#not because of any tragic family trauma reason

[polksaladava]

✼　 ҉ 　✼ the psychology of Elvis, pt. 1 ✼　 ҉ 　✼

i’ve been thinking a lot about the psychology of Elvis since watching the new documentary and i desperately need to scream my little brain worms into the void. i'm not really adding anything to the conversation that @joons didn't already say (much more concisely and eloquently than i'm about to lol) but alas, a yapper never ceases.

obviously i’m not a doctor or an expert by any means, so there’s a good chance i’m just talking out of my ass. always interested to hear other people’s thoughts and opinions but if you’re thinking about engaging with this post in bad faith, don’t!

of course Elvis lived a very complicated and unusual life, and we can never truly know why a person does what they do, but there's a series of major events that i can think of that very obviously impacted him and probably lead to a lot of the patterns of behavior we saw in his adult years.

for a start, he grew up very poor. we know poverty leaves deep and lasting trauma - experiencing resource scarcity, especially during your formative years, has a huge impact on developmental psychology. not only that, but his dad was in prison for 8 months when Elvis was only 3-4 years old. that's old enough to remember the emotions associated, but not old enough that he could have really understood what was happening at the time. AND by all accounts, it seemed he also had a hard time fitting in at school, which i'm sure wasn't helped when the family moved two hours away from his home town.

overall, his childhood was really characterized by scarcity - lack of money, lack of resources, lack of stability, lack of friends. but then he makes it through high school and he hits it big! seemingly overnight and out of no where. and now, there's money coming in! he can afford to buy his family a nice home! he's adored by crowds and he's found friends! and all of this is incredible and he attributes it all to none other than colonel tom parker.

and so now we have this deep-seeded fear of scarcity and this belief that all of the abundance he's finally experiencing should be attributed to the colonel. and the only way to make sure that the colonel stays is to keep him happy.

and then the two worst things that could have possibly happened happen at the same time - he gets sent to Germany, in turn being forced to abandon his career and his life as he knows it, and his mother and very best friend dies tragically.

and suddenly he realizes that the money and the fame and the resources aren't enough to keep bad things from happening, and the worst thing that can happen is losing the people you love - and maybe more importantly, losing the people who love you.

so now we have a man who was, by all accounts, already gentle and kind and loving by nature, whose brain has been conditioned to prioritize having people in his corner above all else. which, to a degree, is just human nature! we intrinsically know that we need a tribe to thrive in the wild. but when you experience the trauma that he went through at such formative times in his life, that becomes your singular goal. to survive, you cannot be alone.

and how do you avoid being alone? you give people a reason to want to be around you. and that reason could be a lot of different things - love, money, sex, entertainment. and he was pretty damn good at providing all of the above. so of course he builds a loyal group to surround him at all times. not only is he kind and fun and beautiful, but he's essentially bankrolling their whole lives. he buys them houses and cars and puts them on his payroll.

and now we have a huge problem, because we're well into the 1960's and Elvis has been raking in cash hand over foot, but he's miserable. he doesn't have a live audience to feed him anymore. the work is meaningless and embarrassing, and his health is on the rocks. but the colonel is constantly reminding him that he's only one step away from desolation, and now Elvis is really scared, because he's essentially the sole provider for a family of 15 at this point and he has to keep the cash flowing. so he stays miserable and does the bad movies and continues to do exactly what the colonel says. and god forbid any of the leeches around him (not you jerry or charlie!!) say anything, because they're not about to lose their paycheck!

but thankfully we make it through the majority of the 60's, and everything changes with the help of steve binder and the '68 special. and that's where i'm going to hop off my soap box for today, but trust me i have MUCH more to say about the 70's and the eventual decline of an empire and how this ties in to the lore of Elvis Presley™ as we know it today.

if any of you actually made it this far, i apologize for the 10 minutes you will never get back. may god bless you angels. maybe go outside or something now tho. okay love you xoxo

[variksel]

R.I.P un-traumatized lark and sparrow, you wouldve loved the term what the sigma

[icanlife]

Very tired of people who continue to argue that Bill destroying Euclydia was completely on purpose and he didn’t care about anyone at all because he’s just trying to garner sympathy in The Book of Bill, despite all the supporting evidence outside of Bill’s words that allude to how deeply traumatic it was, (so many, many things about) how he loved and misses his parents, how much of a sore spot the topic is for him, how much he wants to return home but can’t, etc. in addition to how perfectly Alex and co. crafted a parallel narrative between Bill and Ford, including how they hurt the people they love out of carelessness and blind pursuit of their dreams, justifying to themselves that the people they hurt just couldn’t understand

Yes, Bill is an unreliable narrator, and that includes all the very obvious posturing that he did it all on purpose and it was actually a very good thing, that everyone loved him, that he’s NOT incarcerated or anything and that he’s still a really all-powerful being, etc etc etc. To fully believe that EVERY vulnerability he reveals is an evil manipulation tactic, and not actual character writing, you have to interpret his very prevalent denial of weakness, which continues into the conclusion of the book where he already knows he’s lost the reader and is still denying any emotional needs or trauma, as itself a lie.

There’s a reason why the Pines family cracked open this book and laughed at Bill, calling him a fractured, pathetic mess.

The Book of Bill has a plot, a great plot, and great character writing. It’s a crazy companion to Journal 3, Ford’s story. Parallel stories, but where one ends with someone healing from their trauma, coming to terms with one’s mistakes and accepting the need for human love and relationships, the other ends with one stuck forever in their layers and layers of denial, never acknowledging their own trauma, never acknowledging their need for human companionship, grasping in desperate need at their continued facade of hating to love and loving to hurt.

Bill isn’t an always-in-control sly master of the mind, he’s a delusional and desperate man, fractured by his own trauma, who will continue to hurt others to prove that he’s in control. I’m tired of the false narrative that abusers can’t have trauma, aren’t people, giving them this otherworldly status above all humanity. Aside from not being narratively or societally productive, it undermines the ending and message of the book. Acknowledging Bill’s brokenness gives his victims POWER over him. The fact that Bill needs Ford, but Ford doesn’t need Bill is powerful. Them laughing at his desperation is powerful. Looking at someone who once seemed untouchable to you and realizing they’re just a suffering meat sack like any other human being is powerful.

The ending of The Book of Bill is the demystification of Bill. The book is a real look into his mind, telling a story that’s actually very tragic. It’s a very real story, a cautionary tale. You’re not being manipulated or tricked if you feel bad, it’s a very intentional writing decision that this ending elicits that dark pity, as he desperately fades away (arts and crafts materials confiscated) saying that he’s FINE.

So yeah, The Book of Bill and the website are a masterwork of the character, I love them, they’re incredible, and I don’t want to see such a tight character story discredited as “you can’t believe ANY of it!”

[pixeltwix]

{The Disconnect & The Spiral}

(I realize this isn’t my usual content, but hear me out, the rekindled GF fixation is going hard rn)

- -As an avid fan of Gravity Falls and an even bigger fan of the tragic old man lore packed into the mystery trio, I honestly gotta say..

I refuse to believe this is the full story towards WHY Fiddleford and his wife had a whole blasted argument over…him forgetting to get her a Christmas present?? Upon reading this section, I can frankly say I had a similar reaction to Ford. The immediate sense of, ‘really? That’s it? Your family reunion was torn up over that?’

I mean- your husbands been gone for lord knows how long, your young son also hasn’t seen him in ages, and let’s be honest- with how much trauma the ole hillbilly is stacking up on a day to day through his adventuring with Ford, how often is he actually able to call home or write a letter with a sound mind?

It just doesn’t feel feasible that a man who started this journey so troubled and in yearning to return home to family would be so forgetful as to not scrimmage up not even a souvenir or postcard from Gravity Falls for his family. So what is it then? Perhaps he’s become so averse to everything in the small town he wouldn’t dare bring a trace of it home with him, or rather, he truly had forgotten some small one off promise he made. Perhaps he’s forgotten a lot by this point-

Because of lack of dates on a majority of his entries it’s a little difficult to put together a timeline of when Fiddleford finished his memory wipe gun and when he started using it. By all means he racked up a lot of memories he wished to forget in the beginning being as quote ‘weak minded’ as he is. But then of course we all know he becomes addicted to quite literally erasing every little inconvenience until of course the end result. The freedom of a clear mind outweighing all consequences for him.

Instead however I choose to believe these were the first persisting side effects of his machine. We know enough about it now to get the fair suggestion that even one use of the memory wipe gun can be more damaging than can truly be discerned, so seeing as he quite possibly has used it at least twice by now- both events he used them for being extensive (the shifty incident and the gremloblin incident cited in journal 3) I believe it only fair to assume this quoted argument he got into with Emma-May was hardly over one measly little present. True, we have no frame of this woman much less the rest of the family (minus what we get of Tate once he’s grown), but I am TRULY giving her the benefit of the doubt in believing her husbands mind has begun to scatter in ways he didn’t even realize. So much to the point that a fight possibly fueled by ‘it’s not just about the Christmas present, it’s about ————“ would truly confuse him

I say that in the kindest way, I love Fiddleford, truly he’s the most tragic character in my mind regarding this story, but the man’s self destruction and drift from his family had to have started somewhere. And just like any addiction that can tear a family apart, this one was definitely packing punches. I realize I don’t have much backing, and I’m really just rambling some nonsense, but Alex Hirsch just doesn’t feel like one to write a one off ‘oh by the way this silly reason is why Fidds is alone from his family for the holidays, something he clearly holds a deep fondness for’. Nah, that man is too cryptic for him to write something like that and for me to not overthink it <3

(But with all that said and done- dear god the snow globe cabin and the knitted six fingered gloves literally killed me- that hillbilly is such a damn sweetheart, it can almost make me ignore the doom that will befall him and the town <3!!)

[itsdrawingmen]

We need to talk about Zen.

Every character in Mystic Messenger is a tragic one, and the Casual Story trio is often disregarded in that respect. But there is one character for whom I’ve hardly seen it explored at all. Maybe it’s because his route sucks such major ass, or because he’s honestly a bit of an asshole, misogynistic, homophobic, and ableist; or maybe it’s because his trauma is only briefly, fleetingly mentioned, as he and his friends refer to it, and then quickly brush it aside.

Zen Ryu, beautiful, stupid, and self-absorbed, is, on the surface, a perfect comic relief character, a beloved himbo, brash but well-intentioned. And I think this wonderful actor has been playing that role so well that he has fooled everyone, including the fandom.

Some character exploration and the uncropped art under the cut.

It’s no secret that Zen’s selfishness is nothing but a coping mechanism, masking a deep-set fear of inadequacy and paralysing self-doubt. It’s stated explicitly by Ray in Another Story, and it’s pretty evident from the way Zen is quick to worry there’s nothing more to him than his looks.

It’s obvious where he got it, considering how his mother treated him and his passions, and how his brother turned his back on him when he needed him the most. But there are more things I haven’t seen discussed anywhere, and I have a lot of thoughts and headcanons, and simply questions, so let’s start from the very beginning.

It’s made very clear in Zen’s route that his early life was… well, horrible. As early as kindergarten, he started getting singled out for his looks. Strangers kept staring at him and wanting to touch him, which bothered his mother.

Instead of getting on their child’s side, little Hyun’s parents tried to convince him he was ugly, to ‘humble’ him. It’s said that they just wanted him to be successful and to have a stable, secure life. Well, good intentions pave the road to hell, as it’s said. What they got as a result was a child who was harassed and stalked at school and in the streets with no one to confide in but his brother, who didn’t explicitly dismiss it, but still made light of it.

A little interesting point:

Make a note here of the ‘protection’ line, because I will get back to it later.

Anyway, whatever small support and understanding little Hyun’s brother provided him with, it wasn’t meant to last. Zen states that their parents treated them so differently they effectively separated them.

When he entered middle school and found passion for music, what his mother saw was her son turning to a precarious road and basically undermining his future. When she tried to convince him his dreams were stupid, Hyun’s brother took her side, leaving Hyun without the last person in his family who supported him. So little Hyun ran away from home, and thus began the story of Zen.

And here is where things get interesting. Zen left home when he was in middle school. A middle schooler in South Korea is anywhere between 12 and 15 years old. And a person living on their own must eat something and sleep somewhere. But here’s the catch: you can only rent if you are at least 19 (I’m assuming, Korean-19, so 18), and you can technically work part-time jobs starting at 13, but you need parental permission for that. And for any full-time job you must be 18. And this is the first big question with no easy answer: how did little Hyun survive after he left home? Where did he live, and what did he eat?

We can assume that for a while, he stayed with his friends, whom he for some reason tried to hide from his parents.

However, it would have been problematic for him to make it a long-term arrangement. If his friends were teenagers like him, their parents would be likely to tell his family where he was so that they would come collect their son. And if the friends were older and employed, it’s doubtful they would be well off enough to host a dependent long-term, unless there was something sinister going on. So the question remains: where did he live and what did he eat?

He mentions part-time jobs and extortion as sources of income, he worked night shifts to make ends meet, and there are also the mysterious 'bad things' that we will get back to later. But there are more variables here than just money.

Well, as far as I can tell, the answer to that is right here:

And now, I want you to stop for a moment and think about what this implies.

A child in his early teens (I like to assume 13-14), and a very pretty child at that, with a history of harassment that was never addressed, let alone stopped, finds himself on the street (at this point, we can presume: homeless and hungry). And he catches the eye of gangsters. Perhaps it’s my fresh experience watching ‘Banana Fish’ speaking (definitely not, I've had this conviction basically since I saw 'bad things' mentioned), but I want to really ask you: what do you think gangsters are likely to do with a beautiful and vulnerable young boy, besides use him for petty crimes Zen admits on the screens above? What 'bad things' could he have been forced to do to survive?

This admission by Zen himself doesn’t help my train of thoughts at all:

Of course, this is said in the context of exploitation at work, but given the gangs and the ‘bad things’, one can’t help but draw a connection.

Besides, this is where that screen I told you to take note of comes into play. Zen says that after middle school, he understood what his parents were trying to protect him from, essentially what dangers being pretty entailed. It couldn’t have been the usual harassment that he had been facing since kindergarten, he would have understood that by then. Another interesting point is that for someone with a gangster past, Zen is suspiciously gender nonconforming in his looks, and mellow in general demeanour. Yes, he’s rough around the edges, he’s homophobic, misogynistic, and foul-mouthed, but he isn’t really violent. Someone who used to fit in with gangs, especially as a youth, I would think, looks and acts differently. And this all takes me to a very grim conclusion: I firmly don’t believe that a good-looking and vulnerable child with no support network and with a history of harassment survived in gangs without being molested or sexually exploited once.

But let’s not delve into my headcanons and continue with the facts we have. These bits and pieces that come together to form a picture of Zen’s teenage years already paint a pretty morbid picture. But he made it big, became an actor, and left it all behind, and he’s happy in the canon timeline, right? Right?!

Wrong.

The most obvious thing is the contents of Zen’s fridge, which Jaehee points out when she goes to see him.

It’s referenced many times in the game, Zen lightheartedly says he often skips meals and in general eats pretty badly, and I think even V refers to it. And it’s easy to chalk it up to his insane diets and the expectations of his body and looks that he has to maintain to stay in the industry. Or, if you are a little like me and like to assume the worst, you can also attribute it to Zen’s borderline self-harming workaholism. But I think there’s a little bit more to it, and the key to it is actually where Zen lives.

I remember being a little confused as to why everyone was surprised that Zen lived in a semi-basement.

But I didn’t give it much thought, after all, semi-basements seem to be cheaper here as well, and Zen’s flat looked pretty nice on CGs (if extremely beige). And it wasn’t until recently when I was talking to a colleague about his friend sharing her experience in Korea that I learned that semi-basements were actually a signature dwelling of the poorest, and seemingly a clearly understandable trope for a Korean. Those semi-basement apartments are often at risk of flooding, which is apparently a well-known fact, and also why they’re supposed to be banned as residential quarters. And, of course, Zen is quick to tell everyone he likes that place with poor ventilation and little sunlight, because it’s Zen, after all. He has that working class mentality because he’s cool, and he likes underground apartments and old tech.

But it seems that the picture of his present life is also pretty grim. Now, I’m not in South Korea, and I know little about how theatre actors are paid there, but I can tell you what I know from several actor/actress friends here in Ukraine: theatre actors aren’t, unfortunately, paid shit. Even the ones you recognise and talk about, working in cool popular theatres, drop over half of their salary to rent a shitty apartment, and are left wondering what they’re going to eat. So it seems pretty likely to me that Zen’s empty fridge, old computer and mp3 player, daily subway commute, and semi-basement apartment all point to one simple fact: he’s simply poor.

And to make it worse, he seems to be extremely lonely.

I’m pretty sure he also mentions isolating himself when he’s feeling bad, but I can’t seem to find screenshots for that anywhere.

All that said, when the fandom looks at Zen, they see a self-absorbed himbo, the ‘don’t kill yourself you so sexy aha’ type of guy. And he is, and I think he’s hilarious, and I’m the first one to laugh at him tbh. But when I look at him for a little longer than a second, I see a young man who has been harassed to hell and back starting as early as kindergarten, who never graduated from school, who ran away from home in his early teens, worked multiple jobs, and still had to resort to crime to make ends meet. I see a young man who was once a vulnerable teen at the mercy of gangsters, who had to learn that all help comes with strings attached. And I see a young man struggling silently with poverty while maintaining a facade of a glamorous and charming actor.

And I think the charming actor has fooled everyone.

[artist-issues]

that was real dumb. From a storytelling point of view, truthfully. Why would you take the only character who has some real-life characterization, some stuff that grounds the show and makes it's main element feel at least a little rooted in reality, and unravel all that characterization—and then kill him off?

Let me back it up.

It's a teen treasure-hunting show. Nobody wants to watch that unless all those individual words feel realistic enough to be relatable, and compelling. Teen. Treasure-Hunting. Emphasis on teen, otherwise I'd watch National Treasure.

you have the boy hero who's dad was a treasure-hunter and mysteriously disappeared. Thats not very realistic, its a little fantastical, but you can make it feel realistic if you work hard, and compelling if he's a good actor with chemistry.

you have the hot girl who's part rich-kid, chosen-poor-kid, who hangs out with the underdogs just...because. Okay, that's a little cliche, a little "my parents don't understand me, I'm a rebel without a cause" in the cheeseball way. Clearly gotta be the girl-in-the-group, gotta be eye-candy. But you can make it feel realistic if you work, and compelling if she's played by a good actress with good chemistry.

you have the boy who's a brainiac and he hangs out with the underdogs because they'll be nice to him even if he's a weird brainiac, just...because. He's like the good-boy in the bad-boy group. Another cliche, but that's fine. That won't take too much work to explain, and it's not super compelling, but it rounds out the crew, and again, it'll work if you have a good actor with good chemistry.

you have another hot girl who's basically perfect and joins the hero group later—she's rich but she's more compassionate to poor people than literally anyone around her for unexplained reasons, she can be inconsiderate but that compassion thing comes in clutch if consequences ever roll around to keep her likeable, she's funny, charming, strong when she needs to beat someone up for girl-power but damsel-in-distressy when her boyfriend needs to look heroic, willing to turn on her whole family for the love of our hero, whatevs. Cliche, but you can even make her feel real if you work. Points for an actress who's good and has chemistry.

and then you have loose-cannon, comic-relief boy who's like our hero but grungier and slightly less heroic so that he doesn't steal the spotlight. He can break up tension when you need a break from tension, OR he can bring it in when you need to start drama, because like we said, he's a loose-cannon. Fine. Cliche—

—oh but wait. His dad abuses him. Oh, that's some real stuff right there. Real-world stuff. Not "my daddy's a supervillain murderer," or "my daddy ran off and disappeared treasure-hunting," or even "my daddy doesn't like my friends." It's right in between the cliches and extremes. It's real-feeling in a way that everything else isn't.

But maybe they'll overdo it and make it super-tragic, super-dramatic, they'll shoot it in a way that's too gratuitous, he's got PTSD but it's way overdone, he's all weak and mumbly or he's got to be taken care of by the rest of our motley crew like a soft boy—

No? No, they're not doing any of that? No, they shot it in a realistic way that portrays the horrible tension of the relationship but doesn't linger too long, too melodramatically? No, the character isn't making this his whole thing—hems actually acting like this is just a part of life? A sucky part of life, but a normal part of normal life for him? Woah. Thats real stuff right there. And it causes the trauma and the rage and the heartbreak but...all that stuff just simmers...under the surface? Realistically under the surface? He brushes the abuse topic off with people who care about him, but he's perfectly willing to use the abuse topic to get out of trouble with adults who are on his case? Like a real teenager in real life who grows up around this and experiences it might?

Wow. That doesn't take much work to do, at all. It writes itself. It is real and true.

More than that—little things—when a character says a heroic line of drama-film dialogue about treasure hunting, this comic-relief boy always winds up saying something...random and sort of shallow? He says something about weed or repeats what the dramatic kid said in a funny accent? Like a real teenager would in real life? Like a real kid, who really responds to everything as if he doesn't think much about The Future or Epic Destinies?

He eats moldy bread when everybody else is poring over a treasure map? He flirts inappropriately when he should be dramatically waking up in his concerned lover's arms after getting hurt saving her? He makes really stupid decisions, not because they need to cover a plot hole or because he's "the dumb one" but because...he's a badly-raised teenager who genuinely has always had to look out for himself? He says something simple and real when any other character would've said something daring and poetic?

And put on top of all that that he's played by an actor who's really good at his job and has great chemistry with everything that breathes onscreen?

That's the character that puts the teen in "teenage treasure hunting show." The real, believable adolescent-who-doesn't-think-beyond-the-moment. The reason watching this team of cliche treasure-hunter stereotypical breakfast-club Romeo-&-Juliet cast is even interesting.

By having JJ be a trailer-trash punk who's dad beats him up, who loves to have a good time with his friends and takes his anger about his lot in life out on a silly us-versus-them rich kid group every chance he gets? By being the character with one foot in "reality" and the other in "adventure" out of sheer "I've had nothing my whole life so I don't know what Considering My Future is, and I might as well be cocky" attitude?

He grounded the show. You can believe John B would drive his van into a moving plane, and Pope would be able to win in a fight against a grown-man drug-dealer, and buried treasure exists and can be found by kids—you can believe all of that because of JJ. Because one character feels real, your subconscious goes, "I know that the writers know what 'real' is because JJ stood up covered in bruises in that hot tub, so I trust them to bring 'real' back in somewhere down the line."

I'm not saying there's nothing else realistic in the show. I'm saying, he felt the most really real.

And they killed him.

I don't care how pretty and neat it is to see my hometown in their show, I'm not watching it anymore, it was already way not worth it, but that's just ridiculous.

Don't even get me started on the way they killed him, and by whom, and how it was shot, and at what point in his "character arc" it was done. Ridiculous.

[marinettesaltprompts]

The Maribat deconstruction got me thinking: am I the only one who thinks Adribat is a more....plausible (??is that the word) concept than Maribat? Like, not even in a romantic sense but a familial platonic sense.

Think about it, he's :

got the tragic backstory & suffered from neglect

canonically been abused waaaaay beyond school bullies

taken for granted by adults (primarily his dad & Master Fu) and by his peers (LB)

dealing with the existential crisis of not being human if we go the sentimonster route.

Look, I get that trauma & suffering should NEVER be a competition but when you think abt it, Adrien's suffered just as much, if not more so than Mari ever did even with Chloe & Lila in the picture. You could argue that some of what she suffers in salt fics (isolation, no support system, emotional suppression, harassment) are ALSO things Adrien goes through bcz while he's a superhero like her, UNlike her, his home life sucks.

So if there's either hero the Bat Fam would empathize with more, it's him. Yes, they can hold him accountable for screw ups but if we go the Good Parent!Bruce route, he can give Adrien the physical & nuanced emotional training he needs to spot red flags & deal with them beyond passivity. The training is harsh but at least he doesn't play favourites, giving Adrien no excuse to slack off & proper motivation to mature. Plus, in the Bat Fam, everyone has clear roles & secrets aside, nobody strings anyone along, offering him a reliable structure to fall back on.

He doesn't come into the Bat Fam expecting to be in charge. Instead, the nitty-grittiness would push him to be more independent & decisive instead of impulsive.

If LB tries to call him out, he could point out how for all she claims to be the 'responsible professional hero', she REacted instead of acted & if real IDs are thrown in the mix, he can call out how she just went with the 'woe is me' route, resenting that everyone didn't jump on her call for a witch hunt when she could've communicated to them privately.

Sorry, this turned out longer & less explicitly mari salt-centric than I thought but I tried to stay objective. I hope you don't mind.

Technically everyone would have their own opinion about whether a Miraculous/Batman crossover could actually work. In my opinion however, I believe that the best bet for a good crossover would be through Adrien more than Marinette, in part because of the reasoning you gave, but also because Adrien would fit the idea of a Batfamily member more thematically than Ladybug ever could. If anything, he's like Catwoman but without the whole stealing bit.

Keep in mind that the whole Maribat AU was created with the goal of creating a salt fic (albiet with a crossover), and the OG creator even took a character that was no way romantical and turned him OOC to make their convoluted idea work, ironically in a method reminding me of the "My Immortal" Harry Potter fanfic. Regardless how it later developed, the original idea was pure salt, albiet one that took off because of everyone's hate boner for any character that wasn't Marinette, with people later trying to justify it for one reason or another. It's an idea that should have never worked in the first place outside of this context. In contrast though, Adribat would actually work because of a genuine commonality connection.

Also I don't mind talking about Adrien on this blog. In my mind, Marinette salt and Adrien sugar are the one and the same on this blog, because the salt of one character is usally sugar of the other due to how these prompts go.

Hell, my entire blog was made in opposition to the more well know Adrien Salt Blog made by another individual, which has both plenty of Adrien salt and LOTS of Marinette sugar, though I would call the latter justification for Marinette's own bad behavior as it never discusses her own issues, it just let's her go off scott free by pinning the blame all on Adrien.

In any case, I like your idea! If you or anyone else want's to share any Adribat prompts that you got, feel free to send them here!

[manicpixiefelix]

head, heart, hand. {Felix Catton/Reader/Oliver Quick}

Part 17.

Summary: Learning little things, and big things, on these summer days. About each other, and how the world sees you all, in the garden, in the family room, in hindsight, in the study late at night.

{ masterpost }

Need to Know: They/Them. Explicitly NB Reader. FWB!Reader/Felix. Reader is from a well off family but has pretty much been adopted by the Cattons.

Warnings: reader, felix, venetia, and oliver getting high in the garden together, some degrading language (kind of a given any time venetia and reader are in the same room at this point), heavy discussion about the reader's parental trauma/neglect

A/N: 5812 words. i think i cast venetia in a bad light sometimes which i feel bad about because i love her to pieces, and she and the reader love each other very much its just that she's gotten used to being arguably too verbally prickly with them in order to rile her brother up mostly, and she forgets (and maybe i do too) what that looks like from the outside. anyways, just for absolutely no reason whatsoever, have you ever looked up what different flowers mean in flower language? much to think about.

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Venetia rolls her joints with little hearts at the end where the filter would go if it were simply a cigarette. It's a trick she learned during what she calls her 'gap year', what Elspeth calls her 'grand wine tour of Europe', and what Felix and Farleigh have recently started cruelly referring to as 'the year Venetia inspired a TV show'. While you do think it's mean, you also quietly agree that Billie Piper bares a striking resemblance to the young Catton woman in the ads you'd seen for Secret Diary of a Call Girl. Cruel implications is all you would say on the matter, not that either of the boys had been game enough to say it to her face.

But the thought floats through your mind in this moment, taking just a moment to admire the way she's expertly curled the paper before you bring it to your lips. She watches you with that smile that tends to intimidate others, sharp and mean and hungry, sharp gaze on your lips as you inhale, lips remaining sealed as you offer the next hit to Felix on your right. Venetia's focus follows the joint, straying from you to admire the way her brother takes a hit before he too passes it on to Oliver.

Felix muses to no-one in particular about how long it's been since he'd been out here to the Fairy Ring Garden, but only gets a response from Oliver, and a strained one at that as your guest holds smoke in his lungs as long as he's able, muttering that it's beautiful. Sitting on the grass in the morning sun, you squint at the iPod in your hands, trying to choose some music.

Venetia suggests Amy Winehouse. Felix calls his sister tragic under his breath, to which she flips him off. Still, it's the best suggestion you've got so far, so moments later, the singer's rich vocals warble out of the little, portable speaker you'd plugged into the headphone port.

"Good dog," Venetia says with a particularly mean sneer in her brother's direction as she takes the iPod out of your hands to place it on the grass, replacing it with the joint you'd all been passing around once more. Out of instinct, you place your free hand on Felix's chest, telling him that whatever reaction he was going to have really wasn't worth it. Venetia rolls her eyes, "boo, you whore," she snarks, laying back on the grass.

"I'm taking the rest of this as compensation for emotional damages," you hold the joint between two fingers, telling Felix to just roll another from the kit still sitting in the middle of the impromptu circle the four of you had made. Much to both yours and Felix's surprise, Oliver moves too quickly to let him, rolling with the air of someone who'd seen it done often without having done it himself.

Both you and Felix watch him for quite a while as he stumbles through the task like a baby deer taking it's first steps. Things are getting fuzzy and warm around the edges already, and you're caught up in watching the way Oliver's hands work.

"Why 'd you put up with her?" Oliver asks bluntly, frowning at his work. Venetia's indignant 'hey' goes otherwise ignored by the three of you and it takes a long moment for Felix to respond.

"She's my sister?" But in his confusion it sounds more like a question, talking about Venetia like she's not even there. But Oliver stops, and finally looks at him; he offers a rather sad looking, clearly unfinished joint, not as an offering but as a silent request for help. Felix takes it and tries not to look too endeared by Oliver's failed attempt as he fixes it.

"Not you, Felix," Oliver, after a moment, looks away from Felix, right to you, eyes wide and earnest as he watches you take a long draft of your own joint, now burned well down. His gaze makes his intentions clear, but still he offers, "she's mean to you too." Too, like he'd pointed out about Farleigh all those months ago.

"They like it," Venetia scoffs at the sky dismissively, but Oliver refuses to acknowledge her, even if Felix takes a moment to scowl at his sister and her constant, casual degradation of you. But a slow, amused smile spreads across your lips in the moments that follow, you can't help it.

"I love that you worry about me, Ollie," you sigh almost dreamily. Clearly not expecting that, you have the pleasure of watching Oliver blush with surprise, "you're so fucking pretty, Ollie," you add, though you're pretty sure you couldn't have stopped yourself from saying that out loud if you tried. He blushes harder, while Felix and Venetia both try and stifle their giggles; you take another hit, tilting your head just a little as you look at him, analysing him. Finally, when you ask his favourite flower out of seemingly nowhere, Oliver seems like he can't function under your gaze like this, and chooses to lay back in the grass, mirroring Venetia.

"Darling, you're such a lightweight," Felix snorts, speaking from the corner of his mouth as he holds the rerolled joint between his lips as if intending to light it. Before he can flick the lighter on, however, you take his chin gently in hand, guiding him to you, pressing the still-glowing end of your own joint to his unlit one for several long seconds, until his caught successfully.

When you and Felix join your companions in laying back on the grass, you do so together. His arm is around you, coaxing you to lay with your head on his chest, beside him under this perfectly blue sky.

"Why would you want to know something like that?" Oliver's voice reminds you he's there only moments later.

"Because their robot brain needs to know everything about everyone at all times," at least Venetia sounds fond when she chimes in, even if her words aren't exactly the most complimentary.

"You're lucky you're pretty, Vee," Felix cuts in with a casually cruel tone; you can feel the way he twitches with irritation, "because you have so few other redeeming features."

"I am pretty," Venetia agrees airily, pointedly ignoring his insult, "you're such a darling brother, Felix," she adds with painfully sarcastic faux-sweetness. Felix's only response was to sigh with incredibly loud disappointment, while you tried to stifle your giggling, caught up in the sensation of him tracing abstract patterns up and down your arms, and the idea that you could count on the ever-relaxed Felix Catton to always come to your defence. Had this been the case for years? Over a decade? Yes. Would it always make you a little bit giddy to think about? Almost definitely.

"And it's not like I'm wrong," Venetia finally broached the silence once more, "as if they don't already know our favourite flowers," she points out, before making a rather insistent noise. You bark at her command, it seems - those cheerful little yellow ones on the inner ring of flowers - dismissive, but the sound of her scoff has you correcting yourself, suddenly feeling a sting of shame and not quite knowing why.

"The chrysanthemums." The other three echo the name of the flower, one right after the other, all taking turns to turn it over in their minds and mouths as you almost burn your fingers finishing off your joint. As if trying to prove yourself, you add, interrupting them all, "Fi's are forget-me-nots."

Felix seems surprised to agree, like even he'd forgotten that detail about himself, or perhaps forgotten that he'd shared it with you, while Venetia's laughter has turned fond and knowing; it's a little condescending too, like she'd expected as much from you, but you try not to dwell on it. It's Oliver's voice that you focus on, endeared as he quietly murmurs the name of the flower to himself, like he can't quite believe something as soft as Felix having a favourite flower.

"Now I'm curious, Ollie," Felix finally speaks up, and you hear the grass shift beneath his head. He must be turning to look at the man in question, "do you have a favourite flower?" He pauses for a moment, "or is this one of our weird things, like wearing cuff-links to dinner every night?" He tries to play it off, but there's those notes of self consciousness that you're surprised he often gets when talking about tradition around Saltburn.

The grass near Oliver rustles, but your comfort overrides your intrigue to watch him.

"I think it's fox... Something?" Oliver says after a moment, "my favourite flower," he clarifies, "I haven't put much thought into it," he admits. You hum thoughtfully before asking if it could be foxglove. He confirms as much before going quiet.

There's a lull that follows in which Felix asks after Farleigh's whereabouts. Farleigh should be here, your hazy mind immediately chirps, you love Farleigh! Venetia sighs, sounding incredibly put-upon to be explaining that Farleigh was in the computer room, obsessing over his ex-boyfriend's MySpace updates that he'd missed lately. The ones about the tour.

"The guy from that Broadway show?" Felix asks with vague interest.

"No, his ex-girlfriend is touring with that Broadway musical, that he knows about, that he at least pretends he doesn't care about," Venetia corrected, "the ex-boyfriend is that one from that band, the one who wrote that song about him that got nominated for that award?"

"Grammy," you supplied automatically.

"Right," Venetia barely acknowledged you, "anyways, he's on that big, American tour with all those tragic, emo bands that are a big deal, which is apparently news to our dear cousin."

"Is that the one we were all talking about getting tickets to a few months ago?" Felix asks after a moment of silence, patting you on the arm as if his words weren't enough to get your attention. You hum in confirmation.

"I think so; The Warped Tour, we were going to make a vacation of it in LA this summer," you sighed rather forlornly at how the idea never got off the ground, "it was Anabel's idea -"

"- God, she's always been such a groupie for those kinds of boy-band-types -" Felix mutters derisively under his breath as if he hadn't spent the better part of two semesters inviting her to his dorm to listen to him play guitar knowing full well she'd practically be on her knees at the very suggestion. So of course you ignored that aside to finish your explanation.

"- except she turned around and said she hated the line up, when really she didn't want to admit her passport expired and she couldn't be bothered with the paperwork for a new one -"

"Actually," Oliver chimes in, though you're not sure if he was adding to the conversation, or if he'd even been listening, "when I was a boy I got to go to this botanical garden that had all these fancy flowers usually from the rest of the world." Oh. Flowers again? Sure. "There were these ones that got flown in from Australia, and I couldn't help thinking that they weren't worth it to fly all the way over here from Australia. Too long and curly and pointy; pretty, but not the kind that..." something about the way he speaks about the experience, about the flowers, it catches in your mind; Australian, long, curly, pointy, pretty, you tried to commit to memory, "that's worth spending your time on." He clears his throat and his tone seems almost forcibly lighter, "foxgloves are prettier, wouldn't you think? Yeah..."

Silence hangs between you all for several long, pensive moments.

"What colour were they?" You ask softly.

"Foxgloves?" Oliver knows you don't mean the foxgloves. He asks anyways. Everything always for the sake of the act, the pantomime of propriety.

"No."

"Red."

There is no more that needs to be said in the moment, but later you will be grateful when the details stick through the haze of your memories. Through the quiet, Venetia mentions how she misses the purple pincushions, how sweet and strange they were, and how cruel you have been to order the gardeners to prune the flowers before they can ever bloom.

The mere mention of those purple fucking pincushion flowers sours your mood; your one regret amongst your garden, a conceit to Felix that even he wishes he could take back knowing now how much you'd end up hating them. It's been a year since a single purple pincushion has bloomed in your garden, and you've been down here at least once a day all Summer, meticulous, pruning the bulbs yourself with much malice aforethought. Part of you is so filled with fury in this moment that you consider going over and uprooting the plants by hand right now, but Felix's arm around you, Felix's chest, solid and warm beneath your head, Felix's steady heartbeat in your ear, he grounds you.

For now you must simply remain content knowing that none of Eddie's precious, purple pincushions will ever bloom upon the grounds of the Saltburn Estate again.

"Venetia," expression pinched, you address her with far more coldness than you think you've ever directed towards her before, "shut up."

You don't remember when exactly during the day you asked Duncan to fetch you all the botany-related books in the house that made mention of plants native to the Asia-Pacific region. Knowing yourself, and knowing Duncan, however, you're not surprised by the small, neat stack you find the following evening on your desk in the lilac study.

While you fully intended on continuing your trend of wearing something provocative and continuing the pantomime of propriety with Oliver as the two of you had been doing each night for almost a week, Sir James raises the suggestion of a family movie night instead. Felix whines when Venetia and Farleigh champion the suggestion of a scary movie, and pouts when they bully Oliver into agreeing with them.

"Don't ask them," Farleigh groans when you're called upon for your opinion, "they're just going to say whatever Felix said but in a different voice," he rolled his eyes. You and Felix both choosing to flick little pieces of cantaloupe at him from your desserts does nothing but strengthen his argument.

Nobody thinks to ask Poor Dear Pamela her opinion, sitting at the end of the table, looking less than thrilled by the suggestion of The Ring, so everyone else decides that you and Felix are out numbered. On the way back to your rooms to change out of your dinner clothes, Oliver tries to apologise, and Felix tries to pretend that it's fine and he's just putting it on for Venetia and Farleigh and that he absolutely does not have the temperament of a rabbit when it came to anything scary. He is, of course, lying. But Oliver doesn't realise that just yet.

Venetia, always invigorated by a social triumph such as this, and never one to let a well-earned moment of joy pass her by, tucks her arm in Oliver's as the family meets back up in the living room. The moment is not missed by either you or Felix, who both glower at her bold display of affection as she ignores you and pulls Oliver onto the sofa. The large, plush armchair next to the sofa, with it's wide, low arms almost fits both you and Felix, though it's more of a token gesture than anything. No-one is surprised when he pulls you into his lap less than ten minutes after the film begins, arms around you and watching with his chin on your shoulder, ready to hide his face against your shoulder at a moment's notice.

When the film ends and the lights come back on, Venetia finally notices how you and her brother are sitting, and opens her mouth with malicious intent in her eyes.

"Watch it," you warned her before she could say any choice, disparaging remarks, "remember who's kept you off of What Not To Wear the past six years," you remind her; Felix, giving you a little squeeze, levels a smug smile at his older sister over your shoulder. Venetia closes her mouth, expression immediately turning.

"I can't believe they're still making that show," she spits, stalking from the room. Farleigh, finally getting up and stretching, follows her out at a far more relaxed pace.

"I can't believe they're still fighting Y/N to put you on it."

With those two having left, Elspeth and Pamela both give you curious looks, Elspeth asking if it was true. You confirmed as much with a blithe shrug, finally getting to your feet.

"Years ago one of the hosts was trying to track Ven down after seeing her on a red carpet and word got back to dad - or, well, his assistant at the time - and he remembered that I'm pretty close with the Cattons," you gave a humourless smile, offering Felix your hand to help him up from the sofa, which he gladly took, "however Ven was deeply offended when I asked her if she wanted to be on the show," Felix let himself chuckle at that, while Oliver was taking longer to stand, strange look on his face as he listened to you with surprisingly rapt attention.

"And they've been, what, continuing to ask after her even though she's said no?" Elspeth frowned, but you sighed, shaking your head.

"No, apparently Ven sent in a particularly rude letter despite me informing them of her refusal, and now dad's assistants seem to think I'm her agent and I get a call every time the show is threatening to add her photo to a montage of worst-dressed celebrities."

"Didn't she freak out when you refused to get an episode pulled when they actually did it?" Felix snorts, to which you rolled your eyes.

"That's why dad's assistants keep calling me, because of how she reacted to that episode."

You do feel a little bit bad for Venetia in this moment, when you see the resigned disappointment in both her parents' eyes at the story. The rest of you do finally filter out at this point, all heading back to your separate rooms. The walk is quiet for the most part, except for when Oliver, who'd been looking as though he was ruminating very hard on something, looks to you.

"Y/N, what does your dad do for work?"

You know and hate that Oliver sees the moment in which his question makes you uncomfortable, no matter how much you try to not let it, nor how desperately you try to hide it. Shrugging as you desperately shoot for casual, you sigh.

"I'm pretty sure your guess is as good as his," you say blithely, so casually evasive that Oliver doesn't really think to call you out on it before you get to your room. But after you and Felix wish him good night and head into your room, you close the door and slump against it with a heavy sigh. Felix lets you have this moment of respite to yourself, quietly moving about the room, getting ready for bed.

"Do you think they'll even show up?" Finally Felix breaks the silence, and you just make a vague noise, "to the dinners they told mum they'd be at," he clarified after a beat.

"Probably," you muttered, dejected at the prospect as your mind wanders to the couple who reluctantly created you.

"They asked about you," you admit to Felix quietly. From what you can hear, he stops, "mum, specifically," the memory of the phone call with your grandmother burned bright in your mind; it wasn't particularly recent, had happened at the start of your last semester, but you'd kept it to yourself for so long. You'd tried to disconnect yourself from it, tried to take solace in your grandmother's fury on your behalf, but you feel your face heat up with your own anguish, "asked how you were and if you were still living in 'that beautiful house with the Reubens and all those royal portraits'," voice trembling with both heartache and resentment, you slide down the door, tears welling even as you had your eyes squeezed tightly shut.

"Nan sounded so angry when she told me," you whispered, knees drawn up to your chest, "I've never heard her like that; she made it sound like she yelled at mum for- for- for ages -" you feel when Felix settles down beside you, wrapping his arms around you and pulling you close. This is when you finally break, when you finally let yourself cry, whimpering, "but I bet mum just hung up on her the minute she felt like the fucking victim."

Felix isn't the one who needs to be apologising right now, but part of you knows you'll never get one from the people you crave it the most from. Still, he apologises with his lips against your temple. You know your best friend well enough to know his heart is breaking for you, and fuck you wish you had been strong enough to push back this breakdown, but you couldn't -

"She asked for you by name, Fi, full name," you sobbed curling up in his arms, burying yourself against him in your misery, "they haven't spoken to me or about me in eleven years; they haven't even said my name- they've acted like I don't exist to everyone - everyone - even to my own grandmother for eleven years!"

There's no easy sleep that can be found after a revelation like this, but Felix, even after he manages to drift off, is unwilling to let you go, unwilling to let you feel even the slightest bit alone for the rest of the night. It continues through the next day, even as you assure him you're fine, that you're glad for his comfort but that you've overcome the despair that had hit you so tremendously last night. It's not even much of a lie.

You spend the day with the family who'd taken you in without hesitation, and feel a swell of pride within you as you hear Oliver comment enthusiastically on the Palissy plates Sir James had always loved dearly. You yourself vaguely recall the plates getting a page to themselves in the very book you'd gifted Oliver about Saltburn, so you were glad to see him putting it to good use.

A little white lie about how deep Oliver's love for Palissy genuinely was really wouldn't hurt anyone. Honestly, it was worth it for just how brightly Sir James' eyes shined at one of Felix or Venetia's friends finally taking an interest in his antiquities like that.

But all day, Felix was never too far away. Not that he was incredibly obvious about it, at least not from anyone else's perspective, but you could tell. Quietly, you were grateful, even if you were still trying to convince the both of you that you were okay. Something about being able to just lean back and know he'll be there in times like this, times where you need him to be there but don't know how to say it out loud, is a comfort you never want to take for granted.

You want to thank him but it gets caught in your throat. But standing on his balcony as the sun sets, sharing a cigarette, you take his free hand for this one, quiet moment. Your voice is full of affection, full of thanks, full of love, too much for you to even look at him, focus kept on your hands, your fingers laced with his.

"My Felix."

"Always, love," he kisses your forehead.

That night, the only time you are without him is when you end up in the lilac study, wondering if Oliver will even show up after last night broke the tradition. Either way you'd use the time to continue to go through your botany books on the hunt for red, curly, pointy, Australian flowers. You keep seeing bottle brush but something in your heart said it wasn't right. However long you'd actually spend perusing the books tonight would depend on if you had company.

But eventually Oliver does choose to darken the doorway with that hungry-eyed stare you've never seen in the light of day, and you take your time with noticing him. Tonight you're lounging on the cream sofa in one of Felix's shirts, not even bothering to do the buttons up; you've pulled it mostly close for a pass at modesty, considering the only other thing you're wearing is underwear.

"'re you seducing me?" He sounds amused; you're surprised by how quickly he cuts to the chase, but you try not to let it show.

"Is it working yet?" You turn another page of your book before you finally look up, playing almost at boredom. Oliver, barely visible for the lamp light, the gallery beyond him nothing but shadows, huffs a laugh at that, and for reasons you can't quite understand, he drops his gaze. He breaks the moment, the rules of the game. Oliver doesn't look away, he never has before.

"You trying to get me in trouble?"

"Depends on what you consider to be trouble," your smile grows wider as you carefully set your book to the side, fixing your intrigued gaze upon Oliver properly, "perhaps I'm saving you from trouble." In a sense, the more nights you can get him to spend here with you, the less he's falling prey to Venetia's planting herself beneath his window you're sure she's doing, just as she had with Eddie a year ago. At least this time you've learned.

"I think you may very well be the trouble," Oliver looks up, just in time to see your wicked, delighted grin.

"Then I am definitely trying to get you in trouble," you don't even hesitate before firing off the inuendo, smiling wide and proud at your own quick wit. The sight of Oliver's very genuine smile and laugh catches you off guard too; it'd been so long since you'd seen it, you forgot how taken you were with him when he lit up like that. Then, as the laughter died down, Oliver walks in, he sits with you, lets you lean against him.

"You've been saying a lot of..." he hesitates, turning to you. Oliver wears a strange, lopsided smile, but from the corner of your eyes you see something reserved in his gaze as he takes in the sight of you in this moment, "generous things about me." He's too close to miss the way your breath catches. Venetia and Farleigh are dirty fucking snitches, "'s alright-" he tries, but there's clearly some kind of reservation in his voice as he staves off your stammered apology, "knew what I was getting into, didn't I?"

With Oliver's arm around you, you can't help but wonder aloud -

"Did you?"

"I thought I did," he admitted softly, and you tipped your head onto his shoulder, then you feel him shift, feel his lips on your forehead and voice soft, "I think I thought I'd be alright anywhere if I was with Felix." For reasons you try very hard not to think about in this moment, Oliver's words sting.

"Oh," it almost gets caught in your throat; your traitorous heart sinks in your chest for just a moment. Except Oliver gives you a squeeze, holds you tight as he seems to realise his mistake.

"Of course you're a given," it almost salvages the moment, and of course you feel as though you have to act like it does, but there's something tight and unfamiliar balling up in your chest. "Felix loves you," Oliver sounds almost wistful, words coming out more like a faint breath, but perhaps it's this strange new feeling in your chest that makes him harder to read in this moment.

"He loves you too, Ollie," you tell him, forcing yourself to inject some levity into the moment. This time it's you who moves, who turns your face to Oliver, forehead against his as you muster up the warmest smile you can manage, pressing against him, making a show of overwhelming affection, "we both do," of course, your tone says, obviously.

And Oliver actually giggles at that, so it must work. In the next moment he's pulled you into his lap. It's so easy for you to readjust, to fit in his arms, in his space, against him, like it's where you were always meant to be.

"Is that you talkin' or Felix talkin'?" Oliver asks finally when you've got your arms settled around his neck, "I don't mind, I'd just like to know."

"What 'd you mean?" You ask, curious about the wording and it's implications. Oliver visibly hesitates, though he seems more embarrassed for whatever was about to come out of his mouth than anything else.

"Speakin' with Venetia made me realise how little I actually know about you," Oliver says carefully. Almost immediately your expression sours, and a long, exasperated sigh is pulled from you, "she's a deeply confusing woman, isn't she?" He adds almost like an afterthought, and you barked a quiet laugh.

"That is a very kind way of putting it," you offered diplomatically after a beat, before letting go of Oliver and leaning yourself back against the arm of the sofa, considering your next words carefully. His hands come to rest on your stomach, but you're surprised when he does up two of the buttons of Felix's shirt, providing you with a little more modesty. Then, his hands come to rest on your stomach and thighs, warm and unmoving.

"You're a deeply confusing individual yourself," Oliver pushes softly, "when I think about you too much, I realise there's not much to think about, least nothin' you've told me," and you hum noncommittally, looking up at the ceiling. The next words that escape you are from a script you'd thought was long buried.

"Yeah but that's kind of the point; I'm not really meant to matter, or be looked at, or thought about -" the words seem to shock even you, eyes going wide as you look to Oliver. The intensity of his stare has your heart hammering against your ribs as you try to back pedal, "sorry- that's not- I mean- sorry, that's really not, anymore that is -" you didn't even believe that anymore, right? Your place in the world as impressed upon you by your own parents for the first ten years of your life. Surely having spent more time by now with Felix and the Cattons than you ever had with them was enough to rewrite a good deal of the cruel way in which you'd been hardwired.

Oliver reaches out, caressing your cheek with that confident smile he only ever seemed to wear when the sun couldn't see him. He tells you that you matter, with absolute sincerity. Then, expression lightening to something fond, even teasing, he warns you not to let Felix catch you talking like that, that his love for you was the kind that would have him throwing a parade just to prove that self-doubt wrong. It was a nice mental image, if only for a moment. You, Oliver, Felix, not necessarily a parade for you per say, but a mess of colour and joy and music in the city, together and happy and -

"I don't know if you'd want that," Oliver's grin is fading, and finally you sit back up, let yourself be wrapped up in him as he continues to trail his fingers across the edge of your face, down your throat, across your collar, "but then again Venetia thinks you don't even know how."

"How what?" Voice barely more than a whisper, you know he can feel how quick your heart's beating, his hand flat and warm on your sternum.

"How to want for yourself, 'least not anything outside of Felix," he keeps his gaze trained on his hand, heel of his palm pressing firmer just over your heart, "which is why I asked; you said you loved me, is that you or Felix talking when you say that?" And finally he looks at you. That tight, sharp feeling in your chest spikes when he meets your gaze. He looks so earnest, so open, so ready for either answer.

But you stand, leaving both yourself, and Oliver's lap cold, but hoping your smile is warm enough compensation. Except you can hear in his voice that he believes Venetia; she'd confirmed what he'd suspected, it's what he left unsaid the night you'd slept with each other. The only thing you wanted was so easily met; to be wanted, and seemingly content with nothing more outside of Felix. A contented sycophant, easy to please and happy to be used; you knew the world was happy with this being your place in it.

And the more you think about it, the more you think Oliver is too.

"Of course it's Felix," you tell him what you're almost certain he wants to hear. No need to scare him off with the expectations of your own feelings on his shoulders. Oliver watches you for a long moment, simply observing as you smile wider, and hope that it comes across as adoring, "which means of course I do love you too, that's a given, Ollie." The sharp discomfort is scraping at your ribs, more painful with each word, hollowing out your chest moment by moment, so you bid him good night, unable to bare the conversation for much longer.

"Just one favour, by the way, if you could," you add by the door. He makes a noise of intrigue, but you can't even bring yourself to look at him. It'll be another just person looking at a placeholder while they're waiting for Felix to be ready to love them back. Usually you don't mind. Usually it's enough and you can still enjoy their company and have your fun. But they aren't Oliver Quick, "just... please refrain from properly fooling around with Venetia? I know I sound like a hypocrite but," you take a deep breath, smiling wide enough that you don't even have to see Oliver, "it kind of goes back well beyond just you."

The next morning, stopping into the study before you head down to breakfast, you intend to collect the book you'd finally found those red flowers in. Top of your pile, you'd left it open on the very page. But you find that someone has turned the page. Scabious, in full bloom, mocking you, surely.

The botany book lay like a bitter seductress on your desk, left open, pages spread and staring up at you; purple fucking pincushions.

[pessimisticpigeonsworld]

Rhaenyra and Motherhood

Motherhood is an integral part to Rhaenyra's character, both in the show and the book. So many of her actions are based on her children and her legacy is carried by her sons Aegon III and Viserys II. However, her antis are obsessed with removing motherhood from her character or claiming that she was simply a bad mother.

Rhaenyra's motivations throughout the Dance were driven by her love for her children. From the loss of Visenya fueling her desire to reclaim her throne to Joffrey's death causing her to return to Dragonstone. Even before the Dance, Rhaenyra's desire to protect her children was part of her motivation for marrying Daemon so quickly.

Despite these facts, Rhaenyra's antis always want to portray Rhaenyra as a selfish woman who doesn't care about her children and only wants power and to get laid. They blatantly ignore how Rhaenyra loves her children so completely.

Rhaenyra raised Jace to be someone even Mushroom agreed would be a great king. He was kind, intelligent, protective, a good military strategist even at fourteen, and a skilled fighter. Even though the show decided to give many of his attributes to Aemond, he's still a good man and much wiser than his older uncles. He was also respectful towards women and had a good relationship with Baela.

Lucerys was greatly loved by Rhaenyra, in the show she calls him her sweet boy. She raised Luke to be a kind and brave boy, he was respectful to Rhaena and had a sweet relationship with her. He was protective of his siblings and just wanted to make his mother proud.

Joffrey was a brave boy, perhaps too much for his own good. He wanted to defend what was left of his family, which led to his untimely death. But in life he was loved by his siblings and Rhaenyra and she was fiercely protective of him.

"Nor would she suffer to be parted from Prince Aegon, her last living son...day and night the boy remained by her side like a small pale shadow."

Even though the show hasn't yet given us any stills of Rhaenyra and Aegon the Younger, we know a lot about their relationship from the book. After the deaths of her other children, Rhaenyra held Aegon closer than ever. He grew to be a good king, despite his severe PTSD. He was firm with his advisors, stabilized the realm after the Dance, strove for peace, visited the sick, and tried to bring back dragons using magic. The only reason he isn't remembered fondly is because he wasn't happy or interested in kissing up to the lords.

Due to Viserys' age at the time of the Dance and his subsequent separation from his family, we don't know much about his relationship with Rhaenyra. But we do know that his disappearance was greatly grieved by her and that he was very close to his brother Aegon. Regardless, Viserys was a good king and such a skilled politician he was compared to Jaehaerys himself.

Visenya may have been stillborn, but she was greatly loved by Rhaenyra. Rhaenyra's only daughter, she was mourned greatly by her parents and it was her loss that helped spur Rhaenyra in her desire to reclaim her throne.

Motherhood is one of the key aspects of Rhaenyra's character. Her trauma revolving around the tragic death of her mother makes her love for her children and happiness as a mother even more compelling. She was at her happiest when she was able to live with her beloved husband and children unbothered by the Greens. She deserved to reign with her children around her. Their loss destroyed her emotionally and removed any hope Aegon and Aemond had for mercy from her or her faction.

Even though the misogyny of Westeros prevented her from being remembered as a true queen, her children are still fondly remembered. It's through them her legacy and final victory over the Greens live on, and the Green stans hate that so they try to remove her connection to her children. But their efforts are as useless as their favs, as Rhaenyra's legacy is alive and well in ASOIAF through Daenerys and their beloved usurper and his bitch mother are only remembered as war mongers and power hungry thieves.

[btr-rewatch]

Big Time Rush Fandom lore from back in the day

The fandom during the years the show was on was booming with constant content being churned out, especially fanfics. Most of the BTR fanfic community knew each other and formed collective headcanons and lore that were then spread and picked up by the rest of the fandom (ie tumblr). I had only just recently discovered online fandom spaces at the time, so I didn't contribute fanfics or anything (which is good because I was young, and they would have been terrible), but I did absorb a good deal that stuck with me. Thought it might be fun to share. A lot of this might still apply today but truth be told, I don't really know much about the current fandom headcanons. I'm still learning things as I continue to interact with people on here! Also! Idk if anyone currently in the fandom was around during Miss Fenway's reign, but she was the Queen of the BTR fandom and most "famous" of the fanfic community. A lot of the headcanons adopted by the fandom started with her and were quickly picked up by others.

Kendall ��� Pretty much unanimous agreement that his father was a deadbeat who had walked out on the family very shortly after Katie was born. This explains why there is ZERO mention of him in the show, no family pictures in the background that hint at a father still being in their lives, etc. He caused them a lot of pain, so they erased any trace of him. • Some people took a little bit of a kinder approach to him, where he was a genuinely loving dad when Kendall was very young, but then things unraveled, and he ended up leaving. • He was big into hockey, which sparked Kendall's love for the sport. • Lots of sad fanfics involving Little Kendall dealing with his parents deteriorating marriage and being forced to "take charge" once his dad left. • Also agreement that he likely dealt with a decent amount of anxiety and very clear abandonment issues, along with a hero complex. • Naturally, Kendall was very often the focus of intensely angsty fics. He was always being pushed to the limit, ignoring his own issues, sacrificing himself, etc until he reached his breaking point.

Logan • Prior to the airing of Big Time Moms, it was generally headcanoned that Logan's mother had died when he was very young, and he was being raised by his father. • It was also headcanoned (in the fanfic-sphere at least) that Logan's dad was an awful person. Don't ask me how this came to be because I don't actually know. All I remember is discovering fanfiction, reading fic after fic of Logan's dad being horrible, and going, "Huh, I guess that's a thing." • Logan's dad ranged anywhere from being a raging workaholic who totally ignored & neglected Logan to being outright abusive. • The main reason Logan threw himself so hard into school and being "smart" was so his father would notice him. It did not work. • Because of this, the fandom headcanoned that Logan was pretty much "adopted" into the Knight family from the moment he befriended Kendall. Mrs. Knight is the one who raised him and gave him love, and so he and Kendall grew up as brothers. (Several fanfics even had Logan be officially adopted into the Knight family at some point) • If there was an award for most tortured character in BTR fanfiction, Logan would have won hands down during the 2009-2013 fanfic era. This guy was put through the wringer! He was always experiencing trauma. When he wasn't being emotionally scarred by his dad, he was dying tragically or losing an arm in a shark attack or getting brain damage or being kidnapped. Logan suffered constantly lol the poor guy.

Carlos • He likely got the best, most lighthearted side of fandom headcanons and probably suffered the least in fics. Largely because he's Carlos, and nobody wants to hurt Carlos. • From a big, loud, happy family. Definitely the healthiest, most stable upbringing of all the boys. • Babied and loved so so much by his parents. • People had different ideas regarding the actual makeup of his immediate family, but most people headcanoned him as the oldest and only boy, with 3 or 4 much younger sisters. • His father was often written as having a special bond with Logan. I remember a trend in fics where Logan called Mr. Garcia "papa" and looked to him as the main father figure in his life. • It's still assumed that Carlos has a serious case of ADHD, right? Because that was a given back in the day. James • Honestly, I remember the least amount of James lore. Let's see... • Only child • Uses his superficial exterior to hide the fact he's deeply insecure • Actually feels everything so deeply that he has to pretend he doesn't care to avoid getting hurt. This was used to many fic writer's advantage. • Loved by his parents, but they don't show it well, and he grew up feeling disconnected from them. And that's about all I've got!

I should dig back through my old list of bookmarked fanfics at some point and make a post of the ones that were my favorites.

[bonefall]

PLEASE make Whitewater be the one who kills Weaselkit. It would be so (tragically) cool, like just thinking about it reminds me of other amazing BB scenes like the Elderberry and Ferncloud scene but on a smaller, background character scale. It would also be a cool parallel type thing to Spiderleg who attempts to kill his son during the same battle. Obviously Spiderleg and Toadstep don’t personally care about the death of a non-Thunderclan kit, so it’s not like they would be aware of the other family murder happening, but WE would know. And we would be shitting our pants. (I’m a sucker for generational trauma and parents failing to protect their children in fiction please mister bonefall)

I HAVE to do it. It fits too well. It's absolutely shockingly tragic and horrrible. Hell opened up and Owlclaw's worst nightmare came lunging out. I have so many thoughts.

Owlclaw has had a whole life dealing with the neglect and abuse he went through, taking it out on others as a bully, and it's only now seeming to get any better

Mentor Oakfur being even more of a parent to him than any other apprentice he's had, knowing Owlpaw needed it.

Whitewater had FINALLY died. It hurt like nothing else, because in spite of everything he loved his mother... but he was FREE

And maybe she was, too. Maybe in StarClan she could watch over him, perhaps now with distance her memory can be something positive.

There was a time he might have wished suffering on her. But he's going to be a dad, now. He's learned that holding onto grudges never seems to do anything constructive.

He started his new life with Pinenose, still in their honeymoon phase. They're a young couple and everything is moving fast, they're welcoming two little twins.

Weaselkit and... Happykit. He still thinks it's silly, but he said it as a sardonic joke because he couldn't think of a good name and Pinenose beamed. How could he burst her bubble?

He has NO idea that his mother didn't ascend to StarClan. Shes doonstairs. He's daring to assume the best, and she's embracing the worst.

She doesn't need long to be completely onboard with Tigerstar's scheme. She didn't even need a discussion with Hawkfrost. The only reason StarClan would throw her down here is because there's a problem.

So, she'll put it right.

The IMMEDIATE validation she feels seeing Harespring training in the Dark Forest is intoxicating. They ARE cursed!! One of them already found its way here!

(AND the spawn of that damn TRAITOR, Crowfeather. The bastard who betrayed Mudclaw's coup.)

Harespring started training here out of curiosity, and a speck of heresy to be totally honest. He wanted to know his biofather, Mudclaw, and StarClan couldn't be all that wonderful if it would allow his brother Kestrelflight to be forced into the Cleric's den so young.

But NOW, having met Mudclaw and hearing his side of the story, and now WHITEWATER landing here as well...

...he has never had stronger faith in StarClan before. Mudclaw was horrible enough. Whitewater is unhinged.

There is no doubt in his mind that these two belong here. The sad stories are outweighed by cases like these, so in his opinion, there SURELY must be things he doesn't know about innocuous cats like Houndleap and Featherwhisker.

He hates coming here, every moment he's trapped with one of his bioparents is a moment he wishes he was spending with papa Torear.

Harespring betrays the Dark Forest the minute he has a chance to. But it doesn't stop Whitewater.

Weaselkit's death happened so fast and they were so young that Happykit can barely remember it. Was it after Dustpelt crunched? ...he thinks it was during.

I can't imagine Happykit will be told about Whitewater until he's much older, but... he knows Weaselkit's death is what drives the wedge between his parents

(Of course that's too simple to be correct. Happy's smart in the way that you get when you have to grow up quick, but still a kid at the end of the day. Owlclaw backslid into old, destructive ways. Pinenose can't handle him and their child and her grief at the same time. They were a young couple to begin with. It shattered like glass.)

I'm not sure who dealt with Whitewater during the Battle of the True Eclipse, but she is definitely double dead. Part of me wants to make it Spikefur, Pinenose's next mate. But Owlclaw dealing with his mother a minute too late, after FINALLY finding peace with it all, is also gut-wrenching.

[wholoveseggs]

How I look camping ⛺️ your page everyday waiting for you to post… like your writing is so good and I’m so obsessed with it. 💜 But about Kol and I guess the other Mikaelson boys (minus Finn),, they’re all scary in their own ways.

With Klaus he’s scary because of his rage and his plans,, you can immediately tell when he’s angry because he makes it known through his throwing things and shouting.

For Elijah, he’s calm and collected and that’s what makes him scary, you don’t know how he’s truly feeling or going to react because he hides it so well. I don’t remember the exact scene but it was in the originals I believe where you could like see the rage on his rage and that too is scary because he’s so angry in that moment that he isn’t even attempting to hide that rage.

For Kol (my love), he’s a wild card, a loose cannon. He can be violent but he can also be gentle as seen with his relationship with Davina. I just think his personality is so fun and intriguing. There is absolutely no reason for a vampire, an original at that to be using a baseball to beat people but he does just because he can?? does this make me crazy?? maybe a bit?

a common misconception i see a lot is when Kol is undaggered and Klaus backs away from him. this is for two reasons… yes, i believe Klaus was nervous of Kol being awake again because he knows his brother is a loose cannon but also because it meant that the others were likely awake as well and perhaps he could fight one of them but he definitely couldn’t find all of them at once.

no matter though because both Kol and Klaus can admit that Elijah is the “scariest” so your love wins that contest~ 💜

Hello again darling camping anon! I have so much to say on this subject.... like SO MUCH. So buckle up.

I think the fundamental difference between the three of them is how they react to and experience control. It's simultaneously an emotion, a situation and a choice. And something that all three of them couldn't really have growing up.

They are all victims of domestic violence, and each one is dealing with it differently. (And not in a healthy way at allllllllll. They absolutely continue the cycle of abuse...)

First we have Klaus, (The iconic little shit that he is)

He clings to control like a lifeline. Being the most helpless as a boy, he has always felt that if he was stronger, had more power, he could keep those around him safe. He believes that the only way he can feel safe is if he's in control. So, in his mind, any time someone takes that from him, they are actively trying to harm him. He will fight for control over everything and anything. His family, his city, his art and (most importantly) his life. His need to control the narrative around him and keep his secrets, is born out of the trauma and fear that his father instilled in him. His rage is born out of his own sense of helplessness.

Joseph Morgan does an excellent job of conveying that pain. Klaus is always a bundle of anxiety and panic and fear, no matter how he's acting. He's hyper vigilant and constantly looking over his shoulder, waiting for someone or something to try and control him again. It's why he clings so desperately to control, because he never wants to be made a victim again.

Second we have Elijah, born after the loss of Freya. I've always viewed him as a tragic character, who seems to be nobody's favorite in the family, but also the glue that holds them together. He's burdened with being the adult in the room. I can imagine that Esther's grief and guilt around losing Freya sort of imprinted on to him. She probably saw him as a replacement for the daughter she lost, putting all this pressure on him to be perfect, while simultaneously giving him no agency to be his own person. His entire childhood was spent either protecting his siblings or taking care of his mother's emotional needs. (This also applies to Finn, who i'll talk about later)

His relationship with control is nearly equal to Klaus'. He's always been a peacemaker, the level headed, calm brother. Always trying to bring harmony between his siblings. And while he has a much different way of expressing his feelings, he is a victim of the same violence that the rest are.

But, what makes him the scariest is the fact that his anger is silent. Elijah doesn't show his emotions, he represses them. And then when his control snaps, it's like a damn bursting. You don't see it coming, because he's so good at hiding his anger (& all of his other feelings). But when it's there, you feel it. And it's terrifying. Because his anger is fueled by pain and a lifetime of having to be strong. It's a glimpse at a deep well of pain that you realize he has been hiding all along.

Daniel Gillies absolutely nails this simmering rage with his eyes. Somehow that man can convey every single emotion without saying a word. When he looks at his family, or a person he cares for, there is this warmth and kindness. But when he looks at a person he is angry at, a person who has hurt someone he cares about, you can see the light almost dim, and his eyes will become cold and dark. You can feel the danger and rage in them. It's a delight to watch.

Third we have Kol, who is a complicated and messy character. Kol was born into a family that already had a system and a hierarchy, and he was pushed aside and ignored. Nobody's favorite, nobody's first choice. He grew up angry and frustrated, feeling unloved and unheard. He looks to his older brothers and their relationship with control, and takes the proverbial baseball bat to it. If they couldn't love him the way he needed them to, then he would make sure that they would at least remember him. So he becomes the black sheep, the outcast. He's wild and chaotic, doing whatever he can to get attention. He doesn't really care about control, because he never had any growing up. I have always viewed his bloodlust as an allegory for addiction. His response to the violence of his youth is to numb the pain with the rush of adrenaline and power. To take from others what was taken away from him.

His rage is the loudest and the quickest to come to the surface. He's not one to stew, he's quick to fight and fast to burn. Which is why his relationship with Davina is so good for him. She loves him the way he needs, and rightfully calls out his bad behavior. As gross as it sounds, she's kind of the mother figure that his actual mother never was. (IM SORRY I KNOW ITS VERY FREUD OF ME .... BUT AM I WRONG????)

I'm not going to bash any acting... But I think Daniel Sharman captures Kol much better. His complicated relationship with death, control and magic is portrayed beautifully. Especially the scene where he is dancing with Davina before he dies. It shows real growth on his part, no longer the baby brother, no longer the victim and the victimizer. In that moment he's the protector, trying to shield his girl from grief. And it always makes me tear up ...

(This scene always makes me laugh, I truly believe Elijah is the funniest character)

And last, we have Finn. Who I love to make the butt of the joke here on this blog. But I do have a few things to say about his character.... Which is.... He isn't really a character. But an object.

They drag the poor man out to show the audience what bad thing can happen to an original. First with his death in TVD, teaching everyone about the white oak stake and sirelines. Second in TOG with Lucians deadly bite. He's just... Not written to be liked.. and it's never really explained why they kept him daggered for 900 years.

And with Finn... there is no control or lack thereof, because he has no agency. And his rage comes from the fact that he is a man out of time, with no one who cares about him.. And it makes his character all the more sad and pathetic.

They make him this bitter, angry villain. Trying to kill his niece, and they never justify exactly why. I think fear of Dahlia is a piss poor excuse. I would rather he lean into revenge for being daggered than trying to hold onto his righteous nonsense.

(But lets be so real here... its because the writers didn't want to give him any depth. They didn't want us to get overly attached, so they could use him as a low-stakes original vampire that demonstrates the actual deadliness of a weapon or person)

But!!!! Yusuf Gatewood is the absolute GOAT and his portrayal of Finn and his rage is just delicious. He almost reminds me of like a rabid preacher, the way he spits out his hatred and bitterness. But it's so fun and I enjoy it every time.

Anyways.... Sorry to hijack your message lol.. I just love to psychoanalyze crazy fictional men!

[08melancholie]

NO HATE i love ur acc, but how come you have a big obsession with micah?

Great question! I have a very simple reason why, being;

His Character.

Micah is a very, very complex character. This is often swept under the rug because of his status in the game, being that he's a antagonist. Unfortunately for Micah, this puts him and R* in a very sad situation; his character and story are overshadowed by his role as a villain in RDR2, which often means that's all people see him as in the game; a snake, a traitor, a rat. I'm not saying that these claims are false, but it isn't the only thing about Micah that people should know about and focus on.

I've been interested in him since the Prologue, with the sickest introduction of a character I've seen all game. And thankfully, I got to play the game without any spoilers beforehand—meaning I didn't have a biased opinion before I got to playing the game. This was the first part that led to the obsession... I used to rush story missions just to see if there were any Micah ones to play. Yeahh... I really liked him at the start, he was undeniably my favourite since the start, except for Dutch.

Micah is a very tragic and unfortunate character. He's had his fate sealed since the day he was born, with no premature choice on what he would be in life—because his father already decided he was going to be a killer; an addition to the array of other ruthless Micah Bell's in the family. And that to me is just very upsetting, and as much as I try not to—I feel bad for Micah because of it.

He was put head first into the degeneracy that his ancestors built the family on, likewise to Amos Bell, who luckily got himself out. But not Micah, sadly; he couldn't do it like Amos did, because he was probably more influenced into the life than Amos (personal hc, just saying) and therefore stayed what he is today; a killer.

His story touches my heart in a very odd way, because I can relate to and feel for him. I find an abnormal comfort in the character, his backstory, childhood—because I myself have been there. I've got my own array of problems and odd behaviours that were caused by either generational or childhood traumas, so in a very different way, I see myself in him and I want to see him get better, since I haven't gotten myself to that stage quite yet.

All in all, to cut it short; Micah has an interesting and relatable background I find intriguing and worth looking into, if you have the time and ability to understand.

Thank you for the question anon! <3

quick edit: These things can be used to explain his behaviours, not defend them. I want to make that clear.

[juniperhillpatient]

I have to go to work but first I have to say something to else about that movie. The reason Lucille’s tragedy works SO well in the end is that she was offered an escape & she doesn’t take it & her reasons make so much sense but it’s still so sad.

The movie kinda had a moment for me when Lucille says “you promised you’d never fall in love with someone else” & Thomas responds “& yet it happened anyway” where I thought - oh. How disappointing. I still would’ve enjoyed the movie if it was left at that but it would’ve been so much shallower & Thomas at that point would’ve lost any & all remaining sympathy from me.

To murder & plot & manipulate against innocent people - against a precocious & clever & likable protagonist like Edith Cushing who has lost SO much already & only ever wanted to be Seen - to commit heinous murders against people who genuinely Did Not deserve it - that all becomes sympathetic & tragic if not excusable when you realize it’s for love. “The only love Thomas & I ever knew was from each other in these rotting walls, hiding.”

Thomas & Lucille only ever knew violent rotting desperate love - of course they did horrific things to protect each other, to stay together. It’s awful but it’s sympathetic & tragic. It’s all they ever knew.

If Thomas simply turned on Lucille after ALL that after murdering their OWN CHILD & other women that we can presume deserved it no more than Edith - the ONLY thing that redeems him is that it’s all over love for Lucille & now he’s betraying her? And for what? He lied to Edith’s face time & again & gaslit her about being poisoned. He held her as she sobbed over her father’s corpse when he was part of his death! For me that was the end of any possible sympathy I might’ve had for Thomas which puts a significant damper on the emotional complexity of a movie about toxic love & entanglements if one of the central characters has lost ALL my investment.

But then….. then Thomas offers Lucille an out & you see that he’s only trying to escape the rotting walls of Crimson Peak & his trauma & he wants to offer it to her too & it’s too late & we all know it - I think even Thomas knows it - but he’d rather die trying than give up.

“We could all be together.”

“All?”

Thomas must know that it’s too late for that if it ever was an option (I don’t think so) & Lucille’s horrified reaction says it all. That was never a real option but he has to try.

Edith would never consider it & Lucille certainly wouldn’t. But Thomas tries. He offers Lucile the ONLY chance at redemption & a happier future he can see & she rejects it & if it weren’t for that the movie might feel senselessly cruel toward Lucille to me in a way that leaves behind a bitter taste but instead - because of that offer & the subsequent violent rejection - I think the tragedy is absolutely delicious.

In the words of Edith Cushing - “Ghosts are just metaphors for the past.”

And Crimson Peak is the tragic story of a family that could never & will never escape the past & the fact that that’s a choice - that the option to at least try to escape was always there - is crucial to making that impactful. The emotional crux of a well written tragedy will always be this tiny horrible inkling of an idea that maybe it didn’t have to be that way. But of course it did.

[whateverisbeautiful]

I feel like Rick went through the most physically in TOWL and TWD. While Michonne went through the most mentally. So many people would say Maggie is the strongest female character, but I firmly believe it's Michonne. Michonne lost 2 sons, killed a bunch of kids, saved Judith, lost her female best friend, lost her boyfriend, then her soul mate, and still have the courage to rebuild civilization and have another baby. Maggie doesn't have half of what Michonne has been through. So my question is, who do u think is stronger and what makes the other stand out more.

Hi @theoneswholive32 ! It was definitely interesting to watch the ways in which Michonne and Rick's internal and external hardships paralleled each other in TOWL. And I wrote out the rest of my response to your question below: ⬇️ 💗

I do believe Michonne’s strength is unparalleled. And in choosing who stands out the most, I’m choosing Michonne every time. To be as multifaceted and well-rounded as she is, to be both one of the world’s toughest and one of the world’s tenderest, it makes her an incredibly admirable character who embodies that quote Deanna shared - “Someday this pain will be useful to you.”

Over the course of her journey, Michonne learned to turn her grief and pain into something productive and motivating rather than destructive and devastating all while still being in tune with her hurt and emotions rather than neglecting or supressing them. 

I think it’s hard to compare traumas, in that apocalyptic world especially, so I can't say I agree with the statement that Maggie hasn’t been through half as much tho.

I do agree that Michonne has been through so much and more than people tend to acknowledge. Just because one of her most painful experiences happened offscreen and before she joined the group doesn’t mean it should be dismissed. To experience losing a child at any age is absolutely tragic, and especially as a toddler when they are so defenseless and dependent on others to keep them alive. It makes sense that Michonne shut down the way she did after the horrors she endured. And the fact that she went on to grow the way she did, not by being a strong warrior robot but by reopening her heart and letting love and family in again is one of the greatest signs of her strength and character.

Maggie was put through the wringer too and one of the unique things about her losses is that the three closest people to her (husband, father, sister) didn’t just 💀 but were unalived by human hands. Two of which she had to watch lose their life painfully, slowly, and all just so their murderer could make a point. And that’s on top of the rest of her family being taken out by walkers on the farm. So, even with me being overall neutral on her character, I can’t deny that Maggie has been through a lot of hell and that she’s a strong woman.

I think one of the notable differences between Maggie and Michonne’s strengths is in how they address their issues. After Rick spared Negan, it made sense that Maggie would feel extremely hurt by that executive decision but rather than talk to Rick about it as family she concocted plans behind his back which had tragic ramifications. Whereas when Michonne has an issue with someone she’s been shown to go directly to the source and address things which is another sign of her maturity and strength. 

Now I do think when it comes to physical violence, Michonne is the woman they put through the most physical harm and that is upsetting for several reasons. There is certainly an aspect of it that feels racially charged, even if subconscious because take 9.14 for example, I genuinely can’t see them being comfortable having Maggie or Carol be beat with a pipe while 7 months pregnant the way Michonne was.

One of the millions of reasons I’m grateful to Danai for what she wrote in ep 4 of TOWL is that she actually gave Michonne the space to acknowledge what she’s been through and voice her hurt. And Michonne also got to have someone who cared to acknowledge her scars and hurt as well through Rick. That was important because all too often Black women are portrayed as having to carry so much on their own and just keep it pushing without anyone caring to see their pain or vulnerability.

And to add one more reason that I feel Michonne is exceptionally strong and a standout character is because when she found someone she could trust and be held by in Rick, she opened herself up to that too. It could have been so easy for someone as competent as her to stay the independent lone wolf but she found a partner who she can be her most human and vulnerable self with and that vulnerability shows a whole lot of strength.

So that's my little essay response. Thanks for asking! 😊

[starzzmissthesun]

Hey guys, I feel the need to go into more depth about a post I made a while ago because I feel like some of y'all didn't get what I meant, and I see so many takes just like what I'm about to talk of. Ok, so I've been seeing lots of posts recently about bartylus being one of three things; fwb who don't actually have feelings for each other, being ex's, or 'the third thing'. I mean if you believe these things, no hate or anything to you, to each their own, but just listen to what my perspective is of this. I'm mainly making this post because most of the things I see in the bartylus tag are from the POV of those three things, it's annoying to see when there are people who actually ship them.

So for one, I really don't think they could have that romance and the physical aspect without having any feelings for eachother. I mean, think about it. They are truly best friends to no end, they love and see eachother different than everyone else. This is true in SO MANY fics and takes on them, no matter who they're paired with. They already act like an old married couple, so they would eventually catch feelings (if not already). I understand lots of people say that they could, just because its more of a trauma bond and being with someone you trust. I agree that they have been through a lot together and trust each other more than anyone, but I also think that it would turn into something more. Being so close would definitely make it hard to separate and see the line between their physical relation and how they feel for each other.

And my next point, which was what my og post was about, they couldnt be exes, especially if they were in love. The first thing is that they DO love eachother, you wouldn't date your BEST FRIEND if you weren't. I mean really, those two loved their other friends, they knew what it was like to love a friend platonically. If you are so used to being punished and criticized, you would have to be very aware of how you feel about people/recognizing the differences(this goes for both of them). Especially when you think about the social repercussions of them being gay in families like that, but also the way their families are so opposite that they would probably get in trouble for even being friends. They loved eachother a lot and would not just, get over each other. When you have something so special like that and remain best friends, its hard to fall out of love, especially if its not that long from them stopping that they get with other people. What even would change about them other than who they kiss? I feel like every time they were with their respective partners they would catch each others eyes every once in a while and think this is wrong. The kind of love they would have for each other (even if you believe this platonically) would be made of devotion and loyalty and reverence. They couldn't just get over each other, where would all of those feelings go? They just disapear? They turn platonic? No, they would stay, something so intense wouldnt just go away. What could they want that they couldn't find in each other? I mean back to the whole it being nothing more than the m being secret and because they trusted each other, i mean doesn't that just speak to the love they have for each other, which brings me to the point of them unable to be The Third ThingTM.

The third thing is the trope people use for tragic characters that were never just friends, but never quite romanitc. But the thing is, they both could never be casual about eachother, they hold each other so close and so sweetly, especially as a first (last and only) love, they would never let go. @dolcevitaaa26 made a post about this, and also said a big part of the trope is that the reason it's not quite romantic is because it's not enough, there's something missing. But, like i said, what could be missing/not enough in a relationship that is built upon true understanding and acceptance? They couldn't be vague, not with that person SO IMORTANT that theyd keep in their lives forever. And they would, if they didn't have each other theyd never stop thinking about each other. Even if they were Just Friends, they are each other's Person in every aspect. They understand each other in a way no one else could. How could you lose that person? How could you not hold them so close to your chest that you merge, that you are one? They are inseparable, it is indistinguishable where one begins and the other ends. They are definitely unique and different from what anyone else has, but in a way that would be perfect for eachother, it would be romantic if anything.

I mean all of these things given, especially the fact of being something so perfect for eachother, would be put before anyone else. If youre going to have them have exes within your ship, because at th end of the day ship what you want to, don't have it be with eachother. I just say that because the implications of that feel the same way of people making james date lily after reg dies, reg and barty wouldn't get over eachother. It's fine if you see them as totally platonic, but make them platonic, because they are not casual people, they couldn't be in between for each other. And do you reall want your ship to have one of them still loving another? Just some food for thouhgt. I could say more, but this is already too nonsensical and long.