#not only because of this in particular but also because of. you know. the duel

[skepticalcatfrog]

I really like this passage but one thing that stands out to me about it is that, since it's from Juliette's POV, she's going on poetically about Roma and she's calling Benedikt a "faded replicant", meanwhile you just KNOW that Marshall is up there on the roof in this exact moment giving the same poetic internal monologue about Benedikt

[lgbtlunaverse]

Fandom is so nice to Jiang Cheng's inferiority complex because in reality every single thing he gets accused of is something Wei Wuxian is better at than him.

Jiang Cheng killed Wei Wuxian? Nope. Didn't even get close. Wei Wuxian's own spirits tore him apart before jc could even get there. wwx:1 jc:0

Jiang Cheng tortures people? We get two and a half rumours and a mention from jin ling that jc has 'captured' demonic cultivators before, but who is also apparently confident that just letting wwx run off will kill the issue even though those earlier rumours said ~no one who sandu shengshou captured was ever seen again~

The word jiang cheng uses when he tries to talk big game about 'beating the truth' out of Wei Wuxian's is a word that carries the context of pestering someone to do their homework. Doesn't exactly strike fear into my heart.

Wei Wuxian? Excellent at torture. A prodigy. Did you fucking see what he did to Wen Chao? Dude didn't have fingers anymore because wei wuxian made him eat them. He ripped out his hair, burned his skin off, and then stalked him for several days just to prolong the pain. He forced Wang Lingjiao to bite Wen Chao's dick off and then made her shove a stool leg down her own throat! 10/10, no notes. Absolutely horrifying.

Meanwhile Jiang Cheng's idea of torture is getting a dog to bark at Wei Wuxian for a few seconds. Weak, unoriginal, I bet fairy was literally wagging her tail the whole time. 2-0

Jiang Cheng made the entire cultivation world believe Wei Wuxian was up to no good on the burial mounds and ultimately orchestrated his downfall? lol. lmao, even

It's a big thing in certain corners of the fandom to really zoom in one one particular phrase at the end of chapter 73, where after wwx and jc have their staged duel to make the world believe they hate each other jiang cheng tells everyone wwx has defected and become "a public enemy'' or "an enemy to the cultivation world" or whatever the translation you're familiar with decided upon.

(As an aside, something I really like about this line is that the last half of it is almost exactly the same, like verbatim, as what wwx told him to say. like, the chapter is really hammering home just how much jc is speaking from a script here. wwx tells jc to say "今后魏无羡无论做出什么事，都与云梦江氏无关." and jc says "今后无论此人有何动作，一概与云梦江氏无关" the only meaningful difference is that he says 'this person' instead of wwx's name)

I've seen it said that this bit, the use of 'enemy' was said without wei wuxian's approval, that jc deviated from the script just to hurt his ex-shixiong for leaving him. And that this is what caused all the other clans to turn against wei wuxian. Regardless of if this is what jc and wwx discussed, or if jc had malicious motivations for it (considering my conclusions above, you can guess where i fall) it doesn't really matter, because the novel tells us when the clans completely freak out and become convinced wei wuxian is out to get them (though of course they've been wringing their hands about it since the literal day wwx ran off with the wen, months before jiang cheng visited) very neatly in chapter 75!

It's when they find out about Wen Ning.

And how do they find out about Wen Ning?

Because Wei Wuxian took him on nighthunts! And they kicked ass!

...Wei Wuxian, my man, why are you on nighthunts??? Why are you showing off your incredibly cool sentient fierce corpse buddy, who is way better and stronger than all the other fierce corpses, in front of the whole cultivation world??

Whatever his motivations (extra money, maybe?? they were strapped for crash) I can only draw the conclusion wwx had already given up on appearing calm or non-threatening and didn't care if the clans thought he was a threat, because they'd believe whatever they wanted anyway. Which he seems to clearly be aware of the whole time.

Regardless, we know that this is what created the myth of the Yiling patriarch. It's literally when the title first shows up!

Even if you really believe jc was secretly plotting against wwx in chapter 73, he's clearly doing a shit job of it because nothing he said made anywhere near as big an impact as this. Flopped!

The other point people use to argue Jiang Cheng caused wei wuxian's downfall is Jin Guangyao's speech in Guanyin temple about how jiang cheng could have saved wei wuxian if only he stood by him. Setting aside that jin guangyao is trying to get into jiang cheng's head here, and isn't necessarily saying what he really believes (though it very well might be! who knows with a character like jgy. assuming he's always lying is just as misleading as assuming he's always saying the truth) the fact is, if you read the speech closely, what he's talking about is not the 'public enemy' line, he's talking about the bond between them. The fact that people wanted wei wuxian out of yunmeng jiang, because the two were too powerful together.

He's talking about that one time Jiang Cheng very publically kicked wei wuxian out of the sect!

Which, unbeknownst to Jin Guangyao, was in fact Wei Wuxian's idea the whole time.

final score: 3 for you wei wuxian, you go wei wuxian! And nothing for Jiang Cheng bye.

[cressidagrey]

The Witching Hour - Chapter 5 - Rhysand

Summary: 

5 Times members of the Inner Circle get absolutely terrified by Azriel's...whatever she is, and 1 (of many) times Azriel thinks that his witch was the best thing that ever happened to him.

Warnings: 

Mention of Amarantha, Mention of Murder, Mention of torture, Rhys Bashing

(super pretty dividers by @cafekitsune)

Rhysand's mood was far from pleasant. The events of the past week had left him on edge, his patience sorely tested, the tensions between Nesta and Cassian seemed to have escalated exponentially, and the atmosphere in his Court was becoming unbearable.

As he sat brooding in his office, his mate knocked on the doorframe before walking in. Feyre took one look at his stormy expression and winced.

"Let me guess," she said, bracing herself. "You're in a delightful mood today."

Rhysand's only response was a low growl, which was answer enough. Feyre sighed, settling herself into a chair across from his desk.

"There's something you are going to like even less," Feyre admitted.

Rhysand's eyes narrowed, his already bad mood worsening. "Wonderful," he grumbled, a hint of sarcasm in his tone. "Please, do tell, Feyre Darling.  I'm all ears."

Feyre looked uncomfortable, which only served to increase Rhysand's anxiety. Whatever it was, it must be bad if even Feyre was struggling to tell him.

"It's about Elain," she began, her voice hesitant.

"Elain?" Rhysand repeated, his confusion deepening. "What about her? What's wrong?"

"She..." Feyre's voice trails off, her expression troubled. "She's an oracle."

Rhysand's eyebrows shot up in shock, his eyes widening.

"An oracle?" he repeated, his voice coming out in a whisper. "Are you sure? Who made that particular call?"

Feyre swallowed hard, her expression guilty. "Cate," she admitted, her voice barely above a whisper.

Rhys froze.

"Feyre darling," he said very carefully, trying to keep his voice down. "When exactly did you come across Cate ?"

Feyre shifted uncomfortably in her seat, avoiding his gaze.

"Well...this morning."

Rhys's eyes widened, a sense of bad, bad foreboding washing over him. "And what exactly were you doing this morning that led to you encountering the infamous Cate?"

"We had lunch?" Feyre admitted questioningly. "Or we would have if Mor and her hadn't clashed."

Rhys let out a strangled sigh, raking a hand through his hair. "Of course, you did."

He took a moment to process the information, his mind racing through the implications. Cate, in the city...it was bound to cause havoc.

"And I assume Mor and she...had words?" he asked, already knowing the answer.

"To put it mildly," Feyre said ruefully. "They got into quite a heated argument. It almost ended in a brawl."

Rhysand pinched the bridge of his nose, feeling a headache coming on. "Do I even want to know what they were arguing about?"

Feyre shrugged, her expression sheepish. "Cate's sex life and Azriel."

Rhysand suppressed the urge to bang his head against the desk. "Of course," he muttered under his breath.

He let out a deep, weary sigh, his mind already working to figure out how to damage control this situation. Cate's presence was a wild card, and her interactions with Mor were bound to cause more trouble than they were worth.

"What about Elain then?" he asked, forcing his voice to remain calm.

"Cate offered to teach her."

"Did she now," Rhys murmured, the wheels in his mind turning.

The idea of Cate teaching Elain was...disconcerting, to say the least. Cate was not exactly a bastion of stability and sanity. And yet, there was a part of him that was intrigued.

And also fucking furious because clearly, he was the last person in his family that knew anything about what was happening in his court.

Rhys's anger bubbled up inside him, mingling with his already frayed nerves. He had been completely blindsided by this information, left in the dark while Cate and Mor were engaging in their verbal duels and Feyre was having lunch with the bane of his existence .

It was utterly frustrating.

"Did Azriel get her for Elain?" He bit out. Azriel clearly wasn't listening to his orders when he was bringing Cate around for Elain. Thought Rhys wondered what the fuck Azriel had told Cate to get her to behave and not spill the beans of their century-long tryst to Elain.

Feyre looked at him curiously, clearly sensing his irritation.

"What do you mean?"

Rhys clenched his jaw, trying to keep his voice level. "Cate doesn't just agree to help people on a whim," he said tersely. "Azriel must have done something to convince her."

Feyre's eyes widened in realisation, a hint of amusement flickering across her face.

"And it must have involved a lot of ...physical persuasion," Feyre said slyly, a wicked smile spreading across her lips.

Rhys could only scowl in response, his irritation growing by the second. The last thing he needed was Feyre making light of the situation.

"This isn't funny," he growled, leaning forward in his chair. "Azriel knows better than to bring Cate here without my knowledge."

Feyre's expression softened, her amusement giving way to understanding. "I know," she said soothingly, "But she isn't all that bad, you know. If you'd just give her a chance-"

"A chance?" Rhys repeated, his voice filled with barely suppressed frustration. "Feyre, she is a walking disaster ! She causes nothing but trouble, and now she's inserting herself into the lives of my Inner Circle! You know what happens to the people that surround Cate? They mysteriously disappear. Or worse!”

Feyre shot him an unimpressed look, her hands on her hips. "You're being overdramatic," she chided.

"Hecate the Undying," Rhys said lowly. " How do you think she earned that name, Feure?"

Feyre's expression faltered, the teasing look in her eyes replaced by a hint of unease. "!.... don't know," she admitted, her voice quieter now.

Rhys took a deep breath, reminding himself to remain calm. "Hecate is a witch,” he said slowly. “One of the few of that particular dying breed. She’s over a millennia old, Feyre. And she has the cunning and cruelty to match her age. She is not someone to be trifled with."

"So has Amren," Feyre pointed out harshly.

Rhysand's eyes blazed. "Amren is a different case entirely, and you know it," he said through gritted teeth. "She has been on our side for centuries, working to protect this court and everyone in it. Cate...Cate is a rogue element. No one knows where her loyalties lie. Not even Azriel, for all his obsession with her."

"And Azriel," Rhys continued, his voice lowering. "He thinks he can control her, that he knows the limits of her power and her intentions. But he's fooling himself. She is unpredictable, volatile, and dangerous. The last thing we need is for her to cause chaos in our court."

Feyre opened her mouth to speak, but Rhys cut her off.

"And don't try to tell me that she just wants to help Elain," he said, his voice firm. "Nothing she does is without purpose. There is always an angle, an agenda. And I don't trust her, not one bit."

Feyre was quiet for a moment, her expression thoughtful.

"I understand your concern, I do," she said slowly. "But have you ever stopped to consider that Cate might not be the monster you have built her up to be in your mind? That maybe there's more to her than meets the eye?"

Rhys laughed bitterly, his anger still bubbling just under the surface. "More to her than meets the eye?" he repeated, his voice dripping with sarcasm. "What do you want me to believe, Feyre? That she's some sort of misunderstood soul, with a heart of gold under that cold, unfeeling exterior?"

"I'm not saying she's a saint," Feyre said evenly. "But maybe she's not the villain you're determined to make her out to be."

Rhys gritted his teeth, his patience wearing thin. "And what would you have me do, Feyre?" he said tightly. "Just sit back and let her run wild in my court, unchecked and uncontrolled? Is that what you're suggesting?"

"No," Feyre said, "Of course not. But maybe instead of treating her like a threat, you could try seeing her as an ally. As someone who could potentially help us."

Rhys let out a guttural sound, his frustration mounting.

"You can't be serious. You want me to trust her, to let her into our inner circle? She hasn't given me one reason to trust her, Feyre. Not one."

"She helped Nesta with her nightmares."

Rhysand's eyebrow quirked in surprise. "Is that so?" he said slowly. "She helped Nesta with her nightmares, did she?"

His tone was sceptical, but there was a hint of intrigue in his expression.

"With a dreamcatcher spell," Feyre answered quietly.

"Is that why Cassian is so furious with Azriel?" Rhys asked, pinching the bridge of his nose. This was just getting better and better.

"Oh yes," Feyre said with a slight wince. "Cassian is quite...upset about it."

Rhys's eyes widened. "Upset" was an understatement. He knew Cassian well enough to know that he would be seething with rage at this news.

Rhys closed his eyes. Already Cate was making a mess.

The thought made Rhysand's headache worse. Cate had only been in Velaris for days, and already she was causing ripples of turmoil in his court. How much worse was this going to get?

He had to nip this problem in the bud before it spiralled out of control.

The worst thing was that throwing her out of Velaris was not actually something he could do. She had a carte Blanche to live in Velaris, something he could thank his Grandfather for... they had had an agreement of sorts, the exact nature lost to time. But even Rhys’ own father hadn’t trifled with that witch. 

He rose from his chair, his expression steely with determination. "I need to talk to Cate," he said gruffly. "Now."

Feyre's eyebrows shot up in surprise. "Now?" she repeated, looking nervous. "Don't you think you should calm down a bit first? You look like you're going to rip her throat out."

Rhys shot her a withering glare, his patience wearing thin.

"That's exactly how I feel, Feyre," he ground out. "If I don't speak to her now, I can't guarantee I won't do anything I'll regret later."

Feyre held up her hands in surrender. "Okay, fine," she conceded, standing up. "But try not to be too harsh, alright? I'm not saying we should trust her blindly. But she's not a monster, Rhys."

He could argue that point

Rhys took a deep breath, trying to calm himself down.  The thought of dealing with Cate again after all these centuries was not exactly appealing.

The problem was only that he knew...he knew that they would be evenly matched

And that thought was worrying. Cate was not someone he took lightly. He had seen firsthand what she was capable of, both in power and cunning. The idea of going up against her, even if it was just a simple conversation, was daunting, to say the least.

Yet, he knew it was necessary. He couldn't let Cate continue to run rampant in his court, stirring up trouble and disrupting the peace he had worked so hard to maintain. He would just have to be careful, be on guard at all times, and hope that his own wits would be enough to keep her in check.

With a determined nod to Feyre, he headed out of his office. It was time to confront the source of his current headache.

Rhysand stalked out of the house and into the streets of Velaris with a scowl on his face. It was late afternoon, and the sun starting to dip below the horizon, casting long shadows across the cobblestones.

He knew where to find Cate. She had a townhouse, where she always stayed at.

He made his way quickly through the city, his steps measured and purposeful. He could feel the eyes of his people on him, the weight of their curiosity and concern. They could sense that something was off, that their High Lord was not in his usual good mood.

Finally, he arrived at her townhouse. The building was impressive, situated in a prime location and beautifully maintained. It screamed opulence and power, much like its owner.

Rhys took a deep breath and walked up the steps, his mind racing. He knew he needed to be careful, to tread lightly. He couldn't afford to let his anger get the better of him. But the thought of confronting Cate was making his heart pound in his chest. He had to remind himself that he was the High Lord of the Night Court, the most powerful ruler in Prythian. He could handle one stubborn and infuriating witch.

(Hopefully.)

He knocked firmly on the door, his knuckles rapping against the solid wood. There was no response for a moment, and he wondered if she was even home. Just as he was about to knock again, the door swung open, revealing Cate's slender form in the doorway.

"Ah, Rhysand," she said with a smirk, leaning against the doorframe. "I was wondering when you'd show up."

Her tone was casual, almost flippant, but he could see the glittering eyes assessing him warily. She knew he wasn't here for a friendly visit.

"May I come in?" he asked through gritted teeth, trying to keep his voice even.

Cate stepped aside, gesturing for him to enter with a sweeping motion of her arm. "By all means," she drawled. "Make yourself at home."

Rhys walked into the foyer, his eyes flickering around the room, taking in the expensive furnishings and art pieces.

The townhouse was every bit as opulent as the outside, with high ceilings and wide windows that let in the fading sunlight.

"Can I offer you anything?" Cate asked behind him, closing the door with a click. "Tea, perhaps? Or maybe something stronger?"

He ignored her, his eyes narrowing as he turned to face her. "I'm not here for hospitality," he ground out. "I'm here to discuss you and your sudden appearance in my court."

Cate raised an eyebrow, a sly smile playing on her lips.

"Oh, so you're not here to see an old friend?" she said, her voice dripping with sarcasm.

He clenched his jaw, her casual demeanour only serving to annoy him further. "We are not friends, Cate," he said through gritted teeth. "And I need to know why you have been meddling in my affairs."

Cate sauntered past him, walking over to a nearby armchair and gracefully sinking into it. "You wound me, Rhysand," she said, placing a hand over her heart. "I'm hurt that you think I would meddle."

He followed her, standing before her with his arms crossed. "Cut the crap, Cate," he said, his temper fraying. "You know exactly what I'm talking about. You've been causing trouble since the moment you stepped foot in Velaris."

"Is it the Dreamcatcher spell or my offer of lessons for Elain?" Cate asked him.

Rhys scowled, the mere mention of the Dreamcatcher spell making his blood boil. "Both," he said through gritted teeth. "You have absolutely no business getting involved in my court's affairs."

Cate leaned back in her chair, a smirk playing on her lips once more. "Oh, but Rhysand, I just want to help. Is that so terrible?"

He clenched his fists, fighting the urge to grab her by the throat and strangle her. "I don't trust you, Cate," he growled. "I don't trust your intentions or your motives. And I certainly don't trust you offering your...services to my inner circle. Let's not even start with my spymaster," he ground out.

Cate chuckled, her voice dripping with amusement. "Ah, Azriel," she said, her eyes glinting. "Such a complex and intriguing male."

"You stay away from him," Rhys warned, his voice low and dangerous. "You keep your distance, and you keep your fingers out of our business."

Cate's smirk widened. "Oh, I was under the impression that Azriel was just as interested in me as I was in him," she said slyly. "Or was I misinformed?"

Rhys ground his teeth, his irritation and anger reaching their boiling point. He knew all too well the strange and complicated relationship between Cate and Azriel, and he hated how easily she seemed able to get under his skin.

"You know exactly what I mean," he said, his voice growing louder. "You keep your distance from all of my court. That includes Azriel."

Cate's smile grew even more aggravating. "You have quite the possessive streak, don't you, Rhysand?" she said, her tone mocking. "Are you afraid I'll steal away your precious shadowsinger?"

"You won't lay a finger on him," he snarled, his patience completely frayed. "You stay away from him, and you stay away from my court. I don't want you meddling in my affairs, or causing any more trouble. Is that clear?"

Cate leaned forward in her chair, her eyes narrowing. "You think you can order me around, is that it?" she said, her voice cold. "You think I'll just bow down and submit to your commands?"

"Damn right I do," he shot back, stepping closer to her. "This is my court, my territory. And I will not tolerate someone like you causing chaos and throwing my people into disarray with your presence."

Cate's eyes flared with anger. "And what exactly do you mean by 'someone like me'?" she said, her voice dripping with sarcasm. "You mean a witch? Or is it because I'm a woman?"

He clenched his jaw, the accusation hitting a nerve. "Don't play that card, Cate," he said through gritted teeth. "You know damn well that's not what I meant."

Cate stood up, her eyes blazing. "Oh, really?" she challenged, her hands coming to rest on her hips. "Because it sure sounds like you're implying that women, especially those with magic, are beneath you. Maybe even a threat to your precious little court. Is that why your tradition of wing clipping still lives on?" She asked, her voice dripping with disdain.

He flinched, his irritation replaced with a hint of guilt. She had hit the mark, and they both knew it. The ancient tradition of clipping wings was still practised in Illyria, a symbol of dominance and control over the female population.

"That's different," he said gruffly, trying to shake off the feeling of unease that settled in his stomach. "Change is slow. We can't just murder everybody like you are prone to be doing." 

Cate's eyes flashed with anger, her hands clenching into fists. "I don't just go around murdering people," she snapped. "I fight for what's right, and I don't shy away from getting my hands dirty if it means protecting those that cannot protect themselves."

Rhys sneered, his own anger flaring. "And who are you to decide what is right and what is wrong?" he said, his voice harsh. "You think you're some kind of moral authority, do you? That your way of doing things is the only way?"

"You're a daemati, I am a seer," she said icily. "You read minds. I read the future."

He let out a scoff, his annoyance growing by the second.

"And you think that gives you the right to do whatever you please, just because you can see into the future?" he said, his tone dripping with disbelief.

Cate's eyes narrowed to slits, her voice dropping to a dangerous level. "I use my abilities to help people. To protect them. To make sure that history doesn't repeat itself. And if that means making hard decisions, then so be it."

He let out a cold laugh. "Hard decisions," he said sarcastically. "Is that what you call it when you go around murdering people and meddling in other courts' affairs?"

Cate bristled at the accusation, her face contorting with anger. "I don't go around murdering people for the hell of it," she said, her voice rising. "Every life I've taken has been for a reason, a purpose. People who deserved it, who would have caused more suffering and pain if left unchecked."

Rhys shook his head, his annoyance and frustration mounting. "Oh, so you're some kind of judge and executioner now?" he sneered. "You get to decide who lives and who dies based on your own twisted sense of justice?"

"Yes, because apparently nobody else seems to have the guts to do what needs to be done." Cate retorted, her voice filled with conviction. "You have no idea what I've seen, Rhysand. I have a job to do, and it doesn't end until the world is a better place. So please, drop the holier-than-thou attitude and leave me alone."

"You didn't kill Amarantha," Rhys spat out. "That would have saved us some suffering."

Cate's eyes darkened at his words, anger flashing in her gaze. "Don't you think I wanted to, Rhysand?" she said, her voice low and dangerous. "Don't you think I've spent centuries reliving that moment in my mind, wondering if I could have stopped it from happening?"

He crossed his arms, his expression guarded. "Why didn't you then?" he challenged. "You could have ended it all right there, before all the suffering and the pain and the bloodshed."

Cate's shoulders slumped, the anger being replaced by a weariness that betrayed her centuries-long existence.

"It's...complicated, Rhysand. There are things at play that you don't understand, consequences that you could never fathom. I couldn't just kill Amarantha and expect everything to be perfectly fine afterwards."

He let out a scoff, his irritation mounting. "So, what, you just decided to let her rule and terrorize my court for 50 years instead? To put us through hell and back?"

Cate's eyes narrowed once more, her voice tight with suppressed emotion. "I had a duty to protect the people of Prythian," she said through clenched teeth. "All of Prythian. And sometimes, that meant making sacrifices for the greater good. Even if it meant letting evil exist for a little while longer."

He let out a derisive laugh, his anger bubbling to the surface. "The greater good? What about the good of my people? My court? My family, my friends, my people, all tortured and brutalized for fifty years because you decided to let Amarantha sit on the throne?"

Cate's face contorted with pain, his words hitting a raw nerve. "You think that was an easy decision for me to make, Rhysand?" she said, her voice cracking. "You think I enjoyed watching you and your people suffer, knowing I could have stopped it all in an instant?"

He sneered, his anger still searing. "Yet you didn't. You stood by and let it happen. You let us suffer for fifty years because you were too much of a coward to do what needed to be done."

Cate's hands balled into fists, her eyes narrowing. "You have no idea what it means to be responsible for fate, Rhysand," she said through clenched teeth. "No idea what it means to carry the weight of history on your shoulders. Don't you dare accuse me of cowardice when you don't have a single clue about the sacrifices I've made?"

He clenched his jaw, fighting back the urge to lash out even further. "Fifty years, Cate. Fifty years. My people suffered unspeakable horrors for fifty years because you decided that it was for the greater good. How do you expect me to forgive that?"

She let out a bark of bitter laughter, her face twisting into a grimace. "Forgiveness?" she said, her voice thick with disdain. "You really think I'm looking for forgiveness, after everything that's happened? I'm not asking for any forgiveness, Rhysand. I know the mistakes I've made, and I have to live with them every damn day."

He let out a scoff, his anger now mixed with a hint of incredulity. "You expect me to just act like nothing's happened? To just let bygones be bygones and move on like you didn't stand idly by while my people suffered?"

"I don't expect anything from you, Rhysand," she said coldly, her eyes hardening. "I know things can never go back to the way they used to be, that there's no erasing what's been done. But that doesn't mean I'm not doing everything in my power to make things right, to prevent it from happening again. That's all I've ever tried to do."

He let out a dry laugh, his heart still thudding with anger.

"Oh? And what exactly are you doing to make things right, hm? Meddling in my court, offering lessons to my inner circle, causing chaos and trouble wherever you go?"

Cate's eyes flared, her temper rising once more. "I'm not causing chaos and trouble, Rhysand," she shot back. "I've been helping you and your court in ways you don't even realize. Maybe if you took the time to look past your own anger and pride, you'd see that."

He let out a derisive scoff, his irritation growing with every word. "Help? You call meddling in our affairs and offering your so-called 'services' help? I'd hate to see what your version of hindrance is like. I want you out of my court," he hissed.

Cate scoffed, glaring at him with equal measure of anger and frustration. “ As long as my blood rules this throne, you shall always have a place here, ” she quoted at him, hissing. “Your grandfather pledged that to me. Just let me know when exactly you want to make your family an oathbreaker.” 

He had known that she had…had permission to come and go from Velaris as she pleased, but he had not known, how pointed these words must have been. What his grandfather had pledged to her in…

“I’ll take that risk if you are gone for good,” he growled, his own anger bubbling to the surface. "One word from me, and you'll be gone from this court for good."

His magic thickened, night rising.

Cate braced herself, her own power crackling around her in response. "You think threatening me with your magic will make me cower and leave?" she challenged. "I've faced much worse than you, Rhysand."

His eyes narrowed, the darkness in the room growing thicker as his power surged. "You have no idea what I'm capable of," he warned, his voice low and dangerous. "| won't hesitate to do what I have to to protect my court, even if it means using every ounce of my power to remove you from it. And do not touch my brother," he hissed.

Cate's eyes flared with anger, her own power flaring in response. "You think I would do anything to harm your brother?" she snapped. "Your arrogance is astounding. I'm not a monster, Rhysand. I wasn't the one who treated him like he wasn't even a person," she hissed at him.

He flinched, a brief flash of guilt passing over his face before he could mask it. "Don't you dare bring him into this," he said through clenched teeth, his anger flaring again.

"You started it," she ground back. "You treated him like he doesn't have feelings. You told him to go to a pleasure hall, Rhysand."

Rhys's jaw worked, his anger and defensiveness mixing with a hint of shame. "You don't understand," he said, his voice strained. "It was for his own good."

She snorted.

Rhys clenched his jaw, bristling at her reaction. "What is that supposed to mean?" he snapped.

"It means that I find your excuses pathetic," she shot back, her eyes narrowed. "You claim to care about him, yet you treat him like he's less than nothing. You tell him to go to a pleasure hall, to lose himself in mindless pleasure instead of facing his own emotions. It's repulsive."

Rhys flinched again, her words hitting a nerve. "It's not that simple," he said, his voice low and defensive. "You don't know what he's been through, what he had to endure."

Cate scoffed, her eyes flashing with anger. "Oh, I don't?" she said, her voice tight with emotion. "I don't know what he's been through? I know him, Rhysand. Don't you dare tell me l don't understand." 

"You think you understand him just because you have shared his bed a few times?" he shot back, his own anger flaring again. "You think you know him better than I do, better than his family and his friends?" 

Her magic flared. He had been unprepared for the cold fury on her face.

Rhys took an involuntary step back, startled by the intensity of her magic and the anger etched on her face. He was so used to being in control, to being the one everyone feared, but for the first time, he felt a hint of trepidation.

"You come to my house and threaten me, insult me and my relationship, insult Azriel..."

Rhys opened his mouth to respond, but nothing came out.

Her words had caught him off guard, and for once, he was at a loss for words.

Her magic heaved, cracking.

Rhys watched her with a mix of awe and caution. He could feel the power in her, the cold, sharp edge of her magic that crackled through the air like lightning. He had never seen her so angry, so intense.

"You have no right to speak to me like that, no right to dictate who I sleep with or who I care about," she hissed, her voice dripping with anger. "Azriel is not your property, Rhysand, and I will not tolerate you treating him or me like we are lesser than you."

Rhys clenched his fists, his own anger and defensiveness flaring again. "You think I treat you as lesser?" he said, his voice tight. "I'm the High Lord of this court. You're a guest here. You don't get to come here and tell me what I can and cannot do."

Her magic exploded.

Rhys was caught off guard by the sudden explosion of her magic, the force of it knocking him back a step. He barely managed to keep his balance, his own magic reacting defensively in response, a shield forming around him instinctively.

He stared at her, his eyes widening with surprise and a hint of fear. He had seen the extent of her magic before, but never had he seen her lose control like this. Never had he seen her so unbridled and raw.

The air around her crackled with energy, charged with the cold, sharp power of her magic. It was a force to be reckoned with, a storm of anger and frustration. And yet... there was something else there too, something deeper, something more vulnerable.

He swallowed

"I have not survived for a thousand years so you'll tell me what to do in my own house," she said darkly.

Rhys's jaw worked, his own anger and defensiveness clashing with a hint of uncertainty. He had never seen her so intense, so powerful. He could feel the cold, sharp edge of her magic in the air, and it sent a chill down his spine.

And then her magic snapped. He wasn't quick enough.

Hadn't expected another surge, as she forced him back, back towards the door. "Out of my house, now," she hissed.

Rhys stumbled back, caught off guard by the sheer force of her magic. He tried to fight it, to push back against her power, but it was like trying to swim upstream against a fast-moving current. She was stronger than he had given her credit for, and he found himself being pushed towards the door.

He gritted his teeth, his own anger and frustration mounting once more. "You can't just throw me out of here," he said through clenched teeth, struggling against her magic. "This is my court, my territory. You have no right-“

"I have every right," she cut in, her eyes flashing with anger. "You came here, uninvited, threatening me and insulting me in my own home. I have the right to defend myself, and if that means kicking you out, so be it."

Rhys clenched his jaw, his own anger and sense of entitlement warring with the sheer force of her magic. He wanted to fight back, to show her that he was the more powerful one here, but he knew deep down that he was outnumbered. Her magic was far stronger than he had expected, and he knew that he couldn't overpower her in her own home.

Not when her wards closed around him like a vice

Rhys felt the wards close around him, constricting his movement, and cutting off his connection to his own magic.

He tried to struggle against them, but it was like trying to push through a solid wall. He was trapped, unable to use his powers or fight back against her.

The realization of his helplessness hit him like a ton of bricks. He was the High Lord, the most powerful fae in the Night Court, and yet here he was, being held captive by a woman he had underestimated and disrespected.

The thought made him furious, his heart thudding with anger and frustration. He couldn't believe he had let himself be put in this position, that he had been taken down by her so easily.

But there was something else, too. A hint of fear, a hint of uncertainty. The realization that he had misjudged her, that he had underestimated the extent of her power and her determination to stand up for herself.

He swallowed, his mind racing as he tried to find a way out, a way to break free from her wards and regain his power. But there was nothing he could do. He was trapped, completely at her mercy.

"Out," she repeated, her voice razor sharp.

Rhys listened.

[prythianpages]

Witch! Reader x Azriel | headcanons

Merry Christmas Eve and Happy Holidays! Here are just some headcanons of witch reader and Az🥰 It's my first time making one of these.

this is based off of my dandelion series. you can find the masterlist for it [here]

warnings: fluff, implied smut

Azriel shows up to your apartment to take you out on your first date and he's extremely nervous because he never thought he would get this far and he doesn't want to mess up.

You find it entirely endearing because you can sense that he's not the type to be nervous, even more so when you notice his hand is slightly sweaty in yours. You don't mind at all.

Azriel spends every night at your place and realizes he no longer needs your sleep potion. He only needs you in his arms.

The only time he doesn't stay over is when he's out on a mission.

He slowly starts to leave things here and there until he's completely moved in.

Your cat, which is named Binx hocus pocus referencelol, is excited to have a another living being in your home besides the big spider that lives in the corner of your sitting room that you were too nice to rehome when you first spotted it.

Az is at first startled by it but then you're telling him the spider's name is Pearl and the way you speak of it with such affection makes him smile and he accepts it wholeheartedly, even though he finds it slightly creepy, because he loves you

Binx loves Azriel and his shadows. A little bit too much because he initially mistakes the dark tendrils as a toy and accidentally scratches your mate's back in the process of chasing them.

It's all okay because it's nothing a little calendula and chamomile can't help fix. It also gives for the perfect excuse to have the feel of his mate's hands brushing and rubbing against his back

Despite your deep attraction for one another, you decide to wait to be intimate with one another until you're ready to accept the bond.

Even though Azriel makes it really hard for you when he takes you training with him and all you can do is watch as his sweat makes his bare chest glisten deliciously while he duels with Cassian.

He tries to teach you some self defense moves but you're often too distracted to listen, which makes Nesta laugh.

As the two of you get to know one another more, you find yourself falling more and more in love with Azriel.

He's sitting on your couch, sharpening his knives and you're seated on the floor in front of your coffee table immersed into your spell book.

Your hand glows as you beckon your magic to find a particular spell and as your eyes take in the words on the book, you find yourself turning to Azriel with a smile.

"I'm ready," you tell him and let out a squeal as he drops what he's doing to pull you into his arms and kiss you. He's too engrossed in the way your lips feel against his to notice the way you use your magic to bookmark the page you were on before closing it shut.

Azriel doesn't care what you make for him but you do. You want it to be special and when you suggest a midnight picnic in that field of dandelions on the night of a full moon which is strangely specific but he's too happy to question it, he grants you your wish

"Wait," you tell him before he's about to take a bite of the food you made just for him. "I have something for you."

You're holding out a gemstone to him. It's a rich tapestry of green that dances with life, releasing a radiance of emerald enchantment. It reminds him of the green glow of your magic.

but it's not just an emerald. It's a talisman. It's your heart and when you tell him, you can't help but giggle at the mix of emotions expressed on his face.

you explain to him that it's not your literal heart but it may as well be because that emerald is tethered to your heart and if he accepts it, your heart will be bound to him forever and some of your magic may transfer over to him.

A witch's heart is a precious and powerful thing. Azriel knows this because he's heard Amren mention it once.

Some men have died seeking for it, some men have even gone to war for it and you've heard the horrors of your fellow sisters losing their magic and in the worst cases dying because they were tricked into giving their hearts to undeserving men.

But you trust Azriel.

The mating bond that will bind you together was more than enough for him but there you are, willing to give your heart wholeheartedly to him and he accepts it, promising to keep it safe.

He only takes a couple of bites before he's prancing on you and you're protesting--"Hey! I spent all morning make that--oh!"

your protest dies at your throat and a moan slips out as you feel his heated touch on your skin and lips against your neck.

"I promise I'll make up for it," he breathes against your neck and he does.

He makes love to you in that field of dandelions under the full moon, binding the spell that tethers your heart to him and claiming you as his and only his.

Accepting the mating bond send you two into a frenzy, where you are overcome with an insatiable thirst for one another. Let's just say your apothecary shops remains closed for the following week and the inner circle knows to keep their distance (:

Azriel keeps the emerald you gave him in the chest pocket of his leathers because he wants to have you with him at all times.

When he's away on a mission and has to spend the night away from you, he'll pull it out. It glows under his touch, humming with your magic that tells him that you're thinking of him just as much as he's thinking of you.

Your first outing as a mated couple with the inner circle is at Rita's. Azriel doesn't want to go but you're so excited to spend time with Feyre and the others and he can't say no to you. you can read about that here

On your first anniversary, he brings you a bouquet of dandelions from the meadow and makes it a point to gift you one every year.

He happily joins you on your walks with natures, smiling as he listens to you go on and on about the beauty of it all. But he thinks the true beauty is you.

Even when your eyes darken as you call upon your magic, leaving no trace of white or color. it scares the crap out of Cas and Elain but Az is just always mesmerized by you and he'd be lying if he said it didn't turn him on sometimes.

When you're upset or frustrated, usually because you're stressed over a spell or a letter from one of the witch covens, Azriel is there to make your day better. "Oh, my sweet little wildflower." He kisses your worries away.

You do the same for him when he comes back from a hard mission and the exhaustion of being the Night Court's spymaster catches up to him, taking a toll on him.

His tense body always relaxes at your touch and when he asks if you could give him anything to help with his body aches, you mindlessly point to one of the vials on your kitchen counter.

You don't notice when he picks up the wrong one and when you finally do and realize that he accidentally took a drink from the aphrodisiac Nesta had requested from you, it's already too late.

Needless to say, it's probably the best mistake you've ever made (;

[fuckyeahisawthat]

So Denis Villeneuve has this particular type of close-up shot that he uses to varying degrees in all his movies but uses a lot in Dune, particularly when shooting Paul. In fact he uses one for the very first shot of Paul in Dune Part One.

There are some common cinematographic elements that define what I would consider the Villeneuve Close-Up (TM), but I'll admit there is also a vibes-based, you-know-it-when-you-see-it element to picking out these shots, which means all discussion here is somewhat subjective and we're talking about general trends instead of fixed categories. But in general, in these shots the camera tends to be at eye-level with the character, which means it can be very low or even on the ground if they are having a floor-based experience.

Sometimes we're in a SUPER extreme close-up where the character's face is filling the frame.

Other times we are not actually that close but we know we are seeing something that other characters are not.

The character may be alone or they may be surrounded by people, but the point of these shots is to reveal something to us the audience that no one else in the scene sees, pulling us into a private emotional world where it's just us and the character. It's a very effective tool for building sympathy and emotional intimacy.

I'm not the only person who's noticed that we lose this specific kind of close-up of Paul entirely in the section of the movie after Paul drinks the Water of Life. I've seen this described as "we're no longer seeing from Paul's POV" or even "he stops being the protagonist of the movie at that point" but I don't think either of these are exactly what's going on. Seeing the world of the story through a certain character's POV is different from what I'm talking about here, and Dune Part Two takes us through many shifts in POV over the course of the movie.

What happens is that we, the audience, recoil from our close, intimate visual and emotional relationship to Paul--or maybe he withdraws from us--for a portion of the movie after he drinks the Water of Life. But, crucially, not right away.

This shot in the "we're Harkonnens" conversation is such a classic Villeneuve Close-Up (TM). We're positioned as if we're sitting right next to Paul, seeing something on his face that is mostly hidden from Jessica, who's standing across the room and slightly behind him.

I think this shot is super important for telling us (even if we only register it subconsciously) that the Paul we know is not completely dead. Drinking the Water of Life may make you see things that others can't, and it may make you a little unhinged, but it doesn't make you inhuman. There's still a person in there.

I would argue that the distancing from Paul starts in these shots:

This is still a close-up; we are not much further away from Paul than in the shot above, but the vibe is totally different. Now we are seeing him the way his followers do, closed-off and purposefully intimidating. We are seeing the image he chooses to present to the world and none of the human vulnerability underneath.

We stay at this emotional and visual distance from him for most of the rest of the movie--but not the whole thing. Because after watching Paul be a terrifying force of destruction for half an hour, we get slammed into remembering he is a person--young, hurt, alone; a person who didn't want any of this--at the very end of the movie.

I think you could make an argument for a few different shots being the first Villeneuve Close-Up of the end of the movie. But where I always notice it is here, when the Emperor is talking about Leto.

While not a particularly close close-up, I'm always struck by this shot as well:

And then we really get pulled in close to Paul during the duel--particularly at the end of the duel when he's already wounded and it seems like he might lose. We get this angle several times:

We get this shot that I'm particularly feral about...

...because while the focus of this shot is (1) the knife and (2) Feyd, someone made sure that the features you notice on Paul's face are his eyelashes and the curls of hair falling in his face, the features that make him look most soft and vulnerable.

And then of course after Paul has won the duel we get this shot, another peak Villeneuve Close-Up (TM) that I have already written about, where Paul is surrounded by people chanting his name but no one to pull the knife out of his shoulder for him.

And we hold onto that connection with Paul right up through "Lead them to paradise."

Which is an insane choice for that moment actually! Once again, this is not a super close close-up, but we're watching him from a perspective that no other character can see and we understand that there's no personal triumph in this moment for him.

Now, obviously, there are a lot of other choices being made in these scenes, in terms of writing, performance, lighting, score, everything. The camera placement is just one element supporting the overall storytelling. But it's one that's very easy to track through screenshots and a good example of how one specific element of filmmaking can be used to influence how we see a character, whether or not we even consciously notice it while immersed in the film.

[xcherryerim]

Si tú me quisieras

(If you loved me)

Mike schmidt x Gn!reader | wc: 2.2k

“Si tú me quisieras, el amor que quisieras lo tendrías conmigo. No soy cursilera, pero si me quisieras, sería todo distinto” — Si tú me quisieras by Nia Vanie & Adrian Bello

Warning: Friends to lovers | Sappy | angst and fluff (?) | mentions of sex | fighting | a bit of aggressive Mike

notes: it seems like I love writing sappy stuff for Mike at 1-4 am. I didn’t really revise this so sorry if there is many mistakes or repeated words ✨ Also the lyrics in this story is the same as the one from the intro (and yes. Mike knows spanish here)

Summary: As time goes by, it becomes increasingly difficult for Mike not to hide the secrets that are troubling him. He has had enough and decides to reveal his feelings to you, his best friend.

You caught sight of Mike wearing the same shade of sage green shirt you were wearing. With a deep breath, you called out to him, "No, no! Change, please. That's too much of a coincidence!”

Mike sighed heavily, slamming the car door shut behind him. His eyes narrowed, frustration etched onto his face. "Can you give me a break? This is the only clean shirt I have left!"

Reluctantly, you let out a frustrated groan. It wasn't about the shirt or the coincidences; it was about how deeply it affected you every time he wore that particular color. But you knew pushing him further wouldn't solve anything. So instead, you relented, "Fine, fine."

Why does it matter anyway?" he asked, increasing the volume of the radio in an attempt to cover up his unease.

Your fingers tightened around the steering wheel as you tried to explain your concern. "Because people are going to think we're a couple,"

Mike couldn't help but feel a pang of disappointment. He had been hoping that today would be the day when you finally noticed him in the way he wanted you to. But here he was.

“But like, we aren’t so it doesn't matter, does it?”

“I guess.” You shrugged.

You started to suggest what movie to watch at the end of the day. A little tradition you guys did after running errands together, but Mike was staring at the street, drowning in his thoughts. Did you hate the idea of dating him that much?

“No hay nada que pueda hacer que me veas, y eso me duele tanto. Y aunque tú no me quieras como yo te quiero yo te seguiré amando.” / “There's nothing I can do to make you look at me, and that breaks me. Even if you don’t love me like I love you, I'll still adore you.”

"Isn't this the song that you like, Mike?" you asked, a small smile forming on your lips.

Mike's response was quiet and subdued. "Uh, yeah."

He didn't like the song, not really. He related to it, to every verse, word, and beat. It was a reflection of his feelings, a mirror to his unspoken thoughts and emotions. The lyrics echoed through the car, resonating with both of you in different ways.

“Dicen que de amor nadie se muere, pero si este dolor es la alternativa, prefiero la muerte” / “They say no one dies out of love, but if this pain is the alternative, I rather die.”

Mike sat silently next to you, the strum of guitar strings and the singer's melodic voice echoing throughout the car. A wave of disappointment washed over him, making the atmosphere in the vehicle almost suffocating. You could sense his discomfort, but you pressed on, trying to stay focused on the road ahead.

“Te estoy amando aunque no te diga nada. Estoy guardando este secreto para mí en el fondo de mi alma. Si tú me quisieras, no perdería ni un minuto más. Me entregaría con sinceridad, si te quedas conmigo.” / “I'm loving you even if I keep quiet. I’m keeping this secret in the depths of my soul. If you loved me, I wouldn't lose another minute more. I’ll sincerely give myself to you, if you stay with me.”

…

Feeling the need to intervene, Mike quickly stepped in to assist an elderly woman who was struggling to reach for a specific medicine. "Oh, let me help with that," he said, his voice filled with genuine kindness. As he handed her the item she needed, a warm smile spread across his lips, and you couldn't help but feel proud of his compassionate nature.

The woman thanked him graciously, her eyes twinkling with gratitude. "Thank you, sweetheart," she said, her gaze shifting between you both. "You two look like a nice couple. It reminds me of when my late husband and I used to go shopping together."

A sudden flush crept up your cheeks as the weight of her words settled upon the both of you. You knew it wasn't intentional, but the implication made your heart race faster than it should. Swallowing hard, you felt the need to clarify things.

"We're not a couple," you quickly replied, your voice tinged with slight awkwardness. The heat from your blush radiated outward, an audible confession of your true feelings.

Mike smiled gently at you, his eyes dancing with a mix of mirth and sadness. "Definitely not a couple," he affirmed, a hint of longing lurking beneath the surface.

As he turned to face you, he couldn't help but notice the defensive posture you took, your arms firmly crossed over your chest. Was there pain in your eyes? No, it couldn't be. He pushed the thought aside, choosing to focus on the present moment.

"Well, you seem pretty insulted by that," he remarked casually, attempting to shift the topic away from the elephant in the room.

You raised an eyebrow, feigning offense. “What? I’m not good enough for you?” Your words were laced with humor, but the underlying emotion was undeniable. There was a yearning, a desire for something more.

Mike sighed, rubbing the back of his neck as he shook his head. "We are not having this conversation again," he stated firmly. Today, he simply couldn't muster the energy for the friendly flirtation that had become a routine between the two of you.

The innocent, fun activity of grocery shopping quickly transformed into something far more uncomfortable between the two of you. The mood had shifted dramatically, leaving behind a heavy silence that seemed to grow more oppressive with every passing second.

Mike could no longer mask his emotions – his face bore the unmistakable signs of anger, complete with furrowed eyebrows and heavy breathing. His movements became more forceful as he tossed items into the cart, each action an expression of the tumultuous emotions churning within him.

Unable to bear the tension any longer, you hesitantly asked, "Are you alright?" The question hung in the air, seemingly adding fuel to the fire. The guilt you felt for asking it gnawed at your insides, knowing that you might have only exacerbated the situation.

Mike glared at you, his dark eyes flashing with hurt and resentment. At that moment, he couldn't bring himself to answer your question.

As you tried to find a way to bridge the gap, you couldn't help but wonder if this was truly the last straw in maintaining the delicate balance of your friendship. For years, the two of you had shared laughter, tears, and dreams, but now you stood on the precipice of something unfamiliar and uncertain.

…

To lighten the mood, you attempted a weak joke, "Where else, boss?" but it fell flat in the wake of the tension between the two of you.

Mike provided a terse response, focusing on giving directions to Walmart without acknowledging your attempt at humor. "I need to get a few things for Abby, she's doing a project for school," he said, buckling his seatbelt.

Attempting to ignore the growing discord, you asked, "Oh, are there any close by?" and started the car, navigating the streets according to the directions Mike had given you. However, your nerves got the better of you, and you found yourself missing turns and getting lost.

Each error only served to fuel the fire. Mike's frustration grew with every misstep, a slow burn that threatened to consume the both of you. And then, finally, it boiled over. "Left, I said fucking left!" he shouted, his voice cracking with the strain of holding back his emotions.

"My fucking god. Can you drive?"

Stung by his harsh words, you couldn't help but retaliate. "What the hell is your problem? Why are you suddenly acting like a bitch?" Angry tears pricked at your eyes, the frustration of the day taking its toll on your composure.

His eyes locked onto yours, the transit stretching on as he struggled to find the right words. Finally, he snapped, "Because you're terrible at driving!" It was a feeble excuse, an attempt to deflect from the real issue that loomed between you.

Your heart sank as you demanded answers, pleading with him to reveal the truth. "I'm not stupid, Mike. Tell me what is it!"

Mike's jaw clenched tightly, his mind racing as he tried to find the words to articulate his thoughts. But the harder he tried, the more elusive the truth seemed to become. The weight of the question pressed down upon him, threatening to crush the fragile foundation of their friendship.

Finally, he posed the question that hung between him like a cloud. "Do you hate the idea of being with me?" His heart pounded in your chest, waiting for your response, fear and hope to battle within him.

"What? Am I disgusting to you? Is it because I don't have a set job? Why?"

The weight of those words hung heavily between you, the car falling silent except for the hum of the engine. In that moment, everything felt on the line – your friendship, your future, and the truth that had been bubbling under the surface for so long.

"I never said that," you responded, your voice shaking with hurt and confusion. You grasped for some semblance of control amidst the chaos of your emotions.

"Well, you don't have to!" Mike declared, his voice wavering. Years of unspoken feelings finally burst forth, spilling out in a torrent of raw honesty. "We've avoided this for years. We're not friends!" The accusation hung in the air.

Mike recounted memories that flooded your minds, moments shared between the two of you that transcended the boundaries of friendship. "Holding hands at IKEA? Almost kissing? Showering together and almost having shower sex?"

With a bitter laugh, Mike snarled, "Friends, my balls. We're more than that, and we've been avoiding the truth for too long. It's time to face it."

"I just didn't know you liked me..." you reply, your voice barely above a whisper. The weight of the truth bore down on you, and you couldn't help but feel a sense of relief mixed with the overwhelming emotions that threatened to consume you.

Mike's eyes softened, and for a moment, the tension between you seemed to dissipate. "I've liked you for a long time," he admitted, his voice barely above a whisper. "But I was scared to say anything, scared of losing you as a friend."

The car fell silent once more, the hum of the engine the only sound that broke the heavy silence. At that moment, the two of you sat there, grappling with the new reality that had been laid bare between you. The path forward was uncertain, but one thing was clear – the friendship you had cherished for so long has now changed.

Mike sighed deeply, attempting to gather his thoughts and steady his escalating emotions. "I understand if you don't want to ever see me again," he murmured, his tone filled with a combination of regret and resignation. Despite the turmoil, he reached out and gripped your hand tightly, a silent plea for understanding.

"But, if that is the case," he continued, his voice catching in his throat, "at least let me kiss you... for the first and last time." The request hung in the air, heavy with the implication of finality.

You felt your body tremble at his words, a mix of excitement and fear coursing through you. The prospect of sharing this intimate moment with Mike, the one person you'd always cared for, both thrilled and terrified you.

"I don't want to die without knowing what it feels like to kiss you," he said, his voice filled with a mix of longing and desperation. The weight of the moment bore down on both of you, the unspoken emotions finally giving voice.

"And you won't have to," you whispered, desperation mingling with determination in your voice. Without another word, you leaned in, closing the distance between you until your lips met his in a searing kiss that echoed the years of longing that had built up between you.

Mike hesitated for only a moment before responding, his arms wrapping around you as the passion of the moment took hold. The weight of the past years melted away, replaced by the intensity of the present. For once, the uncertainty that had plagued your friendship was gone, replaced instead by the electric connection that had always been there, hiding just beneath the surface.

As the kiss lingered, you began to realize that this was not the end, but the beginning of a new chapter for you both. The path forward may be fraught with uncertainty, but you were ready to face it together, finally embracing the love that had grown between you.

Fin, Hope you enjoyed! I just wanted to write more than smut 😪

[gaypiratepropaganda]

Izzy's apology in the finale seems to have taken some people by surprise. During the break between seasons, I tried a few times to politely bring up the fact that Izzy was technically abusing Ed. Not because I wanted anyone to stop liking him (you can like a character who's doing abuse! it's not real. who cares), but because I was worried about the reaction when season two came out. I love this show very much and I know how tumblr can get. Most importantly, I love fucked up fictional relationships and cannot abide people making these two boring. So here we go. (I also love lists)

First. Emotional abuse can occur in intimate relationships, family relationships like father and son, or in the workplace (Ed/Izzy triple threat!). Second, it has to be an ongoing thing. Someone doing one of these things once is not abuse. Abuse is a pattern of cruel and frightening behavior in order to control the victim.

(Don't feel bad if you didn't notice this stuff! It's relatively subtle and we're kind of trained to ignore and forgive it, especially from characters like Izzy. I wasn't 100% sure I was right about this either until season two confirmed it. I think a lot of people don't even know what emotional abuse is, at least where I live.)

Below are some pretty solid warning signs (this said "criteria" before but I changed it to be more accurate) for emotional abuse, followed by examples:

•Monitoring and controlling a person’s behavior, such as who they spend time with or how they spend money.

One of Izzy's main motivations in season one was trying to force Ed to act more like his image of Blackbeard. To achieve that, he bullied, belittled, and threatened Ed. He attempted to kill Stede because Ed was spending too much time with him and he felt that Stede was a bad influence.

• Threats to a person’s safety, property, or loved ones

He tried to kill Stede (Ed's loved one) or get him killed several times. Once trying to get Ed to do it himself with the doggy heaven situation, once directly with the duel, and once by calling in the navy.

He didn't directly threaten Ed's safety until episode ten, but he did seem to have Ed convinced that the crew would kill him if Izzy wasn't there to protect him and then when Ed did things he didn't like, Izzy threatened to leave. It's indirect, but has the same result: Ed felt he was unsafe unless he did what Izzy wanted.

• Isolating a person from family, friends, and acquaintances

Izzy seemed to keep Ed isolated from the crew, act as a go-between, and control their perceptions of each other to a certain extent. In the first few episodes, Ed was always shown alone in his goth cabin with Izzy as his only contact. When he started to make new friends Izzy tried to make him kill them.

After Izzy was banished, he secretly sent Ed's ex in to manipulate him and get him away from his new community. Then he got them all arrested, culminating in the deal he made with the English that would have made Ed his prisoner. Not sure that was on purpose, but it was so fucked up I had to mention it.

The bit that really got me, for some reason, was when Frenchie asked after Ed and Izzy told the crew he was sick.

• Demeaning, shaming, or humiliating a person

Izzy is often shown berating Ed and yelling at him. The way Ed reacts suggests to me that he may be used to this kind of treatment from people in general, or from Izzy in particular. He never leaves or asks him to stop, he just takes it.

• Extreme jealousy, accusations, and paranoia

He was so jealous of Ed's relationship with Stede that he got the literal military involved. His explanation to for why Ed enjoys spending time with Stede was that he has "done something to [Ed's] brain." Like, what magic powers do you think he has, Izzy?

• Making acceptance or care conditional on a person’s choices

Izzy made it very clear that he would only support Ed if he conformed to the Blackbeard persona. He also seemed to have Ed convinced that there was no way he could survive without Izzy's support.

I just realized that if you subscribe to the headcanon that Izzy acts as a sort of caretaker to Ed (I do not) then all of this is way more fucked up.

• Constant criticism, ridicule, or teasing.

In season one he criticized everything Ed did, all his plans, even while telling him to come up with more plans. He ridiculed Ed and called him names pretty often: "twat, namby-pamby, insane." Even in season two when he's doing better, most of their interactions consist of Izzy teasing and making fun of Ed for being mopey or in love.

• Refusing to allow a person to spend time alone

I didn't think of this until now, but Izzy is often around when Ed thinks he's alone. He knows about things that happen in scenes he isn't in. Izzy's always sort of lurking, though? And he does it to everyone. So I'm not sure if we should count this one.

• Thwarting a person’s professional or personal goals

He's ok about piracy related goals, but as soon as Ed tried to do something other than that he got so weird about it. "This crew is so talented, why are we even being pirates?" is what got Izzy to threaten Ed. Which is interesting because he was fine with the retirement idea before, when he thought he'd get to be captain.

• Instilling feelings of self-doubt and worthlessness 

"insane unpleasant shell of a man merely posing as blackbeard." "I should have let the English kill you. This... whatever it is you've become is a fate worse than death."

• Gaslighting: making a person question their competence and even their basic perceptual experiences.

He called Ed insane and implied that the crew would mutiny if he wasn't there to stop them. This is clearly untrue, as we were already shown that his method of "massaging the crew" consisted of calling Ed half insane and pulling Fang's beard even though Fang hates that. The fact that he calls Ed insane more than once while at the same time trying to get him to act more insane seems like basic gaslighting to me. Then again, Izzy's definition of "insanity" may be like, depression, crying, showing emotions, loneliness, and enjoying softness.

[can't find a gif of this so just imagine Ed in the gravy basket with Hornigold saying "you're worried you're insane."]

Something that wasn't on this specific list but is generally considered part of emotional abuse is manipulation: the use of indirect tactics to change someone's thoughts, feelings, or behaviors in an attempt to influence them for personal gain.

I think Izzy often tries to be manipulative. He's not the greatest at it, but it's the thought that counts. He manages to be surprisingly successful through persistence and repetition.

He's got Ed convinced from the first time we see them that he is useless as a captain without Izzy. That's why Ed feels like he needs him. He tells him that the only thing standing between Ed and a crew constantly on the brink of mutiny is Izzy. Then he tells him that he will leave if he can't live up to his expectations.

He has a pattern of lying to Ed or not telling him the whole truth. He threatens him directly and indirectly in an attempt to influence him and control his behavior. He wants power, whether he gets it by becoming a captain when Ed retires or by making sure Ed remains powerful by any means necessary.

this is what he was apologizing for, along with the years of being terrible to Ed before Stede came into the picture. I never expected him to admit it so clearly like that. He fed Ed's "darkness," poked at his trauma for so long because he needed Blackbeard. It was something they did together, and he enjoyed Blackbeard's dominance and cruelty.

Of course there are other things that can be part of this kind of abuse, like infantilization, silence, and harassment. There are more examples of abusive behavior from Izzy at the start of season two, especially in the scene where Ed's asking Izzy to kill him. but I am not ready to get into that right now.

Anyway, Ed and Izzy's storylines in season two only make sense to me with this in mind. Ed is recovering from not only the suicide attempts but also this fucked up situation he was in, whether he realizes it or not. Izzy learns to stop being such a shitboy and admits he was wrong. ~growth~

if you interpret their relationship differently that's obviously fine. but I think this is the most interesting interpretation, as well as what was intended. It's no fun for me when people make them both equally awful to each other. I like it better as it is in the show: Ed fighting back against Izzy's emotional abuse with physical violence, which only ends up traumatizing him further. It's such a unique and fascinating story.

[cafeleningrad]

Ohtori is such a disorienting place. It's so emblematic that none of the actual needs of the people in it are met. In fact it gives answers but none actually are satisfying for anyone yet the answers are presented as only alternative. ("You have to revolutionize the world (by participating in the duels that ensure the world continues to run on the same old dynamic.)"

What system Ohtori, Akio by proxy, proposes is the idea of power over another. It's very gendered power as we learn later. Women's power exists either as extension's of a man (Nanami's high social status by virtue of being Touga's little sister), be inspired to have power by extension of a man (Wakaba), surrendering to a man (Kozue), or can be easily taken away power if a man decides that the woman had enough power (Juri,Utena). In the instance a woman has power it's also used to dominate others just like men do. (Nanami being cruel to others, to Tsuwabuki in particular, Utena treating Anthy her a puzzle piece to her princely identity.) In the end there is an idea how someone who should hold all the power should be like (the Prince), and they're given free reign. However that's not what the characters need.

Touga is entirely helpless to his paternal CSA. Akio's proposition is to become, for once, the one in charge of others so none can exploit him again. And Touga fails to see how Akio still exploits him by directing Touga, with quiet implicit imagery stressing that dynamic. What Touga would have needed was protection and a trusting family.

Nanami grew up so isolated and shamed for diverging from the norm, she is entirely dependent on external subjects and objects to define her. Either it's being defined by her relationship to Touga which is the entire basis of her social status, and her only hope for affection. Nanami can only define herself by traditional feminine and classicist means like her perceived ideal femininity, and brand-name jewelry which can easily turn on her, if external voices tell her that she should wear something. Nanami is so desperate for affection, being cared and loved for but the only language she is given is Ohtori's language of "men and women are only corresponding romantically". She can't express her need for familial proximity to Touga. The only other form of gaining adoration she knows is by violence, be it Touga's kitten, Tsuwabuki, or beating her three nameless underlings into submission.

It's not until the third arc that we learn about the Kaoru twins are in the middle of their parents separating. Their childhood is getting disrupted. Both of them are longing for time of connection and chance to hold onto each other. But Ohtori tells them that Miki can only adore Kozue as innocent and helpless. Kozue, like Nanami, gets told that her only chance to express affection to her male twin is by a sexualized, romanticized interaction. For two characters who're living through turbulent times, and need some stability in the other, twisting their chance of proximity is exactly the wrong answer.

Saionji really wants to remain friends with Touga he admires so much. (If not being in love with him.) Even more than Juri, he knows that the duel platform is just a set up, he swallows Touga's poison of "true friendship doesn't exist" again and again. The only chance of proximity to Touga is to disrespect others, demonstrate superiority over them, especially Anthy, as best proxy to a close male-male-dynamic. Saionji's only given path is to delude himself further and further.

Juri pushes so many people away because she's afraid her homosexuality will be revealed. Ohtori as a place does punish homosexuality severely, see Mikage's twisted memory, Ruka trying to converse Juri. This place convinces Juri over and over again that she's wrong for loving Shiori. But the truth is, Shiori is so much in love with Juri that she will resort to abuse her emotional power as long as it serves the purpose of Juri remaining close to her. What they would have needed is the chance to know that actually they're safe to be honest, at least to each other.

Utena is deeply grief-stricken by her parent's death. As a child the idea that everything will fade is terrifying. The only alternative she is shown is that Anthy's suffering is eternal. She wants to help. But the only path for being admired and adored is becoming a prince. The only agency to help and save others is by exercising the prince's power over someone. Akio becomes even crueler by trying to convince Utena that a girl's actual aspiration is romance (with a man). What else should she want? It also distract her from her genuine compassion for Anthy, and wishing for Anthy's happiness.

[bestworstcase]

I can't remember whether you've answered this before, but. You postulate that everything Salem does in 8.9 after learning Yang's identity is a ruse to justify letting Yang and the others go free; that threatening Emerald is a deliberate attempt to provoke Hazel into attacking her so she has an excuse to turn her attention away from the prisoners.

My question is: Why does she need an excuse? Salem doesn't answer to anyone, and I can't see any particular risk in just saying "I've decided you're free to go, goodbye" and leaving the kids baffled. So what does she have to gain from... making herself seem more dangerous and unreasonable than she is? Not that I think she feels any hope she could convince the heroes she's reasonable -- as you've stated, Oz has done a very good job de-personing her for a very long time -- but I'm not sure why she would go to the effort of constructing an artificial scenario solely to make her enemies think she's more monstrous. What's her motivation here?

in the course of answering the question of her motivation i'm actually going to lay out my argumentation for reading the salem vs hazel fight this way, 'cause i don't think i've ever done so comprehensively before. (on tumblr, anyway.)

the foundational theory isn’t "salem did all this as a ruse to let her hostages go" but rather that this duel with hazel is a performative means to an end. and the reason i think that is the way the fight itself, along with the duel in the lost fable and the brief altercation with the kids preceding the fight, are choreographed.

to preface this discussion, rwby's fight choreography is subordinate to characterization. (this is less true in v1, wherein centerpiece fight scenes put a greater emphasis on style and spectacle, but from v2 onward there’s been an increasing focus on using combat to develop character.) team rwby vs ace-ops is a good example of this: ruby struggles in her matchup with harriet not only because she’s a grimm-fighting specialist whose main advantage (agility) is negated by her opponent being able to match her speed, but also because her heart isn’t in it; she pauses to plead with harriet to stop and think about what she’s doing and never really recovers her footing.

so my first presupposition is that salem isn’t an exception to this principle and her fight with hazel is not meant to just be a dramatic spectacle that Looks Cool but has nothing substantive to say about the characters involved. the writing and fight choreography are reliably cogent and i trust that the same amount of thought was put into this scene. i say this because i think "empty spectacle" is the only other way to parse what happens here.

now on to the most salient piece of context: we know that salem can fight well. because, as ruby puts it, we’ve seen what she’s capable of. the lamp showed us.

in the lost fable, we see:

salem and ozma fighting together, back-to-back, as they escaped her father’s fortress together.

salem stopping a nevermore the size of a commercial plane cold, and then crumpling it up like tissue paper.

salem matching ozma, a skilled, highly-experienced warrior who at the time had the combined might of the four maidens put together at his disposal, exactly blow-for-blow in their last duel.

nevermore crunch gives us a sense of not just the force but also the sheer precision of control that salem has over her magical power. the first fight tells us that even with no formal training, salem had the raw talent (and desperation) to keep up with ozma and hold her own against professional soldiers; the second fight tells us that by the time the ozlem kingdom fell, salem and ozma were equally matched in terms of skill.

the fanon idea that salem can't fight but won their duel by virtue of her invulnerability—whittling ozma down one lucky hit at a time—is a) contradicted by the swift and even back-and-forth volleys shown, and b) plainly at odds with the fanon nonsense that ozma spent most of the duel desperately and futilely on the defensive fighting to shield the girls from her onslaught.

from the tableaux in the second fight, it's hard to determine whether salem bothers with self-defense under normal circumstances (she doesn't, in the tableaux, but nor does ozma). but that in itself isn't a reason to presume a lack of skill in combat because salem has no incentive—other than pain avoidance, which given her extreme tolerance for pain isn't much—to fight defensively.

with all this in mind: we begin with her altercation with the kids.

salem enters the scene by exploding her way out of the whale. notice the kids knocked over like bowling pins on the left: oscar was standing approx. fifty-three feet away from the epicenter of the blast, measured based on salem being six feet tall. (<- with perspective taken into account. from wall to edge, the dock is 48ft wide)

emerald keeps her feet, perhaps because she knows better what to brace for; she's about the same distance away. in any case, salem's next move is to launch herself to the edge of the dock (again, a distance of 48ft—measured based on a different screenshot) and stretch to grab emerald in a fraction of a second.

ok. the women's world record 60m sprint is 6.92 seconds; this works out, rounded, to about 28.4ft/s. at that speed, you can cover forty-eight feet in about 1.7s; salem closes the distance in about half a second, which works out to 96ft/s. from a dead stop.

salem is could-probably-keep-up-with-ruby-rose fast.

next point. these two frames:

are a split second apart. the blast is aimed at ren and when jaune leaps in front of him, hits his shield right in the middle:

had jaune not gotten there in time, this would've hit ren squarely in the chest. in any case it hits with enough force to blast both boys off their feet and slams them into the flesh wall (roughly, eyeballing it based on several shots) 20-30 feet behind them hard enough to visibly strain jaune's aura. keep this timing in your mind for later. salem can fire these things off literally faster than you can blink.

the distance between her and ren at this point is approx. forty-five feet, again using the wide shot from earlier to measure. precise accuracy isn't impressive at this range necessarily but it's worth noting in relation to ren, who fires on her from the same distance, kneeling, with his fully automatics. every bullet goes wide:

& then salem whips around and noscopes him.

similarly, she sticky-hands yang in the face (catching her gauntlets only because yang throws up her arms to shield herself) while upside down with her eyes closed and paste for bones. she's a GOOD shot.

another detail to note here is the difference in salem's reaction to ren's attack versus yang's; ren fires on her, misses, she retaliates with her magical equivalent to his guns, but when yang punches bombs into her chest a second later, salem literally just stands there, even lowering her arm to let yang do it...

...and then after being blown up, rather than firing back with magic, snags yang and pulls her over to look intently at her:

we know that the reason salem grabbed emerald is with the intent to question her about what happened to the lamp, because salem concludes from the available facts that em must have stolen it. we also know that when ren shot at her, salem returned fire immediately, within a fraction of a second—this woman is inhumanly fast, and the time between these two frames:

is exactly equal to the time between these two:

what this tells is that salem did have time to blast yang in the gut with magic. through the whole sequence with yang punching her, salem is looking at yang's face, her gaze tracks down to follow her movement. she sees this coming and she's reacting to it, just making a deliberate choice not to retaliate.

and then she grabs yang.

this is the first weird thing salem does in this scene—every move she makes prior unambiguously follows from salem's belief that emerald stole the lamp and her desire to recapture oscar and take the relic back—and i don't think it's a coincidental that the weirdness begins with salem noticing yang...

...whom she saw like, two days ago rushing forward to comfort ruby after salem your mother-ed her to the ground. i've made this point before but prior to her arrival in atlas salem might at most have seen toddler pictures of these kids; ruby takes after her mother enough to be impossible to mistake for anyone but summer's daughter, but yang isn't even biologically related to summer. so salem wouldn't know her on sight. but this interaction a couple days ago would've given her enough circumstantial context to at least guess that this girl is summer's eldest.

so here, when salem sees yang and instantly flips from slinging bolts of magic around with enough force to break or at least visibly strain jaune's aura to sticky-handing yang to drag her over and grab her, the question is okay, why? why does that shift happen? what is it about this moment that alters salem's motivation? and because the situation hasn't changed whatsoever and there's no other reason for yang to have any significance to salem, the simplest and really only cogent explanation is her relation to summer rose.

onwards. salem isn't expecting oscar to zap her. you can tell because every time salem takes a hit on purpose in this scene, she either tracks her opponent's movements or visibly braces herself and neither of those things happens in the split second between oscar starting to fire and his blast hitting her; and also, she grunts in pain both when it hits her and when she doubles over afterward. given that oscar shouts at her first (so he has her attention) and what oscar and ozma say when they discuss the state of the merge in 7.13 and earlier in 8.9, i think it's pretty likely that salem didn't realize oscar could tap into ozma's magic and thus he caught her off guard.

also i'm not sure oscar realized he could do that until he did it. look at this boy. he's so busy going "wait what?" at himself that he doesn't even notice salem yeeting yang at him until a split second before yang hits him ->

that, or oscar's use of magic jostled oz to the front and neither of them were expecting that to happen.

at this point salem stops fucking around and pins everyone to the floor. and again this is something i want to emphasize because it is effortless for her. when she does this to hazel in 6.4 she makes a gesture with her hands, but here she just decides it's going to happen and it does. (which tells us that the gesturing in 6.4 is for show, just like flipping the table and raising her voice. she's exaggerating her irritation into this over-the-top anger for the sake of intimidating everyone else in the room. it's performative.)

anyway, she hangs emerald on the wall, conjures a ball of magic, and:

SALEM: What did you do with the lamp? EMERALD: ...N-nothing! [Salem leans in to hold the magic close to her face.] SALEM: It's missing. Where is it? EMERALD: I didn't do anything with it! SALEM: Where—[she lowers her hand, turning away]–is it?

ok. salem can tell when people lie. she's also grimm—she can probably sense or perceive emotion the way all other grimm do.

emerald isn't lying to her and salem knows she's telling the truth. the pseudo-repetition of the questions obfuscates this a little, because they're almost but not quite the same, but salem believes both of the truthful answers emerald gives her.

her initial assumption is that emerald stole the lamp and must have done something to hide it ("what did you do with it?"). emerald is startled, confused, and answers "nothing." salem explains why she's asking ("it's missing") and then asks if emerald knows where it is or who took it ("where is it?") because her next guess is that emerald conspired with somebody else who stole the lamp while emerald snuck oscar out.

when the lamp went missing, there were eight people on the whale: salem herself, hazel, emerald, neopolitan, oscar, yang, and these other two children whose names salem probably doesn't know. right before the seers sounded the alarm about intruders, salem encountered emerald and someone she thought was hazel in the corridor. at that point in time, salem expected hazel to still be interrogating oscar, as she's mildly surprised to see him: "ah, hazel. have you gotten what we need yet?"—and 'hazel' behaved oddly enough that salem was side-eyeing him before the alarm distracted her. her reaction to emerald a few minutes later ("you really have been honing that semblance of yours") confirms that she's figured out that 'hazel' was really oscar.

hazel assumes there is an alarm that will go off if they move the lamp, but he's wrong: neo swipes it seconds after they leave the chamber, and salem doesn't know anything is wrong until a) the seers alert her to the presence of intruders, several minutes layer, and b) she goes to personally secure the lamp and finds it already missing.

so salem does not know exactly when the lamp was taken, only that it happened before the seers sounded the alarm. that her suspicion falls first on emerald suggests that salem has—for whatever reason—already considered and ruled out the possibility that the intruders are the thieves (most likely, because the seer alarm calls convey more information than just "stranger danger!" and salem knows the intruders didn't get that far into the whale before being caught). plus by the time she's questioning emerald, salem has a) terrified emerald well past being able to maintain her semblance, which requires active focus, and b) visually confirmed that none of the intruders nor oscar are carrying the lamp with them.

ruling out emerald as the thief therefore leaves her with just two suspects: neopolitan, or hazel. now, salem does not have any reason to trust another of cinder's little pet illusionists, so on the face of it neo might seem to be the obvious suspect.

BUT.

salem expected hazel to be in oscar's cell at the time she unwittingly caught emerald in the act of helping oscar escape. and she knows that hazel is attached to emerald—that's why she punishes him for lying to her in 6.4 by forcing emerald to answer the question hazel tried to dodge, she knows hazel lied to protect emerald.

and emerald could not have freed oscar from his cell without hazel knowing about it.

based on the facts of the situation as salem understands them at the point when she turns away from emerald to ask, rhetorically, where the lamp is, there are only two possible explanations:

hazel stole the lamp while emerald helped oscar escape.

neo stole the lamp while emerald tried to sneak oscar out, either with hazel's assistance or while hazel was somewhere other than where salem expected him to be, doing something he shouldn't.

there is no way—no way—that salem does not realize, at this juncture, that hazel has most likely betrayed her. this woman is a clever strategist who has been running circles around ozpin and his inner circle since the show began and, while she lacks the charisma and social dexterity to be a truly masterful manipulator, she understands human nature and her manipulative tactics are always very shrewd. unless you're willing to assume that the writers just idiot balled her for the sake of the plot—which i'm not; rwby is too well-written—salem's assumption now is that hazel stole the lamp.

(which, she's wrong, but the underlying reasoning in how she handles the situation on the docks up to this point is an application of occam's razor; she begins with the simplest explanation and works upward in complexity from there, so she'd land on hazel stealing the lamp before she got to "neo stole the lamp, emerald freed oscar, hazel was doing something else.")

the shift in her tone as she turns away from emerald and the things she then says to oscar evince this also: her second "where is it?" is rhetorical. she knows that either hazel or neo has it, and hazel is the more likely suspect. since neither of them are here at the moment, but neither of them can leave the whale except through the dock, the question is no longer urgent. she has the situation fully under control. all she needs to do is wait.

so her attention shifts to oscar or ozma. (whether oz is fronting or salem thinks he’s fronting because oscar used ozma's magic is somewhat unclear, but given that she correctly identifies them in both 8.4 and 8.6 i'm inclined to think she’s right this time too, and oz got pulled forward by oscar’s use of his magic)

SALEM: Look how you've diminished. How you've lessened yourself—and for what? These children? This ruined world...? Why—do—you—keep—coming—back? YANG: Why do you?! [Salem glances at her, startled.] YANG: All of this endless death, just because something bad happened to you once upon a time? Nobody gets a fairytale ending! Everything I've lost—every person I've lost!—is because of you! SALEM: And who is it I've taken from you, girl? YANG: Summer Rose. My mom. SALEM: Hm. [amused] Her again?

as i said, salem already has reasonable confidence that this girl is summer rose's eldest daughter, but if she had any doubt or uncertainty prior she now knows for sure. "and who is it i've taken from you, girl?" is salem both engaging with what yang said to her and also fishing for a confirmation that she is who salem thinks she is, which yang obligingly gives to her.

so at this juncture salem now has three goals:

don't severely hurt or kill summer's daughter.

determine who stole the lamp and get it back.

recapture oz/oscar.

with the third being a means to the end of finding out how to access the lamp. this makes #3 the lowest priority, because there are at least six people who know the "password" (ozma, oscar, ruby, yang, and their two teammates) and if salem loses oz/oscar now she can still try to capture one of the other children later.

of the first two, which is more important doesn't really matter yet, because right now they aren't in opposition. she can accomplish the first by not doing anything to harm yang and the second by staying put until the thief—either neo or hazel—tries to get past her.

of course, then hazel IMMEDIATELY shows up. he is, remember, salem's primary suspect at this point and she knows that he, at a minimum, wasn't where she thought he was when emerald snuck oscar out of his cell. even if hazel doesn't have the lamp, salem has to consider him a possible traitor until proven otherwise because there is also this unspoken question of how emerald got oscar out. either hazel was incompetent or he was an accomplice.

salem wants to know which it is.

he walks onto the docks, greets her. salem glances over at him and sees that he does not have the lamp, so either he stashed it somewhere on the whale with the intent to sneak it out later or he isn't the thief. the question of how emerald got oscar past him remains. there is a possibility that hazel wasn't involved in the jailbreak or the theft—he's been in and out of that cell all day—and if salem makes this accusation and she's wrong, she risks losing his loyalty. right. like hazel is already terrified of her and she knows ozma has been feeding him bullshit all day about how she's bent on destroying the world, she walked in on that.

if she takes an aggressive posture here on the basis of an incorrect suspicion that's going to play right into ozma's hands by making her look unreasonable, untrustworthy, dangerous. even if he remains loyal in the moment, he'll have all of this in the back of his mind and he might turn against her at a more crucial juncture in the future.

salem is very risk-averse. she's not going to do that. so now she has a fourth goal: test hazel in a way that will strengthen his commitment to her if he remains loyal, or else force him to definitively prove himself a traitor.

when salem meets emerald and 'hazel' in the corridor earlier in this episode she says "ah, hazel. have you gotten what we need yet?" and then, after the seer alarm, "it seems we have guests [...] find them!"

when hazel arrives at the docks, salem says "ah, hazel. i found our guests." the intonation of "ah, hazel" is the same but exaggerated, and salem's taking "we have guests: find them" and flipping it around; "i found our guests." now, she's aware that the 'hazel' she spoke to in the corridor a few minutes ago was really oscar, so hazel doesn't have context for why this is funny. but she's making a sarcastic little joke at his expense about how she doesn't trust him now.

"ah, hazel" is how she greeted the false 'hazel' whom she did trust and told to find their "guests." she suspects that the real hazel was an accomplice to this scheme so she parodies that greeting and then makes a sardonic jab at him as if the false 'hazel' in the corridor were real and just failed so abysmally at finding the intruders that salem had to do it herself. and then she specifically draws his attention to emerald and goes "this one was helping them."

and this is the test, right.

before she asks emerald "what did you do with the lamp?" salem conjures up a ball of magic and holds it up where emerald can see. very unsubtle threat. she does the exact same thing here.

"this one was helping them," she says, magic crackling in her hand where hazel can see it. there is, again, a very unsubtle threat that she'll hurt emerald. and then she pauses for a solid three seconds, which doesn't sound like a lot but it's the similar in length to her other dramatic pauses like "find the girl that did this to cinder... and bring her to me" (~3.5s) and "before you go, inform tyrian... that i wish to have a word with him" (~2s)

in 6.4, salem asks hazel to give her a specific piece of information about cinder, and he tries to evade by saying "i take full responsibility," so she flips the table, pins him to the ground, and intimidates emerald into telling her instead, because she knows hazel is lying to shield emerald from the imaginary threat of salem's wrathful retribution.

in this scene, salem has emerald pinned to the wall and makes an implicit but extremely clear threat to hurt emerald because, she tells hazel pointedly, this one was helping the intruders sneak oscar, the boy hazel was supposed to be interrogating at the time, off the whale: SIGNIFICANT LOOK. DRAMATIC PAUSE.

this is the test. this is the test. the last time salem put hazel into a situation where he anticipated a punishment falling on emerald's head, he lied to try to redirect that punishment onto himself. if he tries to do the same thing now, he's either going to implicate himself as an accomplice, attack her, or exonerate himself by lying (because salem will know that he's lying if he falsely claims to have been in on it a la "i take full responsibility").

she's not making any accusations but she is giving him the chance to come clean. the last time this happened and he lied to her, she bullied emerald to punish him. the implicit promise she's making this time is that if he was also "helping them" and he tells her the truth now, she won't hurt emerald. if he gives her what she wants, she'll reward him with what he wants.

as. usual. she does not communicate this clearly enough for it to be effective (⭐️ SHE TRIED) and hazel doesn't give her anything to work with, just stands there silently, so... she escalates. "take the boy back to his chamber; i have work to do with this one."

if hazel's silence is because he's upset but still remains loyal, he'll obey and she'll know that she has a much firmer hold on him than she thought. if... he was involved, then his silence is because he's trying to figure out a way to salvage this situation. she still does not have absolute certainty. so she provokes him by raising the stakes and turning her back on him.

um, another noteworthy detail that i think supports reading "i have work to do with this one" as a performative threat salem's making to force hazel to make his loyalties clear:

salem touches emerald's face with this very ominous-looking magic crackling around her hands and nothing happens. the specific threat she's been making in this scene of "answer me or i'll burn your face with this nasty dark magic" is quite literally bluffing. it doesn't hurt emerald upon contact with her skin. emerald just experiences the untold horrors of salem grabbing her face.

HOWEVER. escalating in this manner a) takes the risk of hazel choosing to betray her for emerald’s sake right now even if he wasn’t an accomplice before, and b) insures that if hazel is already a traitor, there will be a violent altercation.

the former is a much less dangerous risk than alienating hazel if he's truly loyal by making open accusations (an immediate betrayal that she provoked and is prepared to handle vs a possible betrayal an unknown amount of time in the future which might catch her with her guard down). the latter is a problem, because there are children glued to the floor who will be in the crossfires of any fight, and one of those children is her general's eldest.

and this is where that second goal of "don't severely harm or kill summer's daughter" comes into play and comes into conflict with salem's need to recapture oscar & oz and recover the stolen relic. it's at this point salem has to make a decision about what to prioritize, and her choice is to—if hazel does what she expects him to do and attacks her—let the children go while she "fights" hazel, then pry information out of hazel once they're gone. so she reveals that her priorities are:

summer's daughter.

the lamp.

hazel's loyalty.

the lamp's "password."

also notice that salem does keep her implicit promise not to harm emerald if hazel gives her what she wants—she releases emerald, too, after hazel punches her. she's thinking ahead to what she'll do once the children are gone and she has hazel alone on the docks. by letting emerald and the rest of the children escape, she removes his motivation for betraying her: he no longer has anyone around whom he could possibly sacrifice himself to protect from salem, because all of them have made it to safety. now salem can pin him to the wall and start asking questions.

either hazel took the lamp and stashed it somewhere on the whale once he realized she'd caught the children, or neopolitan stole it and—if she's still aboard—will need to pass the docks sooner or later. so salem stays put, with hazel, until she has the lamp in hand again or knows where hazel hid it. summer's daughter is safe, hazel has no one to sacrifice himself for (and she has some leverage to counter ozma's lies; letting the children go is her proof that she isn't unreasonable), and salem has everything she needs to get the lamp back. she might have to capture someone again in the future to extract the lamp's password, but there's a chance hazel learnt it from oscar before the jailbreak and theft.

worst case scenario, neo stole it and escaped before salem intercepted the jailbreak on the docks, but at least by questioning hazel she'll be able to determine whether that's the case.

a partial victory is preferable to a loss, and knowing what to sacrifice in pursuit of one's priorities is important. this is salem's basic strategic philosophy and it shows through in her actions throughout this scene; she's making choices about what matters to her most and what she can afford to let go, always with the intent to achieve as many of her goals as possible, in descending order of importance.

with salem it's important to keep in mind that she thinks like this. strategic acumen is her greatest strength and being able to evaluate all of one's objectives in terms of priority, feasibility, and tactical means at once is a critical strategic skill. strategy is about the long term, big picture thinking, where salem excels. so she almost never does anything for just one reason; every decision she makes is a balancing act taking into account all of her important short- and long-term goals.

speaking of which, i've so far limited this discussion to her immediate objectives in this scene, but it's worth remembering that salem has long-term plans that she is working toward and her actions and choices in any given scene are mediated by the big picture; her inner conflict regarding cinder aside, salem is never going to do anything that achieves a short-term goal by harming her strategic ends (and her erratic behavior toward cinder arises from a conflict between her strategic ends and her increasing reluctance to treat cinder like a pawn, i.e. her big-picture wants and needs can no longer be easily reconciled.)

it's much harder to discern salem's long-term objectives because we don't really know what her plan is, except in the broadest strokes. but we can hazard a few guesses:

salem is very circumspect about what happened to summer rose; it may be necessary for her plans to preserve the heroically-martyred idea of summer rose—the most obvious reason would be that "summer was the best, and even she failed" is a very exploitable weakness in her opponents' morale.

if salem intends to confront the brothers face-to-face, using the final judgment as bait, and she fails, the only thing she can do that might prevent the gods from annihilating remnant is ensuring that everyone is rallied against her. forcing the truth of her existence into the open while performing to "monstrous evil witch bent on destruction of all things" expectations is the surest way to do that.

likewise, winnowing her own inner circle such that she is truly and completely alone by the time she has all four relics in hand may be part of the plan.

also worth taking into consideration are the ways salem's trauma circumscribes her decision-making. she is:

terrified of rejection.

terrified to care or admit to caring because the divine mandate is a justification and a threat of genocide strictly to punish her, and she knows it.

convinced that no one will ever truly care about her, hear her, or want to help her without getting something in return.

resigned to being seen as a monster no matter what she does, solely on the basis of her inhuman appearance.

all of these things predispose her to retreat behind her emotional walls and just reflect the expectations of others back to them. she's been viciously, brutally punished every single time she's tried to be authentic and vulnerable with others and it hurts less to shut down and be what she's "supposed" to be than to try and be cut down over and over again. this is a defensive learned response and it informs both her strategic planning and her tactical decisions; even in situations where breaking expectations and being emotionally honest might benefit her if people were to give her a chance, she's not going to do it unless she is really, really certain that she won't be punished for trying again.

now, to wrap this up, let's go over the fight with hazel.

i actually debate with myself a lot as to whether salem did or didn't anticipate hazel punching her, because she a) doesn't brace and b) cries out when his fist makes contact with her face, but i am certain that by this juncture salem did expect and was counting on him to do SOMETHING to stop her. the sequence of events is this:

salem approaches emerald while telling hazel, "take the boy back to his chamber; i have work to do with this one." after a brief pause, hazel answers "yes. of course," and begins to walk over to oscar. at this point, salem puts both of her hands on emerald's face and leans in to emphasize the threat, but still doesn't hurt her.

keep in mind that there is a significant distance between salem and oscar. relative to her position when she entered the scene, salem has moved (roughly, eyeballing) about thirty feet to the left and knocked oscar about the same distance from where he fell when she burst through the side of the whale. so they're still about fifty feet apart.

an able-bodied human walks about 4.2ft/s at a normal pace on average; hazel is quite tall—i believe word of god is eight feet, but he is NOT two feet taller than salem, the top of her head is level with his shoulder line, which if salem is six feet tall exactly would make him about 7'2"—which gives him a much longer than average stride, so we'll presume his normal walking pace is about 4.5ft/s.

when salem walks from emerald over to oscar, it takes her about twelve seconds. if we assume that her pace is the average 4.2ft/s, that would make this distance just about exactly fifty feet. 50ft 5in, to be precise. the consistency here between the visible spatial distance and the temporal distance suggests close attention to detail on the part of the creative team.

(salem returns from oscar to emerald, off screen, in about two seconds, but this is not problematic given her super-fast gliding pace—we can assume that salem slingshot herself across most of the distance and then walked the last couple steps.)

so at a normal pace of 4.5ft/s, it should take hazel about eleven seconds to walk from salem's side to where oscar is... and in fact it takes him exactly that: he begins to walk at 14:35 and stops in front of oscar at 14:46. again, the consistency is telling—particularly because there is no dialogue at all in this span, so how long it took wasn't dictated by the length of a spoken line.

hazel picks oscar up, murmurs "no more gretchens, boy," into his ear, pushes the long memory into his hands, and then drops him again. this takes another ten seconds. hazel turns away from oscar and begins to walk back toward salem at 14:56, punching her at 15:04, so his return is faster but within the range of a brisk walking pace (eight seconds, fifty feet, approx. 6.3ft/s).

the reason i'm belaboring this point is that salem says "i have work to do with this one," and then... stands there without doing anything except holding emerald's face menacingly for a genuinely awkward amount of time. thirty-one seconds, counting the beat before hazel began to move. it's not even clear that salem said anything to emerald—when hazel turns away from oscar and the camera cuts back to emerald and salem, em blurts out "i really don't know!" but whether this is in response to another question salem asked off-screen or just responding to what she assumes salem wants from her is ambiguous.

compare the way salem questioned emerald earlier in this scene: she asked two questions, one after the other, confirming that emerald didn't take or hide the lamp and doesn't know where it is. as soon as it became clear to her that she wouldn't get useful information from emerald—because em truly did not know anything—salem dropped it and moved on to Plan B. she doesn't LIKE emerald and she's ANGRY that em tricked her and helped oscar escape, but what salem CARES about is finding out what happened to the lamp. she's not going to waste her time trying to get blood from a stone.

and compare the way salem conducts herself when she interrogates oscar in 8.4. again, her questioning is guided by practicality, but the more salient point of comparison for this discussion is what salem does when she shifts gears to punishment and torture. namely, she just tortures him. no hesitating, no warnings, no threats, no grandstanding, she just turns around and does it. practical, again.

if what salem intended to do at this point in the scene was torture emerald, either to punish her or for information, she would do so.

instead, salem just...clutches emerald's face. evilly.

for thirty-one seconds.

now, i will remind you that salem has excellent spatial awareness; she sticky-hands yang from at least ten or fifteen feet away while upside-down with her eyes closed. hazel's footsteps are clearly audible. when hazel enters, salem hears him speak and answers him across this fifty-foot span. oscar cries out when hazel picks him up and grunts in pain when hazel drops him, which also makes a quite loud thud. hazel's footsteps would also be audible to her when he returned, although they aren't to the audience.

so she'd be able to sense hazel approaching her again, and if she paid attention—which she must have, because salem's just spent half a minute doing the bare minimum to sell that she's toootally going to start torturing emerald, any second now, and the only reason for her to do that is if this is about intimidating or provoking hazel—then she would have at least heard him dropping oscar, so she knows he isn't "taking the boy back to his chamber" as ordered.

ok.

when the focus shifts back to them, salem's got emerald like this:

this shot is at 15:01.167. hazel will punch her at 15:04 exactly, which at his brisk pace of 6.3ft/s means he's about eighteen feet away. around 15:02.750, when hazel is less than eight feet away from her, salem begins to pull back, lifting her arm as if preparing to strike:

she holds this pose without moving for almost a whole second. remember just how fast salem can be. her release when she fires back at ren, from the moment she begins her 180° spin to the moment the opalescent bolt leaves her hand, is sixteen frames. from the appearance of the black/violet magic bubbles to the release of the opalescent bolt is one frame. ONE.

when she reaches this position, hazel is quite literally right next to her. he cannot be more than three or four feet away, and we can see in both the initial shot and the replay from the opposite angle that he comes at salem directly from the side, not from behind her.

the point is that salem can see him. unless you have vision problems impacting your peripheral sight, even if you're looking straight ahead, as salem is here, you can visually detect motion directly to the left or right within a close radius. and indeed:

salem's gaze flicks to the side before his fist makes contact, and the wider shot from behind shows just how close he is to her before throwing the punch.

and the last detail i want to note regarding the punch is that salem lets go of emerald when hazel hits her, which is something that she does NOT do when yang blows her up:

if salem can remain standing and keep her death grip on this girl's arm while her ENTIRE TORSO IS EXPLODED WITH BOMBS, it... does not matter how strong hazel is or to what degree salem may have been caught off-guard. she had at least a split second recognition before his fist hit her face; that alone is enough to reflexively clamp down on emerald's jaw if she didn't want to let go.

so whether or not salem anticipated that hazel would punch her in the face specifically—and it doesn't seem like she did, given that she yelps—she must have had at least a vague awareness of his presence/approach (because he marched right up to her), and she made the choice to just ragdoll with the hit. the simplest explanation is that once she heard him drop oscar and start power-walking back toward her, salem knew he was going to try something to save emerald and committed to the bit.

she also isn't actually ragdolling; she lets the force of hazel's punch throw her off her feet, but then instead of falling she soars away in this high arc, flips herself around in midair, drops down in a perfectly-controlled landing at the far end of the dock, and rises again:

ok? ok. this sequence, from the end of the slo-mo reaction shot to when salem reaches altitude, runs 15:08 to 15:11—three seconds.

and then she just, erm...hangs out there, not doing anything, until hazel finishes cramming dust into his body and turning his back on salem to give his heartfelt last goodbye to emerald and everything, and faces salem again at 15:41. at which point she says "so, you've decided against vengeance for your sister, after all this time?"

thirty. seconds.

during which the ONLY ACTION salem takes is this... this:

<- make a particular note of how jaune reacts. the tactics guy. while the other kids gasp in shock/relief, jaune is like "wait what?" as he pushes himself up to look at salem—he's confused, because he knows intuitively that Something Weird just happened.

why did she do that?

she didn't need to. it wasn't an accident. salem manifested these sigils with a mere thought, and later in this same scene we'll see her do that again right after hazel smashes her head like an egg. summoning these things also clearly doesn't inhibit any of her other powers, so this is effortless for her and costs her nothing to maintain.

either happened by narrative fiat, because the kids had to escape and the writers just couldn't be bothered to figure out how. the... problem with this explanation, aside from the obvious that rwby is a well-written story that doesn't pull this sort of bullshit, is that the prelude to the big fight makes a HUGE POINT of,

this! oscar is already free and has long memory. if the intention is for the kids to escape while hazel keeps salem distracted, you don't need a narrative contrivance like this; you just slip in a shot or two of oscar snapping these grimm hands or disarming the sigils with his own magic to release his friends instead.

orrr... salem let them go on purpose.

¯\_(ツ)_/¯

wheeze. ok. we're almost done.

remember how salem can go from empty fist to black magic bubble to releasing an opalescent blast in just three frames?

this first shot is at 15:49. the second is at 15:51. in between, salem just kind of sways side-to-side and then waves her arms around for forty-five frames. even if we count only from her conjuring of the Big Bubble at 15:50, it's twenty-two frames—longer than it took her to snap around and fire off a blast that hit her target dead-on and slammed two teenage boys into a wall some 20-30 feet back.

woman's telegraphing harder than a dark souls boss here.

and speaking of aiming...

these are the three bolts salem fires in the wide shot. top row on the left is her first shot in the instant before hazel begins to run up the slope—i've marked the trajectory and the eventual point of impact in green to make it easier to see that this would not have hit him even if he hadn't moved. top row on the right is the real impact, with hazel now running. on the bottom row are her next two shots. one strikes the edge of the dock nowhere even close to him, the other hits the ground about 8-9 feet in front of him (measuring based on hazel being 7'2" tall). and in the next shot:

it's not that she never hits him. hazel is quite a bit farther away from her than ren was and he's also running at a dead sprint while dodging blasts. tricky target. it wouldn't be strange at all if she missed.

but look at where she is aiming.

top row: both bolts strike the ground 1-2ft directly ahead of him—in the shot on the left, he's veering closer to the wall to avoid stepping on the point of impact. bottom left: this is a second bolt aimed just a little bit forward and 1-2ft out from the wall relative to the top right; these two bolts strike eight frames apart and hazel lunges sideways toward the dock's edge as the second one comes into frame, so when salem fired the second one, hazel was still where he is in the top right. and (the clincher) bottom right: this bolt strikes six frames after the one preceding, 1-2ft directly in front of him, and hazel swerves toward the wall to avoid stepping on the point of impact; notice the correction from #3 to #4 when hazel swerved more toward the ledge than salem anticipated.

not a single one of these bolts is actually aimed at hazel. salem is aiming to hit the ground directly in front of hazel, close enough to convince him that she means to hit him but also low enough that if she misjudges his speed she's going to strike his ankles... and when one blast nearly hits him in the head or chest because he jumped further sideways than salem guessed he would, she instantly corrects her aim to ankle-height again.

she is herding him.

up the docks, closer to her, away from the children, all while taking care NOT to hit him without being obvious about it.

this is the same kind of behavior we see from her in 6.4, where she's at worst a little vexed but flips a table and shouts and throws him to the ground as if she's in a terrible fury—and then a minute later hazel tells her something that genuinely infuriates her and we see her freeze while the windows start to crack, before she sends them all out of the room and struggles to press this rage back down.

because there is a huge difference between the loud, explosive "anger" salem performs to intimidate her associates and her real anger, which she tries very hard to contain.

in a similar vein, we get this fleeting glimpse of salem's actual skill in combat when she spins around and blasts the boys into a wall in the time it takes to blink... and then she sees yang, and the key changes. instantly. for the rest of the scene.

onward. hazel vaults over salem's final bolt and launches three fireballs at her. as these spiral up toward her, salem threads herself between them like they're not even there—it's really fast, the whole sequence from when the fireballs form in front of his fist to when she slings past the third one is forty frames and if you count from when the first fireball enters the frame, her evasive maneuver is over within twelve frames. as she continues past the last fireball, salem swings her arms to finish her movement, as if she's going to lash forward and fire off a riposte:

but then instead, she re-centers, pauses, and does... this:

which i'm sure looks very impressive and terrifying for everyone on the ground, but she is... literally just tossing magic around in random directions. this is not an attack. this is a light show. a firework. her big swarm of magic bubbles spits out of of the opalescent bolts and only one hits anywhere close to hazel. she is just fucking around.

from here, hazel sprints to the edge of the dock and launches himself into the air above her, where he dust-conjures a biiiiig spiky boulder to smash her with... and, uh. three things. first:

this shot occurs in slo-mo to really underscore what happens here. note that salem is looking up at him and has a firing bubble ready to go. hazel is approx. twenty-eight feet directly in front of her (measured in salems); a few minutes ago we've seen her be dead accurate at just a bit more than half again that distance, and we know a blast from her has plenty enough force to knock hazel out of the sky. from the beginning to end of this shot her head moves as she tracks his motion.

she has a clear shot lined up here. she chooses not to take it. then:

hazel conjures The Boulder, and we get this shot of salem's reaction—from waiting indifferently to see what he'll do to wry amusement. and then she physically braces herself to take the hit:

after which point salem just Lies There letting him pummel her for a few seconds before evidently deciding that she's done enough fucking around for those children she let out of gay baby jail about sixty seconds ago to have gotten away so she'll just flick her fingers (while her skull is caved in and her brains are splashed all over the floor, mind you) to pull some more grabby hands out of the air and wrap this one up except—

—NO WHOOPS THEY'RE ALL STILL HERE. lol.

like the fight is over, when the camera cuts back to the kids. salem has hazel completely immobilized. jaune is at the other end of the docks, shouting for everyone to hurry. "she'll just come after us," oscar says, but if salem cared to recapture any of them she would've left hazel restrained and dropped down off the dock to scoop them up as they hit the ground.

she's visibly irritated after regrowing her face, yes. but we have seen over and over—there are multiple examples in this scene alone—that salem can and will set irritation aside to focus on what doing what is necessary to advance her practical goals. she's poisonous with emerald but asks her two questions and then turns away as soon as she's confirmed that emerald doesn't know anything. she takes a deep breath and shelves her fury at ozma to listen calmly while yang yells at her. salem just isn't a character ruled by her anger.

so the fact that she a) continues to focus all of her attention on hazel after restraining him, and b) actually hurls him out of the restraints, in the opposite direction from her escaping prisoners, and turns away from them to just bash hazel's face repeatedly into the floor, suggests to me that her annoyance is perhaps more because these children are STILL FUCKING HERE and she needs them to be gone before she can start to properly wring the truth out of hazel.

she pays zero attention to the children until she hears long memory activate, which seems to startle her; after that she straightens up and stares him down for about four seconds.

they're about ninety feet apart here. salem covers a just over half that distance in two seconds... meaning she is gliding at what is for her a downright leisurely 24.5ft/s. that's a little bit more than a QUARTER of her top speed which is, in case you've forgotten whilst reading this very long post, 96ft/s. or 65mph.

(and here i will remind you that the walking speed distance math earlier checks out perfectly with the measurable spatial distance between emerald and oscar. this scene was choreographed and animated with very close attention to time and distance and i think that's because the speed at which salem does certain things at different points is doing a lot of narrative work. it's seldom necessary to be this precise but in this scene it matters.)

the point is that while salem does slingshot herself at oscar pretty fast here, relative to how much faster she CAN go, salem isn't trying especially hard to Get Him. this is like a brisk jog for her.

now granted, if hazel hadn't scraped up the wherewithal to, i assume, yeet himself after salem with all the dust cooking his body from the inside out, oscar would have been toast whether salem zipped along at a normal human sprinting pace or clotheslined him at car-on-a-highway speeds. but it does speak to the intensity of salem's interest in getting oscar in this moment versus when she went for emerald at the top of the scene.

salem had, by this point, already given up recapturing oz/oscar as a loss, accepted sacrificing the opportunity to do that as a price she was willing to pay for the sake of 1. getting summer's daughter safely off the whale and 2. after clarifying hazel's loyalties, removing the children from the equation so she can squeeze him for information about what happened to the lamp. i think the possibility that oz/oscar might have shared the "password" with hazel when hazel decided to help them escape would've at least crossed her mind as soon as she narrowed her list of suspects down to hazel and neo, too.

there's also the factor that with hazel now compromised, the only person around to interrogate oz/oscar is salem herself, and because that would involve being in the same room with and talking to ozma for an indeterminate amount of time, i don't think salem's all that keen anymore.

thennnn hazel sets her on fire and she screams and thrashes because she's having traumatic flashbacks to the moonfall and then oz blows her and her whale the fuck up.

thank you for coming to my tedtalk.

[demigoddessqueens]

Hi could you do a ares ( blood of Zeus ) relationship time line like how they meet how did he ask her out and some cute moments

Ps: if it possible also she hard to get so ares have to work for it

Thank you @navyhua for the request 😁!

Masterlist 11

Ares knows he’s not the best to get along with

Because everyone takes the liberty to tell him all the time 😒

But you? You never join in the ridicule, rather sometimes you cheer for him at the tournaments held on Olympus

You’re polite to him, engaging in friendly banter and dueling, even if war and battle are not your divine domains

Aside from Aphrodite, he begins to enjoy your company more and with that comes the

You notice this and pause his persuasions one afternoon as he goes in for a kiss, pausing two fingers over his lips

“War is your strong suit, Lord Ares, so let it be. The thrill is in the anticipation but we’ll both get what soon enough.”

From that day on, it appears that you two are inseparable. Visitations and flirtations become more evident in the public courtyards

Jealousy from Aphrodite does cause a scene every once in a while, which Ares tries quickly to quell

There was a particular occasion that left you humiliated and alone, wanting some refuge after such a spectacle

“Why aren’t you with Hephaestus’s wife? That never seemed to stop you before…”

“Because I’m loyal to another, and hope they return the same feelings I have in my heart.”

Despite his words, you still feel hesitant to act on your feelings.

Only then does Ares advance forward and finally kiss you, and you do not pull away but simply melt in his arms.

[bbcphile]

Thoughts on character and costume?

I really love how the respective characters have different colour palettes, silhouettes but in particular material/textures to their costuming. Fang Duobing is a little princess so he gets pale pastels, fancy ornamentation and transparent gauzy fabrics which I find so cute, he’s not just rich he’s *expensive* and *pretty* it’s pretty funny that he matches the actual princess in the red leaves mountain case

DFS gets your wide shoulder bad guy rich deep colours with thick layers and lots of metal detailing but it veers towards grand instead of pretty. Hot topic young DFS is leather and studs lmao. Brocade and fur & shit.

LLH is a linen boi and he almost never has any metal on him, we all know his natural material hair ornament meta etc. Interestingly, he does share some colour palette and fabric overlap with FDB, we se him with his tits out transparent outer layer sometimes. No structure all flowy silhouette

someone on here made a post abt their differing sleeve styles but I can’t find it!

I wanted to gush but also do u have any extra costume thoughts + how they relate to one another? You have a great knack for finding good photos of the show too 😅

Thanks for the ask, @lei-llustrations , and I love your analysis of the outfits! I'm so sorry it took me forever to respond! I had grand plans for a full essay analyzing DFS's costumes, and then I ran out of spoons for doing that. (The short version of the point I was going to prove is that his a-Fei outfits have elements of what seem to be his favorite details from his fancier alliance leader outfits, so it seemed like evidence of LLH trying to make up for making him be in disguise and without his power. I'm thinking of the maroon-red one with studs in the sleeves in particular, but there are echoes of his preferences in the other ones, too.)

Since I'll never actually respond if I wait to put that meta together, here's a shorter one, with my thoughts on DFS's official Alliance Leader robes (screenshot taken from ep 40, when delivering the wangchuan flower).

LLH and FDB both call him Di mengzhu in the wangchuan flower scene, because he's clearly dressed in a way that makes this an Official Visit. I find it fascinating that he wears his alliance leader outfit instead of his grey, maroon, and gold outfit that he wears for non-alliance matters (aka. the wedding room outfit, which he also wears for such Xiangyi-related purposes as the reunion duel that doesn't happen and grieving for him in the middle of the night). After all, he's giving LLH a gift to save his life and issuing him a friendly anniversary honeymoon challenge, so you'd think that would call for his dating outfit, not his official garb.

BUT! What if he's using his official Alliance Leader regalia as a way of saying that not only a-Fei/Lao Di, but also Di Mengzhu and the Jinyuan Alliance want him to live? It's more than just essentially creating Peace Treaty version 2.0, and trying to get life back to what could have been if SGD and JLQ hadn't ruined everything: their people at peace, and the two of them meeting for friendly duels rather than death matches. Yes, only LLH and FDB are there to witness it, but by showing up in his Official Capacity, he's also correcting all the narratives about the enmity between himself and Li Xiangyi, and in giving him the flower, he's officially declaring that Di Mengzhu wants Li Lianhua to heal and have his strength and power back more than he wants to gain martial arts power himself.

This is a HUGE deal. DFS formed the Jinyuan Alliance as a way of climbing the ranks of the jianghu, because his goal was to gain strength so he'd never be helpless or forced to do someone's bidding again. And yet, he wears the outfit that symbolizes that striving and his place at the top of it to GIVE AWAY THE FLOWER THAT WOULD CEMENT HIS PLACE AT THE TOP OF THE JIANGHU. He wants Li Lianhua to not just live but also to regain the strength SGD and JLQ stole from him, which would mean that Li Xiangyi would quite possibly defeat him, and he would welcome that, because it's not about self-protection anymore: now, what he wants more than anything else, is for Li Xiangyi/Lianhua to live.

If that's not enough of an emotional gut punch, try this: Di Feisheng told Li Xiangyi at the start of the show that swordsmen shouldn't have weaknesses. Di Feisheng has only really had two "weaknesses" (vulnerabilities might be more accurate): his desiring the wangchuan flower (which led to SGD and JLQ incapacitating him) and Li Lianhua. It feels like a monumental shift to me that, at the end of the show, Di Feisheng hands one weakness to the man who is the other: essentially, he is announcing to the world that nothing is more important to him than Li Lianhua's recovery, and he doesn't care who knows it.

It also feels very pertinent that his official outfit is wedding red, and he's essentially showing up in his fanciest remaining outfit to offer Li Lianhua his heart on a platter priceless magical flower in a box the way someone might show up at the house of their beloved with boxes and boxes of betrothal gifts. Not that DFS explained that or LLH picked up on it, because that would involve better communication skills than either of them had.

[imbadatwrighting]

Hi love, I was wondering if you could do the Yughi-oh boys realizing they’re in love with you and how they act in a relationship

Ofc I love this <3 I did kinda the full thing from meeting you to dating you but oh well 🤷‍♀️ also kinda cringy and I think Seto’s was a little short but oh well

Yu-gi-oh boys in love with their S/o

Yugi Muto

How y’all met was wild-

Instead of the black cat and golden retriever trope you were more like a blunt angry bear and cute little golden retriever puppy trope

You met when you both were younger and became close friends

That’s when he got a crush on you but honestly it was relatively small

He would always try and be around you but eventually you started to see each other less and less

There was a particular reason for it

It just kind of happened that way

Now you two met again around season two which made Yugi ecstatic

Yami was cool with you relatively

Joey not so much-

The moment he fell in love with you though

Some random person tried to steal his deck from his belt so you chased after them and not only did you get his deck back but you beat the hell out of them and got them to apologize to Yugi

His heart bursted out of his heart after seeing how much you care about him

He was smitten

He was definitely not the one who asked you out

He got to scared every time he tried because he knew if you didn’t like him back you wouldn’t be super nice about it lmao

It was you who asked him out

But it wasn’t anything to fancy

You came up to Yugi at the end of school and offered to walk home with him

Which he said yes of course

When you finally got to his house you told asked him to go on a date with you

Bro almost bursted into tears

In a relationship he is the sweetest boy alive

He definitely has scary dog privileges

You come to every one of his duels because while you don’t play, you care about his interests

You always come with him on his little journeys with his friends

Then you were forced to play which you hated but won really easily even though you knew nothing

He likes physical touch with if you like it as well he’ll cuddle up to you at night and fall asleep

He always buys you food too

He is ok with the causal pda like holding hands but doesn’t want to attract attention so anything subtle he’s ok with

And quick pecks on the cheek

He tells you he loves you every night even if he doesn’t expect you to say it back

Bought matching necklaces for you to wear for Christmas

Expect him to make you breakfast whenever he can even though he is a terrible chef and you end up going to a cafe

He’ll stand up to anyone that’s rude to you and when they start to try and get physical you pretty much appear out of thin air and step in which he doesn’t like because he wants to stand up to your bullies

“Hey you don’t get to say anything about them!”

“Who the hell are you? Their plaything?”

“No! I’m their boyfriend! You don’t get to talk about them that way!”

“Why? You have a problem with it, punk?”

“He might not, but I do.”

“You don’t have to step in. I got this!”

“No, Yugi. I think I’m going to be dealing with them this time.”

“But I wanted to…”

“We’ll talk about this late babe.”

“Fine! Be nice! Love you!”

“Love you too, Yugi.”

Yami Yugi

You two met pretty randomly

You came up to him while he was at the arcade with his friends and you kissed him

He heard a couple Oohs but he was more concerned on who you are and why you’re kissing him

Once you broke the kiss you just walked away leaving him baffled at the situation

He followed after you and demanded to know why you kissed him

He doesn’t know what he expected but the answer ‘it was a dare’ was not definitely not what he thought

It made him disappointed ngl

He let out a little oh and then let you walk away

He thought about you ever since that day

Then he met you again

He came up to you while you were sitting at a cafe reading a book and sat down right across from you

He expected you to remember him but alas you didn’t lmfao

But even though you didn’t remember him you still offered him food and didn’t insist on him leaving

Honestly it was a little concerning considering the fact you thought he was a stranger

Somehow through all of this you guys became friends

Whenever he is in Domino City and not on his little journeys he goes out to a cafe with you

He tries to do this every Saturday but it doesn’t always work out with both of your schedules

You and Yami had the slowest slow burn known to man

He didn’t realize he was in love with you for a while

Until he saw you kissing someone else

He was so confused at what he was feeling that he went back home and just sat oh his bed

He asked Yugi about it and he was the one that made Yami realize he was in love with you

He wasn’t a big fan of the feeling

He tried to avoid you as much a possible but that did last to long

You cornered him into an alleyway and made him explain his behavior

And while he tried to lie… he isn’t a good liar‏

When he was trying to play cool you kissed him and he quickly forgot about everything and kissed back

During the little make out session you asked him to date you causing him to stop

He told you about seeing you kiss someone else and didn’t want to be in a relationship with someone who likes someone else

Then you had to explain how the guy kissed you and it would never happen again because you had your eyes set on Yami since the first day you met him

He believed you and became your boyfriend

He is much more closed off and private about pretty much everything to do with you

His friends didn’t even know about you until Yugi told them how Yami is dating someone

He doesn’t say it out loud that he loves you or engage in to much physical affection but he does always bring and buy you stuff

Anything he sees that he think you’ll like he’ll buy

Unlike Yugi, when he makes you food he doesn’t mess it up

Honestly probably the best food you’ll ever have in your life

It’s usually for special occasions only

When you two do cuddle it’s mostly in bed with you both about to go to sleep and spooning each other with you as the big spoon and him as the little one

Every new place he goes to he brings something back for you if you don’t want to go along

He invites you to every one of his matches

He is very quiet and reserved speaking wise but you can usually tell what he’s thinking based off his body language

Will watch anything you want with you while eating popcorn and other unhealthy food

He also got you this really expensive ring for Christmas

“Yami… you shouldn’t have.”

“I wanted you to know how much you mean to me.”

“I know but this! This is so…”

“Lovely? I don’t understand do you not want it? I can get you another if you would like.”

“No Yami. It’s just so expensive looking I mean have you looked at me? It’ll be like a shining red ferrari in a haystack.”

“Do you not like it?”

“No. It’s gorgeous, but you’re going to be really disappointed with what I got you.”

“Anything you get me I will treasure with my life.”

“Thanks Yami, but just know it’s not a expensive ass ring.”

“I kind of already figured.”

Joey Wheeler

This man fell for you the moment he met you… literally.

It what gots your attention so he’s not really complaining

He honestly thought whenever you two would meet you were flirting with him but in reality you were being normal

He would always flirt back which you noticed but decided on not saying anything

While he had a ‘flirty’ relationship with you and like you he didn’t love you

Until you and him went to the arcade-

You were competing against him in one of the games and when you won you let out a deep laugh making him start to laugh as well

It made him realize how much he enjoys you and he wants to be with you forever

You’re the person that makes him happy after all

As soon as he realized that he asked you out which you replied with a short yes and told him you’re going to be at one of the shooting games

He honestly didn’t know if he should be happy or sad

I mean you said yes but then you acted like him asking you out wasn’t a big deal

When he confronted you on it probably more angry than he needed you just told him you knew he liked you and expected it

He got a little bit embarrassed over that

When you two start dating he’s really sweet and dresses to impress but as time goes on he becomes the type of boyfriend that will come into your home grab your chips and watch tv with you with his stained shirt and sweatpants

Not that your complaining

He always buys you gifts when he can but he’s kind of broke so there definitely a little bit trashy

He’s usually staying at your house at night and will sleep in holding onto you tight so when you wake up you can’t go anywhere

He’s a very cuddly person and always wants your arm wrapped around him whenever and wherever

He introduced you to his sister a moth or so after you two started dating and it was safe to say she loved you

Even if she didn’t understand you

He’s also nervous that you’ll leave him for someone else so he gets jealous really quickly

If you are involved in sports like football or soccer or wrestling he’ll be cheering you on from the sides yelling something like ‘WOOOOO IM DATING THE ONE IN WHITE YEAH BABE YOU GO’ ‘Joey they’re all in white…’ ‘YUGI SHUSH’

Whenever he’s dueling the thing that keeps him going is you

You and him go out to dinner whenever you guys can

You’re the one that pays for it though

He will honestly cheer you on if you decided to beat someone up

As long as you had a good reason

“Yeah Baby you got this!”

“Didn’t you say you were heading home Joey?”

“Don’t focus on that focus on those pedos!”

“Will do hun. Do you want to join me? Your getting very close.”

“No way in hell!”

“Ok then.”

Seto Kaiba

He hated you when he first met you

You two got off to a bad start

He was working at a cafe when you came close and tripped spilling your coffee over him and his computer

You were dared by Mokuba even though you had no idea who either of them were

Since you were pretty much broke and couldn’t afford to pay for the stuff (which was over $7000) he just hired you instead

That honestly did not help

You just kept bugging him and asking him questions about the job

The only reason he didn’t fire you immediately is because he thought you were suffering while working for him (even though you were having a great time and he was the one suffering)

It was unexpected to fall in love with you

You were walking home when you saw a couple boys surrounding Mokuba

When you saw one of the boys hit him you stepped in scaring the kids off

You saw that Mokuba had a bruise forming on his check and his clothes were ripped

Since your house was so close you just took him home to get him fixed up and gave him some clothes that were to big for him so he ended up looking like Jesse Pinkman

You called Seto and when he answered he was a little agitated because Mokuba was no where to be found and he thought you would be asking about how to work the printer again

But when you told him how you had Mokuba all the agitation in his voice decimated

He let a soft that I you a hanged up only 5 minutes later he showed up at your door even though you never told him your address

When he saw you he just got this feeling that he couldn’t explain

It wasn’t until you asked him if he wanted to get coffee did he realize what he was feeling

He wouldn’t be surprised if he had hearts in his eyes for you

He told you he liked you a day later and you two started dating

The beginning of the relationship was a little awkward because of how little both of talk

It helped that you understood Seto’s schedule so you ok with him coming home really late in the night

He buys you a lot of things that you probably don’t need

You always watch over Mokuba instead of the guards when he can’t

When he does come home on time he always leaves super early in the morning

Whenever he comes home late he always climbs into bed with you

“Seto?”

“Did I wake you? I’m sorry go back to bed.”

“It’s fine. I was waiting for you but I got tired.”

“I can see that.”

“Mokuba is asleep in the other room.”

“I’ll bring him home in the morning.”

“He can stay I don’t mind.”

“We’ll talk more about this in the morning.”

“Ok.”

[inkblackorchid]

Hi! How do you feel about the Crashtown mini-arc?

Ahhh, Crashtown. Honestly, I’m extremely in two minds about the arc. See, here’s the thing. When I watch it, it’s a great deal of fun. It’s a very self-contained little story that has all the necessary setup and payoff built into itself, and the cowboy aesthetics in Crashtown’s unique setting, while technically still being part of 5Ds’ largely futuristic canon, are absolutely hilarious. Not to speak of the excellent dramatics, what with Kiryu being in his depressed bitch era and needing the Power of Friendship to remember why it’s nice to be alive. So, in isolation, I find Crashtown very funny and its self-contained story compelling.

However, sometimes, I get a little frustrated knowing how many episodes this arc takes up, because where the larger narrative is concerned, Crashtown accomplishes… Well, nothing, unfortunately. It doesn’t interact with the main plot in any way, doesn’t develop Yusei’s character in a particular way (because we already knew he’s a special kind of loyal-as-a-dog-devoted when it comes to Kiryu; if anything, Crashtown only shows us that he’s also a little more gullible than usual when Kiryu gets brought up), and while it does give Kiryu meaningful character progression, he’s sadly never relevant again after this point in the show (literally the only two times he shows up after this point is during the flashback of everyone cheering Yusei on during his duel with Z-ONE and in the epilogue as he loses to Jack). Worse yet, the whole arc begs the question of why only Kiryu and no other dark signer got this kind of tying-up-loose-ends treatment. (The answer, I believe, is that he’s specifically the dark signer who has the strongest ties to Yusei in particular, which awards him special treatment. That does nothing to justify why Carly, who I’d go as far as saying is at least equally important to Jack as Kiryu is to Yusei, doesn’t get anything like this, though, and is instead sidelined because she has amnesia. You know. Amnesia. Everyone’s favourite trope. Which Kiryu, curiously, also doesn’t have.) And considering how often I lament about the things I wish 5Ds canon had spent more time on, I don’t think it comes as a surprise that it leaves a slight, bitter aftertaste in my mouth that an arc like Crashtown that adds nothing to the larger plot or any character other than Kiryu gets so many episodes while many things I wish the show had addressed don’t get a single one.

So, Crashtown’s kind of a mixed bag for me. I think the best way to sum it up would be this: If you handed me the reins for a full 5Ds rewrite, one of two things would happen. Either the show would gain another twenty or so episodes where I’d try to give all the other dark signers similar treatment as Kiryu in Crashtown, developing both them and the main cast members they interact with more (and also try to make them at least show up one more time before the Ark Cradle arc, even if only to cheer Team 5Ds on during the WRGP), or Crashtown would be left on the cutting room floor entirely, because if the only way to improve the main cast and plot were to find time for all the necessary adjustments within the exact same episode count we already have, Crashtown (and all of the pre-WRGP arc’s pure filler episodes) would be the first thing to go.

Don’t get me wrong, the yeehaw arc has excellent aesthetics, excellent dramatics, and is great fun every time I rewatch it, so I don’t fault anyone for loving it to bits, I absolutely get it. My inner overanalyst/canon rewriter just can’t unsee how many episodes it took up that were desperately needed for other stuff sometimes.

[avesomnia-inhoramortis]

[ooc]

The hardest part of characterizing Miquella, for me, is reasoning out his consort decisions.

I don't think Miquella was in love with Radahn. If he was, he would've advertised it, made statues and gilded armor and all kinds of things, but there's no evidence of that. Of the weapons we can confirm he personally crafted, there's Malenia's hand and the sword intended to fully kill Godwyn. Also, if Radahn's condition for marriage was an honorable defeat in battle, why not just a duel without civilian and soldier casualties?

I think he was in love with Godwyn, and if we're riding headcanons then Godwyn already had a consort in Fortissax. The idea of tiny Miquella having a rivalry with this ancient dragon is very funny to me, like your toddler nephew saying he's going to steal your husband.

So, okay. He loves Godwyn, Godwyn doesn't love him back like that, but he still needs an Elden Lord. Plan B: everyone says Radahn almost the spitting image of Lord Godfrey, and he's a friendly guy. Barring all the murder. That works, he can just convince Radahn to tone it down and only murder when his god wills it. Easy.

So he gets Radahn to promise him his hand in marriage. Radahn... may or may not have actually taken Miquella seriously. Miquella is cursed to be an eternal child, and also his main interests are scholarship and healing. Radahn is a wizard, sure, but he uses his skills to crush the enemy and see them driven before him. So perhaps he takes it as a joke. Or maybe he even takes it seriously. Either way, he's not actually agreeing to anything unless Miquella is willing to meet him on the field of battle and prove his worth the way men do.

I don't think Radahn could marry anyone who couldn't punch his lights out and give him hell on the training grounds, you know? If anything, he might've started getting a crush on Malenia.

And then Radahn is too busy protecting Sellia to have time for games anymore.

The Shattering happens. Godwyn is killed. There were probably a few intervening weeks or months between the two, I think, but either way suddenly Godwyn is dead and that is intolerable, so Miquella gets to work saving the world- and his siblings- to the best of his ability. He's never done anything less.

And the idea festers. With Godwyn dead and Fortissax... gone, somewhere, wouldn't Godwyn be grateful to come back? Wouldn't he love him for it? Malenia loves him because he tries to heal her, right, but he's never had anything to offer Godwyn until now. If he gives him life, Godwyn will be his perfect lord. Easy. Radahn's preoccupation is a nonissue now.

But nothing works.

Miquella can't save his sister and he can't save Godwyn. He needs to be a god to do either of those things.

And Radahn is holding the heavens in place, which interferes with the resurrection ritual. So nevermind all of it- Radahn is a major issue.

And if he will not take Miquella seriously, if he will not fall in line for the good of mankind, then he will be compelled to.

So.

All of that? I can make it work. All of that I can stitch together. But I have no idea where Mohg would fit on the timeline, when they met, how long their affair was going on.

And furthermore, I feel like Mohg would have been eager to marry Miquella without any compulsion whatsoever. And if Miquella really wasn't a racist, as he styled himself, then I don't see any reason for him to object to an omen consort who's deeply concerned with the downtrodden of the Lands Between. Hells, it would send a good message to his followers that he really IS honest about accepting those rejected by grace.

He doesn't even have to actually be in love with him- we certainly aren't in love with Marika, when we become her Elden Lord.

The only solid reason I can think of to object to Mohg would be the fact that he's the chosen high priest of the Formless Mother. Miquella has a lifelong notable vendetta against outer gods, so maybe he wouldn't be willing to open up that particular avenue of "corruption". He must remain unalloyed to achieve what he wants. Maybe he's even got some sort of pity for people who genuinely follow an outer god like misguided lambs. I wonder what he thought of the Kindred of Rot, worshipping the thing killing his sister, begging her to be their divine mother.

Maybe, like a child, he thought they were flat out stupid. It'd be a cruel irony if Miquella dehumanized, infantilized and belittled people for worshipping gods. It's easy to steal the agency of people you think are fools- it's for their own good.

I'll have to think about him and Mohg awhile to fully develop an idea though.

[yennas-stuff]

I saw an e/riel talk about how what Rhys said to Azriel in the bonus chapter was character assassination because Rhys would never talk to him like that. But here’s the thing, Rhys gave Azriel multiple chances to explain himself but Az ignored all his questions (in particular the Mor question), referred to Elain as the third, questioned the cauldron (his behavior/the way he was acting might’ve reminded Rhys of Tamlin) and Rhys saw what was happening for what it really was: Azriel being jealous that he doesn’t have a mate and filled with lust that’s only surface level. If Azriel gave Rhys a tiny hint of there being something more, actual romantic feelings or denied having any feelings left for Mor, then Rhys would’ve said “be patient and wait until she breaks off the bond with Lucien” or “I understand how you feel but wait until things are sorted out”. Rhys would want his brother to be happy, he loves him. Rhys had to call Azriel out on his shit (I love Az but someone needs to) and pull rank on him for a reason - I know Rhys brought up political complications, but I don’t think Lucien would be messy and cause problems if Elain did choose Azriel. Would he be upset? Yes, but he would want Elain to be happy and most definitely would not invoke the blood duel.

Azriel has defied Rhys plenty of times. If Azriel wanted to defend himself and his feelings and fight for Elain then he would have. I know some e/riel’s say that this is foreshadowing for the next book and Azriel will ignore Rhysand’s command, but would he not have done it in the bonus chapter or thought about it? Reminds me of how e/riel’s say Azriel couldn’t think beyond his fantasies because it pained him too much. If you want someone that bad then you will constantly think about them (and not just in a sexual way), your mind if your safe space, and you will do anything you can to be with them. And after leaving Rhysand’s office Az didn’t think about Elain and how she might be feeling, or immediately finding her, or think about making things right the next morning.

There’s really nothing forbidden about e/riel. Rhys said in acowar that if Elain didn’t want the bond then she would be protected, Nesta and Feyre would also support her (and Nesta called Elain a wench for not sitting next to Lucien at solstice). I don’t understand why e/riel’s call it forbidden when there is literally nothing stopping them. You actually think the courts give a shit? You actually think Lucien (who hates violence) would demand a blood duel?

Hi anon! Thank you for the message. I will try to add something since you said it all already.

The bonus chapter was actually the first time I agreed with Rhys and liked him in a while.

Seeing as Rhys knows Azriel better than any other person, I would say his reaction is supposed to tell us how we should feel about it as a reader. He was shocked by his behavior, so we can tell that Azriel's behavior was disturbing and out of ordinary. And as you said, Rhys would do a lot for his brothers. If Rhys knows that what Azriel is feeling is not love, I would say he knows him best. And yes, Azriel had so many chances to say something to change his mind or to fight for his case but he didn't.

I also don't think Lucien is the type of person to use violence to win Elain over. We already had a glimpse into his psyche. Feyre felt so much of his pain and self-doubt. He probably feels very conflicted about even having a mate and deserving her. He experienced so much loss, I'm guessing he would feel like the rejection from his mate was something to be expected. So, Rhys is probably not worried about him doing something to Elain/Az/Night Court. It wouldn't make him have any fond feelings for them, tho, that's for sure. Would it be a threat to them? Not at all. Lucien has no court to rally behind him as of now. Rhys probably just feels for him as a mate who was in a similar situation.

From what we know, Azriel did not apologize to Elain or tried to comfort her or make her feel better the next day. He didn't seem to think about her feelings much. It read very one-sided and cold. I don't think it's the real him. It's just these feelings and self-esteem issues manifested in a very toxic way. I don't think that Azriel is a bad guy. It just showed us Elain does not bring the best out of him.

I don't see any further tension between them. There is nothing to build a book on. Nothing forbidden about it. I think it would be close to impossible to come back from this messy situation. It's been a while since the winter solstice, and he left it that way. Comfortable with letting the other person think she's a mistake and she's been rejected again.

[brujitaadinbo]

They say that mothers have a highly developed sixth sense for everything and let me tell you that I fervently believe it. I just checked this after watching Ahsoka with my mom, she has no experience in SW, she never watched Rebels and it was her first time watching the series, just like when she watched The Mandalorian, she deduced a lot of things just by watching.

I can only tell you that I always base myself on the facts and what has been seen on TV.

Sabine definitely feels something more for Ezra and it is not simply a "sisterhood" I love that both here and in The Mandalorian they show you the characters in their worst moments, in depression, in their duels and in some way they also show you that sometimes what they want or need the least is what actually helps them, or it's what they want or need.

Bo Katan did not want to see Din again and technically managed to save his life, give him back his planet, build a beautiful relationship (because it is, canon or not, they combine very well and hate will not change my mind) And above all, return some glory to the Mandalorian people.

Sabine lost her family and doesn't want to know anything, she lives her grief and a very particular one, she distances herself from everyone and takes refuge in Ezra's home, she takes care of his things and unites hers in that hiding place. Grief can be experienced in many ways but let's be honest, when you lose a family member, especially a brother, it is hard and very difficult but unfortunately life has to go on, it is very different from when a mother loses her child or when someone you lose your loved one.

Sabine shows it in every moment, it hurts her not to know what happened to Ezra, she is immobile, the pain does not allow her to move forward. My mom, seeing this, asked me, who is Ezra? Why she miss him so much? I replied, you have to keep watching, I won't tell you anything. But in particular we both agreed that when Ahsoka showed hope to see him again, with the map, Sabine came back to life. He regained the shine on his face.

We also agreed and you can see that Ahsoka had that feeling all the time, that knowing, that Sabine had an irrational need to see Ezra again. That's why he says it more than three times. Until the moment he says, Can I count on you? Somehow he doubts and senses that Sabine did not destroy that map.

That's why Baylan convinces her to go together to Peridia, for his "lost friend" despite all odds. That's why Thrawn also tells him so. "that foolishness of finding your lost friend" and she answers "you would never understand" because Sabine has always been defensive about the feelings she unconsciously shows towards Ezra and does not recognize them even when she is exposed. That's why she hide them and I'm sorry, but I do have a brotherhood with someone, very close, I don't care what they think, I show my affection because we are brothers. I explain?

It doesn't make sense unless they're setting up something big later.

The best thing is the moment of Sabine and Ezra's reunion, the hug that "according to them" doesn't prove anything, but the sighs I could hear, well, why hide what you feel? My mother told me "They hug each other very affectionately, it doesn't seem like their friend, it seems like it's the boy they like"

Also when Ahsoka already finding these two, she tells Sabine "Looks like your bet paid off" In the end Sabine feels good because she found Ezra in some way or another, that irrational foolishness calms down and even her use of force is shown magically… coincidence???

I don't believe it. and to conclude...

Sabine prefers that Ezra go home, the whole situation becomes complicated and at least she knows that he is alive and well, her heart is calm. Now he knows that he should be with Ahsoka, she is his teacher in a way, she gave him back the hope of finding Ezra, of seeing him again. He has to be with Ahoska because thanks to her she was able to see him again.

To affirm that Ezra and Sabine only see each other as brothers is to deny the facts and deny what was experienced in Rebels, the development of the relationship of these characters and above all to deny that Sabine prefers Ezra to the galaxy.

I'm sorry but I will also send this ship and not abandon the DinBo, only time will tell us who was right or at least what will happen to all of them.

this is the way....