#just don't totally know their story yet

[musette22]

Hi friends, just a quick message about the Seb in The Apprentice situation. I've (understandably) been getting quite a few messages about it, most of them wondering why on earth Seb had to take this role, and also expressing concerns and hurt about the whole thing. I absolutely hear all of you, and really feel for those of you who are worried and upset. I am too, to some extent, but I know it's far worse for some of you who have been directly affected by this despicable man's actions and influence. I'm so sorry this is bringing back awful memories and emotions, and that it's tainting what should be your safe space and/or escape. That genuinely sucks, to put it mildly 😔

While I always try to make sure that this blog remains a positive and safe space as much as possible, this is something that I couldn't help but express my own concerns about as well. However, I have done that now, and I feel like for the moment, that's all the attention I want to devote to it. The more we talk about it, the more negativity it seems to garner, and that's doesn't feel beneficial to anything. So for the moment, I won't be replying to any more asks about this situation, at least not until we have more substantial information about the direction this movie is taking and what its goal is. I hope that's okay. Thank you for understanding, and I'm sending lots of love and hugs to everyone who needs it ❤️

[highfantasy-soul]

People saying that those who think The Stranger has a point are dumb women who only can think with their sex drives just make me want to make a shit ton of thirst content defending him just out of spite.

Like, my actual view is that he's a super interesting character and we haven't seen enough of his philosophy/reasoning/full actions enough for me to have come to a decision about whether one might call him 'justified' or not. I think it's very purposeful that we HAVEN'T been given all that info about him, we've just been left to sit with our preconceived notions about what he MIGHT believe and I'm more than willing to ride this train to the end to see what the narrative is going for.

But just to spite what feels like super misogynistic takes about dumb women just forgiving a guy (for fighting back against an oppressor?) because he's hot, and we're just dumb dumb dummies who are so stupid and can't think critically about media at all, we just see pretty man and go googly eyes and ignore (imagined) sins of the character that apparently only the smarty smarts can see, I do kinda want to just go whole hog on "The Stranger has done nothing wrong, will do nothing wrong, and I'm going to woobify the shit out of him".

Even the comments trying to keep in the misogynistic takes' good graces by saying 'Look, we know he's evil! We're just having goof-ums!!' are a bit annoying because....it's again not showing a lot of openness to storytelling that doesn't follow the 'norms' or the 'tropes' you expect to see.

Genuinely, (as of episode 6), I don't think we've been shown enough about The Stranger to be able to decide if he's a justified dissenter of the Jedi Order or if he's against the order for more nefarious reasons - and I think that was purposeful on the part of the writers! Maybe he is a sith who wants to subjugate the galaxy!! Maybe!! But maybe he's not! The point is, we don't know yet and just because he wears black and is a bad ass who killed your faves doesn't mean you know everything there is to know about the character! Might I point you in the direction of Cassian Andor and Luthen as examples of ppl who kill not-always-evil ppl but we don't label them evil or fascists!

But red lightsaber always means evil, right? That's good media literacy, right?!?!

[the-way-astray]

i must be the only (kind of) unironic aldella shipper in this entire fandom.

(ranting in the tags)

[somedaytakethetime]

He's literally obsessed with kicking the ball at this kid in this fashion lately... show off..

Bonus of my favourite, precious dansk rotte:

[arkon-z]

TOTK is a good game and it's got a good story to boot. But the thing is, that story doesn't connect very well to BOTW. It really does read like a sequel fic of someone who loved the source material but really wanted to gush about how awesome the Zonai were. I'm not a game dev or writer, so maybe this is just my inexperience showing, but with two delays, you'd think they'd have enough time to polish up the story.

[batfamfucker]

Tell the truth comic fans challenge. When's the last time you read a comic and how many have you actually read?

P.S. This isn't me being gatekeepy btw I'm being genuine because I'm gonna be honest I've probably only actually read about five series and every thing else I've gotten from movies/series, online, or fanon. I know all the important events. Have I actually read them? No because my ADHD just wouldn't. And I can't be assed having to read important events if it's in a shit run by a bad writer.

[kira-the-whump-enthusiast]

omg i saw you reblogged that one post about villains who love too much and tagged is as an oc named,,, alesky, i think? (This ask box is blocking the character name so apologies if i spelled it wrong), I am Intrigued and would love to know more about them

Sorry it took me so long to get to this ask!! Tysm for it btw I died of excitement when I saw this in my inbox!! And yes, that’s Aleksy!

Here are some picrews of them :D

And here’s some art my lovely and amazing friend made of them <3

Their full name is Aleksy Annora, and I made them like a year ago after I read “The Man Who Loved Flowers” by Steven King.

Some content warnings before the rant: domestic abuse, serial murder, a lot of angst, attempted murder, execution, attempted suicide, implied major character death, probably some more stuff

Aleksy is just a totally normal barista in a popular coffee shop, of course. There is no angst or tragedy or murder in their backstory, not at all.

Well who am I kidding lol. Pretty much their main concept is that they are a Serial Killer For Love™ cuz goddd I love that trope. Tho I wouldn’t really call Aleksy any sort of yandere. They share some of the aesthetic tho!

The thing about Aleksy is that they fall in love all the time, but at the same time love is the thing that scares them most.

To them, the easiest way out was to end their boyfriend’s life. So they took a pair of scissors, sharpened them to a point, and stabbed their boyfriend to death. Immediately afterwards they fled the country and changed their name to what it currently is, Aleksy.

To them, the easiest way out was to end their boyfriend’s life. So they took a pair of scissors, sharpened them to a point, and stabbed their boyfriend to death. Immediately afterwards they fled the country and changed their name to what it currently is, Aleksy.

To them, the easiest way out was to end their boyfriend’s life. So they took a pair of scissors, sharpened them to a point, and stabbed their boyfriend to death. Immediately afterwards they fled the country and changed their name to what it currently is, Aleksy.

And that’s how they ended up the city they live in currently! Aleksy wanted to just live a typical life, completely separate themself from all trauma they lived through, but that was not how things would go.

Aleksy is constantly falling in love. And normally, this wouldn’t really be that bad, but Aleksy is both obsessive and utterly terrified of everything that love means.

They fall head over heels, and they also do it really unhealthily. Like, they stalk their crushes, try to learn every single little detail about them, but they also will never talk to any one of them. (That’s how they justify it as okay in their head. And it’s not like it would be a good idea to ever pursue a relationship. Aleksy is too imperfect for that.)

And for a while, they’re happy, their crush seems perfect in every way, and maybe this time they’ll even build up the confidence to actually say hi. And then cracks start to show in the perfect idealized version of their crush that Aleksy has built in their head, and they become scared.

Scared that if they let themself be vulnerable around this person, then they’ll be hurt. Scared that any minor imperfection could point to a much deeper flaw, one that could end up hurting them in so many different and horrible ways. And then the obsession that fed them happiness becomes something incredibly distressing. They don’t want to feel like this, they don’t want to think about this person, and they’re absolutely terrified of losing the little control they have over their life.

So Aleksy always ends up grabbing the sharpened scissors they never discarded, and stabbing their love in the throat in the dark streets of the city at night.

It’s the only way they know how to end it. When their crush is dead, Aleksy can safely put them out of their mind. The dead never hurt anybody, after all.

And this has happened multiple times. They’re a wanted serial killer, but also, no one knows that they’re the culprit. The police are very slow in solving any sort of case, even the serial murders get put on long holds. Aleksy has managed to get away with their murders for this reason.

Until, they meet Juno Líming. Juno is investigating the serial murders that Aleksy has committed, because her brother, Kyu, was one of the victims. She asks Aleksy some questions, not knowing that they were the one that killed her brother. Aleksy isn’t aware that she’s Kyu’s sister.

And then they end up becoming friends! Juno is pretty much Aleksy’s first friend, actually. Most of their life they weren’t allowed to make friends in any meaningful way, and even after they escaped that, they didn’t really have any sort of drive to make friends. But because Juno is pretty much consistently visiting them for investigation reasons, the two end up getting to know each other :D

Aleksy finally has a healthy relationship! They don’t become any sort of obsessed with Juno, and Juno knows how to like. Make friendship. They do some wholesome stuff together :)

And then I hit them with my comically large angst hammer! Because while Aleksy very much enjoys the friendship, Juno is also making a lot of progress in finding out how Aleksy committed their murders, and now she’s really close to figuring out who was behind it. And then Aleksy realizes that if Juno finds out that they’re the culprit, then they’ll never be friends again.

They end up totally panicking, and they get a little messy in hiding the evidence. And their slip-ups are enough to make Juno realize that her friend, the person who’s supported her through all her hard times and her investigation, is also the serial killer she’s been chasing all this time. And the same person who murdered her brother.

Aleksy tries to run after this, but Juno chases them and ends up cornering them! And Aleksy realizes that they’ll surely be caught now, that their only friend must hate them now, and that they can’t keep living this life but they don’t what else they can do.

They try to kill themself with their scissors, right then and there.

And they end up surviving, but not without a scar on their neck and some damage to their larynx.

They do end up being tried for their crimes, and well, now they’re on death row. Juno does end up visiting them a lot, tho. She can’t really reconcile her knowledge of Aleksy as a friend and confidant with the knowledge that Aleksy is a serial killer and murdered someone very close to her. So she kind of omits the latter from her head. Her impression of Aleksy as a friend is stronger. And she’s tired of losing people close to her, she won’t let anything like it happen again. If that means being Aleksy’s friend, then she will do that.

Aleksy doesn’t really understand why she still wants to be her friend, and they think the last thing they deserve is her friendship, but they’re happy for the company regardless.

[jaythelay]

Dead Rising 4 was so bad I actually uninstalled it after pirating it.

A real "No thanks, I know it was free, I just don't care for shit."

[lardedallwithsweetflowers]

"As fate would have it, Cusack had fallen in love with a tall, laconic actor called Jeremy Irons, who was starring in Godspell just down the road. It was a case of opposites attracting. 'He was so elegant and refined,' she recalls. ('She was so Irish and wild and seemed to embody everything I wasn't,' he said.)

[...] Sam was born less than 10 months after Cusack's mother died of heart disease in 1977 ('I think he was conceived the night before she died. I like the thought of their two souls mingling'). 'The combination of all those emotions was just too much to deal with,' she says quietly. She recognises now that, for at least six months, she suffered from severe post-natal depression, undiagnosed at the time. Her work and her husband got her through — 'Jeremy has always been my greatest support'".

Sunday Independent, 30 July 2006

[shidoukanae]

Daniel/Ellie sketchpage!!!

Been becoming more and more fond of them as a ship recently and wanted to try drawing the greedy merchant gal and the mischievous do-good dragon guy!!

All the dragon guy/human gal ships in this story are really full of chemistry and these two are no exception. They've barely got any meaningful interactions between them and yet somehow they're still oozing with cute feels between them. Really makes me root for them to become an established relationship, especially since the creator handles both characters really, REALLY well already and i wanna see what they're like when they both reciprocate interest in each other :Dc

[fragmentedblade]

It's as if they're saying... "Why... why did you and Imbibitor Lunae commit such an unforgivable sin?"

I know that you have no interest in my answer.

...which is why I asked the question as you looked me straight in the eye. I've asked myself that same question infinite times... but was never able to find the answer...

Why... why is it that only the abominations can return time and time again...?

Why does someone like her have to be buried, burned to ash, and eventually forgotten...? Why!?

This play on questions that await no answer, yet are in their way a response to what was asked, is so good

[ambrosiagourmet]

I've been thinking about Laios' succubus lately. Mulling it over a bit.

Because I've seen these pages brought up a fair bit, but almost entirely in the context of shipping (on all sides, really). And I really want to understand what they are doing for the story beyond that.

When I went back to reread the scene and section, a few things caught my interest: the way Laios responds to both forms of his succubus, the themes of the volume the chapter is found in, and the other events of the chapter itself.

So let's dive into those three things, and what I think they say about the succubus scene's purpose.

Laios is never fully frozen by the succubus

So. If you compare Marcille and Chilchuck's reactions...

to Laios':

-

There is a difference. Sure, the basics may look the same once it turns into Scylla Marcille, but even then, it functions differently.

Chilchuck and Marcille are completely frozen once they catch sight of their succubus. Izutsumi, as well, isn't able to look away, and completely freezes up once her 'mom' starts talking to her. As Chilchuck describes, "just looking at them makes you unable to move."

And yet, Scylla Marcille has to actively convince Laios to comply. He even looks away from her at one point!

Laios accepts this succubus, but he is never actually helpless to it in the same way. Taken in? Convinced? Sure, at least enough to let things happen that he probably should question more than he does. But magically compelled? Not really. Not the same way as everyone else is. So that's interesting. But let's move on for now.

2. Volume 9 is all about drive and desire

I don't often look at chapters within the context of the volume they are included in, but I think there's some really fun things to be found with that perspective in mind.

For one, volume 9 starts with an exploration of what desire brought Laios to the dungeon:

And ends with a question of what desire brought Laios to the dungeon:

It's also very concerned in general with questions of why people do what they do. Why they are in the dungeon, why they are with the people they are with, why they stay, what they fight for.

In addition to Laios, we see it with Marcille...

Izutsumi

Kabru

and Mithrun

Hell, we even get it for the demon!

It's certainly not the only volume concerned with desires and motives, but it is particularly focused on these ideas.

The succubus scene fits quite well into the ongoing question about desires, especially Laios' desires. It is even placed at an interesting spot within the volume. The volume is six chapters long, and the scene takes place at the start of the 4th chapter. It's almost smack-dab in the middle.

With all this in mind, it is interesting that, with both versions of the succubus Marcille, it's not totally clear which parts of her Laios is rejecting.

The first version of Marcille looks human, but Laios attacks when he identifies her as a monster. The second Marcille looks like a monster, but he seems to believe that she is the real (human)(ish) person that he knows. So is he rejecting the monster at first, and then accepting the person? Or is he rejecting humanity and only interested in the monstrous?

Something to consider as we look at the next point...

3. the rest of the chapter is a seduction, too

This is one of those things that might not be apparent on a first reading, but is crystal clear on a revisit. We see the succubus try and charm Laios over 7 pages, and then see the Winged Lion do the same thing for the next 19.

Much like the succubus, it offers the mingling of monsters and humans. Much like the succubus, it offers belonging.

(and this is the point where I absolutely must also link this post by fumifooms on the succubus, which has some great ideas on how the scene is informed by Laios' trauma and desire for acceptance!!!)

But, back to the point. The Winged Lion wants to feed on Laios just as much as the succubus did, and it uses similar strategies to try and make that happen. Though this chapter isn't really the turning point for the next Lord of the Dungeon (it is Marcille who will, eventually, become the Lion's next victim), it certainly behaves like it is.

Laios is convinced. The succubus gets its meal. By the end of the volume, the reader begins to understand how concerning his desires are. Together, it is all very good at building up that sense of dread and pending disaster, as we see exactly how and why Laios might just fall into the Lion's open arms and bring about the end of the world.

-

So that's the three things I noticed. But there's still something I want to touch on by looking at the way these observations overlap, and what they reveal, together.

As I said, by the end of the volume, you can feel the tension growing. Just as Kabru and Mithrun do, you look back for an answer to the questions that have been built, chapter by chapter: why is Laios here? Where will his loyalties fall? This chapter, and scene, seem to prove the inevitable truth: he will choose the monster, of course. He will choose the seductive, easy power of the Winged Lion.

But the details of what actually happens tell different story: one in which the Lion is wrong.

First, as a reminder - even in Scylla Marcille mode, the succubus never fully entrances Laios. It convinces him, but it doesn't have him completely under its thrall.

Similarly, in the dream, the Lion does convince Laios to embrace the world he is offering. But even within that dream, Laios continues to ask questions that will be vital to him later. It is because of those questions that Laios comes to a new understanding about Thistle.

And it's this realization that he cites later as part of his reason for refusing the Lion's offer.

He is thinking through things the entire time, just like he continues to question the succubus even after it turns into Scylla Marcille.

Laios also expresses an interesting reason for why he wants to see the future of this world. He's not just invested because it would mean people liking what he likes, or him getting to spend time with monsters. The thought that comes immediately before his acceptance is about what he wants for monsters and people.

I don't think it's a coincidence that this statement - "we're living beings that share the same world, but all we can do is keep killing each other" - can apply to the various humans races just as much as it does to humans and monsters. The thing he is thinking about here isn't just a matter of his personal daydreams. It's an idea that underpins every conflict in the story.

Laios caring about how people as well as monsters in this manner is something that the Lion gets wrong every time. Even at the end, he still frames Laios' desires entirely around hating people and loving monsters.

The Lion has heard him express an opinion about the future of the world! It happened right there in the dream, right in front of him! He just didn't take it seriously, and didn't view it through any lens other than "Laios likes monsters more".

He's convinced that he understands how to get to Laios. Maybe the Lion can't truly see everything, or maybe his vision into everyone's deepest desires has made it hard for him to realize how much choice still matters. That people can, and do, choose which desires to act on, and how to act on them.

Whatever the case, he's wrong about Laios, and the story shows us this over and over again.

After all, look at how the succubus interaction plays out:

A monster uses Marcille to appeal to Laios...

He realizes that something about the situation is wrong, and rejects her.

It changes strategies, and makes new offer: to turn him into a monster.

It also assures him that his friends are, or will be, taken care of.

He accepts. Or rather, allows the monster to have its way with him.

But Laios is not as helpless as he initially appears, and what the Lion thinks is a successful seduction also contains the seed of an idea that will allow Laios to later resist him.

We even get to see Izutsumi playing a similar role in both instances, as the one person fully able to take action in the face to the illusion.

The story lays out what is going happen, and then explicitly tells us that the demon and the succubus are thematically related.

The chapter performs a great sleight of hand here - everything about it seems to indicate that Laios is doomed give in to the option to have his deepest desires realized. But if you look closer, it also contains the evidence that he won't. There's a lot more going on for him.

Yes, he still falls for obvious tricks. He is still extremely into monsters, and he still doesn't feel like he fits in with other people. He may, deep down, crave to surrender to the monstrous - to let it absorb him. But he questions more than he seems to. He considers more than people realize. He cares so much more than anyone gives him credit for.

And I think this is part of why we see the succubus called back to so many times, especially with the wolf head addition to his Monster Form, which he specifically added due to his encounter with the Scylla Marcille.

This all stays with Laios. It doesn't just foreshadow the path of the story, it is fundamental to how and why he walks that path. It's not about him choosing monsters, and it's not about him choosing people. It's about how he considers both, and cares about both.

And it's about the forces that think they already know his answer. Mithrun and Kabru. The Winged Lion. The succubus.

It's about how they are wrong.

[hiddenbeks]

so many thoughts abt how schewpid the jedi council is in kotor but also not sure if i should write abt any of them before i finish the game because it's entirely possible that i'm still missing some critical information,

[chuluoyi]

✎ mission: baby steps !

- gojo satoru x reader

the three times gojo tried to make his baby love him (and how he miserably fails)

genre: full crack, dad!gojo being a sore loser, your baby being mean (he only wants peace, really), and obviously, fluff !!

note: a little thing for father's day ehe <3 i know i said i'll work on smut in the polls next but uhhh, this comes first ok?! :') i just love the idea of gojo vs baby don't mind me *sobs* and all the scenario here come from the tiktok/reels you've sent me!

a part of gojo's love entries

general masterlist

There are many things that come with being a jujutsu sorcerer, and when you are Gojo Satoru, those things seem to be multiplying like bunnies.

This essentially means less time with his wife and baby. Look, he could finish missions fast, but when sent to other cities, even he couldn't abuse his teleportation powers all the time to return to Tokyo.

And so, as much as he hated it, he couldn't fault his baby boy for forgetting him.

"Look, it's papa," you rocked your son with a smile, consoling him as he wailed right after Satoru held him. "Don't cry, don't cry! Papa just got back from a long mission, he's not scary!"

"Is he scared of me?" Ouch. The thought prickled him. It somehow felt sourer than seeing Principal Gakuganji's face.

You hummed, seemingly (or comically?) deep in thought. "Hmm, in baby's point of view: a big, bad man suddenly picks him up, of course he's scared."

"I'm not a bad man!"

Okay, he wasn't having this. Satoru adored his baby to bits and he would want him to at least know it. It's settled then—he would be taking paid leave just to spend some time with his baby.

This would be his mission for the next three days!

DAY ONE

The day started off great. Baby Gojo was relatively calm, a bit fussy here and there but Satoru could definitely handle him.

"Look, a plane is coming!" he said playfully, moving the spoon in the air to attract his baby's attention. "Open your mouth wide!"

Baby blinked at him with the straightest face ever. His two blue orbs were the very same as his father, and yet they held disinterest so great that it was a wonder Satoru didn't notice.

He then playfully smooched baby's face, but he scrunched up, cringing in response.

And later, another achievement unlocked: Satoru successfully got his son to sleep for his afternoon nap!

"You're so cute, sigh." Satoru poked his baby's cheek lightly. "You look like me, but when you sleep, you totally look like your mama..."

He might not say it out loud, but one of his favorite sights lately was seeing you sleep next to your son. Both of you looked so precious and vulnerable, so alike, and it made him warm.

And whenever he looked at this little creation between you and him, he also got the urge to poke him so bad.

So he did. Only this time, he poked him a little too hard.

And how wrong that move was.

His son immediately cracked his eyes open, his lips quivered, and then his whole face scrunched up, followed by—

"WAAA!"

"Oof! Wait— I'm sorry!"

Long story short, he refused to be held in Satoru's arms, so you took over and your husband could only watch you with dissatisfaction.

"Won't you let me hold you?" he asked despondently, pulling up a pitiful face and batting his eyelashes. "I have the warmest hugs! Mama can vouch for that!"

"Satoru, he doesn't want you."

DAY ONE RESULT : FAILED

DAY TWO

Okay, his baby would love him today. Satoru was sure of it.

He had ordered this baby ride-on toy via home shopping and not only that, he would play with him!

"Here we goo~! Honk! Honk!" Satoru steered the little vehicle with his son at the backseat, hyping him up and even made a weird sound that was supposed to resemble a... train?

You watched them both, giggling. Your husband looked positively ridiculous as he was too big for the small vehicle, but still persisted in entertaining your clueless baby behind him. "Oh my, Satoru, you're trying way too hard."

"I have to!" he retorted, sending pout and a glare at the same time. "You can't hog him all the time, he's my son too!"

"Well, good luck~ as it happens, your spawn isn't easy to impress."

"Just so you wait—!" Satoru begrudgingly shot you a look, eaten up by your taunts, not noticing the wall in front of him. "By the end of today, he'll— whoaaa!"

He was about to crash into the said wall, and you were prepared to jump to save your baby first. But then, Satoru did the next best thing to stop it—jumping out of the ride-on, rolling onto the floor... and crashing into the bookshelf that some of the things fell. "Ow!"

"Are you okay!?" you immediately picked up your baby before checking him over. However, Satoru's eyes were transfixed on your shared munchkin.

"Meh heh~"

And you too when you heard it— your baby was wiggling, all smiles, seemingly amused by the sight of his papa lying there pitifully. Satoru was aghast.

"Y-you have no filial piety!"

DAY TWO RESULT : FAILED

DAY THREE

Today, Satoru had gotten inside the playpen and brought a bunch of toys, planning to entertain his son with all of them.

"C'mon, don't throw that!" he pursed his lips when his kid flung the lego away. "Don't you want to play together with me?"

No. As if saying that, the baby crawled away from him. He seemed to have a target in mind though.

"Oi, what are you doing?" Satoru was puzzled, but he was in for a surprise when the child rose slowly.

"Oh, you're pushing yourself up..." he stated, observing how the baby, still wobbly, clutched on the edge of his playpen for support.

A huge grin spread across his face then. "Aww, look at you!" he gushed with pride. "You can stand already! Ooh!"

And suddenly, the sight tugged at his heartstrings. This was the first time he had ever witnessed such a milestone. He wasn't here when he first started teething or crawling, and now that he was here when his son was standing... he wanted to see more of this.

"Now, can you take a step?" Satoru moved closer to him, and the kid turned to him with those clear blue eyes and a little frown, seemingly unsure. "Go! Go! Come to me!"

He didn't think he would actually try to walk. But he did as baby let go of the support, alas suddenly he slipped—

And fell flat on his face.

"—! Are you hurt?!" Satoru immediately plucked him off the floor, horrified, and pulled him close when the baby started to sniffle. Soon, he began to wail inconsolably.

"Oh no, I'm sorry, I'm sorry—!" he didn't even know why he was apologizing, but seeing his baby so frightened made his chest tighten. "Stop crying, oh wait—let's find mama!"

You were engrossed in your evening TV series when Satoru came barging to the living room with your poor son while being hysterical. "Help him!"

"What happened?!"

"He fell! He fell!"

Of course, your main concern was to comfort your baby, and so you reached out to take him from your husband's arms, only that...

"Huh...?" even Satoru was stunned when his son clutched onto his shirt, continuing to cry but refusing to let go, burying his little face into him.

Suddenly, he felt warm, he felt needed, and most of all, his desire to protect him was so overwhelming that he couldn't help but squeeze him closer.

You looked between the father and son, feeling giddy at the sight.

"He wants you," you finally smiled, patting baby's back. Satoru glanced between you and his precious pumpkin, seemingly taken aback as he blinked several times. When the fact sank in, he felt like a mush and pressed a kiss on his head.

The clown was convinced that his kid hates him and you are the savior. So, the fact that this little innocent being wanted him to comfort him... it made his heart flutter.

"Sorry, kid," he sighed into him, smushing his face to his little one's. "Don't cry, yeah? You're making me sad too."

"Satoru... are you getting glassy-eyed?"

"...am not!"

DAY THREE RESULT : DUBIOUS OUTCOME

"He's asleep..." you placed your baby between you and Satoru on the bed later that night, he was now so peaceful, out like a light.

Satoru turned to face you and the baby, looking at both of you with a yawn, but a soft smile lit his face when he saw how you pecked his son's cheek lightly.

These three days made him almost forget that curses still existed out there. Spending time with his son blurred that fine line between reality and a perfect daydream.

"He is still so little, but he screams so loud," he mused, poking the baby's cheek gently. You swatted his hand away, worried he might poke too hard again.

"You keep teasing him, that's why."

"—? He keeps playing me, is why!"

You two burst into quiet giggles then, and you couldn't help but reminiscing about the journey from when you first found out you were expecting, through the first ultrasound, and all the way to delivering your son.

And it seemed like Satoru had an inkling of what you were thinking when he suddenly blurted:

"Thank you, for everything you do," he whispered then, his eyes crinkled so softly at you.

You playfully huffed to hide your misty eyes, and in that moment, Satoru knew, that you too were glad for this life you two shared.

. . .

And that, in and of itself, was enough for him to thank all the stars for bringing him to meet you in that most beautiful spring of 2006.

Epilogue

It was morning, and baby was awoken by... sounds.

He looked to the side to find his mama there— your hand on his tummy to prevent him from rolling.

And then he turned to the other side to find his papa... who is perfectly still, but emanating this low sounds with each breath he took.

The longer he heard it, the more irritated your munchkin felt. So he rose, put his fists together, and came down on him—

Whack!

"—?!" Satoru groaned when something hit his face, and he opened his eyes only to see his son readying his punch again—

"W-why are you hitting me!" he was mortified. "H-help! Sweets, wake up! He’ll murder me!”

OVERALL MISSION RESULT : FAILED

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.