#or does he actually have enough of a clear mind to realize no more kids will come

[drawer-of-socks]

Haven't drawn the boys in a hot minute-

[noblest-roman-of-them-all]

Contemplating the concept of "potential" when it comes to intelligence and realizing how heartbreaking Logan's "Dreams come true, that's news to me" line in the Crofters Musical.

[lemonlover1110]

𝐇𝐄𝐀𝐃𝐋𝐈𝐍𝐄𝐒

Toji Fushiguro

Pairing: Actor!Toji Fushiguro x f!Reader

Warnings: MDNI!, smut, oral sex (m. receiving), spitting, vaginal sex, creampie, angst, family fluff, toji has like 50 kids (4) and tries to be a good dad

Summary: Toji's selfishness is getting in the way of your family. When he notices that your family is slowly falling apart, he does what he can to hold it together.

*Actually a long oneshot! for @ayyy-pee's collab

Discord +18 - Twitter - Ko-Fi

“ACTOR TOJI FUSHIGURO SPOTTED GETTING A LITTLE TOO COZY WITH NEW CO-STAR”

The headlines are everywhere, it’s nearly impossible for you to ignore them. It’s not only the headlines but the pictures, the videos, the talk shows, the clear chemistry between them– And if that isn’t enough, the messages and calls you receive asking if you’re okay, are driving you insane. You don’t know how much more you can take of this.

Toji wanted to venture out of his usual villain role, wanting to do something more lighthearted, more fun. Whenever he’d audition for anything where he wasn’t the bad guy, he would get a simple answer: you’re not the guy we’re looking for. Truth is, Toji is too intimidating and lacks the look of the perfect picture man that they’re looking to cast in romcoms. You aren’t going to lie and say that you were bothered by this, because in fact, you were glad he wasn’t.

As selfish as it sounds, you were happy with the fact that Toji was getting stuck in the same villain roles. He’s already famous enough, and you have more than enough money, he doesn’t really need the lead role since it means that he’ll spend even more time away from his family. But you lie to yourself because if he got the lead in any other movie, you’d be ecstatic for him. 

The dreaded day came, and Toji got a call from his agent. An offer for a lead role in a new and upcoming romcom. It was hard for you to be happy for him, even though your husband was so excited to venture out of his usual character. ‘He’s going to kiss someone else’ was the first thought that came into your mind, and then you realized that movies nowadays are so much more explicit than just a kiss. 

Toji wasn’t supposed to, but he told you about a couple of things in the movie. He was so excited, and he couldn’t keep a thing from his wife. He told you of the characters, the plot, the scenes he was most excited about and the scenes he was worried about– The steamy scenes where Toji will be stripped to nothing with his tongue down another woman’s throat. 

Jealousy would consume you for the next months, realizing that your husband is going to pretend to be with some other woman; however, you can’t be too mad, since it’s all just happening in front of a camera. You’re the only woman Toji loves, you know so. You shouldn’t take this too seriously.

Until the relationship came off the cameras because the pair has undeniable chemistry, and the directors thought that hinting they were having an affair would make for great promo. You nearly begged Toji not to do it, but he didn’t listen. He wants to ensure the movie’s success, which you understand but it’s humiliating for you and your family.

You’re upset with him, and Toji knows this, but he’s allowed to be selfish. He’s wanted this, and he’ll do just about anything to make sure everything goes smoothly, he can risk having you mad at him for a few months. Although, he’ll admit that it sucks because you’re so cold with him.

“How about we take the kids and go out for dinner tonight?” Toji asks, watching as you get out of the bathroom with nothing but a towel. He wants to go on a date with just the two of you, but he also misses his kids. It doesn’t matter what Toji suggests either way, because you ignore him. He clears his throat, repeating, “How about we go out for dinner?”

“Huh?” You respond, acting as if you hadn’t heard him before, and Toji doesn’t know whether to laugh or roll his eyes. Toji repeats the question a third time and you proceed to answer, “I’m going out tonight, I can’t.”

“What are you and the kids doing?” Toji questions, wondering why he wasn’t invited. He guesses he knows why, but you should’ve at least tried to make the effort since it involves your kids.

“I’m going out, the kids are staying with the nanny.” You tell him, which makes his eyebrows perk up. Toji stands up from the bed, walking over to you. He hugs you from behind, planting a kiss on your shoulder.

“How about we–” He begins but you proceed to cut him off before he can even finish his sentence.

“I’m going out with friends. Without you.” You answer, removing Toji’s arms from your waist. You walk to the closet to find your outfit for the night, and Toji can’t seem to leave you alone, following behind you like a lost puppy. 

“You don’t have to be so cold.” He argues, and you pay no attention to him. You were clear that you didn’t want this to go this far, yet he let it happen. You can be as mad as you want to be with him. “What are you planning to do anyway? Cause a scandal to get back at me?”

“I’m allowed to have fun, am I not, Toji?” You respond. You simply want to go out without thinking of your husband and all the embarrassment his job is bringing. If it causes a scandal, then so be it.

“Then why are you so set on going alone?” He replies, and you scoff. You can’t believe the audacity.

“I just want to be away from you because you humiliate me.” You finally look at him, shooting him a glare. It shouldn’t hurt because he’s caused his own problems, but it still hurts to hear that from his wife, “I was upset about the movie, sure, but I knew you wanted to do it so I bit my tongue. This publicity stunt is too far, and I told you not to do it over and over again, but you did it. Fine. You’re an adult.”

“And? You know it’s not real.” He argues, which only ticks you off more. You won’t raise your voice because your children are wide awake, and you don’t want them to hear as you yell at their father.

“Do you know how many pity messages I’ve gotten? The amount of calls? I’m just the poor victim to all of them, and also the stupid woman that won’t leave her husband.” You respond, and he opens his mouth to argue that it’ll be over soon. In a couple of months the truth will come to light and everything will go back to normal. “The kids are getting teased about it too. Megumi is old enough to know it’s a stunt, but the other three aren’t.”

“What do you mean the two year old and five year old are also affected by this?” He questions in a mocking tone, which tells you that he isn’t fully believing you. You feel your blood boil, and you take a deep breath to keep yourself calm. You’re not letting him get the best of you.

“Well, considering that the ten year old can’t keep his mouth shut and tells the other two that mommy and daddy are getting a divorce, I’d say yes, they are affected by this.” You try to remain stoic, keeping your voice low and calm. Toji bites down his lip, his eyes going wide at the realization that his ten year old refusing to talk to him wasn’t just a simple tantrum. “I tried to tell him that everything is fine between us, but he didn’t exactly believe me.”

“Is that why they’re refusing to talk to me?” Toji’s demeanor changes, becoming somber in a matter of seconds. You end up shrugging, not really knowing why your son is acting the way he is, but you can only assume it’s because of it. 

“I’m not sure. Probably.” You don’t care to really find a solution to his problems since you’re upset with him too. He needs to realize that his actions not only affect him but also his family. You watch as the man walks over to the bed to take a seat and think of what to do with this new piece of information. And while you’re mad at him, you still love him and want to help him out one way or another. You focus on getting yourself ready while you tell him, “How about you take them out tonight? Explain to them that everything is fine between us and–”

“Will you come with us?” He interrupts you, making you click your tongue.

“I’m going out, you can deal with the issues that you’ve caused, alone.” You answer, and Toji furrows his eyebrows. He knows that he can’t exactly be too mad at you because you’re right, he caused his own problems. “Take them somewhere to eat, watch a movie with them, play with them. I don’t know. I’m laying it all out for you, Toji. You can decide what’s best.”

“What about you?” He asks, and you don’t even care to entertain him, sitting in front of your vanity to do your makeup. Toji has to repeat himself, and you sigh.

“Figure it out.” 

“Ryo, are you ready?!” Toji yells down the hallway, but his ten-year-old doesn’t answer. Toji simply goes ignored, and the man tries to remain calm. Getting mad isn’t going to do him any good, yelling angrily at his son isn’t going to make Ryo any less mad. 

You left around thirty minutes ago, and Toji spent the entire time trying to convince you to stay; however, his efforts were in vain. You didn’t care enough to listen which shouldn’t really shock him, he’s still upset though. After you left, he began getting his daughters ready to go out, telling his sons to put on something comfortable since they’re going out to dinner.

Now that both of his girls are ready, he’s simply waiting on his sons. Toji knows that Megumi is somewhat ready, but he isn’t sure about Ryo. 

“Aimi, baby, can you wait downstairs while I check on your brother?” Toji asks his five-year-old, and she nods in response. Toji has to talk to his son alone, but he can’t do so with the two-year-old that’s on his hip. He knows that Aimi isn’t going to cause any trouble, but the little one that he holds is either going to get hurt or cause a big mess. He’s dismissed the nanny, and he can’t exactly leave her alone with Aimi. 

Before making his way to Ryo’s room, Toji walks over to Megumi’s door. He harshly knocks on the door and puts Emi down in front of it, as if Toji were the stork himself. Emi is about to run after her papa but Megumi opens the door, and she squeals when she sees her beloved older brother.

“What?!” Megumi yells down the hallway when he spots his father. Megumi picks up Emi from the floor, ensuring that she doesn’t run away.

“I’m going to talk to Ryo! Make sure she doesn’t get hurt!” Toji responds, and Megumi sighs. Not that he particularly minds, but Toji could’ve at the very least waited until Megumi had her in his arms. Megumi clicks his tongue, shaking his head in disappointment before telling his sister,

“What are we going to do with him?” And she shrugs in response.

“I don’t know.” She answers, which makes Megumi laugh. He walks out of the room and goes downstairs to join his other sister. 

Toji stands in front of Ryo’s door. He knocks but he’s met with no response. Toji isn’t willing to respect his kids’ privacy, not when he pays for everything they have. Toji opens the door to the room, finding Ryo in his pajamas, playing with his console. Perhaps this would be the perfect time to have a heart-to-heart with his son, explain everything that’s going on– But would Toji really think of that right away?

“Change. We’re going out.” It’s an order, and Ryo doesn’t like it. He’s about to ignore Toji but Toji snatches the console that’s in the boy’s hands. “Don’t act like a fucking brat. Change. We’ve taught you better.”

“I’m staying with mom.” Ryo mutters, angrily getting out of bed to do as his father says. Toji won’t lie and say that the words don’t hurt him, but he remains stoic. 

“Hurry up. Your siblings are waiting.” Toji says before leaving the room, the console in his hand. He has to hide it before leaving.

“No more.” Emi pushes her plate away after taking a few bites of the food she ordered. She’s barely eaten, Toji wants to make sure that at the very least she finishes a chicken tender. 

“Can you at least finish this, please? You’ve barely eaten, princess.” Toji asks her, but she shakes her head. Toji has to find a way to bribe her, but first he has to deal with Megumi and Aimi who bicker about… Something.

“Chew with your mouth closed, don’t be gross.” Megumi corrects her, but Aimi isn’t going to listen to someone who isn’t her mother… Occasionally she listens to Toji, but it’s rare.

“I don’t care!” She yells, and Toji’s face slowly gets red with embarrassment. People are slowly looking at the table– It’s funny because he really thought that having Megumi here would be useful. Instead, he’s yelling back and forth with his five-year-old sister.

“You’re nasty, Aimi!”

“Your face is nasty!”

“Will you two quiet down?!” Toji half yells. His eyes linger on Megumi, “Remind me how old you are.”

“Sixteen.” Megumi answers, reality setting in when he says his age. His cheeks slowly turn pink as he waits for his father to say his next sentence.

“And you’re arguing with a five-year-old? Loudly, in a restaurant, dare I add.” Toji says, and Megumi pushes his plate away because he’s suddenly lost his appetite. Toji hadn’t realized just how hard it was to deal with all four kids without any help– Well, three kids since Ryo isn’t talking. He’s not doing anything. Toji clears his throat before asking, “Do you like the food, Ryo?”

Ryo doesn’t answer, and it’s slowly driving Toji to his limit. He’s talking to everybody but Toji, the moment Toji addresses him, he goes silent. Toji looks at Megumi and points at Emi, “Get your sister to eat.”

“Ryo, talk to me. Your mom and I are fine.” Toji claims, but Ryo doesn’t say anything because things clearly aren’t fine– After all, everyone is talking about it. Toji is essentially ruining the family by running off with his co-star.

“Ryo, do you want my leftovers?” Aimi asks her big brother and he hums in response, taking the plate from her. Toji takes a deep breath to remain calm. Ryo technically didn’t even say a word, he just hummed in response, Toji can’t be mad about that. Then Aimi asks, “Do you think daddy will get dessert? I think they have ice cream.”

“The key lime pie is better, plus we have ice cream at home.” Ryo argues and Toji gets an idea on how to get his son to talk to him.

“Do you really want the key lime pie? I thought you liked cheesecake better.” Toji comments, and Ryo doesn’t answer. He proceeds to talk to his little sister, and Toji can’t take it. He slams his hand on the table and causes a scene, “For fuck’s sake, Ryo! Don’t ignore me!”

If all eyes weren’t on them before, they definitely are now. The cherry on top is Megumi who tells Emi, “See, he’s going to do that to you if you don’t finish what’s on your plate.”

Emi begins to cry her little heart out, and Toji lets out the biggest sigh. Curse the day he decided to have kids.

“I’m not going to do anything to you, Emi.” Toji says, but she’s crying and stuffing her face out of fear. Everyone is looking at him, some people surely recognize him. At least this fits the narrative that his family is falling apart, and while it was all a stunt at first, it’s starting to feel real.

It’s his fault, he can’t blame anyone else but himself.

“Finish up, we’re going home.” Toji sounds defeated, and he is. Taking the kids out to dinner should not be this hard. 

“What about dessert?” Aimi’s voice is filled with disappointment.

“Dessert isn’t happening because you kids don’t know how to behave.” Toji answers, and Aimi crosses her arms, a pout on her lips. Toji wanted to make things better with his kids, but unknowingly, he’s made them worse.

“Night, night, princess.” Toji kisses Aimi’s forehead, but she doesn’t care to even acknowledge him. She doesn’t say anything, turning to her side so she doesn’t have to look at him. Toji sighs, “You’re ignoring me too, huh?”

She doesn’t say anything, which doesn’t really upset Toji. She’s just mad that she didn’t get dessert, tomorrow she’ll be fine with him again. He kisses her temple before telling her, “I love you.”

He knows waiting for an answer is useless, so he turns off the lamp and walks out of the door. Aimi will eventually get out of bed and run after him to apologize because she feels bad since she loves her daddy so much. 

Toji closes the door, and he looks for Ryo’s console. Once the console is in his hand, Toji goes to his son’s room. Toji doesn’t bother knocking because he knows he won’t get a response. Ryo has the lights turned off, trying to sleep since there’s nothing better for him to do. But Toji knows that the child isn’t sleeping, he’s just like you, he tosses and turns a million times in the night before actually succumbing to slumber.

“Here’s the console, kiddo. Thanks for going out with us tonight.” Toji says, putting the console on Ryo’s dresser before walking over to his side to press a kiss on Ryo’s temple. Toji hears some sniffling coming from his son, which makes the man want to fall to his knees and cry as well. 

Toji has four kids, he’s heard them cry many times before for trivial things. He’s never really felt this before with one of them because he really wasn’t at fault. He was doing things for their own good… But this time he’s doing all of this for his own selfish reasons. 

“My baby boy, please talk to me.” Toji kneels down by the bed, hoping that his son will finally say something to him. It’s killing him slowly, he just wants to talk to him. Toji doesn’t want his kid to hate him, but it feels like Ryo is slowly getting there.

“I don’t want you and mommy to get a divorce.” Ryo finally speaks up, and Toji’s heart breaks when he hears him call you mommy, considering Ryo started calling you mom the day he turned eight. Toji stops kneeling, taking a seat on the edge of the bed. 

“Everything is fine between me and your mommy.” Toji says although it’s hard to believe. They’re not fine, but you’re not getting a divorce either. “We just have to talk things out, but we’re not getting a divorce.”

“All of my friends are talking about you and how you two will end up splitting.” Ryo finally sits up on the bed, and Toji doesn’t really understand why this is even a topic of conversation for Ryo’s friends, but it is and Toji has to deal with it. “And it’s your fault.”

It is, Toji can’t really say otherwise. But he isn’t splitting up the family– At least not by having an affair like the news claim.

“Ryo, I promise you that your mom and I are not splitting up.” Toji tries to reassure his son, but Toji isn’t all too sure himself. “We are having some issues, but it’s not because of what your friends are telling you. What they’re telling you is not real.”

“But–” He’s about to keep going but Toji has to cut him off. Toji can’t keep defending himself, he keeps using the same argument over and over again and he doesn’t know how many times he can actually say the same words.

“Did you ask your mommy about this?” Toji asks, and his son nods in response. Ryo has asked a million times and you always have the same answer. 

“Yeah… She said that you two were okay.” He replies, yet he doesn’t believe a single word of it. Toji is growing frustrated, but he can’t let it show. His whole job is to pretend to be someone else, to act out certain feelings and suppress the actual emotions that run through his body, he should be able to do that, right?

“Then why don’t you believe us? Your friends don’t know what’s happening in our relationship.” Toji points out, but that’s not enough for Ryo.

“I know mommy was lying.” 

“What do you mean? Did she tell you she was lying?” Toji’s confused. Ryo is ten, he’s not smart enough to spot a lie, especially from you. You’re a damn good actress, when you show your emotions it’s on purpose, and Toji doubts you were purposely showing your emotions.

“I was going to ask her something and I saw her crying…” Ryo confesses, and Toji furrows his eyebrows. He’s certainly hasn’t heard that, but Toji clears his throat before arguing,

“You do know that your mom has a completely different life and she could’ve been crying for something that doesn’t involve me, right?” Toji is sure that the crying had to do with him, but he isn’t going to let that be known. Ryo nods in response, since what his father says does make sense. Toji ruffles his son’s hair before kissing his forehead, “Next time you’re mad at me, don’t give me the silent treatment.”

“I won’t.” Ryo answers, although neither of them are too sure that he’ll keep up with his word. Toji stands up and gives the gaming console to his son, and Ryo wastes no time in taking it. 

“You can stay up late tonight.” Toji tells him, which puts a smile on his face. Toji also walks away with a smile on his lips, feeling victorious after getting his son to talk to him. Toji exits the room, gently shutting the door behind him.

Toji begins his walk to Megumi’s room, planning to check up on him. However, when his hand touches the doorknob, he feels a pair of tiny arms wrap around his leg. He looks down to find his five-year-old hugging him. He chuckles, “What’s up, Aimi?”

“Papa, I’m sorry. I love you too.” Tears are streaming down her face, feeling guilty about not telling her daddy that she loves him back. Toji picks her up from the ground, wiping her tears away and kissing her cheek.

“My little princess, I’ll get you some ice cream tomorrow.” He assures her, rubbing her back. She continues to wipe her tears because once they begin, they’re hard to stop. He takes her back to her room, reads her a story and puts her to bed once again. 

Toji continues what he was doing, checking up on his kids before going to bed himself. He waits for you, but it gets late. His eyes are closing on their own and before he knows it, he falls asleep. He’s getting old.

“Toji, baby–” You’re calling out to him. It takes a moment for him to open his eyes, but they open rapidly when he feels you kissing his cheeks. It’s definitely nice to feel you kissing him after barely acknowledging him the last couple of days. Still, he can’t help but question,

“Are you drunk?” You keep kissing him. He doesn’t smell any alcohol on your breath, but that doesn’t really answer anything. He feels your hand go down his torso to his sweatpants. You’re just incredibly horny, that’s a good enough reason. Your hand goes to his sweatpants, wrapping around the base of his cock before lazily stroking it. “What happened to you? What have you done to my wife?”

“I just need you. Need you so bad.” You say in between kisses. Your lips are on his neck, and Toji really can’t complain. He misses your touch so much– But what the hell happened to you? You were barely talking to him a couple of hours ago; either you’re on something or something happened to you.

“What happened, baby?” He stops you. Your hand comes out of his hands and you get on top of him. Your lips go on his, your tongue quickly entering his mouth and pressing against his. You’re avoiding the answer, and Toji grows worried. You’re grinding on him, and it’s hard for him to have a clear mind when all the blood rushes to his dick. He doesn’t remember the last time he touched you. You’ve been so mad at him that you shut him down the moment that he initiates something.

Toji wants to enjoy it, and his body is but his mind thinks about the fact that nothing has been solved. He’s not done anything to apologize to you, so he immediately thinks that you’ve done something. It takes every bit of him to push you away even though he doesn’t want to. You’re so gorgeous while you’re on top of him like this, that he doesn’t want to ask the question but he has to, “What did you do?”

“What do you mean what did I do?” You furrow your brows, and Toji clicks his tongue. He can’t believe that you’re initiating something and he’s stopping it. One week ago he would’ve been beating himself up for passing up on this opportunity, but he has to know why you changed your mind. 

“You’ve been mad at me, and now you’re all over me when I haven’t apologized.” Toji points out, and you suck in your bottom lip between your teeth. That confirms that you’ve done something bad, and his heart beat speeds up, thinking of the worst.

“I met a guy…” You begin and Toji’s heart breaks. He doesn’t need to hear the rest of it because he knows. Tears well up in his eyes and he tries to take a deep breath. Yeah, he knew his actions would have consequences but not this. “We flirted a bit, just having fun and then he invited me back to his place–”

“You don’t have to–” Toji is about to cut you off, and he’s reasonably thinking the worst.

“I didn’t go back with him. I remembered the amazing husband I have, how much I love him, how amazing he is at everything he does. I wasn’t going to risk losing you even though I’m mad at you.” You have to interrupt him before he gets into his head. You press a subtle kiss on his jaw before your lips go to his ear, “But if you see some headlines tomorrow, don’t get mad at me.”

“You scared the shit out of me.” He chuckles. He guesses he’s getting a taste of his own medicine, but he’s not mad after his initial scare. Your lips go back on his, but they don’t last long before moving down his neck and torso. Your mouth kisses to his nipple, your tongue circling around it which makes him bite down his lip. 

Toji is sensitive. Just about anything will make him cum. You continue to kiss down his body until his sweatpants obstruct your path. You desperately push them down, while Toji reaches for the lamp to turn it on. He has a particular love for watching you while you take care of him.

Your hand wraps around the base while you spit on his cock. You stroke his cock a couple of times before your tongue circles the tip of his cock. You take your time working him up before you lower your mouth on his cock, taking in as much as you can take.

If Toji had known that this is how his night would’ve ended by letting you go out, he wouldn’t have tried to talk you out of it. A pathetic moan leaves his lips, feeling your warm mouth wrapped around him. He’s missed this, fuck. 

He wants to push your head down, forcing you to take all of him– Which he normally does, but it’s not going to end well. Toji knows well that you’ll stop, and he won’t risk that tonight. This is a sweet treat that he doesn’t deserve, he’s not going to risk losing it. 

You try to take all of him in your mouth either way, tears building up in your eyes as you gag, eventually spilling and messing up the makeup that was already coming apart. This is what Toji loves, watching the makeup that you work so hard on, fall apart just for him. And you do it because you want to. Because you love the taste of him on your tongue.

You take him out of your mouth, using your hand to stroke his cock. Toji’s moaning with your every touch, it’s hard not to. You’re just so fucking perfect with everything you do that it’s hard for him to contain himself.

“Baby, please–” He sounds so pathetic. Toji is usually much meaner in this situation, but circumstances have obviously changed. He just wants to feel your mouth wrapped around his cock. “Use your mouth, baby. Please–”

“How can I say no to you?” You chuckle before your mouth wraps around his cock again. You take as much as you can take, your hand stroking what your mouth can’t reach. He’s shutting his eyes, moaning your name as his climax approaches. 

His cum hits the back of your throat, and you raise your head. You swallow it, sticking your tongue out so he can check it. Toji sits up, his hand going down to your chin, thumb into your mouth. The bit of submissiveness that you had witnessed quickly fades. 

“Who’s my good girl?” He asks, your tongue circling around his thumb. He wants to know what happened that has you so aroused, but as long as you didn’t get physical, he doesn’t care. He takes his thumb out, a string of your saliva connecting it to your lips. He orders, “Open your mouth.”

As soon as your mouth opens, he spits in it. You don’t waste a second before swallowing. Toji lips meet yours again, his tongue messily entering your mouth and pressing against yours. You readjust your legs, knees on either side of him. You’re grinding on him again, and the man pulls away from the kiss, not doing so without biting your lip first. 

“You want me to fuck you, baby? You need me?” He asks as you push your panties to the side. You’re aligning him with your entrance, softly moaning as you push yourself down on him. You can’t wait any longer, you desperately need him. You softly moan as he fills you up, your eyes nearly rolling to the back of your head. You’re sure no one will ever feel as good as Toji.

“Was thinking so much about you, baby. I missed you, Toji.” You moan, throwing your head back. You give yourself a moment to get adjusted to him before moving back and forth on his cock. His cock brushes your sweet spot, driving you insane. 

Toji shuts his eyes, getting lost in the moment. He’s missed you so much too, but he can’t speak right now because he’s groaning. He can’t believe that he’s gone so long without you… He shouldn’t have agreed to doing that publicity stunt in the first place. 

“You feel so fucking good, baby.” Toji moans, his hands going to your hips as you move on him. He hands roam, looking for the zipper of your dress, pulling it down so he can take your dress off you. His lips go to yours, your moans translating into his lips. 

You’re bouncing on him, his lips going down to suck on your neck. You let your moans roam into the air, feeling overwhelmed with how good you’re feeling. Toji barely even tries and he makes you feel euphoric. Maybe you were having second thoughts, but then you remembered just how perfect your husband is.

Toji pulls out, putting you down on the bed. He puts your legs on his shoulders before sliding back into you. He sets the pace, much faster than how you were going. Your hands are gripping the bed sheets, loudly moaning as your husband pounds into you.

“You’re so perfect, baby. You’re everything to me.” He praises you while one hand goes to play with your clit. You’re almost at your limit, and he feels it as your cunt squeezes around him. He says through gritted teeth, “You’re so fucking tight.”

“Oh fuck, Toji– I’m gonna–” You announce, so close to reaching your peak. 

“I know, baby– fuck, I know.” He groans. You’re driving him insane, it’s the effect that you have on him after not being with him for a while. God knows he needed this.

You loudly moan his name, your legs quivering when you reach your high. It’s hard for you to last when his cock reaches deep, and reaches all the right spots. Toji can’t help but praise you when you come, “That’s my good girl, that’s my fucking good girl.”

Toji’s thrusts begin to get sloppy, even though he wants to stay buried inside you for as long as he can. His hands hold on to your hips, nails digging into your soft flesh. 

“Inside of me, baby, do it inside me.” You tell him, knowing he’s nearing his release. You need to feel his warmth in every possible way, and Toji isn’t going to turn you down, certainly not with this. 

Toji comes to a stop, groaning before filling you up with his warm cum. He stays buried inside of you until making sure every droop is inside of you. His lips go down to yours, kissing you as he pulls out. 

“I’ve missed you, love.” He says before you both get comfortable in bed. You’ll wait a minute before going to the bathroom to clean yourself up. 

“For the record, I’m still mad at you.” You say before kissing his cheek, causing him to laugh. You stand up, walking to the bathroom to take a shower before going to bed, and he follows behind because he’s truly lost without you. 

“You’re here late.” He points out, unsure of what to say next.

“When you don’t have the kids with you, things go surprisingly smooth… Speaking of, how was your night?” You get in the shower, and Toji is staring. He’s watching every single one of your movements, even when he tries to tear his eyes away, he can’t. You're just so perfect in every way, how can he look away?

“Why did we have so many kids? They made the night so difficult.” Toji shares, and he hears you laugh. It’s no surprise to you, you’ve handled the kids on your own so many times before, and you always swear that you won’t even think of having another one– But then Emi comes to you with her teddy bear and begs for cuddles which makes you reconsider.

“Welcome to my world.” You respond, and Toji chuckles. He lightly bites down his lip, debating if he wants to go back to bed. He really doesn’t, so he decides to join you in your shower.

“So you’re less mad?” He asks, grabbing your sponge and pouring some body wash on it. Toji kisses your shoulder before he begins lightly scrubbing your body. You hum in response, and he can only wonder what you were up to– But he can’t complain. He couldn’t care less what you were doing as long as you’re not mad at him.

“I’m still upset though, don’t get me wrong.” You say as you take the sponge from his hand and use it on him. You peck his lips before muttering, “My husband has still been misbehaving, I won’t forgive him so easily.”

Toji doesn’t know how to come back from that so easily, so he ponders his answer. He helps you clean up.

“I talked to Ryo.” Toji announces, and you cock your eyebrow. Before you can ask about the details, Toji explains everything to you, ending off his sentence with, “Why were you crying?”

“Life gets tough when your husband is allegedly cheating on you.” You answer, and Toji bites his tongue. You have said a million times how you hate this arrangement, and Toji has been too selfish to consider your emotions. It’s not like you’ve been silent about how much you hate this. He can’t exactly be too mad at the fact that you’ve been ignoring him when it’s deserved. 

“I’m sorry, baby.” Is all he manages to say. You turn off the water, and get out of the shower, Toji following your lead again, even though he’s barely washed himself. You have your towel wrapped around him, while he opts out of getting his towel.

“I think you’ll need a bigger apology, but I guess sex is good too.” You answer, but that’s not enough for him.

“I’ll call my agent and tell him that it’s off.” He says, and you stop in your tracks.

“No! You’ve already done this much, the premiere is soon. Stick with it for now and just clear up your name after.” You’re quick to object. That movie better do great after all you’ve been through for this. You’ve suffered for months, you can put up with some more judgment for another month or so.

“But now I feel horrible.” He responds, and you sigh. “I want to apologize.”

You take a couple of steps toward him, your hands meeting behind his neck. You kiss his lips before telling him, “Another little Emi will suffice.”

“Woman, how dare you?! After the night I’ve had, that thought makes my dick flaccid. Don’t you ever suggest having more kids!” He argues, and you look down. His words certainly don’t match his feelings.

“Are you sure about that?” You ask him, and he sighs. He isn’t going to lie to you, and he isn’t going to tell you that you’re right, so he does the next best thing, picking you up and carrying you to the bed.

You have a long night of apologies ahead of you.

[obsessedwithceleste]

Til It’s Gone

Theodore Nott x reader

Based on this cute lil request 🤗

Summary: It seemed like they’d always been there. An ever-growing thorn in Theodore’s side. He really didn’t realize what he’d had until it was gone. (Happy ending I swear)

word count: 3.2k

©️ obsessedwithceleste. all works posted here belong to me and should not be reposted or copied in any way or form.

Theo let out a heavy sigh as he slumped into his seat, ignoring the cheery smile on your face as you turned to face him.

“Hi Theodore!” You chirped brightly, gaze landing on the tall brunette boy coming to sit next to you.

Salazar, here we go, Theo thought bitterly.

“Theo.”

“Right. Theo. How was your day?” You continued on, seemingly oblivious to his indifference as you scribbled mindlessly on your parchment.

Theodore wasn’t stupid. Quite the opposite in fact. He knew you liked him. That much you’d made rather obvious. Especially as of late. If saving him a seat everyday in this miserable class didn’t make it clear to everyone that you had a certain affection for the boy, then the notes dropped in his bag, or kisses blown from across the Great Hall certainly did.

The only reason Theo even accepted sitting next to you was because the seat was positioned perfectly to be just outside of Professor Binns’ field of vision, saving him the work of pretending to care about whatever topic the professor was rattling on about.

“I don’t see why you even put up with it all,” Mattheo often said. “Just reject them and move on with it.”

“Or at least stop sitting with them. You’re only encouraging them,” Enzo would add.

Yet, here he was, still sat lazily in the seat next to you. Theo didn’t particularly care that you fancied him to be quite honest. He’d gotten used to the same pattern of stoically ignoring your chatter, copying your carefully organized notes, and leaving. So long as you weren’t too annoying, he didn’t see the harm in sticking around. Besides it’s not like you weren’t easy on the eyes. And he supposed there was something to be said about the confidence with which you acted that set you apart from the general hoard of girls harboring similar feelings.

“Theo?”

Your voice snapped him out of his thoughts as he glances at you out of the corner of his eye.

“Fine.” He replied tersely before turning once more to stare blankly ahead.

He’d changed his mind. Absolutely not. This was horrible. At this point, Theo wasn’t even sure if you actually liked him, or were only claiming you did as an excuse to see how much you could embarrass him.

“Mate, this is getting to be Weaselette levels of weird,” Draco said as their group stared in horror at the third year who had approached them warily in the halls with a poem to read aloud in hand.

Theo visibly shuddered, remembering the awful valentine the youngest Weasley had sent Saint Potter a few years prior.

“Save everyone the embarrassment and walk away now, kid,” Draco told the boy. “Go on. Scram.”

The third year didn’t need to be told twice and quickly darted off, away from the group of Slytherin boys.

“It isn’t even 8am mate. Where does that girl get the time to do all this?” Enzo grumbles as they made their way into the Great Hall for breakfast.

Theo simply ignores his friend’s comments, something he was getting used to doing, as they all sat down at their usual table.

They’d all seemed to have an opinion on you as soon as it became apparent that you had developed a crush on him, and Theo had just about had enough of his friend’s seemingly endless comments regarding his not so secret admirer.

The familiar small parcel tied neatly with a white ribbon that sat waiting for Theodore in his usual spot didn’t go unnoticed, starting the whole thing up again.

“For Salazar’s sake Theo, do you not find it creepy?” Draco asks, eyeing the package.

Theo rolled his eyes at his dramatic friend.

“I don’t care. You all seem to be more interested in y/n’s little stunts than I am, and I’m the one they’re intended for. They’re harmless. Just leave it and they’ll probably get bored eventually.”

“Yeah, or they’ll just keep it up thinking you’re playing all hard to get or what not,” Mattheo snorts.

Theo just glares at his friend, stabbing a sausage with his fork. Just behind Matt’s head, seated at a table with your own friends, Theo sees you blow a kiss his way, winking cheekily.

“Aw, they growing on you? Who would’ve thought dark and broody would be into golden girl herself,” Mattheo teases, earning him a sharp kick from under the table.

“Morning Theodore,” you greet, as the brooding boy once again took his seat beside you, this time in potions.

“It’s Theo.”

“That’s what I said.”

You hear the boy let out a small snort and you smile to yourself. That was one of the biggest reactions you’d been able to get out of the boy.

Your friends often wondered why you so insistently pursued the grumpy Slytherin boy, despite his general apathy towards you, and honestly, it was as simple as the fact that you enjoyed the challenge.

It was like your own little game of cat and mouse. Constantly finding little ways to make the boy smile, even if he didn’t realize it was you. And the rush of excitement you got anytime you were able to elicit any sort of reaction from the boy was like a drug that kept you coming back for more.

You’d found that the best way to elicit such reactions was by staging little acts of public affection whether it be a kiss sent his way or an origami note perched on his desk. Each time, you could see the heat rise softly in the boy’s cheeks as he tried desperately to keep it at bay, sometimes even fighting back a small smile.

Today you had come to class a bit early in order to set up both you and Theo’s potion stations before the brown haired Slytherin arrived, taking extra care to gather enough ingredients for each of your potions. You weren’t even sure he realized that you were doing all this for him, but watching his satisfied smile as he brewed away made it worth it.

That was another thing you had grown to appreciate about the boy. While his friends were all rather light-minded and rowdy, his wit and level-headedness balanced out the group. Theo was smart, and didn't feel the need to make a point about it, flying under the radar of many of your classmates when it came to who had the best marks. Sure it was fun to tease the boy, but you also had a certain admiration for him that went deeper then the nonserious way you often conducted yourself around him.

The rest of the class passed in a sort of agreed upon silence as you worked on your potions. Of course you’d like to talk to Theo a bit, but you’d found he’d preferred the silence, usually not uttering more than a few words to you per class. It was something you could work on eventually you supposed.

“See you later Theodore,” you said brightly once you had finished gathering up your things. Joining your group of friends, you toss one last wave over your shoulder at the boy, smiling to yourself. He hadn’t bothered to correct you for once.

The last thing Theo expected while roaming the dusty shelves of the library was to hear his own name being whispered from deeper within the maze of books he was searching through. The library was where he went to escape his friend’s incessant gossip about the rest of the school’s population, yet he was interested in what was being said about him. He didn’t often venture outside his usual group of Slytherins, so he didn’t know exactly what he expected to hear.

Following the loud whispers, Theo stopped, looming in the shadows once he was able to make out the dark figures of students huddled in one of the many rows of books.

“Sure Theo might be one of the most attractive boys in our year, but his head is so far up his own arse, it’s a wonder he can see straight.” A voice practically snarled as its owner leaned lazily against one of the shelves.

Theo felt himself immediately tense. Is that what they thought now? His fists clenched as he refrained from crashing through the shelves to give these snots a piece of his mind.

“Honestly, being an arrogant prick isn’t something to be proud of. He’s just like every other Slytherin who makes being a pure blood their only personality trait.” Another voice adds.

“Oh fuck off you two.”

Theo’s ears perk up, surprised to hear your voice join the chatter.

“Please, like you’re one to talk y/n. You’re practically blinded by desperation. Theo Nott is an utter prat and he treats you like shit. Have some bloody self respect.”

“I’m not desperate, you git. And Theodore isn’t an arrogant prick. There’s nothing wrong with having a little bit of pride. It’s not like you see him going around bragging about how amazing he is. If you’re going to talk about arrogant pricks, talk about Cormac. Or Draco even.”

“Whatever. That still doesn’t excuse his behavior towards you. I don’t understand why you insist on embarrassing yourself when he clearly has no interest in you. But he’s too much of a coward to say anything.”

“Oh for the love of- Theodore doesn’t owe anyone anything. Me included. I do the things I do because I can and I want to, and quite frankly it isn’t anyone else’s business but my own. So why don’t you two get your heads out of your own arses and stop worrying about me, and stop worrying about Theodore.”

With that, Theo listened as your footsteps slowly got quieter as you stomped away, your words ringing in his head.

Theo had never been in love before. But in that moment, he was beginning to see the appeal. Fuck that was hot as hell.

For Theo, it all spiraled down from there as he finally began to see you. Really see you. And not just as some girl who had a silly crush on him.

It started with the notes. He hadn’t noticed before, but it wasn’t just him that you’d slip a note to in the hallway. After one particularly difficult transfiguration exam, Theo watched as you dropped a note with a chocolate candy attached into the bags of your friends.

Another day, he arrived to potions early to find you carefully setting up his station as he hovered in the doorway. After class, he didn’t rush out like he normally would and instead watched as you quietly slipped an extra copy of your notes to a student he knew struggled with the class.

And while you weren’t exactly blowing kisses to all of your friends across the Great Hall, Theo began to notice the way you didn’t hesitate to throw your arms around your friends, hugging them tightly when you got excited. Or grasping onto a hand as you wandered through Hogsmeade, arms swinging in carefree bliss.

It was about a month after Theo had begun his silent observations that he began to feel it. The slow pull away as your presence began to fade from his life. He almost didn’t notice at first. It had been about a week since he’d last found a note in his bag, or parcel waiting for him on his seat. You still smiled brightly at him if your eyes met from across the Great Hall, but now that he thought about it, Theo couldn’t remember the last time you’d blown a kiss his way.

It all came to a head the day Theo walked into History of Magic to see one of your friends sitting next to you in his usual seat, chattering away.

“Nice mate, they finally get the message?” Mattheo asks with a grin, elbowing him in the ribs.

Theo remained silent as he followed his friend to a seat in the back, eyes not leaving the spot where he should be sitting.

It continued on like this for what Theo thought was eternity. Salazar he missed you. Weeks passed filled with sleepless nights where he would stare at the ceiling contemplating where he had gone wrong. At the very beginning really, he thought dryly, remembering his initial feelings of agitation and annoyance. He wished he could go back and give himself a good smack upside the head.

The day Theo passed you in the hall and you didn’t even spare him a passing glance was the day Theo finally broke.

“Lorenzo.” He said, slamming the door of their dormitory open, startling his roommate.

“Theodore?”

Theo glares at the use of the name.

“You’re the romantic type. How do I do it?” Theo asked as he stomped his way over to his bed.

With a bemused look, Enzo swings around to look at his roommate, wondering if one of the ghosts had somehow possessed him.

“You want to know. How to do romance?” Enzo asks slowly, not fully believing he’d heard his friend correctly. Theo was probably one of the most emotionally detached people he’d ever met.

“Yes. Y/n. I want to make it up to her.”

"I thought we didn't like her?" Enzo said, growing more concerned for his friend's mental state by the minute.

"We didn't. But now we do, and I want to make things right."

Enzo blinked. Oh this was not going to be easy.

As you sat in the court yard with a group of your friends, textbooks in hand as you attempted to study for the charms test the next day, your eyes flickered momentarily as a sea of green wandered by. Quickly you look away before your eyes could meet Theo’s and you try to turn your attention back to your friend’s idle chatter.

It had been what? A month since you’d stopped actively seeking out the boy’s attention. Maybe more. And you missed him. His sarcastic smiles and pretty eyes that seemed to be fixed in a permanent glare.

But you were also tired. Mostly tired of the snarky comments. “Have some self respect.” “So desperate.” The voices of your classmates echoed in your head, and eventually you began to draw back. You knew he’d noticed. You’d seen his eyebrows furrow in confusion that day you’d let your friend sit beside you in class. A pang of guilt washing over you. But it’s not like he showed any signs of wanting things to go back to the way they were. So you simply stayed away. Maybe that’s what he’d wanted all along.

Your thoughts followed you as you eventually made your way back to your dormitory, wanting nothing more than to wrap yourself up in a warm blanket and disappear. As you approach your bed however, you make out something that definitely wasn’t there when you’d left that morning. A gorgeous bouquet of little white flowers wrapped in thick brown paper, tied off with a silky emerald green ribbon. Stamped on the corner of one of the brown folds, the letters TN shown at you in gold curls.

“Oh those are beautiful!” Your roommate gasps when she sees the flowers. “Lily of the valley! Those can symbolize renewal ya know. Usually they’re given as like, an apology of sorts, or if someone wants to start over.” She tells you. Ever the herbology buff. “Who are they from?”

A smile grows on your lips as her words sink in and you press the flowers close to your chest.

“Just a special friend,” you reply.

After all the months of Theo's coldness towards you, you'd never quite allowed yourself to truly believe the boy would ever return your affection, but maybe things were beginning to look up.

Over the course of the next several days, you begin to notice little things that had Theodore’s name written all over them.

After the charms exam the following day, you find a note of encouragement written in Theo’s familiar scrawl dropped in your bag along with a bag of your favorite toffees. How he’d managed to get it there without you noticing was beyond you.

There were little things too. Your stations in herbology and astronomy were always set up and waiting for you when you walked into class. The book on ancient runes that you’d been searching for showed up on your bedside table. (You weren’t sure how he was doing that either, but you weren’t about to question it.) And there always seemed to be a comfortable smirk on Theodore’s face whenever your eyes wandered over to where he sat with his friends, eyes seemingly boring into you.

Now, you sat quietly in your own little nook of the library, quill in hand as you scribbled away at your ancient runes essay, the book Theo left you being quite helpful.

You were happy he'd found his way back into your life, happier still that he was actually making a point to be included in your life.

“You don’t mind do you?” A voice asks, startling you and causing ink to splatter against the parchment.

With shocked eyes, you look up to see Theodore standing next your table as if your thoughts had summoned him there. He sets his books down, frowning at your now ruined paper.

With a flick of his wand, the mess is gone.

“Sorry bout that,” he mutters, sitting down across from you.

You blink, not entirely convinced you’re not hallucinating.

“You know, I remember you being much more talkative,” he says, a sly smirk reaching across his face as you realize you’ve yet to say anything to the boy.

“I remember you being significantly less talkative,” you blurt out before quickly covering your mouth with your hand in horror.

To your relief, the boy in front of you lets out a low laugh.

"Fair enough. See you've been liking the book," he says, gesturing towards the open text.

"Oh yeah, I've been meaning to say something, thank you."

"Don't worry bout it. I never said thank you for all the things you did. Probably should've." He replies, looking down as he pulls out his own quill and parchment. "I am sorry by the way."

"For?" You ask, head tilting to the side in curiosity.

"Everything. Or for doing nothing is probably more accurate," he says, flipping open his text book.

You can tell that he's nervous as he fidgets with the corners of the book's pages, and you desperately want to ease the tension between the two of you.

A moment of silence passes between the two of you as you debate whether or not to say anything more, or go back to your essay. Finally, you look up at the boy that you had been chasing after for all these months, and remind yourself that he had actually been the one to go through all the trouble of seeking you out tonight.

Gathering your courage, you open your mouth to speak. "Theodore?"

"Yes, Bella?" he replies, eyes carefully following the lines of next.

"Would you like to join me in Hogsmeade this weekend?"

His eyes snap up at this, and you see the familiar hint of red make it's way into his cheeks once more.

"Only if I can have my seat back in History of Magic." The boy replies.

"I think I can have that arranged."

Hi hi hi! I hope this lives up to all of your hopes and dreams, anon 🫶🏽

[ittsybittsybunny]

ATLA Live Action Series Review:

The Good

Aesthetically this show felt right. Sure sometimes the outfits didn't quite feel lived in, but I always felt like I was watching a fantasy world with decent effects and interesting design. Also, I really enjoyed the sets!

Bending: Yes some of the fights feel very quick, but the bending looks cool. It is certainly better than 10 benders lifting one big rock. I can honestly say the opening bending fight scene gave me so much hope for this show.

Kyoshi Warriors: I loved seeing them in live action, and I thought Suki's performance was great!

Omashu: I think the mashup of the mechanist made sense since that is an important character overall and I would hate to see him cut. However, both Jet & the secret tunnels felt sloppily thrown in.

Northern Water Tribe: I really loved the way it looked, and appreciated the two episodes we spent here. I think Yue gained more agency in this interpretation, and why shouldn't the moon spirit be a waterbender. Also, episode seven felt the most in tune with the original show's spirit.

Zuko: I think he was one of the most fleshed-out and best parts of the show! Dallas Liu really captured Zuko's spirit, and the scene between him and Aang in episode 6 was wonderful!

Soundtrack: Hearing the original soundtrack bits is always great, and when I first heard the ending music I was so excited.

Is the show perfect, no - but I wouldn't mind a season 2.

The Bad

Pacing: Turning 20 episodes into 8 was bound to lead to some cuts...but oftentimes times things felt too quick or disjointed. I think there were editing problems contributing to this for sure, but sometimes things skipped around too much without a clear purpose as to why. Also, why bring in plots from later seasons when you barely have enough time already?

Writing: This show definitely suffered from exposition dumping, though it did get better as time went on. I think the biggest example of this is actually opening in the past rather than the present. We do not get to learn along with Aang that the world has changed, instead, we get to learn that 100 years have passed....which doesn't hold the same tension or worldbuilding.

Clunky Dialogue: Along with exposition, clunky dialogue is another example of bad writing. I think sometimes I felt like the acting was kind of meh in the beginning, but then over time I began to realize it had far more to do with the lines characters were trying to deliver. The actors themselves are not bad, just cursed with awkward writing and lines that feel out of touch with the setting they're in.

Main Trio: I don't entirely know that I believe Katara, Sokka, and Aang are friends as opposed to 3 people stuck together to save the world. Aang feels a little too somber for a young kid running away from his responsibilities, Sokka is protective, but not exactly the heart of the team, and Katara is sort of just there until the last two episodes. Where is her struggle, her desire to learn so strong she steals from pirates? Also, while Gordon Cormier did a great job, Aang does zero waterbending on his own, is overly serious, and tells Katara not to fight. Where is his desperation to protect his friends? It feels like they all lost emotional depth.

Tension: Bringing Ozai, Azula, and Zhao out in the beginning immediately causes us to lose the realization there is an even bigger bad. Part of why Ozai is so terrifying is he is a primarily silent villain until the third season when we finally see the face of the "big bad evil guy" behind it all. Yes, they add to Zuko's backstory, but again, they are revealing the villains too early. Azula is the antagonist of season 2 and one of my favorite characters, so I hope they do more with her in the future. Finally, Zhao is supposed to be an example of the uncontrollable nature of fire unrestrained, instead, he comes off as vaguely threatening with the supposed true power being Azula.

Characterization: While all characters are bound to lose something in a shorter show, it still felt like certain characters were more mutilated than others. I am sure there are 100 different opinions on who, but I think the biggest victim was Katara.

Katara: Katara manages to go from a complete novice to a bending master in what feels like a matter of days. The journey feels short, and that makes the results feel largely unearned. Katara is one of the strongest personalities in the show, determined, kind, and fiery. In many ways, she is the unpredictability of water - equally dangerous as it is necessary to live. She is the child of a war who lost her mother, forced to grow up too soon, and even raised her older brother. Yes, Katara often gets stereotyped as the mom friend, but overall she feels underutilized in this show. We really don't see enough of her journey until the very end.

Iroh: Iroh was always comedic but most importantly wise. Even when Zuko is trying to give himself advice, he mimics Iroh. Instead, he seems to be used more as comedic relief without the underlying experience. He just doesn't feel right. Also, he kills Zhao instead of Zhao getting himself killed - which is less about Iroh and more about the writing than anything.

Ozai is weirdly a little too nice. Yes, he burned Zuko and pits his kids against each other, but he feels toned down in a show claiming to be more mature than the original cartoon.

Azula is perhaps more realistically worried about losing her status as the golden child, but she is also missing the cruelty she and her father share. I understand worrying about making your character cartoonishly evil, but the Fire Nation is currently a deeply nationalistic empire trying to control the world. Where is the deep-seated belief that they are better than other people, not just trying to bring balance to the world? There is a line between creating complexity and toning down the very real evil inherent in this plan.

Roku: I can only say what the fuck was that. He was barely there, and not the serious master to Aang's youthful exuberance.

The Ugly

Show, Don't Tell: The show's single biggest issue seems to be speeding through story parts by simply stating things. Instead of allowing the audience to discover, trusting that we are smart enough to understand, let's just blatantly say things like Zuko is the only reason the 41st division is alive to their faces. Even though in the context of the story Ozai literally already said that.... it's the division, the division for Zuko, Zuko's division.

Thematic Misunderstandings: I think this show makes several minor changes with major implications, such as airbenders actively fighting the firebenders, when airbenders are known for their pacifist nature and the lie of an Airbender fighting force is actively propaganda. Similarly, Aang very quickly accepts his role as the avatar and doesn't even run away in the beginning. Without this conflict between his desire to be a carefree child and the fact that the world needs him - the show loses a key aspect of Aang's character. Also, the obsession with downplaying the avatar state as something dangerous feels like a disservice to the tradition, connection, and strength of the avatar, which can be permanently destroyed as the trade-off for that kind of power. It's dangerous for the balance of the entire world, not just because it's powerful!

The Agni Kai: Zuko's fight against his father is one of the defining moments of Ozai's cruelty, not just because he is willing to fight his child, but because Zuko tried to do everything right. Zuko shows deference to his father, apologizes, and most importantly refuses to fight! The determination not to upset his father and still be grievously injured and banished is a hugely important theme for the fire nation and Zuko's life as a whole. He tries to do everything he is supposed to and only regains his father's acceptance after he "kills" Aang. Zuko's struggle between moral vs. social right and wrong in contrast to his family is hugely important to his character.

-----

TLDR: ATLA was a fantastical animated television show that was never afraid to show character development and flaws. When you turn 20 episodes into 8, you are bound to lose something. You hollowed out the middle, leaving the shell of important moments and events without ever wondering if all the times in between formed the true spirit of the show.

Rating: 6.5/10 It's perfectly fine and worth a watch. Not a disaster, but certainly falls flat of the original.

[epickiya722]

I don't think I expressed enough how much I do actually like that Yuji is this... I don't know how to really put it into words but... how Yuji is this unique embodiment of horror and strangeness.

Like, just the details of his character makes him stand out to me. Everyone in JJK has some bit of oddness to them, and he has own unique kind.

He looks like sunshine personified and he is. He is the sweetest kid there is. And he looks like the typical "Oh, he must be the normal one who has to adapt to the horrors the other have to go through" character. Ha ha... no, he is the horror. He is the "creepy child" trope without even showing that he is.

Yuji is the kind of horror you actually have to put thought into to even realize "Oh, wait, that is actually fucked up". Fridge horror, the horror that you think nothing too much of until you really open your mind to it.

Like, he's this own level of odd with how he behaves and thinks.

First, it's his interests. Yuji didn't mind really being in the occult club. Of course, his reasons was that the club time allowed him enough time to see his grandfather. But also, even though he didn't have to really participate, he actively does. Iguchi and Sasaki exploring haunted places? Yuji tags along and isn't frightened at all. Mind you, they like going go haunted places because they like being scared. Why folks watch horror movies and go to attractions, right?

Yuji will play with an oujia board.

Fan of a movie series titled the Human Earthworm and actually can find the beauty and love in said movies. He's so real for that.

So far it's just simple stuff like that, right?

First time seeing a curse? Admits to being scared, but barely even flinches. When Megumi talks about the Cursed Finger and mentions how curses want to eat it? His response?

"Why, is it good?"

IT'S A FINGER?!

When informed about Inumaki's technique? What was the example he uses? "So if he says 'die' then it will happen?" Out of all the examples?! He was more impressed by the technique than actually fearful of it.

That Cursed Doll he had to train with? Called it "cute" and Gojo questioned that. In fact, when meeting Yaga, Yuji commented on how the dolls were cute.

How he fights is even a little odd and unsettling. He immediately goes into action, doesn't even need to hear the bell. He always has this look on his face that "Yeah, your kneecaps are mine". Not once has I ever recalled he actually smiles during a fight. Unlike some of the others who have showcased some enjoyment or some type of being unhinged in a "to hell with it" mood, Yuji always has this almost animalistic glare, that kind of unhinged. He isn't holding back, even against normal people like the high school bullies in chapter 163. Sometimes I question if he even knows how to hold back.

He doesn't like to get violent or kill. If he has to, he will. But it's just not anything he can brush off or be like "Yeah, I like doing it".

Then the idea of dying? Yeah, Yuji makes it clear he knows people will die. Execution placed on his head? He accepts dying with Sukuna instead of asking if there's any way to work around it, find a solution. Keep in mind, Sukuna is downright evil and does nothing but make life hard for Yuji every chance gets.

However, by the end, Yuji changes from choosing to die with Sukuna, so that no one else has to suffer, to offering Sukuna to live along side him even if no one accepts that.

Oh, let's not forget his family.

Yeah, Sukuna I just mentioned? That's his uncle by soul reincarnation. Jin, Yuji's dad who we don't really know what happened to him, is the reincarnation of Sukuna's twin that Sukuna ate in the womb. Doesn't stop there.

Yuji's mother, Kenjaku? Actually a 1000+ year old sorcerer who body hops by implanting their brain into whatever body they find convenient for their plans. One of those bodies happen to be Kaori Itadori, Jin's wife. Jin's dead wife. Kenjaku played wife in a woman's dead body, the same body Yuji was born from.

Yuji was born out of a corpse. With one of the Cursed Finger somehow already sealed inside him.

His other family members include Death Paintings: Choso, Eso, Kechizu, Noranso, Sho-oso, Tanso, Sanso, Kotsuso, and Shoso. His older siblings (technically) through Kenjaku, who was possessing Noritoshi Kamo's (the ancestor) body at the time. And guess what? Their blood consists of a human's blood, a cursed spirit's and Kenjaku's.

Yeah, like them, Yuji isn't really human. Again, born with one of Sukuna's Cursed Fingers already sealed in him. Without Cursed Energy, he was already outrunning cars and possessing strength not normal for the average human.

Oh, wait, and let's not forget his 'appetite'. He will eat anything if it means saving people. And he has. Other than Cursed Fingers, the other Cursed Objects Yuji consumed are his own siblings 4 - 9. Mind you, they were akin to fetuses contained in glass jars. (He isn't happy about eating them or anything for that matter though. I wouldn't be either.)

In all, he's just fridge horror with a some goodness mixed in there. I'm just rambling here.

[fae-morrigan]

Superfam and Found Family: What it Means to Choose

I have seen a lot of my beloved mutuals talk about adoption as a theme in the superfam, and thats true, thats very much a thing, but thats more a subsection of the larger idea with the superfamily: You get to choose your family, and define your relationship to them.

Clark and Kon come to mind. They've been discussed a lot lately, huh? Namely people saying Clark does not treat Kon well. This is false, by the way, they get along great.

But let's sort of dig into the actual story told by their relationship here: Kon was created by Lex without Clark's consent. Clark had no say in how part of his DNA would be used to create a new life.

(This is coincidentally why it irks me that certain fans will act like Clark is a monster for even HYPOTHETICALLY not wanting a relationship with Kon. Guys, you sound like pro-lifers. Lets watch it!)

Despite this, Clark accepts Kon with open arms. Now, as myself and others have pointed out, Kon's technically... he's not a clone, he's a test tube baby. Technically, biologically, he's Clark & Lex's son. D.. diversity win...?

But thats not how Clark and Kon choose to define their relationship. They instead decide, hey, we were raised by the same people, we're brothers.

Kon is not an outsider to the Superfam, even as he is an outsider to this world- He is welcomed with open arms once it is clear he needs a home. And with Clark and Kon, they get to choose how they define their relationship, not Lex, not anyone else.

Then, John Henry and Nat. John Henry is not Natasha's father, but their relationship is very complex and often veers into that territory, for the simple reason that he shows up for her in that capacity when Natasha's own father fails her.

Even while their relationship has its ups and downs (read 52 guys for THEM), they manage to forge a relationship based on mutual respect, enough to the point where during Steelworks, she is not just his niece, but his partner in building a better tomorrow. It is a fatherly/daughterly relationship built on mutual respect largely independent of their blood relation, built on the security that Clay failed to provide Natasha with.

Of course, to talk about adoption, Clois adopting the twins. I think Phillip Kennedy Johnson handles the topic of adoption EXPERTLY with Otho-Ra and Osul-Ra, specifically as a metaphor for transracial/transethnic adoption.

Clark's relationship with the twins is built throughout the Warworld saga, and does not start... great (they discuss looting his corpse lol), and often they. But Clark understands that the kids are traumatized, and seeks to guide them to a better situation.

Now I would be irresponsible to not mention that, during this time, Clark is still struggling with Jon's age up. He mumbles, disoriented during their first meeting, that the kids are the same age as his son (no they are not). In a less tightly written book by a worse writer, it'd be a thing where Clark completely uncritically finds 'replacement kids' in the twins... Which is NOT what happens here, because PKJ is the GOAT.

In the end, his relationship with the twins is built not only independently of his struggles with Jon, but the way he connects with them helps Clark realize that whats done is done. They need him to be Clark, not a man hanging onto the past he will never get back. To move forward, they must do it together, it won't work if the twins remain on Warworld and he remains mentally in Hamilton. Its why it is SUPER important, also, that in the end, Clark doesn't ask them to come with him- rather, they ask to go with Clark.

(Sidenote: The twins lost not only their parents on warworld, but an older brother, too. Clark isn't the only one who finds a healing way forward via the Ra-El relationships, but that's gonna be another post!) And their hero names, Red Son and Starchild, are from their original culture (the Phaelosians), a culture that was systematically robbed from them when Warworld trafficked them into service. Rather than forcing them to conform to the house of El and their legacy, they help the kids reconnect.

These are his children. They found each other in the scariest place in the universe, and together, they find a way past the things they've both suffered through.

I'm afraid I don't know much about Kara (kara mutuals, reading recs appreciated! i've only ever read WOT and a few issues of the most recent Supergirl run) but I do know that her relationship to Clark is inherently different than it was supposed to be, and she has to roll with it and redefine it accordingly. She was supposed to be older than him, be able to take care of him, but by the time she actually finds him, he's the one doing that for her.

(I dont really have a panel here I fear, so look at the pretty art from Woman of Tomorrow. If someone wants to say more on Kara, you're welcome to hijack my post for a bit!)

Kenan is an example of this theme going kind of sideways and being examined from another angle- He's forced to choose between his two found families, and with either choice, he stands to lose something. Either his connection to Superman, or his connection to home:

Kenan already has a messy relationship with family, considering the soap opera level drama his parents inflict on him in his solo. Now, separated from his culture by circumstances he can't control, Kenan's relationship with the Superfam is forced by circumstance, even as it isn't unwanted. He's forced to make the most of what he has.

Then you have Clark and Jon, where the 'and define your relationship to them' part of my thematic statement REALLY becomes important.

I've seen it argued many times that giving Jon the Superman mantle weakens the theme of found family, but I'd argue it strengthens it, because Jon not having a choice in becoming Superman is EXPLICITLY framed as a bad thing.

Jon's not ready to be Superman. He doesn't even really WANT to be superman. But because of the circumstances of his birth, the world, and his father, push him into it. Clark never asked Jon to be Superman, during the Son-of-kal-el + Warworld era. He assumed he would be.

It tarnishes Clark & Jon's relationship, actively preventing Jon from connecting with his father and the WORLD fully in the way they both want. This is a key theme of Superman: Son of Kal El, from the very moment of Jon's actual birth:

All throughout post-age up Jon is the idea that Jon is just as burdened by the expectations placed upon him by his blood as he is comforted by what the mantle represents.

(I know I use this panel like every analysis but its a GOOD PANEL, SHUT UP) And there's of course the fact that... y'know. Well. Y'know.

Y'KNOW.

I think there's a potentially strong story in either Jon walking away from the mantle entirely, or redefining it to be his own. But first, he's going to have to suffer for the fact he wasn't ready for what many people call his DESTINY, including his abuser.

And where does this leave Jon and Clark?

Here.

The last note before Absolute Power of these two is this bittersweet moment where Jon still isn't fully heard. Where he still doesn't get a full say in what he and Clark's relationship will be. And judging by THIS interview from Mark Waid, this particular idea is about to finally come home to roost:

Lastly, there's of course the Most Found Family Thing Of All that i basically see NO one talk about: The fact that the Irons and the Kents just. Share all their big life events with each other. They're literally not related to each other by blood at all, but throughout PKJ's Action Comics, they ARE family!

Teamwork makes the dreamwork guys!

The superfamily is a wonderfully diverse cluster of relationships and examinations of the way family finds each other. Even moreso than the Batfam, which is often defined by their father-son relationship with Bruce in fanon, the Superfam displays a wide array of the various ways non-nuclear families can build each other.

This is all to say you guys should read PKJ's action comics run. It rules.

(This is also to say Superman 2016 sucks ass.)

[myokk]

It's a clear, beautiful summer's day, the type of day that starts out bright and full of birdsong, that ends looking up at the stars and the moon while crickets chirp and fireflies show soft bursts of light. When the air is warm and full of life and the smell of hot grass and lavender and honey permeates everything.

The whole summer had been like that, really. Running outside with abandon, chasing each other through the tall grass deliriously happy and lying down in the fields surrounding their village, watching the clouds float by while they eat cucumber sandwiches. It's the summer before their first year at Hogwarts; the Sallow twins know that their life's about to change and are determined to enjoy their last summer of childhood.

Maybe they're too old for this sort of thing - they are eleven, after all, but both of them know that this summer is a turning point for them and they want to cherish every moment for as long as possible. Their parents have been encouraging them, often sending them out for the whole day, piling journals and ink and quills and picnic baskets full of food in their hands, encouraging them to research and be curious about the world around them as they had always done.

This day, however, their parents are almost eager to push the twins out of the house. Their mum's smile doesn't quite reach her eyes. Sebastian feels nervous about this, but doesn't realize why until much later, when the memory is analyzed and remembered during his dreams. (definitely not while awake). When they leave the house in the morning, she makes sure to kiss each of them on the cheeks which she normally never does and Sebastian pushes her away in disgust, much to his future horror. In the moment, all he can think is that he might still be holding on to the last moments of his childhood, but he's too old to be kissed by his mum.

(but now, Sebastian doesn't know if his memory is faulty and he is adding moments that never actually existed in the first place. the mind is a tricky place)

He never allows himself to think about these halcyon days, the perfect-until-it-wasn't summer before they went to Hogwarts; this day in particular is forbidden to remember. His unconscious mind rebels against his iron will.

They spend the morning looking for the fairies that Anne had dreamed about the night before. She's convinced that it's a prophetic dream and they march around in circles in the little copse of trees - a forest to the two children, who haven't really ventured out of their village - as Anne tries to remember where she had seen the fairies in her dream.

Sebastian is happy to follow her even if (maybe especially if) he thinks it's a futile adventure - what else are summer days for?

They're in that strange junction between childhood and adolescence; desperate to just grow up already and become the people they were always meant to be, and yet just wanting to spend their days being kids, without a care in the world.

"Come on, Sebastian," Anne calls to him, a tiny stream gurgling between them. In one hand, she's holding the map that she drew as soon as she woke up; in the other, boots stuffed with her stockings.

Sebastian huffs as he trudges behind her, arms full with their bags, his shoes, and the picnic basket. Anne had offered to help him carry things, but he refused on principle. Their dad is always doing small things like this for the women in his life, and Sebastian wants to be just like him.

Anyways, Anne has her own role as the leader today, and it won't do to have her bogged down.

And he's eleven, more than old enough to carry everything.

He steps through the tiny creek, mud and slush squishing through his toes, and he smiles. There isn't anything he loves more than being outside, except maybe being outside with a good book.

"Keep your eyes peeled for a tree with a knobby trunk, with lots of knots that look like faces," Anne tells him, glancing over her shoulder, then turns her face back to her map and scrunches up her face. "In my dream, the fairies lived nearby."

They spend the rest of the morning continuing their fruitless search, laughing as they walk in circles, then set up their picnic in the field next to their house.

"What do you think Hogwarts will be like?" Anne asks, a dreamy look on her face.

Sebastian doesn't look at her when he answers. He lies back and stares at the clouds. They've already had this conversation hundreds of times since their Hogwarts letters arrived, both of them have their parts memorized. "Amazing. I can't wait to actually be able to use our magic instead of just reading about it."

Anne rolls to her side and props herself up on her elbow, getting a better look at her brother's face. With a smirk, she says, "I think I'll like Transfiguration the best. I can't wait to be able to turn you into a -"

A huge noise interrupts her before she can continue. Sebastian sees the confusion in her face before he truly registers that something has happened. It's like everything's moving in slow motion and all he remembers clearly whenever he dreams of this day are his feelings of confusion and disbelief and the smell of fire.

There's a huge explosion and the air is full of smoke and he and Anne are scrambling up, the picnic blanket tangled up around their bare feet and -

Hand in hand they run in the direction of the huge black smoke that is billowing up. It coats the air - they can't see anything and the smell of burning fills their noses and the smoke fills their lungs and they're coughing coughing coughing -

Sebastian doesn't want his sister anywhere near the blackened husk of their former house but he is also terribly afraid to be alone. They stand in the middle of what used to be their house, blackened half-walls, charred wood that used to be their table, the old couch they read on every night, it's all smoldering, all gone, the thick black smoke making his eyes water and choking and smothering everything in its wake. His mind can't comprehend what he's seeing. Everything is so familiar and yet so wrong.

He doesn't know how long he and Anne stand there, clutching each others' hands like they are a tether to reality. Which, he supposes, they are. They might be there thirty seconds, ten minutes, one hour, an eternity...

Then, neighbors are running to the twins, coughing, covering their faces in the crooks of their elbows as they conjure blankets with their wands and wrap Sebastian and Anne up and drag them out of what is - was - their home.

This part is always hazy. Sebastian can't remember if he cries. Or if he even says anything. He just stands there with Anne, the smoke thick and oppressive as it pours out of their house. Everything is crumbling apart.

(A hand gently caresses his scalp, fingers light and reassuring as they dance through his hair)

Their neighbors try their hardest to salvage what they can. The daguerrotype that their mother had cherished more than anything, taken a few years before, miraculously survives. Sebastian stares at it, the tiny figures moving and laughing and smiling as though everything is perfect. He wants to throw it and break it or maybe rip it up to shreds but he can't bring himself to do anything but stare.

Their father's wand is also shoved into Sebastian's hand, unscathed. It was found just outside of his father's curled fingers, lying pristine on the ground as if mocking the destruction that it caused.

At some point, their Uncle Solomon, who they've only really seen once a year growing up, shows up with a loud crack and tears through the rubble, tears carving wet tracks through the soot on his face. His voice goes rough with desperation and when he walks up to the two orphans, he is almost unrecognizable.

As if in slow motion - maybe an after-effect of the curse that has destroyed their lives is that the air has turned into molasses - Sebastian watches his uncle stagger over to them. He looks much older than Sebastian remembers.

Later, when Sebastian looks at his reflection in the mirror of his new home, the boy staring back at him also looks much older than he remembers.

Before It Felt Like A Sin, Chapter 14

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[vickyyoon]

Dilf!Lee know

Genre : smut,

Paring : dilf! Leeknow x babysitter!fem! Reader

Warnings : just smut...

Synopsis : After filing for divorce and solely devoting his life towards his children, he found himself falling in love after years with the new babysitter.

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_

After filing for divorce from his previous wife and taking custody of his children, Lee know solely devoted his life into being a good father but sometimes he needs a baby sitter to take of things which he does not have enough time for.

So when you came into the spot light he had a huge weight lifted off of his back, at first he didn't talk too much, observing you from afar but seeing how best you go along with his kids, you were perfect for his kids.

The way you keep on playing with each of them even though they make you tired and exhausted, the way you sometimes scold them like their your own kids, the way you entertain them, the way you never leave them out of your sight.

Your first actual interaction happened when you asked him if you could take them to the nearby park.

" Do you think you can you think you can watch all of them, won't they get lost?"

" No, I've been babysitting for a long time, it never happens, besides I see your children are really decent." you made him flutter for the first time, his ears turned red.

From the onwards he started to notice your decency and politeness, you were so gentle and child friendly but he also started to notice the curves and edges of your body,

You were so young, your body was snatched, skinny yet curvy, your hair was wavy and your collarbone looked so prominent, your huge eyes had sparks and your lips held a smile he engraved in his mind.

It was the first time he thought of loving someone again after years. He got closer to you, like a good friend. But getting closer to made him realize that it wasn't just sexual attraction, maybe he actually wanted to marry you and make you bare his children.

He wondered how pretty or handsome his son or daughter would look like with both of yours genes. Would be the best looking child he could ever imagine.

But was this attraction mutual? He had to find out.

It was Saturday night and you were about to head home after finally putting his kids to sleep, you decided to stay a bit longer for him to return home so nothing would happen. Mean while you saw his three cats, you gave them some food before getting up.

" Mr. Lee, you're back! I just put the kids to sleep."

" well won't you have dinner? It's very late, you look exhausted, it's my pleasure."

he sat you down to eat, he was a great cook, the smell of this dinner wafted into your lungs like scenting a memory again, he served wine in front of you, but who could deny such an offer.

Later you were turning a bit dizzy, the wine was starting to kick in.

" You look drunk, why don't you stay here for the night?"

A smirk lid up on his face

There he was shoving his dick balls deep inside your cunt almost ripping your cunt apart, thrusting so hard and suddenly pulling out.

You were so dazed that you couldn't make out any words. You pushed your hip back wards for him to push his dick in again.

" Ah so you want this? Why don't you say it? What is it that you want?"

" y-your dick please."

" whose dick?"

What did he want you to say?

" Mr. Lee?" your voice was muffled by the pillow under your head.

And he pounded into you again.

" Fuck walls so tight, better than what I could imagine. Heck, won't you let me fill you up with my babies? You can bare my babies?"

You were too young to be thinking about this but he made it sound so tempting and it made you want to give him hundreds of more.

You nodded rapidly.

Now it was clear that you too have been fantasizing about this rich dilf, wanting him to bury his cock deep inside and fill you up with his babies.

And there he came crashing with the hardest orgasm thinking about you, white loads painted your walls white and there was no doubt he got you pregnant.

" You do love me, right?"

" I've loved you since the day I saw you."

[livwritesstuff]

more more more divorces dads steddie!

ask and you shall receive and all that jazz :)

part 1

If someone were to have asked Eddie even just one year ago if there were any downsides to dating his ex-husband, he’d…well, he’d actually have a lot of follow-up questions because, seriously, Eddie did not put getting back together with Steve on the Bingo card of his thirty-fifth year of life (not because he didn’t want it, to be clear, but because it was so goddamn unlikely that it would be like throwing away the whole space).

Once he got through those follow-up questions though, he’d have an answer.

There is one sole downside to dating his ex-husband and it’s that Eddie still splits custody with this guy, and because he and Steve are trying to take things slow for Rozzy’s sake (and for their own, a little bit), they haven’t let her know yet that they’ve rekindled things, which means following their normal custody schedule like it’s business as usual, so finding child-less time together isn’t exactly a walk in the park. Eddie really only ever has a free night when Steve is busy, y’know, being a father to their kid, and the daytime, when Rozzy is at playdates and summer camps, is a no-go too because even though Eddie’s job is flexible, Steve’s nine-to-five is not.

Thank fuck for sleepovers, honestly, and for Rozzy being old enough to really enjoy them (and not need to be picked up in the middle of the night), because that’s been their only saving grace.

Eddie actually finds it kind of funny that there’s more logistical challenges with dating his ex-husband than with dating, like, any other person.

Eddie commented on this to Steve (in the shower together, because Rosalind is away at one of those aforementioned blessed sleepovers), and when Steve replied, “I’ll have to take your word for it, man” Eddie finds himself gaping at him because what the fuck does he mean?

It’s been nearly a decade since they split – of course Eddie’s dated since then. Sure, no one all that serious (certainly never serious enough to introduce to Rozzy), and no one he wasn’t secretly measuring up to Steve in one way or another, but still!

There's no goddamn way the same isn't true for Steve.

“The fuck does that mean?” he asks, pressing a little harder against the way Steve is leaning against the tiled wall of the shower.

Steve only shrugs.

“Steve. You can’t honestly think I believe you haven’t dated anyone since we split up.”

“I mean,” Steve shrugs again, “If someone tried to set me up I wouldn't say no, but I never really…I dunno. Nothing really ever felt right, I guess. For me, anyway.”

“But…why?” Eddie can’t help but ask, because he's feeling kind of baffled about this, to be honest. Like, for as much as Steve’s been going on about how good Eddie looks or whatever (and he can keep that up – Eddie doesn’t mind), Steve too has only gotten better to look at over the years (which, frankly, Eddie didn’t even think was possible). It's basically a statistical anomaly than someone else hadn't already swooped this guy up while Eddie was too stupid to realize what he was missing.

“C’mon, man,” Steve says, “Obviously I was hoping there was at least a ​​small chance we’d sort out our shit.”

“Oh, obviously?” Eddie repeats, but he knows there’s a big, dumb grin on his face because he’d be lying if he said he hadn’t spent the years wondering what would happen if he never got over Steve, wondering if it’d always be this dirty secret in whatever relationship he ended up in that he was deeply, madly, painfully in love with his ex.

He is deeply, madly, painfully in love with his ex, for the record, except Steve's not exactly his ex anymore (fine – it's sort of a weird grey-area at the moment), and with him it doesn't need to be a secret. With Steve, it's not a secret because it's reality, crazy as that still kind of is to him.

It's real though, and to prove it Eddie reaches up to flop Steve’s soapy head of hair over to one side and then he kisses him long and slow, except it's only kind of a kiss, because they're both smiling too much for it to really be a kiss, and Steve's hands are cool on his waist compared to the heat of the water, and Eddie can still sort of feel the sting of a hickey Steve left on his collarbone that made him feel like he's twenty years old again, and the solidness of Steve's chest beneath his hands is reminder enough that they aren't twenty anymore in the best way, and even though they lost their way a bit back there, the day is still young.

And they've got nothing but time.

[l-in-the-light]

Through the Looking Glass, and What Luffy&Katakuri Found There (2/2)

Part 2 of my analysis of Luffy and Katakuri's similarities, done on request from @mewiyev. Part one is here, in case you're interested: https://www.tumblr.com/l-in-the-light/763628387804856320 (you can read it in any order you want, but part 1 is meant to be the first chronologically).

To continue from where we left off, to understand Katakuri and his vow and what kind of a person he actually is, we need to do things in reverse. By starting with analyzing his talk with Brulee and his flashback.

Brulee removes the hat from Katakuri's face like it's not a big deal, despite what she just said. And of course she does, because she prefers him when he isn't hiding how he looks.

She seems genuinely more curious than disappointed. Also she came back here because she was worried about him, brought first aid with her as well.

Katakuri on the other hand finally says something he has been keeping a secret from everyone.

Seeing from his reaction, he also kept it a secret from Brulee as well. This is the first time he realizes she already knew. She's also so happy that he's sharing it with her, that *she* doesn't have to pretend not to know as well.

Brulee thinks Katakuri did it for all of them and she's very touched by that. We learn that Katakuri, long time ago, didn't care to make friends, he wouldn't put on appearances or get along with people who make fun of him. He just wanted to be himself, inside and outside, completely transparent. He would always beat up people who made fun of him too.

And then he learned actions come with consequences. "It was my fault it happened to Brulee".

And this is his resolve as the result of it. "I was too soft, too naive!". He decided to be perfect from now on, show no weakness. But let's stop here for a moment. Because how exactly "showing no weakness" or "being perfect" is gonna help prevent similar situations from happening? We can't really reach any conclusion here, unless we go back and ask the question Katakuri himself asked as well: "Why did they go after his sister?"

The answer to that is, surprisingly enough, revealed if we compare Katakuri's flashback to Luffy's. After all, just like accident with Brulee shaped Katakuri, the same way accident with Shanks losing his arm shaped Luffy. There's a clear parallel here so let's look deeper into it.

How did it happen in Luffy's case? Oh, right. Luffy was the one who started the fight with the bandits, because they were talking bad stuff about his friend (Shanks) and he stood up for him. Mountain bandits were just drinking, minding their own business and talking trash about the thing with Shanks that happened the other day. Luffy, who looked up to Shanks, but also just really loved him, couldn't just sit and ignore what he heard.

We're led to believe that the bullies "got revenge" on Brulee, but Katakuri is taken aback. That clearly never happened before. Let's look at what Brulee said after that "Don't worry, it doesn't hurt. If you ask me, you're fine the way you are". No one asked anything about that, why did she say that? We should ask this question and draw a parallel to Luffy. What actually happened was probably Brulee overhearing the kids trashtalking her brother, she told them to take it back, said that Katakuri is fine the way he is and demanded that they apologize to him. Which the kids wouldn't do and some struggle happened, Brulee probably tried to force them to follow her, the situation escalated fast and someone took out a weapon and she got hurt.

She doesn't want Katakuri to know that she got hurt while defending her beloved brother. She didn't want him to worry or blame himself, because she knew Katakuri is actually a gentle kid. So she instead blamed it on the kids, Katakuri can get his revenge and everything will be fine, was probably her reasoning here. But she didn't realize Katakuri figured out the truth. He realized that his attitude of "I don't care what others say about me, I will just beat them up" was naive. That's because he thought it only concerns him. He didn't think it could also affect people he actually cares about. Not only because of the potential revenge, but them trying to defend him as well.

In world of One Piece (but often in our world as well), when you love someone you don't want to hear others say trash about them, you know you need to defend them, take their side. By doing that, you can often endanger yourself to violent situations like this. The only way to prevent this from happening is to reduce reasons for others to try picking fights with you, so people are too scared to badmouth you, and also eliminate all possible reasons why they would make fun of you (in Katakuri's case: covering his face serves that purpose. If they can't see his mouth or witness him eating, they can't laugh. And as the consequence no one needs to defend him and get hurt in the process!).

The same can be said for Luffy, btw. Luffy understands why Katakuri hides his face and what he's trying to protect by doing that. And he approves. Because Luffy is the same. When Shanks saved Luffy, Luffy also blamed himself, just like Katakuri did. Katakuri decided to hide his true nature as the result, from everyone. Never showing his weaknesses, vulnerability, not even his own emotions (enjoyment of eating, for example). Luffy also vowed to himself that he won't show weakness again, won't ask anyone for help, basically won't make the same mistake he did before.

Except it happened again and that wound is still quite fresh in Luffy's mind. In Dressrosa Law, Luffy's dear friend, almost lost an arm because of Luffy's actions. The result wasn't that drastic, because they could still restore Law's arm, but it defnitely gave Luffy quite a scare. Who knows what answer would Luffy reach if he didn't meet Katakuri? What kind of vow would he make to himself to make sure nothing like that ever happens again?

Maybe the very same vow Katakuri once made. "Show no weakness. Make them fear my perfection!" so that no one has to risk their wellbeing for Luffy ever again. Seems Luffy reached a different conclusion in the end and even convinced Katakuri that This Is Not The Way. Do what you have to do to make sure things don't become like that again, but don't close yourself up to the people who are actually dear to you. Everyone deserves a safe haven. First thing Katakuri did after the fight was to tell Brulee the truth (and probably only to her).

You can’t change the past, but you might learn something from it, says Alice from Through the Looking Glass.

The only way to achieve the impossible is to believe it is possible. Is another lesson Luffy relearned in WCI.

And Luffy rediscovered the old truth: there are some things he can't do (like cooking, navigation, fighting with swords etc.), but there is one thing he can do: beating up the biggest threats and fighting seriously. Luffy started the arc and went through it trying to do things in different ways than usually, but only realized that he still sucks at them and can't do them no matter how he tries. (I wrote more about that in this post: https://www.tumblr.com/l-in-the-light/762470814037819392, you don't have to read other posts in the series to read that one).

By the end of the arc Luffy accepts again that he has to rely on others. It feels like nothing really changed after Whole Cake Island, Luffy is still the old Luffy. But sometimes reaffirming who we are is as important as making big changes and decisions. Luffy faces a lot of anxieties about growing up in this arc, just like Alice from Through the Looking Glass does. Both of them start to understand the rules of the "adult" world, are confused by them and proceed blindly through as they learn by making mistakes. And both of them walk out of this experience without dramatically changing themselves. The change will come inevitably either way, no one can avoid growing up, all they can do is to watch it do it's thing in due time, while trying to stay themselves.

Nothing happened, but at the same time, so much happened. Not many are strong enough to keep on being themselves despite hitting the magical adulthood's treshold, right? We try to adjust ourselves to fit other people, like Katakuri did his whole life. He became a people pleaser, thinking that keeping appearances is more important than who he actually is. But he actually doesn't have to be perfect, he can allow himself to fall flat on his back, and it won't mean he broke his vow to protect his siblings. He will still hide his face though to prevent people who care for him from getting hurt for his sake. But he realized that he can prevent it without hiding himself from everyone. He will for sure no longer try to hide from Brulee. She's his new safe haven, where he can act openly like himself, he doesn't need to be perfect for her. I wonder if Luffy will eventually find his safe haven too? Because we all know not all Luffy's smiles are genuine, often he smiles just to make others stop worrying.

Let's go back to Brulee for a moment. She is kinda coded to be Katakuri's most important person, according to my own theory of pirates and their treasures. They both have matching marks on their faces, Katakuri has his mouth ripped from ear to ear, Brulee's scar literally rips her face in half. He hides his mark, Brulee wears hers proudly without trying to hide it, like she is fond of it. And of course she would be, if she earned it defending her most favourite brother in the world, right? One Piece Red shows us beautifully who is her most beloved person, when Nami lures her out of the mirror by saying "you will be stuck here forever if you won't help us, and you will never see your family again!" and Brulee appears, crying "Even my older brother Katakuri??" and upon getting affirmation Brulee decides to help them.

Actually, seeing Whole Cake Island through the lens of this theory significantly changes motivations of Brulee and Katakuri, so let's take a closer look, shall we?

The very moment it's revealed that Brulee was made into unwilling accomplice, Katakuri declares that "there's no way to stop things" anymore. He won't let it slide, after all. He can't let it slide, even. He's the perfect brother meant to protect everyone.

"I'm the victim here, brother!". Big Mom wouldn't care for that excuse. Many times through the arc other characters and Brulee herself mentioned that if Big Mom finds out, Brulee will end up dead. That's why Opera lied (which ended up working in Luffy's advantage too), to save himself from punishment. The said punishment is clearly hinted to be most likely death.

This puts Katakuri in a tough spot. He should punish Brulee or allow others to do it. What he does instead though, is keeping her close to himself at all times.

He takes her to the Sunny with him, he fights Luffy in the mirror world, and I think it's all because he wants to keep an eye so that no one tries to execute punishment on her. He's also making sure it looks like she's making amends for her blunder, which might or might not help. The bottom line here is: he's protecting her by bringing her with him everywhere.

Also that motivation he shares here? "Strawhat Luffy needs to be snuffed out now"? A big fat lie. You can see that Katakuri's eyes are shaded (in One Piece that often means that a character isn't completely honest!). His true motivation is getting revenge on Luffy for manhandling his sister. That's why he waits on Sunny for Luffy to arrive, that's why he tells others to retreat. This fight is personal for Katakuri, it's payback. Would he do the same for any other sibling? Maybe yes, maybe not, but I think Brulee is Katakuri's most beloved person in the world and he would do just about anything for her.

But, you might say, Katakuri cares for all the siblings, he's the perfect brother! Yes, he does. But that doesn't mean he can't have one special sibling he cares about the most, right?

Both Katakuri and Brulee care for their family a lot. Their care is reflected in each other like a mirror image.

And just look how fond he is of her. He's teasing her that she's just gonna sleep all day (is that something that actually happens often, because it sure sounds this way). She's kinda out of the loop here, but he doesn't even acknowledge this because he doesn't have to. He knows Brulee is one tough cookie. We also know that thanks to the flashback. And of course the person who would defend Katakuri like that would become His Most Favourite Person in the world.

Brulee is also always observing Katakuri in this fight. She's worried, but she won't assist him, she knows better than to interefere in his fights. And it's not because she is afraid of punishment or Katakuri disliking her. Oh, if his life was truly in danger, she would easily have done that, she has the guts. She doesn't act just because she doesn't want her brother to suffer the consequences. Let's look at things from her perspective. Once upon a time she defended her brother and got hurt as the result. That was the last time Katakuri showed his face, despite the fact that Brulee loved his face and told him as much. She probably reached conclusion that the change in him is Brulee's fault, she wanted well but caused him pain instead that he doesn't want to experience again. She doesn't want a repeat of that so she doesn't try to interfere anymore.

They both act this way. One is protecting the other by withholding and pretending. Brulee knows Katakuri didn't truly change, thanks to her devil fruit's ability she can peek at him anytime she wants, but she won't call him out on his lie and will play along. They both play the pretend game, which reminds me of polish novella "The Waistcoat", in which wife and husband keep on lying to each other to spare their beloved one pain and ligthen the burden.

"I will pretend to believe your lie and will play along with it, to help you and to keep your spirit up!", is what Brulee is truly doing here.

Also Brulee isn't so weak, and yet she fails to fight Luffy and his crew properly, mostly just trying to sabotage him indirectly. Why? Because he probably reminds her of Katakuri. In One Piece it's a reccuring theme, when one of the characters can't fight someone that reminds them of a dear person or some impostor pretending to be them. Brulee in that frame above almost sounds *worried* for Luffy or unusually interested in him (though she also just wanted to lure him out, not gonna deny that).

Katakuri changed his attitude in that fight after Luffy's return. He realized probably that Luffy would never harm Brulee and he might be grateful for that, and his initial anger for them misusing her kinda dissipated.

On the contrary, suddenly Katakuri seems like he's trying to teach Luffy how to fight, getting disappointed in him when he doesn't deliver. At first he wanted to defeat Luffy in fastest way possible:

It's clear Katakuri's motivation changed in the middle of this battle.

Till it finally reaches this point. What is actually going on inside Katakuri's head? At first, he wants to make up for the blunder of Brulee. He's monitoring the situation outside the mirror world closely. He knows that if they get the Strawhats, Brulee's blunder will get forgotten and he will deliver his revenge at the same time, just like he wanted.

After he realized that Luffy won't hurt Brulee, he decided for another way out of this situation. If they all lose to the Strawhats, Big Mom would have to punish all her children, which she won't do. So if Katakuri loses to Luffy, he will save his face and protect Brulee from punishment at the same time (her blunder wouldn't stand out anymore if they all lose!). That's why he takes the loss against Luffy despite being stronger than him. All of Luffy's last punches miss him while every single one of Katakuri's is landing. Katakuri easily accepts the limit of Luffy's current strength. That's also why he asks him to come again (once he's stronger, too), so they can have a rematch, without the "losing face" shanenigans coming in the way. He allows himself to voice his wish to fight someone strong, just because he wants to fight him in an even fight, not doing it for his family or for keeping appearances.

Just look at this. He's anticipating Luffy "doing the unthinkable". It's like he wants to see it, despite claiming he should probably eliminate him before that happens. In the middle of the fight, with his resentment gone, he started to kinda root for Luffy, he wants to see how far he can take his observation haki in such a short amount of time.

And Katakuri is actually a strategist, we can see that when he tries to manage the situation at the tea party/wedding. Trying to prevent the biggest disaster scenarios, telling his other brothers to assemble two squads to go after Bege and Strawhats while he himself goes to the final goal and waits, so their targets get surrounded from all sides. Even standing guard at the entrance to the tea party proves that he chose the most strategic position to avoid any bad things and twists happening:

He sales it as his haki's premonition, but he truly doesn't need that to know what this guy is planning. He knows Big Mom and her usual modus operandi (and we know it too thanks to explanation from Pekoms), anyone who refuses to attend the tea party (no matter the reasons) will receive a special "gift" - a severed head of someone close to them. Katakuri claims it's his haki at play here just to instill fear and so no one questions him. He strategizes his strong points for maximum impact, and it works fantastically well.

Brulee claims she won't forgive Luffy for hurting Katakuri, even though she knows already that Katakuri is very fond of him. Katakuri doesn't even answer, because what could he say? He did everything there for her and he's still not gonna admit that openly. Brulee doesn't need to see the future to guess Katakuri's reaction either, she knows him so well she doesn't even need that ability. That alone proves she's his favourite sister, imo.

Also, here's a thought. Katakuri might have also realized that Brulee was unusually fond of Strawhat Luffy through this arc, definitely going easy on him. Heh, indeed.

Fun food for thought: Luffy probably wanted to master observation haki just so nothing bad ever happens to someone dear to him on his watch, without him knowing. I bet you anything that's why Katakuri ended up mastering his observation haki too, so the tragedy never repeats again and so he would have a chance to prevent it if it ever does anyway.

This marks the end of my meta on Katakuri :) This one is sooo long. Whoever lasted to the end of it, I hope you enjoyed!

There's more Katakuri and less Luffy here, mostly because I already did the full analysis on Luffy in Whole Cake Island here: https://www.tumblr.com/l-in-the-light/762470814037819392

[lemonlover1110]

Hi for the request could you do one of Toji presenting Y/N to Megumi as a kid? And being nervous because it's the first time he's presenting a girl to him years after his wife passed away, but then he sees them having a cute interaction? Thank you!!!

Pairing: Toji Fushiguro x f!Reader

Warnings: Pure Fluff

*It just came to me randomly idk OSJFOSJ

Discord +18 - Twitter - Ko-Fi

Should Toji be this worried? It’s the first time he brings a woman over to meet his son after his wife’s death, and he’s scared how the two of you will get along. Toji has come to the realization that he loves you, and he wants something more serious with you. And while Toji does love you, if his six-year-old has a bad opinion of you, he’ll end things.

Toji’s whole world is Megumi, and he won’t hesitate to do anything for him which is why Toji is sweating. It’s cool out yet droplets of sweat drip down his forehead as he waits for your arrival. Megumi is sitting beside him, kicking his feet into the air as his little eyes focus on the television. Toji loses his mind, while Megumi doesn’t give a care in the world.

There’s a knock on the door, and Toji stands up, proceeding to wipe his sweaty hands on his pants. Megumi finally tears his attention away from his show and asks, “Is it her?”

“Yeah…” Toji sounds nervous, something Megumi doesn’t pick up on. Megumi stands up as well, walking beside Toji to open the door. Toji broke it down to Megumi the previous night, and Megumi looked more than okay with the news. Toji fears that Megumi’s changed his mind though.

Toji opens the door to find you holding a bouquet of flowers. There’s a big smile on your face as you see him, leaning in for a kiss. Toji is reluctant but he kisses you back before clearing his throat and asking, “Are the flowers for me?”

“They’re for…” You begin, but a certain movement catches your eye. Your eyes move down to find the person you’ve come here to meet, hiding behind his father and tugging Toji’s pants. You’re grinning when you say his name, “Megumi!”

“Hi…” Megumi is suddenly shy. He was excited to meet you but then his father suddenly opened the door. You crouch down and extend the bouquet of yellow roses to him. 

“Take them, Megumi.” Toji nods his head, and Megumi is hesitant before taking them. Him and the roses are nearly one size, which is a hilarious sight to see. Toji is about to take them from him, put them in a vase and then put them in his bedroom; it’s easier than having Megumi take them around, but Megumi refuses to let them go.

“Your daddy told me that you liked roses, and I didn’t want to come empty handed.” You explain, standing up. Toji welcomes you in, and you walk behind him to the living room. 

You’re not sure where to sit, though you’ve been in Toji’s apartment many times before. The environment is different with his little one here. Megumi puts his flowers down on the coffee table before running away to his bedroom, which makes Toji roll his eyes.

“I don’t know why he’s suddenly so shy.” Toji confesses, keeping his voice low so Megumi doesn’t hear him. You chuckle, watching as Toji takes his usual seat and pats the spot next to him. You sit down next to him, and rest your head on his shoulder.

“I know you’re nervous but I get along with kids.” You tell him, and Toji wonders if you’ve read his mind… Or is it simply that obvious? You lift your head from Toji’s shoulders when you hear the little footsteps coming your way.

“You can have him.” Megumi extends his arms, revealing a chubby cat– Not a plush, but an actual animal. “He’s really soft and friendly.”

Toji’s eyes widen, and he realizes that the neighbor’s adorable little cat, Muttons, wasn’t just missing. Megumi stole him. Little Megumi who fawns over adorable little Muttons, claiming he wants his own cat each and every time. Toji never fulfills the wish so Megumi took matters into his own hands.

Yet, Megumi is giving you the cat. He likes you. He likes you enough to give you the cat that he stole. You swear your heart melts as you take the cat from Megumi and you stick out your bottom lip as you look at Toji. You’re about to cry, how does someone like Toji have a literal angel as a son?

You two are surely going to get along. Toji realizes he was worried for nothing, but now he has another matter to worry about.

“Megumi, what have you been feeding the cat?”

[positivexcellence]

Jared Padalecki Says Goodbye to ‘Walker’ and Blasts the CW’s ‘Cheap Content’ Strategy After Show’s Cancellation: ‘F— It. They Can’t Fire Me Again’

The writers first introduced this Jackal storyline at the end of the third season as a way to excavate more demons from Cordell and Captain James’ (Coby Bell) shared past. What did this storyline help you unlock in terms of your understanding of Cordell? What were you most interested in exploring from a character perspective?

I’ve been fortunate enough for many years, many decades, to play characters that are in situations where the story is not about the situation necessarily: It’s about what’s going on with the character. On “Supernatural,” we fought God, we fought Lucifer, I was Lucifer at one point, we fought demons — but it was really about the brothers. It was about a bond; it was about the tropes of sacrifice, loyalty, determination, discipline and so many more things.

So when the Jackal storyline first occurred to the gang, [a serial killer storyline] was something that we hadn’t approached yet on “Walker.” And it’s something that the real Texas Rangers actually get involved with: They do hunt down and investigate serial killer allegations. So it was a fun template with which to play out past traumas, [as well as this idea of] trusting those close to you and them trusting you back and getting out of your head.

I don’t want to say I suffer [from this], but I’m in my head a lot. Partially that’s my nature, just the way I was born; and partially that’s my nurture, being an actor. You have your script, you read it, and you’re like, “OK, now what can I add? What does this mean?” So I just spend a lot of time in my head, and oftentimes it takes somebody beloved that’s part of my circle to go, “Hey, you all right?” And I’ll be like, “Oh shit. Yeah, sorry, I’ve been kind of elsewhere.” So [I enjoyed] playing that role this season, and understanding how the rabbit hole of emotions in your mind can sometimes affect more than just you.

This iteration of “Walker” has always been about Cordell’s neverending internal struggle to find the right work-life balance. For me, he seems to finally recognize that he’s done plenty of great work as a Ranger, but he has yet to really fulfill his duties as a father, even though he is about to become an empty nester. What is your take on where we leave him in the finale?

Yeah, it’s exactly that — and kudos to Anna and the rest of the writing gang. It was a lot of what I was going through [in real life]. It’s a lot of what I’m going through now, having worked since I was 17 years old when I started “Gilmore Girls.” There are a lot of things that you miss when you’re acting — a lot of graduations, camp drop-offs, kids’ games, whatever. It’s a wonderful job, and I’m so grateful to have been able to do it for so long, but there’s a lot that you give up.

So I think where we find Cordell in the finale is exactly in that spot where he’s no longer anxiety- or panic-driven about having to do the next job, having to get up and find somebody to arrest or find something to fix or investigate. He has realized — much to the credit of Jeff Pierre’s Trey, Ashley Reyes’ Cassie, and obviously Coby Bell’s Larry James — that, “Hey, the world goes on without you.” I think Cordell was in his own head for a lot of the episodes, and afraid that if he wasn’t around, things would fall apart. I think he found a place where he is like, “The world was here before me. The world will be here after me. And what I need to do for those around me is spend time with them.” So he’s come to a realization that there’s more than just the next job.

I think it took him — I don’t want to call it rock bottom, but getting out of control with his obsession with the Jackal to realize, “Oh, wait, maybe I need to step away from this for a little bit, and when I come back, I’ll come back stronger and more clear headed.” There will always be another job, but the family is growing up. August is graduating, Stella is in college, and he and Geri are working through some stuff. So I think he realized that, “Hey, I need to put my energies elsewhere.” It’s told in TV form, but it’s a really universal lesson. Sometimes, just doing something different, just changing your routine, can open your eyes to not only the positives of the routine — but also the drawbacks.

The writers have put Cordell through the wringer over the years, but this is the closest that he came to dying. The idea of mortality becomes even more intense when you become a parent — and, in Cordell’s case, a widowed single parent — because you have to think about what you’re leaving behind for your children.

Great point. [My wife] Genevieve [who played Cordell’s late wife, Emily] and I talk about that all the time, as parents. I think this is one of the lessons that both Gen and I hope to give to our kids, and for them to grasp as well. As kids grow up — and even adults — they will often deal with and question: “Is what I’m doing right? Should I be doing something else? If I’m not important here, then am I important at all?” I think part of the reason Cordell makes the decision that he does at the end of the finale is to show his kids: “Hey, I know I’ve been doing this, and it is very important. But so are you. It’s not a ‘no, but.’ It’s a ‘yes, and.’” It takes courage to leave routine, to leave habits, and I think he wants his kids to know, “Hey, it’s OK if y’all have to pivot, if y’all have to change. Do what you know is right, not what you think other people think is right.”

Unlike some other shows on the bubble, you and the writers elected not to shoot an alternate ending. That means you’ve left the audience with a couple big cliffhangers: In addition to taking a leave of absence, Cordell is also planning to propose to Geri; and James Van Der Beek was going to play the Walkers’ new (and potentially nefarious) neighbor. Did you and Anna discuss what next season would have looked like?

Yeah, there was so much to deal with, now that Violet and Kale are both young adults. They’re not children like they were four years ago, both literally and metaphorically. So there was a lot that we were going to explore with them — like, how much the sins of the father can carry down to the progeny, and how much Stella and/or August had, unfortunately, [inherited] their father’s bad qualities as well, which we dealt with this year with Stella. She’s very much like her father in the good ways and in the bad ways.

But we were very excited to have James on the show. He’s a personal friend, and he lives here in Austin. It wasn’t going to be like the Walker-Davidson feud necessarily [from Season 2], and the fifth season was certainly not written by any means, but I think there was going to be a very interesting dynamic that Cordell was maybe not anticipating, because he was taking a backseat on his law enforcement duties. We thought that James and his crew were going to be maybe up to no good, and Walker was just blinded to it.

Walker was a “Hell yes” or “hell no” kind of guy; he was either all-in on something, or he was kind of oblivious to it. And that was good when he was all-in on a job or all-in on trying to work with his family. But it was bad when he was oblivious: “Oh, no, the kids are fine. I’m fine. They’re nice. Don’t be suspicious of this person, or that person.” And he kind of got stuck in his own head, as we all often do at times. So we were going to explore that.

Is there something that you would have personally loved to have explored further with Cordell, if you had been given more time?

Oh my God. How long do you have? I really would’ve done the show forever. I just loved my character. I loved that I got to be in Austin with my family. I loved my cast and loved our crew. Maybe this is what ultimately was our downfall, but we weren’t ever seeking like, “Oh, here’s the explosion. Oh, here’s the wild cliffhanger where the aliens come down. Oh, here’s the next hot reality star that comes in and takes their clothes off.” It was never about sensationalism. It was more about life. When Anna and I first talked about the show many years ago, one of the reasons [this reboot] was called “Walker,” not “Walker, Texas Ranger,” was because he’s a widow and a father who happens to be in law enforcement. It was an exploration of everything that life could have to offer — heartbreak, disappointment, shame, love, becoming an empty nester — and I’m worse than heartbroken that we are not going to get to explore all those storylines. 

You’ve developed a tradition, on both “Supernatural” and “Walker,” of being the one to deliver the news of a renewal or a cancellation to your cast and crew. How did that happen this time around?

Yes. I talked to David Stapf at CBS and Brad Schwartz at CW before the announcement was made. And when Brad and I were talking, he was wildly flattering of “Walker” and what we had done, and he has his directives as well. He asked me, “Hey, how would you feel if we release the news or if you release the news? Do you have a preference? You’re CW royalty. You’ve been here since Day 1. How do you want to do this?” I thought about it, and I was like, “You know what, man? I think it might be best if I go ahead and make the announcement.” He was like, “Cool. Just go ahead.” And I asked him, “Do you want me to send what I’m going to post to you first, or do you want me to just go and post it?” And he goes, “We know you. We love you. We trust you. You don’t need to double check it with me. Just go ahead and send it when you’re ready.”

It was not easy to see the keyboard on my phone through the tears in my eyes, but I was grateful that I was allowed to [do that]. So often, when these big announcements are made, it’s like, “OK, here’s what’s going to happen. Don’t say anything until 1 p.m. in three days because we haven’t called all the outlets yet.” It felt like a very human send-off to go, “OK, do what you need to say, and we will reiterate it.” It felt like a great part of the closure that I’m still seeking. 

Did The CW ever give you a reason for the cancellation? Did it come down to budgetary reasons? Do you know any of the particulars?

Yeah. I talked with the head of CBS and the head of Nexstar/CW, I talked with the other [executive producers] on “Walker,” and I think it was a multivariate kind of issue. My understanding is — and again, this is just what I’m told — that Nexstar is going in a different direction with The CW. I mean, they have an hour of “Trivial Pursuit” and an hour of “Scrabble” coming up. I don’t know why you wouldn’t just download the app or grab a board game and play with your friends, but they’re clearly just — what’s that great quote? It’s like, “If somebody tells you who they are, ask questions. If somebody shows you who they are, believe them.”

I feel like The CW that I was a part of last year is not The CW that I was a part of under [former chairman and CEO] Mark Pedowitz for that entire, almost 20-year stretch. They’re just changing the network around, where it’s not really going to be a TV network as much as it’s going to be, “Here’s something fun for an hour that you’ll never watch again, but hopefully you watch it. And it’s cheap!” And I hate to say that, but I’m just being honest. I mean, fuck it. They can’t fire me again. I’m just being brutally honest. I think it felt to me like they were looking for really easy, cheap content that they could fill up time with.

You’ve only had a few weeks to process the cancellation, but have you given any thought to what you will do next?

I left two days [after the cancellation was announced] to go to Europe for work and then for play. My wife and kids met me out there, and we took a little vacation that was already planned. It was strange, and it was both horrible and wonderful. It was horrible because I really wanted to grieve. I really wanted to sit there and grieve, and call my cast. But here I was, eight or 10 hours ahead of their time zone, and I couldn’t make a phone call to everybody I wanted to make. The texts would come in when I woke up in the morning, and I just wanted or needed a personal connection with everybody who I had worked with for so long. But it was great, because I had a lot of distractions.

But I haven’t taken a whole lot of time just yet to think about what’s next. I kind of said this at the end of “Supernatural”: I wasn’t interested in acting [again], per se. I do love producing. I love the production aspect, and I love the problem-solving that comes with it. So there are a few things that my wife and I are in the process of developing that I would love to produce and act in. But beyond that, I still feel like I haven’t grieved the loss of “Walker,” so I don’t know yet if I trust my feelings. That sounds like a cop-out. I’m so sorry.

No, that’s a totally valid answer, considering that you openly spoke about how you hoped “Walker” would last just as long as, if not longer than, “Supernatural.” It’s natural that you wouldn’t necessarily know where to go from here.

Yeah, I don’t want to disappear into the bushes by any means, but I kind of want to disappear into the bushes. But hopefully, at this point in my life, and much like Cordell realized at the end of Season 4, I need to take a good, long, hard look at my personal life and the time I spend with my family and my friends, and I need to stop being so aggressive and obsessed with work. I still want to work, but for now, you’ll find me in and out of the bushes, hanging out with family and seeing friends. If a project comes up and I don’t care about it, then money doesn’t matter. But if a project comes up and I love the story or there’s somebody I really want to work with, then all right, [I’ll do it].

One of the people that you presumably want to work with again is Eric Kripke, who already recruited your former “Supernatural” costar Jensen Ackles to star in his current show, “The Boys.” Now that your schedule has opened up, are you officially joining the final season of “The Boys”?

Well, I’ll say this: Kripke and I texted today. It’s not been written yet, but I think he was saying [the final season] doesn’t even film until 2025. So yeah, I’m going to go play in Kripke’s newest playground. I had a great time the first time around, so I’m sure I’ll have a great time here again. I love the show. I think it’s hilarious and exciting. But you were asking what my plans for the future were — and I love Jensen and Eric Kripke. Obviously, I’ll be indebted to [Kripke] and entangled with him forever. I met my wife because of him. I was Sam Winchester because of him. “Supernatural” happened because of him. So working with him on a show that I enjoy, I’m like, “Yeah, when do I fly out?” But I don’t think we would film until at least January. 

Your body of work has spanned so many genres, but is there a specific genre that you are looking to explore next?

I thought “Walker” was kind of a mixture of “Gilmore Girls” and “Supernatural.” It was a family show with excitement and stunts, and macro storylines married with the micro. You know what? There’s a script that I love, and if we can get it turned into something, then I’d love to be a part of it. It’s actually a sitcom, but not a slapstick or knee-slapping sitcom. It’s kind of like a family-esque sitcom. It could actually be an hourlong show that you’d kind of define as a sitcom.

One of the things I really enjoyed about “Walker” was the humor that I was able to try and bring to screen, because my characters on “Gilmore Girls” and “Supernatural” were more stoic and serious, and I am by nature a much goofier person than the characters I’d played for 20 years. It terrifies me, because I think I’m funny among friends, but I don’t think I’m a funny person. I just think I’m goofy.

I’d like to explore that. It’s scary. It’s something I haven’t done, and I think I’d be very intrigued. 

It seems very difficult for dramatic actors to make that transition to comedy.

It’s so difficult!

You’ve now starred in over 450 episodes of primetime network TV, which is no small feat. What is your biggest takeaway from the time you’ve spent on The WB and The CW? When you think back to your biggest aspirations when you began on “Gilmore Girls,” how did your dreams ultimately compare to your reality?

Yeah, it’s been a long time. I think there’s some form of the saying, “If I only knew then what I know now…” Oftentimes, [this is] such a cutthroat industry. I think I spent so long in my adult life trying to get to a point where I could live my life, where I felt comfortable, where I felt safe and secure. I love storytelling. I love storytellers. I love raconteurs. I love that friend we all have that can just talk for an hour, and you’re laughing, you’re crying, you’re interested, and you’re learning. I love being able to pretend to be one of those characters on screen.

But I think along the way, it feels like I really learned, “Hey, don’t work to earn. Work to learn.” And at some point in time, you’ve got to look in the mirror and go, “Hey, you’re working towards some ever-moving goalpost. Why don’t you try and enjoy it now?” I think that’s kind of where I sit now. We’re just about a month [removed] from the announcement that we weren’t picked up again, so it’s kind of funny how life imitates art, or art imitates life. What Cordell went through in the finale and what I’m going through now are mirrors. I’ll be 42 next month. Am I waiting until I’m 60 and I have 800 episodes of television or something? I have to live my life now. I’ve got a 12-year-old, a 10-year-old, and a 7-year-old. 

I think, ironically, in trying to tell somebody else’s story for so long, I’ve realized that my story has value too.

Variety

[kamiko1234]

*EVEN MORE YAPPING AHEAD*

Okay as of now I have finished chapter 3 of The Last Olympian and, OH MAN STUFF'S GOING DOWN.

So first off, I still find it EMBARRASSING how little Camp Halfblood does in terms of war. It's good that they started running missions but they STILL aren't a real army!

They lack a solid command structure,. They lack enough real allies (I guess the gods count as allies technically but like- it's not like they BEHAVE like allies. I mean Kronos' allies are in active communication with him to coordinate and strategize, so far it just seems tho gods are doing their own separate stuff in terms of fighting)

So far their whole strategy feels like the good old soviet approach of "throw men at the enemy and see what runs out first. Our soldiers or our enemies ammo".

EXCEPT FOR THE FACT THAT CAMP HALFBLOOD DOES NOT HAVE THE NUMBERS FOR THIS STRATEGY AND THE ENEMY WON'T EVER RUN OUT OF AMMO.

Like how have none of these people properly militarized yet!? Why are they running single man missions instead of acting as a closed force!? Why are they FIGHTING OVER LOOT INSTEAD OF PLANNING?

I will give the "why are kids planning a war" thing a pass because, well, kids book and kids wanna see themselves. BUT WHY DIDN'T CHIRON STEP IN WHEN THEY FAUGHT!?

Clarisse just dipped! And with her the entier Ares cabin! And idk if you noticed but those Ares kids LOVE fighting- so for them to just decide to sit this one out? Yeah whatever that reason is it must be GOOD. (Also very based for Clarisse. I mande it more than clear that I do not like CHB, the more people are done with it the better)

Am I the only one realizing how BAD that is!? For your main fighting force to be so divided that entier GROUPS just decide to sit it out because the rest fucked up and no one addressed the problem!?

And how come that these cabins STILL ACT MORE LOYAL INWARDS THAN TO THE ARMY!? THAT'S BAD TOO YK.

I swear if you don't wanna do the whole "united front" thing ATLEAST INTRODUCE PROPER MILITARY STRUCTURE.

You guys I am genuinly worried about CHB right now. As I see it they were already massivley underequippe to deal with Luke. Much less with KRONOS.

I mean sure they have Percy, but like- he's ONE GUY. He ain't gonna be enough to believably deal with and defeat the entier army!

Honestly at this point the only way I can see Kronos being defeated is him falling down a flight of stairs and accidentaly impaling himself on his own scythe 💀

Also on anothernote, I finally found out the entierty of that prophecy and that Percy's apperantly going to die..... and well, I feel nothing.

Like genuinly nothing.

I do not care wether he lives or dies.

I mean, I'd still PREFER it if Percy wouldn't cosplay a martyr and end up with Uncle Hades but like- even if he does it wouldn't be the worst for me.

To be quite honest I find Percy a bit boring compared to the other characters at this point. He feels to have very little to no actual conflict when next to the other characters.

Like, what sort of conflicts does Percy have?

-Shitty Dad/Parental Issues? He has a locing mom, Poseidon is one of the better Dads in terms of Gods. Gabe was a dick no doubt, but he's been taken care off for ages now and doesn't rly affect Percy much anyway. And we don#t even have the "I got no dad 😢" plotline with Percy either 'cause he as Paul now to fill that role!

-Struggling with his ADHD and dyslexia? Both had little no no impact on the story like, at all. Often times it feels like they aren't even there to beginn with.

-Luke betraying him? He immideatly switched to full on hate and enemy mentality with Luke. He doesn't struggle with the guy suddenly being evil or fighting him. Neither dies he still believe in the good in Luke like Annabeth.

-His fatal flaw? I already made a seperate post on why I don#t really like that one.

Those are the main ones comming to mind BESIDES the prophecy introduced this book. But ngl? I already lost intrest in Percy in favor of Luke. I don't REALLY care anymore.

I guess we also have the plotline with Annabeth where it's very obviously heading for a romance. But I also couldn't care less about Percabeth as a ship. At most they mildly annoy me due to the fandom shoving it down my throat whever I dabble my toes in it.

Like, yeah Percy started out cool but now? I'd rather know more about Luke, Thalia and Annabeth. I wanna know more about Clarisse. I want to know more of the innerworkings of the camp.

Percy just became a sort of, meh factor to me.

I am HOPING that it get's better though since it would be SUCH a waste if I really stayed apathetic to the main character. There are hopes with Percy in his fight with Kronos noting that it's hard for him to kill Luke/Kronos in Luke's body.

As always I ask to mark any spoilers in your rebolgs or replies should you make them, thank you very much ^^

[igglemouse]

It's Monday which is kind of the start of the week? It usually feels like it at least and I'm not exactly sure what might happen this Monday but I'll be starting it in the shower. Washing off the last of yesterday, you could say, because one must smell good in show business. Just imagine me showing up for my audition with a stench? 'Sorry, you're acting was impeccable but but you stink, no literally, you stink!'

By the by, I'm not much of a chef and so you'll see me munching on whatever I can get my hands on and this morning its a very plain sandwich. I hope it'll be good enough for breakfast because it is the best I can do right now.

OH! Some news that you might not expect but I've decided to join a book club! I'm not sure exactly why buuuuuut, I did? Look, I saw an opportunity and I took it and besides, acting includes a lot of reading. Imagine being an A-lister and having countless scripts sent your way? Exactly. So I plan on being an avid reader!

ANY WAYS! Off to my first audition! Wish me luck!

After a successful audition (I won the part!) I head out to the park to clear my mind and just enjoy the day. A good day. A happy day because my career is beginning. Sure, it's just a commercial but one, it adds to my currently blanke resume and two, I make simoleons. So, we all have to start somewhere and I look forward to shooting it.

ANYWAYS! So I'm at the park and feeling the vibes until the sound of a clearly practicing and amateur musician hits my ears. I'm not going to lie, most of it was horrible, but for whatever reason it catches my attention and interest.

I'm not new here. Like I've said, I'm DSV for life, born and raised, so I'm used to seeing people out in the street begging for the right pair of eyes or ears to give them their big chance so this is nothing new, but the man certainly has a unique sound to him...

It's his voice. That's what it was. It has a tenderness to it that grabs you, that makes you wonder about his story, but then you hear his fingers carelessly pluck at a guitar and it ruins whatever comes from his throat.

I stare at him for a moment and wonder what his game is. Does he realize that he can't play the guitar or is this some new genre I know nothing about? I'll be honest, if it's not a musical I don't vibe with it so it is entirely possible that maybe he this is what you kids listen to nowadays? Anyways, the man seems satisfied with himself.

He finishes and puts his guitar down, satisfied with himself for whatever reason and looking at me as if he expects some applause. "Ummm, congrats!" is all I can offer for lack of not knowing what else to say. I don't want to put him down because he's so very proud of his performance. Actually, he should be, at least half of it? don't know what else to say, he seems so proud of himself.

"Ah, thank you, thank you!" Yep, definitely proud of himself.

"Your voice is very unique, in a good way!" Always focus on the positive, right?!

"Thanks! I'm new to the guitar but it's like they say, practice makes perfect, right?"

"Umm, is it a good idea to practice in the public?" I ask the obvious question because why practice in front of others? It would be like me performing my script out here in front of others.

"I figure if people see my rawness and see the growth over time that they might connect with me more, y'know?"

"Oh, yeah..." hmm, that is an interesting outlook on it, I guess he's thinking long term? "So, whats your vibe, what's your style? What kind of music are you trying to create?"

"All I have is my voice and my word, so I kind of mix things up, you know? A little melodic singing over music is what I tend to do. I don't have a genre, I want to transcend genres."

"Hmm, yeah," Yep, definitely a musician. I know us artists get flack for being odd but that's not on us, not on us thespians I should clarify. It's mainly the painters and musicians that are out there. Maybe you can include writers, if you can find them, they like to hide under rocks after all. "I think you definitely have the talent, at least with your voice, so yeah I can see that!"

"Yep, now it's just about finding someone with simoleons to believe in me I guess."

"Well, you might not get it playing like that in this park!" I joke, but he does laugh with me and seems to understand my point.

"I'm persistent, I'll be here everyday until someone gets tired of it."

"I get it! I'm the same way, I guess we are both here chasing dreams," and this is the city of dreams, isn't it? A city of stars is probably more apt.

"Oh, you too huh!? Derrick, by the way," and he gives me that smile, maybe you know the one? The one that tells me he'd like to see me again but in a different setting. Right now, I'm not exactly opposed to that.

"Teresa! Maybe one day our names will be on the front page of a magazine!"

Derrick was well met especially because his story feels similar to mines. He's out there grinding with the hopes that someone, anyone, will give him a shot. That's how this whole thing works, doesn't it? You do all you can for that one shot, that one moment that will launch you into stardom and once you are there? Once you are there it's hard to get you down. For him, it's one song that can transform his career and for me it's one performance.

So I find myself back home in front of my mirror and the script firmly in hand. It's a commercial so my lines are few, two sentences, but I'll put my entire soul into those two lines.

But commercials are not my end goal of course as they are just a stepping stone to bigger and better things. I don't have any connections but I do have a friend of a friend of a friend of a friend that thinks she can get me into an upcoming sitcom that is specifically looking for someone that looks just like me but this is an opportunity for another day so let's not think too much on it right now.

Alright, I think I've done enough for the day. I cook some friend plantains, which I do alright with, and get ready for bed. I'll need a full day of rest for my performance tomorrow. Do they give awards for commercials, by the way?

Teresa Tejedor - Next Episode 1.3