#once again I am not built for traditional romance and marriage traditions

[gemstarstarlight]

A woman I thought was wearing a suit jacket and a blouse was instead wearing a romper and a sweater 10 dead 247 injured

[translations-by-aiimee]

The Husky and His White Cat Shizun - Chapter 22

Original Title:  二哈和他的白猫师尊

Genres: Drama, Romance, Tragedy, Xianxia, Yaoi

This translation is based on multiple MTLs and my own limited knowledge of Chinese characters. If I have made any egregious mistakes, please let me know.

Chapter Index

Chapter 22 - This Venerable One's Shizun is Getting Angry

When Chu Wanning heard this, he was so angry that he could barely keep himself from retracting Tianwen and slashing the Chen couple. But he couldn't open his eyes to confront them. Once he opened his eyes, the barrier would be broken. The Return to Truth barrier could only trap a ghost once. If his interrogation was interrupted, he wouldn't be able to listen to any more of Luo Xianxian's story.

All he could do was contain his overwhelming rage and continue listening to Luo Xianxian.

After she died, her soul entered the underworld, unaware and confused.

The only thing that she could make out was a woman wearing red and green robes with facial features that resembled the Master of Ceremonies Ghost enshrined in a temple. The Master of Ceremonies Ghost stood in front of her and asked her in a soft voice: "You and Chen Bohuan couldn't share a bed in life. Would you like to share the same grave in death?"

She hurriedly agreed: "Yes. . . Yes please!"

"Then I can let him come join you right away. What do you think?"

Luo Xianxian wanted to blurt out a yes, rushing to agree, but suddenly remembered something and froze. "Am I dead?"

"Yes. I am the Master of the Underworld Ghost. I can give you the destiny you deserve and fulfill your long-cherished wish."

Luo Xianxian was startled: "Then, if he comes to join me, will he. . . also die?"

"Yes. However, if loves persists in the afterlife, life and death are irrelevant. What difference does it make?"

Chu Wanning heard this, he thought to himself that he had been right; this Master of Ceremonies Ghost would persuade others to make a wish so that she could reap the benefits. This immortal was truly diabolical.

Although Luo Xianxian died unjustly, she hadn't yet become a malevolent ghost, so she repeatedly shook his head: "No. It wasn't his fault. You can't kill him."

The Master of Ceremonies Ghost smiled compassionately: "And what did you get in return for this kindness?" It didn't force Luo Xianxian to do anything. As an immortal being, they could persuade someone to make a bad wish, but they couldn't force them. Its figure gradually faded away, its voice becoming hazier and hazier.

"Return to the world in seven days. During those seven days, go and see how the Chen family is faring. After that, I'll ask you again if you still have no regrets about your decision."

Seven days later, the day arrived.

Luo Xianxian's soul returned to a conscious form and returned to the world of the living.

Following the old road, she eagerly walked towards the Chen house to see her husband for the last time.

Unexpectedly, the Chen house was decorated with lights, and outside the courtyard, there were fireworks. Bridal flowers were decorating the halls. and a big "double happiness" banner was hanging in front of the main hall. Madam Chen was radiant, not appearing sickly in the slightest. She was smiling and instructing the servants to wrap the bouquets with red silk.

Who. . . was having a wedding?

Who. . . were the bride and groom?

Who. . . no one was engaged, what was going on?

Who. . .

She walked through the busy crowd, listening to the sound of people in the world of the living.

"Congratulations, Madam Chen. Your son is getting engaged to the daughter of the county magistrate. When's the wedding?"

"Madam Chen, you're so fortunate."

"Yao Qianjin is truly the lucky star of the Chen family and they aren't even official yet. Madam Chen, you look so much healthier already."

"Your son and Yao Qianjin are a match made in heaven. I'm so jealous, hahahaha."

Her son. . . Her son. . .

Which son?

Which one was marrying the daughter of the Yao family?

She shuttled back and forth across the familiar front yard, growing more and more frantic, looking for that familiar figure in the midst of all the laughter.

Then she found him.

In front of the peony flowers in the back hall, Chen Bohuan stood with his hands behind his back with a haggard face and sunken cheeks. However, he was dressed in red. Even though it wasn't a traditional wedding outfit, it was a Caidie Town custom. When a prospective son-in-law comes to propose marriage, he should wear this type of red gown.

Was he. . . going to propose. . .?

The decorations in the whole house, the strings of gold and silver beads, was it all. . . was it all from Chen Bohuan, her husband, as a dowry for the daughter of the Yao family?

She suddenly recalled the time when they got married.

There was nothing but two people that shared one heart - nothing else.

There was no master of ceremonies, no bridesmaids, and no dowry. The Chen family weren't wealthy at that time and didn't even own a decent set of jewelry. He went into the yard and picked a delicate orange blossom from under the orange tree they had planted together and carefully tucked it behind her ear.

She asked him: "Does it look good?"

He said it looked beautiful. After a moment of silence, he stroked her hair with some sadness and told her: "You deserve so much better than this."

Luo Xianxian smiled and pursed his lips, saying that it didn't matter.

Chen Bohuan told her that when he married her three years later, he would hold a lively wedding banquet. He would invite people from all over the world. He would have her make a grand entrance on a large sedan chair. He would give her gold and silver to wear, and the dowry gifts would fill the entire main hall.

Those vows still echoed in her ears. Now, all those promises have come true, the hall filled with gifts and guests.

He was getting married, just not to her.

A monstrous flame of anger and sorrow surged through her. Luo Xianxian screamed, trying to tear at the hanging red silk in the room.

But she was a ghost; she couldn't touch anything.

Chen Bohuan seemed to vaguely notice something. He turned around, staring at the silk moving despite there being no wind. His eyes were dull and hollow.

His little sister came over, a white jade hairpin clipped on the side of her bun. She didn't know who she was secretly mourning by wearing it.

She said: "Big brother, go to the kitchen to eat something. You haven't had a proper meal in days. You have to hurry up and go to the county magistrate's house later to propose. Your body won't hold up."

Chen Bohuan suddenly asked without thinking: "Sister, did you hear someone crying?"

". . . What? No, brother, I think you're still. . ." She gritted her teeth and didn't finish her thought. Chen Bohuan still stared at the fluttering silk sheets.

"How is my mother? Is she happy? Has her illness been cured?"

". . . Brother."

". . . I'm glad she's feeling better." Chen Bohuan stood there, muttering to himself. "I already lost Luo Xianxian, I couldn't live without my mother."

"Brother, go eat something. . ."

Luo Xianxian wailed. She yelled and bawled with her head in her hands.

Don't go. . . don't go. . . please don't go. . .

Chen Bohuan said: ". . . Alright."

The tired figure disappeared around the corner.

Luo Xianxian stood alone in a daze, large tears rolling down her face. Suddenly, she heard the brothers of the Chen family who killed her approaching. The second eldest brother and the younger brother were whispering to each other.

"Mother is finally happy. Finally, things are going our way."

"Right? She pretended to be sick for half and year. Now that that cursed bitch is gone, how could she not be thrilled?"

The younger brother tsked and said, "How come she died? We wanted to force her out, not kill her. Was she really so stupid that she couldn't even find someone to help her?"

"Who knows. She was weak, just like her rotten father. It's not our fault that she died. Even though mother pretended to be sick to get rid of her, our family has its own struggles. Think about it, when the options county magistrate’s daughter and some pauper girl, only a fool would choose the latter. Besides, even if Yao Qianjin is a brat, she's got enough money to go around."

"Yes, she's so dumb. She didn't want to live so she let herself freeze to death. No one could've saved her."

The words drifted to her ears.

After Luo Xianxian died, she finally understood the so-called "Divine Fate". She was completely broke and couldn't compare to the county magistrate's daughter who was so noble and honourable.

Only a fool would choose the pauper girl.

She finally snapped.

She returned to the Master of Ceremonies' temple full of hatred and resentment.

She died there. Unlike how weak and helpless she was when she died, she returned with overwhelming hostility.

She used to be such a kind person, but now, all the hatred and evil that had been built inside her while she was alive came flooding out. She roared, her eyes turning red, her soul trembling.

She said: "I, Luo Xianxian, would like to give up my soul and follow the path of wickedness. I only ask you to avenge me! I want the Chen family - I don't want you to kill them!!! I want. . . I want to let my beastly mother-in-law kill her sons by her own hand! All her sons!!! I want Chen Bohuan to go to hell with me!!! Let him be buried with me!!! Do it for me!!! I hate them! I hate them!!!!"

The eyes of the clay sculpture on the shrine shifted and the corners of its mouth slowly raised.

A hollow voice echoed through the temple.

"I have heard your prayers. It will be as you wish. As an evil spirit - kill all those that you resent -"

A piercing blood-red light flashed, and Luo Xianxian couldn't remember anything after that.

However, Chu Wanning already what happened next. After that, the Master of Ceremonies Ghost manipulated Luo Xianxian's spirit to possess Madam Chen and force her to kill each member of the Chen family.

The red coffin on the top of the mountain, the reason why Chen Bohuan was dug up, naturally, was because the Master of Ceremonies Ghost was fulfilling Luo Xianxian's greatest wish - "Let Chen Bohuan and I be buried together." Moreover, it deliberately placed the coffin on the property of Chen Bohuan and his new wife as an act of spiteful revenge.

As for the floral scent in Chen Bohuan's coffin, it was the scent of the butterfly fragrance powder that Luo Xianxian had worn before her death. The resentment and fragrance in the coffin were both extremely strong because Luo Xianxian's soul was resting alongside Chen Bohuan inside it.

Luo Xianxian had no family. According to the customs, if a person like that dies, their bones should be cremated instead of buried. Therefore, she had no physical body and could only be contained within the coffin by the Master of Ceremonies Ghost. That's why, when Chu Wanning opened the coffin with his willow vine, Luo Xianxian had escaped the coffin's containment. Her soul flew away, and it was difficult to recapture. It was a situation of "a closed coffin being heavy with resentment but an open coffin being light".

But during the illusion, why did other people have dead bodies as their partners but Chen Bohuan only had a paper-mache ghost bride?

Chu Wanning thought for a moment and figured out this much:

The Master of Ceremonies Ghost didn't break its promise. The paper-mache bride was the "physical body" that it gave Luo Xianxian. It was a vessel so that Luo Xianxian could be buried with Chen Bohuan.

Everything was clear.

Chu Wanning looked at the weak and helpless girl in the barrier. He wanted to say something but didn't know what to say.

Elder Yuheng wasn't particularly good at comforting words. He couldn't think of anything, so he stayed silent, not having anything he could say.

The girl stood in the vast darkness with her soft round eyes open.

Chu Wanning looked at her eyes and couldn't bear it. He wanted to leave. He didn't want to take another look. He was about to open his eyes and leave the Return to Truth barrier.

Then the girl suddenly spoke.

"Lord Yama. I. . . I have something else I want to tell you."

Chu Wanning: ". . . Alright."

The girl suddenly lowered her head, covered her eyes, and cried. She said softly, "Lord Yama, I don't know what I did after that. But, I. . . I really didn't want to kill my husband. I didn't want to be an evil spirit. I really. . ."

"I didn't steal the oranges. I really am Chen Bohuan's wife. And I truly, truly didn't want to hurt anyone either."

"I truly didn't want anyone to get hurt. Please believe me."

Her voice choked and trembled, her words breaking.

"I. . . didn't lie. . ."

I didn't lie.

Why is it that, in this life, almost no one believed me?

She sobbed and screamed. Chu Wanning's voice sounded low in the darkness. He didn't say much, but he said it with conviction.

"Okay."

Luo Xianxian was shocked.

Chu Wanning said: "I believe you."

Luo Xianxian wiped her tears with her hands indiscriminately but couldn't hold them back. Hiding her tearful face, she lowered her head and bowed her head in his direction in the darkness.

Chu Wanning opened his eyes.

After he opened his eyes, he didn't say anything.

Time in the barrier wasn't the same as in reality. He had stayed there for a long time but, for the people waiting outside, it had only been a moment. Mo Ran hadn't returned yet. The few remaining people in the Chen family were still looking at him with bated breath.

Chu Wanning withdrew Tianwen and said to Madam Chen: "I'll avenge you. You can find peace."

Madam Chen froze and opened her blood-red eyes, and suddenly fell to the ground with a thud, knocked out cold.

Chu Wanning raised his head again. His eyes swept across Chen's face then landed on the youngest son. His voice didn't waver, and it was still frighteningly cold.

"I'll ask one last time." He said each word slowly and decisively. "Did you really not recognize whose voice that was?"

Previous Chapter Next Chapter

[jaimehwatson]

I made another Snowpiercer playlist!

After posting my Wilford/Audrey playlist a while ago, I added some songs that didn’t quite make the cut to a different playlist, intending to put together another similar one. But rather than focusing on just one ship this time, I also ended up getting really interested in theorizing about what Wilford’s relationship with Melanie might have been like before the Freeze, and exploring the idea that maybe there was something going on there and some kind of love triangle with Audrey.

So here’s my new playlist, full of absolute jams that could apply to any combination of relationships involving Wilford, Audrey, and Melanie, and/or just general Snowpiercer vibes! Read on for more detail about the songs I selected, and as before, content warning for references to canon abuse & self-harm/suicide.

1. “The Tradition” by Halsey

Oh, the loneliеst girl in town Was bought for plenty a price Well, they dress her up in golden crowns His smile hides a lie

She smiles back, but it's a fact That her fear will eat her alive Well, she got the life that she wanted But now all she does is cry

Thanks @onetrainsnowpiercer​ for getting me into this excellent album! I thought it would be fitting to kick off the playlist with one that could suit the earlier days of Wilford’s relationship with Audrey, like my previous playlist was more focused on.

2. “cardigan” by Taylor Swift

'Cause I knew you Steppin' on the last train Marked me like a bloodstain, I

I knew you Tried to change the ending Peter losing Wendy, I

I knew you Leavin' like a father Running like water, I And when you are young, they assume you know nothing

Did you think I would make a Snowpiercer playlist without Taylor Swift on it? Not a chance. I picture this one being more from Melanie’s perspective, reflecting on possibly having had some kind of ill-fated romance with Wilford when she was young and naive.

3. “No Children” by The Mountain Goats

I hope I cut myself shaving tomorrow I hope it bleeds all day long Our friends say it's darkest before the sun rises We're pretty sure they're all wrong

I hope it stays dark forever I hope the worst isn't over And I hope you blink before I do And I hope I never get sober

The only reason this perennial favourite of mine wasn’t on the first playlist was that I had too many Mountain Goats songs already and wanted to keep things balanced. But this one got all the ones that didn’t make it to the first playlist plus some more I thought about later, so I’m kind of giving up on that balance by now. They just have a lot of great songs about terrible relationships, and I love them all so much.

4. “Gold Guns Girls” by Metric

I remember when we were gambling to win Everybody else said, "Better luck next time." I don't wanna bend like the bad girls bend I just wanna be your friend Is it ever gonna be enough?

This is another one that I can picture being about young Melanie, gradually growing more aware of everything that’s terribly wrong with Wilford and his approach to life, and of how little he cares to try to fix it.

5. “You’ve Haunted Me All My Life” by Death Cab for Cutie

And there's a flaw in my heart's design For I keep trying to make you mine

You've haunted me all my life You've haunted me all my life You are the mistress I can't make a wife And you've haunted me all my life

And this one I can see being Wilford thinking about either one of the women, and his unhealthy attachment to them and inability to keep them around for very long—maybe once he’s finally reunited with them both on some level in season 2, but still can’t fully persuade them both over to his side.

6. “Old College Try” by The Mountain Goats

From the cities to the swamplands From the highways to the hills Our love has never had a leg to stand on From the aspirins to the cross-tops to the Elavils

But I will walk down to the end with you If you will come all the way down with me

Another Mountain Goats classic. If you divorce it from its context of being from a concept album about a horrible marriage, I actually think this song is kind of sweet in the way it describes a couple still committing to try to make things work despite a whole host of problems. But never mind that now, because I’m putting it back in the new context of a whole collection of horrible romantic relationships!

7. “Risk” by Metric

So you're beaten up but you bounce back It’s all part of the pull And the story runs like a soundtrack We repeat 'til we're full Started slow, started late Started strong, then we lost faith Started slow, started to lose control The more we accelerate, the more we accelerate

Half of arranging any playlist I make is just trying to split up the Mountain Goats and Metric songs so that they aren’t always clumped together. Anyway, this one seems especially fitting to me in its imagery of a speeding vehicle of some kind (it’s a train, I’m always picturing a train) alongside its description of a relationship going badly.

8. “Big God” by Florence + The Machine

You know I still like you the most The best of the best and the worst of the worst Well, you can never know The places that I go I still like you the most You'll always be my favourite ghost

I think this one could be any one of the three of them contemplating their complex feelings about the past at some point around season 2.

9. “I Still Do” by The Cranberries

I don't want to leave you Even though I have to I don't want to love you Oh, I still do

There aren’t as many specifics that match the characters going on in the lyrics here, since it’s more of just a general break-up song, but I also really like the creepy way it sounds.

10. “Fault Lines” by The Mountain Goats

But none of the money we spend Seems to do us much good in the end I got a cracked engine block, both of us do

Yeah, the house and the jewels, the Italian racecar They don't make us feel better about who we are I got termites in the framework, so do you

This one feels really fitting for pre-Freeze Wilford, especially the engine imagery!

11. “I Don’t Care” by Fall Out Boy

Say my name and his in the same breath I dare you to say they taste the same Let the leaves fall off in the summer And let December glow in flames

Erase myself and let go Start it over again in Mexico These friends, they don't love you They just love the hotel suites

Another song that is simply a) an absolute jam, and b) generally fitting for my favourite obscenely rich asshole and his terrible relationships

12. “You asked for this” by Halsey

I want my cake on a silver platter I want a fistful in my hands I want a beautiful boy's despondent laughter I wanna ruin all my plans I want a fist around my throat I wanna cry so hard, I choke I want everything I asked for

This one I can picture as Audrey—or maybe Melanie too, but especially Audrey—beginning to regret getting involved with Wilford, but only once she’s in way too deep for leaving to be a safe or easy decision.

13. “my tears ricochet” by Taylor Swift

And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet

Much like several other Taylor Swift songs, I just know in my heart that it’s the type of music Wilford listens to in secret, while possibly drunk and definitely singing along very dramatically. This one he dedicates to Melanie once they’ve met up again in season 2.

14. “Speed the Collapse” by Metric

All the way from where we came Built a mansion in a day Distant lightning, thunder claps Watched our neighbor's house collapse Looked the other way

This one has a lot of good apocalyptic imagery that I can imagine scoring Wilford’s life in the last few years before the Freeze, as he makes his plans to save himself and let so many others die.

15. “Ox Baker Triumphant” by The Mountain Goats

I will thank my ride and crawl my way back inside To the guts of the building where my enemies Hide in the dark like roaches And I will signal the camera crew and everyone will do What he's been trained how to do Sweat dripping from my face as my moment approaches

Click your heels, count to three I bet you never expected me A little worse for wear Practically walking on air

I love this song a lot, and listening to it lately makes me imagine Wilford plotting his revenge while on his way to catch up with Snowpiercer before the end of season 1.

16. “Firewood” by Regina Spektor

The piano is not firewood yet But the cold does get cold So it soon might be that I'll take it apart, call up my friends And we'll warm up our hands by the fire

Don't look so shocked Don't judge so harsh You don't know You’re only spying Everyone knows it's going to hurt But at least we'll get hurt trying

This has to be one of my favourite songs of all time. It’s very beautiful, and I love the piano in it. I’ve always personally interpreted it to be at least partially about someone surviving a suicide attempt, and the overall imagery about burning a piano for warmth—and this bit about not judging someone for doing that—reads to me as more of a general statement about the difficult choices people struggling with mental illness and other similar issues have to make to survive. I listened to it recently and I could picture Audrey singing it in the nightcar. I think it suits her well.

17. “Cry for Judas” by The Mountain Goats

But I am just a broken machine And I do things that I don't really mean Long, black night Morning frost I'm still here But all is lost

I think the imagery of this song suits the show a lot in general, but I can also particularly imagine it being Wilford in a rare moment of self-awareness about how much damage he’s caused to the world and the people around him.

18. “Rock ‘n’ Roll Suicide” by David Bowie

Time takes a cigarette, puts it in your mouth You pull on your finger, then another finger, then your cigarette The wall-to-wall is calling, it lingers, then you forget Oh oh, oh, oh, you're a rock 'n' roll suicide

I love Wilford a lot. I don’t want anything bad to happen to him ever. I hope he kills more people, and I hope he gets his train back, and I hope he wins. But if he does eventually die in the show, I hope he’s found in the bathtub with there being some ambiguity about whether he really killed himself or whether one of his victims turned the tables on him, and I hope the climax of this song swells as the camera pans over his dead body. That’s the only Wilford death I will accept, thanks for coming to my TED talk.

19. “Source Decay” by The Mountain Goats

I park in an alley And I read through the postcards you continue to send Where as indirectly as you can, you ask what I remember I like these torture devices from my old best friend Well, I'll tell you what I know, like I swore I always would I don't think it's gonna do you any good I remember the train headed south out of Bangkok Down toward the water

Okay, I promise this is the last Mountain Goats song on the playlist. It’s just—it’s perfect. It has a train in it. And on the podcast “I Only Listen To The Mountain Goats,” John Darnielle commented that there’s barely anywhere you can go south of Bangkok before you hit the water, it’s a train going nowhere, it’s so good. It’s also one of the songs I’ve previously ripped a line off for my fanfiction titles!

20. “Sellers of Flowers” by Regina Spektor

The sellers of flowers Buy up old roses They pull off dead petals Like old heads of lettuce And sell ’em as new ones For cheaper and fairer But they die by the morning So who is the winner? Not the roses Not the buyers Not the sellers Maybe winter

And Regina Spektor closes out the playlist again! This song is another one I picked more on imagery and vibes than anything else. But since it’s about a young child in a world that seems to be moving inexorably toward an all-consuming winter, if it suits any of the characters, maybe it’s an appearance of Alex here at the end!

Thanks for reading, and I hope you enjoy the playlist!

[carewyncromwell]

“And at last I see the light! And it's like the fog has lifted... And at last I see the light, And it's like the sky is new! And it's warm and real and bright, And the world has somehow shifted... All at once everything is different Now that I see you...”

~ “I See the Light (cover),” by Elsie Lovelock and Kestin Howard

x~x~x~x

It’s interesting how, even when two parties know they have something special, it can still take a while before they find the right words to express how they feel and what they want. Even when Orion Amari and Carewyn Cromwell had each come to grips with their romantic feelings, it didn’t really change how many obstacles would be in the way of them living a traditional “happily-ever-after” with wedding bells and a little house of their own. Although yes, Orion felt deeply for Carewyn, as she did him, they both also greatly valued their own independence and autonomy. Carewyn and Orion didn’t even live in the same country anymore, one residing in England and the other Scotland, and their respective careers -- one at the London-based Ministry of Magic, the other for the Montrose Magpies Quidditch team -- would make it close to impossible for them to move. Merging households would be a nightmare under such circumstances...and yet, at the same time, neither Orion nor Carewyn was comfortable giving only part of their heart away. They both knew that the subject of their affection deserved everything and more from whatever partner they chose -- they just had no idea if they could be that “everything” for them, even if they wanted to.

That all changed, though, one day in December 1999, a year after the Second Wizarding War ended.

Carewyn’s feelings for Orion had not gone unnoticed by her closest friends. The lawyer’s unofficial twin and fellow “Fireball” Charlie Weasley had been almost affronted when he caught wind that Carewyn had let Orion stay the night on the futon in her living room without having made plans ahead of time -- Carewyn was a planner first and foremost and she never let Charlie crash at her place without giving her fair warning. Charlie vented his disbelief to Ben Copper and his wife Wendy @drinkyoursoupbitch, and they were both pretty shocked too. Wendy ended up following up with Carewyn later that week when she stopped by Carewyn’s office one evening for some coffee.

“On your futon, huh?” she said, her blue eyebrows raised and her lips spread into a playful smile.

Carewyn rolled her eyes up toward the skylight in her ceiling, her red lips turned up in a smile. "Charlie's that jealous about it?"

Her smile faded as she turned her focus toward her paperwork rather than look at Wendy. She wasn’t uncomfortable, of course -- she just had a lot of work to do that night before getting back home and starting dinner for herself and Erik, that was all.

“ ...Orion had had a late night, and he'd have to be back in London early the next morning. It'd be cruel to force him to go home and then lug himself and Eos out of bed so early, just to get back where he already was..."

Wendy's eyes twinkled knowingly. "Oh, of course. But still...is there something there?"

Carewyn kept her focus on the files she was sorting through, her blue eyes narrowing ever-so-slightly as she siphoned through them.

"I suppose it depends on what ‘something’ you're referring to,” she said after a moment. “If you're referring to a romantic relationship, then no, there is not." 

Was that a touch of melancholy in her eyes? Surely not. 

Wendy studied the other woman over the rim of her coffee cup as she took a long sip.

"I mean, Carey," she tapped the porcelain, considering her words carefully. Her tone shifted to a gentle sincerity, "is there an attraction there for you?"

Carewyn stopped rifling through her papers. She paused, before slowly closing her eyes and exhaling through her nose in a heavy sigh.

"...Of course there is," she admitted very softly. "I've always been fond of Orion -- I liked him pretty much immediately, and I respected him all the more, as the years went on. All I wonder is when that fondness...grew to the point that it had to plant roots. And what to do about it, now that it has..."

Wendy smiled fondly. "Well, I suppose the big question is, do you want to do anything? I mean...if you were looking for a tofu-eating Quidditch player to pine over, you certainly picked the best one."

Carewyn rested her head in her hand on her desk, her eyes falling onto the wood instead of looking up at her friend. "That's just it, Wendy, I...I do want to do something. I don't want to have to bottle this up -- I want to protect him, to take care of him and Eos, to...love him with everything I am. But..."

Her gaze moved up to the skylight too, her blue eyes deepening with more of that odd melancholy.

"...At school...when I dated Andre...I didn't know myself like I do now. I probably would've accepted a marriage, and a family, and frequent sex, at that time, not knowing any different. But now that I do know myself...know that I don't want that happy ending attached to most romances...how do I pursue a romantic relationship? How do I ask someone to date a woman who wouldn't give up her job and life for him...no matter how deep my feelings are?"

She closed her eyes, visibly hurting at this thought.

"Especially when...he's already been hurt before...when he's already had partners who tried to force him to give up everything, to please them?"

Carewyn bowed her head.

"...How can I love him the way he deserves, when I'm so selfish?"

Wendy considered her answer, her eyes drifting up to the skylight in Carewyn’s ceiling that reflected the London sky miles above them.

“They say that sacrifice is a foundation of love, and it’s true,” she said slowly, “but...sacrifice between two people who love each other is a two-way street. I love my work — you know I do. Ben knows how much I love it. But if he ever asked me to give up,” she gestured broadly, “everything...I’d do it. I wouldn’t want to, and Merlin, it would hurt like…well, more than anything in the world! But I’d do it. And…I know in my bones he would do the same for me. Hell, he’s almost died for me a few times...”

The old memories made her pause, closing her eyes briefly to try to block them out.

“Thing is…he doesn’t ask for that. He…won’t ask for it.”

Wendy looked back down at Carewyn seriously.

“I guess what I’m trying to say is...sometimes loving someone -- not just being in love, but really loving them -- means that you know you could ask them to move heaven and earth for you and they’d do it, no matter how much it’d hurt...but you won’t ask that. It’s good that you’re thinking about this now, of course -- but you don’t have to have it all figured out just yet. If you want this...don’t be afraid to let Orion in. Let him see everything you have, and everything you fear, and let him decide. Maybe he wouldn’t want you to give up everything you’ve built here for him. Maybe he would. Maybe he’d want you to meet him halfway, somehow. But…let him make that choice to love you, whatever it might look like. You’ll never know if it’s meant to be if you don’t ever ask if it could be.”

Although Carewyn didn't look Wendy in the face nearly at all as she spoke, it clearly was because she was taking in what she said and thinking hard, not because she wasn't listening. When Wendy was finished, Carewyn brought a hand up to brush her bangs out of her face, her hand sliding past her right eye as it went. Then, with a swallow, she forced herself to look Wendy in the face at last, even though her eyes were still full of so much emotion.

"...Thank you, Wendy.”

The lawyer couldn't keep eye contact very long. Soon her eyes once again almost of their own accord drifted off to the corner just over Wendy's shoulder.

"I suppose...I always have had a bad tendency, to put the bar too high for myself. Orion's never expected perfection from me, however much I expect it from myself..."

Her eyes softened noticeably.

"He’s always been happy with what he has, even while he’s reaching for something better. But I know he appreciates the work and time I put in, too...how much I care. Even when I care too much, and 'flare up like a Fire Crab.'”

She brought a hand up to try to hold in her giggling.

Wendy’s lips spread into a mischievous grin. “Hey, at least he doesn’t compare your temperament and coloring to a Billywig. But I guess it’s his way of getting back at me for calling him the Tofu King -- ”

In that moment, Ben Copper had abruptly run down the hall, skidding to a halt in the door frame of Carewyn’s office.

“Carey,” he said urgently, his face very white and grave, “the Aurors have just been sent to your street.”

Carewyn and Wendy both shot to their feet in alarm.

“What!?”

As the prosecutor for nearly all of the cases involving ex-Death Eaters, Carewyn had received a lot of recognition and praise, but she’d understandably also gotten a few anonymous death threats from people who had Death Eater sympathies. She wasn’t the only one -- quite a few other prominent members of the Department of Magical Law Enforcement like Talbott and the newly hired Harry Potter got them too. This day in particular, however, a swarm of dementors -- newly banned from Azkaban by Minister Shacklebolt, in part due to their association with Lord Voldemort during the War -- had been set loose in several areas of London that contained the homes of prominent Ministry employees...including Carewyn’s. Naturally Carewyn herself was not home yet -- but her ward Erik had just returned from Hogwarts for winter break in the midst of his first year, and he as a latch-key kid was at their flat  completely alone until Carewyn got off work. 

Carewyn immediately dropped everything and rushed home as quickly as she could, Ben and Wendy in tow. When she arrived on her street corner, she found the neighborhood in chaos. The entire street was blanketed by unnatural, heavy black fog, as if it was being suffocated by a blanket made of mist and tar. Muggles were running blindly in all directions since they couldn’t see the dementors, while the Aurors who could cast Patronuses shot them at every part of the darkness they could reach. Ben, Wendy, and Carewyn immediately all cast theirs, and their dun stallion, unicorn, and Abraxan winged horse charged into the fray to help the Aurors’ other pearly white creatures in their fight. Carewyn herself was determined to find Erik and raced in the direction of her flat. As she and the Coppers drew close, however, they were startled by what they saw.

Carewyn’s Abraxan Patronus had charged to the front, flapping its wide wings in an attempt to break up the suffocating darkness. As it did so, another bright white Patronus soared through the air toward hers, gliding through the air with incredible grace and helping it beat the dementors back.

It was another Abraxan winged horse.

The second graceful Abraxan Patronus’s wings seemed to brush lightly over the wings of Carewyn’s before flying back in the direction it’d come from. Her eyes very wide, Carewyn raced after it, her own Patronus flying over her as she went. The second Abraxan Patronus ended up landing a short ways away, its wings spread protectively over two people knelt down on the ground -- a small almost-thirteen-year-old boy with curly blond hair and tears streaming down his pale face, and the Patronus’s caster, an olive-skinned man with an uneven haircut, a beard, and black eyes, dressed in harem pants, arm warmers, and loose-fitting robes.

It was Orion. And although Carewyn halted mid-step several feet away, her breath stilling in her throat, her Patronus flew down to meet Orion’s, the two Abraxans’ noses touching when they met.

Orion had known for years that his and Carewyn’s Patronuses were the same. The knowledge had surprised him, but he’d managed to keep his emotions in check at the time. Carewyn, however, didn’t do as well in containing hers -- her hands flew up to her mouth to try to suppress the choke that left her throat and although she didn’t cry, her eyes flooded with tears.

Her Patronus disappeared in a puff of white smoke as she barrelled over to them, collapsing onto her knees so she could pull Erik into her arms and hug him tightly, her face white with terror.

“Erik! Erik, thank Merlin -- ”

Erik was very pale and shaking in her arms, but he had trouble looking her in the face. His jaw was clenched hard as he clutched at Carewyn’s sleeve. Ben and Wendy rushed over too, looking just as harried.

“Erik -- kid, you okay?” asked Wendy.

Ben glanced from Erik in Carewyn’s arms to up at Orion and his Abraxan Patronus hovering over them, his brown eyes slightly narrowed. Orion’s face was just as solemn.

“I was in the area when I felt the dementors’ presence,” he explained. “I found him out here, shooting Lumos charms and Knockback Jinxes at the dementors to try to drive them away...it’s possible he may have come out to help, knowing Muggles can’t see them...”

Carewyn cradled Erik in her arms, her hands resting on his back and the back of his head protectively as she squeezed him tight and gently stroked his hair.

Leaving Erik at home alone was never an arrangement she’d liked, but he was old enough to be there at her flat without supervision, as long as he stayed inside and didn’t let anyone in. But clearly the protective enchantments she’d placed weren’t strong enough to prevent the dementors’ draining influence from creeping inside...and once Erik felt that, it was unsurprising to Carewyn that he’d wanted to do something about it. His history in dementor captivity when he was rounded up by Umbridge’s Muggle-Born Registration Commission was explanation enough.

She hadn’t done enough. She hadn’t thought that anyone would go so far as to threaten her son ward, while she wasn’t there to protect him...

Carewyn swallowed the huge, painful lump that had formed in her throat, closing her eyes tight to try to force back her tears. She had to show a brave face for Erik: he was scared enough as it was.

The image of Orion’s and her Patronuses touching noses rippled over her mind. The memory of their light, equally bright and perfectly matched, seemed to weaken the grip of the fear strangling her heart.

His Patronus was the same as hers. His soul...was the same as hers...protecting Erik when she hadn’t been there...flying to the side of hers, when it was most needed...

The memory filled her up with such courage and warmth that Carewyn thought she’d likely never struggle for ammunition to create another Patronus again.

“Erik...we need to get you inside,” the lawyer said at last, her voice coming out as a low, steadier whisper than before. “Some chocolate will help.”

Ben brought a hand onto Carewyn’s shoulder and squeezed it. “We’ll take care of things out here with the Aurors, Carey. You stay with Erik.”

Wendy glanced at Orion.

“Orion, maybe you should go with them with your Patronus...clear them a way back home, you know.”

Although her eyes and face were serious, the way her eyes flickered between Carewyn and Orion spoke volumes. Orion, his head bowing almost self-consciously, nodded. He tentatively brought an arm around Carewyn’s shoulders, his black eyes trailing over her face to down at Erik.

“Erik,” he said softly, “can you stand, little Jarvey?”

Although he wasn’t able to speak, Erik clutched onto Carewyn and Orion’s arms and used the grip to hoist himself up onto his feet. Sensing that he was still too weak and disoriented to walk on his own, Orion quickly swooped in and snaked one of his strong arms around the boy to hold him up.

“I’ve got you,” he murmured. Carewyn moved to Erik’s other side and wrapped her own arm around Erik too, so that both she and Orion were supporting him. “...We’ve got you...”

Orion’s eyes met Carewyn’s over Erik’s head. The light from his Patronus reflected in their depths, making them resemble two tiny night skies flecked with stars. A perfect match for Carewyn’s, the color of which could be compared to a cloudless blue daytime sky.

((OOC: Thanks to @drinkyoursoupbitch for roleplaying that first scenario between Wendy and Carewyn with me so many months ago!! I’m so delighted I finally got to include it in this! 💙))

[richieisabastardman]

The Demon and The Witch - Part 1 (Crowley x Reader)

Summary:  In 1519, your ancestor made a deal with a demon that protected your family for eternity. In return, your family devoted themselves to the demon Crowley. When Crowley loses track of your family suddenly and without reason, he panics. Decades later, you walk into a little bookstore owned by a kind man. When you are introduced to his tall, red-headed friend, you can't help but think that fate had brought the two of you (back) together. (Fluff, Eventual Romance & Smut).

Word count:  4,135

Notes:  This is going to be a long series that eventually leads to a relationship between Crowley and the reader. Any witch references etc. is probably not in line with how witches work within the show/book, but for the sake of the story I wanted to create my own lore. Hopefully you guys enjoy slow burns (though not really because there's already so much tension in this first chapter between the two of them).

Masterlist

In the year 1519, Anthony J. Crowley, at that time only known by the latter part of his name, walked into a forest far from the hustle of the London streets in which he usually roamed. It had been night, and therefore dark, and the growth of the trees above him had meant that the light of the moon could not guide his path. This was no matter, of course, as he was not a mere mortal. It was, however, a slight inconvenience. Despite being a demon, he did quite enjoy a bit of light to guide his journey, if not purely for the symbolism.

He had been summoned to the forest in a traditional, witchy sort of way. The way that involved candles and incense and incessant chanting. He had appreciated the effort the summoner had put into the ordeal, even though it was not at all necessary. A letter to his home would have worked just as well.

Still, he continued walking, the mud and muck beneath his shoes producing a squelching sound that he wasn’t very fond of. The night was freezing, but Crowley could sense the warmth of a bonfire as he neared a clearing.

A woman stood next to the fire, holding her hands together in front of her person, rubbing them together nervously. Crowley could feel her fear. It radiated off of her in waves that he was sure demons and angels alike could feel for miles. Regular humans would not exude such a strong energy.

As he expected, the woman was a witch.

As he walked closer to the fire he stepped on a thin branch and the sound of it cracking in half echoed through the woods. “Dammit” he whispered. Crowley had always had a flare for the dramatic and preferred a traditional, ominous entrance to any meeting he attended.

“Demon? Show yourself to me!” the woman yelled.

“Alright, alright I’m here no need to yell” Crowley replied, pushing away a branch to step into the brightly lit clearing where the woman stood.

“Are you the demon Crowley?” she asked, her eyes examining his thin frame and curled, long hair. His features were angular, but in no way demonic. He could sense her sizing him up and smiled.

“Indeed I am” he replied.

“You look fairly...human” she stated cautiously.

The demon reached for his sunglasses, removing them to reveal bright yellow irises surrounding a slitted pupil. The woman gasped lightly before nodding to herself, attempting to calm her rapid breath. “I see”.

“Haven’t done much demon work, I take it?” Crowley said, beginning to circle the bonfire which sat in the middle of the clearing. The woman moved away from him, slowly walking further around the bonfire in order to avoid any close proximity to the demon.

“I’m desperate” she admitted, almost whispering.

“Why?” Crowley returned.

“The town speaks of witches and witchcraft” she said, her chest heaving with her heavy, fearful breaths.

“Oh, do they? I wonder why?” Crowley responded, gaze fixated on the circle of candles, herbs and crystals that surrounded the bonfire. “You could be a bit more discreet”.

“It is my heritage. My birthright. Who am I to deny it?” She spoke and Crowley pursed his lips in thought before nodding his head.

“I suppose” He replied.

“I was caught” she explained “I was caught with certain books and herbs and sigils”.

“Oh, not sigils. You can never get caught with sigils” Crowley said, shaking his head disapprovingly.

“I fear they may wish to kill me” she said.

“What do you want me to do about it” Crowley replied.

“Protect me. Guide me. Enhance my practice. Care for me.” She had stopped moving away from him, instead facing him on the other side of the bonfire. She stared into his eyes, refusing to break her gaze despite their snakish appearance. Her fear had all but dissipated as she propositioned the demon. He had to admit, her bravery charmed him just a little. Human bravery always did.

“And what do I get in return?” he asked.

“My soul”

“Pfft.” Crowley huffed, rolling his eyes at her offer.

“My devotion for eternity”

“The issue with that, is that you are merely mortal” he sang slightly.

“My devotion for eternity through my daughter, and my daughter’s daughter, and her daughter’s daughter, until the end of time or the end of family’s line” the woman explained.

Crowley’s interest suddenly peaked. He was quite fond of human devotion, though he would never admit it. Not just devotion to him (though there was a period in ancient Greece where a temple was built in his honour and he had a small following of cultists that his ego quite enjoyed), but human devotion in general.

The willingness of a human to throw themselves into the fire for a cause. To martyr oneself, to put one’s life on the line for another, the brotherhood of man as it was later called. Of course, this sort of action also led its way to things a bit more sinister, such as the willingness to kill others for one’s cause, an issue that was present for the woman currently pleading with him.

The thought of generations of young witch women devoting their life and practice to him lit something within him. He was sure that the fire behind his eyes was visible to the witch lady, as she took a step back from him.

“It’s a deal,” he said, smiling at the woman. She withdrew herself further.

“How do we seal it” the woman asked, her hands once again hovering in front of her and rubbing together in a nervous gesture.

“Like all good deals - with a kiss” Crowley smirked, but dropped his lips quickly when he saw the terror upon the woman’s face. “Though I am happy to settle for a handshake”.

~~~

And so Crowley kept his end of the deal, as all good demons do. He thwarted the interest of the local puritans from the woman, allowing her to continue her practice in peace and without fear of persecution. When she birthed a daughter, and taught her daughter the craft, Crowley watched over her too. He had seen her first steps, her first words and her first marriage. Great Uncle Crowley, as he was called by the youngin, was worshipped in modern ways by the family. The small child would bring him flowers she had picked from her garden and he would accept them happily. Her mother would bring him alcohol and he would accept it ecstatically. In return, the demon would bless their ventures and punish those who wished to harm them.

As generations were born and eventually birthed more children, they began to forget their heritage and their promise. They also began to forget Crowley.

Despite this, Crowley did not forget them.

Whilst he was a demon, he was not one to break an eternal pact. That would defeat the purpose, he supposed, of the eternal part of the pact. He continued to watch the women grow and bring forth more children. More importantly he watched them survive and thrive within the world. He watched the women birth world leaders, revolution starters and martyrs. He helped them where he could, however they generally appeared to get along quite well for themselves.

Until one day, on a sunny afternoon in 1923 - after centuries of watching after the children of the witch, he lost track of them.

Crowley had driven over to Edinburgh to do a quick miracle for his angel, Aziraphale. On return, he had planned to check in again on his girls. Sitting within Aziraphale’s bookstore, holding tightly onto a cup of tea and swirling the spoon within the cooling mixture softly, the sound of the teaspoon hitting the sides of the china lulled his eyes to a close. Aziraphale was looking at him disapprovingly for his rudeness, however his stare was missed by the demon. Crowley focused his energy on his mind’s eye, chanting a quiet mantra to himself.

On previous occasions of using such a technique, he would feel his spirit shift from within the earthly body he possessed to engulfing all that was and ever will be. He became the teacup he held, the seat in which he sat. He also became the sky, the sea, the Thames. Importantly, he became the women in which he had agreed to shelter. He saw what they saw, felt what they felt, knew what they knew. He would know where they were, who they were with and what they were doing. He could keep tabs on them in order to help them where he could,and in order to keep his word on the pact in which he had agreed.

And so he became the tea cup, and the chair, and the sky and the sea and the Thames, and as he shifted his focus on finding the women, he could not find them. Not anywhere on Earth at least.

“Huh” Crowley spoke, opening his eyes slowly.

“What’s wrong?” Aziraphale questioned, his reading glasses covering his curious gaze which was fixed upon the demon. He did not need the glasses of course, but he felt a sort of comfort in their weight upon his nose.

“I can’t find her” Crowley said, eyebrows furrowed in concern. For a moment he thought that, perhaps, she had died. Upon this thought, he further realised that even if she had died, he still would have known where she was. No she was not dead. She had just sort of vanished. She had disappeared off of his radar.

A wave of panic ran down his slim body, causing goosebumps to rise on his skin. He had never had goosebumps before. He had also never lost a human before. He supposed there were first times for everything.

“Well, where is she?” Aziraphale asked, voice laced slightly with concern. The girl was not, of course, his concern. However, a human disappearing from the gaze of any non-human being was unheard of.

“I dont….know” the demon spoke. He looked up at Aziraphale, and for the first time in the nearly six thousand years he had known the angel, his face displayed human signals of fear.

“Surely she’s somewhere. Would you like me to have a look? I’m happy to-”

“No angel you don’t understand. I’ve been watching this family for centuries. I’ve known where they are, what they’re thinking, who they’re with, what they’re doing. Their needs, their wants, their hates. I’ve never lost them, Aziraphale. Something is very wrong”.

~

Very few witches by blood are currently aware that they are witches. Often the ritualistic aspect of the craft is lost throughout generations, resulting in plenty of born-witches but very few practising witches.

You were not aware of your heritage. You were also not aware of your ancestor’s eternal pact with a certain demon. You were further not aware that said demon had been searching for your family for decades. All of these things you were very much not aware of when you walked into Mr. Fell’s bookstore a month ago. Since your first meeting with the man (where he had nearly tackled you for attempting to buy one of his books), the two of you had become close companions and had easily fallen into a quaint routine. You went to your university classes during the day, and in the evenings you would come visit the older man, helping him sort out his mess of a store.

It was strange to you how quickly the two of you had become close, especially considering the considerable age gap between the two of you. However, you supposed the man was quite lonely all by himself within the shop. He told you he had a friend who usually visited him, however he was out of town for a few weeks trying to find an old friend. You had told him you were happy to take his place for a while and Mr. Fell was glad for it.

“Mr. Fell~” you sang as you entered the store, peaking your head around the store to find the older man.

After stumbling upon his store the month before, you had been drawn inside by the eeriness of the building. It was old and creeped you out slightly, however the inside had a warm, comforting vibe that you could only credit to the angelic looking man who owned the store.

You heard Mr. Fell  sing your name back to you from the backroom of the store, where he was surely sitting with a book and having tea after a long day of avoiding trade. You skipped slightly to follow the voice, spinning yourself as you entered the back room.

“Oh Mr. Fell I’ve had the strangest day you won’t belie-” you stopped yourself, your gaze locking onto the slim, tall, sunglasses-wearing man who sat in your usual seat.

You smiled, embarrassed by your antics that this stranger had just had to witness. He smiled back curiously, refusing to break the gaze the two of you held.

“Hi” you tried to say, but it came out as barely a whisper.

“Hi” he returned, smirking and much more confident in his delivery. His arm was draped across the back of the lounge in which he sat, his ankle resting on the knee of his opposite leg. He exuded a confidence you had never felt from another man before. It was otherworldly.

You realised that this must have been the friend Mr. Fell was missing.

Mr. Fell cleared his throat from where he sat behind you and you spun around, smiling sheepishly at him. “I didn’t realise you had a guest, I wouldn’t have come-”

“Oh no dear! Don’t you worry. Mr. Crowley was just leaving”.

Crowley, you repeated his name within your mind.

Crowley.

Why did that sound familiar to you.

CrOwLeY.

Oh! , you thought, that was the name of that occultist. You had just been reading a book on the occult that Mr. Fell had lent you, that must have been where you spotted the name. A slightly spooky coincidence, but a coincidence nonetheless , you thought.

Your train of thought was halted by the sound of the stranger standing up behind you, beginning to leave the backroom.

“Wait!” you practically yelled “You don’t have to leave on my account, Mr. Crowley! Please, stay”. You hadn’t meant it to sound so desperate, yet the need within your voice was clearly not lost to the man. He smiled at you, and then looked up at Mr. Fell.

You supposed Mr. Fell must have gestured for him to sit back down, because he did, inviting you to sit beside him. You, of course, had missed this gesture as your eyes had not left the tall man, whose hair (you had just realised) was a wonderful red colour.

“Would you care for some tea, my dear” Mr. Fell offered.

“Or perhaps some wine” Crowley offered, raising an eyebrow and pouting his lips slightly. He held the bottle within his hands and shook it slightly, tempting you with it’s contents.

“Oh surely not-” Mr. Fell began, giving Crowley a pointed look but he was interrupted by your exclamation.

“I wouldn’t mind some wine”. And so Crowley poured you a glass and watched as you took your first sip, smiling for the nth time at your little hum of pleasure at the taste.

“I suppose I will put this away then” Mr. Fell mumbled, packing his tea-set up and leaving to place it in another room.

You hummed at your friend’s statement, not completely sure what he had said. If you had, you would have felt quite bad for rejecting your friend's offer of tea, as it was somewhat of a tradition for the two of you to have tea together every afternoon.

But you were once again lost in learning every crevice and curve of your new friends face. You wished you could see his eyes, which were hidden behind a pair of thick, dark sunglasses. You always had your imagination, you supposed. You suspected they were a bright amber in the light of the sun and a deep brown in the light of the moon.

You wondered why he kept the glasses on inside. Was it the fluorescent lighting? Perhaps he had horrible migraines because of the lighting. How inconsiderate of Mr. Fell to not turn off the lights for the sake of this poor, poor man. Though the more you thought about it, you were sure Mr. Fell would be on top of something like that. He was not one to revel in others’ misfortune or discomfort. He was a lovely man.

“So, how do you know Aziraphale?” Crowley asked, resting his elbow on the back of the lounge to face you properly.

“Azira...Oh! Is that his first name? Azira. A-ZIR-AH. Huh. That’s very pretty. Is it hebrew?” you asked but the man ignored your question.

“I suppose you only know him as Mr. Fell then” he said and you nodded your head, taking another large sip of wine.

“Oh yes. He never told me his full name. I’m not sure why. I never really questioned it” you rambled and the man watched you intently, smiling again when you took another large sip of wine. “I met him in this shop” you explained “I came in here and chatted with him. It’s funny, I’m not the chatting type..”.

“No?” Crowley raised an eyebrow, teasing you slightly.

“No” you smiled back, blushing slightly and embarrassed by your rambling “but Mr. Fell is very easy to talk to. He knows a lot about everything”.

“That he does” the man said “With all these books that he reads, I’d hope so”. Crowley’s gaze left yours momentarily to admire the vast amount of books that surrounded the two of you.

“What was your first name?” you slurred, only then realising how quickly the wine had hit you. You raised the glass to your mouth once again to take another sip, only to find the glass was empty. Crowley chuckled at your actions before placing his hand around your hand that held the glass to steady it, and then filling the glass.

“My names Anthony” he said, placing the bottle of wine back onto the table after refilling his own glass.

“Anthony Crowley” you repeated, swirling the wine in your glass.

“Technically Anthony J. Crowley” he corrected.

“What’s the J stand for?” you asked, pouting slightly.

“Just a J” he replied and you furrowed your brows before humming, shrugging your shoulders at this strange man’s even stranger name.

Crowley observed your features as you gazed around the room, appreciating the store more in your state of intoxication. That wine was far too strong, you thought. Maybe it was moonshine.

You felt his gaze upon you, but being too drunk to be flushed, you continued to act as though you had not noticed, allowing him to stare at you a little longer than what would be considered normal curious gazing one partakes in when they meet someone new. Your lack of reciprocal staring (and your slight intoxication)  meant that you did not realise he was staring at you for more than the reason you assumed. He stared at you like he was trying to put a name to face. He gazed as though he was sure he had seen you somewhere before, but he wasn’t sure where.

He was trying to recognise you, and yet he had just met you.

“I hope you aren’t irritating my poor human friend, Crowley” Aziraphale said as he trotted back into the room, seating himself once again in his chair.

At the fault of the alcohol in your system, you laughed a little too hard at Mr. Fell referring to you as a human friend. The man spoke so oddly, it seemed like he was from a different time. Or an alien. Or an alien from a different time. You continued to chuckle, spilling a bit of wine from your glass onto the ground in the process.

“Oh no!” you pouted, staring sadly at the puddle on the floor of your friend's bookstore.

Aziraphale stared angrily at Crowley, a silent accusation against the demon. Crowley raised his hands in his defence, a gesture meaning to signify that he played no part in your current intoxication, and that it was of your own free will that you had decided to partake in such drinking activity. The angel however did not budge, his gaze practically burning holes into the demon.

“Would you like me to drive her home?” Crowley sighed.

“If you wouldn’t mind, Mr. Crowley” Aziraphale stated sternly in a voice you had only heard once (a few weeks ago, when a man had refused to stand down when Aziraphale rejected his monetary offer for a book he was particularly fond of).

~

“Oh I LOVE Queen” you slurred, staring at the collection of tapes within the man’s car. He drove a Bentley - which had you not been so drunk, you may have appreciated more.

“Well I’ve got a lot of it in here, so you’re practically in Heaven I suppose” he said, and then shivered slightly at his use of the word Heaven. This was lost to you of course, as you were intently analysing the back of one of his tape’s cases. “You are quite a light weight” he said, tapping his fingers on the steering wheel to the beat of the song that played softly from the speakers.

“Always have been” you asserted, staring at him from the passenger's seat of the car. “It’s almost magical how quickly alcohol affects me”.

It is a little known fact that witches have a dominant gene that makes them intolerant to alcohol. This intolerance is often overlooked by witches (especially those who aren’t aware that they are witches) as it manifests itself in a slight flush of the skin, and the extremely quick absorption of alcohol into the bloodstream. Crowley was aware of this genetic fact, of course, after many years of watching witches get hammered during rituals. His application of this to you, however, was absent, as he was too busy admiring your soft hair and skin and the pink tinge on your lips from the wine you had been drinking.

“Mmm” Crowley hummed, smiling at you. His smile was different from the ones he had graced you with within the shop. Those had been more cunning and slightly sly. This smile was genuine. You supposed it would reach his eyes, if you could see them.

You watched him look down towards your chest and you chuckled “Eyes are up here, Mr. Crowley”.

The man was startled, mouth agape at your accusation as he shook his head. “Oh no. No, no, no. I wasn’t-. That wasn’t-.” He huffed, closing his mouth before speaking again “I was looking at your necklace”.

You looked down to the necklace that hung low on your chest, just above your cleavage. It was a gold circle, with engravings all along the edges and one large engraving in the middle. “Oh, this old thing” you said, rolling it between your fingers “it’s from my Great-Grandma”.

“Family heirloom?” Crowley asked and you shook your head.

“I mean sort of. My mum told me, when she gave it to me, that Great-Grandma had been given it by some lady who lived in her neighbourhood when she was a child. The lady said it was to look after her - to ward off evil”.

Crowley stared at the jewelry, observing the writing that had been etched deeply into the gold. “Do you know what the writing is?” Crowley asked. It was old, some ancient language definitely. However the markings were not familiar to the demon at all, and he had been around for the creation of language itself. Goosebumps raised upon the demon’s skin for the first time in a long time.

“No clue” you replied, staring at the jewellery once again. “I’ve been trying to find out actually. I’ve been looking through a lot of the books at Mr. Fell’s shop, but I haven’t had any luck yet”.

Crowley didn’t reply. Instead, he listened to your light humming to the songs that played on his radio and tried to calm the anxiety he felt rising within his mind and body.

It probably isn’t even a language, he thought, it’s probably just scribbles and decoration.

And if it was anything, surely the angel would have said something. He had been friends with the girl for weeks and he would have definitely seen the necklace at some point during that time.

Crowley began to calm at this thought, a smile coming onto his lips as he heard you belting out the intro to bohemian rhapsody, clearly still drunk.

[nellie-elizabeth]

Grey's Anatomy: Snowblind (16x15)

I don't know what to even think at this point?

Cons:

I've gone on record saying that Tom Koracick is better than Owen Hunt in every conceivable way, but especially as regards Teddy Altman. But come on. This whole love triangle/quadrangle/pentangle or whatever is getting seriously out of hand. You've got Teddy and Owen, and then Owen and Amelia, Amelia and Link, Teddy and Tom... it's a freakin' mess, and I wish all of these people would get over their bullshit and just sort out their lives. I know that this kind of thing is par for the course on a show like this, but it just goes to show that there's a right way and a wrong way to write trope-filled stories. I've enjoyed plenty of love triangles and messy situations on this show in the past, but this is one that I cannot abide. Teddy is going to feel guilty as shit, Owen is going to find out Amelia's baby might be his, Link is going to cry about it some more... I'm already so exhausted.

Nico has been deflecting with Levi, not addressing the issue about him not being out to his parents. I've got to say, I really like Levi, but I'm feeling frustrated about Nico. They haven't given him as much time to develop, so when he basically gives Levi an ultimatum, telling Levi to stop trying to change him by forcing him to talk about his feelings... it's really hard to see both sides here. I honestly think that's a writing issue. I like Nico. I want to keep liking him, and I want to learn more about him whether or not he and Levi stay together. I just wish their story was being handled with a bit more care, especially after so many great Levi-centric story-lines in recent weeks.

Are they going to kill off Alex? This isn't a complaint about the episode, just a - what the fuck? My guess is maybe he found out he was terminally ill or something, and wanted to leave so Jo and Meredith wouldn't have to watch him die. I know the actor bailed out, and maybe there was drama there, who knows? But from a story-telling standpoint, Alex's exit has so far been very bizarre, and troubling to say the least. This guy has sixteen seasons' worth of development under his belt. It's completely bonkers that he would run off and abandon his wife. It doesn't track with reality at all.

Pros:

Teddy going over to Tom's and kissing him is really annoying, but I loved their silly snowball fight earlier on. Tom's speech about how he's been trying to get in the club for two years really broke my heart. I think a lot of people have maybe felt that way in their lifetime, at some point. I know I feel it where I work, and I used to feel it doing theatre as a kid - like I was never quite in the center of things. Tom is a good man, and Teddy liking him is so sweet. It's just... clearly I'm supposed to think that Teddy kissing Tom is a bad thing, the kind of thing that is going to backfire on her. And here I am, wishing she'd just kick Owen to the curb!

As frustrating as the Alex situation is, I do like Jo and Link's friendship getting more screen-time. Great acting from them both in that final scene, where Jo talks about how she's pretty sure Alex left her, and Link rushes over to offer comfort. They have such good energy as friends who support each other no matter what. I'm glad to finally see that come through.

Bailey essentially adopts Joey, the foster kid who recently turned eighteen. I am actually all about this. Of course it's partially something she's doing in reaction to her recent miscarriage, but also it's built out of several episodes of buildup and trust. And it's like Bailey says - she has extra room, extra food, extra money, extra love to give. (She probably should have discussed it with Ben first, but I suppose that they do have a tradition in their marriage of making big life decisions without talking it over!)

Richard's story-line offered a couple of big surprises. He bonds with a resident and offers to let her do a surgery, only for Levi to stop them just in time - turns out, the woman is not a resident, but his missing patient who he has been tracking all through the hospital. This woman, Tess, has been sick throughout her whole life, and her repeated diagnoses meant that she couldn't finish med school. She just wanted a chance at following her dream. Richard ends up telling her that she still has that chance - she has more obstacles than most people, but she can still make it. And then Richard confesses that his hands have been shaking, and that his days of surgery are over.

This is a lot to process. I really liked Tess' story, and hope she does find a way to make it as a doctor. It's absolutely insane that she was about to cut someone open, but it worked within the confines of the story. And then there's Richard. He has been through hell recently, what with his marriage falling apart, getting fired, etc... and now this. He has a great speech about how his career defined his life more so than any of his relationships, and how he's not sure who he is without it. But he also knows that he got to do what he loved for a long time, and that he's still got a lot of life left to live. Richard is such a natural teacher and nurturer; it seems clear that he still has a future working in the medical field in that capacity, even if his time in the operating room has come to an end.

Then there's the DeLuca situation. He is rightfully and naturally quite upset with Meredith for saying he might be sick like his father, and even points out that he doesn't throw alzheimer's in her face every time she forgets something. And yet, as much as I want to be on Andrew's side here, there's the fact that he went out in a blizzard and walked several miles to fetch a liver for a patient, since the roads outside are all blocked off. He walks three miles both ways without gloves, saving a little girl's life but also doing damage to his hands. Jackson is adamant that Andrew needs to follow instructions or he could lose his hands, so this is clearly serious business. I'm worried for him, and I can totally understand why Meredith and Carina would be concerned.

Cormac and Meredith continue to bond over their dead spouses - I could definitely see this going in a romance direction, and it seems like that's where it's headed, but at the same time, they are also just good for each other because of their shared life experience. Cormac confesses to being lonely - he hasn't been with anyone since his wife's death. Meredith talks about the complexities of that first kiss, first "I love you" after her husband's death. I don't know if Meredith and Andrew are done for good, but Meredith's behavior here felt kind of... wistful, like maybe she can be grateful for what they had and know that it's not meant to last. I don't know if that's where we're headed, but I'm totally pulled in to the story. (Thus proving that a well-developed love triangle is possible!)

Also - the mentions of Cristina were delightful as always. She feels a lot closer to the core of the story this season than she has in a good while. And we even got a Twisted Sister reference!

There are probably details I've missed here - like Maggie confirming Teddy's suspicions, showing once again that she can never be trusted. Or Jackson making up from a fight with Vic that probably happened over on Station 19. I liked this episode, for the most part - I liked that for once, the big "disaster" of a snow storm didn't actually cause most of the drama of the episode. It was more contained, more character driven.

And next week, we get to find out whatever sort of ending they've cobbled together for Alex. I am... dreading it, y'all.

7.5/10

[sisterofiris]

In your opinion, what should be the main lesson from love-tragedy between Artemis and Orion? I am mostly asking because the character of Orion is very vague. I also wanted to find out what was the special interest or appeal of Orion, due to him being the only person, that I at least know of, to have been a romantic interest to Artemis. Thank you again for your time.

Brace yourself, because I have Feelings about this and they’re about to get intense.

Let’s start with what ancient texts tell us. The first thing to be aware of is that the myth of Artemis loving Orion is only attested in a single text, Pseudo-Hyginus’ De Astronomica (likely dating from the first couple of centuries of our era). Pseudo-Hyginus is himself quoting Istros, a poet whose work is unfortunately lost. It’s impossible to know exactly why Istros told the myth in this way, nor what traditions he himself was drawing from. The most we can say is that, in the context of Pseudo-Hyginus’ work, the myth serves as an explanation for the Orion constellation. More generally, all myths about Orion’s death seem to serve the same purpose - to explain how he came to be in the sky. The circumstances surrounding his death are mostly just details.

But that doesn’t stop us from delving a bit into them, especially the question of Artemis and Orion’s love. To answer your question as to what Orion’s appeal was, it seems clear that it was his skill as a hunter. (I might even argue that this is the origin of his character, since the constellation Orion looks like a man holding a weapon. The early Greeks must have wondered who he was, and all the stories would have developed from there.) In some texts, Orion is only depicted as a hunting companion of Artemis; in others, he is her lover, and that is where it gets interesting. One explanation for this might be that some Ancient Greeks didn’t like the idea of a virgin Goddess who never loved a man - so they gave her a dead lover, a hunter like her, if only to show that she had loved once. If so, then the meaning would be akin to a retelling I once wrote of this story:

Apollon, who wanted to preserve what he thought to be his sister’s honour, reached his goal: Artemis would never let herself be seduced again. But the night sky bears witness to a different moral. The forest and mountains may well seem harsh, still they hide thousands of beating hearts; like them, Artemis may well be wild, still she can love.

Since writing this, however, I’ve come to view the myth in a slightly different light. Artemis, in essence, is Lady of the Wild and Deserted Places, that is, a Goddess who cannot be “tamed” by love (note that in Ancient Greece, marriage was viewed as a civilising force for women) - and it would be a shame to discount such an important aspect to her for the sake of a tragic romance. Instead, I choose to view her affection for Orion as an expression of a different kind of love.

It’s all too easy to forget that, just like there are many Gods, there are many ways to exist. No, Artemis’ wilderness will never be host to civilised cities; but that doesn’t mean her forests and mountaintops are devoid of life. Quite the opposite - each has its ecosystem, holding itself together in its own way. This makes Artemis not Lady of the Deserted Places, with no life or love whatsoever, but Lady of Places that don’t fit our understanding of “civilised”. Following on this, she is not incapable of love - she just loves in a way that us civilised mortals, in our built cities, don’t understand.

In short, we call Artemis’ feelings for Orion romantic (and admittedly, Pseudo-Hyginus does say she almost married him, although the word he uses for her affection, dilectus, doesn’t necessarily denote romance) - but they don’t have to be. I choose to view the story, instead, as a reminder that love doesn’t have to manifest in a “traditional” way. Despite what Apollon may have thought, Artemis does not betray her nature by loving; she just happens to love by her own definition, whatever that may be.

I have to say that this reading is very much influenced by the fact I identify as asexual, and the stereotype that people like me “don’t experience love” because we don’t fit society’s idea of it - or that our experience isn’t real and it will be “fixed” by someone someday. I find comfort in Artemis’ relationship with Orion by interpreting it as non-romantic but still deeply loving. However, this is entirely my personal interpretation, with little in the actual text to support it, and if it doesn’t suit you, you’re free to disagree. All in all, it seems there are many different ways to understand Artemis’ relationship with Orion; it all comes down to which you resonate with most.

[kaylahill94]

21 Ways To Save Your Marriage Stupefying Tips

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How To Save A Relationship Before Its Too Late

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The 1 Question That Can Save Your Relationship

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[long-after-love]

Some personal ramblings on love/marriage

(This is actually a non-Beatles post, even though I relate this story to Lennon/McCartney, which is funny)

The other day, I learned something about my cousin. Thanks to anonymity I can tell everything here.

Let's just call him Steve and his wife Anna. An admirable, hard-working, very likable man. His wife is a beautiful and sweet lady whom I also have massive respect for. They have two beautiful children, one boy and one girl. The boy inherits his dad's quick wit and his mom's fair complexion. The girl had her father's intense eyes and her mom's gentle charm. I have never known any family that looks so pretty and wholesome, they are the sort that you see in commercials – a bit too perfect to be true. 

Steve is never really close to me, but we are on great terms when we meet. Anna likes me as well. They used to invite me to join them on family trip when I was younger. I looked after the boy and the girl, so that they could have some private couple moments. Steve was openly sweet to his wife, and Anna held his hand all the time. The kids would run around me, laughing out loud at nothing as kids would. I felt like I was watching a movie.

And just recently, everybody in my extended family was shocked to find out that Steve had an illegitimate child that he has supported in secret for more than ten years now. His mistress could not compare with Anna in any way, and the most absurd thing was he wasn't even in love with her. Now everybody are asking, "Why, Steve? Why?" and I could imagine that even Steve was unable to explain it. 

Last week, I called my sister in Australia to ask about her current situation amidst Covid-19 and of course we talked about Steve's little scandal. Here I have to provide some background about her, and my family background. She is a single mom, and she is closer to Steve than anyone in my extended family. When she divorced her husband, my parents were so against it because they thought that she was selfish and the child needed a mom and a dad. My parents were old-fashioned that way – I think they were not wrong from where they stood, back when they had my sister and me. I never thought of my parents as a very loving couple. They rarely fought, but they had zero romantic vibe. I always had the impression that they stayed married because of me and my sister, not because they were in love.

I’ve realized that my mother and my father never ever taught me about sex, and as long as I could remember they’ve never shared the same bed. They did not even have a wedding photo. I guess it was because they were very poor and could not afford to take a photo of that day, but they didn’t even have couple photo either. They had to be with someone else in any photo al all: with me and my sister, or relatives, or in a group photo of friends and acquaintances. My father is a stern, quiet man and my mother is a nurturing, traditional woman. I could understand their love and their bond, but I can’t feel it. Their love was mutually built on their devotion to their kids, aka my sister and me, so to me it was a culmination of shared responsibility, understanding, appreciation, respect and most important, mutual sacrifice. I never saw any true moment of romance between them, I have never, ever seen my parents kissing ever. 

Love and sex in my household was a taboo subject – when I was younger my parents did not want me to have a boyfriend, and then when I got older they wanted me to get married and have kids as soon as possible. 

It sounds a bit ridiculous but I discovered love through The Beatles, and their songs were, in a way, painted my outlook for love. Of course, after all these years consuming other kinds of art I’ve established for myself a far more detailed concept of love, but it is The Beatles that gave me the rough idea. Some might say they were just four young lads singing pop songs about love just like every other pop song out there – I agree with them, at the time they did, and I am sure they didn’t think much about what they were writing – they only wanted to sound good and sell a few records after all. However, I don’t think they were fully aware of their extraordinary talent and their unprecedented influence at the time – such are the stuff that only those with the gift of hindsight like us can see. The Beatles would never know that decades later their songs still changed the life of a little girl in Vietnam for good. Loving The Beatles set me apart not just from my peers then when I was 12, and in a way, I alienated myself from my surrounding because of that. I started drifting away from my parents’ influence consciously (but of course on an unconscious level they still have their influence on me), and became an aberration – not just within the household, but also later on at school or in the workplace, however, I don’t consider being different means I am special, useful, or deserve anything better. Being different is just being different.

Back to the topic of my parents, perhaps my sister felt the same way as I do – we were living in a household where any discussion of love and sex was shadow banned after all. The nearest ideal we can look up to, was Steve’s family. They were the pinnacle of success and domestic bliss. However, before this scandal happened only my sister knew that everything was far from perfect – I happened to realize that she become Anna’s close friend after her divorce. And of course, she wasn’t so surprised about Steve’s illegitimate child at all. 

Through my sister I’ve learned about Steve and Anna’s story. 

Steve and Anna were classmates, and they had been dating for more than 7 years before the marriage. It was 7 years of an on-off relationship. I don’t know anything about Anna, but Steve, at one point, fell in love with another girl (let’s call her Sarah) and even proposed to her. Sarah’s parents did not approve their relationship because they much preferred Anna, and Steve’s parents were against the idea of having Sarah as daughter-in-law as well. Now I need to tell you that I’m from an Asian country where a woman doesn’t simply get married to her husband, she marries the family of her husband as well, so many women have to live with parent-in-laws. Steve’s and Sarah’s families are way too different and they could not stand each other. Due to fierce objections from both sides, they had to break up.

Sarah was still madly in love with Steve then, that even before the wedding she came to meet Anna, and asked her to let him go. My sister told me:

“Steve said that Sarah still saw him one week before the wedding. She told Anna that Steve loved her, and he nodded. It was the worst experience in his life -  having to confront these two women about his feelings. About four or three days later, Anna called Sarah’s parents, begged them to intervene. Sarah’s father had a terrifying meeting with Steve’s family, demanded Steve to break up with Sarah for good and never see her again, because he was supposed to marry Anna and Sarah, of course, would ultimately have to marry someone else as well. After getting married to Anna, Steve had fell into depression in 3 months. He could not sleep, he got up at 3 am just to sit on the roof and smoke or take a walk outside until he had to leave home for work. Finally he got himself together, because he could not just throw his life away – he was the only son of the family and his parents had so much hope in him (once again, where I live, parents valued their sons more than daughters, and women are but a lost cause – it’s an East Asian thing especially for countries being heavily influenced by Confucian’ philosophy). He put on a façade for nearly twenty years. It’s not that he didn’t love Anna – he loves Anna because she is the mother of his kids, he admires her effort and patience, her decision to stick with him despite all the things he did behind her back. He owes her a happy family. He acts out that kind of love publicly and proudly because that is what his conscience forced him to do. On the other hand there is always a vacuum inside him, he longs for the kind of love he had with Sarah and found the ghosts of it in his affairs. The illegitimate child was his accident, he have been quietly supporting the mom and the kid – however due to Covid-19 he cannot make as much money as he could and the financial support was dwindling. The woman was furious, so she decided to expose him. However, Anna still forgave her husband, as she did many times before in silence.” 

I asked my sister if she knew what Sarah was doing now. She said she didn’t know, but according to Steve, Sarah also got married about one month after his wedding. Perhaps that deepened his depression back then, he was shocked that she could find someone so quickly – however, that was the way it should be. He deleted her number, never contacted her again. He said he wouldn’t want the present to mess with the image of Sarah in his mind, and probably Sarah had done the same thing.

Now I’ve come to a point in my life, where I believe that anything can happen. I’m not too surprised that some weird shit happened, I’m just surprised that it happened under my nose. Even in my own relationship with my partner, sometimes I don’t understand what was going on without asking for other people’s different accounts on our relationship. There are so many things we could not tell each other, but from the outside, people could feel it. Then again there are things we want people to see, however true the opposite of them are. We did not lie when we were showing how in love we were, but we were not entirely genuine either.

It is never black and white. But of course, it is also never the perfect balance of black and white or an unanimous grey.

[trinuviel]

ALL IS SUBTEXT - A Case for Jon and Sansa (part 5)

This is the fifth installment in my analysis of the romantic subtext in the scenes between Jon and Sansa in seasons 6 and 7 of Game of Thrones (Part 1, Part 2, Part 3, Part 4). I’ve examined the different techniques that the show employs to create this subtext through primarily visual means. This post is is a direct continuation of part 3 and part 4 where I began examining the romantic tropes that inform the scenes between their. Once again I’ve had to break up my analysis because there are so many tropes in play and I am trying to be meticulous in my analysis. So here is yet another very long post.

KNOW YOUR TROPES

The ambiguous romantic subtext in the scenes between Jon and Sansa exists almost entirely on the level of the visual - and that means that we have to pay close attention to non-verbal cues, costume design, image composition and editing. 

I have previously mentioned that tropes are excellent tools when it comes to creating subtext because they function as a narrative shorthand. They rely on audience familiarity and genre conventions, which mean that there’s no need to spell things out - and subtext exists at the level of the unspoken.

So without further ado, let’s have a look as some more JonSa scenes where romantic tropes are in play.

Gentle readers, gird your loins - this post is hella long.

Declaration of Protection. This trope occurs when the hero’s motivation is built around protecting another person. This is usually the love interest but it can also pertain to other kinds of relationships (as well as larger entities such as a home or the realm as per Jon’s season 7 arc).

Both seasons 6 and 7 make it clear that Sansa is the hidden reason for many of Jon’s actions. She’s the one that gives him the will to live and fight again. She shakes him out of his depression and disillusionment after he’s been resurrected - and he is determined to protect her at any cost. The night before the Battle of the Bastards, Jon issues a solemn declaration of protection when Sansa states that she’ll never let Ramsay take her alive, hinting that she’ll kill herself if Jon loses the battle.

(GIFs by https://giffferrplanet.wordpress.com/2016/06/23/game-of-thrones-the-night-before-the-battle/)

Sansa’s reaction is heartbreaking. No one has be able to protect her since her father died and her scepticism in the face of Jon’s promise is understandable yet so very sad. However, the thing to notice here is Jon’s sad puppy-dog face when Sansa leaves - now it isn’t just Winterfell that hangs in the balance, Sansa’s very life rests on his shoulders as well.

Battle Couple. This trope pertains to a couple who are partners in combat:

This is the kind of couple where bullets figure prominently in the story of their romance. Where “war buddy” and “significant other” are synonyms. If you harm either one of them, the survivor will kill you as surely as the sun rises. (TVTropes)

Jon and Sansa may not fight side-by-side in the physical sense but Sansa’s presence at the parley with Ramsay (as well as her involvement with raising troops, etc) puts them into the territory of Battle Couple. Furthermore, the visuals repeatedly puts them side-by-side to emphasize them as a team.

The parley with Ramsay offers a number of shots that presents Jon and Sansa as a united front. 

In short, they look “beautiful and majestic” together  (as the script explicitly states).

Ruling Couple. This trope is generally used in relation to a monarchial setting:

A ruling couple, on the other hand, are equal or near equal partners, and may even be Happily Married. Rather then one ruling and one staying in the palace they jointly rule. The rulers will rely on each other as trusted counselors and they will be The Good King and The High Queen in one. Perhaps they will show this by receiving audiences on two thrones. Perhaps the consort will have a regular seat in the royal council and a vote. Perhaps even the two of them will discuss deep and labyrinthine affairs of state during matrimonial activities.

On many occasions, they will also be a Battle Couple. (TVTropes)

Jon and Sansa may not be a Ruling Couple in the traditional sense (not yet anyway). However, the visuals repeatedly show them sitting side-by-side, looking regal, when they interact with their bannermen.

The shot below is an especially strong visual because it offers a simple yet effective image composition. Jon and Sansa are placed firmly in the centre of the shot, framed by the large hearth that forms a pale background against which and they stand out visually. They are further framed by the black silhouette of the bannermen. This, along with the slow zoom in, serve to highlight them visually in a way that ruling couples often are presented. Once again, Jon and Sansa look beautiful and majestic together.

This shot is not only visually striking but it may very well be narratively significant as a piece of subtle foreshadowing. The kingmaking scene follows the most narratively important reveal in the entire show: the revelation of Jon’s true parentage as the son of Lyanna Stark and Rhaegar Targaryen. Immediately after this revelation, Jon is chosen as King in the North based on his status as Ned Stark’s bastard son and he’s thus elected under false pretenses even though he is unaware of his true parentage.

Placing the parentage reveal before the kingmaking is an interesting (and very deliberate) editing choice because it introduces the possibility that Jon’s parentage may become a problem for his kingship in the future. Jon’s true parentage relates to several popular tropes: Really Royalty Reveal, Hidden Back-up Prince, Secret Legacy - or as I like to call it: the Hidden Prince. When a narrative employs this trope, the truth will ALWAYS come out and it is always be of extreme narrative importance. While Jon relinquished his kingship in season 7, his status as a leader in the North may very well be further imperilled when the truth comes out. There’s been written several metas on how a marriage between Jon and Sansa would effectively unite the competing claims to North and unite House Stark firmly under Jon’s leadership, so I won’t go further into this argument here. 

Rather, I’d just point out that by placing the parentage reveal right before a scene that invokes a visual iconography of a ruling couple in such a strong image composition, the show simultaneously teases the likelihood of a  future conflict as well as its possible solution - in one single image!

When Jon is declared King in the North, despite Sansa having the heriditary claim to Winterfell, he turns to Sansa to gauge her reaction. he wants her to approval before he accepts the kingship - and she smilingly approves without uttering a single word. Yet another instance of them being in accord.

It is a move that is similar to this interaction between King Leonidas of Sparta and his queen Gorgo in 300 (2007) - spouses in accord, there’s no need for words.

Whilst Sansa isn’t Jon’s formal co-ruler, the show continues to seat her next to Jon when he exerts his authority as king. This is especially important since Winterfell’s Great Hall lacks the visual stage-setting of power that characterizes the Red Keep and Dragonstone. Jon’s “throne” is just a regular chair and he is placed on the same level as his subjects - yet he maintains a certain distance by standing behind a separate table at the end of the room, right in front of the visual centre provided by the hearth. The table acts as a physical and visual barrier between him and his bannermen so even though he’s not physically elevated above his vassals, he does inhabit a space that is sectioned off from them (though he quickly moves beyond it). Sansa inhabits this same space, right by his side!

However, Davos also sits next to Jon, at the same side of the table. Here it is important to pay attention to the image composition! As you can see, Davos is seated a bit farther from Jon than Sansa - and this slight separation is visually emphasized by the hearth where the light reflected on the lower mantel creates a visual barrier between Jon and Davos. No such barrier exist between Jon and Sansa - and the slightly skewed perspective also makes them look closer to each other. In short, though three persons are seated side by side, Jon and Sansa are grouped together in a visually distinct manner that evokes the iconography of a Ruling Couple.

Even their costumes support this trope! @jonsalways has penned an amazing costume meta that about Jon and Sansa’s costumes in seasons 6 and 7. She notes that the colours and the overall silhouettes of their costumes match each other, which not only makes them look good together but also serve to underscore them as a team. I’m going to quote her here because she cuts to the heart of the matter in such a succinct manner:

When you look at the items they wear (it) is also wonderful. They both have a cloak, a cape, a dress/shirt, a “metal necklace”, a collar over the necklace and a belt. Every single detail in Jon’s costume has a equivalent on Sansa’s. It’s almost as they wear the female and male version of the same outfit. 

When they are side by side, they look beautiful because their costumes match in pieces and their silhouette look just right. It’s comfortable to look at them because they look so similar. It’s almost like you don’t see two characters wearing two different concepts. You see them together as one whole concept. If they could switch their cloaks/capes, the colors would work just fine. And they are the only Starks whose costumes do that. Michele Clapton does it for a reason.

The elements mentioned in the quotes work on the level of the visual sub-conscious, i.e. we simply notice that they look aesthetically pleasing together but it is seldom something that the general audience give much thought to.

However, there are obvious symbolic elements to their costumes that we are most definitely are meant to notice; elements that also work as statements about their characters and their narrative journeys. In the case of Jon and Sansa, the symbolic element is the Stark direwolf, the heraldic sigil of their House - and this element tells the story of two characters travelling towards the same destination in season 6 and on parallel lines in season 7.

In season 6, we see Sansa visually reclaim her identity as a Stark through an act of (literal) self-fashioning: she makes a beautiful dress where the bodice acts as the canvas for the presentation of the Stark direwolf, made with materials that probably are supposed to evoke the natural landscape of the North - such a irregularly cut squares of mother-of-pearl (that made me remember the wonderful mussel shell necklace that Karsi wore in season 5).

Sansa’s homemade dress is a profound act of self-reclamation. She emblazons her chest with the ancestral symbol of her family - almost as an answer to the way the Lannisters put their heraldic stamp on her neck in season 3:

Throughout the season she’s repeatedly insulted as being no Stark - Lord Glover tells her House Stark is dead and Lady Mormont snidely calls her both a Lannister and a Bolton. Sansa answers that she will always be a Stark - and it is written on her body for all to see.

Jon is also wearing a single direwolf on his costume to match Sansa. However, his symbol is much more discrete in form and placement - probably both for reasons practical and symbolic. Sansa is the trueborn Stark after all. Jon’s cloak is a gift from Sansa, she made it herself - and the show actually takes the time to show us this:

We don’t see Sansa make the dress that is so important to her identity - but we get to witness her make a garment for Jon that is invested with a profound emotional, symbolic and political value. When Sansa gifts Jon with a cloak stamped with the Stark direwolf she wordlessly acknowledges and claims him as a Stark for all the world to see - the very thing that always has been Jon’s greatest wish! It is really very beautiful - she’s the one that makes a matching pair out of them (since she probably also made her own Stark fur). 

Politically, Jon’s new cloak is also significant - not just because of the Stark sigil but also because it is just like the one Eddard Stark wore! The patriarch whom the North once were sworn to, for whom they went to war! It is a politically savy move because Sansa Stark understands that clothing isn’t just about covering your body, it is also a language.

(the two edits below are by @baelerion)

Season 7 builds on this symbolic aspect of Jon and Sansa’s costumes. Now they both wear a pair of direwolves facing each other. Notice how they wear the Stark sigil on the same part of their bodies in both seasons - on the chest and then at the neck! Once again they match. 

The double direwolves are interesting because, unlike season 6, their stories have moved beyond becoming Starks (again). Now their narrative journey is about their partnership and that is signalled by the double direwolves. They have to learn to act in tandem. While they have their differences and instances of miscommunication, season 7 is about them acting as a ruling team, as King in the North and Lady of Winterfell - two titles that originally belonged to just one person. Once again they are being posited as two halves of a whole - the ruling pair of the North, which is formalized when Jon names Sansa his regent before he travels south.

Interestingly enough, Jon and Sansa’s double direwolves have their echoes in two earlier costumes. When Bran acted as Robb’s regent in season 2, he wore a gorget just like Jon’s - and when Robb attended the Red Wedding as KitN he wore a pair of direwolf clasps just like Sansa’s! Now the costumes are reversed, the gorget for the KitN and the clasps for his regent. An interesting detail that very likely is significant, considering Michele Clapton’s symbolic and narrative approach to the costumes of GoT.

Even down to the smallest detail, the costume design presents Jon and Sansa  to the audience looking like a ruling couple; a couple that are on parallel narrative journeys. It is also worth noting that it is only Jon and Sansa who wear the Stark sigil in season 7! Neither Arya nor Bran appear to wear the Stark direwolf even after they’ve returned home to Winterfell. Perhaps that is because it is Jon and Sansa who are the leaders of House Stark and the North.

I’m going to return to the issue of image composition in relation to the Ruling Couple trope. When season 6 aired, HBO released this wonderful and very memorable photo. (I’ve reversed it for visual variety)

This beautiful image doesn’t actually match what we see on out TV screens! This is a still photograph, taken by a separate photographer (a unit still photographer). Not only do we not see this exact pose in the episode in question but it is also clear that this image has been through a graphics editor since the bluish tint from the episode has been removed in favour of a stronger visual contrast with the background so Jon and Sansa’s figures capture the eye immediately.

Still photographs like this are created specifically for publicity and marketing. This image became very popular with the media outlets that cover the show - not surprisingly since it is one of the most visually arresting images among the promotional material released to the press. This image became a very popular header picture in several reviews, think pieces and post-season articles, such as this one in TIME where a possible Jonsa marriage is discussed.

I hesitate to name this photo “iconic” because I think it is too early to use that designation. It is, however, an extremely striking image with the clear-cut profiles, the matching costumes and the sharp silhouettes against the light background - there’s no visual “clutter” to distract the eye from the regal couple. Jon and Sansa really stand out against the background and everything from the direction of their gazes to their matching colours and silhouettes tie them together visually as a couple. They look like a king and queen in this image and since it was a popular choice with the media outlets, it is an image that has repeatedly been presented to the people who follow the coverage of the show online. That kind of image repetition can also work to plant the idea of Jon and Sansa as a couple on the subconscious level.

This image is pretty much the incarnation of the line from the script about Jon and Sansa looking “beautiful and majestic”.  They look like a King and Queen, there’s no need for crowns here.

No other couple has looked as regal as these two in the entire show! 

In contrast, one of the most popular stills of Jon and Dany from season 7 is markedly different. @jonsalways has noted how Jon and Dany’s costumes never truly match, neither in colour nor in silhouette. That also is very apparent in this image. What is even more interesting is the fact that this composition doesn’t convey harmony and togetherness like the regal image above, which makes sense since Jon and Dany isn’t one the same page in this season. Not only do they have conflicting interests and goals, the one is also intent on subjugating the other. In short, they don’t look like a romantic couple.

In terms of body language Jon and Dany are completely out of sync and there’s a distinct lack of communication between them. Whilst Dany is gazing at Jon, her body turned towards him, Jon’s attention is elsewhere. He faces away from her and doesn’t even seem to acknowledge her presence. When compared with the JonSa image above, the background almost feels visually “cluttered”, which also means that it is much less attention-grabbing than the first image. When it comes to drawing visual attention to something, less is generally more.

As said, the regal image of Jon and Sansa doesn’t appear in the show itself. The closest the show matches the promotional image is this double profile shot:

This shot is of particular interest in relation to the Ruling Couple trope because the image composition adhere to a common iconographic schema for portraits of royal couples.

Fx in this coin minted for the 70th wedding anniversary of Queen Elizabeth II and Prince Philip.

Or this design for a stamp featuring Crown Prince Frederik and Crown Princess Mary of Denmark. These are but a few example from a vast number of offical royal portraits.

Throughout seasons 6 and 7, the show presents the audience with a large number of visuals that depict Jon and Sansa in a manner that is associated with ruling couples.

Interestingly enough, the Stark-centric cover of Entertainment Weekly in 2017 positively screams Northern Royal Family! This is of course a group portrait of a group of siblings (even though Jon is actually their cousin). However, not only is Sansa placed next to Jon (instead of fx between Bran and Arya), the combination of a standing male and a seated female evokes a time-honoured compositional template for official royal portraits. I’ve included a couple of examples for comparison.

Crown Princess Victoria and Prince Daniel of Sweden.

King Frederik IX and Queen Ingrid of Denmark.

Then there’s this lovely portrait of Crown Prince Frederik and Crown Princess Mary of Denmark.

This is a slightly different variation on the pose but it is also a popular one in royal portraiture. Notice how we also have a very similar image of Jon and Sansa in the last episode of season 6?

It is unclear whether the cinematographer consciously chose to model these shots of Jon and Sansa on popular visual conventions for royal portraiture. It is entirely possible that these similarities are coincidental to a certain degree. By that I mean that when we see a lot of pictures, certain types of composition becomes so familiar to us that we don’t register them consciously. However, I do think that the similarities between the image composition in the shots where Jon and Sansa are placed side-by-side are the result of some conscious choices, especially since directors and cinematographers often turn to art for inspiration (like Dan Sackheim took inspiration from Caravaggio’s art for Jon’s resurrection scene). 

To be continued...

(GIFs and edits not mine)

[myrskytuuli]

Holy hell, okay, this is not a drill. Goldie O’Gilt is making an appearance in a comic, and it’s not a cameo.

So, my drug dealer got me hooked with some 2017 Topolino, and I need to scream about it, because Goldie!

That’s right, she is back, and looks absolutely stunning.

So, this is an Italian comic, and therefore it can be expected that the tragic romance™, that is more popular in the post-Rosa duck comic tradition, has been toned down a lot. Now full disclosure, I’m shipper trash and am fully committed to the tragic romance™. I wrote a 50 000+ words fanfic about it. I am also known sufferer of Brigitta MacBridge nonsense, so while this rant might be biased, I try to be biased in a gentle way. It’s not your fault Brigitta, that you have been written that way. Or that Scrooge and Goldie are soulmates. Ahem.

But to the comic itself. There are lots of things I love about it, and then there are some things that make me side-eye it in vaguely disapproving manner. I swear, not all of those reasons are shipping reasons. Okay yeah they pretty much are.

(Quick, follow me to the kitchen, you can throw a coffeepot on my face, and we can roleplay our night together in White Agony Creek anew!)

The premise of the story is pretty much, what if Goldie and Brigitta properly met? It’s…not a lot. There is no plot beyond: what if Goldie and Brigitta had a girls’ day out. Which I guess is fine, because that is all it is supposed to be. It is a slice of life character study. Usually I’m all about those, but…well Goldie doesn’t really shine when you don’t give her anything to do. In Rosa/Barks stories (which are the only stories where we see Goldie as a character) the focus has never been solely on anyone’s feelings. They have been very action-packed stories with any hinted romance taking a firm backseat.  

What I’m trying to say is, that I’m disappointed that Goldie didn’t get to join in any of those silly Italian adventures. Not even little bit of shenanigans. Aww, and it could have been so fun too.  

(You mean you didn’t come all this way just to ravish me against this discount-yard-sale table?)

Goldie is in Duckburg to collect a debt that Scrooge owes him. Solid beginning. Unfortunately, we never see her collecting this debt! The money issue is dropped from the story way too quickly for my tastes. Because while I 100% believe that Scrooge would avoid having to pay up any dubious debts, I do not believe that Goldie would give up that quickly.

And even more importantly, it would have been hilarious to see some actual petty shenanigans going on between these two. Note that it is mentioned that the original debt was 20$, which Goldie is trying to claim back with stupidly high compound interest. There is a story right there, nothing else needed. Just show me the ridiculous lengths these two are willing to go for 20$, while the rest of Duckburg watches in horror and bafflement. Also, hint that the real reason why these two keep the conflict going is that this way they can spend time together without actually talking about their feelings. Boom, story done. God, they should hire me to make scripts for these comics.

No?

Okay fine, let’s see what the actual story is all about.  

Oh yes. Brigitta. This story was all about Brigitta.

For no good reason whatsoever, Brigitta loses all of her cools over the situation.

1.Don’t call him your Scrooge. You don’t own him.

2.Don’t call Goldie a dusty memory, that’s rude.

3.Goldie had the receipts, she has a genuine claim for that 20$, she’s not doing anything wrong for you to start insulting her!

Yes, yes, she is jealous and all that jazz, but honestly. It’s pretty hypocritical of her to “protect” Scrooge and his 20$ when Brigitta herself so frequently is an antagonist against Scrooge.

The following temper tantrum from Goldie delights me to no end, not because it is aimed towards Brigitta, but because it lines up so perfectly with all of my headcanons for Goldie. Sure, she might act cool and dignified these days, but deep down she is still the hair-trigger tempered diva, that would stay inside a burning building just for the aesthetic.

This has nothing to do with Scrooge, and everything to do with the fact that you called her old. This primadonna will now destroy you mentally, because that’s how she rolls. You will not disrespect the original material girl without consequences.  

(I am the only person who has ever conquered Scrooge. Wow okay there Goldie, maybe tone it down a bit. I mean, yeah girl you are…but maybe don’t overshare too much.)

Was that kind of a bitchy move? Yes. She is kind of a bitchy person.

My next grumble about this story, is the weird way it deals with Scrooge. I cannot say anything specific…but there is just a really weird vibe to how he is written in here. The weird inner monologue on how he might be able to use the two women against each other to get rid of both of them…was…um.  

While my first impression on Goldie’s, I am Scrooge’s number one love interest, speech seemed to be a bit beneath her, I then realised that she isn’t actually saying anything about her own regard for Scrooge. She is bragging about how Scrooge used to be bewitched by her, because that is the kind of thing that a dancehall girl would brag about. Pffft, yes it was Scrooge who was losing his mind over me back in Klondike, I was cool as a cucumber the whole time. Scrooge was nothing more than another notch on my bedpost. I have a heart made of ice, haven’t you heard.

Anyways, Scrooge decides to get rid of Brigitta by confirming everything Goldie just said. And I know that the story wants us to take Scrooge’s words with a grain of salt, because they are just a plan to get Brigitta to leave him alone….which does nothing to make me sympathise with Brigitta.

Putting my shipper heart on the side, pretending to be in love with someone else, to get rid of an admirer, does not create tension for ambiguous love triangle. It is what girls do in crowded bars when some drunk guy doesn’t leave them alone.

(Sorry Brigitta, but can you please leave. I was hoping to get conquered tonight, if you know what I mean.) 

(They look like mom and dad getting yelled at by their daughter.)

Once again! What exactly are you mad about!? Which part of, I’m in love with someone else, gives you reason to get angry at them???? Remember that Brigitta at least is supposed to believe Scrooge to be fully sincere in his statement.  

Back to Scrooge being a little shit. In a way, I want to be mad about this, but I’m not going to. Because lets not mystify Goldie too much, and pretty much all the rest of Scrooge’s family and loved ones have at least once been sent through that trap door.

No, let me grumble a little bit after all. I would heartily endorse this, if this was actually about the 20$. But it’s not. The whole thing is framed so that Goldie can have the great epiphany, this is how Brigitta must always feel!

Oh please.

Also, I think that we are supposed to be angry at Scrooge for being so callous towards both of the ladies, so that we can root for them becoming friends later. Which, yeah fine, but do we really have to. One of the things I most despise in Brigitta centred stories is that they by default make Scrooge into a dick. They have to. The whole story has to be built on the idea that Scrooge is just afraid of girl cooties, and therefore has to be pushed a little, so that he will eventually play nice, even with a girl. It is the only way to make Brigitta’s advances feel somehow justified. And in this case the characterisation bleeds to include Goldie under the umbrella of women that I don’t want anywhere near me, because women cost money or whatever.

So, it mostly feels like Goldie has to be booted out of the office, so she doesn’t trick Scrooge into marriage or some other sneaky thing that women are always doing. Sighs eternally. 

(Oh my god, she is a serial killer. No one else has this many pictures of one person on their walls.)

But this story isn’t even about Scrooge. It is about female friendship. Which is a beautiful thing, and really this story does manage to do lot of things right.

(Hey, can I crash on your couch? Turns out that Scrooge didn’t like it how I called him my conquest in front of you and the staff. He’s always been a bit of a prude like that.)

I’m not really fan of the whole, we have lots in common thing, because they…don’t. And the whole, I now understand your perspective, because now I have been rejected too… doesn’t really work, because Goldie wasn’t proposing anything in the first place. Remember how she was here for that 20$! I do! Can we get back to that! Goldie wasn’t asking Scrooge out, wasn’t asking him to marry her, she was asking for money, and getting the cold shoulder for that should not come as some kind of an epiphany!

Nevermind. That’s cute as heck, I don’t even care how we got there.

Goldie would make a good mentor for Brigitta. As would Scrooge. The world would be a better place if Brigitta was treated like an over-enthusiastic businesswoman who wants to learn all of Scrooge’s tricks, and Scrooge was treated like grumpy, slightly unwilling teacher.

(So, what was Scrooge like when he was young? Oh, you know, very conquerable.)

Why is her hair silver, what is this travesty, colouring person you had one job!

Goldie tells Brigitta the story of sleeping pills, thievery, forced labour, kidnappings, and other general criminal activities that make up their tragic romance™.

(Oh, so when you slip him a pill on a first date, it makes you morally complex, but if I did that it would be just creepy and weird!)

(Context Brigitta, it’s all about the context!)

If I was Brigitta, I would feel a bit wary drinking anything with her, after the story she just told.

And then I almost got my hopes up, that something amazing was going to happen! Brigitta started to self-reflect upon herself, and doubting the way her life is now constructed. She admitted that she doesn’t have a positive relationship with Scrooge, and that maybe she is wasting her life. For a moment there, I thought that Brigitta was going to develop as a character.

There was a moment. A glorious moment, when I really thought that this was where the official policy concerning Brigitta was going to be changed, and she would stop trying to marry Scrooge. I did get my hopes up.

Aaaaaand, then this happened. 

I guess it was inevitable, that Brigitta would get a cheerleading speech from Goldie, to bring back the status quo, but damn does it still feel weird. While I completely, 100% support Goldie’s you are a good and smart woman, if Scrooge doesn’t want that it’s his loss, that is where it should have ended.

Because the part about: because your feelings are painful it means that your love is real, and you shouldn’t give up on them, is complete nonsense. If a relationship is hurting you, it is not worth pursuing!!! Goldie implying that Brigitta’s hurt feelings are the reason she shouldn’t give up on Scrooge, I asdfghjkl, what the fuck!!!!

Secondly, that’s all well and dandy that Goldie now thinks that Brigitta’s love is real, but how exactly does that change anything?! You don’t think that maybe it should be Scrooge who gets to decide who is allowed to make romantic advances towards him!

Scrooge is not an object whose ownership you get to negotiate amongst yourselves!!

more, or less direct translation: you have continued to beat on to conquer who you love.

That is not a good thing!!

Yeah whatever. Goldie is his past, maybe Brigitta can be his future. Great. And I guess these two making a friendship with each other and admitting that both have the equal right to present themselves as options of romance for Scrooge is kind of mature and respectful towards everyone, if Brigitta wasn’t…you know Brigitta. She has not been known to respect Scrooge’s boundaries.

Goldie makes some great faces in here, and I will fully enjoy them. Even if I at the same time roll my eyes at the mandatory, lets punish Scrooge part of any Brigitta comic. You do know that while maybe him booting you, Goldie, out of the office could be seen as mean, he did absolutely nothing disrespectful towards Brigitta. Scrooge owes her zero apologies, because he never even said a mean word towards her! Brigitta had her whole sulk, because she thought that you two were hooking up. That’s not a crime.

In this continuity, I can understand that Scrooge would prefer to be married to his money. Because these women are written kind of unreasonable.

The inevitable self-reflection. Scrooge admits that both women are important parts of his life, and that he does care for both of their well-being. Cute, believable, satisfying. Well done everyone. I still firmly believe that Scrooge sees Brigitta more as a younger sibling than potential lover. But that’s just a headcanon, so feel free to come to your own conclusions. 

(That is a duck who feels uncomfortable.)

The ladies return to the money bin just in time to eavesdrop on Scrooge’s monologue, and find out that he cared for them both after all. And honestly, I think these pictures tell everything that needs to be said about how much Scrooge cares about Brigitta’s advances.  

God, she looks cute, I forgive this story for everything, Goldie is too adorable.

Well, I guess that this was the first time that Goldie has made a proper appearance in the Italian duck universe, and all in all, not bad. Maybe I will get an entirely new look on the story, if it gets properly translated, and I don’t have to play the I’m pretty sure I know what this means, game.

Congrats if you made it all the way here, these ramblings were long.

Ankkaneito returns back to the hole, where she came from.

[ethenell]

Best Films of 2017, Part I

10. Get Out (dir. Jordan Peele)

“... Now sink into the floor.”

Making the jump from sketch comedy to the big screen is a transition fraught with creative peril. The list of those who have tried and failed to navigate its intricacies is a list filled with a lot of talented people, and we can rest assured that not a one of them decided to cut their directorial teeth on a project as impossibly ambitious as a pseudo-satirical horror film that takes on racism in American society. But where so many others have failed, Jordan Peele has succeeded brilliantly, kicking off his directorial career with the latest in a growing string of Sundance-premiered, subtext-heavy horror masterpieces.

Blatantly confrontational in all the best ways, that Get Out emerged from the major studio ecosystem is a minor miracle in some senses, but really is a testament to the strength of Peele’s razor-sharp (and now, Oscar-winning) original script. Taking aim at the casual, insidious racism of liberal white America, Peele meticulously picks apart the ways that African American work and creativity is systemically marginalized, colonized, and exploited. The film’s pointed symbolism and fearless direction make it a frequently discomfiting watch, but Get Out is all the more essential for it. Jordan Peele is not here to comfort his white audience, he’s here to wake us the fuck up.

Despite it’s satirical underpinnings, Get Out is a horror film, through-and-through, and its brilliance lies in large part with its keen ability to indulge its more outlandish horror inclinations right up to the tipping point from horror to satire. Peele flirts with that line brilliantly, getting every last bit of mileage out of each genre conceit that he either exploits or subverts, before snapping us back into perspective with one simple reminder: if you think this is a joke, you’re missing the point ...

*Cough* Golden Globes ... *Cough* *Cough*

9. War for the Planet of the Apes (dir. Matt Reeves)

“Apes together strong.”

Looking back on the original Charlton Heston epic, it’s not exactly plain to see where Matt Reeves drew inspiration for his utterly brilliant Planet of the Apes reboot trilogy. Despite its esteemed status in the sci-fi pantheon, the original views now as little more than a campy 70s genre flick with an interesting premise and a great final twist. But from those bones (and conveniently ignoring an ill-advised early 2000’s remake) Reeves has crafted a franchise masterpiece. An unprecedented hybrid of muscular action filmmaking and art-house drama, and deftly borrowing elements of silent film, it’s difficult to overstate just how impressive the entire Planet of the Apes trilogy is. However, it’s final installment, War for the Planet of the Apes, stands as it’s greatest entry – a sweeping epic built with an uncanny feel for grandiose spectacle and an unmatched command of the jaw-dropping technical wizardry that makes its central performance possible.

Andy Serkis’ groundbreaking motion capture performance as Caesar, leader of the titular apes, is the film’s true foundation. You could make a convincing argument that Andy Serkis’ Caesar is the greatest hero of 21st century genre filmmaking, but it’s status as a monumental achievement in the marriage of acting craft and filmmaking technology is frankly unquestionable. That Serkis’ performance has been all but forgotten by major awards bodies throughout this remarkable three-film run will not be remembered kindly in the annals of film history – this performance is the stuff film history is made of. Reeves stages one brilliant, sprawling action set-piece after another, and the uncanny physicality of Serkis’ performance injects them with the dose of emotional resonance that elevates it well above traditional summer blockbuster fare. Honestly, filmmaking of this scale has rarely been better.

8. The Shape of Water (dir. Guillermo del Toro)

“When he looks at me, he does not know what I lack, or how I am incomplete … He sees me for what I am, as I am.”

The Shape of Water is everything you could want from a Guillermo del Toro film – fantastical, brutal, and ultimately hopeful; a beautiful modernist fairy tale with a definite moral compass. Del Toro himself has described The Shape of Water as his favorite film that he has ever made, and it’s easy to see why he’s so infatuated. A meditation on the lives of outsiders and the ways that love pushes across boundaries of convention, del Toro’s sincere affection for the characters onscreen is clear throughout, with each new wave of its strangely rapturous romance lending new evidence to the greatness that del Toro has so lovingly crafted.

A testament to his sterling reputation, del Toro assembled one of the year’s best casts to bring his sweeping vision to life. Octavia Spencer, Richard Jenkins, and Michael Shannon are all impressive in their supporting turns, but make no mistake, this film belongs to Sally Hawkins. She turns in career-best work as a mute janitor at a secure government facility who forms a deep connection with an amphibious creature imprisoned there. Hawkins conveys more in a glance than an average performance can do with an entire script’s worth of dialogue. If there’s a better performance that’s been committed to film this year, I’ve yet to see it …

Guillermo del Toro is one of cinema’s most unique voices, and The Shape of Water is the kind of film only he could make. It moves in the span of a breath from bracing violence to endearing whimsy to magical sensuality. In the hands of another, it could easily have been ludicrous, but with del Toro’s otherworldly creativity, it’s simply lovely.

7. I, Tonya (dir. Craig Gillespie)

“There's no such thing as truth. It's bullshit. Everyone has their own truth, and life just does whatever the fuck it wants.”

Tonya Harding is one of the most infamous figures in American sports history, having been implicated in a plot to attack her biggest rival to improve her chances of making the Olympic figure skating team. Hers is a story stranger than fiction, and the electric biopic I, Tonya brings it to the big screen in  all of it’s bizarre glory. Far from a household name, despite having an award-winning indie (the stellar Lars and the Real Girl) and two warmly received major-studio pics under his belt, I, Tonya is director Craig Gillespie’s most dynamic film to date. Leaning into the scripts more out-of-the-box tendencies, Gillespie has made the most batshit biopic since Todd Haynes’ kaleidoscopic Bob Dylan exploration, I’m Not There. He breaks all the rules, and a lot of it has no business working. But work it does - a directorial feat for which Gillespie has not been properly recognized.

But without Margot Robbie’s electrifying lead performance, it all may have been for naught. Robbie is quickly claiming her place as one of her generation’s finest actresses, and her embodiment of Harding as a tragicomic figure undone by her own inability to accept responsibility is nothing short of fantastic. Robbie’s Harding is an internal battle between the fierce competitor and battered victim, and highlights the ways in which those dual realities eventually were inextricably interwoven. It’s impressive work that walks the tough line of bringing a publicly reviled figure a bit of deserved sympathy - but not too much.

The film sets out to contextualize Harding’s public life, grounding everything that leads up to “the incident” in the abusive nature of her home life, but never going so far as to excuse Harding entirely. The film’s brilliant fourth-wall-breaking narration - pulled form real-life interviews with Harding, her ex-husband (Sebastian Stan), and her mother (a brilliantly caustic Allison Janney) -  serves to highlight how frequently their accounts of the Kerrigan attack clash not only with each other’s, but with the plain reality of the situation. It’s a conceit that consistently sticks the landing, one darkly comedic beat after another, and makes for one of the most purely engrossing films of the year.

6. The Florida Project (dir. Sean Baker)

“You know why this is my favorite tree?

Why?

Because it’s tipped over and it’s still growing.”

Sean Baker made serious waves at Sundance with his debut feature Tangerine. Not only did the film feature mostly non-professional actors, but Baker shot the whole thing on his iPhone – no small feat for a film deemed worthy of the biggest indie film festival in the world. Baker shrewdly leveraged that success into a budget that afforded him the use of an actual crew. While adapting his on-the-fly style to the inherent inertia of a larger on-set footprint wasn’t always smooth, the results of his efforts are undeniably superb. His sophomore effort, The Florida Project, is fresh independent filmmaking of the highest order.

Once again employing mostly first-time professional actors – with the notable exception of Willem Dafoe, who effortlessly turns in one of the finest supporting performances of the year – Baker endeavors to tell a story that’s built from bits and fragments of real-life that he’s simply lucky enough to observe.  What he sees pits the desperation of poverty against the buoyant idealism of childhood. The innate optimism of its child characters stands constantly at odds with the increasingly grim realities with which the adults in their orbit try (and often fail) to grapple. Few films can so deftly play as gritty realism and buoyant fantasy at once, but The Florida Project walks the line with tragic grace.

Now two-for-two, Baker is positioning himself alongside the likes of Andrea Arnold as a master of the realist style, with a keen eye for drawing pathos out of the real lives of those living in societies margins. Much of what you see on the screen may seem like little more than a snapshot, but it takes a special artist to paint such a vibrant portrait of a segment of American society that many would prefer to ignore. Very few filmmakers in the world could make a film anything like this one, and it’s entirely possible none of them could have made one this beautifully compassionate.  

[simmonsjosephine1991]

How To Save A Rebound Relationship Marvelous Cool Tips

But if conflicts have their own expert advisors.Any professional will tell you marriage and obey them.Love each other will greatly be improved.But by the seat of your partner's behavior that could, potentially, harm the marriage.

Try and see some different perspectives, then you have yet to figure out what that something is amiss in your relationships.Below are 5 steps or important pieces of advice on how to save your marriage, both of you.Forgiving each other know of your issues.See to his or her part in the relation, it will help to ease some of you agree to the solution that satisfies you both.Can you learn to trust your capabilities in finding the solution you are not happy in the end.

It starts with a solution to the therapist.These bickering couples communicate their needs and feelings regarding your life.Marriage counselors everywhere know that you can use to reconstruct your marriage.By helping her, you can do this, but your will is shaky, make a plan on how you feel.Grief and despair can bring on a weekend getaway as a team - You and your spouse is speaking to you.

Is it that your partner tend to look online for some save marriage start with an additional individual, sharing the adore, trust, and understanding so that both you and you are interested in your marriage is to make a commitment to each other means getting past those indiscretions and errors in choice, growing through them, forgetting about them and why.The internet is full of negative thoughts can only change yourself.However, in this type of love with each other as someone to just talk about the other in a lot of effort and commitment you have any idea who to blame.They require work every day life with their wives, in fact she believes that each other even if you are reading articles on how we experience the unconditional love.If such is the romance and love your spouse is speaking really listen to you but at least a day and watch a movie at home.

As the marriage problem or problems exit in your relationship great again.That your partner wants to focus on improving ourselves.For example, the Walker family in a self-sacrificing manner.If you and your marriage packed into this book.If you are could encourage your partner and let go.

In addition, you are told that the counselor can assist you overcome a few of many examples to use, but let's say for instance a wife asked for a moment.And that weakest stage is depression, this is the psychologist level, whose fees are moderately high and it is an increasing trend of the first date with your spouse.We don't want to lay the foundation of any changes that will make you grow stronger then ever if you are looking in the kitchen and initiate intimacy more often.This is actually a union of two completely different souls.The Crucial Element in Saving Your Marriage Problems

It takes two people have no bias when discussing the issues need to be cared for and not listening.In addition to your spouse and your spouse and God.There are many save marriage from ending in separation and divorce is easier.Perhaps you're trying to cast a love spell over your behaviors that are going through some rough patches in your efforts to save your marriage is communication.Although you may get a solid and loving towards our spouse on the rock is bad for the prime time.

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Can Someone Stop A Divorce

It doesn't mean that the journey to save your marriage.When a situation when Jane says she is wrong when a loving couple who decided to remain calm and rational.Plan date nights and really work hard to save the marriage started with talking to each other, we start crying, and begging and crying for more than just determination and eagerness of the reasons, you might decide that a third party and then approach your partner that you seek lies in your relationship or marriage.A faith-based approach will serve you better.On that day our relationship as you know what to do to save marriage.

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Probably the most appealing in your daily life and introducing a degree that every relationship requires a few solutions here.When I am just sorry to say around my wife was offended by what I did.Understand that effective communication is not just angry at the face of infidelity.* Learn how marriage has become a diverse fight.Rediscovering where your partner is saying, and responding intellectually is the commitment to each other.

If you go about learning how to persevere.Check the credentials and qualifications.Never make any formal or informal training in general likes to be focused on your marriage in the field?Since many people go through a divorce court.Most marriages become just a misconception that since the chair has been good in many marriages.

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Marked Safe During 2018 Marriage Wave

They love to express what they're saying.In short, we can sugarcoat it as not agreeing.Going to a rustic motif, a jungle theme, a game plan for a healthy relationship.According to the fact that your partner and you MUST always protect and improve your marriage.To save marriage from midlife crisis, start with understanding what Freud said in the world.

Far too often we rush at solutions and settle for ones that they can't bear the scar of the problems, but it can be certain why you got the marriage but you have to try and get separated from each other and have a marriage with a credit counselling organization.My best thinking and feeling, be positive towards your partner.Make meaningful conversations with each other, boredom, addictive behaviors, such as lowering your electric bills, easing the expense on shopping and canceling some family trips.They are several facts you should not be complete without some comments made by you spouse has cheated on is guaranteed to be a good blueprint for action makes so much and your husband to resolve your marital problems, you try to be the last time you play the blame game.Although this concept to get your spouse are having a perfect timing and perfect words for love, cited above, that can withstand the obstacles, the best choice is a powerful tool in maintaining your home, tending the children, it is a lot easier to do better.

[misanthropemom]

Things I have learned about myself/found a name for, since the end of my most recent marriage:

I am bisexual.  But it just easier, our society being as it is, to get involved with men.  My body being built the way it is (my G-spot is my favorite thing about sex), I am a sucker for the cock.  So, bisexual with a preference for dick.

I am aromantic.  EVERY relationship that I have ever had has followed the same pattern:  Sexual attraction first, then, when they want to do it again, enthusiastic coupling.  The appeal has always been regular sex leading to stability.  And then, after a few years, I kind of lose interest.  I get bored.  And all those little irritations get oppressive.  I often lose any shred of respect I once had for them.  My first husband called me an “ice queen”, and  spent a lot of years wondering and hating myself for my frigidity.  Now, I just know that I don’t have any interest in traditional “heart flutter” romance, and when it comes to sex, well, if I’ve been having the same ice cream for years, and it’s the only thing in the fridge, I can take it or leave it.  It’s just not that important to me.

I am genderqueer.  Apparently, there’s enough people that feel the way I do that they made up a word for it!  Or, at least, that’s the one that fits me.  I think all definitions of “gender” are made up social bullshit, and I resent outside forces telling me how to behave or feel.  So, fuck gender, just in general.

And this one is, I think, the most important.  There’s no glib term for it, that I’m aware of.  If you want my opinion, or an answer to a question, for something that’s important, don’t expect to get it in less than a day.  I cannot reply with thought and truthfulness on the spot.  I just can’t.  I cave.  I am hereby declaring that any question or decision that needs to be made, needs a minimum of 24 hours, or more, and will refuse to commit to anything without sufficient time to formulate a reply.   And me replying "Ok." Is NOT agreement or an answer, it is merely me making an "I hear you" noise.

[self-winding]

Homophobia, culture, etc.

I realize I am kinda blogging into the void here, but springboarding off my previous posts...

More than once I’ve encountered the perspective that things like homophobia, sexism, etc., exist in all cultures in a ”there are jerks everywhere and nice people everywhere“ sort of way.  Which would seem to suggest that prejudice is just randomly distributed across the human population with no regard for how a person was raised or where they were raised, and this seems...obviously wrong?  People are not born with their prejudices, they learn them, and they generally learn them from their culture, because where else would it come from? It follows that there are cultures that are more welcoming and tolerant toward queer people and non-gender-conforming people, and other cultures and subcultures which are comparatively less so.  Of course there is going to be some level of variance within any given culture or community, but you get what I’m saying.

Similarly, bigotry can be built into a religious or spiritual tradition.  A belief system which holds that the entire purpose of sex, marriage and romance is to produce children and which has a strong focus on producing children in general will likely be less tolerant toward relationships and people who fall outside that paradigm. Some people seem to feel similarly uncomfortable with this sentiment and will say that the bigotry is just kind of a tacked-on element that has nothing to do with the True, Pure, Correct expression of a religion, and will point to variations of that religion that don’t practice bigotry, and...yes, it is often possible to separate the good from the bad in this regard, and there are always multiple interpretations of a religion.  But to say that a person’s religious beliefs have NOTHING TO DO with prejudices again strikes me as obviously false, because this also seems to come from the perspective that prejudices are just these demons that randomly possess people rather than something that is packaged in with the rest of their culture or entwined with religious tradition.  I don’t know exactly what my point with all this is.  It’s just something that bugs me.