#one scene i never see people bring up is how

[scribblue]

@acksolotel618 Got inspired by this post and ended up using it as a writing prompt for a short scene with Zane and Garmadon!!

You can read it on Ao3 here , or after the cut

❆ A Lesson In Humanity ❆

Zane speaks to Garmadon about their shared history of being manipulated emperors.

{ 940 words, no major warnings }

"I was once like you."

The words landed heavily on Garmadon's shoulders, yet with further consideration he refused to believe they carried any real weight. Merely a vapid placation, or worse, outright mocking. He furrowed his brow. "You couldn't possibly understand me, metal man."

Zane stared back evenly. His eye contact was unwavering, unnatural. It felt as though he could see through Garmadon's very chemical makeup, and was intent on dissecting him down to his barest components like a hunk of biological technology. The nindroid stood on the catwalk connecting their underground base of operations to the elevator up to the monastery. The rest of the ninja had left to take a break, following a particularly intense—and unsuccessful— training session between Lloyd and Garmadon. Garmadon had to admit his surprise, if only internally, at the company he now found himself forcibly entertaining; Zane had never made an effort to speak to him one-on-one, and the cold shoulder was reciprocated.

"You are free to believe that, if a sense of individuality brings you comfort,” Zane said. “However, it is an inaccurate assessment."

Garmadon rolled his eyes. "Thank you for reminding me why we never spoke. You may leave now,” he said, waving a hand to dismiss him. 

Zane remained. An unsurprising development, and an aggravating one. "Do you not wish to know of our similarities?”

A frown crossed Garmadon’s face, and curiosity clouded his thoughts. He was quick to disperse it with a shake of his head; Zane was clearly trying to get under his skin, force his guard down so that he would ease up on Lloyd. It would never work. Mastering Oni form took an iron fist, not a distracted mind. He turned away and clasped both sets of hands behind his back, pretending to focus on the computers for a long moment.

Not long enough, evidently, as Zane made his continued presence known. “I am going to tell you anyway.”

“Great,” Garmadon muttered.

“When I was trapped in the Never Realm, I was manipulated into becoming the Ice Emperor: a cold and ruthless entity who spared no one in his quest for retaining power. My true self was hidden from me for sixty years, until Lloyd helped me restore it,” Zane said, a waver of emotion in his robotic voice. “It has been some time since it happened, yet I still feel the effects of this event to this day.”

“Hmm.” Garmadon pressed a couple buttons on the keyboard in an attempt to make his distraction look convincing. “I fail to see how that relates to me.”

He heard Zane take a small step forward. “When you became Emperor of Ninjago, that emperorship was predicated on lies and manipulation by Harumi. She encouraged you to reject your humanity, just as my advisor Vex did to me. And I am willing to bet you have also suffered lasting effects.”

Garmadon scoffed. “Please,” he said, turning a tight-lipped scowl towards Zane. “I am an oni, I never had humanity to reject…that is, until Vinny of NGTV news took me under his council. And even so, such humanity would not benefit me here. Lloyd needs to learn to release his oni form, and I can assure you I am in the perfect condition to do so—no ‘lasting effects’ as you say.”

“Perhaps that is true. Or perhaps you only wish it to be.” Zane’s pointed stare finally wavered, drifting to some far-off corner of the room. “I have spent much of my own spare time wrestling with the reality of my situation, versus what I wish to believe… It is difficult to grapple with the truth that I have hurt innocent people while under another’s influence. It sometimes holds me back from being the best version of myself that I can be, for fear of hurting others again.”

That did sound familiar, not that Garmadon was willing to admit it out loud. He was often plagued with memories of his short-lived reign over Ninjago, and the atrocities committed under his hand. He was loath to say he regretted any of them, in fact he wasn’t sure he was even capable of regret– nonetheless, the flashbacks were bothersome, and the more he attempted to embody “goodness”, the more frequent they became. “So…what? You believe I am compromised in some way? I can assure you I’m not.”

“I believe you have begun the process of betterment, without addressing the root of the issue.”

“...And what might that be?”

“Your relationship with Lloyd. You hurt Lloyd during your time as Emperor. Now, your beliefs and goals are changing, but you have not mended the rift that has grown between the two of you, or attempted to grapple with the effects your actions have on both yourself and others… you cannot expect to find success in the present, until you face your past,” Zane said. His even tone and matter-of-fact delivery did nothing to lessen the blow of his words. “You may not believe it, but Lloyd is your humanity. As he was mine, when I needed it most. Do not forget that he needs you too.”

Something twinged in Garmadon’s chest. He had half a mind to blame it on his incomplete resurrection, and perhaps that truly was the case; complicated emotions could simply be a byproduct of his botched vessel. He averted his gaze and said nothing. 

Zane didn’t attempt to break the silence, either. He lingered for just a moment longer, before turning heel and wordlessly leaving the room, where Garmadon remained alone with his thoughts. 

“…I won’t,” he said, knowing there was nobody there to hear him.

[subbydream]

The thought of having a more experienced lesbian friend. I sigh and tell her about my woes, about how romantically and sexually lonely I feel. She chuckles at my inexperience, somewhat endearing but also a bit mockingly. "Aww you're so cute when you're frustrated!"

I want her to bring me out, yes we're just friends and I definitely don't notice her scaring away anyone that tried to make a move. I later complain about how no one even looked at me. She'd hug me and reassure me: "You looked amazing, love, it's a pity no one had the eyes to see it"

I'd excitedly show her this blog, there's a mix of jealousy and excitement in her eyes. She'll follow me. "I just wanna support a dear friend!", she says, omitting the part where she gets off on my posts.

I'd text her when I receive a flirty dm. Once again she hides her jealousy well and silently cheers when the person ends up ghosting me. "Oh don't worry, I'm sure there's many more people out there."

I want to call her late at night, crying cause I feel like I'll never be loved, that I'll stay alone and a virgin for life cause I'm just not pretty enough to be a lesbian. She'd shush me, telling me the sweetest things, I almost don't realize how she started praising me in a very detailed way, how the praises slowly turn more and more explicit. "Don't cry Princess. If I could I'd have you riding my face all night long, your soft thighs and pretty pussy all I can see."

I can almost hear her smirk through the phone when she notices how my breath gets caught in my throat, little whines replacing my sobs. She'd keep going, painting scene after filthy scene in my head until all I can think about is her. "Can you do one thing for me, Princess?", I'd barely answer with a hum, "Slip your hand down and start touching your pretty clit for me"

[aristaspark]

Notice how Darius didn't look at Brooklynn's arm?

It's not me who's saying this. That's a conversation that's happening in the fandom that I wanted to talk about because I find it truly...idk, kind of icky, and of bad taste.

I decided to speak about it after having stumbled once again upon a post using Darius' lack of "notice" of Brooklynn's arm as an argument for the ship, but it's far from being the first time I've seen people bring it up.

Don't get me wrong, my problem isn't that they're supporting the ship, even though I believe Kenlynn to be endgame, I can admit that there are elements that could point towards dinostar possibly being endgame, my problem is with this argument specifically, because it looks like the ones using it are purposefully being obtuse, and are missing the point. To me it's a really disrespectful outlook on the work of the writers and their handling of Brooklynn's disability.

For context, Brooklynn explains to Soyona that she doesn't like the way people look at her ever since she has lost her arm. I love this scene. We get an insight into Brooklynn and her struggles, into how she is still adapting to the way people perceive her now that she's "different". The loss of her arm isn't brushed aside, it has lasting consequences that the writers don't shy away from. They consulted people with limb differences to make sure that they'd show an authentic representation of their expericences, and you can see the care that they put into telling that aspect of Brooklynn's story.

Now that we established that, yes, Brooklynn is struggling with the way she is perceived, let's talk about why I hate what the fandom makes of it.

There are two characters who react to Brooklynn's arm: Ben and Kenji. And from Brooklynn's reaction, we see that she feels some type of way about it, even though she has very different reactions to the two of them, because the two interactions are VERY different.

During the scene with Ben, we can see that Ben's gaze, despite himself, is drawn to her arm. That's mainly because he had no idea that she'd lost it, but since they were both very stressed and there were millions of other more "pressing" matters he should have focused on, it hurt Brooklynn that his eyes kept ogling at her arm. Neither of them were in the right mindset. He was slightly insensitive in the way he approached the subject, which caused Brooklynn to react negatively. But it's never shown as a black and white thing. Ben apologizes and afterwards, Brooklynn is able to focus on something else because she's an actual intelligent and social being who's aware that simply because Ben looked at her arm didn't mean that he thought of her as less than. It was a human interaction, realistic, and in no way was it implanted to say something about Ben and Brooklynn's relationship, to imply that Ben having a reaction made him a bad friend somehow. This is simply realistic.

Now, Kenji. He first notices her arm when she's talking to Ben, and we can see that he focuses on it for a hot second, before looking up at her face. Needless to say that in that moment there's a million things going through his mind. Brooklynn is alive, she's there, Ben knew Brooklynn was alive, she has lost a limb... We can see he is hit by all these informations which are way too much for him to process. It's NORMAL, EXCPECTED that he'd have a reaction to seeing her missing arm. Any other reaction would have been stupid. It's as if your lover left for a few days, came back with a missing limb and you said nothing. This doesn't happen. Them writing this into the show says nothing about Kenji's status as a love interest, he shouldn't have to ignore it to be considered a suitable partner and I find it kind of disgusting that people imply this. His lover has lost a limb, of course it will have an impact on him.

Now, the second time he looks at her arm is when he's finally reunited with Brooklynn. But simply reducing this interaction to "Kenji looks at Brooklynn arm -> Brooklynn scared -> Bad = Darius better" is a thought process I'd expect from a pre-schooler.

Kenji spends a very long moment staring only at Brooklynn, at HER FACE, expressing his emotions (beautiful scene by the way). Then he WILLINGLY looks at her arm. Kenji's aware that she's looking at him and he has already seen her arm, the only reason he looks down at her arm is because he wants HER to be aware that he has seen it, and one shouldn't have to be a genius to understand this. And he looks incredibly sad because, I know that's crazy, but as someone who love(d)s her, this impacts him. And Brooklynn has a reaction, I know that's crazy. But unlike with Ben, she looks scared, not mad. I won't spend too much time on this because I already did a brief "analysis" of this scene, but I took it as either she was scared that he'd see her differently, either it was the manifestation of all the hurt she's suffered (yk, often when you open up about something, you feel the emotions as you tell the story, and to me this could be Brooklynn allowing herself to show someone she's suffering for the first time, as if a silent conversation had taken place. Kenji asks what happened to her arm with his eyes, and all the hurt comes flooding back as she's reminded of everything she's been through).

Now, some people use the fact that Darius didn't even glance at her arm as, idk, a good thing, patting him on the back for it (which, on its own, is incredibly weird to me). Yasmina and Sammy didn't look at it either, but since they're not shipped with Brooklynn most don't care, it's not about disability but about somehow gaining points in the battle for Brooklynn.

But I'm like, you have to purposely being obtuse to use this as an argument. If I was Brooklynn and I was presumed dead for a long time, and when I came back I had a limb missing (implying an immense amount of suffering) I would absolutely want my partner and my friends to notice it ??? ESPECIALLY the person I love?? Actually, if he didn't notice I would straight up hate him because that would just mean that he DOESN'T CARE.

Implying that strangers looking at Brooklynn's arm and her loved ones reacting to her evident trauma are the same thing is wild, but using it as an argument for shipping is worse and, to me, an insult to all the work the writers have done to tackle the subject of disability. There isn't some checklist of people who looked at her arm and people who didn't, Darius (as well as Yaz and Sammy) don't deserve a cookie (or Brooklynn's love for that matter 🙃) because they didn't look at it. Ben and Kenji reacting to her arm doesn't mean that they somehow care less about the fact that Brooklynn's alive or that they love her less than the others, and Darius isn't "special" for not having looked at her arm, because Sammy and Yaz also didn't. It simply means that they are well written characters who react to things in their own, sometimes clumsy way.

What bothers me is that these scenes clearly weren't implanted for shipping matters, but are part of the characters' journeys with Brooklynn's disability, and her own journey. Them being present doesn't somehow put a definitive stain on Brooklynn's relationships with Kenji and Ben, things don't work like that. If anything I find Kenji's scene with her to be very touching, because you can just see how devastated he is for her, and how frightened she is.

It's not the fact that people look at her that hurts Brooklynn, it's the reason and the manner in which they look at her.

Idk to me it's kind of disrespectful to the work the writers did because it's implying that they tried to say Darius was the one for Brooklynn simply because he didn't care for his friend's severed limb. I think there are better arguments to make for dinostar, and less insensitive, than to reduce this very important topic to shipping.

Anyway, thanks for coming to my ted talk 😭

[tarraxahum]

This was gonna be a reply to a reply but I thought maybe I should just make my own post. Yes this is about Vi again.

It's no secret that "Vi should've fought for Zaun" and the expectation of her being Vander's prodigy and feeling like the plot dropped the ball on her in that regard and the betrayal at the fact that she's living comfortably in Piltover now are. Frequent sentiments in the fandom. Which I get, but also I feel that this line of expectations is. Diverging from who Vi actually is by the end and what she was realistically capable of.

Vi in season 2 is basically running on fumes and because she has no other options. It is a well known thing in irl activist spaces that to participate in any kind of fight for justice you need to take care of yourself, otherwise you won't have the energy to be any kind of useful to your community. Ekko also says this - "It's not enough to give people what they need to survive, you have to give them what they need to live". Vi has been surviving and not living in any shape or form for years, she's exhausted and broken in places. That's no mental state to fight for Zaun or make any kinda change. I think it's extremely realistic and human and hardly a flaw of writing or the character if by the end the only thing she was able to do was collapse into the safety and peace she was offered for the first time in forever (aka Caitlyn). It's clear that in her last scene she's still recovering mentally - Cait seems to be excited to have any sign of life (singing) from her at all, and the "Are you still in this fight?" question is very loaded. (But it's indicated that Vi is very much still in the fight, so? It's really anyone's guess what she'll do once she's healed and remembers how to live. And don't bring up LoL's Vi brutality thing, it's clear they're different characters).

I think in wanting to see Vi stand up for Zaun or be Vander's prodigy we often deny her the flaw of being a breakable human and forget just how much she's held together by duct tape. Just because she was full of this 'fuck Piltover' fire as a kid doesn't mean she is still capable of matching that energy. Sometimes after lots of trauma humans grow up into tired adults who just want to sit down and feel safe regardless of where it happens and how questionable it might look (re: living in Piltover). Not to mention, that even as a child Vi's main reason for fuming at the Topside was wanting safety for her family and herself. Well, now she's all out of family, she's estranged from the community of Zaun thanks to being in prison for 7 years and Silco changing the place so much, and the only person who's offering her safety and not more fighting (which she's exhausted and thoroughly burnt out from!) is Caitlyn, so. How is where she ended up any kind of surprising or a failure of her writing/character?

Yes, a lot of people wanted a revolutionary, no, Vi isn't one. Dare I say, never really was one. At her lowest, when she's got no one left to protect, she's not trying to fill in that void by taking on protecting Zaun and becoming a vigilante or something, no, she spirals. That is not something on her radar, that's not something she's visibly cut out to do, she cares so so much but on a smaller scale. Even the whole shimmer factory debacle was less about Zaun and more about her desire to hurt Silco personally for what he'd done to her family. If Jinx agreed to run away with her back at the tea party Vi would ditch the entirety of Zaun (potentially leaving it to Silco forever since he's still alive at that point) in a heartbeat to keep her sister and save Cait in one move. She puts on an enforcer uniform BECAUSE she cares for Jinx (through convincing herself that at the very least she should take her out of her misery herself rather than leaving it to people who don't care, yes) and Cait both.

Perhaps a hot take, but not becoming a leader despite being good at taking hits to the head and caring about people in general and being a daughter of one does not make Vi a badly written character or a bad person. It just makes her a person. And a character whose arc culminated in choosing herself. And choosing yourself sometimes means leaving the fight to others (perhaps temporarily, considering the final dialogue). And that's okay.

Arcane is tragedy about flawed people, not a feel-good story about a successful revolution and rich people paying for their crap, and it was never going to be. Ergo one of our main character isn't an upcoming hero in shining armor who was allegedly robbed of her potential. She's just a broken young woman who barely knows how to keep her own little life together and her biggest victory by the end is allowing herself to take a breath and live for once. Yes, while her home down there is still in shambles. Yes, that sounds selfish. For some people a bit of selfishness is the greatest thing they can ever learn for themselves.

[jotun-philosopher]

Good Omens & Steeleye Span

Terry Pratchett was a great fan of English folk-rock group Steeleye Span (which fact is in itself cause to check their stuff out!). While it's unlikely (from what I can tell) that deliberate references made their way into either the book or the show, the fact remains that three of Pterry's particular favourite songs from the Span have some interesting thematic resonance with elements of the show, particularly what's happening with Aziraphale and his mental health *cuddles him*

Let's check 'em out, eh?

We'll start off with The Good Witch, from the Wintersmith album. The first half is a bit more applicable to Crowley, with lyrics like, "They never said why she was wicked/That was just taken on faith" (the very literal demonisation of Crowley and the other fallen angels, anyone?) and, "But a Good Witch/Really likes people/Good Witches really do care/For even, the mean stupid, hapless ones [...]" (just as Crowley and Aziraphale both care about humanity even when we're being dumbasses). The line, "It's everyday caring, loving and sharing/That's a Witch's centre and soul!" is pretty strongly applicable to the overall message of Good Omens, for all that only two or three characters technically count as literal witches -- though Aziraphale's official Heavenly job on Earth could be considered as a parallel to the role of Discworld's witches (albeit an excessively perfectionist version, with no expectation of the support network that the witches have; Granny Weatherwax would doubtless have Words To Say to the Metatron, none of them nice).

The spoken-word second half is an abridged excerpt from (I'm fairly sure, open to correction) the novel Wintersmith about the mental costs of a witch's job -- what we might call burnout and compassion fatigue -- as part of a scene demonstrating the witches' system of mutual support. With that in mind, it's very easy to see how Aziraphale's arc in S2 could be interpreted as him entering a bit of a pre-cackling phase, with good intentions going sideways rather than actual malice -- though there's obviously a huge whack of trauma in the mix for him.

Also, as a bonus -- that voice doing the spoken-word bit?

That's not someone doing an impression.

That is the actual voice of the actual Sir Terry Pratchett! :D #GNUTerryPratchett

Next up is Thomas the Rhymer, Pterry's very favourite song from the Span. It's the band's version of an old Scots ballad (Child Ballad 37) about Thomas the Rhymer, who is taken to 'Elfland' by a faerie queen and serves her for seven years, returning to the human world after that time with the gift of true and accurate prophecy and/or the inability to lie.

There're some interesting GO parallels here; the seven years' service parallels a common interpretation of The Final Fifteen, with Aziraphale being interpreted as going Up to a miserable Supreme Archangel job. I'm disinclined to agree with this interpretation, @vidavalor having been very persuasive in the matter of 'Satan, in the Bookshop, with the coffee' (that's a whole series of metas that're well worth a look!), but that interpretation of TF15 can also be seen as paralleling Thomas the Rhymer, if you see Thomas in the ballad as having been tricked, deceived or otherwise coerced by the faerie queen.

The 'true and accurate prophecy' element has an extremely obvious GO parallel (hello, Agnes Nutter!), and the inability to lie could find a finale parallel in Aziraphale, post-Fall, directly or indirectly spreading the truth about the Heaven/Hell dichotomy -- namely, that it's built on multiple falsehoods about the goodness of angels and the evilness of demons, for the sole purpose of maintaining the personal power of Satan and the Metatron -- and thus bringing down the whole rotten house of cards, as visually foreshadowed in Nazi Zombie Flesh-Eaters.

As a side note, the line 'harp and carp, come along o' me' in the chorus refers to a choice the faerie queen presents to Thomas in the original ballad, between the gifts of musical skill ('harp') and speech/prophecy ('carp'), and has some potentially interesting interactions with the Ineffable Cant chronicled by @vidavalor (this meta's a good starting point, given the use of 'carp' -- a type of fish, or a verb meaning 'to speak'/'to gripe and complain for frivolous/petty reasons').

Fun fact, the ballad is based on a real 13th-century Scots laird called Sir Thomas de Ercildoun (the town known today as 'Earlstone') or 'True Thomas', who was held in popular folklore to have the gift of prophecy and truth-telling.

Finally, we have The Making of a Man, Pterry's favourite song from the Wintersmith album. It's an adaptation of the children's song about what makes a human that's a fairly major plot point in Wintersmith. There's a lot of stuff about physical elements, but what's particularly relevant to Good Omens is the intangible stuff (the last three lines, in the book's song) -- strength enough to build a home, time enough to hold a child, love enough to break a heart. The Ineffable Husbands absolutely have all of these qualities:

Strength enough to build a home -- the Bookshop, and ultimately the South Downs Cottage

(I was having trouble finding a gif of the lizard-ised kids)

(Love this gif! They're so soft and protective and badass and gorgeous!)

Time enough to hold a child -- saving Job's kids, raising Warlock, supporting Adam when he needed it

Love enough to break a heart -- the entire dang series! (I make no apologies for my choice of gif [cackles evilly])

Regardless of immortality or other supernatural abilities, the Ineffable Husbands have all three intangible qualities, and are wonderfully, gloriously human (and we love 'em for it!).

Hope you enjoyed that! :D

[rouge-fauna]

Some ironic/idiotic points I’ve seen way too many people say:

Tommy and Dream should have worked things out privately

How? Did you miss the part that Tommy literally blocked Dream on everything and refused to talk to Dream? How is he meant to handle it privately? Besides I’m pretty sure Tubbo in his first stream is the one that brought up things like the messages to Tommy’s mom in the first place, so if anything Tubbo is the one who brought up things to the public and made things bigger than they needed to be. Remember, his hour long stream about the meme and reasons why he dislikes Dream and how this is Dream’s “death by a thousand cuts” came first before Dream’s first stream where he reacted to parts of Tubbo’s stream.

Dream takes no accountability

He apologized for something he’s not even done, he literally took down the meme, admitted it was a bad thing to do, apologized multiple times for it, apologized for not doing a proper apology the first time and explained his reasoning. That’s literally the definition of taking accountability. Like what more do you want? Want him to beg on his knees for the internet (who called him every slur in the book) to forgive him? He made a mistake, we all do, he apologized, let’s move on, because there are parties in this drama who haven’t taken accountability or apologized so maybe we should be focused on that.

Dream and Dream Team are sexist and misogynists

Says the people who formed a nation on a role play server called L’MANberg because it didn’t allow woman (or non-Europeans). Says the guy who I get frustrated to watch because of all his sexists and inappropriate jokes (I still don’t understand how the majority of his fans are woman like heh?). Says the people who when asked why they think this only bring up recent public examples, despite a - they have always been sexists behind the scenes implication, all but one of which are bogus anyways.

Well they didn’t handle the Caiti situation properly.

What do you mean? They all responded, I’m pretty sure apologized and owned up and took Caiti’s side and made sure to tell their fandom to not go after her. Meanwhile, you think Dream should have brought her up, when she has specifically asked to not be talked about anymore. Pretty sure if he never responded he’d be bashed for not taking accountability and if he did mention her in the recent video then he’d be bashed for not respecting her wishes.

Dream’s neurodivergence (Autism and ADHD) is not important here why is it being used as an excuse.

It ain’t. I don’t think I’ve seen a single person excuse his behavior or whatever, in fact the same people pointing out the autism piece are also mostly the same neurodivergent people who are the ones upset by the use of the word. But this all blew up with the r word which Dream was told by people using it against him that it can be used by someone who’s autistic. So from the get go it’s kinda important. Then you look at the pieces, at the comments people make about Dream being weird or doing things that are socially unacceptable, is inappropriate, ridiculous…etc and then you get to a 3 hour stream of talking in circles as they can’t seem to understand eachother or at least Tubbo not understanding Dream, which afterwards Tubbo labels his Audhd way of communicating as manipulative. So yea I’d say autism, adhd and neurodivergence are pretty damn relevant and important.

Just ahhhhhsbhfnnabdnnand… I still see people condemning him for the damn r word and it’s like bruh… move on. We are way past that damn meme he apologized multiple times for at this point. Especially from the moment Tommy posted his video and weaponized his fandom against Dream. And good god, and if you didn’t watch the streams then don’t be acting like you have this hot take and posting essays and shit because damn, maybe the reason no one’s said that is because it isn’t true, something you’d known if you watched all of the streams!………….. sorry just had to get that off my chest…

[pinepickled]

You're forgetting that both Scott and Stiles, because he plays a very big role in the killing stigma too, especially for Malia, already think of her as a killer. When she finds the body the dread doctors killed first, they don't believe her. She tries saying it wasn't her, that there were people with masks, and the both of them just purse their lips and look away from her. Granted, it doesn't help that every other scene she's in, her first instinct is to kill, but it does reveal why she behaves in that manner. Every time she sees a credible threat that more than likely is going to attempt to kill her and the people she cares about, and when she offers a surefire solution to make sure they don't, Scott is there to refuse her. What does Scott do to make her think any differently? He let Peter and Gerard roam free and they both became repeat villains, with Gerard even being a key figure in teaching potentially hundreds of people how to effectively kill werewolves.

Also, Scott knew where the Desert Wolf was heading long before he saw Malia and Braeden together. It doesn't take a genius to figure out what Malia will do when faced with her, given her solution to everything is the same. And that can be a flaw of her character! She's maybe too disinterested in living as a human and being merciful to her enemies in the name of forgiveness! but this isn't a criticism of Malia, it's a criticism of Scott.

As for Jiang and Tierney, they actually say that rather than being hunted, they choose to hunt the hunters. Aka, kill or be killed. They used public databases to track down people suspected or known of killing werewolves. Is it only right to kill someone when they have a gun actively pointed towards your face? Satomi tried reasoning with the hunters and ended up dying for it. You also say yourself that the show calls out Scott because war time is different, so why even bring this up at all? Hunting isn't exactly a morally neutral profession, their sole purpose is to kill supernatural beings. They don't believe in second chances, and a lot of them don't even have a code, especially in 6B.

I wouldn't call the Orphans murder as being framed as bad. Garrett died for all of 2 seconds and then everyone moved on. There was no remorse or hemming or hawing about wanting to give a known assassin a second chance. He hurt Liam, blackmailed Scott, challenged a berserker, and got his shit rocked. Not an ounce of grief or remorse was shown in the show. Garrett was also not under arrest, he was actively trying to break his girlfriend out and evade punishment. When Scott finds Violet, he looks shocked, but not particularly torn up about it. The narrative also never brings it up again. It's played for shock value and nothing more. So no, their murders were not framed as bad, just shocking, like all melodramatic murders in teen wolf. There is a difference.

The Mute was shown to be a 'murder is bad' moment, but only because Peter was the one to kill him. His death was not an inherent tragedy, no one mourned the mute or thought of what could've been, it was just used to show that Peter wasn't with the new pack ideology. Again, no sanctity of life argument, barely a hint of due process, and no one in the narrative gave a fuck that he was dead. There needs to be a little more than just 'damn' when a villain dies for me to believe the show actually wants to make a point of sparing even the 'evilest' of people.

So far we have 2 murders that were just ignored consequentially by the narrative, and 2 you admit were justified out of season 4.

I already acknowledged that Gerard killing Matt was an unjustified murder, however it's only unjustified so far as it's Gerard dealing with him and gaining control of the Kanima. Again, not a sanctity of life and 'finding a better way' thing, just a tool to further the plot for Gerard being the series villain, like Peter and the mute.

You bringing up Jennifer just proves my point further. It's not Scott who needs to kill her ultimately, it's Deucalion. So like I said, to justify Scott's morals, the writers insert more morally reprehensible characters to do the killing instead, keeping Scott's hands clean.

Because that's what I said from the *start*. Scott is hypocritical. He insists on sparing people who are actively threatening people's lives, people he cares about, on the basis that it would make them 'as bad' as 'the bad guys'. When that doesn't work because the 'bad guys' really want you dead, he is not the one who ultimately needs to make the kill. It's shoved onto someone else.

Scott didn't need to say he approved of killing Theo because he literally just stood there while he was begging for help, and then the scene fades to black once he's gone. Like, okay. Guess that was fine. No need to discuss that with Kira. What was that about finding better ways? And then in 6A when he comes back, not even the consideration of another chance despite Theo begging for one and then proving himself over and over. It was only Liam vouching for him pretty aggressively that Scott even began to back off, still with the threat of killing him again if he slips up! Again, someone who's done objectively less evil than other teen wolf villains who were spared/who scott refused to kill.

That conversation was also Scott expressing 1. his pack was getting a lot more violent and 2. expressing guilt for continually refusing to be the final blow and pushing more insecurity onto the pack, as well as danger. You're right, and I don't disagree with you. He does think it should be him. It just never is, funnily enough. That's what I've been saying. And not one season later, he tries to shirk the responsibility of being the final blow again, by trying to get peter and deucalion to do it. What happened?

Some musings about Scott's morality (probably not very common and a little controversial)

Scott McCall’s adherence to his no-kill rule can be seen as both a moral stance and a psychological defense mechanism, shaped by his own fears, insecurities, and desire to preserve his innocence. At its core, Scott’s refusal to kill, even when faced with situations that may arguably call for it, reflects a deeper internal struggle to maintain a clear sense of right and wrong. However, this rigid adherence to his ideals, especially when it leads to others suffering, reveals underlying contradictions in his character.

Scott's moral code is largely centered on protecting his own sense of innocence and moral purity. By clinging to the no-kill rule, he avoids the emotional burden of directly taking a life, even if it means allowing harm to befall others. Psychologically, this allows Scott to protect his self-image as a "good" person. His reluctance to engage in lethal violence can be seen as a defense against the guilt and moral ambiguity that would come with making more ruthless choices.

In the case of the Kanima, Scott's refusal to kill Jackson despite the clear threat he posed to others shows how his need to maintain his moral boundaries outweighs the immediate threat to those around him. His insistence on finding non-lethal solutions, while noble, reflects an almost selfish prioritization of his internal morality over the safety of others.

There’s also an aspect of moral superiority in Scott’s unwavering no-kill stance. He often positions himself as the moral compass of the group, but this also gives him a sense of control over situations. By dictating that no one should kill, Scott maintains his leadership position and moral authority. However, this control is built on a framework that isn’t always flexible or responsive to the nuanced, dangerous situations he faces. His rigid moral stance can put others at risk, as seen when lives are endangered by the Kanima’s rampage while Scott focuses on preserving Jackson’s life.

Scott's no-kill rule can be seen as a form of psychological conflict avoidance. Killing someone would force him to confront the darker aspects of his role as a supernatural leader and protector. By adhering strictly to his rule, Scott avoids the internal conflict that would come from crossing that line. In a way, Scott’s reluctance to kill is an avoidance mechanism that keeps him from fully engaging with the morally complex world he inhabits, allowing him to maintain a black-and-white view of morality.

While Scott views his refusal to kill as a form of self-sacrifice, it can often lead to the sacrifice of others instead. In situations like the Kanima case, where innocent lives are at stake, Scott’s refusal to make the hard choice arguably protects his own conscience more than it protects the people he’s responsible for. This can be seen as an attempt to shield himself from the psychological toll of killing, while others bear the physical consequences of his inaction. It’s a form of indirect selfishness—by preserving his own sense of moral integrity, he unintentionally places the burden of suffering on others.

Scott’s no-kill rule is a complex and flawed psychological mechanism. While it is rooted in a genuine desire to be morally upright, it often causes harm by preventing him from making hard but necessary choices. His strict adherence to this rule can be seen as a defense against guilt, moral ambiguity, and the loss of his own innocence, but it also exposes him as someone who prioritizes his internal morality over the safety and well-being of those he is meant to protect. In this way, Scott's idealism becomes a form of moral tunnel vision, where the desire to remain "good" leads to greater harm for those around him.

[ninashiki]

i feel like almost everything in utena has sort of already been extensively discussed in the last two (almost three) decades of utena's existence (not that there aren't new interpretations to be made, there always are) besides black rose arc (mikage+mamiya+tokiko). which is why they're so much fun to think about. i think the need to read between the lines makes it unfortunately easy to misunderstand or look past obvious stuff if you don't pay attention, but to me it's always been really obvious that mikage's arc is a literal representation of the erasure of queerness in ohtori (society?) by akio/everything he represents. and that's so fucking tragic! nemuro was never able to find a name for his desires. he lived and died as a puppet in the shadows.

[hesgomorrah]

every time i see someone make the "trapper didn't leave a note" argument i lose 5 years off my life fr

[liquidstar]

a friend who'd wait :)

[dogsandfrogsandhogs]

You make a lot of good points

1. Fair point, jerky would be one of the best things for them to find. But still, the writers choose for her to pick beef for a reason. It was a food she genuinely enjoyed, for various reasons, and the trauma from the island ruined it for her.

Like, imagine being stranded for almost a year with scarce food, and when you finally get back home you start to find you can’t even stomach your favorite meals because they remind you of the horrors you witnessed. So now your options are to trigger yourself by either eating the food or by depriving yourself of food that you desperately want but can’t bring yourself to eat.

^ This is why I think her being a meat-lover is important, definitely not a core part of her character, but it is, or was, a part of her and it shows how traumatized she is. She’s the only one of the group, so far, who changed their entire diet as a result of their trauma because she literally can’t bring herself to eat it anymore.

2. Now that I’m remembering Sammy saying the campgrounds were almost as big as her family’s ranch, it’s definitely a feedlot if they supply that much beef on that amount of land.

They could have other farms, but that seems to go against canon. She never mentions her fmaily owning any other place than the ranch, and the ranch is the only plot of land Daniel mentions buying from them. If they have any other farms or businesses it’s most likely on that land, and if they don’t and have more farms on different properties, then it kind of lowers the stakes for her family. It’s still horrible but they aren’t losing everything they have like the show implied. At least before the park goes down, they still have a lot to fall back on.

And the borrowing money part is why I’m not sure about the idea that her family’s wealthy. They’re super wealthy but they don’t have enough in their savings account to cover unexpected costs? They don’t have good insurance in case something breaks down or is damaged? They couldn’t get a loan from a bank and had to turn to shady lenders instead?

Granted, we never learned why, or how much(?), they had to borrow in the first place, which is kind of odd. Seven seasons of the show and we’ve gotten no insight on that when it a major plot point (but hopefully season 3 of CT brings it up).

3. Masrani has absolutely no interest in the well being of livestock, he does not care about them. If he did the park wouldn’t use live prey, which may or may not have included cattle, to feed the dinosaurs, he would’ve opted for toys and other things to keep them engaged like regular zoos do, and on top of that the staff would never have been given the okay to use baby animals to draw out the velociraptors. (Seriously, the piglet scene was horrible.)

If the the Gutierrez’s ranch is that humane it has nothing to do with him and everything to do with the them.

Also, the reason we were given for why they refused wasn’t because they were loyal to Masrani. They’ve might’ve been on good terms with him since he invited her in the first place, but Sammy said that they refused because they weren’t going use her like that. And as far as ethics go, not putting your child at risk is the bare minimum for parents.

(Tags)

[#but also she probably didn't get to see a lot of the hand-on stuff and darker sides of the industry] - I don’t know, she was 14 at the start of CC, possibly the oldest child, and was raised on a family owned farm in rural Texas. I feel like she would’ve seen the hands-on stuff and darker sides of farming at least a few times, considering she knew how to calmly and properly handle a large, frightened animal on her own at 14 and, while revealed at 21(ish), knew how to help egg-bound chickens*, and also just since they had chickens. (Idk what it is with people and chickens, but people are a lot more comfortable having kids, even little kids, be present for their slaughter more than other animals.)(*Also, egg binding is more common in younger hens and can kill them/lead to them having to be put down. For chickens it’s an actual medical emergency, and it’s one that she has hands on experience. She doesn’t have chickens on her ranch, so they would’ve have to be her family’s chickens.)

[so yeah no thank you for her that's the trauma] - I wasn’t trying to say what happened wasn’t the trauma that lead to her going vegetarian, because it is. What I’m saying is that witnessing animal suffering and death in of itself wasn’t what caused her to go vegetarian, it was witnessing the suffering and deaths of specific animals (possibly including humans?) that lead her to the point.

It sounds nitpicky, but the the difference matters when going through how her trauma affected her and led her to becoming vegetarian.

Sammy going vegetarian isn’t as simple as seeing/hearing/being around a lot of animal suffering and death, because she’s always been exposed to it, whether directly or indirectly.

The realization of “wait, it’s wrong to do this livestock” didn’t come because she saw the suffering and deaths of animals, she had seen enough of it surrounding livestock already, it came because she saw the suffering and deaths of animals that she wasn’t raised to be okay with. It was a species specific revelation.

If she hadn’t witnessed the suffering of non-livestock she’d probably still be eating meat regardless of how many frightened cattle she calmed or chickens she helped with, or even loss due to, being egg-bound.

It’s like the difference between tagging a cattle’s ear and tagging a dog and/or cat’s ear. The pain the three of them would experience from it is the same, but it’s only considered cruel to do to two of them. And that’s what would cause some people to start thinking about the cattle, not because the cattle suffered, but because a different animal, “the wrong animal”, did.

Eating meat was never a core part of Sammy's character? She wasn't walking around talking about how she only likes hamburgers, or she would kill for a steak, or cracking beef related puns, or anything that would indicate "I like eating meat" is a core personality trait the same way running is to Yaz or dino facts are to Darius. The core personality trait is her devotion to her family on the ranch, where yes they process cattle for food, but that doesn't make eating meat an ingrained part of your DNA lol.

Sammy saw a lot of animal suffering and death on Nublar and beyond, its understandable why she would maybe want to become a vegetarian. I'm not even a vegetarian, I think you're just wanting to see something that's not there.

What about the time Sammy said "I love nothing more than steak and Yasmina, and I'm all out of steak" and then proceeded to suplex a Scorpius Rex

[caterpillarinacave]

Yeah okay I should go to bed

[stuck-in-the-ghost-zone]

if anyone needs me i will be rewatching trigun 98 and tristamp over and over until my brain explodes

[inkskinned]

which is fine, because love is love, and you're getting gay-married, so it would be kind of ironic if love was only sometimes love.

except The King Of Demons (his is Edmund) is always late, to everything, always. which is fair, because time doesn't work in hell, and it's not like he can just catch a bus. except that you specifically asked him not to do this, didn't you, because he's always doing things like this.

He splays out his hands, the light catching on long, ivory claw tips. god, doesn't he know not to wear white to a wedding?

so many people are screaming right now.

it's not that he's the golden child. you guys had normal parents, middle-class. your mom was kind of an "almond mom," according to your fiancée, who pursed their lips when they found out about how your mom used to wrinkle her nose any time you asked for an extra snack in your lunchbox.

you close your eyes for a moment. think of your beautiful almost-spouse. ashe. their name like a bloom inside you. how the dress looks on ashe's body, their shy little smile. how they'd walked down the aisle, and you'd both been half-laughing, half-crying. your hands had trembled when you saw them. like the whole world was pouring down your throat, golden. like you were catching a moment and casting it in amber.

ashe'd been the one to help you when your parents were pushing for you to invite edmund. god, the amount of fights you'd gotten in with your parents - the same six sentiments, over and over again.

you'd been sitting on your bed, biting your lip, your fingers hovering over the little button send. ashe'd nuzzled your neck. you used to be close, and i think that's important. but you know your relationship to him the most. i'm willing to make the effort, and i love you no matter what you choose, they'd said. we don't have to if you don't want to, though, no matter what your parents say about him.

you'd thrown yourself down, supine, arm over the eyes. he's just... we are just.... you tried to phrase that-which-is-love-and-rage.

you're the normal twin. your "big thing" was only "being a lesbian." in high school, edmund started being able to make birds die by looking at them. you came home, trying to tell your parents i kissed a girl. i think i'm - and they just kind of nodded at you. edmund was eating the bible in front of them, like a goat.

on the bed, you'd held your hands out vaguely to ashe. edmund is a just always a lot.

ashe had shrugged. don't invite him then. and it was that - that they were okay with either of your decisions - that is why he even got an invite, in the end.

and now here he is, like how you wanted (?), and your hands are red, clenched hard around your bouquet. the officiant is crying. some people are on their knees, praying. some are trying to touch your brother, like he could impart a blessing.

"i made it!" he's triumphant. "i know i'm late, i'm sorry, there was - do you know anything about right-wing politicians?"

"i'm going to fucking kill him," you say, although you're not actually sure who you're talking to, or if he can be killed.

ashe is blinking, their face in a tiny oh of surprise. you take their hand, drop their hand, take their hand again. they blink at your brother. their voice is low but steady. "there's, um. is there a dark halo around him?"

you duck your head to meet their eyes. "fuck, ashe. i'm sorry. he wasn't supposed to -"

"did i miss it?" Edmund is swinging his head around far-too-wide. his 2 sets of horns leave little red mist any time they scour through the air. "I didn't miss the kiss, right?"

the town clerk is in the audience, and she's frowning. you send her an apologetic look. she shakes her head. "as we've discussed," she manages to throw her gentle voice over the din, "the wedding isn't official if someone objects. that is the legal statute. which people tend to be understanding of." she sends a dirty look to edmund, and that makes you love her. she seems completely calm, which makes sense, because she works in the town hall, and this probably isn't even her first demon-showing-up-at-a-wedding.

he somehow hears her, holds his hands up. "i'm not objecting!" the back of the event hall catches on fire. of-fucking-course. "i'm not - don't mind me, uh, please continue." edmund sends a look to the back-of-the-room fire and it whimpers and gutters out. he flashes you a winning smile, and then puts his hand to his king's-garb chest and mouths sorry! and then cartwheels his glittering talons to say go ahead.

"i think i'm going to throw up." the officiant's voice is barely a whisper.

you watch in horror as edmund tries to awkwardly slide into a waiting line of chairs. the sound of begging follows him, people on their knees at hell's king. he pats a few of them on the head, holding up his finger in a sheepish shh! while his touch leaves a bleeding rune on their skin. his hooves click, and his footprints leave ruby-bright fireroses in his wake.

he tries to sit down, but the wooden chairs are made for people and not the lord king of demons, so he has to span his furred hindquarters over two seats. he smiles again, offers you a little wave.

the room is dead silent, minus the weeping. you look back to ashe. you ruined this. you shouldn't have invited him. you spent so much money on this event, and ashe looks so fucking handsome, and you haven't even gotten to kiss them. to make it official.

ashe looks up at you, manages a little smile. "could be worse?"

you feel yourself start to smile too, but then edmund's chairs give out, and he falls directly on the floor, and with his startled yelp, everything around him bursts into the cold whip-crease of hellflame, disintegrating everything that isn't-a-person, including the flowers and the decorations and the cake and the tables. everything you saved for months to be able to afford. the venue that you both agonized over choosing. you picked this place because it was significant to both of you and was equidistant from both your parents and had a deal with the local hotel for people coming out of town. two years of planning, literally burning down around your ears.

edmund manages to stop the fire pretty much immediately, but it's too late. the officiant faints clear away. the town clerk gives you a sympathetic look and mouths see you soon and steps neatly out of the room, taking ashe's parents with her, chatting gently. an arched flower frame collapses into dust with a loud whoomp. pretty much nobody is left in the building, and you're standing at the top of the steps, at the fucking hour of your marriage, and there is nothing left but blue-cold embers, the lights blown out in favor of the eerie hellfire glow.

you sit down, hard. after a few seconds, you feel ashe sit down next to you. you put your head between your knees so you don't puke with rage, which would be somehow more humiliating than everything else happening at the moment.

"okay, it's definitely too soon," they whisper in your ear, "but i have to admit there is something that's going to be so funny later about my name being ashe and my wedding going up in flames." they wrap their hand in yours. "i can't believe we worried about candles. we should have just gone with them instead of worrying about safety. are you okay?"

you send them a look. "am i - am i okay? this absolute bitch -" you gesture with your free hand out to where edmund is trying to piece together the cinders of his chair, "ruined my fucking wedding."

your mom is standing awkwardly in what used to be the "family" row of chairs. your father is absent, of course. she makes a noise at you. "don't call your brother a bitch."

"oh my fucking god." you have to put your head between your knees again, fighting that stupid fucking rage-puke urge. your blood pressure has obviously reached "skyrocket".

"he's here, isn't he? you're not being particularly grateful," your mother says, because of course she does.

"oh my god! ohmygod. ohmygod." you feel yourself hyperventilating, and then you start laughing, and you hate the hyena hysteria of it, the way it pitches dangerously close to a sob. "this is just - this is just like you! this is the fucking - you blow out the candles on the birthday cake! you curse the kids i'm trying to babysit! you get straight-A's on every test without studying, and get all the friends, and everyone is obsessed with you! and then when i graduate from art school, do i fucking get a party? nope! but hey, let's throw edmund a party for his 300,000th tortured soul! and his 300,001st! and fucking everything else. and fuck me, i guess! edmund gets hurt on the playground, let's burn down the playground. i got fucking bullied, and our parents don't even notice. i am fucking struggling, but we need to pay attention to edmund. he gets fucking everything. while we're at it, why don't we let him fucking ruin my wedding!"

you are dimly aware of ashe wrapping one arm around you and then the other, and then you are sobbing into their shoulder.

"oh, come on. stop with the hysterics," your mother chides you. "you had a perfectly fine childhood. all kids fight. you should have gotten the ceremony done faster. and you know i didn't approve of you spending all this money when you have student loans to -"

"respectfully," ashe's voice is cold and cutting while they rub circles on your shaking back, "and i know you're about to be my mother-in-law, but -" you hear them force a smile, "maybe you could choose this moment to leave your daughter the fuck alone?"

you are so fucking in love with ashe at that moment that it stops your weeping like you got hit by a truck. you look up at them, and want to go back to crying, just overwhelmed by the sheer fucking amount you care about them, but then you look over at your mother, and her shocked expression, and you burst out laughing.

your mother makes a few almost fish-like motions with her mouth, and then turns on her heel, stomping over cinders on her way out. and then it is just you and ashe and edmund and how you are half-crying half-laughing quietly to yourself, like a tap that won't stop dripping.

edmund has put the chair down. he is staring at his hands. he is at least 500 pounds and over 7 feet tall (he doesn't use metric, he's the devil). and somehow, right now, he just looks... small. crestfallen.

"yeah, i mean." his voice cracks. there's no boom of thunder or hellhound echo. he sounds like he did as a kid, before the strange powers and the levitating and the souls of the damned. he sounds like he did the night he accidentally melted most of the pieces in your first glass art show. he sounds - like your brother. he puts the heel of his palm against his eye. "i ruined my sister's wedding."

ashe offers him a little half-grin. "i do just want to say i love the aesthetic, by the way. but you did very much ruin my wedding too."

he points at them, finger-guns. "....ruined their wedding too." something in the attempt at humor - how his voice breaks on the words, how lonely he sounds. it makes you have to close your eyes against the sound. "....you seem cool," he says. "it's... it was nice to meet you."

you hear him come over, his hooves clacking slowly on the floor. when you open your eyes, he's sitting closer to you.

he opens his hand. inside are two little ceramic figures. wedding cake toppers. "i... i made them for you two. i figured i would try - how you make art, without magic. i... i took a class, and i made - i made them." he looks down at the little white-dressed people in his wide, calloused palm. "it's... i wanted to be ... good. i..." he looks at you, and then at ashe. "i tried, you know?"

ashe reaches up, lets him roll the figures into their palm.

he stands up. folds his hands in front of himself. "i don't. know how to be good. i know it doesn't come naturally to you, either. i saw you... choose. to be kind. you could have treated me different, too. like everybody? i was weird, and everyone knew. if you'd been ... mean? it would have been okay. but you." he shrugs. "one time you tried to kill me in the bathroom."

you don't know why you're crying. you look up at him through the cracks between your fingers. "twice," you croak. "but the second time i had a knife." you tuck your hair behind your ears. "but that was only after you pushed me down the stairs at grandma's and i broke my leg before a dance performance. you fuckin' deserved that one."

"i pushed you because you were being a wretched bitch."

"hey now," ashe says, a little edge to their voice, "that's my wife."

you squeeze their hand. "no, he's right. i had deleted his pokemon gold save file right before the elite four."

ashe drops your hand like you scalded them, showing the only horror you've seen this whole time. "you - girl, what the fuck?"

you shrug a little. "i was being a wretched bitch. and he did break my leg about it."

edmund shifts a little. "i just - you are...." his voice dies.

in your family, you don't say i love you. in your family, you don't touch each other or show affection. in your family, you just show up for each other, quietly. neither of you knows how to speak or process what needs to be said. you can see that lacking flashing over his face, literally playing out in shades of crimson. you get that weird twin-sense of something unsaid.

ashe sets the little ceramic people to the side. "she treated you like a person when everyone else treated you like a prophet."

you cut your eyes to them, and then edmund, who gives you one very short, sharp nod. "i, uh. i can. never try." he clears his throat. "i can never try hard enough. for that. i can - what you gave me. by. doing that. by ... just. i made. one thousand. wedding toppers. so it could be perfect. because - i ... it needed to be perfect." he appears to be dying of embarrassment, which does imply he might be capable of dying. oh good. in case i need to try to kill him a third time.

the thought makes a weird, wet laugh bubble out of you. "remember that one time i failed my math test and you set mr. fog's car on fire about it?"

edmund looks shyly at you, and a very small grin spreads across his face. not the dark lord - just a 30-something year old man who has just upset his one-and-only twin.

"you're throwing us the most ostentatious, egregiously expensive wedding," you tell him. "above land."

he frowns a little. "okay, but i'm not doing anything in miami. the vibes there give me the heebie jeebies."

ashe holds up their hand. "and you'll be repaying the deposit on literally everything. oh, and replacing the cake."

you kiss their cheek and then point to him. "and you'll be on time for it."

he shrugs a little. "okay, i literally can't perform miracles, so like. set the bar lower. i can't promise i'll-"

you look down at your feet. "i'd like you to be my man of honor this time. like. by my side. so. you can't be late this time. okay? we do it the right way. finally."

"huh," ashe says, looking between the two of you. "you guys have the same smile."

edmund's grin becomes a little wider, a little easier. he raises an eyebrow at them. "okay, i get that you're cool, but you're like, very cool about this whole thing."

ashe lifts a shoulder. "used to work for the monster under the bed."

"oh shit, simon? fuck." he points to them. "remind me not to mess around with you."

you want to tell edmund i love you and i missed you, but you can't. instead, you pick up the figurines. they're not perfect, but you can tell hours of his life went into each. his hands are so big - it must have taken him so much work to make these things so small. you picture him with his back bent over a workbench, trying to get a face into a tiny clay figure. the ceramic version of you is smiling. he's given you little fangs and a unibrow. he gave ashe a tiny yellow crown. you make the two figures kiss.

snow is falling indoors, little icicles of hellfire. ashe reaches out and take edmund's hand, and then, very awkwardly, he reaches out and takes yours too.

for a moment, it's just the three of you, and the beautiful quiet of the room.

You’re standing at the altar, about to get married to your beautiful fiancée. When suddenly the king of demons bursts through the door of the room, which naturally causes panic. You tried to warn everyone that inviting your sibling to the wedding would mean trouble, but they kept insisting.

[satoruan]

FRIENDS WHO PLAY TOGETHER STAY TOGETHER ! ! — ARCANE

( tw ) f!reader. FF pairings. modern AU! masterbation. fingering. squirting. cunillings. dry humping. reader is kinda possessive in Vi’s. some yearning.

featuring. Violet, Caitlyn Kiramman & Mel Madarda

authors note. When you off that honey packet and ur home girl the only one in vicinity. Mel is so 🤭 I can’t she my type to a teeee. Anyways I’m about to go watch Act 2 WISH ME LUCK IM SCARED. Also idk how I feel about Kaits part I could do better 😔

VIOLET 

You and Vi were at another one of your friends' sleepovers. You didn't wanna come, you wanted to spend the Saturday just the two of you, alone. You hated sharing her attention, she was your best friend. You were each other's number one, why did you need other friends when you two were each other's everything. It was late now, almost everyone was sleeping or about to fall asleep when Vi crawled between the bodies of people to where you were laying. You didn’t notice until you felt the familiar embrace of her against your back. Despite yourself, you felt yourself relaxing against her body.  

“Are you still mad at me?” she whispered into your ear before placing a gentle kiss on your bare shoulder. “You know my favorite person. You have nothing to worry about.”  

“Yeah, whatever.” You grumbled. You weren't truly mad anymore but you knew what came next, what Vi did to reassure you that you were special to her. Her only best friend. You weren’t surprised when her hips rocked into your ass, when she pressed her tits against your back nor when her hand traveled underneath your oversized sleep shirt and cupped your breast. 

“Vi…” You sighed nuzzling into the arm underneath your head. She tightened her grip on your breast and rocked her hips into you. You push back harder and soon enough you guys find a rhythm. Your ass pushing down on her hips when she grinds up into you. Her callused palm grazes your nipple and you whine softly. She whimpers into your shoulder, finger going to your nipple when she pulls and twists. You wish her mouth was on you, you wish your mouth was on her. You turn your head to her “I love you the most. My favorite forever.”  

You feel her smile into your shoulder. “You're so beautiful, you know that?” translation: I love you too. 

MEL MEDARDA 

You couldn’t believe it. Your best friend’s tongue was inside of you. Licking you. Her lips were sucking on your clit, her teeth were biting your pussy lips. You could hear how wet you were—you could feel yourself leaking all over her face. “Mel!” You scream out into the dark room before slamming your hands over your own mouth. You don’t want anyone to see you—you don’t want her mother to see you, what a scene she would make. Seeing her daughter nose deep into her childhood best friend. Mel pulls her mouth off your clit with an embarrassingly loud pop. “Do you feel that? This is how you’re supposed to eat pussy darling.” She smiles when you just nod. Afraid that if you remove your hands from your mouth, you might confess something you don’t want.  

Plus, this was just a favor, strictly platonic, you were just friends. That’s why she was eating you out in the first place—you wanted to finally dip your toe into the dating scene but you were scared because you were inexperienced, you didn’t wanna leave your future partners disappointed in your nonexistence skills. And that’s where your best friend came in. Where you didn’t know anything about sex, she knew what felt like everything. Though you never saw her with anyone, she talked like she knew the ins and outs of men and women and she offered to teach you.  

“Now after you use your mouth and get them wet you wanna bring in your fingers, like this.” Mel grabs one of your thighs and pushes it down, giving her a better view of your dripping pussy before using her free hand and pushing a slender finger into you. You gasp. “I know you’ve fingered yourself before sweets, how many fingers have you shoved into this pretty pussy?” 

You whimper, hesitantly removing your hands. “T-two Melly.” You answer bashfully, using the nickname you gave her when you were children. She hums and adds another. You bite your lip, lower abdomen clenching when she curls them into your spongy g-spot. 

“Now pay attention to me alright?” She leans down to place a kiss on your pubs, leaving a trail of light kisses until she reaches your clit. She moves her hand out of you and a fast pace, fingers curling when she knuckles deep. You moan at the feeling of her hand pounding into you.  

She gives your clit a few kitten lips before wrapping her full lips around the swollen area. She bits hard enough for you to wince before she starts sucking. You feel yourself coming apart on her face before you can stop yourself. She hurriedly removes her fingers, mouth sucking you even harder when you feel liquid gush out of you. You grab the back of her head and scream. You can’t stop it, you don’t want to. You throw your thigh over her head and curl your foot into her back, still riding the high. When your pussy stops shooting the mysterious liquid out Mel’s fingers find themselves back inside, four this time. 

You feel tears collecting in the corner of your eyes, as she finger-fucks you. Mel pops back off your abused clit to whisper praises, good girl, you're doing so good, look at how well you take me, you feel heavenly, and when she goes back to playing with your clit you know you don’t want anyone to fuck you unless it’s her. Maybe you can ask her to teach you how to give hickeys next. 

CAITYLYN KIRAMMAN 

You were horny. Cait was horny. You both kept glancing at each other when you thought the other wasn’t looking, sussing out what the other was thinking. The movie you guys were watching was a rating away from being straight porn. When it was over you, both decided to call it a night. It was late she said. You guys had class tomorrow you said. When the lights turned off, you both said goodnight and laid down in your shared bed. You two were so close and loved being near each other that on the first day of the semester you pushed your twin beds together. Oh, how you were regretting that idea now. All you wanted to do was fuck yourself. You knew you weren’t going to fall asleep without an orgasm and so after twenty minutes when you thought Cait was asleep, you found your hand traveling into your boy shorts. You sighed in relief when your fingers grazed your throbbing clit. You rubbed it for a few seconds before shoving two fingers into yourself. 

That relief was short-lived when you heard a breathy moan that didn’t come from you. You tensed up and stopped. When you didn't hear anything—maybe she was making those noise in her sleep—you slowly started to move your fingers in and out, palm rubbing against your clit. You bite your lip to stifle a moan and turn onto your back. You could barely move your fingers in and out lying on your side. You part your legs and moan when you finally hit your G-spot. You're so horny but your imagination isn't cutting it. Opening your eyes you turn your head to find the outline of your best friend who was the star in some of your fantasies, her hourglass figure would for sure spark a fantasy. When your eyes adjust to the dark you're shocked to see Cait staring back at you, her blanket pooling at her hips when you could see her hand abruptly stop moving. Your Cait was masturbating too, in the same bed as you. A grin spreads along your face. 

“I-I’m not—”  

“I am.” You whisper, pushing your blanket off you. Her eyes immediately latch onto where your fingers are slowly pushing in and out. Your other hand comes up to your tank top where you push your shirt down. Your breasts spill out. Cait’s face turns into a tomato, eyes widening even more than they already are. She doesn't remove her gaze from your breasts when she starts fingering herself again. You watch her mouth part into a small O and her eyes roll to the back of her head. You imagine what she looks like riding your face and start to speed up. Your other hand twisting your nipples.  

“I-m gonna..” Cait whimper and spasms for a few seconds. You moan at the look on her face, so pleased with herself, and soon enough you're squeezing your eyes and coming too.  

[caramel-ribbons]

I just watched Avatar for the first time all the way through, and yeah, it’s great, but the one thing that surprised me was how different Katara was compared to the fandom interpretation I’d seen and internalized before watching.

Like, before you watch Avatar, you’ve seen all these memes about Katara and her mom, and based on those memes, you assume it’s one of those lines you have to get used to hearing at least once every episode. But then you watch the show and realize that she only talks about her mom maybe five or six times per season and you also realize she only brings her up when she’s trying to comfort someone or empathize with them because that’s how she processes her grief and that’s one way she connects with people.

Or you hear the infamous line, “then you didn’t love [our mother] the way I did” and you prepare yourself for one of the worst character assassinations ever only to see the scene after nearly three seasons worth of context and realize she was kinda right. She’s been the mother, the nurturer, the comforter. She’s been patient, gentle, and accommodating where everyone else has gotten to be insensible and reckless and childish, and the one moment where she allows herself to feel her grief, suddenly she’s this evil bitch and not, y’know, a 14 year old girl whose been thrusted into adulthood in a way no other character has. A 14 year old girl who should be allowed immaturity and raw emotion and anger instead of the patience and grace she’s been forced to extend to every character without even the smallest amount of gratitude or even consideration in return.

Or you see all of the clips where Katara puts Aang in the “friendzone” and you expect to have this wishy washy back and forth where Aang is putting his feelings out there only to have Katara neither commit nor express any clear reciprocation or rejection. Then you watch and realize that, as cute as the ship is initially, that there’s never a point where Aang returns any comfort or grace to Katara despite her always doing this for him to the point of coddling. That for as much as Aang says he loves her, he never seems to outgrow his perception of her so he can recognize her as someone who feels grief, anger, and pain as much as she expresses love, kindness, and maturity. And instead of having moments where he learns to see her beyond her strength or compassion, you’re instead given moments where Aang forces his feelings onto her, both romantic and non-romantic, and Katara is expected to just…shoulder those feelings the way she shoulders everyone else’s.

Katara is the most misunderstood character in the show. As much as people recognize the complexities of Zuko, Sokka, and Azula, they struggle to do the same for Katara because they see her struggles as somehow lesser, and therefore, less deserving of sympathy. They can handle her so long as she’s being endlessly patient and loving and kind, but the moment her endless love, patience, and kindness runs out, she’s suddenly this annoying bitch who can’t shut up about her mother or reciprocate Aang’s feelings. But Katara’s trauma does matter as much as anyone else’s. No, she wasn’t banished from her kingdom. No, she didn’t lose her entire community, and no, she isn’t the only one who lost her mother. But the difference between her and everyone else whose experienced loss because of the Fire Nation is that she’s never given time to process her trauma. Aang gets to lean on Katara constantly. Toph gets to express her feelings to Katara, and yeah, Sokka also lost their mother, but unlike Katara, he isn’t put in the position of being a substitute for everyone’s parent. He even admits that he sees his sister as a mother. The only characters who ever comfort Katara or allow her to vent is Zuko and her father and that’s, like, three scenes in a show where the other characters are consistently given opportunities to seek out Katara for unconditional support.

The fandom interpretation of Katara has been so bastardized that even those who haven’t watched the show know her for this fanon version and not for who she is. She’s such an interesting character beyond her fandom limitations, though. She’s brave, hot-headed, and hopeful as well as gentle and caring. She wishes to learn waterbending, not only because she wants to fight in the war, but because she wants to continue her culture’s practices because, and people often forget this, she also lost an entire subculture within her already fractured tribe. And she wants to defeat the Fire Nation both because of her deep love and empathy for other people, but also because she wants to avenge her mother. But because some of the fans have reduced Katara to a bitch who constantly whines about her mother and friendzones Aang, you wouldn’t know any of this, and it sucks because she’s the only character whose been dumbed down to such an extent.