trying and failing to articulate what heartbreak feels so good feels like. but i guess the best way the say it is that the lyricism feels, to me, like a discussion of catharsis through the act of creation. and it sounds SO happy but it genuinely feels a bit sad to me? it might just be me. i swear to god i know i was just like "i dont really do lyrical analysis so much except in little snippets" but this song has me so intrigued and i have no idea if anyone else got those kinds of vibes from this.

but basically. right from the start, we have hope mixed with cynicism. the first line of the first verse is a compelling, optimistic hook: it's about how the future is up for grabs, and you have the power to shape it. and the second line adds in, no matter what they sell you, followed by that reference to the 2022 jordan peele film, "nope." i have not seen this film (yet) so i could not expand on the themes of it, but i did rb a really good analysis of that particular line there and i thought that was super compelling, especially given my read on the rest of the song. one thing that the analysis there says that REALLY got my brain going was how the movie nope comments on how the "bad miracle" is the spectacle of the complacency in watching something self-destruct. and op phrased it better than i did, but it's VERY applicable to the way fall out boy's whole legacy was shaped - through the commodification of the band, and of course primarily of pete, and the deification/demonization of his pain, his intimate details, the invasions of his privacy.

given what the rest of the song says, i thought that was super super applicable, especially paired with the prefix of no matter what they sell you. commodification is already a theme here.

nobody said the road was endless, followed by could we please pretend this won't end?

the road will end. you will eventually overcome that hardship. but crucially, the song doesn't want to overcome hardship. it wants the hardship to never end. it wants it to always be there.

and of course the line between those two - no one said the climb was friendless - because they've always been a band of brothers. they've always climbed this road together. again, that little kernel of hope sandwiched between those subtly saddening implications. nobody said the road was endless - and the road is not a good thing, as the prechorus will indicate to us. the fact that they're not alone is the only consolation they have in this.

It was an uphill battle but they didn’t know we were gonna use the roads as a ramp to take off

naturally, there's commentary on determination and persistence in the face of overwhelming adversity. but i love the way it's not just "we push through despite all that" it's "we succeed BECAUSE of that" - the roads are ramps! you take your pain and turn it into something that will launch you into the fucking stratosphere! but rather critically, you don't get anywhere without the uphill climb. a flat road is just a road. it's only with a steep incline that you can actually use your momentum to head skyward.

and that's the point, isn't it? heartbreak feels so good - not because it actually, legitimately feels good, but because it's only through heartbreak that you can make something profitable. heartbreak feels good because if you are broken, if you are not fixable, you can guarantee that you will remain a fixture in the industry. your pain is compelling. the second verse really cements that for me.

we said we'd never grow up It’s open season on blue moods

because obviously everyone writes about heartbreak. again, blue moods are big themes in music. if you're heartbroken, then as far as the world is concerned you're producing good art. likewise with the idea of "never growing up," since well especially with fob and the way they've been perceived, there's a general preconception that they're at their "best" when they've been kind of frozen in a state where they don't get to grow, change, or learn. if you're at your most prolific creatively at your saddest, then maybe the fans, the world, the industry likes you better like that. never growing up. never getting better.

taking a look back at the chorus, there's the whole interplay of crying and dancing, and that is what really makes my brain go brrrrr

We could cry a little Cry a lot But don’t stop dancing Don’t dare stop

the "don't stop dancing" part reminds me a bit of the song of the same name from bojack horseman. and if you're unfamiliar with bojack horseman, the cliff notes summary is that it's about a washed-up actor who was on a famous 90s sitcom and all the ways he is fucked up and hurts himself and hurts the people around him and how he struggles through it. it is RIFE with commentary on celebrity culture and it's an excellent show but also a genuinely hard watch. it is a show that i know that pete is at the very least familiar with, and thematically i can see why it would interest him.

anyway, the song "don't stop dancing" is sung twice in the show. the first time is while bojack is having a tremendous mental breakdown and he hallucinates/dreams his co-star singing to him so she can mock his self-pity and comment on the inherent absurdity of celebrity culture - the line that stands out for me here is why not sell your sadness as a brand? the second time, it is sung by a mental construct of his former co-star (who died an unnecessary, tragic death for which bojack was directly responsible) while bojack is drowning in a pool. the reprise is about the inevitability of death and what your legacy leaves behind - because bojack is dying in that moment, and the character singing the song here is dead and her death has cast a permanent shadow over the entire remainder of the show.

all this is to say that the "don't stop dancing, don't dare stop" bit feels genuinely kind of...like it sounds joyous, it's delivered as such, but it's also got that darker undercurrent to it? the thing is that the heartbreak is inevitable - the whole song is about how heartbreak is inevitable and it is gonna happen anyway. and you can cry all you fucking want about it, but you are not allowed to stop dancing. you are not allowed to stop turning your pain into art. because your pain is the most profitable thing about you.

We’ll cry later or cry now You know it’s heartbreak

cry later, cry now. cry a little, cry a lot. it doesn't matter when or how much you fucking cry about it as long as you keep dancing - keep creating. keep making something, making your fucking pain and misery and heartbreak worth it. because that is what the people love. that is what the people want to see. that is what sells records.

heartbreak feels so good precisely because it means you can make something out of it.

but then, that last bit of the chorus...oh. oh, my heart.

We could dance our tears away Emancipate ourselves

that last line. emancipate ourselves. i am reasonably confident that this is a direct reference to "redemption song" by bob marley. pete is familiar with marley's body of work and the phrasing is too specific, too deliberate. that line in "redemption song," emancipate ourselves from mental slavery, is in and of itself a reference to a speech made by marcus gavey, a jamaican activist. and there is legitimately so much in that alone. the fact that both the song and the speech are about slavery. the fact that marley wrote this song in '79 while he was already dying of cancer, and confronting his own mortality through his art. i wish i could articulate all that there is in that but i don't think i'm the right person to. but the fact that the chorus ends on that note, punctuating it with one last refrain of we'll cry later or cry now / but baby, heartbreak feels so good, that is what makes the song for me. that's what gives it that little zing. that's what elevates it to something much more hopeful. because again, the song sounds happy but says some pretty saddening/harrowing stuff. but the parting note is on that. emancipate ourselves.

"We are going to emancipate ourselves from mental slavery because whilst others might free the body, none but ourselves can free the mind."

and to have that happen in conjunction with "we could dance our tears away" is like.......you can survive free of whatever pain might plague your legacy - in more ways than one. we could dance our tears away - because while we are required to never stop dancing, never stop creating, it still helps, doesn't it, to make something beautiful from all that has hurt you? and there will always be people who want package that, sell it, make it into something that can be bought and advertised. but you can make yourself free of that, if you have the inclination. and i think the upbeat nature of the song is what supports that. it sounds jubilant but it also sounds...free. for all the ways that you might be weighed down by the onlookers, the people who want to profit off your pain, the people who prefer you broken, your ability to find catharsis and freedom through your craft is yours, and yours alone. and despite everything else, you can still find a release in that.

thats what gets me about this one. i cant stop rotating this song in my head and thats all

[whilomm]

seeing an artist who is absolutely Fucking Huge at rhe moment and being like okay yes I recognize theyre objectively good and these songs are obviously excellent from a technical perspective and it makes complete sense to me that they are Massive and I believe they deserve it but also theres no weird bits happening so :/ not even making any strange noises :/

[finalgirlgretchen]

AND ACTUALLYYYYYY. if u all want to know THEEEEEE most embarrassing thing. that i swore i would not admit but i am now going to admit and then bury with reblogs. the deeply deeply triggering thing that happened to me this weekend? was my sister talking about. hit musical be more chill

[benetnvsch]

I fucking love Bastille so much rahhhhhh

[capri851]

This song is gonna haunt me

[sirompp]

[daz4i]

i don't get discussions abt bad or good lyrics ngl. like i don't understand what makes a lyric good or bad. sometimes I'll see bits taken from [artist tumblr hates] and [artist tumblr likes] and be unable to tell them apart bc i mean, they're just lyrics yknow?? but one is considered bad and the other is considered peak writing. i dunno it mostly just makes me insecure about my own lyric writing yknow? 💔

[cringelordofchaos]

WHY AM I LIKE THIS WHY AM I LIKE THIS WHY AM I LIKE THIS

[angelamontoo]

What are some of the most earwormy songs from Peter Lorres films to you guys?

'Ja die Polizei' from Was frauen Träumen seems to be a pretty popular one among Peter fans and 'As time goes by' is quite well liked in general, but what others do you like or get stuck in your head all the time?

I wouldn't say I like it perse, but I constantly have that damn Zulu warrior/zulu King song from Rope of sand stuck in my head. Especially that fucking "dup duppy dup duppy dup duh da da dup duppy dup duppy dup da da" bit. Drives me crazy

Also I really enjoy that weird, jaunty song from the opening of 'die Koffer des herrn O.F.' It seems like an appropriate song for Stix

And while we're on opening songs for films, AAOL has a pretty good one. I especially enjoy that the opening theme has the same tune as the hymn that the aunts are singing at Mr Hoskins(and Mr Spenalzos) funeral later aswell as that little happydale song Mortimer sings at the end of the film when he's "pretending" to be insane

[plan-bliz]

Of course you do

01/12/2024

[flickerbit]

I miss 2016 so bad