#meaning they were aware no one wanted them in eurovision

[thetimelordbatgirl]

Funny how people defended Eden against 'bullying' during Eurovision, because Eden clearly can dish it as evident by her appearing in the Israel skit based on Eurovision 2024 where Israel mocks Marina, Bambie, Joost and Nemo, happily taking part in the mockery herself, but guess the poor 20 year old baby can't take it when thrown back at her during Eurovision where it's alleged she and the Israel team/press went after and harassed other performers and the teams/press from their countries.

[beauty-and-passion]

Eurovision 2024: broken promises and one last hope

Hello.

I know this post took a bit longer than usual, but I needed some time to collect my thoughts about this year’s Eurovision.

Yes, I watched it. Why? Because it wouldn’t have been fair to the artists, who took part in this year’s competition. It’s not because of them that the show was so polarized, so they didn’t deserve to be punished for that.

Also, I needed to see how far the EBU would go. I needed to see and I needed to remember. And everyone needs to remember too. Remember this year and remember what happened, when the EBU followed its policy so strictly, it ended up making the most tense show I’ve ever watched.

I will share my thoughts and I will try my best to do it effectively. It won’t be a short post and I apologize, but I tried my best.

_________________________________

Sweden: was it worth it?

We all had big expectations for this year’s show. There was Petra Mede, everyone’s favorite host. And Sweden is well known for doing great shows. This year should've been great.

 The first semifinal starts and we're bombarded by greatest hits of the past. Cool for five minutes, boring after one hour.

I’m disappointed: I expected something better from Sweden, not them recycling something already done in the past. But that’s what they did by sending Loreen back to win again, so I suppose it’s fitting.

Okay, so we have Johnny Logan, Ireland’s three-time winner. Is he singing one of his songs? No, he’s singing Tattoo.

Weird choice. Why call Ireland’s three-time winner to perform a Swedish song? Why call a representative of the nation who won as many times as you and make him sing one of your songs and not one of his?

If I were to think badly, I would think this was Sweden's subtle way to impose its supremacy on Ireland. A sort of: "You're not the best anymore, I reached you and I will surpass you. You will succumb to me". But Sweden would never do something like that, wouldn’t it?

Then we have the second semifinal. And we have a song, which can be resumed as follows: “We know we stole Finland’s victory last year, but instead of admitting there is a problem with the voting system (and the entire system for that matter), we’d much rather prefer to whine, because people have been sooooo mean with us. And yes, we will keep sending the same stuff every time, because it makes us win. At the end of the day, all we want is to keep winning, so shut up and love us.”

I don’t know you, but the line between being self-aware of your flaws and openly admitting all you want is to win (all while insulting the country that almost won last year, by saying that their show would’ve been so stupid ah ah, while ours is so cool, see how cool we are?) is very thin. And even the greatest hosting country of all time can succumb to its own hubris once in a while.

Then we reach the final. Okay, the semifinals' shows were meh and left me with a bitter aftertaste, but hey, that’s the final! It must be awesome!

After two hours, I was looking at the clock, waiting for the entire thing to be over.

Did we really need a thirst song about Martin Österdahl, the most hated EBU Executive Supervisor? Was it really necessary to sexualize this man? Is it because he’s Swedish? Is it because Sweden needs to kiss the ESC’s ass even more? Or is it because the ESC really really wants to make this guy more popular, considering people hate him?

After hinting at them in every possible way for the entire week, in the end we got AI-generated ABBA. Well, shoutout to the real ABBA for not participating in this: last year they said they would’ve not taken part and they didn't. Respect.

Alcazar were the biggest surprise of the entire week, because they are a piece of my childhood and Crying at the Discoteque is still a huge bop. But heaven forbid we having fun for more than five minutes, so they were sent away immediately.

At the end of the day, my question is: was it worth it, Sweden? Was it worth winning seven times, only to celebrate with the most boring show ever?

I cannot believe I’m saying this, but I missed Portugal’s show. Yes, the show I called “torture”, because they kept spamming the entire country for days.

You know what? I’d rather watch a country constantly spam its beauties and its culture, than another greatest hit compilation. By god, you’re hosting Eurovision. That's your chance to display your country on the greatest window Europe has to offer. And you use that chance, to repeat over and over “Eurovision good” and talk about it only.

I know Eurovision is good and cool and I love the reminder... but please, give us something more, Sweden. Something you. Listening to a country say: “We don’t have anything else to offer besides Eurovision” does not make me laugh. It makes me sad. It's not that you don't have anything else to offer, Sweden: it's that you don't want to show what else you have to offer.

You have gorgeous natural places (Höga Kusten and Gotland just to name two). You have the second-longest bridge in Europe and it's fucking impressive. Your capital is full of wonderful islands - and I found out there are tours with buses that go both on the ground and in the water. How fucking cool is that?!

Do we want to talk about culture? Your coffee breaks are literally part of your lifestyle and even have a specific name. You have that great concept of lagom which a lot of people should learn too. You are full of beautiful art and funny foods - heck, there is even a Disgusting Food Museum in Malmö! And I didn't find out thanks to Eurovision, but thanks to fucking Tripadvisor.

It's just sad, you know? Don't underestimate yourself so much, Sweden. You have a ton to offer besides this show.

_________________________________

 The Netherlands: victim of paradoxes

Europapa was one of fan’s favorite songs and of course it was: a catchy tune, funny singer, fun and happiness for a song that was both a celebration of Europe and a touching love letter from Joost to his parents.

Of course it got people’s hearts. We all love the story of a character who comes up with a dream and wants to fulfill it. And if we can, we want to make that dream come true.

So just imagine how devastating it was, to find out Joost has been disqualified. I was minding my own business when I found out and I was shocked, so I can’t even imagine how bad his hardcore fans felt.

The first question was, of course, why. What happened? What could’ve done a man who has always wanted to attend Eurovision, to get disqualified? Not warned, not penalized. Disqualified. What did he ever do, to put in jeopardy his lifelong dream like that?

I don't know if we’ll ever find out the whole truth. All we know is that Joost asked a woman to stop filming him, she refused and kept following him, so he made a “threatening gesture” towards the camera, while not touching her.

Which gesture? No idea. Maybe he showed his middle finger, maybe he tried to lower the camera, maybe he said “fuck you and stop filming me”, maybe he tried to hit the camera. I don’t know. But in this case, I would really like to know - and not just what he did, but how the whole thing went.

If this year taught us something, is the importance of context. If Joost Klein tried to punch the camera is one thing and he should be condemned for that. But if Joost Klein tried to punch the camera after being filmed without his permission, because a woman was harassing him and following him, thus breaking the agreement that wanted him to not be filmed after stage… well, that's another thing.

Sure, he shouldn’t have reacted this way. But you can understand by yourself that snapping at someone out of the blue is one thing and snapping because you’re fed up with harassment is another thing.

Did Joost deserve some punishment? Sure. But did the person filming him without consent deserve punishment too? Of course. If you have to apply punishments, you have to do it equally, not with a double standard. So if he was disqualified, that woman should've been removed from her position too. But as far as I know, she wasn't.

Also, why didn't the EBU tell exactly what happened right from the start? Why refer to it as “an incident” and give only vague explanations? Why not mention Joost's disqualification during the Grand Final? Why did people have to find out through social media and the Grand Final happened as if nothing?

That's weird, that's not the behavior of someone who has nothing to hide. What’s the matter, EBU? Why this weird lack of communication? And why not show the footage of the incident and make everything clear? Now you’re respecting Joost’s right to not be filmed? A bit too late for that, isn’t it?

So yes, in a paradoxical turn of events, Joost Klein got his dream denied by the same show he wanted to be part of. The guy with the most European song ever, the one who stuck to the ESC motto “united by music”, the one who celebrated Europe, the one whose childhood dream was to be part of this European show, got disqualified by the same European show.

What can I say? I just hope karma will do its job for him. If he's innocent, he will get good things. If he's in the wrong, he will get his punishment.

In the meantime, you can still support him, stream his songs and check his albums. Here on YouTube you will find basically all of them, since it doesn’t seem he has a YouTube channel (yet).

And if his fans still find everything absurd and unjustifiable, don't worry: if Eurovision 2023 (and all previous ones) taught us something, is that you don’t have to be the winner, to steal people’s hearts. Sometimes, you just need one performance.

And this one stole everyone's heart.

Also, since apparently paradoxes were not enough, it seems like European flags were banned for being political? European flags during a European show in a European country in the European continent.

Uh?!

EBU, one question: on which continent do you think you’re in? Spoiler: it’s not America.

_________________________________

EBU’s biggest mistake

Let's talk a bit about the current global situation, shall we? No, you can't escape from it.

So, unless you lived under a rock until now, you know that the Israeli-Palestinian conflict has been going on for a long time and that recently it intensified again because of the new Gaza conflict. Israel pretends to not have committed war crimes, the rest of the world tells them to stop committing them, there are protests everywhere and people are ready to jump at each other’s throats to defend one country or the other.

Now, you’re the EBU. You say your show isn’t political. And that’s true: Eurovision isn’t political. Eurovision is a musical competition. It has nothing to do with politics.

But Eurovision takes place on planet Earth. And, as said, the situation on planet Earth is a bit tense right now. So you already know that, if you stick one single finger in this situation, you will get BIG reactions from the public.

So, what do you do, when Israel asks you to participate?

a) You tell Israel, very politely and very professionally, that you appreciate their application, but cannot accept them this year, because the situation is what it is and letting them in would bring chaos and potential dangers into a contest whose main foundation is being safe and non-political.

b) You let Israel in and let Palestine participate too, at least in spirit through people’s voices and decisions to mention it. This way, no one can say you’re taking sides, since you’re letting both sides participate.

c) You let Israel in and censor everything and everyone else, so not only you bring chaos inside your non-political contest, but make it even more political than ever and end up taking sides too.

Guess what EBU chose.

In order to stick to their non-political policy, EBU put blinders on and ignored the rest of the world. In order to let one country in because "Eurovision is non-political, so everyone is allowed to participate", they brought politics into their non-political show.

And no, it's not unexpected: it was obvious that, by letting Israel in, politics would've entered the competition too. This country and politics are bound tightly now, because of the current situation: of course if you let one in, the other will enter too.

And with politics, all the chaos of the current situation found its way in too. And that means EBU literally put in danger:

25 artists and their teams coming from all over Europe

the same Israeli gal and her team

all the tourists coming from all over the world to attend Eurovision

Swedish people who were living their normal lives and were suddenly surrounded by protests and chaos

the protesters who could've been involved in potential clashes

members of the police who also could've been involved in potential clashes

“But hey”, you might say, “nothing bad happened, in the end! You’re being too negative!”

Sure, thankfully nothing bad happened. But the risk was there, it was huge and it's not that "it would've been here anyway": the risk could've been completely avoided, by applying just a bit more human reasoning.

But even after politics found its way into the show, even after that, EBU could've saved the whole thing. If only one human being with a functioning brain said something like: "Okay, politics is in, even if we didn't want to. Now all we can do is let the other side of the conflict speak too, while we stay neutral".

But no, oh no. Mentioning Palestine and ceasefire means politics and our show isn't political. So let's ignore the fact that our decision to follow the policy verbatim led to politics being inside the show and let's keep applying the rules as if nothing: no one should mention politics, so Eric Saade cannot perform with the kefiah, Bambie Thug should remove their messages about ceasefire, Iolanda cannot keep her nails with Palestine's colors (seriously?!) and people's booing should be drowned with anti-booing technology.

You know, it's incredibly fascinating how EBU's stubborn decision to strictly follow the rules not only allowed politics inside the show, but led to the EBU itself taking a political stand, all while censoring every other opposition. EBU's rigid, mechanical application of the policy led to the EBU contradicting the same policy it was oh-so-religiously following. By making sure the show wasn't political, EBU applied censorship and not only made it even more political, but politically oriented towards one side of the conflict.

I don't know who the EBU members are and if they're human beings with functioning brains or just AI-generated bots, but please: stop following the rules like mindless robots and start using human reasoning in your decision-making process. And use common sense too, because if an idiot like me could foresee the consequences, you should've been able to foresee them too.

_________________________________

Israel: bullying cannot buy you victory

Now, we have Israel in. And the Israeli gal and her team perfectly know that their sole presence will lead to controversy and political stands.

So, if you were in their place, what would have you done?

kept a low profile during the entire competition;

showed at least an ounce of regret for unintentionally putting everyone in danger;

bullied everyone and tried to find any possible chance to beef with the other artists;

Guess what the Israeli team chose.

During the entire competition, these people kept harassing other artists, filming them without consent, calling them names, misgendering them. They kept this arrogant behavior, as if they owned the place and all other countries were just invited to their show.

And if there’s something I hate more than arrogance, is arrogance with a side dish of bullying.

So, to all the people whining because “Martina Satti yawned while Eden was speaking and Joost hid his face”: if that’s bullying, for you, you have a great life and I envy you. I wish I was bullied like that in school. But my bullying was more like… well, calling me names, harassing me and listening/spying what I was doing without my consent.

But apparently harassing the competitors wasn’t enough, so Israel decided to harass the viewers too, by begging for votes. Yes, they begged for votes. Yes, they spammed ads all over YouTube. Yes, I got one too and it was on a Eurovision-unrelated video and it made my blood boil. Yes, they were this desperate. And yes, that’s pathetic.

Also: is this legal? Is this allowed? EBU, are we sure this is part of the rules you follow so strictly? And please, tell me: is harassment also part of those same rules?

But do not worry: in the end, karma found its way. And despite the arrogance, the harassment, the tons of money spent to beg people, none of these means was enough to grant Israel the victory they oh-so-desperately wanted.

On the contrary: in a wonderfully ironic twist, the winner was one of the artists they kept misgendering and harassing. Mmmh, delicious irony, my favorite.

So thank you Israel for wasting money all over YouTube, I hope they were a lot. Thank you to all the people who made a political vote, you really got the spirit of the show, I hope you will never watch it again. Thank you Israeli team for harassing everyone and making an already tense competition even more tense. And, most importantly, thank you EBU for bringing politics in a non-political show: great fucking job, I hope someone will get fired.

And now, let's finally talk about music. Israel's song was nothing special, just the umpteenth bland song I've listened to 200 times already. And we all know it didn't get 300+ votes because everyone was in love with it. People's taste is not so bland and boring. And the final points proved it.

(On a side note, if I were Eden, I would be offended by these votes. At least the people who voted for Loreen last year didn't do it because of Sweden, but because of her talent. This year, I doubt that the people who voted for Eden gave a shit about her talent at all)

_________________________________

France: I need to make some apologies

Listen, you have to understand: we Italians know that French singers are good. We laugh, we say they’re “so French” and they keep Frenching and everything, but we know they rarely disappoint.

The problem is that France is good at the same things we’re good too. We’re both good at soccer, we’re good with food, wine, fashion. And we’re both good at singing.

So, France, remember: we might make fun of you but my god, your artists are amazing. When Slimane sang that part acapella two meters away from his microphone, I literally got shivers. He is a fucking great singer, his voice is incredible and he deserved more than 7 points.

I know French Frenching, but we should give credit when necessary:

_________________________________

Estonia, Spain and basically everyone else: two words and more apologies

Estonia 20th and Spain 22nd? Super robbed. The ignominy. The audacity. They served us beautiful Estonian language and a Spanish gal with a soft voice and that's how they got rewarded? They deserve more and better and people are stupid.

Also, I don’t know what kind of beef Greeks have with Marina, but she was good and doesn’t deserve all of this hate. Also because most of the complaints I've heard about make no sense, so… uh?!

Germany: fucking finally, people gave you votes. Thank you for persevering, your song was truly nice and I liked it too.

Armenia: yes, top 10! For great, lively, wonderful Balkan rhythm! You deserve it and your country deserves love and appreciation.

Italy: I’m okay with this result. Angelina’s performance was better, compared to the one in the semi-finals (also, better costume too, the other was too revealing and too much in general). 7th place is fine.

Ireland: I know that’s not a song for everyone and okay, fine, maybe it’s nothing special either… but my god, have you seen the performance they put on? A-ma-zing. It was interesting, captivating and full of details. And the narrative is perfect too: you can see how Bambie slowly befriends the demon and ends up killing it. It was truly enjoyable to watch. So I’m glad it got 6th place, they deserve an even higher position.

Ukraine: please keep slaying, your artists are always so great and they keep proving it every goddamn time. Also, that moment when Ukraine surpassed Israel was delicious: money truly cannot buy you love and support.

The UK: seriously, why are you whining about people not giving you points? The song was okay, but nothing truly special. Still, you got 18th place! What should Norway say, instead? Poor Norway, it has all my sympathy, the song wasn't this bad.

And now, to you all: you know what to do. Follow your favorites, stream their songs, shower them with love. Eurovision is over, but these artists are not disappearing. They are still out there, making beautiful music. Go check on them.

_________________________________

Croatia: “the audience will come to my concert, not the jury”

Baby Lasagna was a blessing and as Italian, I want to properly apologize for giving it 16 points total only. You deserved 24, shame on us for being stupid morons.

Croatia gave us a beautiful song, from a beautiful artist with a great message and upbeat sounds. And I’m not the only one who thinks this, because the rest of the public agrees with me. Marko gave us pure joy and entertainment in an evening that was mostly sadness, tension and boredom.

And yes, it’s sad he didn’t win… but he knew it, before Switzerland’s points have been announced. Look at his face, during the final voting: as soon as Petra said Switzerland only needed 182 points, he realized he was going to lose. You can see him understanding and accepting it. He knew Switzerland would get these points. I knew. Everybody knew.

So no, this wasn’t like last year: last year, it was a one-on-one game between Finland and Sweden and a tug-of-war between public and jury. This year, we had a lot of favorites. Marko was the favorite, but if Joost wasn’t disqualified, maybe the points would’ve been even more distributed.

But you know what? Marko actually got the best possible result you can get in Eurovision. People adore you, you become a legend and your country doesn’t have to deal with EBU’s bullshit. You get the best of both worlds and it doesn’t cost you a cent.

Also, consider that Marko accepted his 2nd place graciously and maturely, went back home and was welcomed by basically the whole Zagreb (Let3 were there too! Kings supporting a king, very fitting). And in an interview, he said something like “I don’t care about the jury points, because the jury doesn’t come to my concerts”. Which proves he is:

a mood

a king

the truth oracle

everyone’s spirit animal

the winner of the people

the coolest guy ever

So, Croatia: I understand your disappointment, the jury system REALLY needs to change. And no, you won't host Eurovision next year. But consider that you're everyone's favorite country now. And you won't have to deal with whatever shit will happen in 2025! So sit back, relax, may your tourism thrive and your quality of life be high.

And if all of you people really enjoyed Baby Lasagna, please consider he has a YouTube channel and there are two other songs, besides Rim Tim Tagi Dim. One criticizes social media and the influencer system, while the other is a piece of great life advice from the title: “Don't hate yourself, but don't love yourself too much”. Thank you, king, for being so real.

And in case you’re wondering, yes, they’re both huge bops.

Do your magic, people: subscribe to his channel, stream his songs, watch his videos, shower him with love and, most importantly, meow back.

_________________________________

Switzerland: a contest that can live up to its promise

In the end Switzerland won. And it’s a good victory, you know? You might not like the song, but consider that Nemo sang pop, rap and opera, all while jumping on that rotating platform-thingy and running all over the stage. And they even bent back, while keeping a high note and rotating. I can’t even keep a high note by standing still, let alone by doing all the stuff they did.

Also, this is the first victory for a non-binary person, so great for them. And basically no one knew Nemo before Eurovision, so the show came back to its roots, by giving fame to an unknown artist.

Last but not least, in an ironic turn of events, this victory is the least political thing that happened on that stage. In the most polarized, political show ever, the winner is the quintessential neutral country. Almost poetic, in a way.

And this victory is also a huge slap in the face for the EBU: in the end, it wasn't its rigid adherence to the policy that made the show non-political, it was the jury’s vote. How the tables have turned.

But there is another reason why this victory is good after all and it’s because it’s a hopeful one. The winner isn’t famous, they didn’t harass anyone, they didn’t use money to win, they brought nothing besides their identity, a kind heart and a flag they had to sneak in because of the weird “flag rule” EBU pulled out.

And I would like to remind you that, during their victory speech, Nemo said this:

"I hope this contest can live up to its promise and continue to stand for peace and dignity for every person in this world".

I think it’s a speech that tells everything about this year’s show. This year, the contest didn’t live up to its promise: it put people in unnecessary danger, it brought tension, it made it political. EBU’s strictness led to a lot of consequences, the exact ones it tried so desperately to avoid.

As a result, no one enjoyed their time. I didn't enjoy my time. When Sunday came, I was relieved that the week was finally over and I was able to leave Eurovision behind. I didn't feel an ounce of the usual post-Eurovision nostalgia. I was just glad it was over.

And it's sad and unfair, because Eurovision isn't this. Eurovision is a perfect little window of peace and unity, away from the chaos of the world. For a few hours, three evenings a year, we can leave the real problems behind and focus on silly ones, like which country should win, which should be forever ashamed and which artist will become a legend.

This year, it wasn't like that. This year politics found its way in and wrecked everything. What was supposed to be a silly, funny, lighthearted show became so heavily politically charged, it broke under the weight.

And now that I think about it, Nemo breaking the trophy is the perfect metaphorical representation of this year's competition.

Just like that trophy, Eurovision is something frail and beautiful and mishandling can break it. And oh boy, the EBU truly mishandled it. Even if it was an accident, even if it wasn't done on purpose, the trophy is still broken. The show is broken.

But when asked about their broken trophy, Nemo didn't mourn it: Nemo gave words of hope. Maybe the broken trophy can be repaired. And maybe Eurovision can be repaired too.

How? Well, maybe by starting to learn when and how to apply rules. By using common sense and sensibility. And by checking the world outside too. If we want Eurovision to keep being that small window separated from real world problems, we can't just ignore them: we need to check them and react accordingly.

And if we have to break a rule to guarantee peace and safety, then so be it. One broken rule is not as important as safety and unity.

After all, what makes Eurovision isn't a set of rules: it's the artists, with their talents, their messages, their hopes, their voices, their dreams. They are Eurovision. They are the pull that draws everyone in. They are the reason why people are "united by music". Not because a rule orders them to, not because of the EBU: because of these artists.

Maybe the EBU can start from that. Maybe it can start by looking at the human aspect. Maybe it can start by going out and looking around. And maybe it can learn to take more care of the artists who are the foundation of the show.

And maybe, maybe, they will be able to repair Eurovision too.

See you, hopefully, next year.

[iwillstabyou]

I have a confession.

As my delightful mutuals probably know, I am Swedish. I am a proud Swede. I live in England though, hence the language (men jag förstår lite svenska också). Therefore, naturally I was happy when my homeland triumphed in the Eurovision Song Contest 2023, mostly because my Swedish relatives FaceTimed me to celebrate the win and they were well and truly LEATHERED (and trust me, that is the truest form of entertainment).

As I’ve mentioned before, us Swedes are fucking FERAL when it comes to Eurovision, so the euphoria of the success coursed through my blood like opium. But much like opium, it skewed my perception of things. It blinded me to the true injustice of it all. It rendered me unable to recognise the truth: the fact that the true winner - Käärijä - was robbed of the title he truly deserved. His act had all the things that Eurovision is about: neon outfits fit for a dr Seuss character, lyrics that seem nonsensical but actually have meaning (and bonus, it’s not a depressing meaning), techno-metal mixed with a highly contrasting genre, slutty backup dancers, singing in Finnish, weird staging, etc. I could go on forever.

The point is, Käärijä slayed. He slayed hard. He slayed harder than Loreen could ever dream of. And I may not have registered it at the time, but looking back now, I realise that from the very first time cha cha cha blessed my ears, I was rooting for Finland, despite my Swedish bloodline. In fact, now I can admit that the aforementioned ‘euphoria’ I felt as the win was announced, was shallow. Deep down, I was actually disappointed. The more I think about it, the more I realise that our ‘win’ was a meaningless feat, fuelled by a jury of so called ‘experts’ who are probably mainly boring old sods with a poor music taste (not like that’s a new revelation - this is Eurovision ffs).

And because of that, I can now fully accept that the only real true winner of Eurovision Song Contest 2023 is Finland. So Käärijä, I speak on behalf of all Swedes (yes, all of them. The ones that disagree just aren’t as self aware and haven’t come to this conclusion yet. They’ll see the truth soon enough. Except for maybe Loreen, which is fair enough) when I say that we collectively give YOU the official title of “Eurovision Song Contest 2023 winner” that you so deserve. We didn’t want it anyway. We have ABBA, it’s not like we can ever beat that.

Congrats on the win, Finland!

[jedi-enthusiast]

Honestly I’m so confused why people are so upset that Israel was included in Eurovision, like…my dude it’s literally a music contest for a bunch of countries---that Israel has already been included in before---not an actual political statement.

It’s literally insane to me, especially with how people were treating the Israeli contestant---protesting her, forcing her to change her song, other contestants saying shit like “talking to her doesn’t mean I support Israel,” etc. etc.

And I feel like that’s a reoccurring thing with all this mainstream pro-Palestine bullshit: y’all don’t actually care about Palestine or want to help anyone, you just want “good person points” socially, but don’t actually care about your impact.

You'll post shit like "stan Hamas" and ignore the fact that they're literally a terrorist organization dedicated to killing Jews, and that they're literally hurting Palestinians too, as well as the fact that the conflict between Israel and Palestine is only ongoing because Hamas keeps breaking the ceasefire and won't give back hostages.

But you'll ignore all of the organizations that actually help Palestine because they're run by Jews/Israelis, or even just supported by Jews and Israelis.

(And how much do you want to bet that the same people who cry- "Hamas is only doing this because of Israel's actions regarding Palestine, so it's justified/reasonable/understandable, etc." -would never say that if it was a group like, say, ISIS that was kidnapping/killing/waging war on Americans because of the US's actions in the Middle East?)

You'll harass random people on college campuses just because they're Jewish, even though they clearly have no fucking say in what a country on the other side of the world does, and barricade yourselves inside a building and be shocked when you're suspended or expelled for property damage/harassment/etc.

But you won't volunteer at any organizations that are dedicated to helping Palestine, or donate money to those organizations, or donate food/clothes/etc., or actually do anything besides whine and cry because you helped destroy a campus building and your college doesn't want you there anymore.

(Hell, 99% of y'all don't even bother volunteering for your own communities, so I know you're sure as hell not volunteering to help anyone else's---again, you just want the "good person points")

Everyone that was so gung-ho about "oh yeah, let's punch Nazis!" a few years ago are now spouting Nazi rhetoric.

Everyone that preached that bigotry is never ok, even if someone from a minority does something bad, are now the same people chanting- "Jews are shit!" -and spreading blood libel.

Everyone that was calling for solidarity between minorities and oppressed groups are now the same people ostracizing Jews because they won't condemn the only country that will actually protect them- (or rather, they'll condemn the Israeli governments actions, but won't stand side-by-side with antisemites or say that Israel should be destroyed).

Everyone that said that it wasn't okay for people to be racist towards poc because some of the BLM protests were getting out of hand/violent are now the same ones going- "oh, it's fine to be antisemitic because these disgusting Jews Zionists aren't agreeing with me on everything."

Everyone that was posting shit about being aware of misinformation and doing your research before posting something are now the ones that have no idea what Zionism actually is, don't even know which river and sea their chant means, has no clue what Israel has actually done to Palestine and is just calling it a "genocide" as a buzzword despite all the evidence stating otherwise, etc.

Like...you guys are really just proving that you don't actually have morals beyond what's socially acceptable.

"Never harass random Muslim/gay/trans/black/etc. people just for a cause or because they did something you didn't like...unless they're Jewish, then you can stalk them on campus and be physically violent towards them."

"Bigotry is never okay, even if someone from a minority does something you don't agree with or something awful...unless they're Jewish, then spread blood libel and call for the "final solution" all you want."

"Not everyone from the US/Republican states/Christian churches/etc. agrees with what their government/state/religious leaders are doing, so it's not fair to blame and ostracize them for it...unless it's Jewish people or Israelis or, G-d forbid, Jewish Israelis, then you can hate them and blame them for everything!"

Like, genuinely, fuck off.

You aren't good people, you aren't "making a difference" or "on the right side of history," you don't give a shit about morality or justice or doing any good for anyone---all you care about is your fucking popularity and the social norm.

So keep your stupid, hateful, misinformed hands off of the I/P conflict---you've proven that y'all clearly can't handle having opinions on it.

[aseriesofunfortunatejan]

Making a sudden shift to hating on Eurovision and people who have enjoyed it brings nothing to the table and, rather, closes the door to newcomers potentially being receptive to your message.

On top of that, it is my personal opinion that we can bring about substantial change by being vocal about our enjoyment of the show - what we enjoy about it in comparison to what we don't, and why we want it to get its act together. It's likely that the people who are the most passionate about Eurovision will be the ones to bring the loudest concerns to the EBU, broadcasters, artists and their labels. It is people who love Eurovision who are looking up official accounts and tags and paying attention to whether Israel is participating. It is people who love Eurovision who are aware, months ahead of the finale, that something bad is going on.

Complaining that the show isn't that good or that important or worth watching does not bring anything to the table. It's a fine personal opinion to hold, but it shouldn't be presented as an example of the right "activist" path. It does not teach anything about boycotts, why exactly we are calling for boycott, or how to boycott.

You can only really boycott if you were a customer in the first place.

I have also seen reactions from people who probably discovered Eurovision recently and seemed appalled that Israel was ever included and even won "one time" (they won four times). I think that if we want things to change we need to understand the history of the contest, why Israel was included and what happened as a result. I think it's possible that someone who makes such comments doesn't realise how long Eurovision has been going, how much has happened within it, and as such is likely to see it as just another problematic and unimportant show.

Everything can be unimportant if you want to be nihilistic. Realistically, though, I personally want to argue that the symbolism of a scandal about Israel's participation is influential.

It's important to be aware of your priorities - which won't look the exact same depending on your living conditions, your geographical position, and such factors - and to focus on actions that can impact Palestine positively in a direct manner. It's happening now, so it's important not to let yourself be distracted. However, that doesn't mean that you have to ignore Eurovision, what it's doing, and its impact. Our actions and debates about Eurovision can have their place on our to-do lists if we think we can make use of its influence to spread an important message to a large audience.

When so many people are watching their TV and a YouTube stream at the same time, whatever they see will impact them. Your personal distaste for Eurovision or lack of interest in it does not change its viewership.

Si vous êtes français et vous lisez ce post, je me permets de vous recommander de faire part de votre déception à l'agence de Slimane, qui a été sélectionné pour représenter la France. Vous pouvez aussi contacter France Inter, car c'est la pression des pays participants qui a causé le retrait de la Russie du concours par le passé. Même s'il y a peu de chances que la France, qui fait partie du Big Five et qui est confiante en sa défense d'Israël, soit vraiment un des pays qui décide d'exercer une pression sur ce sujet, que des français aient exprimé leur désaccord a un impact. Votre voix, votre boycott, votre vote, a toujours un impact. C'est juste comme ça.

[elfinblaze]

Eurovision 2023 Post-Final thoughts

I'm not a fan of previous winners getting to return in general (I don't want another Johnny Logan). Previous runners-up? Fine. But not winners.

A lot of countries deserved better, but I think many of them were just there to expand their audience. Because nothing gives exposure beyond your usual range quite like Eurovision. I know I'd never heard of Lord of the Lost before, and I'm so glad I've had a chance to discover them now. And I think a lot of artists know that.

Forget winning; just having fun and finding new fans sounds like the healthiest way to approach Eurovision.

Honestly, everyone deserves credit for how much effort they put into their performances this year.

I'm still going to be listening to some of these songs for months, if not years.

That was a quality grand final set-list with lots of energy! Absolutely worth watching.

Most hilarious moment from the results being Australia, where the band were sitting and eating, clearly not expecting 12 points from anyone, and then they got caught with food in their mouths. (Thank you juries from Iceland and Portugal.)

Also the Icelandic presenter, Hatari with his many masks, was entertaining.

I'm still glad no one got 0 points in the final. That's always painful to watch.

I may be a glass-half-full person after all.

Disclaimer: I'm not a long-time Eurovision fan. I liked Dana International's song Diva when it came out in 1998, but I didn't know it was a Eurovision entry at the time. The first Eurovision I remember being aware of was 2007, when Serbia's Molitva echoed around the world so loudly it reached even me outside the Eurovision sphere. These days, I usually do listen to all the finalists, pick a few songs I like, and then I'll look up the results afterwards. But I'm not an avid watcher by any means.

[yourmortalenemy]

So I finally gave France’s eurovision entry a proper listen and like.... was no one gonna tell me what a fucking banger that song is??

I can speak French (more or less) but my listening comprehension isn’t what I’d like it to be, so during the actual competition with all the other noise going on I couldn’t make out the words properly to translate them, at the time all I thought was oh she’s a good singer and this song has got a good beat but when I finally looked up the lyrics..... gd they were some of the most beautiful and absolutely raw lyrics I have ever laid eyes on. Even from the opening line.

-My heart, my hands, my eyes, my hips/ Nothing is mine anymore/ I do myself harm for others’ benefit/ I discard it as if it were nothing 

-In my garden of hell the flowers grow/ Watered by my dreams, my tears/ Even when you are on top of the world/ You still can’t touch the sky with your fingertip

I mean...what a verse!!!!!

And there are so many parts of the song that are just as good as that, if I listed every bit of the song that got that same reaction from me I’d just be writing a translation of the whole thing. 

But there is another bit that I think deserves a mention because it’s - from what I can understand, at least - a fucking powerful account of the experience of being a performer. The whole song is, I think, but this bit in particular

-So I sing/ my life, and a bit of romance/ I am naked before you/ Give me a chance/ From you to me, from me to you/ Have I sung/ Sung France’s greatness? 

And the end of that section she absolutely belts out as well

Look, I’m fully aware that I may be reading into this too much, but is that not just incredible, it’s like she’s holding up a mirror to the audience, showing the nature of performance and the competition for what it is. I actually love this song so much because it’s a story of someone putting themselves on display, asking ‘is this it? is this what you want?’, the sacrifice that you have to make to chase after something that exists as a notion in your head but can’t ever be reality. Évidemment, c’est toujours trop beau pour être vrai, mais c’n’est jamais trop laid pour être faux (of course, it’s always too beautiful to be true, never too ugly to be false)

Please excuse me, I think I’ll be losing my mind over this song for a while.

https://www.youtube.com/watch?v=ygekcfWDgW0&t=23s

(By the way, some of my translations don’t exactly match the subtitles on that video, honestly I don’t think the subtitles on that video are particularly good, there’s words in that translation that are genuinely made up and multiple points where I disagree with the way it’s been translated. But as I say, French isn’t my native language so I could be the one that’s wrong here)

[thomaslightwoodenthusiast]

alright fuckers u asked for it u got it

here is my thomastair playlist

its fifteen songs long, could be subject to change we’ll see lol

it’s on spotify so i’m going to link it at the bottom of this post, but first i’m going to list the songs and artists and provide a little context as to why i believe it qualifies as a thomastair song 😈😈

1.) dixie boy - april smith and the great picture show

chose bc i absolutely love this song, and i love belting it when i’m home alone lol. it *is* sang by a girl, however a) her voice is beautiful and b) the lyrics just fit thomastair SO well. no spoilers ofc but think of when alastair said that he always noticed when others were looking at thomas and how much he hated it. that’s this song. although it could also be how thomas feels about charles LMAO

2.) medicine - royal sugar

got recommended these guys on ig and they’re great!! no reason other than it’s just a rly cool song, kinda sexy, it’s just great lol

3.) fleeting love - royal sugar

reminds me of earlier thomastair 💗🙏

4.) indigo - mouth culture

there aren’t many lyrics to this, but it’s one of my fave songs. such a chill, great vibe, just makes me picture the two of them sitting together in the evening, no words, just relaxing :)

5.) why’d you only call me when you’re high? - arctic monkeys

possibly the only song on this any of u will recognise HA. again no real reason. just i guess when they had their oh moment??

6.) loud - feed the biirds (not a typo)

they’re out. they’re happy. they don’t give a fuck who says what. they love each other and the whole world is gonna know.

7.) palo santo - years & years

the first of 3 y&y appearances. olly (the singer) is gay and i love how his music expresses his identity; he’s not shy about it. reminds me a little of the sanctuary scene??

8.) i need you to hate me - jc stewart

okay i’m gonna be honest this is here for 2 reasons. one, bc it makes so much sense for thomastair. how alastair was so desperate for thomas to not care about him so that neither of them got their hearts broken. two, because apparently jc stewart is from a place just down the road from where i live HA ni represent fr

9.) DKLA - troye sivan, tkay maidza

fuck it lol just makes sense to me

10.) sanctify -years & years

one of the lines is ‘you don’t have to be straight with me’ with heavy emphasis on the word straight and it makes me giggle so

11.) tout l’univers - gjon’s tears

okay it’s a eurovision song BUT i needed a french song!!! cause paris!!! if you want to look up a translation of the lyrics feel free, but here’s (roughly) what the chorus says:

all the universe // our two hearts beneath the earth // in the midst of failures, everything explodes // to be at the point of impact // without you

i am aware they are kind of sad lyrics but i think this song captures how tumultuous everything was for them at the start, especially from a personal point of view for alastair

12.) moon - the cab

i love alexander deleon’s (lead singer) work as bohnes soooo the cab are great too. again just a silly kinda sexy song lol. also just realised it’s called moon and la voyage dans la lune guys i’m so smart

13.) hypnotised - years & years

more early thomastair vibes. actually the y&y songs on this make me want to write smth. idk. i think early thomastair owns my heart tbh

14.) love it if we made it - the 1975

yes i dislike matty as much as the next person however this song means a lot to me personally. i don’t know why, but it has helped me through a lot, like a note to self kind of thing? anyways. yeah i love this song and i think it really represents the desperation of thomastair, particularly how thomas put so much effort into convincing alastair that they’d be ok, that they could be together. ‘i’d love it if we made it’ just makes me think of thomas tbh. and!!! it’s all good bc!!! they did!!!

15.) hit and run - lolo

okay i’m going to be honest. i wanted there to be specifically 15 songs and so i needed to think of a final one to add. i really like this one, and thomastair often comes to mind when i listen to it. like i could just see them doing something borderline illegal or generally stupid and running away laughing because they’re just two idiots in love. lowkey oneshot idea of them being a criminal duo? who knows

that’s it for now, happy listening and feel free to add your own songs! you should be able to, i think it’s public and if you really want you can follow my spotify lol

here is the link:

https://open.spotify.com/playlist/6uSxw4bJefjV9iTQaEPZYD?si=BByxWrnLTwObcEM2PYbD3A

[leothil]

fucking insane how buddie was written throughout s6. we have buck, searching for happiness, to be at ease and to be seen. and they show us time and time again that eddie is the only one who sees him, and it's explicitly told too, specially in recovery. and after the lightning?

and we have eddie, in a much better place now, healing, who starts questioning if he needs more, if he'll die alone, but only after he's been made aware of it. why? because he didn't really feel it, he has everything he wants, it's always buckandeddie, why would there be more?

and just so many scenes that really don't add much to the plot other than showing us how much they confide each other, how much they care and to show that they are a family, that eddie remembers the little things, that buck knows about shannon. how does anyone else makes sense?

how do they repay this story? by getting eddie together with the most RANDOM person that literally is the most upsetting thing to me, like how are we supposed to feel that he gets together with this rando that we do not care about when the story was building to buck and eddie this season in every way.

It just doesn't make any sense.

Alright I did promise I'd come back and look at this after the Eurovision finale + aftermath was done with, but I still honestly don't know what you want me to say.

First paragraph: yes, I agree. Second paragraph: kind of agree again. Third paragraph: yeah, all those small details are so great! Fourth paragraph: you lost me.

Like, you're seeing everything they're putting out and building up and creating parallels to? And yet your takeaway from one short scene featuring Eddie and a woman is to throw in the towel and say that's it, that's his endgame? Like I don't know what to tell you here. If you think they have and are building up a narrative about how important Buck and Eddie are to each other and how no one else fills the role they have in each other's lives, why do you see all of that going down the drain just because one or both of them might still go on some dates with other people? We don't even know what either Natalia or Marisol's role will be in the finale yet!

I'd also like to disagree with "the story was building to buck and eddie this season in every way" - they have definitely been building towards buddie much more actively this season, but that doesn't mean we were ever promised canon. I said post S5 that I expected *something* in S6 but not canon yet, and I've stood by that, and by god have they started delivering a lot of small somethings!

[eriellesudario]

Neyslutrans Review | Hatari | Is it worth the €20???

If you haven’t been following this blog lately, then you should be aware that I’m a fan of Hatari. Been listening to them since their announcement to compete for Songvakeppnin 2019 and still listening to them since Eurovision 2019. In fact, I somewhat interact with the Reddit community in r/hatari.

So when it was announced that Hatari’s newest album was going to be released on the 17th of January, I was really excited! I mean, the hype train started to take motion when someone in the subreddit showed their YouTube copyright claims on their hatari videos.

After giving it some time and listening to it once or twice, here are my thoughts on Hatari’s newest album – Neyslutrans.

PS: I will try to be unbiased as possible

First Impressions

Listening to the whole album gave me Muse – Resistance and Drones vibes. I guess it’s the orchestral music that gave me that feeling, along with the fact that the songs in the album are about hopelessness or submitting to the inevitability of the end.

Album art is quite off-putting in my opinion. I guess I just don’t know the context and people are saying that the girl featured will be seen in the upcoming Engin Miskunn music video (still unconfirmed).

What I want to discuss though is the price of the album. This, I want to compare it to K-pop album, more specifically – BTS Love Yourself: Answer.

You see, in the new Hatari album, there are 5 songs that were sold in other albums and singles. And some of them existed WAYYY before Hatari was announced for Songvakeppnin (eg: Spillingardans [2018]).

So we’re paying €20 for an album with 8 new songs.

If we compare this with BTS albums, Answer had songs come back from the ‘Her’ and ‘Tear’ versions like Fake Love, Singularity, Best of me, etc. This album cost similar to how much I will be paying for Neyslutrans (thanks Australia). So despite my ‘fomo’ kicking in, part of me is also like ‘Is it worth getting the album if I’m being sold similar songs‘?. I mean, I know singles get released before the final product but they’re usually at least 1 or 2 in a 10 song album.

Ok, so apparently, people didn’t like the BTS comparison (fair nuff, people don’t like Kpop). The reason I chose those albums is becuse it shares a similar point about releasing the same songs over and over and you question how much you’re paying for. But since nobody liked it, here is a new one.

Sergey Lazarev – Russia’s representative in 2016 and 2019. Whenever he releases albums (or his older ones at least), some of the songs, at least 3 or 4, came from other singles from a a year ago or two like Lucky Stanger or Идеальный мир (idealniy mir). In Discogs, an album is like $60 inc shipping.

This is where the song review kicks in.

Song Reviews

Side note: getting my translations here!

Spillingardans, Klámstrákur, Klefi / صامد (featuring Bashar Murad)

These songs are from the existing singles that were released prior. If you want to thoughts prior, here is my review for Klamstakur and Spillingardans was briefly mentioned here.

For Klefi, it’s a good collab with Bashar Murad. Icelandic with Arabi is an interesting language mix that somewhat worked well in the song.

Engin Miskunn

Good first song. It sets the mood on what to expect and the general theme of Hatari. That there is no mercy, that they live through this dystopia where all hope and love is lost. That the end is near if we don’t do something about it.

Þræll

Literally one of my fave songs in the album. On the surface level, it sounds like a song about being a submissive in a sexual relationship/arrangement. I do question if it’s a healthy one or are we dealing with something ‘lowkey abusive’ as portrayed in Fekete Részem by AWS (Hungary 2018).[Context: people think that based on the song’s music video, that it’s an abusive sexual relationship that he’s not enjoying]

Hlauptu (featuring CYBER)

This feels like a revamp from the original and I quite like it. It just sounds cleaner compared to the original so I got to appreciate it more. The intro felt more sinister which kinda match the theme of the song (I guess – I’m basing it off translations found online).

Spectavisti Me Mori, Op. 8 (featuring Pétur Björnsson) & Nunquam Iterum, Op. 12 (featuring Friðrik Margrétar)

The orchestral/choir music is just… wow. I wouldn’t say it’s amazing but it just felt alright I guess. Not that it’s bad, it’s just an interesting mix to the album itself.

14 Ár

Without knowing what the song is about, the vocal contrast between Matthias and Klemens is really interesting. Gives of a weird harmonic feeling that you rarely get when you mix screaming with heavenly falsetto.

According to Hatari-Translations, this song is about manipulation and being in a toxic relationship (or at least that’s what’s being portrayed in the lyrics).

Overall, a song about toxic relationship is interesting as it allows us to discuss how bad this is and we have the right to leave. And knowing that Matthias is the victim in the song gives off an interesting view on how we interpret him as. Cuz normally, Matthias is portrayed as the dictator (eg: Hatrid Mun Sigra) – but THE VICTIM?!?!? THE ONE WHO IS HURT!?!?!? OMG… maybe Matthias portrays the pain, hurt, and hopelessness that we feel has humans rather than a soulless/merciless leader.

Also – the title of the song in English is 14 years… 14 YEARS?!?!? OMG….

Ógleði

It’s an alright song. I don’t have that much to say about them. Ógleði is very heavenly though despite it Klemens is talking about feeling sick and disgusted. So gotta appreciate the contrast.

Helvíti (featuring Svarti Laxness)

I love rapping. Lately, I’ve been having a lowkey appreciation for Icelandic Rap (mostly from Kròli and JoiPè) so being introduced to another Icelandic rapper is quite beneficial.

This entire song is a rap – with only Svarti Laxness performing in it. The song is about being in hell or in a hell-like environment. So it’s not like he’s dead or anything. If we follow the idea that Hatari lives in a dystopian future of our society, I might assume we’re living in a Mad max/gang-like political landscape where it’s ruled by dictators. So a start of a dystopian society.

This is also another favourite song of mine in the album.

Niðurlút (featuring GDRN)

Apparently this song shares similar lyrics to Nunquam Iterum, Op. 12. I wouldn’t know cuz I don’t speak the language. I have not much to say about this song asides from it’s a good song to end the album with. It’s mellow and less harsh so it’s a good way to conclude it all.

Hatrið Mun Sigra (Xtended)

So… I know Hatari is known for their jokes and ‘messing around’ but when we first found out that there was going to be an extended version, we thought more was going to be added, like new lyrics. But instead, the first few beats of the intro at the start was just played three times before the snare kicked in. So literally, nothing was added and it’s just the same song.

As a Hatari fan, I kinda got the joke… sort off. They like to mess around, be hypocrites, and sometimes don’t take interviews seriously. But as a listener and a Eurovision fan, this kinda infuriated me because I was kinda hoping for more. You can’t put just ‘xtended’ to a song and put something that little.

To my current knowledge, 2 Eurovision song had extended versions and it added more meaning to the one that was submitted. An example – Dance You Off by Benjamin Ingrosso (Sweden 2018).

As you can see, more lyrics was added and it just added more meaning to the original, especially since Eurovision has a 3-minute limit to their submissions. So I guess this song begs to question ‘how much are we paying for, for the name itself‘.

Overall thoughts – Is it worth the €20???

At the end of the day, music is hard to produce and after visiting Iceland in 2019, I learned that making CD’s in the country is even harder. For me, I will buy it since I’m a fan of the band, the songs are good, and it’s nice to have a physical copy.

The songs are good. Nice to see some singles return (but it’s odd since they’re from 2018 and prior). The album kinda messes around the theme on purchasing something cuz of the band name itself (in regards to the idea of buying something) and the idea of various forms of dystopias/forms of hopelessness (song-wise). The song likes play with various themes of society, relationships, mental health, politics that it’s quite nice and fits into what Hatari is about.

I’d give it 4/5 – mostly because I’d like to hear a cleaner version of other songs that were performed live like Dansið eða deyið and fans thought it was gonna be there but wasn’t. I guess I wanted more variety in the albums rather than just hearing similar songs for nearly half of the album.

[maneskintalk]

And then a few months into the new management they had a photoshoot where Damiano and Vic were tongue to tongue. I don't think we can blame old management for that one as well. It's not like this management or the label lost complete interest in this act of playing to shippers. Now they mostly sell relationships they all really have but the question is if that is any better in the end, probably not, or they time to promote some rubbish jewelery and some other things.

Also to the interview, I think a lot of people want to interpret it the way you say. But it was never said that she hated it or that she wanted them to fail. "She didn't think it would do well." She's a manager and she has to tell them when she thinks it couldn't work out or in their case even backfire. Sanremo is so huge it easily could have as they all are pretty aware of the fact that this kind of music isn't big in Italy but she still let them do it. They are apparently into the music they did with their last album and say that is their sound still but now they are trying breaking into new markets and are going pop, it's not really Teatro, because people react on a larger level to that. So aren't we going in circles here with whatever management they have?

I understand what you mean. I'm not trying to say their new management is better; I'm just pointing out old management had a few flaws since everywhere on Instagram, people be screaming, "BRING BACK OLD MANAGEMENT" or "OLD MANAGEMENT WILL NEVER DO THIS" And nobody stopped to think maybe they were having issues with the old one. No, everybody assumed after winning Eurovision, they dropped them for no reason.

andddd I admit got extra prideful since Damiano mentioned they were having a bunch of disagreement issues with them, and it's been a theory of mine the longest, so when it was confirmed, I got a bit smugly

[katyldamusic]

Måneskin: No one should feel exluded (interview for onet.pl)

Please forgive me any mistakes. It’s 2 am.

"Our image is a form of expression. We stand behind everyone who gets hurt. People shouldn't judge anyone because they can hurt someone a lot," say the members of the Måneskin. The group recently won the Eurovision Song Contest and will now perform at the Polsat Sopot SuperHit Festival. "We want people to understand our message being "no one should feel excluded," they add.

-Måneskin won the 65th Eurovision Song Contest in Rotterdam with the song "Zitti E Buoni"

-The group's sound is defined by musical eclecticism - from rock through rap, hip hop, reggae to funk and pop. All of this is linked by Damiano's phenomenal voice

-"We can be very proud of ourselves, because we owe our success to hard work" - say young musicians who came to Poland, where they will perform during the Sopot SuperHit Festival

Q: Congratulations on your big success at Eurovision. Were you surprised or the rumors that you are the favorites calmed you down a bit?

Victoria: We were nervous until the last second. Until the end, we did not believe that we could win. We are not a typical band that can take first place in this competition.

Damiano: Ethan's face said everything (laughs).

Ethan: Exactly. No one should have doubts that the win surprised us (laughs).

Q:After the competition, it was huge buzz about a glass that you broke. Has this "scandal" stopped shocking your fans?

Damiano: I hope so! We didn't understand at all why everyone was so surprised that we broke a glass (laughs). In fact, we were well aware that rumors like this always set the biggest fire. It's just part of our popularity.

Q: How did your friends react when you told them you wanted to participate in Eurovision? This is quite an unusual idea for a rock and roll band.

Victoria: We never took the Eurovision Song Contest lightly. We did not even think that our style did not fit there. For us, the most important message was that rock and roll never died. For two years we have been constantly trying to prove to everyone that guitar sounds are timeless

Many people threw obstacles at our feet and told us that we had no chance to be successful. We went to Rotterdam and showed them that we are capable of anything!

Q: So plan to conquer Eurovision was well thought out?

Victoria: Of course! That is why we performed at the San Remo festival. It was the beginning of our evil plan (laughs). Later we went to Eurovision and proved that even at such a mainstream concert rock'and'roll will be the top! I guess we did pretty well.

Q: But you probably did not expect such popularity. There are huge crowd in front of the building where we are talking. On TikTok, your music breaks records of popularity. Are you ready to conquer the world?

Damiano: I don't want to seem very cocky(*tricky to translate, "cocky" or not very modest"), but we've always dreamed about it. Of course, we did not care about fame, but we wanted our music to reach the widest audience possible. We really did everything to get to this place. We can be very proud of ourselves because we owe our success to hard work.

Q: Meetings with fans must be very enjoyable experience.

Damiano: It's really crazy. We love our fans and hope that there will be more of them over time.

Q: Many countries in Europe are very conservative. Your image may still shock many. What would you say to your *?(*tricky again. literall translation - opponents, but i think "people who are against you" fits better)

Damiano: First of all, I would like to emphasize that we do not feel like people who would dictate anything to someone. Image is a form of our expression. Of course, we stand behind everyone who gets hurt. People should not judge anyone because they can do great harm to others. We will not change the world overnight. However, as people whose music reaches so many people, we know that we can change reality a litlle bit.

Victoria: We want people to understand our message is, that no one should feel left out.  Our image has no boundaries - which is why it may still shock some more conservative audiences. Let's be honest - how is a man with painted nails different from a woman?

Q: Måneskin performing at the Pride Parade - a dream for many of your fans. Would you agree to play on one?

Damiano: Of course! It would be a great honor for us! We are aware that a large proportion of our fans are members of the LGBT community and we are very proud of it.

Victoria: It's stupid that some bands still ashamed of Parades. After all, i'ts a great honor.

Q: Let's change a subject for a moment. Today we are in Sopot. The seaside capital of music in Poland. Have you had the chance to lie on the beach?

Victoria: Are you kidding me! We got here about two hours ago. We don't have time for anything. We say this almost every day, that it would be fun to do a little sightseeing in the places we visit during our promotional tour. We are going back to Milan soon, so Poland is the last stop of our adventure.

Q: Well, you are going on another tour in a moment. Tell us what we can expect at your concerts. I understand that the performance at the festival in Sopot will be just an innocent announcement (laughs), and we will see your true face at Open'er Park?

Victoria: Our concerts we are definitely crazier.

Damiano: We missed performing on stage. We haven't been able to perform for a long time due to the coronavirus pandemic. That is why we are really grateful that we can play at such festivals as the one in Sopot. This is another part of the plan we mentioned earlier (laughs).

Q: You won Eurovision. If, however, you took second place, who would you give the "crown" to?

Måneskin: Ukraine!

Damiano: I think Go_A did more or less the same as us. They showed all of Europe that rock music is still crashing the system! They didn't try to please anyone. They were themselves and this won the hearts of many fans.

Q: Vicotria, there are only guys in the band! How do you feel as the only woman surrounded by gentlemen?

Victoria: Great! I can't imagine our band looking any different. We are a wonderful family and we support each other every day.

Damiano: We understand when Victoria has her moods (laughs).

Victoria: Stop it! I feel no different from you. I'm just a member of Måneskin. I don't feel any different!

Ethan: Besides, everyone knows that I am the real woman in the band (laughs).

Q: If you weren't making music, what would you be doing?

Ethan: Music. There is no force in this world that prevents us from making music.

Damiano: Exactly! We are musicians who do not see each other in normal work.

If I couldn't make my own music, I would probably be a producer who would come up with melodies for other artists.

Victoria: Or we would teach to play instruments. People need to understand that music is part of our lives and we cannot imagine that there could be a reality in which we do not create.

Q: You are traveling a lot now. You are in a different city almost every day. What was the craziest thing that happened to you on this tour?

Måneskin: SWEDEN!

Victoria: There were some crazy events during our visit to Sweden. Security services had to close the entire street because so many fans showed up outside our hotel.

Damiano: At one point, the police were called and they had to control the crowd.

Q:Now you are going back to Italy. Does that mean fans can expect even more new music soon?

Damiano: We are currently promoting us the mini-album "Teatro D'ira. Volume 1", but you are right, when we come back we lock ourselves up in the studio and work on new music. However, we don't want to reveal anything because that would spoil the surprise for our fans.

Victoria: We need time. We don't want to feel pressured because then the music will lose its value.

Damiano: Be patient.

[studyvibes]

Another new translation of Maneskin interview

I planned on translating the interview last week, but the day I was free the whole area where I lived had an issue with the WiFi, so through out the week, when I had a bit of free time I translated the interviewer piece by piece.

The translation is of this video: https://youtu.be/4Meslb_X9Fg

I thought it was best to include the video of the interview because there are videos and images relevant to their answers.

So this interview is by the VK which is basically like Russian Facebook.

In the original video the host speaks in Russian and Maneskin reply in Italian with Russian subtitles shown.

(Text which is bold and in brackets during the translation are some notes I added, to add come context)

Interviewer: For the first time, Maneskin is visiting Moscow, who are the winners of Eurovision. And today we are welcoming them in our studio. Guys, hello. (If you translate exact its: Guys, big hello to you)

Maneskin: Thank you very much

[0:17] Interviewer: The site Kontakte is one of the biggest sites in Russia and also one of the biggest music platforms in Russia, where people listen to your music. In our top charts of most listened songs you are one of the very few international musicians/bands that are included in the chart. In general the chart includes mostly songs in Russian language, so this shows how very popular you are in our country.

Maneskin: That’s very nice!

Interviewer: Please tell me - your international success just happened in 3 months: charts in Russia, charts in Billboard, I think this is the first time ever since ABBA that a musician/band became famous even in America after Eurovision. How did your life change in this span of 3 months?

Damiano: yeah there was a big difference/change.

Damiano: We could say that it was sudden and how we saw everything explode after Eurovision, but we are very happy

Damiano: Ofcourse this means a lot of work is expected because everything that we did before for Italy, we do now around the world. But we are very happy: this what we wanted and why we worked so hard -we are very, very happy/lucky.

[1:30]Interviewer: Going back to Eurovision, I was present at backstage and at the final, sharing happiness about your winning. I’d like to ask, did you know and how did you react to the fact that all artist for the past two weeks were saying that you were the obvious winners, even though the genre of your performance is a complete contrast to most competitor’s songs. How confident were you.

Interviewer: To solidify my words (about being at Eurovision) I have a photo *shows a photo on iPad of Interviewer and Maneskin on the night they won Eurovision*

Maneskin: oh it was you!

Victoria: We weren’t exactly confident. When we went to Eurovision, we thought only about being able to carry our music to a very wide auditorium, but we didn’t expect that we would be able to win - especially with the type of genre we play and sing in Italian - it is not something that appears often in this competition

Thomas: Yeah, that’s true, it was very unexpected and even the people - in Eurovision - were saying “You will win, you will win” - of course to us it was nice, but we completely didn’t expect it. And same with what happened after.

Ethan: (he said something, but they didn’t add a translation to what he said)

[2:45] Interviewer: I’d like to say a few words about our Manizha - Russian Woman (she represented Russia in Eurovision 2021) - were you able to meet her and chat with her? And are you planning to see her in Moscow

Victoria: yes yes, she even sang an Italian song

Damiano: it was something “Ti amo, ti amo”

Thomas: No, no, no, not that one!

Damiano: “Felicità”?

Thomas: No, no. I don’t remember.

Interviewer: (I didn’t hear him but I think he agreed with Damiano)

Maneskin: “Felicità”, yes, “Felicità”!

Damiano: They even sang in multiple voices! (Manizha had back singers with her, who joined her for Eurovision)

Interviewer: So after you won Eurovision, you were congratulated by Eros Ramazzotti, Royal Blood, and Franz Ferdinand. Which congratulation towards you was unusual and unexpected? And what did it mean to you

Victoria: Probably the big groups, which we always listen to, which always inspired us. It was also really nice, already the fact, that they talk about us - it was unbelievable. And because, of course, for us it was very important, that they liked us/valued us. And what most wild/unusual out of is that we got to collaborate with Iggy Pop.

Rest of Maneskin: *agreeing with Victoria’s answer*

Victoria: He is one of our main idols, he is one of the people who created/established punk-rock.

Thomas: Yes, of course, support from big musicians, from people who we listened to from the very start - it’s really wonderful and important/valuable recognition

Interviewer: tell us about your work with Iggy Pop. How did it happen, did he contact you or you were able to reach out to him?

Victoria: We were always huge fans of him. And when everything so well, he saw who we were and what type of music we have, and we asked him, if he would’ve want to produce something together. He said, that he really likes the song “I wanna be your slave.” and wanted to make a collaboration.

Interviewer: I saw that Miley Cyrus made a repost video of where you are performing a cover of her song and said you are her friends. Is there a possible collab with Miley?

Maneskin: Anything is possible.

Damiano: (in English) Who knows

Interviewer: with who would you want to collab?

Victoria: with many, with many! Arctic Monkeys, Foo Fighters, I don’t know.. with so many!

Interviewer: An interesting thing - the group BTS became the symbol of South Korea, making kpop genre popular. You are becoming...you became, the symbol of Italy. Do you feel any responsibility and are you planning on promoting Italian language/ making Italian language popular?

Damiano: We are thinking about making our music, and if our country will choose us to be their representatives, we would be happy. But no, we don’t feel this responsibility, we are thinking of own work/ business.

Interviewer: I can’t not ask very important question which is interesting for the fans - are you preparing an album, can you share some hints/ secrets? Because everyone is waiting for it. And the fact that in one of your songs which was released years back reached the top world wide charts, now we all can’t wait.

Victoria: Its all secret!

Damiano: We can say, that we are preparing new music - this is the secret which we can reveal.

Thomas: Yeah, and we are trying to find time, to write, to work on music. Certainly/undoubtedly, you can expect multiple surprises.

Interviewer: you are a unique group - from the point that your centre/focus is towards all of the members, which is different to other bands where bands are seen as the frontman and the rest of musicians. But each member of your group is seen a big celebrity. Did this happen accidentally or is this the concept you made, and how does your friendship help you with you work?

Damiano: We always tries to avoid the stereotypes of bands/groups, where only the vocalist is recognized/known. We always tried to push not only the group as whole, but also the 4 individuals of the group. And this is probably also happens because of our close friendship. Luckily, nobody feels like they are in the shadows pushed by others.

[7:38] Interviewer: It’s really cool that you change/ remove the stereotypes and create new trends.

Maneskin: We try, We try. We carry our little contribution.

Interviewer: Damiano, I would like to ask you personally a question - from what I am aware of, at the start, the band didn’t accept you into the band, something didn’t work out, could you please tell us in more detail?

*Maneskin laughing at Damiano*

Victoria: He became older, and his voice became magically/suddenly different!

Interviewer: what I understood was that it happened was because you originally sang more pop music, not rock with the band.

Damiano: In reality/to be honest, nothing changed, I stayed pop. Let’s say, I grew, and my voice changed, and I started to sound more earnest/persuasive.

[8:22] Interviewer: How did the band form? You first place of performance was at the street of Rome?

Maneskin: Yes, we started to play in school

Victoria: and since then everything went with the flow. We started to play on the streets, at small establishments, at school - anywhere where we could have an opportunity to perform

Interviewer: what was the hardest in those performances?

Thomas: To find a place where we can perform

Victoria: Yes, exactly, where to perform. And later, it was very small establishments and the audience at the start didn’t take us too seriously. But together as a band we supported each other - in the end, it was our dream, we even liked to perform in front of just a few people, which is why we continued.

Thomas: Exactly, yes. At the start we sometimes performed to an auditorium with a few people, but even then you had to stay convincing/conclusive. Over some period of time, in the crowd, people start to appear who valued our music, what we did. But for me, it was probably, the main challenge was to see, play, perform well and stay yourself in front of 2 or 3 people.

Ethan: Yes, there were times when we performed in front of an audience in which there were only parents. We gave out the same level and the same energy.

Interviewer: I think it is common thing to happen when a musician/ band performs at private party, where Russian musicians performed for one person in the hall.

Maneskin: oh this is something very very private

Interviewer: I think I’ll get in trouble for telling you this, but Little Big told me this story.

*Maneskin recognizing the bands name*

Maneskin: Aaa, Yes!

Interviewer: Ed Sheehan, in his time, took a challenge, he also started from street performing, to make 300 performance in a year. Are you ready to start your world tour and to perform nearly every day?

Thomas: Of course, definitely. The other way it won’t happen.

[10:25] Interviewer: I’d also like to know/ask, if you often spend your time together, as friends, if you have any common hobbies, and what do you do as a break/rest?

Victoria: We practically don’t have any life outside the frame of music, we spend all our time in work. But when we do find spare time, we just go somewhere to relax and have fun.

Interviewer: What simple tip/advise would you give to young musicians which at the moment are street performing but dream to perform in big stadiums?

Victoria: I think, you should continued with your journey and don’t change due to other people’s opinions.

Ethan: Yes, that right. Be always yourself.

Interviewer: your time of fame happened in Italy a few years ago from the show X Factor when you performed the cover from the band the Four seasons on their song “Beggin”. Did you expect that your cover would become a world hit in a few years? And a lot of people associate the song more with you (like more than the original band)

Ethan: Yeah. It’s.... weird!

[11:33] Interviewer: I’d like to show you an interesting photo. The photo illustrates when it was the last time Russia saw Italians. It’s a movie from the year 1974 which is called “the unbelievable journey of Italians in Russsia” do you see any similarity?

*at [11:48] you can see the image of four people: on the left two men happily hugging each other, in the centre a woman, and on the right a tired looking man*

Maneskin: Nooooo *laughing*

Ethan: Wow (the exact words that were written in subtitles were “Да ты ч��о!” Which in Russian is used as an expression of surprise )

Ethan and Thomas point at which person they think they are in the left

Ethan: I am the one in the left

Interviewer: This is actually a very popular Soviet comedy and the movie is about Italians which travelled to Russia in search of treasure, which left was by one of the main character’s grandmother. I would like to know after which treasure did you go after in Russia?

Victoria: I think, our fans, possibly perform, and play in concerts. All the love and affection.

Interviewer: It would be nice if you could watch the movie, maybe during your flight, and share your opinion on social media.

Ethan: ok, will do.

Interviewer: I’d also like to show you a very popular video which was spreading in Russia. Where it was comparing your lyrics from “I WANNA BE YOUR SLAVE” and lyrics from a Russian musician Alla Pugacheva. Both songs have same repeating words: “master” and “gangster”

Maneskin: (idk who said it) I saw it in Tiktok

Interviewer: just in case, I’ll show you the video

*[11:58] shows the video which interviewer talked about*

Thomas: You already saw it.

Interviewer: Your Russian fans, went further, started to look for famous Russian performers who wore similar outfits that you wear. But it turned out that all the similar outfits were worn by on person, his name is Valery Leontiev. I’d like to show you the pictures to show you just how similar his outfits are.

*[13:35] you can see the image comparisons, in the background you can hear Damiano laughing and say “no no”*

Thomas or Ethan: Unbelievable! This is crazy, this isn’t possible.

Interviewer: Yes the similarities are on point/ are exact.

Interviewer: I’d like to conclude the interviewer with genuine admiration because for the past 3 months you exploded the whole music industry, which didn’t happen for ages. And to be honest, it is true what you said about saving your authenticity and believe in yourself. We are very proud of you, Russians love Italians (ik that a lot of old Italian movies and songs are very popular in Russia). Please continue to grow and make wonderful music.

Maneskin: Thank, thank you very much.

————————————-

Hopefully you enjoyed the interview and the translations made sense

[thedistantdusk]

Arcadia, Chapter 3

Thanks to everyone who followed along! Things are heating up with this chapter! Most of the referenced triggers from chapter 1 apply in this chapter specifically. Here's the link to chapter 2, if you're just seeing this now :)

Thanks again to @secretkeeper13, @accio-broom, @remedialpotions, @jamezbot, @jenoramaca, @not-steve42, @ginisbetterthanfirewhiskey... god, I'm forgetting people, and I'm sorry! But you're all amazing <3

___________________________

D A Y + T H R E E

As fate would have it, Ginny wakes before 0-700.

Not that she sleeps.

Nightmares, the likes of which she hasn’t experienced in years, torment her throughout the night. They leave her scared. Miserable. Guilty. Around 3 AM, she finally reaches for her Dreamless Sleep potion with shaking hands. For more reasons than one, she’s pleased that Harry’s slept on the couch.

She knows now just how stupid this entire mission truly was. The longer she analyzes it, the more she accepts that her bloody pride got her here in the first place. A chance for a promotion, however small, gave her false confidence in her ability to disregard a decade of sexual tension, all while trapped in close quarters with the person she wants the most.

She hopes Harry makes himself sparse today, though she knows that sounds cruel. But the longer they spend together, the clearer it becomes they’re on the cusp of something… and not something that would look good on a performance review. He’s been kind and understanding so far, even when she’s fucked things up. She just hopes she can ignore the most human parts of herself until they’ve dealt with this.

So at half-past 8, Ginny — Jenny — emerges from the house in a bright floral sundress and nude pumps. Were it not for the secret weapon clutched in her right fist, she might have fit in quite well... but Jenny has no intention of fitting in. Not anymore. In three confident strides, she marches across the front lawn, bends down, and spears the prongs of a lurid pink flamingo into the grass.

Yes.

She grins and takes in her work. How ghastly against the backdrop of earth tones! How repugnant!

Ginny steals quick glimpses over each shoulder, only to be met with the eerie, blanketed silence that’s defined Arcadia since their arrival. No activity at all. Which means she’ll have no issue with the next bit…

She strides to the mailbox at the end of their driveway and gives it a sharp kick. The post slides out of alignment, leaving it askew. Perfect. She returns to the house with a bounce in her step. Living with the twins taught her a thing or two about how to infuriate complete strangers.

She just hopes it’ll be enough.

___________________________

As luck would have it, it is enough. Her efforts receive reward more quickly than she thought— more quickly than she’s been conditioned to expect.

Scarcely an hour passes before she finds the warning she needs. And to be honest, it could’ve been there sooner; she just figured she’d give it that long before she checked.

Still, it’s not even 10 AM when she opens the door and sees it on their welcome mat: a folded paper with Pee-tri scrolled on the front. She can’t help but admire the sheer cheek as she unfolds it; this is the closest they’ll get to a public call-out for the way Harry insists on correcting everyone’s pronunciation. The message inside doesn’t surprise her, either.

Be like the others before dark. Or else.

Ginny glimpses out at the lawn, just to confirm— and yes. Sure enough. Just as she’d suspected, the flamingo's gone. The mailbox is straight. Everything’s back to normal.

She kicks the door closed with a smirk and wonders if they’re aware of how easily they’ve exposed themselves. How—

“What’ve you got there?” Harry calls from the sofa in the living room. He looks up from his laptop with bleary, dark-rimmed eyes. A wave of guilt washes through her; that sofa clearly didn’t get more comfortable overnight. Not that he would’ve accepted the alternative.

“Erm. A letter.” She waves in front of her and walks into the living room. “I’ve done a great job annoying them!”

He offers a gentle smile. “Any chance you’ll let me know who this ‘them’ is that you’re so worried about?”

Ginny rolls her eyes and settles on the other end of the couch. “You know I can’t—”

“Talk about your work,” Harry finishes, turning back to his computer. “Right.”

“Mm. Not exactly that I can’t… talk about my work,” she ventures, putting her feet up on the white ottoman. “More like I can’t give information until it’s essential knowledge for all parties involved. Based on criteria that I also can’t share.”

“Sounds like a fun job,” Harry deadpans, still looking at the computer. “But anyway, if I were to suggest something like… I don’t know…” He casually tilts the screen in her direction. “The fact that Oliver Skinner definitely has a criminal record, and maybe that’s worth looking into. You couldn’t confirm or deny that?”

Ginny just shrugs. “That’s correct. I can neither confirm nor deny.”

His theory is wrong, of course. Dead wrong.

They wouldn’t have sent an Unspeakable and an Auror into the country if this were a simple Muggle murderer. Harry would be able to suss this out, she reckons, if he had more sleep. Poor bloke.

He groans and cracks his back. “I’m starting to understand why King’s always so frustrated.”

“Probably because he has to deal with you all the time,” Ginny quips, reaching for a magazine on the floor. Ugh. Of course, it’s only the TV guide, Radio Times. They don’t even have a TV, but it came with the Daily Mail on Sunday.

Harry reaches for a glass of water on the coffee table. “Fine,” he relents, in between sips. “I’ll stay in my lane. But if I get bored, I’ll get tetchy.” He gestures to the computer. “And since they’ve given us this laptop, I’ve had time to do a bit of—”

“They’ve given me a laptop,” Ginny corrects, arching a brow. “As you’re well aware, Auror Potter, that is technically the property of the DoM.” She returns to the guide with a shrug. “I just don’t care if you use it, mostly because I don’t expect you’ll be looking up tits all day.”

He chokes on his water; Ginny just laughs and turns the page. Ooh, lovely! Eurovision looks particularly flamboyant this year…

“You’re absolutely right,” Harry says, once he recovers. “I’d never look up tits on government property!” He looks affronted as he hands over the laptop, but she knows he’s not done... not when he’s set that up so perfectly. Annnnd sure enough…

“You of all people should know I'm an arse-man, Ginny.”

Now it’s her turn for an unattractive snort as he winks over his shoulder and marches upstairs.

When he’s gone, Ginny rolls her eyes and opens her laptop. He’s an incredible liar on the arse-man front, but it was a good joke. A simple joke…. one that didn’t deserve looking into.

It’s just unfortunate that can’t stop these stupid fucking butterflies from erupting in her stomach like she’s ten years old again.

___________________________

He launches into the air again, the gardens of his neighbors spanning out in front of him. Each perfectly manicured. Each disturbing in its performative precision. None of this is real; none of this is life.

He pulled out the trampoline after dinner, when Ginny okayed it. He’s not used to that— checking before he does things. This whole exercise has been a great reminder that his teamwork skills are rusty, especially when he’s in a subordinate role. Ron left after their first year to work in the magic shop instead, which only made sense after… yeah. Harry draws a deep breath and jumps again. Ron and Hermione haven’t been problem-solving in his head for ages. There’s been no one to share the burden of choices or—

“OI!” Oliver’s voice thunders across the garden.

Harry smiles and takes another huge leap into the air. Just in time…

He rips open the fence door and stomps over, hands balled into fists. Harry’s never seen anyone look quite so furious while dressed in cashmere. And standing beside a trampoline.

“What do you think you’re doing?” Oliver hisses, eyes narrowed to slits. “Are you trying to make enemies, Henry? Is this entire estate a bloody joke to you?”

“Of course not!” Harry lands on his bum before he jumps up again. “This is very serious!”

“Oliver!” Sharon wails, hurrying over. “Oliver. Please! This really—”

“Keep your nose where it belongs, woman,” Oliver snarls, looking at her like she’s scum on his shoe. “No one wants your opinion!”

Sharon flinches… and this, more than anything else, gets Harry’s back up. “No need to take it out on her!” he snaps, climbing down from the trampoline. “Talk to me if you’ve got a problem, Ollie. Why not—”

But just as Harry’s feet touch the grass, something very weird happens: A dull buzzing fills his ears. Sharon and Oliver hear it too, but unlike Harry, they aren’t looking around in bewildered confusion. In a flash, the rage on Oliver’s face transforms into something much different: fear. And as the pressure grows, Harry can only watch as Oliver grabs Sharon’s hand, yanking her from the garden, when—

An unmistakable sound replaces the buzzing. A large piece of glass from somewhere in the front of the house shatters on the pavement. And with that, the buzzing stops.

Birds chirp again. Someone laughs in the distance. Harry jabs a finger in his ear, trying to clear it, but it seems Oliver’s returned to his furious state. He lunges towards Harry, a vein ticking in his neck, his hands outstretched as if to push him over— but Harry doesn’t have time for this. He’s already running around him, bolting towards the source of the sound, his hand inching for his pocket…

Because whatever they’ve got going on isn’t related to Oliver, is it? No… definitely not. That buzzing was too creepy to be muggle. Harry hadn’t really been convinced of the Oliver theory in the first place, even if the wanker has a criminal record for drunk driving. He mostly suggested it to Ginny to see if she’d give him any information.

Harry spots the broken glass the second he reaches the pavement. The lamppost right outside their house has shattered, light bulb and all. Bits of glass sparkle on the street, but the lamppost is at least 10 feet high. Harry scans around for signs of a ladder, or some form of a projectile… any method someone might’ve used to— oh! A baseball rolls around in one of the open garages across the street. He’s about to march over and collect it when his conscience stops him.

Because that’s the definition of circumstantial evidence, isn’t it? Harry sighs, rubbing his forehead. Snatching the baseball while working alone is one thing, but it’s not worth risking Ginny’s job. Especially because he reckons these thoroughly unmemorable homes are each equipped with monitoring systems. At absolute best, that would be… awkward to explain to the muggle police, especially without an obvious connection between the ball and the shattered lamppost...

Harry’s just about to turn back inside and write it off a freak occurrence when—

Shit.

His breath freezes in his throat.

What the...

He blinks a few times to make sure he’s not imagining it, but no...

There’s no weird buzzing this time… but something else is happening instead. The grass on the far side of their yard is bulging and curling, right in front of his eyes. The soil creaks as this… this mass — a huge sphere of some sort — passes through; bits of dirt fly into the air before settling back.

Harry’s veins turn to ice, his stomach churning. Work has introduced him to new, vile varieties of ghouls and nasties. He’s been bitten by a leprechaun. Stalked by a vampire. He’s encountered every disturbing otherworldly menace that one could imagine.

But he’s never seen anything like this.

His only solace is that it’s headed towards Mike’s empty house… this massive, rolling boulder that travels beneath the soil. ‘Boulder’ isn’t exactly the right term, though; he’s never seen a boulder move with a slinking, predatory grace. He’s never gotten gooseflesh from a rock, no matter how large.

And try as he might, he can only stand there, wide-eyed, his heart racing. Because now he knows for sure what Ginny only alluded to before: whatever they’re chasing isn’t human.

And it’s aware of them.

___________________________

The door creaks open less than five minutes after the glass shatters, but Ginny’s prepared.

She’s standing in the alcove just off the entryway, wand in one hand, fire poker in the other. It’s probably not the best strategy she’s ever had— but she reckons that if a Muggle were to catch sight of an altercation, it would be an easy memory supplantation. Wands and fire pokers don’t look that dissimilar, and—

“Ginny?” Harry calls. Directly into her ear.

Shit! She jumps into the air, the poker clattering to the ground.

“When did you learn to move like a cat?” she demands, turning to face him. “You nearly—”

“We need to talk,” he says brusquely. It’s only then that she takes in his wide, haunted eyes. His white pallor. The way he hasn’t even commented on the ridiculousness of her fire poker.

Oh.

He’s scared.

Scared in a way she hasn’t seen him in ages. Maybe ever. Which means he heard…? Shit. She’d might as well ask.

“What do you erm…” She toys with her wand handle. “Want to talk about?”

Harry heaves a tired sigh. “I’m only going to ask you this once,” he says flatly, rubbing his hand over his forehead. Then he blinks up at her, his eyes pulsing and stern. “What the fuck was that?”

“The… shattered lamppost?” she hedges. “I’ve no idea. I just—”

Apparently, that was the wrong response.

Harry groans. “You know damn well I don’t mean the bloody lamppost!” he snarls. “I mean that… that thing! First the weird buzzing, then whatever moved through the grass! It was like some creepy worm, or—”

“—not a worm,” she amends, staring at her cuticles.

This, too, was the wrong reply; she’s never seen him go from bewildered to enraged quite so fast.

Harry lets out a furious roar and kicks at an empty box. “This is why Unspeakables are so fucking annoying!” he shouts, tossing his hands in the air. “You never fucking say anything — even if it might help someone!”

Pfft! He can do better than that...

“Not sure what you expected,” she deadpans. “Would it help if I were a Speakable instead?”

Harry rolls his eyes and throws himself on the couch. Ginny just leans against the door… and waits. She can’t say she blames him for being angry. It’s probably made him feel vulnerable in ways he hasn’t in ages.

“The least you can bloody do,” Harry says, cutting into her thoughts, “is to let me know how to kill it.” He glimpses up at her, his chest still heaving. “Because if anything happened to you….” His hand curls around his wand, his voice dropping to a near-whisper. “We both know I’d never forgive myself.”

Fuck.

Her heart clenches; as embarrassing as it is, tears sting the backs of her eyes. She wasn’t expecting that… but it makes perfect sense. He’s not angry because he’s vulnerable; he’s angry because he doesn’t know how to protect her.

Because he’s Harry.

Her Harry.

And try as she might, she can’t deny that. He’s hers… even though now he’s broken and angry and scared and alone. Which is probably why she loves the fucking fuck out of him.

No.

She stops herself, squeezing her eyes shut. Mission. Mission. They’re on a mission.

Right. She clears her throat and steps forward, two papers clutched in her hand.

“What’s that?” Harry grumbles as she hands them over. He scans the pages, brow furrowing. “Sugar… engine oil. Red Dye 40. What am I supposed to do with—?”

Ginny smiles and tries to make this easy. “It’s the report from the necklace. The thing that was on Mike’s medallion… it’s rubbish. Not blood, not some ghost slime. It’s just a weird mixture of types of rubbish.”

She should’ve figured he wouldn’t find this significant.

“What a brilliant scientific discovery.” Harry tosses the paper to the side. “Hermione would be thrilled.”

Ginny gnaws at her cheek, choosing her words carefully… but if he’s already seen it, if he’s already heard it, surely there’s no harm...

Harry rises to his feet and takes a step closer until he’s towering over her, all warm and brooding. They aren’t touching… not exactly. He’s just hovering close enough to give her strength, whether he knows it or not. When she finally gets the nerve to look up at him, his green eyes are swirling with more pain than rage. Truth be told, she prefers the rage. “I deserve to know,” he says thickly, like he’s suppressing something in his throat, “what the fuck is going on.”

Ginny breaks their eye contact. Some of this she hasn’t even shared with Attica yet. She’s violating about a million protocols by telling Harry first, but if they’re together on a mission…

“It’s… not what we thought. Not what I thought,” she admits softly, after a moment. “We came out here under the assumption of chasing something from the Thought Chamber. Something that erm… may have escaped. During a routine experiment.”

He’s not impressed, though. “Yeah,” he says, arching a brow. “I gathered all of that from your intro with the camera, thanks. Do you ever plan on telling me anything new?” He jerks his chin towards the window. “Because you’ve sure as hell never mentioned Evil Grass Monster Experiment #6, and that may have been helpful to fucking know before I saw it.”

Oh, for fuck’s sake!

His attitude is more infuriating than his actual words, but she lacks the patience for dealing with either. The bloody nerve, to act all impatient with information that’s kept secret for a reason...

“I don’t have to tell you shit, actually,” she says, crossing her arms over her chest. “And in case you’re unaware, I can protect myself.”

Harry pulls back with a laugh, but this one is cruel. Dark. The sort she’s never heard from him before. “Makes sense,” he says with a fake grin. Then he taps her on the nose. “Because when that thing outside inevitably kills someone else, we all know how well you’ll manage the guilt.”

Ouch.

She reels back, stung. He’s got to know that’s a low blow. Younger Ginny would have Bat Bogeyed him into oblivion, but she’s better now. She’s changed.

At least that’s what she tells herself as she glares at him, her hands fisted so tightly they turn white. “Say what you mean,” she manages several moments later, when rage isn’t clawing at her chest. “If you’d like to rehash our breakup, Auror Potter, I’m all ears!” She gives her best impression of an icy smirk. “This isn’t exactly professional… but then again, when have you ever been?”

Harry looks like he’s going to respond, but a loud vibration starts in his back pocket. “Fuck!” Now it’s his turn to leap into the air before he realizes it’s just his wand. And really, she’s tempted to laugh— but the look on his face helps her put the pieces together.

Because if his wand’s vibrating, that means it’s an emergency; only department heads can summon their employees like that. They’re the only ones with access to that sort of technology, not that she’s really interested either way.

“It’s King,” he mutters. She’s about to get on him for stating the obvious, but when he peers at her again, his face is filled with such timid yearning that she can only see the 11-year-old boy on the train platform. “Can I…erm. Use your mobile?”

Fine. Ginny nods towards the bedroom, her head still spinning. She’s still a bit angry with him, but he’s so fucking broken. They both are. And besides, they’ve got bigger problems. What could possibly have King so worried that he’d call Harry from a mission? The man is unflappable.

Harry returns a minute later, his face stony, jaw set. In another life, she might’ve seen the bulge in his pocket and asked if that’s just her mobile, or if he’s happy to see her.

Instead, she tucks her hair behind her ears like the seasoned professional she is. “There’s no reception inside,” she points out. “I’ve had luck calling Attica from up the street, right at the corner. Just watch out for…”

Harry smirks. “Grass monsters?”

Ginny draws a breath to consider her options. She could keep him in the dark forever, but isn’t that the whole point of this assignment? To learn? It’s time for the truth, she reckons...

“It’s erm. It’s called a tulpa, actually.”

His eyes light up at this. “A tulpa?”

Ginny shifts her weight and searches for the right words. “It’s a… it’s sort of like an evil imaginary friend, created by a group of people to do their bidding,” she explains, reaching for the discarded papers. “They come from the material of whatever’s underground. I’ve only heard of creatures made from clay or water, but since this village was built on a rubbish tip”— she flicks the papers with her fingers— “that’s our guy!”

She can almost see the gears spinning in Harry’s head as he studies the far wall. “So…” he says slowly, still peering off, “it’s basically an evil dump monster, made of rubbish, that can murder people.”

A laugh slips past her lips. It sounds a bit dumb when he puts it that way. She clears her throat and continues. “I was wrong because it’s not something that’s escaped, more like something that’s—”

“Formed,” Harry finishes quickly. For the first time all week, he sounds intrigued. Like he’s happy to be here. “So… they’ve made it to keep order, then?”

“It would seem so.” She shrugs. “I… honestly don’t know. But between the weird buzzing and the rubbish, it’s the closest match we’ve got. According to the system database, anyway.”

There’s another pause as Harry mulls this over. “So, how do we get rid of it, then?”

How fucked up is it that her heart warms at the way he says ‘we’?

Ginny brushes that aside. “Considering the mask in Gogolak’s house and the way they’ve made a point to tell us he’s in charge, I’d say he’s the one we need to get rid of.”

Harry crosses his arms over his chest but doesn’t object.

“Or at least… knock him totally unconscious,” she adds, swallowing; Gogolak’s a wanker, but she’d rather not kill him, either. “Beyond just being asleep. Because he sleeps at night, but the tulpa’s still here, which means he needs to be down for the count. Comatose, even.”

Harry’s wand buzzes again. Ah, shit; in all the hubbub, she’d forgotten about that.

Concern floods Harry’s face. “Give me five minutes.” He blinks. “Ok?”

She waves towards the door. “Duty calls.”

He gives her a weak smile and turns away; she begins the trek upstairs to send Attica an email update.

“Ginny?”

She stops to look down at him. Harry’s paused, halfway out the door. “Thank you,” he says softly, meeting her eyes. “And… I’m sorry. For everything. Ok? I’ll always, erm…”

But she can’t right now. She actually fucking can’t.

“Later,” she whispers, nearly begging. “Please. Let’s do this later.”

Because of course she loves him.

She’s always fucking loved him, even though that’s changed forms. It’s shifted. It’s evolved. He feels the same way… she knows he’s bloody feels the same way. She just doesn’t have the resources to deal with whatever this fuck is reigniting, right in front of her eyes, as the tulpa dances in the back of her head.

Luckily, he understands. Harry just swallows again, nods at her, and heads out into the night.

___________________________

As it would turn out, he was wrong about the identity of the summoner.

“Great news!” Hermione announces on the other end of the mobile. “MLE found Yaxley. He was hiding in a cave in Romania, just like you said.”

Harry snorts; he wishes that gave him more pride. “Well, if you’d listened to me months ago, then—”

“The important part is that we have him,” Hermione says, cutting across. “We need you back ASAP to prep for witness questioning. You’ll take the stand, of course. The trial’s set to start next week!”

He can practically hear her bouncing with excitement. Very little brings her more joy than trials of former Death Eaters.

“Erm… about that.” Harry rubs the back of his neck. “We’re actually right on the cusp of something here. I’m gonna need a couple more days to wrap things up.”

“Really?” Hermione sounds surprised. “Kingsley and Robards said you’d be pleased. Said you found this mission as useless as they did.”

Fuck, he was such an arse.

“Well, things… changed,” he offers lamely. “It’s going really well. This mission is so important to her. I’d just hate to leave at the last minute.”

“Ohhh?” Hermione draws out the word in a way that suggests she finds herself quite clever. Even before she asks, he knows what she’s on about. “How’s it going with Ginny, then?”

Harry rolls his eyes. Her coy prodding is obvious, even over the phone.

“As I already said, it’s going well,” he replies flatly. “We’re a great team. Always have been.”

But she can’t let him have that one, can she?

“Well… not always,” Hermione allows. “After Percy—”

Harry groans. For fuck’s sake, what’s her obsession with stating the obvious? “Yeah, well,” he retorts, “I’d like to know who you think did well after that, especially since…”

He trails off with a sigh.

Especially since what, exactly?

He toys with the fraying ends of his hoodie string.

Especially since Ginny was the last to speak with Percy? That she still carries the weight of the guilt for what she said that night? That she’s never admitted it, but that he suspects her choice to become an Unspeakable was influenced by the things she wishes she could un-say?

Harry makes a face. That’s corny as fuck, isn’t it? What a thing to pull from his arse...

Hermione interrupts his thoughts for a bit of bragging. “Well, Ron and I have done just fine.”

He can almost imagine her staring at her engagement ring in dreamy affection. The mental image makes his reply sound more bitter than he intends.

“Well,” Harry snaps, “Ron wasn’t the last person to speak with Percy. So I’m not sure how you could compare the two, really.”

Shit.

The silence on the other end tells him he needs to apologize, even if it’s true. Fortunately, Hermione gives him an easy out. “Anyway.” She clears her throat. “I’ll give you until tomorrow night, but we really need you the following day. If you haven’t settled this, we’re swapping you out. Got it?”

Harry sighs. He’s exhausted, but this couldn’t possibly take much longer. Ginny’s more or less got the proof she needs now. They just need to confront Gogolak, knock him out, and—

BEEP. BEEP. BEEP.

Harry cranes his neck towards the source of the noise. Huh… weird. Far up the street, flashing lights tip him off. That’s definitely Oliver’s Audi, the one parked in the driveway directly beside theirs. It’s in utopia blue with a metallic finish, a detail Oliver probably mentioned at least fifty times the other night. Then, while Sharon and Ginny were out walking the dog, Oliver began a mind-numbing lecture on the car’s exact miles per liter. Harry was a bit drunk, which is probably why he interrupted to ask a much more important maths question: How many blow jobs per week is too many, exactly?

Even from a distance, Harry can tell that Oliver’s nearly the same shade of murderous red now; he storms from the house and turns off the alarm with his key fob. But then he pauses, glancing around like something’s spooked him. He must decide it’s not that significant, though, because he huffs back inside soon enough. Fucking wanker...

“....Harry?”

“Sorry!” Harry shakes his head. “Yeah, sorry, that works. See you then, Hermione.”

“Can’t wait!” she trills. He doesn’t need to see her face to know she’s smug and grinning.

___________________________

Two minutes after Harry leaves, Ginny feels it again: that same sensation she experienced while walking Captain Bone.

She’s sitting at her laptop when it starts… this deeply unsettling shift. It stands the hair up on the back of her neck. She rushes to the window on instinct, but just like before, everything outside looks the same. There’s no “moving grass monster,” as Harry called it. Not yet, at least.

Still, she can’t deny it’s growing louder. Getting stronger. And now that she’s felt it for a bit longer, she can put more words to it. It’s like she’s plummeting through the absence of sound; like all the wind’s been sucked from the air. It’s a building pressure, a mounting unease, and before she knows it, her whole body starts to shake.

Then two things happen in quick succession: that weird feeling stops, and a car alarm begins to blare in the distance.

Weird.

She shudders. This whole thing is so fucking weird. Weird is her job, and this place is still Very Fucking Weird. Seriously, who enjoys living here? She’s reaching for her wand, just in case, when the front door slams open.

In retrospect, it’s a blessing she knows Harry as well as she does… because she can tell that those heavy, clobbering footsteps don’t belong to him. She knows he’s not the one drawing deep, ragged breaths as he marches up the stairs.

She hides around the corner of the bedroom, her heart racing, and goes through a mental list of spells she might use. Shield charms. Enchantments. The buzzing’s stopped, so this probably isn’t the tulpa… but who else would be here? Gogolak? It sounds more human than—

“Jenny?” a deep, soothing voice asks. “Are you in here?”

Her breath freezes in her throat. She’s only heard that voice once before… but it’s so similar to her former life that she identifies it at once.

“Mike?” A wave of relief washes through her. She shoves her wand into her dress as she comes around the corner. Sure enough, there he is, in the flesh. Mike Snodgrass. A man she presumed dead days ago.

“Hi!” Mike pants. He cracks a smile. “I’d offer to shake your hand, but.” He winces, wiping a palm on his ripped khakis. “Been hiding!” Fuck. His whole outfit (yellow Polo, khakis) is the same he wore days ago to unload their boxes, except now it’s filthy. Stained. Like he’s been living beneath cars and inside drains. He’s just missing his Saint Julian medallion, which she’s sent to the Ministry.

Ginny feels sick. She wrote him off as dead so carelessly...

“I’ve been trying to take it down,” he adds earnestly, peering at her. His cheeks are caked in something red and grimy, the same stuff she stuffed into her bra. He’s been tailing the tulpa, she realizes, her stomach plummeting…

Except he’s got no clue what he’s doing.

“I was about to leave the development, to just run away, but that’s when I figured out it was coming for you two!” He shudders, closing his eyes. It feels like he’s been waiting a long, long time to say this. “And I’ve been aimless without Jess in the first place. So what was the point in leaving, really, if I could save…?”

He trails off, clearing his throat; when he looks up at her again, there’s a flash of annoyance in his eyes. “I’ve been leaving clues, though! Why didn’t you listen?”

“Clues?” Ginny sounds like she’s a million miles away.

Mike’s nearly pleading now. “You had to go and kick the mailbox and stick the flamingo in the grass, didn’t you?” He raises his pointer finger. “And even though I left you a note, you had to make it even worse! It only attacks when the sun goes down, see.”

“You… you left the note?” she whispers. She was so certain that it was from Gogolak...

But Mike proceeds in such a rush it’s clear he hasn’t heard her. “It was about to get Henry by the trampoline, so I threw the baseball as a diversion. I broke the lamppost, too— which worked. For a second,” he adds hastily, glancing over his shoulder.

“How did you also set off the car alarm— oh.” Her head’s still spinning. “Buddy system. Right.”

Mike dangles a keyfob. “Covenant rules. Stole the spare off Jane.” He glances into the hall again before whipping back to face her. “It’ll need a sacrifice tonight, though,” he adds grimly. “And every night, until you all have perfect behavior. It was coming for you earlier, see. We aren’t meant to be outdoors after dark without a permit for dog-walking, so.” He shrugs. “If there’s an unapproved disruption like a car alarm, it knows just where to hunt.”

It’s then that the final pieces of this dreadful puzzle slide together in her brain. “Captain Bone,” Ginny breathes; she swears a feather could knock her over. “He was the first since we arrived. Punishment for us sticking out.”

“I couldn’t save him,” Mike laments. “It came up and snatched him. So I threw in my medallion, right after his collar, just to make them think I was already gone.”

“That’s… that was brilliant,” she admits, biting her lip. “Thank you. You didn’t have—”

“Nah,” he says firmly. “I did. For starters, you remind me so much of…” He stops mid-sentence, an odd expression on his face.

For a second, she thinks he’s being sentimental, but then she feels it too.

Shit.

The hairs on her arm stand up. It’s back… that weird way she felt before. Like the air’s sucked from the room. That creeping, clawing silence. This time, though, it only gets louder, louder, louder, until she’s throwing her hands over her ears, all hope of self-defense forgotten.

But Mike knows what he’s doing. He knows exactly what he’s doing. She doesn’t have the chance to object or get her wand before he’s ripping open the closet door and throwing her inside. Ginny opens her mouth in a startled cry, but it’s like she’s screaming underwater, the sound distant and distorted. Mike slams the door closed with her inside and stomps to the center of the room— but now the thundering, roaring wind is causing her physical pain… it’s so loud now that it reverberates in her chest, so loud that her hands shake as she reaches for her wand at long last, but fuck fuck fuck, it’s too late…

It’s too fucking late.

Because Mike’s made a choice. One he can’t take back. He just stands in the middle of the room, puffing out his chest, offering himself as the proud sacrifice, even as the noise grows so loud that Ginny screams her throat raw.

She feels it enter the bedroom, this looming, shifting mass— but by then, she’s certain her ears are bleeding, her eardrums bursting. Her whole body rattles and shakes as she peers through the slats in the closet door, but she’s frozen. Stuck. Miserable. She couldn’t cast a spell if she tried… even as the tulpa oozes into the room, lunges itself back, and swallows Mike with a sickening squelch.

Even though the slats of the door, Ginny’s sprayed with blood. Covered. And she’s dizzy now… so dizzy. A drop of blood trickles into her eye; she reaches up to wipe it from her face, and it’s only then that she hears her own screams again. They reverberate through the small space, anguished and pleading, so loud that she’s certain someone up the street could hear, but she doesn’t care. She doesn’t fucking care. She just screams over and over and over, her nails clawing at the walls, until the world slips away into darkness.

___________________________

Blood.

It’s the first thing he smells as he charges up the steps. His chest squeezes, his eyes water, his head pounds over and over again with one word: No.

No. No. No.

Not Ginny. It can’t be.

But almost as soon as he smells the blood, he hears her screaming, and yes! His heart soars. Screaming is good; screaming means she’s alive and breathing and—

Fuck.

His dinner rises in his throat as he steps into the bedroom. He smelled the blood from the steps, he hadn’t expected… this much. It always takes him aback, exactly how much blood is in one human body, and he’s certainly never seen it sprayed, all over the floor… covering the walls. Covering the closet, even, where Ginny’s still screaming.

He flings open the door, thinking he’s prepared for what he might see. Somehow, though, none of that measures up. Because he’s dealt with tears in his line of work… but he’s never, ever seen her so broken. His chest clenches when he takes her in. Her perfect suburban dress — the yellow floral one, the one he liked so much— is now red and grimy, caked in blood, as Ginny rocks back and forth on the floor, sobs wracking her body.

Blood’s covering her face, too, and her arms. Dried trails of it have crusted around her eyes, like she’s fallen asleep wiping them away… or perhaps lost consciousness. The thought is too terrible to bear. He kicks the door open completely and brings her into his arms in one fell swoop.

She melts against him, her voice raw and broken. “H-Harry!” she manages. “P-please! I need-I need!” She begins to shake, pressing her face to his chest.

“A shower,” he says firmly, stepping into the en-suite. “You… you just need a shower. Ok? And maybe some calming draught, I’ve got some in my luggage, and—”

“No!” she cries, shaking her head. Her eyes are wide and filled with horror. “Don’t… don’t leave. Don’t leave me, Harry, please!”

“I… ok,” he allows, carrying her to his luggage to retrieve the bottle. She clings to his neck as he reaches for it, but she weighs next to nothing. Fuck, she’s so thin… he’d just been too busy eyeing her up to realize exactly how thin. What a complete wanker.

It’s not difficult to unzip the suitcase with one hand and pass her the bottle. “Take this,” he urges, thrusting it into her hands. “Please, Ginny. You’ll feel—”

She’s already downed it before he gets to the end of the sentence. She tips her head back, drawing air into her lungs. “Thanks.” Her voice is still hoarse. Ragged.

“Shower, then,” he murmurs, walking her into the bathroom. He feels her start to relax against him, her body growing looser, as he opens the curtain and turns on the tap.

“Thanks,” she whispers again, her head tucked beneath his chin. His fingers itch with restraint; he’d do anything, he thinks, to hold her against him. To press a kiss to her temple. To tell her he loves her and that she’s beautiful and perfect and he’s sorry, so sorry, that any of this happened and—

She peers up at him, her eyes more focused now, less wide-eyed and horror-struck. “Would you stay here?” she asks, biting her lip. “While I shower? Just so I’m not—”

“‘Course.” Harry swallows, putting her on her feet. She lands with unintentional grace, one foot after the next.

“And can you… erm.” She turns her back to him, lifting her hair above her zipper. His hands shake as he reaches for the clasp. He knows the exact shape of her back as he slides it down, over the middle bump of her white bra strap. He nearly unstraps that for her, too, before he catches himself. It reeks of intimacy, doesn’t it? All of this…

His eyes linger on the soft swell of her bum before he turns around, self-disgust hammering in his throat.

“I’m… I’m sorry,” he adds feebly. He balls his hands into fists as her dress hits the floor… followed by her bra. And her knickers.

“Not your fault,” she croaks, stepping into the shower. He smiles, his glasses fogging up as he moves to sit on the closed toilet seat. Even covered in blood and traumatized, she can't bring herself to blame him.

She finishes several minutes later.

“Erm��� towel?” She shuts the water off. “Could you?”

“Sure,” he soothes, thrusting one through the curtain. “D’you want me to leave, or…?”

Ginny manages a weak snort. “Nah. Nothing you haven’t seen before.”

He chuckles at the door as he turns around again. She’s right, of course; he knows every bloody inch of her… but it’s not quite the same now.

There’s a tap on his shoulder. He whips around to face her. Admittedly, she looks… better. The blood’s gone. Her eyes are still red-rimmed from sobbing, but she’s looking a bit less like a woman who witnessed a death. Which reminds him…

“Erm. Give me a second to get it all cleaned up?”

Ginny shudders and settles on the toilet seat; he immediately kicks himself for asking. “Yeah,” she says a moment later. “Just… come get me, ok? When you’re done?”

He nods.

___________________________

It can’t be later than 10 PM when he finally carries her to the bed, still wrapped in a towel.

He’s exhausted from the nights on the sofa, but he knows she’s worse off. He’s cleaned the bedroom fairly well, he thinks, considering. There’s a rust-colored stain above the closet that he reckons won’t go anywhere anytime soon. He just hopes she doesn’t see it.

He rests her on the duvet surface, fully prepared to head downstairs for the night— but the pleading look on her face informs him he’s got other plans, instead. So without sharing a single word, he spreads his palms, lies beside her, and waits.

It comes eventually, as he knew it would. One person can’t deal with all that, see all that, without eventually cracking. And as a fellow fucked-up individual, he would know.

It starts as simple tears, ones that he wipes away. It progresses into sobs… full-body sobs. The sort he heard coming up the stairs. He’s surprised she’s got any left, but Ginny’s always been the sort to keep him on his toes. And just as her water-dark hair starts to dry and sprout red tendrils, he faces the thing he expected least of all: a kiss.

She starts softly. Slowly. Her lips so tender and soft that he forgets everything. She moans against his mouth, her whole body leaning into it; he’s instantly reminded of how much he’s fucking missed her. How lonely he’s been. How could he have forgotten the tiny mewl she makes in the back of her throat as her tongue parts his lips? He must’ve blocked it out, he realizes, as she begins to slide her body against him, panting, as she tips her head back. His lips trail down her neck, nibbling and biting, as she grips his arms and hair and bum. Because if he’d remembered all of these little details, he’d have gone mad long ago.

He’s throbbing hard by the time he gets to the tail end of her towel, which brushes the tip of her thighs. He tries to adjust himself, to—

“You can take it out, you know.”

Oh. He blinks up at her, his breath freezing in his throat. She’s peering down at him, her lips red and swollen.

“I know you’re hard,” she adds, her voice still raw. “So if it’s uncomfortable… take it out.”

He arches a brow from his position at her thigh. He’s about to retort with something snappy. Something that might keep them bantering for ages. But Ginny has no patience.

“Please.” It’s nearly a command. She blinks down with glassy eyes, her lips swollen. “I want you, Harry.”

Fuck. He groans, rubbing his cock against his palm to relieve some of the pressure. It doesn’t help for long, not that it matters; he’d rather focus on her, anyway. So with a slip of his fingers, the towel opens. She releases a breathy moan, tipping her head back.

Naked.

She’s finally naked. In front of him. His breathing grows ragged, his eyes scanning the territory somehow both totally familiar and completely new. She is thinner; he was right. Her hip bones jut out now, her stomach more sunken. But most of her is the same. The smattering of freckles on her chest. The way her breasts have puckered and darkened, the way her chest is rising and falling so fast. The thatch of dark red hair at the apex of her thighs.

“Well,” she quips. He blinks up at her as she reclines on her elbow. “Are you going to fuck me, Harry, or just stare all day?”

With that, he removes his glasses and gives her a smirk— her only real warning— before he kisses her one more time, just as his fingers spread her thighs.

She opens beneath him with a breathy sigh. Fuck, she’s so wet… he groans into her mouth as he dips his fingers further and further down. She’s dripping by the time he finds her clit… by the time he begins to swirl in tight circles. Clockwise. The pattern that screams of such intimate familiarity that it’s as if the years never passed.

He’s scarcely done anything, but she’s already writhing against his fingers, arching her back. “Please,” she slurs after a minute, “put them in.”

He’s never been one to deny her, has he?

It’s like muscle memory how quickly he finds his face between her thighs instead. He spares a moment of self-indulgence as he closes his eyes, breathing her in. She smells like home. She always has. It’s comfort… but more than that, it’s proof. Proof she wants him as much as he wants her. It’s why he stuffed his face in her knickers whenever he got a spare moment on the Horcrux hunt: one hand on that black lace, the other pulling at his cock. It’s bloody erotic, seeing proof of how much she wants him… but it’s more than that.

It’s love.

And despite all the things he’s forgotten tonight, he’d never forget this. He presses two fingers inside her, his hands shaking, and lets his body do the rest. Fuck, he’s missed this. She cries out above him, her hands grasping at his hair, tugging him closer. He’s never forgotten this… the way she tastes. The way she smells. The right way to run his tongue against her clit. Exactly how many fingers she needs, pressed against her just there… crooked in a certain position… just as she begins to thrust herself up and down on them, her cries growing louder, more insistent… and yesssss, there it is, she’s right there, right fucking there—

“Harry!” Her hair rubs against the pillow with abandon. “I’m… I’m so close,” she pants, her body starting to shake.

“Come for me,” he commands, his cock fit to burst, his face slippery. “Come for me, Ginny.”

He returns to her clit for a split-second before she says the words that change everything.

Her whole body tenses, a blush spreading up her chest. “I love you!” she cries, her voice strangled… and with that, she’s coming, clenching around him, her body shaking as he rides her through it.

What he doesn’t tell her is that he comes, too. The second those words wash over him. Those fucking words that prove he’s fucked up, fucked up, fucked up… but he can’t exactly help that, can he?

He just shoves his face into the duvet, thrusting his hips once, twice, and with a grunt, he’s off. His cock tightens and bursts, filling his boxers. Soaking through his jeans. He pulls back, dizzy, when the clenching finally stops.

Luckily, she seems too distracted to notice. Ginny’s half-asleep as he rises from between her thighs, pulling the blanket over her. He presses a kiss to her temple and makes quick work of removing his soggy clothes. Fairly embarrassing, this. Like he’s 16 again and rutting on the lawn.

He mutters a quick cleaning charm and changes into basketball shorts before settling down beside her in bed… making sure he’s on top of the duvet.

But as he drifts off, there’s something far less sentimental that hammers through his chest: They need to get their shit sorted.

Before he ever, ever lets that happen again.

[borisbubbles]

Character analysis: Vivienne de Fer (Dragon Age Inquisition)

So, if you’ve wondered where I popped off to the past two months or so, I’m going to give you an answer - I finally bought Dragon Age Inquisition (legit on my gaming wishlist since its 2014 release) and I’ve been obsessed with it ever since. 

The main draw to this game however, isn’t so much the gameplay (if you want a game that feels similar but has better gameplay - Assassin’s Creed Odyssey is what you’d want instead), but the storytelling and particularly the character development are top notch. All nine companions are fascinating and fleshed out in such a realistic manner I’m still gasping in awe on my fifth playthrough.  Thus, a post on it is in order. It’s a bit different from my usual content, but don’t let that discourage you - clearing my head from Dragon Age will allow me to let Eurovision back in and continue my unfinished 2020 ranking.  In this post, I will be analyzing one of DAI’s most interesting characters - none other than Madame de Fer herself, Vivienne.  Now, I’m under the impression that this is a rather unpopular opinion but I absolutely love Vivienne. And no, I won’t apologize for it. As a Templar-thumping elitist with a icy, sardonic demeanor the sheer ‘Idea Of A Vivienne’ is meant to make your head spin. Dragon Age has always been a franchise in which mages are a socially surpressed group and to be confronted with a socially confident enchantress who likes Templars and seemingly supports the social shunning out of her own ambition is the walking embodiment of flippancy. 

and yet, I feel a lot of sympathy for Vivienne. 

Yes, she’s a bitch. She knows she’s one and she’s a-ok with it. I won’t argue with that. Sadly, the “Vivienne is a bitch” rhetoric also drastically sells her short. Vivienne is highly complex and her real personality is as tragic as it is twisted. 

Madame de Fer

So let’s start with what we are shown on the surface. Vivienne is a high-ranking courtier from an empire notable for its deadly, acid-laced political game. She seemingly joins the Inquisition for personal gain, to acrue reputation and power, and eventually be elected Divine (= female pope) at the end of the game. She presents herself as a despicable blend of Real Housewife, Disney Villain, and Tory Politician, all rolled into one ball of sickening, unctuous smarm. Worse, the Inquisitor has no way to rebuke Vivienne’s absurd policies and ideas. You can’t argue with her, convince her to listen to your differing viewpoints or even kick her out the Inquisition. She has a way with words where she can twist arguments around in such a fashion that she lands on top and makes the other person look like the irrational party.

“Thus speaks the Inquisitor who has made so many mature and level-headed choices so far. Such as releasion malcontents upon the population without safeguards to protect them should they turn into abominations. Very wise. I rearranged some furniture. Lives aren’t thrown into jeopardy by my actions. Perhaps a little perspective is needed.”

She’s Cersei Lannister on creatine, Dolores Umbridge on motherfucking roids. If you look at merely the surface, then yes, Vivienne looks like the worst person ever created. I love a good anti-villainess however, and she’s definitely one. 

Yet, she never actually does anything ‘evil’? Yes, she is ‘a tyrant’ as a Divine, but 1) the person saying this is Cassandra, whose dislike for mage freedom is only matched by her dislike of being sidelined 2) Divine Vivienne isn’t bad to mages either? (hold that thought, I’ll get to it). She never actually sabotages the Inquisition, no matter how low her approval with the Inquisitor gets. She never attempts to stop them, no matter how annoyed she is. She’s one of the most brutally honest companions in the cast, in fact. (It always surprises me people call her a ‘hypocrite’ - you keep using that word and it doesn’t mean what you think it means.) The ‘worst’ display of character is when she attempts to break up Sera and the Inquisitor and even then - are we going to pretend Sera isn’t a toxic, controlling girlfriend with a huge chip on her shoulder? I love Sera, but come on.  

Vivienne is a character where the storytelling rule of Show, Don’t Tell is of vital importance. The Orlesian empire is an empire built around posturing and reputation. Nobody really shows their true motivations or character, and instead builds a public façade. It’s like how the Hanar (the Jellyfish people) in Mass Effect have a Public name they use in day-to-day life, and a Personal Name for their loved-ones and inner circle. Vivienne’s ‘Public Visage’ is that of Madame de Fer - this is the Vivienne who openly relishes in power, publicly humiliates grasping anklebiters with passive-aggressive retorts, the woman who is feared and loathed by all of Orlais, and this is the Face you see for most of the game.

The real beauty of Vivienne’s character and the reason why I love her as much as I do (which is to say - a LOT) are the few moments when - what’s the phrase DigitalSpy love so much - Her Mask Slips, and you get a glimpse of the real woman underneath the hennin.

This is the Vivienne who stands by you during the Siege of Haven and approves of you when you save the villagers from Corypheus’s horde.

This is the Vivienne who comforts you when you lament the losses you suffered.

This is the Vivienne who admires you for setting an example as a mage for the rest of Thedas.

This is the Vivienne who worries about Cole’s well-being during his personal quest, momentarily forgetting who or what he is. 

This is the Vivienne who, when her approval for the Inquisitor reaches rock bottom, desperately reminds him of the suffering mages go through on a day-to-day basis because of the fear and hatred non-mages are bred to feel towards them and how this can spiral into more bloodshed without safeguards. 

This is the Vivienne who shows how deep her affection for Bastien de Ghislain truly is, by bringing you along during his dying moments. I love this scene btw. This is the only moment in the entire game where Vivienne is actually herself in the presence of the Inquisitor - needless to say, I consider anyone who deliberately spikes her potion a motherfucking psychopath ^_^)

“There is nothing here now” fuck I *almost* cried at Vivienne, get out of my head BioWare, this is WRONG -- people who delude themselves this is an irredeemable character. 

So, who is Vivienne really?

Understanding Vivienne requires recognizing that the mask and the real woman aren’t the same person. I think her relationship with Dorian is the prime example of this. I love the Vivienne/Dorian banter train, obviously - an unstoppable force of sass colliding with an unmovable wall of smarm is nothing short of a spectacle. However, there’s more to it than their highly entertaining snipes. As the incredibly gifted son of a magister, Dorian represents everything Vivienne should despise, and should be a natural enemy to her. And yet, she doesn’t and he isn’t.. Their gilded japes at each other are nothing more than verbal sparring, not dissimilar to how Krem and Iron Bull call each other names when they beat each other with sticks. In what I think is one of the most brilliantly written interactions between characters in DAI, I present Vivienne’s reaction when the Inquisitor enters a romance with Dorian:

Vivienne: I received a letter the other day, Dorian. Dorian: Truly? It's nice to know you have friends. 🙄 Vivienne: It was from an acquaintance in Tevinter expressing his shock at the disturbing rumors about your... relationship with the Inquisitor. Dorian: Rumors you were only too happy to verify, I assume. 🙃 Vivienne: I informed him the only disturbing thing in evidence was his penmanship. 🙂 Dorian: ...Oh. Thank you. 😳 Vivienne: I am not so quick to judge, darling. See that you give me no reason to feel otherwise.

Madame de Fer can never be seen directly expressing approval to a relationship between the Herald of Andraste and an ‘Evil’ Tevinter ’Magister’. By this subtle, subtle conversation, Vivienne indirectly tells Dorian that she considers him a good match for the Inquisitor and approves of the romance. It’s one of those reasons why I could never truly dislike Vivienne - between the layers of elegant poison lies a somewhat decent woman who never loses sight of the bigger picture. Not a good person maybe, but not one without some redeeming qualities.

The crux of Vivienne’s personality is that she, like all DAI companions, is a social outcast. She’s a mage in a fantasy setting where mages are psionically linked to demons, and grew up in a country where the majority religion has openly advocated the shunning and leashing of mages (’Magic exists to serve man’ - the Chantry is so, so vile in this game.). Vivienne’s “gift” was discovered so early in her life that she can barely remember her parents. Vivienne grew up in a squalid boarding school, learning from a young age that she’s dangerous and her talents need to be tamed and curbed. She is also terrified of demons, as her banters with Cole point out:

Cole: You're afraid. You don't have to be. Vivienne: My dear Inquisitor, please restrain your pet demon. I do not want it addressing me. Inquisitor: He's not doing any harm, Vivienne. Vivienne: It's a demon, darling. All it can do is harm. Cole: Everything bright, roar of anger as the demon rears. No, I will not fall. No one will control me ever again. Cole: Flash of white as the world comes back. Shaking, hollow, Harrowed, but smiling at templars to show them I'm me. Cole: I am not like that. I can protect you. If Templars come for you, I will kill them. Vivienne: Delightful. 😑

Vivienne’s Harrowing is implied to have been such a traumatizing event to her that she’s developed a pavlovian fear of demons ever since. (Hence her hostility towards Cole.). Vivienne is fully aware of the inherent dangers of magic, and projects this onto all other mages. 

Besides, given how Dragon Age has a history with mages doing all sorts of fucked up shit, ranging from blood magic, murder, demonic possession and actual terrorism (yes, *ElthinaBITCH* had it coming, but let’s not pretend like Anders/Justice was anything other than a terrorist), Vivienne’s policies of controlled monitoring and vigilance are actually significantly more sensible than the options of ‘unconditionally freeing every mage all over Thedas’ and ‘reverting back to the status quo before the rebellion’. They’re flawed policies, obviously. When Vivienne says “mages” she pictures faceless silhouettes foremost and not herself. Regardless, unlike Cassandra and Leliana, Vivienne is aware of the fear others harbour for her kind, and how hard it is to overcome such perceptions.  

Additionally, Vivienne’s a foreigner. She is an ethnic Rivaini, a culture associated with smugglers and pirates (Isabela from DAO and DA2 is half-Rivaini). This adds an additional social stigma, again pointed out by Cole:

Cole: Stepping into the parlor, hem of my gown snagged, no, adjust before I go in, must look perfect. Vivienne: My dear, your pet is speaking again. Do silence it. Cole: Voices inside. Marquis Alphonse. Cole: "I do hope Duke Bastien puts out the lights before he touches her. But then, she must disappear in the dark." Cole: Gown tight between my fingers, cold all over. Unacceptable. Wheels turn, strings pull. Cole: He hurt you. You left a letter, let out a lie so he would do something foolish against the Inquisition. A trap. Vivienne: Inquisitor, as your demon lacks manners, perhaps you could get Solas to train it.

This is the only palpable example of the casual racism Vivienne has to endure on a daily basis - Marquis Alphonse is a stupid, bigoted pillowhead who sucks at The Game, but remember - Vivienne only kills him if the Inquisitor decides to be a butthurt thug. She is aware that for every Alphonse, there are dozens of greasy sycophants who think exactly like he does, and will keep it under wraps just to remain in her good graces. 

Finally, there’s the social position Vivienne manufactured for herself, which is the weak point towards her character imo. Remember, this woman is a commoner by birth. She doesn’t even have a surname. Through apparently sheer dumb luck (or satanic intervention) she basically fell into the position of Personal Mage to the Duke of Ghislain. Regardless, ‘Personal mages’ were the rage in Orlesian nobility, and the prestigious families owned by them like one may own a pet or personal property. By somehow becoming Bastien de Ghislain’s mistress and using his influence, "Madame de Fer” liberated herself from all the social stigmata which should have pinned her down into a lowly courtier rank and turned the largely ceremonial office of “Court Enchanter” into a position of respect and power. This is huge move towards mage emancipation by the way, in a society where, again, Mages are feared and shunned and are constantly bullied, emasculated and taught to hate their talents. Vivienne is a shining example of what mages can become at the height of their power. Power she has, mind you, never actually abused before her Divine election. Vivienne’s actions will forever be under scrutiny not because of who she is, but because of what she is. The Grand Game can spit her out at any moment, which will likely result in her death. 

Inquisitor: “You seem to be enjoying yourself, Vivienne?” Vivienne: “It’s The Game, darling. If I didn’t enjoy it, I’d be dead by now.”

Whether Vivienne was using Bastien for her own gain or whether she truly loved him isn’t a case of or/or. It’s a case of and/and. The perception that she was using Bastien makes Vivienne more fearsome and improves her position in the Grand Game, but deep down, I have no doubts truly loved him. Remember, Vivienne’s position at the Orlesian court was secure. She had nothing to gain by saving Bastien’s life, but she attempted to anyway. That Bastien’s sister is a High Cleric doesn’t matter - Vivienne can be elected Divine regardless of her personal quest’s resolution. She loved him, period. 

No, I don’t think Vivienne is a good person. She treats those she deems beneath her poorly, like Sera, Solas, Cole and Blackwall (characters I like less than Vivienne), which I think is the #1 indicator for a Bad Personality. But I don’t think she qualifies as ‘Evil’ either and I refuse to dismiss the beautiful layering of her character. I genuinely believe Vivienne joined the Inquisition not just for her personal gain, but also out of idealism, similar to Dorian (again, Cole is 100% correct in pointing out the similarities between Dorian’s and Vivienne’s motivations for joining, as discomforting it is to her). 

In her mind, Vivienne sees herself as the only person who can emancipate the mages without bloodshed - her personal accomplishments at the Orlesian court speak for themselves. Vivienne isn’t opposed to mage freedom - she worries for the consequences of radical change, as she believes Orlesian society unprepared for the consequences. Hence why she’s perfectly fine with a Divine Cassandra. Hence why her fellow mages immediately elect her Grand Enchanter of the new Circle. 

Hence why Vivienne is so terrified by the Inquisitor’s actions if her disapproval gets too low. The Inquisitor has the power to completely destroy everything she has built and fought for during her lifetime. Remember: Vivienne’s biggest fear is irrelevance - there’s no greater irrelevance than having your life achievements reverse-engineered by the accidental stumbling of some upstart nobody. This is the real reason why she joins, risks her life and gets her hands dirty - the only person whose competence Vivienne trusts, is Vivienne’s own. 

Even as Divine Victoria, I’d say she’s not bad, at all actually. Vivienne has the trappings of an an Enlightened Despot, maintaining full control, while simultaneously granting mages more responsibility and freedom, slowly laying the foundations to make mages more accepted and less persecuted in southern Thedas. Given that Ferelden is a feudal fiefdom and Orlais is an absolute monarchy, this is a fucking improvement are you kidding me. (Wait did he just imply Vivienne is secretly the best Divine - hmm, probably not because Cass/Leliana have better epilogues - but realistically speaking, yes, Viv should be the best Divine and it’s bullshit that the story disagrees.) 

Underneath the countless layers of smarm, frost and seeming callousness, lies a fiercely intelligent and brave woman, whose ideals have been twisted into perversion by the cruel, ungrateful world around her. Envy her for her ability to control her destiny, but know that envy is what it is.  

The flaw in Vivienne’s character isn’t so much the ‘tyranny’ or the ‘bitchiness’ or the 'smarm’. Her flaw is her false belief that she is what the mages need the most. Her belief that her competence gives her the prerogative to serve the unwashed mage masses... by ruling over them. For all intents and purposes, Vivienne is an Orlesian Magister and this will forever be the brilliant tragedy of her character. She was created by a corrupt institution that should, by all accounts fear and loathe her but instead embraced her. It’s that delirious irony that makes Vivienne de Fer one of the best fictional characters in RPG history.  the next post will be Eurovision-related. :-) 

[brightwanderer]

Anyway the reason I didn’t watch Eurovision is that we were finishing up watching Castlevania Series 4 and look DID I OR DID I NOT SAY that everything would be less shit if the OT3 got back together??

Some more spoilery thoughts -

1. oh my god they legit each have one third of the braincell and that’s why Sypha and Trevor are moderately competent together but Alucard on his own is a total dumbass and anyway once they’re all back in the same place again suddenly they’re all REAL FUCKING GOOD again and Alucard remembers he can like fly and turn into a wolf and shit

2. but they still have to take turns with the braincell so that’s kind of hilarious

3. WHY THE FUCK WERE THEY SEPARATED FOR SO LONG I mean seriously that reunion was *chef’s kiss* but we could have had four seasons of them together with like a two-three episode gap where they pined for each other and I still would’ve got the same thrill

3a. Would be extremely happy to expand the OT3 to a polycule because Greta ROCKS and also seems to have her own braincell which would only improve the situation

4. Oh no, Lenore. :( I liked that she and Hector had managed to descend so far into the depths of really fucked up relationship that they’d somehow come out the other side into something approaching healthy, and now I am sad.

5. ... okay ngl I spent this whole series going “look it’s great that you’re playing the sudden appearance and general uselessness of this cockney guy as self-aware, but all the same why did we need him exactly” and the reveal that that was EXACTLY WHAT HE WANTED YOU TO THINK because he’s fucking DEATH was pretty damn good

6. Never going to be over Isaac’s character arc, I have NO WORDS FOR IT, I can’t even assign tropes to it, it’s so unique and interesting and much like Hector and Lenore it’s like he went so far down into Evil that he accidentally popped out the other side into Good without like ever actually repenting??

7. Of all the ways I thought this series might end, “Dracula and Lisa get resurrected with no strings attached and decide to move to Whitby and live in quiet anonymity” was NOT ONE OF THEM but I am HERE FOR IT.

8. Alucard somberly to Sypha, thinking that Trevor is dead: We will call the village... Belmont. Trevor Fucking Belmont, five minutes later, not dead: So what’s the village called? Alucard, without even a second of hesitation: Trefi.

God I love them. Off to AO3 I go.