#might do season 2 at some point in the future

[hexhomos]

Christian trying to get rid off Jayce and saying he(they) will continue with Viktor's story in the future is kinda hilarious.

Jayce was hated on by the fans but the moment he accepted and came to embrace gay love he got doomed in the narrative because he chose Viktor.

I think non-league people are HIGHLY missing the point of that comment. The Viktor that he believes can be explored in the future is the god-like hooded figure still at large, or the myth of him, in time-broken legends or temporal anomalies, meddling around. This isn't about getting rid of jayvik. My bet is that we're talking about this guy:

Not human and not a god but something else ambling around, like Ryze (which originally is who we thought the hooded man was).

But let me put you in on a secret: Riot doesn't do long term planning like that. Half of season 2 was unwritten when they began animating, we know rewrites happened, we know they decided mel and ambessa would be champions halfway through and that probably had a massive impact in how these last acts played out. This is probably why the piltover/zaun conflict was slowly pushed to the background, too. We had to do champion marketing pitches!

If they see the jayvik ending as something enduring and profitable long term they'll spin on their heels again. They already did it once. After s1 there was a whole community meme about riot hating fags and always bro-coding them and it was so widespread on twitter they hired Lil nas X to do the game anthem on the immediate following year, and canonized more champions that had suppressed gay undertones. And have you seen how general audiences reacted to those scenes? The average viewer thinks JV are gay as fuck.

They might even throw old viktor out altogether. Make it about the jayce and viktor that disappeared. I think it's pretty likely in a few years we'll get vague references to the herald & his soul companion in lore drops or associated environmental details, like they're in some sort of doctor who situation.

[takealookintheback]

Andreas Pietschmann as Konstantin von Brendorp in ‘GSG 9 – Ihr Einsatz ist ihr Leben’ (2009); season 1

season 2

more gifs under the cut:

[sprintingowl]

Deadball

Deadball Second Edition is a platinum bestseller on DrivethruRPG. This means it's in the top 2% of all products on the site. Its back cover has an endorsement from Sports Illustrated Kids.

It's also not an rpg I'd heard about until I discovered all of these facts one after another.

I was raised in a profoundly anti-sports household. My father would say stuff like "sports is for people who can't think" and "there's no point in exercising, everything in your body goes away eventually." So I didn't learn really any of the rules of the more popular American sports until I was in my mid twenties, and I've been to two ballgames in my life. I appreciate the enthusiasm that people have for sports, but it's in the same way that I appreciate anyone talking about their specific fandom.

One of the things that struck me reading Deadball was its sense of reverence for the sport. Its language isn't flowery. It's plain and technical and smart. But its love for baseball radiates off of the pages. Not like a blind adoration. But like when a dog sits with you on the porch.

For folks familiar with indie rpgs, there's a tone throughout the book that feels OSR. Deadball doesn't claim to be a precise simulation or a baseball wargame or anything like that---instead it lays out a bunch of rules and then encourages you to treat them like a recipe, adjusting to your taste. And it does this *while* being a detailed simulation that skirts the line of wargaming, which is an extremely OSR thing to do.

For folks not familiar with baseball, Deadball starts off assuming you know nothing and it explains the core rules of the sport before trying to pin dice and mechanics onto anything. It also explains baseball notation (which I was not able to decipher) and it uses this notation to track a play-by-play report of each game. Following this is an example of play and---in a move I think more rpgs should steal from---it has you play out a few rounds of this example of play. Again, this is all before it's really had a section explaining its rules.

In terms of characters and stats, Deadball is a detailed game. You can play modern or early 1900s baseball, and players can be of any gender on the same team, so there's a sort of alt history flavor to the whole experience, but there's also an intricate dice roll for every at bat and a full list of complex baseball feats that any character can have alongside their normal baseball stats. Plus there's a full table for oddities (things not normally covered by the rules of baseball, such as a raccoon straying onto the field and attacking a pitcher,) and a whole fatigue system for pitchers that contributes a strong sense of momentum to the game.

Deadball is also as much about franchises as it is about individual games, and you can also scout players, trade players, track injuries, track aging, appoint managers of different temperaments, rest pitchers in between games, etc.

For fans of specific athletes, Deadball includes rules for creating players, for playing in different eras, for adapting historical greats into one massively achronological superteam, and for playing through two different campaigns---one in a 2020s that wasn't and one in the 1910s.

There's also thankfully a simplified single roll you can use to abstract an entire game, allowing you to speed through seasons and potentially take a franchise far into the future. Finances and concession sales and things like that aren't tracked, but Deadball has already had a few expansions and a second edition, so this might be its next frontier.

Overall, my takeaway from Deadball is that it's a heck of a game. It's a remarkably detailed single or multiplayer simulation that I think might work really well for play-by-post (you could get a few friends to form a league and have a whole discord about it,) and it could certainly be used to generate some Blaseball if you start tweaking the rules as you play and never stop.

It's also an interesting read from a purely rpg design perspective. Deadball recognizes that its rules have the potential to be a little overbearing and so it puts in lots of little checks against that. It also keeps its more complex systems from sprawling out of control by trying to pack as much information as possible into a single dice roll.

For someone like me who has zero background in baseball, I don't think I'd properly play Deadball unless I had a bunch of friends who were into it and I could ride along with that enthusiasm. However as a designer I like the book a lot, and I'm putting it on my shelf of rpgs that have been formative for me, alongside Into The Odd, Monsterhearts, Mausritter, and Transit.

[fluffy-bluffy]

When can you expect to meet your Future Spouse

Hello everybody 🧁 Another short PAC on the poll results. I hope you all will enjoy reading it as much as I enjoyed doing it for you guys.

Just a warning that this is a general reading and it is only for entertainment purposes. So take what resonates and leave the rest for others.

Let's get started ����🏻

Pile 1 ---- Pile 2 ---- Pile 3

Pile 4 ---- Pile 5 ---- Pile 6

Pile 7 ---- Pile 8 ---- Pile 9

Pile 1

You could meet your future spouse in the season of spring. The month of March is significant over here. It could be the month you meet or something significant in this connection will happen in the month of March. When you meet this person you could be actively searching for them. Although I see you are in a hurry. You are being impatient. You could meet them at a celebration. Something to do with family. For a smaller chunk of this pile I am getting an arrange marriage. At this point of time you will feel closer to your loved ones.

Pile 2

You could meet your future spouse in summer time. Maybe near a beach or any other water body. Could be a lake, pond , river or even water park. The month of November could be significant for you. It could be the month you meet or something significant in this connection will happen in the month of November. You will meet your spouse when you are in a phase of disappointment. It could be related to work and might have been a situation which did not turn out as you expected it to leaving you in guilt and disappointment.

Pile 3

You could meet your Future Spouse in the season of spring. August and September could be significant for you. Something important in relation to this connection to develop in the months or it could be someone's birthday month. When you meet your future spouse you will be on a journey of self reflection. You will be trying to find yourself and create a better version and a better sense of value.

Pile 4

September and October are significant for you pile 4. It could be the month where someone's birthday comes. Or something important in relation to this connection will happen. Springtime is also significant for your connection. you might meet them in spring. When you meet your future spouse pile 4 you will be in an adventurous mood there will be a lot of excitement and adventure in your life at that point of time. You will be accomplishing your long term goals and moving towards a successful lifestyle. the kind you have always wanted.

Pile 5

You could meet your Future Spouse in summer time. And June and July are significant for your connection. I am sensing either you or your future spouse is the mind your own business kinda person. Like one of you guys dony't like bullshit and all the other one does is ramble about unnecessary things. very cute play fights I can sense over here. When you meet your future pouse pile 5 at the time you guys will be taking a moment of rest. It is quite possible that you have taken significant steps towards your goal and now it is your time to take some rest or go on a vacation. You might meet your person at that time.

Pile 6

You could meet your future spouse in spring. And the month of August could be significant. I lost my focus and started thinking about another reading which I have to do and as a result I was shuffling for a little while until my  focus was shifted back on this reading. The cards fell instantly after that. This could be advice for some of you that focus on whatever you are doing. Don't lose your focus. As you will be meeting your future spouse after a wish fulfilment for which you have to work hard and focus on the process. Why do I get that many of you are procrastinating do not do that. Pile 6 you have to focus on your goals this is like a serious warning and advice from your spirit guides. You will only be able to meet your future spouse after you have achieved this goal. Your guides are telling me that you are forcing them to be strict on you. Try increasing your attention span slowly. Are there any students here? I am getting that energy. Try pomodoro method. And is somebody struggling with history? Or with how to make notes? Search on youtube. You will find your answers.

Pile 7

You could meet your future spouse in autumn and March, April could be significant months for your connection. I am getting fierce and fearless energy over here. One of you could be in your rebellious phase when you meet. I am getting this is more of your energy and you are in this mindset that I want to win at any cost. This is mostly about your work life and I am getting you may meet them in your professional realm. So, it is quite possible for a few of you to have your future spouse working in the same industry as you are. But you are focused on your goals. And you won't stop until and unless you achieve them.

Pile 8

You could meet your future spouse in spring and the months November and December could be significant for your connection. You should be away from your home and it could be a professional work trip or a personal vacation for a family vacation or you shifting to a totally new place. But I see that you will be exploring the world at the time you meet your future spouse. You will be getting out of your comfort zone.

Pile 9

You can meet your person in the month of March , April and May. They could be someone who holds a lot of authority. They could be someone who is ambitious and stubborn. You will be facing a big decision when you meet your future spouse. And you will have to take this decision rationally using your logic and common sense. Maybe this has  something to do with your person maybe not. Whatever it is you are advised to think from your head and not feel from your heart in context to this decision.

Thank you  Thank you Thank you everyone for reading. Hope to see you in the next one.

[rafesbabygirlx]

A Lot of Time has Passed | Part 5

Series Masterlist | Masterlist

Season 4 Rafe x Maybank reader

Summary: Beginning at the time jump, the Pogues seemingly succeeded at something, Rafe is struggling with making amends and being a better person. JJs sister left the island after returning from South America. Returning after 18 months with a secret.

A/N: after this point you don’t really see Sofia, at least for a while. Maybe at 1 point but I haven’t decided.

I don’t know what Part 2 of the season will bring but from here on out it’s just a rewrite of events that will include Maybank reader instead. Also there’s some use of Y/N here since some conversations don’t happen with her. enjoy :)

2nd note: please let me know if you like this. I love the story telling and building the plot but wanna make sure it’s doing well. Don’t want anyone getting bored :)

Not proofread

Word count: 1.6k

Warnings: nothing but soft Rafe tbh and setting up story lines. Next part will be fun

“I’m going to head out for a bit, okay? I have a few things I need to take care of. How about we meet up later at my place?” He asks as you and Rafe made your way down the path. You carried the cozy blanket and picnic basket filled with remnants from your breakfast, while he cradled Vivienne, their bond already evident in the way he held her close.

“Yeah, sounds good,” you say, a broad grin spreading across his face.

He lovingly passed you Vivienne after showering her with a load of affectionate kisses, and then, without missing a beat, he leaned in to give you a quick kiss on the lips. The warmth of that brief connection caught you off guard. You wouldn’t lie; while you had anticipated this moment, you hadn’t expected the domesticity of it all to hit you like this. It felt so natural for him, yet it brought a flurry of emotions bubbling to the surface for you.

The kiss lingered on your lips, and you could feel the warmth emanating from both Rafe and Vivienne, creating an intimate bubble that shielded you from the rest of the world. Rafe's ability to seamlessly blend fatherhood with his charming personality was surprising; he made the whole experience seem effortless, like it was second nature to him.

You couldn't help but marvel at how your relationship had transformed over the course of just a couple of days. Just a year and a half ago, Rafe was simply the bad guy, made to make your brother and his friends lives hell. Now, he was someone who shared quiet moments and laughter with you as a family. Holding the blanket and basket in your arms, you felt an undeniable connection forming. Guilt still creeping in. You wished you allowed him to experience her first year.

As you began to walk away, your mind twirled with thoughts about what the evening might hold. You both had created unforgettable memories together, but this moment felt distinct; it brimmed with the promise of something more profound. Perhaps it was the awareness that you were becoming an integral part of his world—a world filled with simple joys, late-night giggles, and unexpected kisses. As the sun raised above the horizon, painting the sky in beautiful shades of orange, a smile crept across your face at the thought of the future and what lay ahead.

“Say bye dada” you tell V

“Bye dada!” V yells from off the porch

Rafe yells bye back and blows her a kiss. Driving off to do his business as you head inside.

╰☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆╮

Rafe returns to his house, his thoughts racing as he walks through the door. On the way there, he texted Sofia, asking her to meet him. The weight of the conversation ahead loomed heavy in his chest.

Sofia arrives shortly after. “Hey, Rafe,” she greets him warmly.

“Hey.”

She steps in close and pulls him into a tight, loving hug, but Rafe doesn’t return the embrace with the same intensity. Her smile falters, and she looks up at him, concern etched across her face.

“What’s wrong? Did things not go well with your daughter?” she asks softly.

Rafe shakes his head. “No, that’s not it.” He gestures for her to sit with him outside by the pool. Once they’re settled, he continues, his voice a little distant. “She’s… she’s perfect. Vivienne. That’s her name. She’s the most perfect little girl to ever exist. She looks just like me. She’s so beautiful, so happy.” His words trail off, but Sofia knows there’s more. She feels a knot forming in her stomach.

“I needed to talk to you about some things,” he adds, his tone turning serious.

“Okay…” Sofia replies hesitantly, her heart beginning to race.

Rafe takes a deep breath. “I want to focus on her. On Vivienne. And… um… I want to focus on my family, with both of them. I never expected things to play out this way, and I’m sorry, but this is what I want. I need to be there for them. We need to end this.”

Sofia’s face falls, the words hitting her like a punch. “Oh,” she whispers, barely audible. Her mind scrambles to make sense of it. She thought what they had was special, that he felt the same. But now, he was going back—back to Y/N, back to his family. “Maybe you should, then,” she adds quietly, trying to maintain her composure. “It’s only right.”

Rafe finally meets her gaze, his eyes pleading for understanding. “It wasn’t planned, okay? You know that. But everything came rushing back—every memory, every feeling. And now that V is in the picture, I can’t deny it.”

Sofia doesn’t speak for a few moments, letting the weight of his words settle. She hadn’t anticipated this. She hadn’t imagined she’d be here, blindsided by the sudden shift in his priorities. She didn’t expect to become a ‘stepmom,’ but she had been willing to sacrifice for him—she had believed in what they had.

But now, as sadness sinks in, so does a flicker of anger. It drags her back to a few days ago, when everything still felt right—before Y/N came back into the picture. She remembers overhearing Rafe talking to Ruthie and Topper, saying she was just a hookup, that he could never be with a Pogue like that. Even though she knew it wasn’t true two times, one for you and the other her, the words had stung. They had left a mark. And now, with this revelation, they hurt even more.

In the days that followed, she had been tempted to meet with Hollis, after her dad suggested it. Initially, she’d rejected the idea because she had loved Rafe. She thought he loved her too. But after overhearing him she met with him. Took the money from her too. she planned to return it not being able to do it. But now, with Rafe pulling away, with him choosing another life—another woman—she has nothing to lose.

“I was thinking about that deal you mentioned,” she says, her voice steadier than she feels. “You should do it. I was hesitant before, but maybe it’s a good opportunity. It could be a way to build something for your daughter.”

Rafe looks at her, surprised by her sudden shift in tone. “Maybe you’re right. I still have to decide, but I’m leaning toward going for it. It could be a good opportunity.” He shrugs, unsure of his next steps.

They sit in silence for a while, the weight of their relationship hanging in the air. Finally, Rafe turns to her. “You have no idea how much you’ve helped me,” he says earnestly. “I don’t want to hurt you. I just think my place is with Y/N and Vivienne.”

Sofia nods slowly, her heart aching. “I understand. You think you’re doing the right thing, and that’s all that matters.” She leans over and presses a soft kiss to his cheek before standing to leave.

Rafe grabs her hand gently. “I’m sorry, Sofia. Really, I am.”

“It’s okay,” she replies, her voice steady but hollow. “But you should definitely take that deal.”

Rafe smiles weakly at her, grateful for her understanding. As she walks away, leaving him alone by the pool, he takes a deep breath, the enormity of the situation sinking in. He knows he’s made his choice, but something nags at him—the way she had pushed the deal so hard. For a moment, it puzzles him, but he brushes it off as her wanting the best for him.

Sitting in the stillness, he lets his thoughts swirl before finally reaching for his phone. After some time alone, he dials your number, needing to see you, ready to move forward with the life he’s chosen.

╰☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆ ☆☆╮

You arrive an hour later. V wobbles into the house, running straight to Rafe. “Dada!” You both smile, the word now coming naturally to her. Rafe is completely smitten. She leans in for a kiss, then holds up her stuffed turtle for him to kiss too.

Rafe looks at you with a serious expression. “I broke up with her.”

Startled, you ask, “What?”

“I ended things with Sofia. I know what I want—it’s you and V.”

“Oh… That wasn’t my plan, Rafe. I didn’t want to ruin everything you’ve built.”

“It wasn’t mine either, but I’m sure now. Is this what you want? Please say yes, because I need to show you something.” He steps closer.

“Of course, yes.”

Rafe leads you and V upstairs. It feels strange not being at Tannyhill, a place you knew so well. You stop at a door with a wooden “V” hanging on it. Inside is a complete nursery—books, toys, a beautiful crib, and a cushioned rocking chair. One wall is covered with sea animal wallpaper, the others a clean white.

“I had an interior decorator come yesterday after I found out. I wanted it done quickly. The wallpaper went up this morning. Kelce stopped by to make sure everything was right.”

“It’s beautiful. Thank you.” You pull him in for a kiss and turn to see V already making a mess.

Later, you all head downstairs for dinner. As you eat, Rafe opens up about a deal involving Goat Island, the same place your brother and his friends recently visited.

“What are you going to do?” you ask as he clenches his fist.

“I’m not sure. It could be great—for us, for her.”

“You’ll figure it out. It does seem strange, but maybe Hollis is really looking out for you. I’ll support you no matter what.” You reach for his hand.

“I love you, Banks. You’ve always been the best to me.” Your eyes widen at the old nickname. Smiling softly, you reply, “I love you too, Cameron.”

Taglist-

@maybankslover @eringaitskill @luissa266 @lolll505 @dayyzlol @calaryssia @eg-dr3amer3 @hotch-meeeeeuppppp @rafestar @bigbonenative @writtenbyhollywood @livie4lifestarkeyblyth @leilanizcals

[nouvxllev]

Hi, love your writing! I have a request where reader and Jenna are in a long distance relationship and reader decides to surprise Jenna after hearing Jenna’s been having a tough week filming or something. Just something along those lines haha

a flight away

Pairing: Jenna Ortega x Fem!Reader

Summary: ^^ request!!!

Words: 3.1k

Warnings: bittersweet

a/n: first of all,, thank you so much!!!! and second of all, ill try my best! hope this is to ur liking anon

masterlist

You didn't know what you were getting into the first thing in the morning when you checked your phone at exactly 6:34 AM.

Normally, you'd do the routine where you stare at your wallpaper (it was a picture of Jenna) for a good 20 minutes before internally dying inside because of why should she be such a hardworking woman to the point you only get to see her for about 1-2 months before leaving again, but then fall in love with her like it was the first time for that exact reason entirely.

Now, you woke up to Jenna's notifications flooding her digital face, more voicemails and missed calls rather than messages.

Obviously, you panicked out of your fucking mind.

You knew she was safe in Ireland where she was filming season 2 of Wednesday. She has more bodyguards around her than people trying to get her autograph, and she has her co-stars with her at all times.

She was safe. Safe. The word almost sounded like a prayer you repeated in your head as you eyed her messages.

You couldn't open the voicemail for the reasons that you might hear an announcement that Jenna has got into some serious shit and might need to be hospitalized and you absolutely need to be there for her right now.

But after 5 minutes of going through all stages of grief, you pressed play.

You were not expecting Jenna to outright scream at her phone in the middle of the night.

"Y/n. Y/n, I—God, I don't even know where to start with this. I'm just so… so tired. From everything, from everyone. I don't know why, seriously, I don't know why but i just—I just broke down when I came back to my apartment."

"I'm sorry. I'm sorry I have to message you like this in the middle of the night. I'm doing well in Ireland, but I'm having such a rough fucking time in shooting every scene. It's not like I hate everyone on the set, I love them, I… I don't know."

"I need you, please Y/n. Even if it's just your voice, just please give me a piece of your presence. I need something to hold on, someone to tell me that it's going to be okay and I'll get through this. I know, it's a bit overdramatic but… I just miss you so damn much, and this distance is killing me more than ever. We haven't seen eachother atleast a year now. I'm so tired."

"Please pick up, y/n. It's selfish for me to ask, but I just want to hear you. It feels like I'm losing myself in all of this. I don't want to break down in front of everyone on set tomorrow. But, y/n. Y/n, y/n, y/n, it's so hard."

"I love you. I love you so much. So damn much, it's killing me. I miss New York, I miss our home, I miss you. I wish you were here. I'm sorry for letting you hear me like this over the phone, it's unbecoming. I love you, goodnight."

Your heart sank.

It was all too surreal, all too agonizing, like you feel bile coming up to your throat.

The daunting feeling of Jenna experiencing all of these emotions at once dragged your heart, her voice like a film tape in your mind as if were right there with Jenna in her room.

You heard her cry, you watched her curl herself up on her mattress all while she clung to her phone as if it was your hand she wished she held everyday.

You craved for the warmth of her hand, and you imagine she craves yours as much as you do with hers while you longed to be there with her, for her. To hold her close to you and offer the comfort she needed. The very touch that healed every scar, present and future, was replaced by the lifeless screen of your phone.

You were there, you swear you're there, but you couldn't do anything but listen.

On top of everything, you blamed yourself.

You called her almost everyday, the long-distance relationship being almost a mere label to the both of you.

You texted her every morning and went to bed with her every night. You were there, always. Yet, it felt like you neglected her. Like a piece of you was missing before you even realized it.

Now all you can think about are her restless nights.

The days where Jenna staged a performance with a heavy heart while you smiled with joy, the nights where you slept peacefully in your own bed while Jenna tossed and turned in discomfort in something unfamiliar, sacrificing her rest for your peaceful evenings to remain the same.

You don't know how many days she's been like this, nor do you want to know, the thought was unbearable enough.

And you almost feel bad of booking a plane ticket rather than responding to her. You were just a flight away anyways.

------------------------------------------------------------------------------

Shit, her head hurts.

Hammering, actually.

Like someone cracked it open with an axe made out of obsidian right down the middle and served it to her on a silver platter.

She never should've accepted that afterparty invite from Georgie.

If she never got absolutely wasted to shots from bottles of alcohol, maybe Jenna would've had the brain capacity to curse him under her breath for being such a good damn friend.

Worst of all, she was missing someone. Horribly.

You.

Not just you, but everything of you.

Your scent, your warmth, your presence, your heartbeat against hers—a cruel reminder on how she was missing all of these.

She longed to hear the way you laugh as if you heard the funniest joke ever, the way you smile at Jenna as if she was a saint that had done nothing wrong, the way you loved her oh so dearly like she was the only person that made you crawl out of your skin in a good way.

Now it was taken from her. All of it. She felt like she was nothing without her muse, which was actually the case here.

Jenna was supposed to stay for a year with you—a whole fucking year! A whole year was watered down to a pathetic one to two months because of a change in filming schedule that Jenna had, somehow, no right to turn down.

That's not even half of the time Jenna spent miles away from you, and she couldn't even apologize properly in person since she had to depart so early in the morning.

The thought of you expecting Jenna to wake up beside you with a smile and a kiss only to be woken up with a cold bed with a note apologizing a million times made her flight to another country worse.

She would've been happier if the plane crashed then she would be begging to whatever afterlife she was in to bring her back to the living and spend her life with you.

It's gotten to that point where she looked just like Wednesday off-cam if not worse. She even almost snapped at Emma when she tried consoling her.

Now she sits in her trailer, on a chair, not with you, but with... a chair. Along with her script on a table.

Jenna tried a few lines, repeated them, tried a few lines, repeated them, and it all just comes back full circle.

No matter what she does, she still fucking missed you and wished she could just tell everyone she wanted and needed a nap along with her girlfriend by her side until it reaches winter of 2025.

She could take a nap right now, but you weren't with her. The cold surface would make you appear in her dreams like the loving parasite you are to her and she would only yearn more.

She could take a walk right now, but little ice cream shops along the way would only make her reminisce about the times you would take her out on dates every damn day like you had buckets on buckets of gold to spend it all on Jenna. She would only miss you even more.

She could talk to one of her co-stars, but they weren't you. The stupid and fuckass conversations you'd often bring up, they wouldn't do that. Even if they did, it wouldn't have the same effect.

Why did life suddenly become so difficult when she now has the most gorgeous, talented, and loving girlfriend a billion miles away from her!?

After putting her arms over her eyes, trying to calm down the impending woe and sadness she was facing, a soft knock on her door interrupted all of it.

"Jenna?" She heard Emma's voice, soft like she was hesitant to talk to her if not for Jenna responding with a hum, "we've been calling you for 5 minutes now. It's our scene."

Her voice was serious, though quiet. Or maybe that was just concern, Jenna has been distant for a while now.

Letting out a sigh, she replied, "Right, I'll be there in a minute."

She pulled herself up from the chair. She didn't really need to return to the makeup team, just thankful she didn't cry herself to death thinking about you.

She turned her back to see Emma standing in front of the door, half opened, peering half of her body, "Jenna, you know you can take a break if you want—"

Jenna only offered a weak smile, her steps matching Emmas as they walked over to set, "It's fine. Don't worry about me too much."

Her thoughts are too different from what she was saying, but it wasn't like she could say she'd rather kill herself before even stepping foot out of her trailer without seeing y/n.

"Jenna!" Tim Burton called her out, his voice calm, stretching out her name like he was going to say something completely off-guard.

The girl in question was already staring him down as he spoke, "We've got a change in script"

The girl in question was already staring him down as he spoke, "We've got a change in script. Nothing too big, just that we've added a new extra that Wednesday needs to interact with on this scene."

Isn't that a slight bit unprofessional?

Jenna could let out the most exhausted and exasperated sigh if not for Tim being the one of the sweetest, yet often odd, directors she ever worked with.

"Yeah, sure, can I atleast meet this person—"

"Sorry, Jenna," He lead her to the place she needed to be, the extra in question being no where near in Jenna's sight, "but this is really a last minute change and we just need you both to improvise."

"Wait, but—!"

Her protests were already too late, looking like it went through one ear and out the other through the audio. She was just grateful she had enough training and years in this industry to immediately get into character.

It was supposed to be her scene with Emma, lurking in the woods, a lantern between her fingers as they approached a silhouette of a figure.

Now it was just Jenna in the scene, lurking in the woods, leaves crunching under her combat boots as she watched the camera move alongside her body, not a lantern but rather a flashlight gripped on her palm.

She was informed that the silhouette in question was one of her co-stars that she had met before hand, a tall figure in the distance that she could immediately distinguish based on the back alone.

Now... it's... not exactly what she was expecting to see when she got in character.

She approached the figure, confused as ever, not because it was in her script to do so, but she was actually so damn confused it wouldn't be a surprise to her if she was imagining things.

Because the silhouette looked exactly like you.

Jenna knew you from the slightest shade of your skin, even when it's so damn dark outside.

She knew you from the way you stood, the way you sometimes would do whatever it is with your hands when idle, the way you'd often slightly tilt your head back when you're suppressing a hard giggle—which you were and failing to do so—the way you, in your own words by the way, aren't a good actress for Jenna to practice her lines on without laughing like a total maniac.

Holy shit.

Jenna's mind raced, all too fast for her liking, her heart pounding in her chest, and her body almost in flames at the thought of you being here. Finally being here.

It couldn't be real, of course it wouldn't, why would you be on set in fucking Ireland? It must be a trick, much so a figment of her imagination and maybe more or less girlfriend deprived of everything you gave her. But as she drew closer, her steps doing all but walking slowly to the silhouette, it because unmistakable who it was.

It was you.

Her best friend ever since she learned how to act in middle school, a friend that stuck with her forever even in times where you could've left her all alone.

Her girlfriend. The girlfriend of almost a few years that she loved and cherished with all her might, even if she were to commit a sin, there would be no greater wrong than Jenna disliking you.

It was her home. At last.

Without a second thought, Jenna abandoned everything, forgetting that she was even supposed to be the character she was and rushed towards her, arms already stretched in a desperate embrace to feel your warmth against her body once again. Your heartbeat against hers. It was all too surreal, all too fucking real.

Jenna threw herself into your arms, wrapping you in a tight hug that almost knock you both off of balance in the dirt. Your body stumbling forwards as your back was faced on her.

You still smelled like New York, mixed with that familiar airpot scent that Jenna always got used to. But now, it felt so new, so new that you were hugging her, touching her like it was the last symphony you'd play in your life.

She hugged you, tight. Her hands gripping your clothes like you'd disappear in a matter of seconds. You can hear her taking deep breaths against your body, gulps, and her hold tightening onto you with each passing moment.

As you turned around, you waited for Jenna to slowly loosen her grip, her eyes searching yours as if she still could hardly believe that you were here, standing in front of her after all this time apart. And now, you couldn't believe devotion was still present in her eyes, that warm of a gaze that you always managed to capture in her eyes.

"You're here. Y/n, you're—" She sniffed, looking up at you as she cupped your cheeks, a stray tear trickling down her eyes that shimmered, "You're really here." She whispered, her voice cracking almost to a fault. Her voice was fragile, it crushed you. "Why, how? What, I don't under—"

You smiled softly, chuckling even, you didn't expect it to go this way. "That's not part of the script, Wednesday." You joked, even if it was a serious moment, you always seemed to have one.

"You're not part of the script, why are you here!?"

You reached up to brush a stray lock of hair from Jenna's fringe as Wednesday, your touch gentle and reassuring like it never changed over the years. It was still there, your love was still there, and you were waiting for your lover to come back once in your arms to show how much you missed her oh so dearly.

"I missed you." You simply said, slightly swaying the both of you back and forth

Jenna couldn't say anything, let alone form a few words, but the way she hugged you yet again after a few seconds of silence with such tenderness and compassion, it said everything that you needed to know.

Everything that you lost and you hold today, nothing mattered. Not even the heart that wouldn't stop beating against your chest, it wouldn't matter if you died, atleast it was in her arms.

"So I don't get to have an I miss you back?"

Jenna pulled back slightly, you can see how her eyes glistened looking if it was something that not even renaissance artists could sclupt.

"You don't know how many nights I've spent crying because of how I missed you." She mumbled, voice below a whisper, her mouth hung open from her slight crying, taking a deep breath as she let herself be in the most vulnerable state with you yet.

"You cried?"

"Without you? Terribly so."

Your heart ached when Jenna started to cry, she looked small. Smaller than ever in your arms when you once held her for the first time when she became a busy actress.

She broke down, almost melting in your presence as you try to hold her up. You knew there were cameras rolling, that there were people on set watching this go down, but you knew that you were the only one witnessing her vulnerable state, no matter how many people would see right through her.

You reached up to gently wipe away the tears that streaked down her cheeks, her freckles being in view, something that you missed so dearly, your touch light and tender as you held her—your world—in your hands.

"I wish I could've been there for you," you regretted, "I wish I was there every night, to wipe away the inevitable tears that would grace your face, to hold you in my arms every night.

Jenna shook her head, a smile tugging at her lips, "all that matters is that you're here with me." She chuckled. "Why are you here?"

"Booking a small plane ticket from New York to here was the smallest price to pay for the chance to hold you in my arms once again."

"You know those are expensive, y/n," she scolded you, yet her tone was playful. "How long are you planning to stay?"

You hummed, a grin curling on your lips, "As long as you want me to be here," you replied, "I can't go back when I don't have a return ticket."

Jenna leaned into your touch, her eyes closing as she savored the warmth of your embrace, she didn't know how much she took advantage of this until now. She was afraid you'll be leaving soon, even with all assurances, everything you'll be giving her wouldn't be enough to ease her fears of you departing from her soul once more.

"I love you, y/n. Too much."

"I love you too, Jenna. You know I was only a flight away."

------------------------------------------------------------------------------

Y: i heard your voicemails, by the way. J: i sent voicemails?

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a/n: sorry if this request was so so so late!! i still have more requests in my inbox and they'll probably be delayed for a couple of days or maybe even weeks because of exams. buttt ill try to post as much as i can with requests and super sorry in advance to those who requested! ill be updating future posts in my masterlists

[powerpuffobsession]

Back to the topic of whether Adam is privileged or not...

We saw him as an angel in the 1st season, wings, halo and all. Meaning he died at some point

So there are 3 possibilities:

1) he died while living in heaven his whole life (then what the fuck made him so bitter and eager to destroy other's lives? The writers better give a good reason. Lucifer stealing Lilith? A lot of time passed, and Adam gets chicks in heaven. There's even no excuse like wanting to do mercy killing to set the souls free from hell in an alternate way that challenges Charlie's idea. He's just evil for the sake of being evil. Which could still change in the future seasons btw, but i'm not counting on that because in Vivziepop's works only crying twinks deserve to be sympathised with no matter how much of jerks they are, I guess. Traditionally masculine men's feelings don't exist apparently, if they are jerks)

2) Adam had to be tormented by the earth life to earn his place in heaven. Which means he's not priviledged at all and there's a loadtruck of trauma for Charlie to unpack and for Lucifer to take responsibility for if Adam comes back as a sinner. Because being abandoned by the ones who created you and surviving with your family in the wild afterwards suggests getting screwed up mentally big time

3) the writers never cared to begin with and used the biblical image of the first man just to fit in the agenda "men are bad and heaven is also dumb and bad", so the topic of Adam's life and inner struggles will never be brought up. Which will make his whole appearance in a show about redemption and inner struggles a huge waste of screentime (meaning the whole heavenly war plot created too much noise for nothing - the hotel got easily rebuilt, Sir Pentious might have gotten to Heaven any other way, and Vaggie could have stayed a sinner)

[trillscienceofficer]

I would like to clarify that when I say that Seven's situation on Voyager is fucked up (like in this post I wrote yesterday) I don't mean that Janeway should've listened to her demands and let her go in “The Gift”, or that Janeway and the Doctor had no right to start removing her implants (leaving them would've killed her after all). What I mean is that the fucked-upness is in the whole situation that made Seven's reclamation from the Borg possible but also put her in an environment (the USS Voyager) where survival is guaranteed by the close collaboration of everyone on board, which also means concessions of personal freedom and privacy. Other crewmembers entered this pact voluntarily (we can discuss some other time what choice did the Maquis actually have other than join the crew), but Seven unequivocally did not. Yet it's the only way she could've been reclaimed because we know, and the show drives this point home multiple times, that she was so young when she was assimilated that Seven of Nine, Tertiary Adjunct of Unimatrix Zero One alone would always choose the Borg. She knew of no other alternative.

I don't think letting Seven go back to the Borg in “The Gift” would've been an actually ethical choice, even if it's true that that was what she wanted. She was undoubtedly a prisoner, but I think that we forget (well, I do sometimes at least) that Seven, outside of any metaphor, can be very dangerous. She is strong and quick, she has Borg weaponry and technology at her disposal, she is relentless when pursuing her goal, and even as a drone she knows how Voyager works inside and out. Janeway took the gamble of disconnecting her from the Collective in “Scorpion, part 2” because they were expecting her to try and assimilate Voyager on her own, which she promptly tried to do as soon as the Species 8472 was no longer the main threat. So imho the ethical question posed by “The Gift” is, what do you do when an extremely dangerous individual asks you to be freed so she can rejoin the genocidal alien army of brainwashed zombies that terrorizes the galaxy? They will likely pursue you afterwards, but even if by some lucky chance they don't, you'll still have given back both a weapon and cannon fodder to the genocidal alien army. In addition to that, there's the concrete possibility that your prisoner might one day start living a different life once the brainwashing loses its hold on her.

So no, I really don't think that Janeway made a bad or even questionable choice in “The Gift”, even if it's painful to see Seven struggle against it. The complication has only just started at that point, imho. The fucked-upness comes from her having to “become an individual” in a highly-regulated and closely-surveilled community, one she could've never chosen on her own. On one hand this allows Seven to develop skills she completely lacked in a somewhat safe environment, but on the other hand it limits quite severely what she can or can't do. And while at first she rails against those limitations (she spends the entirety of season 4 doing just that), with time she starts understanding the value of living on Voyager. She manages to resist the Borg Queen's threats in “Dark Frontier” because she has learned compassion in the meantime, eventually choosing voluntarily to return to Voyager. It's a turning point that definitely does a lot to compensate for her lack of agency in “The Gift”. She thinks of Voyager as her new collective, which is equally a testament of how far she's come as much as it is a worrying admission that her new group identity is not that far off the Borg, in her mind.

By season 7 Seven is outright grateful for everything Janeway has done for her, but it still doesn't make her arc learning to ‘fit in’ any less of an exercise in shaping herself into the mold she was given as her only possible future. Is it better than being a murderous, mind-controlled zombie? Yes, it absolutely still is. Seven's independent thoughts and actions now matter, even when they clash with the rules, which is just not comparable with being a Borg drone in any way. Yet it's easy to see why her role on Voyager is also stifling, and that again she can't choose differently because she knows of no other alternative, and none are available to her anyway.

The fucked-upness also comes from extra-diegetical, production reasons, of course. The stupid ideas about what a woman is and what Seven should do to really be one (does she even want to be one?), the fact that a medical practitioner could control so closely how she presents and what she eats, the lack of actual clothes in order to make her a sexy babe for the 90s Trek target audience (“males aged 16-40”), the lack of locks on Cargo Bay 2 where she regenerates, and many other aspects that I'm sure I'm forgetting now... Ignorant, ‘default’ assumptions on how things ‘are’ that the show simply refuses to acknowledge. I know they only seem so obvious now because more than twenty years have passed since Star Trek: Voyager was on the air and the culture (in the US) has changed so much since then. This, I agree, is the kind of fucked up that I could easily do without and Seven's story would be better for it.

So in conclusion, when I say that Seven's situation is fucked up it's not so much because I think Kathryn Janeway should have chosen differently when it came to her; it's more that Seven's arc on Voyager is very complicated, for the most part, by design. Even if I think Janeway could've handled some things in a different way, in most cases it makes sense for her character to have taken those decisions regarding Seven, and I don't always think it would've made for a better story if she hadn't. Obviously I wish the production-level assumptions weren't there, and I think part of what Star Trek: Picard did right in its first season was flipping a lot of those assumptions on their head in just a handful of episodes where Seven appears.

Personally I find it valuable to keep in mind that Seven's storyline on Voyager can be complicated and fucked up without necessarily wanting to make it ‘better’. It still is interesting and effective because it's far from perfect, because everyone tried the best they could given the very difficult circumstances, because we've never seen the whole crew, much less the Captain, outside of survival mode. Yet Seven is also a survivor of almost unimaginable violence and coercion and it makes sense, I think, that her presence regularly poses ethical challenges to what other characters and even the audience might consider ‘right choices’ or ‘right behavior’. Survivors in real life, I think, often challenge our societies (none of them perfect, and where many also live in survival mode) in precisely the same way.

[nohaijiachi]

Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

Before we get into the subject matter of the title let me preface a couple of things:

1- All that will follow is, big surprise, my opinion and my interpretation of this character. Do I think I am The One And Only Who Gets The Blorbo Right and that my ideas are 100% the way the author(s) intended to convey the character? No.

More likely than not the way I see Aziraphale could be intensely different from the way Authorman sees him, or Actorman sees him, and I don't think that my interpretation is necessarily any more correct than anybody's else.

That said, if I also did not think that I am, in fact, correct on a certain level, I wouldn't have bothered forming such a thought out opinion of Aziraphale in the first place, nor would be sitting here, writing this post that I can already tell is going to be entirely too long and might probably ruffle some feathers.

So I'll be writing the rest of this post with the caveat that I while I do think my interpretation correct, I'm also not trying to change anybody's mind nor to discredit anybody's else interpretation of Aziraphale. We can sit here in the sandpit and hold different opinions and still be able to build sandcastles together, it really isn't that deep at the end of the day; I can assure you, I'm not here to fight nor cause fights with this one.

2- With the above point, comes also the fact that I won't bother continuously saying "In my opinion" for the rest of this post. You already know that. So, if something will come across as a bit caustic, do know that it is very much tongue in cheek and I am poking a bit of fun at general fannish habits that I am also very much quote-unquoute 'guilty' of having partaken into, and will partake into again plenty of times in the future, I'm sure.

So, with that: Here's Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

A large part of the people comprising this fandom prefers Crowley. There, I said it.

This fandom's preference blatantly skews toward Crowley. Can we admit that openly? Let's admit that openly.

To be clear, this isn't meant to be an accusation or recrimination or any other -ation you can think of, I am merely stating matter-of-factly a phenomena I've observed in the last four years.

It is also not a wrong nor bad thing in any way, shape or form. I adore Crowley myself. I love them both so much it's unreal.

But I started with that because I think it is very much a symptom of the fact that a lot of people don't get Aziraphale.

I remember back with S1 there had been plenty of times when I found myself reading discussions and opinion exchanges about Aziraphale and Crowley, their dynamics, all the things that went unsaid behind the things that were said, and found myself genuinely surprised by seeing how some people interpreted certain moments wildly different from how I personally saw them.

I look back at that and I think "Oh, sweet summer child". Nothing could have prepared me from the onslaught of takes about Aziraphale that make me go "Good lord, what???" in the wake of S2, and the infamous Last Fifteen.

Now because I don't want to be pointing fingers at specific things and risk upsetting somebody more than I already am by being open in admitting that, guys, yes, some of the takes y'all have been sharing make me go "Yikes(tm)", I'll move on the interesting part and what I would actually love to discuss, aka cracking Aziraphale's head open and see what that actual fuck is going on in there.

Another preface: Because this duo is intrinsically linked and woven together it is downright impossible to only focus on Aziraphale without also mentioning Crowley, so... Let me circle back to our fav demon bae for a sec, here.

I think the reason why it seems that a larger part of the fandom favors Crowley is because I feel like Crowley is a much easier character to grasp. He is very open in his thoughts and feelings, at any given moment us, the audience, have a much easier time watching a scene and sort of ruminating in the back of our heads about Crowley's motivations for saying the things he says and doing the things he does.

That isn't to say Crowley is a less complex character than Aziraphale. They are very much equally complex and multifaceted individuals with their strengths and weaknesses, their issues and the way they each cope with them, how differently they approach their existence and so on and so forth.

But whereas Crowley as a character presents itself with a certain dynamism and a far more outward openness about his complexity, Aziraphale does the exact opposite; we can say Aziraphale is downright hermetic about it.

For us, the audience, he presents a challenge that requires a good deal of thought being put into him to see over the facade he presents at a more superficial level; he requires time and effort to fully dismantle him in our minds to try and see what makes him thick (other than his thighs), and thus I think it is entirely natural that more people latch on the far easier to identify-with, and relate-to, Crowley.

And that is the inevitable consequence of everything that makes Aziraphale... Well, Aziraphale.

So, where to start? Let's try and jot down what Aziraphale truly is at his core.

He is a contradiction.

This man-shaped being is a walking contradiction, constantly existing in a state of being coated in three thousand layers of misdirection and obfuscation and double thinking.

Why is that? Well. He's an angel.

Aziraphale loves being an angel. It is a tenet of his entire existence and something he cherishes. He wants, so very much, to be his ideal of what a good angel is: An entity who is kind and loving and understanding and forgiving.

Of course us, the audience, know that is utter bullshit, because we know angels can be individuals just as complex as the humans Aziraphale loves so much, with all their inherent flaws and capability for cruelty. And, on a certain level, Aziraphale knows that too.

So there we have it, one element of contradiction: Aziraphale wants to think that angels are always Good and Righteous and Never Wrong; Aziraphale knows that angels aren't, in fact, always Good and Righteous and, by god, can they make plenty of mistakes, too.

What else? How about Aziraphale sitting there, being in love with a demon, fully knowing that at the end of the day demons really ain't that different from angels, and also desperately hanging onto the concept of Good vs Bad.

And he sits there, existing with these two contrasting idea equally taking space in his mind, neither side ever capable of taking over the other.

What else do we have? Aziraphale loves God and wants so hard to believe in Her love for humanity and Her ineffable plan, and Aziraphale also time and again does things that very blatantly go against Her will, lies to Her face, and Doubts. He Doubts, a lot, and that requires the capital letter because those Doubts are what spur him in going against everything he's ever told to believe in order to do the right thing.

Aziraphale's very existence is a constant push-and-pull of things he wants to believe and things he knows are real; things he's told to do and things he wants to do. That's how we get "My side" and "there's a bit of good in you" and "you are the bad guys".

And nothing he's lived through has managed to break him out of this unhealthy way of existing quite yet; that's why he acts the way we see him act in the Edinburgh flashback in S2, or at the start of S1 when Crowley has to ease Aziraphale into the idea of trying to stop Armageddon with the usual song and dance of "temptation" and "plausible deniability" and "you'd be thwarting me", even though from the start we can tell there's a little part of Aziraphale who is clearly not at ease with the idea of the end of the world, and once he's been given 'permission' by Crowley nudging him, he is all the way in with the whole saving the world business, not take-backsies.

Both the moments I mentioned here are very important for different reasons, but of the two is very much the Edinburgh flashback that gets a lot more flack by the fandom and is blatantly misunderstood, which I think is the inevitable consequence of that minisode immediately following the glorious, beautiful, heartbreaking piece of art that is the "A companion to owls" minisode.

I've seen a lot of people lamenting that Aziraphale acts obnoxiously in the Edinburgh flashback and, yeah. He does. But I feel like the fact that we are seeing this after watching Aziraphale struggle his way through saving Job's children, even being willing to go to Hell for it, is a though act to follow and probably soured Edinburgh-Aziraphale for a lot of people, made them think that the character had regressed instead of progressing.

But, see, the way he acts is wholly congruous with who Aziraphale is and has always been and keeps being up to the very end of S2. Yes, even after what he does for Job's children.

If you get down to it, Aziraphale had been ready to give up and let the children die, in episode 2. For a brief moment, after Crowley told him he 'longed to destroy the blameless children', Aziraphale was walking away, having tried all he thought he could try to do to stop this senseless act. That was until Crowley tested him by making the crows bleat, cuing Aziraphale to the fact that his impression of Crowley wasn't wrong, and the he could count on him to do the right thing.

To be clear, I don't want to undermine Aziraphale's action by only giving the credit to Crowley but... It is, also, only thanks to Crowley cajoling him and giving him the right excuses, that Aziraphale feels safe in doing what he's always wanted to do all along.

He'd wanted to save Job's children, and thought he couldn't until Crowley threw him that hell of a lifesaver. He wanted to save the world and thought he couldn't until Crowley nudged him on the path of plausible deniability.

He wanted to save Elspeth's eternal soul, blinding himself to the hardships she'd have to endure in her not-eternal life, and was smacked right in the face by the reality of human suffering multiple times.

The way Aziraphale acts in that flashback can't be a regression, because there never was a progression in the first place: He'd always walked the line between Heaven's and God's will and his own, personal morality and sense of justice.

By all means, if we look at Uz-Aziraphale and modern-day-Aziraphale at the start of S1, his reticence about the whole saving the world business should, by all means, appear as a regression as well. You mean to tell me that he'd been ready to become a demon for the sake of three mortal children, and then suddenly a handful of thousands years later when faced with the prospect of the whole world going up in flames he'd just be all like "Heaven will triumph over Hell and it will be all rather lovely"? Like, fuck off, Aziraphale, you lying double-thinker, you (/pos)

Aziraphale constantly exist while being at war with himself. Circumstances have allowed him to rebel the will of Heaven and God more or less safely time and again, but he never quite managed to break free entirely. He'd always ended up being reeled back in, being fed the party lines, being made to feel shame for his independent thinking, until it all becomes too much and he is forced to step back from that freedom he'd been inches away from grasping.

Back and forth, back and forth, never stopping.

And all of this, all of what he is, makes it so hard for us, the audience, to truly see him. To truly grasp him. To truly watch any given scene with him and figure out what he might be thinking or feeling.

To understand Aziraphale is to understand what he is not saying when he says something, which is a good deal harder to do than it is to understand and relate to a character like Crowley, who very much revel in saying exactly whatever the heck he thinks whenever he damn well pleases.

All those layers of obfuscation and misdirection and double thinking that Aziraphale coats himself in are as much an armor that makes it harder for the audience to understand him as they are his very own downfall because, good lord, if you exist like that, if you exist forced to keep things hidden from yourself, well... It's inevitable that at some point you are going to stumble into pitfalls of your own making.

And I love him for it.

So, there? I hope I managed to explain something with this post, and that it wasn't just the rambling of someone who spends way too much time thinking about her blorbos. To be clear, I don't think people who haven't spent as much time as me trying to dissect and better understand Aziraphale's character are like, dumber than me or anything. It's just that this pair of angelic-demonic blorbos take too much real estate in my mind, lol.

Feel free to let me know your opinion and if you think I am wildly off mark and my Take Is Bad. I might answer, I might not, it all depends on time and my mood ◝(ᵔᵕᵔ)◜

[weclassygirl]

scheme

⋆˙⟡ sauron x fem!elf!reader (witch) ⟡˙⋆

summary: reader meets her shadow in the flesh as two riders enter Eregion

warnings: some blood (fake wound)

word count: 2,8k

author’s note: he's finally here! might take a moment before i update (i need to rewatch season 2 for him), but the next chapter.... ugh i can't wait to post it. enjoy! (previous part -> deception)

He doesn’t, for weeks he doesn’t reach out, does not even give you a sign he’s alive. You wish you could rip him to shreds once you see him again even if his very essence would slip through your fingers.

Celebrimbor notices you’ve become distracted, your work becomes sloppy, where once was attention to details and strive for perfection now lay curses under your breath when another piece of work is ruined. 

He comes to your side and places a hand on your shoulder. “Rest.” 

You turn to face him, the hammer still in your hand as well as the chisel. “I have to finish—“ he places your tools down, you don’t protest.

“You’ve been working yourself to the bone and your mind is not where it’s supposed to be.” you sigh, he’s right even he does not know the true reason. You take off your apron and put it on the stool before leaving the forge. 

You wander to the gardens and around Eregion trying to clear your head. You try to see past the trees, behind the horizon, maybe he’s out there. Wishful thinking. 

You’ve heard of the attacks on the Southlands, men fighting against orcs and the destruction it placed over the land. They call it under a different name now. Out of the corner of your eye you see horses, a rider clad in armor and a man. A messenger, probably. Eregion always had news to answer and these days it seemed more than ever. 

You come back to the forge after a while despite Celebrimbor’s refusal. You needed to occupy your mind, the blade you’ve been working on was nearly finished. You’ve been mixing metals to try and combine them into a nearly ethereal glow, mithril was far out of your reach. You’ve helped with the construction of the tower, not like the might of the Dwarves but your work has been appreciated. 

Elrond came before spring to help Celebrimbor and he secured it when Prince Durin sent his for forces to Eregion. The secrecy has been languid, you knew what Celebrimbor was hiding, he knew of mithril, knew that the very light of the Elves was fading, yours included. You felt it, more than the others, you considered Sauron’s offer to bound yourself to him completely but called yourself a fool for such thought. This is not the time you spoke of, you know it, see it as behind a mist, the future of Eregion and all Middle-Earth. Glimpses that always end with fire and blood.

A guard comes into the forge and calls out your name. Your head whips around as you look at him. 

“Your assistance is needed in the healer's quarters.” he informs you. 

“What of the Warden?” you ask, surely the master of healers would accommodate to the unexpected guests who arrived through the gate, should one of them be injured.

“Busy with other matters.”

You sigh but put away your tools once again. “Very well.” you say and follow the guard. 

You didn’t mind healing others but sometimes the injured or ill irritated you to the point your started to regret you were acknowledged as a healer in the first place. People came to you with the smallest cut or barely a cold, a proper herb and warm water would do most of the work.

When you arrive in the healer’s quarters your feet feel stuck to the ground at the sight of the person in front of you. 

“Galadriel?” you couldn’t believe it. “I thought you left for Valinor.” 

She’s clad in armor, her face dirty and sweaty from the journey. If she stayed in Middle-Earth you hoped she only heard the good things you’ve done while in Eregion, you do not wish to have her as an enemy.

“Fate decided I stay here.” she responds. She looks you up and down, the scars visible from your days under Morgoth, however no black fingertips. The darkness hasn’t consumed you or so she thinks. “I’ve heard of your progress here.” 

You feign flattery. “Yes, I owe it to Lord Celebrimbor.” 

“It’s impressive how much you swayed from darkness, not many can.” 

You chuckle slightly, oh if she only knew. 

“Yes, well, my punishment here proved to bear fruits.” you respond and you remind yourself why you’re here. You look her over. “Are you injured? I’ve been summoned as a healer rather than a smith.” 

“My friend is, if you could tend to him.” she starts walking down the hall and when you enter the room you see him, his face so familiar to his but you don’t want to make false assumptions. 

She tells him who he is and you turn to her with a question on your face. “King of the Southlands? How is it your path crossed with his?” you come closer to the man on the table and lift up the bloodied piece of clothing, he grunts as the dried blood tears away with the fabric. When you look to Galadriel her eyes tell you everything you need to know. Her task in Middle-Earth was not yet complete. 

You inspect the wound and Halbrand watches you carefully, you dare not to speak. Is it him? After all this time? Should you voice your thoughts? The questions plague your mind. 

“I’ll leave you to it.” she says as Elrond comes closer, you’ve conversed with him while he remained in Eregion and helped Celebrimbor in securing the work force to assemble the Great Forge. He’s been travelling constantly between Eregion and Khazad-dûm, the High King deceived him of his purpose here at first but the alliance between Dwarves and Elves grew. 

When they are out of your sight you look to Halbrand. An interesting name he has chosen, so many meanings, every single one fitting his image. Admirable, shadowed, exalted. You nearly laugh under your breath.

“Is my state that amusing to you?” he asks and the corner of your lips rises. 

“Forgive me, Your Majesty.” you’re still unsure if you can speak freely in front of him, he may just be a face that he saw once, that felt suitable for him to wear when appearing in your visions. You tear the fabric that laid on his wound, you discard it and grab a cloth with warm water. “What has happened?”

“Enemy lance, six days ago.” he responds and grunts as the cloth makes contact with the wound. You wonder if he truly sustained the hit or it was another illusion. You were certain the red blood was.

“Is it truly like they say? Turned to dust and ashes?” you ask, curious as ever.

“The Southlands?” you nod. He watches as you tend to him, grabbing a bit of Elvish herbs, athelas and mixing them in a mortar. The paste thickens with each turn and you put it aside to grab other herbs needed. After a while, he gives you the answer. “Yes.”

You grab an herb and bring it up to his mouth. “Chew on it.” you tell him.

“What is it?” he eyes it warily before taking it. 

“It will replace the taste of iron from the blood in your mouth.” you don’t answer his question directly but he listens. As you smear the paste you mixed up he smiles under his nose, the sight doesn’t go unnoticed by you. 

“Most people would be in pain and yet you react as if it’s a common cold.”

You’ve seen people wither in anguish from a single touch of Elvish medicine before it took its desired effect, it’s strange for a common man to not react to it. Perhaps he wants to show that he’s stronger than many. You go to the table to gather a clean dressing when you hear his response, so silent but makes you freeze in your steps. “Now I’m the first to give myself to you at my deathbed.” 

Was it him or your persistent shadow speaking? Could you distinguish the two now? The voice so familiar but not muffled like many times you’ve heard it, this was real, raw.

You turn to him but his sight is already set upon you. Any evidence of pain gone from his face as you step closer to the bed with a bandage in your hands. You search his face for any sign of falsehood and he awaits your reaction. You smack the piece of cloth you were holding onto him when he grabs your wrist and pulls you closer. You lock eyes but yours slip down to his lips, he notices and smirks. It feels as if he’s drawing down to him, if he did you could just…

“Violence goes against what you should stand for.” he taunts and lets you go. You glare at him, you told yourself you would rip him to shreds the next time you see him. 

“I should let you bleed out.” you retort, he looks down and gathers some of the red blood from the wound.

“So it’s a convincing illusion, I take it?” he smears it on his fingers and it turns pitch black. You huff in annoyance. 

“You’re insufferable.” you clean your hands in the basin, leftover herbs floating in the water as you dry your hands. You hear him shift on the bed.

“Are you not glad?” he begins to get up and stalk closer to you. 

When you turn he’s met with your brows raised and laugh on your lips. “Glad? I believed you to be dead.” you deadpan.

“Did you mourn?” he asks.

“Would you care?” you bite back.

It takes a moment before he responds, his voice soft. “Yes.” he stands right in front of you and takes your hand. The illusion you cast is perfect, leaving not a speck of dark that would have peeked from it. He inspects it, so much power that could come from them. “Don’t hide it.”

Your anger starts to disappear as he holds your hand. You never thought that you would see the day where he’s in the same room as you, in the flesh and not a black mass. “Defeats the point if I don’t.” you look up at him with question. “Why Eregion?”

“You’ve gained his trust, I intend to use it.”

“For what?”

He smiles. “Everlasting peace over all Middle Earth.”

You pull away from his touch. 

“Under your rule.”

His answer comes quickly with no hesitation as if his mind is already set upon it.

“And yours.” you’re confused. He bound you to him, not completely but alas, you did not expect that answer. He looks to the entrance, listening if anyone comes by before looking down at you. ”Our paths are already intertwined, tangled whether you wish to cut them. I do not intend to let your talents go to waste after I’m done.”

His words compel you, a malicious intent behind them and yet you fall for them like the stars from the sky. 

“A power over flesh?”

He nods. “I owe it to you, this idea, this scheme.” 

You don’t have the time to respond when you hear someone walking down the halls, as the master of the healers enters, you step away from Halbrand or rather Sauron to you. 

“Your Majesty, you should be resting.” he says as he sees him standing next to you, the blood on his fingers red.

“I needed to test my strength.” he lies swiftly and goes back to the bed. The Warden nods at you and tells you that he will take over. You bid Halbrand goodbye and glance at him one last time before leaving. 

Not a day passes when you hear him talking with Celebrimbor. The workshop was quiet in the morning and you needed to gather your notes. The High King ordered every Elf to be moved to Lindon, one last gathering before your time passes.

You did not expect for Sauron to take actions so quickly but it does not surprise you. 

“Might there not be some alloy to amplify the qualities of your ore?” he asks Celebrimbor as he hands him the piece of mithril.

“Well, that is… an intriguing suggestion.” you remark as you enter. You nod in greeting towards both of them and walk closer. Halbrand takes his eyes off of you. 

“Call it… a gift.” Celebrimbor inspect the mithril in his hand before you stride to your work bench. Notes scattered, splashes of ink spilled on the table. 

“You should be packing for Lindon.” he tells you and you gather whatever you can, some of the ink making it’s way onto your hand. 

“I needed to grab my notes, shame to let them go to waste.”

Would any Men take them after you have passed to the Undying Lands? Would they appreciate them?

“You’re leaving?” Halbrand asks you, surprise in his voice. 

You look between the two men. “High King’s orders, as much as I would like to stay. I have no choice but to obey.”

It pains you to say it, a witch following orders of a King, but the ruse must hold. Celebrimbor’s mind seems to be at work, Halbrand’s words resonating with him. It is then he remembers that you may not know who he is. 

“This is Lord Halbrand, King of—”

“The Southlands, yes we’ve met.” you interrupt. “Galadriel sent for a healer at hand and I was the only one available at the time.” you look to Halbrand. “You should be resting.”

“No use if I’m bedridden when your people need aid.”

You arch an eyebrow. “You wish to help?”

“If you allow me.” he directs these words to Celebrimbor and he smiles as he looks between you two.

“I believe we can work something out.” 

The three of you part your ways when he caughts up with you. The halls are empty, occasional guard posted but nothing more, the vines flow down the vast architecture surrounding you.

“I never realized you’ve made quite a name for yourself here.” he expressed as he started walking next to you. You nod occasionally at the guards as you pass through, some other smiths you work with. 

When out of their sight you speak. “It was demanded.” you stop in your tracks, both of you now standing on the parapet connecting two buildings. “Would you let an Elven Witch roam around your kingdom so freely? Her darkness poisoning the very air you’re breathing?” your voice low should anyone listen to your conversation. He studies you closely, eyes softening in his low-man form.

“You, yes. Another I might consider throwing over the walls.” he remembers why he joined you. He has an occasion to properly talk to you, no visions to hold him back now. He goes back to his first statement. “People talk.”

You look down at the few Elves roaming in the courtyard, Fëanor’s statue illuminated by the soft light of the morning. “And what have they said of me?”

He leans against the balustrade. “An Elf once cast out by her people, called Morgoth’s servant despite doing it to survive and when fled chained once again by her own kind. Fulfilled her punishment here in Eregion and started to move away from darkness within her, became a trusted Elven smith and a healer where her work only blossomed.” he looks down to the ring on your finger, worn out by time however you never corrected it, the broken stone still held. He says it like reading a passage from a book, you don’t turn to look at him. Your voice barely above a whisper.

“They trust you so easily.” you’re almost jealous and he knows. 

“They have not come to know me like they did you.” he reassures you. Once they do they will cower in fear.

You turn to face him, you sense the scheme within him. “You plan to use mithril. For what kind of weapon?”

“Not a weapon, it shouldn’t be too obvious. Something far more precious.” he looks down at you and smiles. “You’ll see, I believe it will be to your liking.”

“You think that Celebrimbor will let you into his workshop, a low-man?”

“Why wouldn’t he? I suppose I left a good impression.”

“Ah, of course.” you shake your head and smile under your nose.

The silence weighs between the two of you, some guards pass you by and the morning sky shines mercilessly. You start walking away from the parapet and into the streets, the small crowds surround you as you go by the merchant stalls, tall towers and small courts. 

“It’s refreshing. Seeing you here, feeling your presence, it’s… stronger.”

“Few hundred years had made their mark.” you respond and stop by a fountain, the water hums in your ears. 

“So did I.”

You look up at him and try not to roll your eyes. You admit he gave you tremendous help but the years you’ve spent in Eregion fell upon your shoulders. You knew you had to endure your stay a little longer, for his sake and yours. 

“Thank you.” you find yourself whispering. He knows you well enough to give you a small nod in exchange.

“Do not think that I will release you of the practice over your craft.”

You smile, this is what you needed. “I wouldn’t dream of it.”

next part -> bewitched

[alpaca-clouds]

Arcane Season 2 - How Bad Pacing Can Ruin Everything

So, Arcane season 2 ended. And I am sorry, I need to vent.

I am honestly not sure whether the rumors are true and this were originally meant to be more seasons. The Riot CEO apparently denies it, but then again, I have seen CEOs confidently go out on stages to talk about a project which they knew was cancelled at that point in time. So, sorry, but I will never ever trust a CEO. Lying is like 50% of their jobs. Being greedy is the other half. Sorry, not sorry.

I am gonna write something about disability in Arcane (overall) during the next few days, but let me just talk a bit about the pacing issues of season 2.

Spoilers for season 2 - all of it - obviously.

Believe me or not, but I know the exact issue of Arcane season 2. It is called: Too many characters. Too many plotlines. It is something that easily happens when writing an ensemble story (no matter what the format is you publish the story in - it happens in books, movies, shows, games). At times it works fine if you manage to weave the entire ensemble into the same main plot. But as soon as you wanna give everyone their own little storyarc with a bit of their own themes, it often goes haywire. Either you will end up dropping some characters to the side and not properly finish up their story, or you will end up rushing everything. Neither is gonna be good.

Here I am mainly thinking... Was the entire Black Rose/LaBlanc stuff planned to be there from the beginning? Was it put in later? I mean, given that the entire story felt like it might set up Mel as a Champion for LoL... How do I put it? Mel was too overdesigned in the show, to not be a future Champion. That was my feeling from the beginning. I don't know if they gonna make her a Champion, but man, it feels like it.

But no, the main issue really is the pacing. There is just too much stuff happening.

I will remain, that the thing that shows this better than anything was the second "arc" of season 2. Episode 4-6. And the general way the entire Caitlyn, Vi, Jinx thing plays out. We have the following things happen in the first six episodes of season 2:

Cait's mother dies

Cait swears revenge and asks Vi to assist her as an enforcer

Vi does not want to. Ends up getting drunk.

Vi decides to do it anyway.

They do a bit of chemical warfare for good measures.

They go down there. Fight Jinx. Vi cannot do it - partly because Isha.

Cait breaks up with Vi and becomes the evil fascist dictator

Vi becomes an alcohol addict.

Except, never mind, Caitlin is already feeling shitty about it next episode.

Jinx gets Vi and Magic Pixie Dreamgirls her out of her new-found addiction.

Jinx and Vi are good again. They go help Vander.

Cait meets Vi for the first time since the break up. They instantly are back on the same page.

Like, there is so many plothooks in this storyline alone that do go completely unexplored.

There are two characters here, that do play a role in the last three episodes too and that felt like they were some proper characters at some point. Those two are Maddie - the Scottish-dialect enforcer girl - and... Frankly, I do not feel like looking up the name. The big burly one, who after the break-up takes care of Vi.

Those two feel like they were at some point meant to be more real characters. But because of the pacing, they are barely ideas. Maddie starts making out with Caitlyn because...? I don't know. Because I literally do not know anything about this character but "she is an enforcer", "she is queer", "she is attracted to power(?)", and thats it.

And the other guy goes with Vi because... Uhm... I don't know. I know literally nothing about this chaaracter other than that he is big and an enforcer. *shrugs*

It most certainly feels like there was some planned version of this show, in which Cait and Vi both had a proper corruption arc. In which we really saw the two of them struggle. In which we actually saw Piltover and Zaun under the control of Commander Caitlyn and Noxus, and saw the horrible things they were doing and what it was doing with Caitlyn. In which we also saw Vi struggling with addiction and stuff.

But that was not the version we got in the end. Instead in this version... things go magically well.

Hooray?

Same with Jinx. Her mental health issues just magically get better when Isha is there, because that is what the story needs to happen now.

Here, too, it also feels like huge chunks of the story are missing. It feels like there was a story going more into the relationship of Sevika and Jinx for a bit. But if that story had been there once, it was most certainly no longer there. It was hinted at, yeah, but that's it.

And then there is the entire magic plot.

Look, I think among the fans of the LoL Lore I am not the first one to say: "Yeah, trying to marry the worldbuilding of Arcane to the established Runeterra worldbuilding does not work, because of the magic." Runeterra so far was always a fairly high magic world - at least that was implied by comics and short stories. Magic was a common thing in this world. Otherwise we could not have that many magic champions and a whole place whose entire thing it had been: "We are anti-magic Nazis building mage concentration camps!"

When Riot said, that Arcane was now the main canon, A LOT of fans of the lore were like: "You get that it is not gonna work." And yeah, Arcane Season 2 clearly shows how it doesn't work.

Because the way they put in the entire "Mel is magic, also the Black Rose is a thing" stuff just... It did not fit in the entire plot around it. Because Arcane had been designed as a world where magic was very rare and strange. But now Mel had to be magic and somehow had to be connected to the Black Rose.

Also... What the fuck even happened there in the end? Why put that in? Why make Mel go against LaBlanc? I am sorry, but that was simply too much for this plot. The entire Black Rose stuff stuck out of this plot like - pardon the pun - a thorn.

Generally there are several relationships that feel, like they had at one point been a whole more explored, but then got dropped to the wayside.

As I said, Sevika and Jinx are definitely an example. Ekko and Heimerdinger as well. I also feel like what was episode 7 of the show was probably originally more than one episodes and slower paced - though it still to me was the one episode in this, that kinda worked in of itself. And that the Ekko and Jinx relationship was better established.

I also feel that Viktor and that echo of Skye was probably at some point supposed to actually have talks. Like: "I will miss talking to you." - "No, you won't." Okay? THEN SHOW ME THEM TALKING PLEASE?!

Which kinda brings me down to the main thing that happened because of the pacing issue. Season 2 of Arcane knew only two extremes in terms of "Show, don't tell". Either it goes full "music video" in whcih indeed it just shows us shit without context or dialogue - or we get the information just via dialogue, in a complete tell.

This also shows in the last episode, with the entire thing of Piltover asking the Zaunites for help, after brutally surpressing them forever. Yeah, I see where they were going with this. About being the bigger people and planting seeds and what not. But frankly, there might have been a time and space for a story like that, if properly told (you know, with giving more of the Zaunites a voice in this story, showing more of the conflict and spacing this plot out over several episodes). But a) it was not properly told, and b) a world in which several genocides happen while Trump somehow won a second term is not that world. Yes, b) is not the fault of anyone working on Arcane. That was simply bad luck on their part. But a) is very much their fault - and even if we did not have a Palestinian Genocide and no second Trump term: Without a) being done properly, it would not have worked. It would have just not felt quite as miserable.

You know, the most frustrating thing about this was, that... While I think that one way or another I would still have hated how the show handles the topic of disability (again, I will write about this during the next few days), I generally might have liked the same plot, if it had been given the needed space to breathe.

Like... Sure, I would have never really been on board with "fascist Caitlyn", or rather with "fascist Caitlyn, who gets then forgiven by everyone". But I could have somewhat swallowed it, if that forgiveness had to be earned. But because of the breakneck speed of this show, it never got earned. I am not even talking about redemption arcs here - those are always a headache - but specifically about the fact that Caitlyn gets instantly forgiven by everyone.

Also, lol. The entire thing with Ekko convincing Jinx to come along off-screen. That was unelegant.

Heck, it feels in the first four episodes, as if there was an arc being set up for Sevika in general. And it feels like that arc needed to happen, given that Sevika ends up on the COUNCIL OF PILTOVER in the epilogue. However, that Arc just does not happen. Then, like... why set it up?

That is general the issue. There is a lot of set-up and very, very little payoff to any of it.

And here is the thing. I have heard people argue about whether or not this was meant to have more seasons. But frankly: I do not think that the writers who wrote season 1 would have written this story this way had they known it would be two seasons.

Mind you, compared to some people I would not rate the writing in season 1 higher than maybe 6 or 7 of 10. It was solid, but not overwhelmingly great. But season 2 in comparison is a 2 of 10, maybe a 3 of 10, if I am being gracious.

And frankly, I do not think any writer, who is in any way worth their salt, would write a story where a main character goes evil, and then do exactly nothing with it. I mean, sorry, us writers, we are a dramatic bunch. And we will not resist the drama being served on a silver platter unless we are forced too. I cannot imagine a single writer, who will go with the end of episode 3 and then not write a bunch of angst with Caitlyn and Vi - unless they were forbidden.

And mind you, CaitVi is by far the ship I am least invested in. But it is simply such a glaring example of where the plot is rushed in a way that it hinders the character arcs.

Oh, and also... Lest. Lest in the first six episodes clearly felt like a character, who was going to play a role. Only to then disappear to not be seen again during the finale. What happened to Lest? Is she dead? Is she alive? I guess we'll never know.

*sighs* I am sorry. I really am. I am just... very disappointed. This has been a mess. And I think it would not have needed to be.

Like, the animation is still the most pretty thing ever made in the world. But man... The plot? The plot sucks balls. And not in the sexy way.

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[sweetestcaptainhughes]

Oooo I hope this challenge gets you out of your funk! How about # 2 with John Marino please!

It probably sadly won't since I seem to go through many fazes of writter's block funk. I love interacting with you guys though, so 'i might start doing more events like this in the future or events in general. I've found that if I don't have time to sit down and write the entire fic in one sitting it will sit in my google drive for months... and that's my toxic trait. I love that you requested Johnny. 💞

Drabble Challange

"How long have you been standing there?"

John knew how to be quiet, even with how tall he was he was good at sneaking up on people according to you. But according to him, it was your own fault because you got stuck in your own world espically when talking to your almost 8 month baby bump. John was leaning against the wall in the kitchen as you were standing at the stove at almost 3 AM wishing you were in bed instead. But your sweet baby girl was craving some mac and cheese. The thing about pregnancy cravings that no one told you about was that it wasn't a simple craving. It was if your throat and mouth became completely dry like a dessert until your lips touched whatever it was that you were craving. Which is why you were standing in your kitchen at the 3 AM, the only light on in your apartment being the little light coming from the top microwave over the stove.

"I hope you know how much I love you that I am making mac n cheese right now." you spoke softly, as you rubbed your stomach trying to smooth the kicking.

"hey that one hurt sweet babygirl." you whisper shouted, letting out a surprised yelp as she kicked your ribcage again. "girlie you better stop." as you smoothed down your stomach.

John cracked a full blown smile from you yelling at your unborn babygirl for being such a kicker. Coming up softly behind you, his presence still unknown to you. "baby why didn't you wake me?" John gently asks finally making his presence known.

"Jesus." jumping slightly surprised to see John standing in the entry of the kitchen. "How long have you been standing there?" you ask pointing the wooden spoon you were cooking with at him as if it was a weapon. All John does is laugh as he quietly appraches you wrapping his arms around your swollen stomach putting his hand on top of yours.

"not long. but long enough to know you shouted at babygirl." he chuckles.

"hey whisper shouted" you agure back lightly laughing. "and I didn't wake you up because you have to leave early tomorrow for that roadie.

"I don't wanna go." he admits. All you do is sigh, turning around in his arms.

"Johnny." you whisper.

"What if something happens?" finally letting his anxiety about being across the country from you being spoken out loud.

"Then your a phone call away baby. We talked about this. Babygirl is due in the middle of the season. You gotta work until she's here so you take off when she is born." you reasoned. John knew you were right but it didn't help him feel better.

"But I'll miss all the late night cravings." he agrued,

"I will call you then. But you are leaving tomorrow."

"fine." he finally agreed on one condition "but only if I get a bowl of that mac and cheese." A cheeky grin on his lips.

"That's not up to me and we both know that." Both of. you laughing at a the realization that it's up to however much your babygirl feels she needs.

[evilbookworm]

Mileven and Billverly parallels

Ok I’ve been wanting to do this post for a while, (if you’ve seen my blog recently it’s dropped a few hints over how Mike and Bill are compared) so I am gifting you it with the best of my knowledge on cinematography (Watching lesbianmindflayer videos)

My number one priority is mentioning that yes, I do think the Duffers are purposely paralleling them. I mean, they have mentioned loving Stephen King’s work have they not? There’s also the reference to Mr. Baldo the clown in season 2 when Bob is talking to Will about getting over his fears. Of course, this might seem like a coincidence, but then Bob brought up Maine, which is where Derry, and most of Stephen King’s works are set, so I think it’s safe to say that there are some parallels to IT.

                               

First, I’d like to point out that Mike is the Party’s leader, just as BIll is for the Losers Club. It’s never been made official or anything, but it’s there. 

You may be wondering why them being leaders has to do with anything, but I assure you It’s an important parallel. Now, we can also see some parallels between how both Mike’s friends and Bill’s friends encourage them to pursue a relationship with El and Bev.

Now I want to bring up the way Bill and Bev bonded, and how after the Neibolt house, she’s the only one that stayed with him. We can also directly compare the fight between Mike and Lucas to the one between Bill and Richie. Lucas and Richie were both jealous and concerned about safety. Richie for Eddie and Lucas for all of them.

Now a small comparison between Bev and El. Bev sees the deadlights, which grants her visions of the losers in the future.  Then we have El, who can’t see into the future but can see where people are. Here are some images:

 Not very direct, but something they have in common.                       

We also have multiple times where Bill encourages his friends to help him find Georgie, as Mike does with Will.

Now let’s talk about the kiss. The first kisses are both quite similar. Both of them are done in a heat of the moment type way. In both scenes, the girls are taken aback.  

  They are incredibly similar and one of them isn’t an endgame ship.

Mike and Bev Comparisons + Benverly and Byler

Now, let’s talk about the Ben, Beverly, and Bill love triangle being paralleled to the Mike, El, and Will love triangle. More direct comparisons with Bev and Mike here. First, and most importantly, we have the poem and the painting. Bev receives this from Ben, and Mike receives this from Will.

The poem Ben sends to Bev is anonymous, and Bev doesn’t remember it’s from Ben until the second reunion they have. While not exactly paralleled to the painting Will gives Mike, it is similar. Will makes it look like the painting is from El, and Bev thinks the poem is from Bill.  

 Now, Bev realizes the poem is from Ben twice, the first is when he kisses her to save her from the deadlights, the second 27 years later in Pennywise’s layer when Ben recites it to her while they’re trapped in their visions, though Bev previously thought it was from Bill. This could be a direct comparison to the van scene, where it’s possible that Mike knows the truth about Will’s feelings. Mike may forget about this later, unless it is confessed to him while he’s being Vecna'd.

                                               

I also think Mike will be the one to be Vecna’d, so that’s another possible parallel to Bev. Bev is the one who isn’t very expected to be taken, but she is. Just like Mike. It isn’t expected to happen to him, but it will.                 

Mike + vecna imagery

And like with Ben and Bev, Will will break Mike out of Vecna’s trance. I can’t say it’ll be with a kiss, because Mike will most likely be hovering several feet in the air, but it’ll definitely be done by Will somehow.

So, in conclusion, Ben and Bev end up being endgame, and so will Mike and Will.

Not a very in depth analysis, really, but these are some good parallels I found and I don’t think I’ve seen anyone delve into the comparisons between them. 

Anyways, BYLER ENDGAME!!!        

(P.S. I spent like 3 hours looking for the right images so please don’t let this flop 🙏) 

[plantvariant]

I too am in the background eating flowers, Aubrey.

I loved that AAA bts omg, but I'm seeing all the critiques and such about not a ton of Agathario, and how everything was cut down, etc. For me, the video seemed most centered on the outfits and the culture within the show surrounding those outfits, as well as the kind of like lore behind the magic and how it relates to each witch.

I didn't expect a season 2 announcement going in so I wasn't disappointed but I am intrigued now that the big wigs are looking at the success of AAA and seem to be considering more? That is a BIG deal for a QUEER MARVEL SHOW! And that is so cool if it does culminate into something else. Whether that be some additional eps, a movie, or yes even a season 2 (I know these are long shots but it's still cool!).

One thing I'd like to point out, and yes I do agree that everyone's anger and feelings are valid, but I also want to remind everyone that AAA Assembled was pieced together and created AROUND the time of the actual shoot and making of the show. The things we see Jac saying now in interviews about the characters and relationships, and her feelings of regret about mishandling it at the time are more than likely genuine. Don't attack her or Marvel for this, because the end product in the show was still good and fun! There was actual magic in how much the cast and crew genuinely loved it and working together on it and that should be considered.

Consideration as well, with what Jac has said in recent interviews about Agatha All Along and Agathario it feels, to me at least, that it's given her some like solid perspective on how to handle the subject matter in the future. Sure, it might be wishful thinking on my part, but the care and love I saw in that show and the Assembled video gives me some hope.

[blank-house]

Hey I got kind of a controversial question but....it's one that's been bubbling up in my head for a while! I don't mean this with malice but why are we only allowed to play three events (besides the barbecue) per playthrough? I read in another ask that the intent with the game was to build a slowburn in regards to developing relationships (platonic or romantic) with the boys, so wouldn't the option to play all 5 moments contribute much more to this? We would be "forced" to play through all the moments before reaching relationship milestones in the full game (and when summer/fall releases). I've also read that this was done so the player had some type of agency but I feel like that option of choice is already delivered with how we can chose the order of the moments and the different "routes" per each moment. Or is this only a "spring-quirk" considering the short timespan (2 weeks) compared to the other seasons (3 months)? Congrats on the kickstarter, I wish well to the team!

Thanks for the well wishes!

And to answer your question— yeah I want a slow burn but I don’t want a “slow” game. At some point, the story would’ve dragged if I have you play through ALL of the events in the game.

Can you imagine? Before you can even date someone— you might have to play 20 events? Then when you’re finally at the end, you’ve played over 60?? And they all take either an hour or even two get through?? That’s more than a regular play through for a Persona game!

No no—

Time passes, things are always changing— and even if you want to, you can’t do everything you want to do in life. Especially in college, where you know when your semester ends and when you graduate.

Your time is always valuable, and how you chose to spend it at that moment will always impact what you do in your future. And I want that done in game too.