#supporting the makeup industry

[menalez]

it makes no sense to claim to be a radfem while being het-partnered. maybe ur some other form of feminist, but certainly not a radfem. i also think the women who claim to be radfems while calling women dick-obsessed and other vulgar terms are not radfems either. these two beliefs can (and should) coexist

[milkymars]

i hate the discussion online about pick me's, especially with the release of the barbie movie, because the word has completely lost its meaning. a pick me is a person, usually a woman, who puts down other women in order to receive male approval. it is NOT a woman who is a tomboy, a woman who does not like pink or girly things, or someone who criticizes certain aspects of traditional femininity. while it is true that activities or aesthetics that are considered feminine are often looked down upon and seen as lesser, you can't forget that people who actively choose not to present feminine or conform to feminine standards are punished.

anyone can be a pick me if they're an asshole who thinks they're better at being a woman, using whatever arbitrary standard they set, and therefore more deserving of praise and attention.

[gcldfanged]

Me: *watching a billion makeup tutorials to figure out how to Kokonoi-fy myself for Halloween*

[zaczenemiji]

Hi there! It's me...again. Hope your doing okay.

I was thinking about a new request about Kenji Sato x Fem! Reader based on the song "Please, Please, Please" from Sabrina Carpenter. Reader is a singer just like her so and has a relationship with Ken but she thinks that some things aren't doing good, but she also has him wrapped around her finger. Like the part with "I beg you, don't embarrass me, mother******". It can be angst but also fluffy and spice (Only if you want to but no smut) It can end in a happy ending.

The rest is up to you because I know you'll do a great job. No need to rush so take your time.

Don’t Prove ‘Em Right

Kenji Sato x Singer!Reader

Word Count: 1,358

Genre/Warnings: Angst (light), Character Development, Drama, Emotional, Redemption

Author’s Note: I went with a bit of angst 🤧

MASTERLIST

“You could do better.”

This was one thing you’ve always heard since you started dating men as a singer. Throughout your career, you were either cheated on, abandoned, or used in a way that they just rode your fame.

Other times, fans would ship you with another singer or celebrity or whoever famous and you’d give it a try for them but the ending is the always same: you two were just pretending for public entertainment and there was never love at all.

Your perception of love blurred the longer you got in the singing industry. You sang about it, wrote songs about it, but you’ve never really experienced it for a significant amount of time or for a significant depth.

That was until you met Kenji.

Despite his fame, he seemed down-to-earth and genuinely interested in getting to know you. He took you to his baseball games and introduced you to his teammates. In return, you invited him to your recording sessions.

Kenji was always supportive, and always encouraging. He seemed genuinely proud of your achievements and was always there for you. Despite his busy schedule, he shows up at your gigs and concerts and cheers you on from the front row.

He had a way of making you feel special like you were the most important person in his world. It was easy to overlook the occasional outbursts, the moments of impulsiveness that seemed to come with his fiery temperament.

You told yourself that everyone had flaws, and Kenji's good qualities far outweighed his bad ones.

You believed in him and in the future you could build together. Despite the red lights and the stop signs, you held on to the belief that this time, this love was right.

But as time went on, the cracks in Kenji's facade began to show. His temper flared more frequently, and his impulsive decisions started to take a toll on your relationship.

You made excuses for him and justified his actions to your friends and family. You told them he’s different.

But they told you that with the way he’s behaving, you’ll just end up in the dumps again—that he’s going to cheat on you, hurt you, leave you, and the ending will be the same…

“You could do better.”

Heartbreak is one thing, but your ego is another. You couldn’t afford your name dominating the headlines again. And for what reason? Another breakup.

You loved him deeply, but the constant cycle of highs and lows was exhausting. You wanted to believe that he could change, that he could be the man you fell in love with.

But the more you tried to fix things, the more you realized that some things were beyond your control.

You sat in front of your vanity doing your makeup nicely. You glanced at the clock. Kenji would be here any minute to pick you up now. Tonight is your big night. It’s an afterparty to celebrate the release of your new single.

Your boyfriend had a reputation for causing a scene. It wasn't entirely his fault—he was passionate but it sometimes translated into impulsiveness. Tonight, of all nights, you needed him to be on his best behavior.

As if on cue, the doorbell rang. Kenji stood there, looking dashing in a tailored suit, a grin spreading across his face as he saw you.

"Wow, you look stunning," he said, pulling you in for a quick kiss.

"Thanks," you replied, forcing a smile. "You sure you wanna come?"

"Of course," he replied with a confidence that both reassured and worried you. “I’m always here for you.”

You arrived at the venue in no time. Celebrities, reporters, and fans filled the room, all eager to celebrate your success. You and Kenji mingled with the crowd, exchanging pleasantries and accepting congratulations.

But as the night went on, Kenji's behavior started to shift. The drinks were flowing, and while you had stuck to soda water, Kenji had not.

You watched with growing anxiety as he laughed a little too loudly, and gestured a little too wildly. The conversations around you started to feel like a backdrop to a ticking time bomb.

You pulled him aside. "Kenji, please," you whispered urgently. "Just... take it easy, okay?"

He frowned, a mix of confusion and irritation crossing his features. "What? I'm just having a good time."

"I know," you said, forcing another smile. “Just... for me, okay?"

He sighed but nodded and for a while, it seemed like he was keeping his promise. He stuck by your side, an arm around your waist, engaging in polite conversation with your friends and family.

However, you left him one moment and then the next, he was talking to one of the reporters. The latter walked away, a smirk on his face. Kenji turned to you, his face flushed with anger.

"Can you believe that guy?" he spat. "He had the nerve to ask about the last game. Said I sucked."

"Kenji," you said softly, trying to calm him down. You placed your hand on his chest. "It's not worth it."

"But—"

"Please, Kenji. Just... let it go."

He looked at you, the anger in his eyes slowly fading. He took a deep breath and nodded. "For you," he said quietly.

But the reprieve was short-lived. You caught sight of him at the bar, raising his voice at someone who had apparently made a snide comment.

The situation escalated quickly, and before you knew it, Kenji had thrown a punch, causing a commotion that drew everyone's attention.

Your heart sank as security rushed in to break up the fight. You could feel all eyes on you, whispers spreading through the crowd.

You felt a sense of dejà vu as this wasn't the first time Kenji let his emotions get the best of him, and you were able to hold it together as you’ve always done, but then you heard the one thing you hated.

“She could’ve done better.”

Without a word, you grabbed your things and stormed out of the venue, the tears you had been holding back finally spilling over.

Not long after, Kenji arrived at your house, disheveled and remorseful. "(Y/n), I'm so sorry," he began, reaching out to you. "I didn't mean to ruin everything."

You stepped back, keeping a distance between you. "Kenji, this can't keep happening. You promised me you would behave tonight!” You said in between sobs. “This was supposed to be my night, and you turned it into a disaster.”

You sat on your couch, your legs feeling too tired to keep you up. "I can't keep making excuses for you,” you continued. “I can't keep sacrificing my career for your mistakes."

Kenji fell silent, his shoulders slumping in defeat. He’s scared. He knew what those words meant. At that moment, he felt like the sky was crashing on him.

"I don't want to lose you, (y/n)," he said quietly, tears falling down. "I love you, and I know I've been screwing up. But I'm willing to do everything to make things right. Therapy, anger management, whatever it takes."

You stared at him, your heart aching with a mix of love and doubt. "Kenji, this isn't just about tonight,” you said. “This has been happening for a while now.“

“Please, (y/n),” he begged, his voice trembling as he knelt in front of you, embracing your legs as he rested his head on your lap. “I want to be the man you deserve. Please, give me one more chance."

Over the next few weeks, Kenji followed through on his promise. He made genuine efforts to address his issues.

He went out of his way to apologize to your friends and family for his behavior at the party, taking full responsibility for his actions.

Slowly but surely, he’s coming back to being the man you fell in love with. He made sure you wouldn’t be the one doing better because he was becoming better himself.

One afternoon, you had lunch with your friends. They asked about how things are now going between you and Kenji. You gave them a smile, a genuine one since after the party.

“He became better.”

Taglist is open! Comment if u wanna be tagged on future Kenji oneshots

@flowerloves @eternallyvenus @puppyminnnie @wattpadsuckssohard @sakura-onesan @reggies-eyeliner @buggs-1 @miffysoo @spencerrxids @stupidbutsmart @marimargirlies @mixvchelle

[jamminvroomvroom]

congrats on 5k queen! you’re writing is so brilliant beyond belief and you deserve all the love and support this site has to offer. can i request lando+angsty smut (the best combo)…prompts along the lines of “i don’t think im ever going to love anyone the way i love you”//“i don’t think i want to love anyone else”

how did it end?

ln x famous fem!reader

in which it ends, until…

i love this fic with my whole heart. thank u sm for this request, anon, and for being so absolutely for gorgeous and kind <3 kicking off the 5k celebration with a big, sad, sexy bang! lemme know what you think, hugs n kisses

songs to set the mood: how did it end? by taylor swift

warnings: 18+!! minors dni!! smut, angst angst angst, fluff, happy ending! exes to lovers, just. a lot going on. sad!lando, sad!everyone, so many feels, r is a big deal model, alcohol consumption, mentions of smoking

4.1k words

one gasp, and then…

“how did it end?” the woman strokes your arm, soothing, tentative.

you don’t know her all that well, she’s signed to the same agency as you, you see her in the halls sometimes and sit next to her in makeup chairs.

you stare blankly at her, registering. news travels fast apparently.

you smile, small, fake, tilting your head to the side. you mumble something about different schedules, timezones, right person, wrong time. she watches your face intently, with sympathy. you want to throttle her. she’s being kind and you despise her for it right now.

“i won’t tell anyone.” she affirms, her fingers still smoothing over the skin of your arm.

yes you will, you think. all of her friends, the rest of the building will know exactly what you’ve told her by the time you get to your meeting. you don’t begrudge her, though, that’s the nature of the industry.

“well, it was good to see you.” you nod, even go in for a quick hug, and then you speed away, beelining for the elevator. the ride is short, your managers office somewhere on the third floor and you shuffle down the corridor, ready to be informed of what your life will look like for the next three months.

fittings, shoots, paris trip.

mhm.

swimwear season, charlotte tilbury, meeting with the vogue journalist.

cool.

week off, few days in london, monaco grand prix.

no.

“what? no.” you splutter. out of habit, you reach for a necklace, frown when you realise it’s no longer there.

“what do you mean, no?” she narrows her eyes at you.

“i can’t go to the race. no.”

“girl, i love you, but did i ask?”

“you know i can’t-“

“you won’t have to see him.” she reasons.

“but what if i do? he’s obviously gonna be there, and the events before and after- no. no.”

“lando norris is not gonna be the end of you.”

you stifle a laugh, one that sounds more like a strangled cry.

what if he already was?

-

look who we ran into at the shops,

walking in circles like he was lost

lando stares at the shampoo.

specifically, the one you use. used. he can’t be too sure anymore, he supposes.

he’d popped out for a loaf of bread, about an hour ago. he didn’t want to acknowledge how long he’d been staring at the women’s toiletries section.

you seemed to live on, everywhere. lando could see you in his apartment, the passenger seat of his car, the back of the garage. even the fucking supermarket wasn’t safe. you were very much alive, moving on with life, and yet you haunted him like he’d killed you himself.

perhaps he had, in a way.

the basket grazes the outside of his leg.

that’s the shower gel he’d buy for you, the one you only used when you stayed with him in monaco.

there’s the tampons you asked him to buy, crying back at home on your- his bed.

oh, and there’s the shampoo that you made him buy, the one that you told him made his curls feel extra fluffy when he was between your legs-

“lando?” a voice calls, drawing lando out of the mist.

“oh, alex. hey.” lando croaks. he hasn’t noticed the lump in his throat until now. he clears his throat, running a hand through his hair.

“what you doing, mate?” alex asks, eyebrows furrowed. he scans lando’s face, puffy eyes, watery.

“shopping.”

“for women’s shampoo?”

“no, no, just… looking.” lando stutters.

“when was the last time you slept?” alex’s voice is laced with concern, apprehensive. he doesn’t know what to say to his heartbroken friend.

lando smiles weakly.

“i’ve been sleeping.”

alex sighs.

“okay, when was the last time you slept properly, then?”

lando’s shoulders visibly sag.

“about a month ago.”

-

we hereby conduct this post-mortem

“we can’t do this anymore.”

the words fall from your lips in a whisper, but they reach him like you’ve screamed them at him. he sits opposite you, in the arm chair, so far away, only a metre or so.

“i know.” lando breathes shakily.

“i don’t want this but…”

“yeah.”

it’s been such a good year. you’re in love. it’s not enough. there’s too much distance, too many outsider opinions, too much longing for someone who’s on the other side of the world.

he’ll be in london. you’ll be in brazil.

he’ll be in australia. you’ll be in amsterdam.

it’s too much.

“i love you, though.” you remind him meekly.

“don’t know how to not love you.” he sniffles.

your heart shatters, the pieces flying over the room, spilling across the floor. they mix with the splinters of his, painting the room red. all you feel is blue.

you cry in his arms when he takes you to bed, his own tears spilling over your collar bone when he buries his head in your neck, licks over the marks he’s left there. to remember me by, he’d muttered dryly.

when you’re both finished, he lays there for a moment, still on top of you. damp with sweat and tears, the taste of one another still lingering on your tongues.

“how is it possible that i miss you already?” he pants, lips grazing just below your ear.

“i get it, lan. i’ve been missing you for a while.”

you’re gone when he wakes up.

and so, a touch that was my birthright became foreign

-

come one, come all

it’s happening again

the empathetic hunger descends

there are about six cameras pointed at you when he asks the dreaded question.

you’re in new york, sat on a talk show hosts sofa, lit by stage lights and his inquisitive eyes. two hundred people sit in the audience, on the edge of their seats waiting for you to spill your secrets.

“so, what happened there, with lando?”

you plaster on the fakest smile to date, crossing your legs anxiously.

“we’re both just so busy, you know? he’s doing amazing things in f1 and i’m all over the place with work.”

“we love both of you over here, it was sad to hear.” he sympathises, adjusting his tie and leaning back in his chair. his fingers drum over the wood of his desk, waiting for more.

vultures. everyone is a vulture.

“and we still have a lot of love for each other. he’s a wonderful person.”

there are tears in your eyes and bile rising rapidly in your throat when you shake hands with the crew, the host, and retreat to your dressing room. you stumble into the en-suite and throw up. then, you fall onto the sofa and cry. you fix your makeup at godspeed and reply to the text from your team, inviting you to drinks at some rooftop bar, promising to meet them there. you punctuate the text with one too many exclamation marks, feigning excitement.

“we still have a lot of love for each other.”

translation: i can’t understand: how did it end?

-

lando watches your interview. of course he does. he watches everything that you do, watches the way you set the world on fire.

he can’t help himself where you’re concerned, like an addict craving the next hit. you look so pretty on tv, glowing. you look fine.

god, why do you look fine?

he hates himself for hating just how fine you look. he is not fine.

“he’s a wonderful person.”

your words ring in his ears. they anger him, because if he’s oh-so-wonderful, why aren’t you here? why isn’t he there with you, waiting backstage? why can’t you just hate him? why can’t he just hate you? maybe you will, if he shows you just how not wonderful he can be.

he gets drunk that night. forces max to hit the clubs with him. sticks his tongue down a pliant woman’s throat. doesn’t ask her name. let’s her invite him back to her place. it has to be her place, he can’t fuck someone else in your bed, the one you used to share. he leaves minutes after he’s pulled out. he’s sure she’s lovely, too good for him and his bitter fucking heart. he feels utterly disgusting.

lando goes home, scrubs his skin red, and then does it again. he doesn’t go to sleep, watches from his balcony as the sun begins to rise over the sea. he hikes to the highest point he can reach in monaco, where it’s quiet and there’s no one to judge him, or worse, sympathise with him.

he stands at the edge of the cliff. screams once, twice. he sits on a rock, and lets himself cry.

the deflation of our dreaming

leaving me bereft and reeling

my beloved ghost and me

sitting in a tree

d-y-i-n-g

-

your stylist is plying you with options.

you can wear the denim with the cream OR you could do the red and white? or we can go full glam! or! or! or! we could-

you drown her out. you don’t give a fuck. not a single one.

what you wear to the monaco grand prix is quite literally the least of the your problems. your biggest problem, of course, is that you have to go to the fucking thing.

visibility is important, get people talking! the words of your manager ring in your ears until you have a dull migraine brewing behind your ears.

you leave the fitting not entirely sure what you’re wearing, but your stylist will be sending the clothes over so you can pack.

when you land in all too familiar nice, there are cameras. when you get to the hotel in monaco, you and lando are already trending on twitter. well, at least he knows you’re coming. when you’re getting your makeup done before your first event, you get a text.

i’ll try and keep my distance.

try.

try is such an interesting word. the fact that he has to try to stay away makes your belly flutter with embarrassing, self loathing butterflies. don’t try too hard, you want to respond. you don’t.

should’ve told you i’d be here you shoot back.

you think i didn’t already know?

of course he knew. he’d probably asked god knows how many brands to invite you. you try and feign an illness but your team drag you kicking and screaming to the event.

-

there are no two ways about it: you’re drunk, on a tuesday night, somewhere in the principality. a few cocktails with a jewellery brand turned into a night on the town, bar hopping with people you hardly knew and barely recognised.

you’re shaking your ass in jimmy’z, pretending to have fun when you see him.

lando stands at the bar, watching you, jaw tensed, eyes solemn. you exit the club faster that his car down a back straight, stumbling into the smoking area. you bum a cigarette from a guy who tries really hard to convince you that he’s the son of a british lord, and sink into the corner, ignoring the people recording you.

depressed model shame smokes outside monaco club because she is fucking pathetic, the headlines will read.

“thought you quit that shit.” his voice washes over your body like you’ve been set on fire, smooth tone, ambiguous accent making you ache.

“i did but then i got forced to come to monaco, so.” you shrug.

“forced?”

“‘m here for work.” you sigh.

“i guess i am too.” he mumbles. you raise an eyebrow.

“you live here, lan.” you tease. lan rolls off of your tongue too sweetly.

“doesn’t feel like it anymore.”

how can it, without you? he wants to scream at you. he can’t, you don’t deserve it.

“how are you?”

you want to touch him.

“shit.”

he needs a taste.

“yeah.”

you put your cigarette out. it tastes like shit, half smoked.

you stand there, stare at each other.

take me home, you want to beg.

come home, he clenches his fists, trying not to grab you and remind you how you’ll always be his, right here, up against the side of the club.

“good luck, if i don’t see you.” you whisper. you linger, praying that he’ll beg you to stay so that you can crumble into his arms, without having to make the first move.

lando ponders his options. his head and his heart wage a war.

logic wins, unfortunately.

“thank you.”

you take that as your queue to get the fuck out of there, and disappear into the night.

-

it’s raining on sunday. the dreary weather seems to perfectly sum up what has been the worst week of your life.

you’ve seen your ex boyfriend more times than you can count, ended up with about four hangovers as a result, and with a pounding head, you have to sit in the paddock club and wait for the sound of engines to split your head in half. it was your own doing, so you’d suck it up, recognising that you were a disgustingly privileged bitch, and there are people who would sell their kidneys to do what you’re complaining about.

you never complain, not usually. but your heart hurts and your body hearts and your mind hurts and it’s just not fair. lando is gorgeous, and you miss him so badly, and your shoes are digging in. who the fuck thinks it’s a good idea to wear heels to an f1 race?

you see him before the race, mouth good luck from afar. he winks. it’s something you used to do before every race. old habits die screaming.

the rain falls harder, the track slick. you say a prayer and take your seat.

“norris has this in the bag, he’s bloody good in the wet.” you hear some old guy say behind you. you are cursed with the knowledge of just how good in the wet he is, and you end up flushed.

he wins. his second one in three races. you pray that no one notices the way you weep. everyone notices.

you make a mistake and rush for the podium, your pass giving you access. he graces the top step and you sob, grinning like a fool, soaked through with rain. the anthem plays, the champagne pops. he finds your eyes in the crowd. your hair falls, stringy and curled, mascara smudged. you are the most breathtaking sight. he stands still, washed with an onslaught of champagne, watching you like he’s scared to take his eyes off of you. his boyish grin and hopeful eyes render you weak - you’re there for him, after all - and he can’t help but bask in that little fact.

dangerous territory. you break, and disappear.

-

say it once again with feeling…

the photographers barely get a second to snap a picture of the top three, because lando is gone. he takes the stairs two at a time, descending from the podium and throwing his pirelli cap and a shaky apology at his pr rep. the adrenaline spike makes his blood rush; he needs to find you and stop you and tell you that he will never be able to stop loving you.

the exit is the natural assumption, and he nearly slips a thousand times as he sprints through the paddock. the ground is wet, but he figures that if his car made it, so can he. the gates are in sight, and so are you, your clothes sticking to your shivering frame.

he calls your name, thunderously travelling towards you, his voice hitting your ears like a sonic boom. you freeze, turn slowly until your facing him. the rain splashes around you, not letting up.

you’re within his reach, and he pulls you in, hugging you tight. you melt into him, clinging like he’s a life force. he inhales you, your scent that he’s missed so horrifically. you crumble, and so does he, pieced back together as one.

“i can’t do this, i can’t.” he kisses the words into the cold skin of your neck.

“no, neither can i.” you choke wetly with emotion.

“miss you too much. it’s too hard, it’s stupid, it’s-“

“wrong. it’s wrong. ‘m sorry.” your breath fans his face, breathing life into him, life that he’d lost four months ago.

he grabs your shoulders, lowering so that his eyes are level with yours. his curls fall over his eyes, sodden from the rain.

“i don’t think, no, i know: i’m never gonna love anyone the way i love you.” lando speaks slow, convincing. your chest is tight.

“i don’t want to love anyone else.” you croak, the lump in your throat making it hard to breathe.

“come back to me.” he mutters, pleading.

“don’t think i ever left.” you breathe, hushed.

your lips slot over his easily, it’s like breathing. the kiss is messy, helpless, and he engulfs you whole, his body wrapping around yours like a blanket. you latch onto his race-suit, drawing him in, and then you both seem to remember where you are.

lando norris caught kissing ex like horny teenager in monaco paddock!

you pull away with breathless chuckle. the air is fresh, and you feel alive. he steals another peck.

“wait for me at home. i’ll be quick.” his hand finds you ass, just for a second and you scold him playfully.

home.

yeah, home.

“don’t make me wait.” you grin.

his brain short circuits.

“do you still have your key?” he splutters, refocusing.

you scoff. “never took it off the chain.”

-

you pace the apartment, taking in the space. it hasn’t changed, but it’s messier, a visual representation of lando since you left. the pit of your belly swirls with anxiety, anticipation. he’ll be back soon, and he’ll kiss you, make love to you, remind you that you’re home and that it’d be stupid to leave again.

you’re still damp from the rain, shedding layers until you’re left in your vest and jeans, ridiculous heels kicked off by the door, your jacket airing over the back of a chair.

he hasn’t taken down the pictures of you together. he hasn’t moved your ugly collection of magnets from the fridge. he hasn’t changed the blinds that you chose, but he didn’t really like. your candles sit on the bookshelf half burned, the teddy he’d won you at a fair sits neatly on the sofa. the L pendant and it’s chain is strewn over the coffee table, right where you left it the morning after it ended. your breathing is heavy.

the front door opens behind you.

you don’t move, your eyes still fixed on the silver chain, overwhelmed by how empty your neck feels all of the sudden. he comes up behind you, his head resting on your shoulder, arms finding home around your waist. you often used to find yourselves in this exact position; while you brushed your teeth, made coffee. the room is deathly silent, breathing and the distant buzz of post race festivities the only thing you can hear. lando follows your gaze.

“kept it. knew that one day, you’d come back for it.”

“i came back for you.”

“and that necklace will stay with you when i can’t be there.”

you nod. he kisses your neck.

“missed you so bad.” you gasp. he licks your skin, bites down softly.

you spin in his arms, his hands pawing at your hips and everything blurs when he kisses you.

-

shaky fingers work over zippers, buttons, clasps, and then you’re both bare. you sink into the mattress that you missed so much, his body moulded with yours when you both tumble into the sheets. this is messy and frantic, utterly lovestruck. the lightning strike of his touch has you keening, sweating beneath him already.

“missed you. missed this.”

“do something, lan.” you cry, quiet against his shoulder.

“missed my perfect girl.” he grunts, lips working your chest while his fingers leave a trail of goosebumps over your inner thigh.

“please.” you sigh when his fingers dip between your folds, sliding over your wet flesh. his lip catches between his teeth, eyes fluttering shut at the feeling of you.

he thumbs at your clit, stroking over you in slow, firm swipes, and then he’s sinking a digit into you, slow and steady. your toes curl, tears pricking your eyes at the intrusion, but you don’t have much of a chance to adjust, a second finger joining the first. he fucks you full, the stretch of just two fingers making you whine, one hand threading into the sheets while the other slams over your mouth. you want to hide, the pleasure rendering you a mess across the pale grey linen.

“no, let me look at you.” lando rasps, spare hand tugging at your wrist. you whine, writhing when he curls his fingers. “why are you hiding?”

you can’t hold back the choked cry that sounds from the back of your throat, his palm bumping your clit as he grinds his fingers deep.

“gone shy on me, baby? where’s my good girl gone?” lando coos, moving so that he’s leaning over you. the angle change sends your legs flying, kicking out at the sweet torture. “‘s because you haven’t been fucked right in so long, hm? can’t remember how to behave?” he’s smirking down at you, scanning the changing lines of your face.

“need it, need-“ you stutter, the words dying on your tongue.

“words, pretty girl, words.” lando encourages, false sympathy dripping from his tongue.

“need to cum, want you to make me…” you trail off.

“was that so hard?” he tuts, and everything speeds up.

the sound of him working you so sweetly makes you shake, your thighs clenching tight around his hand. the wet squelch hits your ears and you blush, cheeks coloured deep with embarrassment, awe, desperation.

your mouth drops open, screaming silently when it hits, your thighs slick. you drip down his wrist, his hand covered in your release.

“there’s my girl.” lando sighs, diving down to kiss you hard.

you can feel the damp press of his fingers as they dig into your thighs and you squirm beneath him, finding your way into his mouth.

“fuck me.” you slur, teeth knocking with his. he swallows you whole, groaning into your mouth.

“not so shy now, hm? been dreaming of hearing you beg for it.” lando shudders, shifting between your legs.

you can feel the press of him, thick against your cunt and you wiggle your hips, pushing to meet him halfway. the stretch burns deliciously, and you grab at his shoulders, dragging him in.

“fuck, baby.” he breathes, sinking into you slowly. “feel like heaven.” disbelief coats his voice, like he can’t reconcile that this is real; you’re back here, his, in the bed you were always supposed to share.

“it’s so good. feel so good for me, lan.” you whisper, lacing your fingers through his hair.

“love you so much.” he kisses you like he means it, rocking into you with purpose.

“can’t believe i lived without this.”

“can’t believe you’re all mine.”

the release builds, every thrust reminding you of what you could have lost for good. there was no lack of love, in fact you were starting to wonder if you had loved each other too much before.

“never losing you again. can’t live without you. my beautiful girl.”

your tummy grows tight, and he finds your clit when he feels you clamp down on him. he pulls you through the pleasure, guides you to your orgasm and you blindly follow him. you’d follow him anywhere, you decide.

you tell him you love him when you let go, spilling all around him, warm. he’s panting, kisses your forehead gently. he rolls off of you, and you feel the slow drip instantly, but you curl into his side and he wraps around you.

home.

“promise me something.” he whispers. you feel the way he shakily inhales.

“hm?”

“don’t leave again. you belong here, too. with me.”

your eyes are watery.

“i’m staying. ‘m yours.”

“about that…”

lando springs from the bed, naked, disappearing from the room. you watch, confused, cold all of the sudden.

you can hear his footsteps padding through the hallway, and then he’s back, his figure in the hallway. he runs, jumps, lands gracelessly next to you. endeared, you laugh softly.

“sit up.”

you do, leaning up to sit next to him. his fingers skim your shoulder, pushing your hair out of the way. cool metal dances over your skin.

“back where it belongs.” lando smiles at you, eyes wide and stunning.

you toy with the L. something heals in your chest, right around where your heart is.

“the sweetest boy.” you shake your head in disbelief, grin up at him like a fool.

“bath?”

“you know me so well, noz.”

come one, come all

it’s happening again

-

oh, my heart. there is something deeply wrong with me

-

taglist

@boysthatgovroomvroom @welld0nebaku @thegirlinthefandoms @mcmuppet @japanesekel @vinvantae @ggaslyp1 @dr3lover @smiithys  @rachstash @infinitebells @fizzpopsnap101 @gaily19 @icecoldtires @mysticalnightenthusiast @thatchickwiththecamera @oyesmendes @disneydaydreameralways @canyouseethesainz @ferrarifwendvale @fcbformulaeri @tony-stank3 @maih23 @soleilgrec @carolineworld @anthonykatebridgerton @allywthsr @iamasimpingh0e @ophcelia @lovelynikol16 @coffeehurricanes @jennx03 @blueflorals @lqvesoph @sidcrosbyspuck @better-dead-than-smeg @buendiabebeta @pjofics @kovalcin @wintergilmore3 @for-writing-shit @youdontknowmeshh @im-an-overthinker @jule239 @darleneslane @jazzy722 @weasleyswizarding-wheezes @therealone4r @pleasecallmeunhinged @theonlyadrienne

[dysphoricangell]

how are women facing the brunt of idealistic beauty standards when most males literally age like hotdog water LMAO 😭 like a part of nearly all males lives is just… having all their hair fall out?? or at the very least having a noticeably thinning/receding hairline?? but girls are taught from a young age that they need to shave their entire bodies and still look prepubescent to be seen as attractive and worthy of respect. and people (men and like.. libfems) will still say that this isn’t an unsustainable lifestyle for most women.

all humans including female humans, shocker, are mammals. body hair growth is a natural process for mammals. why it’s considered “ugly” or “gross” for women to not shave (when that’s a nonaction) i will never understand.

it just deeply upsets me that women are inculcated into this capitalistic and misogynistic performance of femininity at such a young age. what’s the male counterpart? i literally can’t think of one. men are just allowed to exist in their natural state. but women have to do all this extra stuff (such as shaving, wearing makeup, doing their nails, getting their hair done, etc) to be seen as attractive to men. as if a woman’s natural state of being is ugly or something. ૮ – ﻌ–ა

and the fact that support for the cosmetic industry exists across the board regardless of political perspective (ie: people on both the right and left defending it and encouraging it), goes to show that nothing will stop men from trying to influence how women see themselves.

it’s pedophilic and weird.

( ｡ •`ᴖ´• ｡)

[iphigeniacomplex]

Requesting financial support for a local artist.

T-Rex Talents is an incredible FX artist I have had the honor of witnessing the work of, who is currently in a rough spot. In his words:

My name is Logan. I'm a 29 year old disabled makeup fx artist. I've broken bones over 300 times and had 19 surgeries. Leaving me wheelchair bound. And needing many medical necessities. And Art as my only outlet from said struggles. Unfortunately I had to relocate to a new state due to family tragedy. Relocating has caused unforeseen issues. Therefore I do not have insurance that covers all I need for my chronic illness. Also it's caused me to leave behind all my art/makeup fx supplies. However the main concern is medical supplies. As we've exhausted every outlet for help. Including charities, case workers, and more. My mom is unable to work due to no insurance for home health aids to care for me while she does. My disease causes severe pain every day. Worrying about finances for medical supplies such as incontinence supplies, and other stuff is just another stress. And not having any outlet with none of my art supplies is making it worse. My dream is to make people see that someone disabled can be successful in the film industry. But I feel like my current situation makes it nearly impossible. I can't afford art materials when I'm trying to afford medical supplies. And not even affording that. There's no help here.

$trextalents on CashApp trextalents on Venmo

Linktree here. (Includes Instagram, Facebook, YouTube channel, and Amazon wishlist.)

[hopefulbuthelpless]

Bodily autonomy means the freedom of surgery for ANYBODY. Even when they do things you don’t like. That’s not a problem.

When did i ever say i disagree with that? Of course everyone has bodily autonomy and has the right to do whatever they want. I just think that the rise in people getting plastic surgery is concerning and i dont think that getting plastic surgery is a good or healthy solution to body dysmorphia whereas it is often a medically necessary treatment for dysphoria. Top surgery is not the same as a rhinoplasty and i disagreed with the op saying you cant differentiate, not that everyone should have bodily autonomy. Yes theres a lot of gray areas but in general there is a difference, which for me is the difference between getting surgery to have female or male sex characteristics and getting surgery to "fix" a feature you dont like. Getting surgery to fit beauty standards are not the same as getting surgery to pass, to stop being misgendered all the time, to have a body that reflects your gender.

[menalez]

Wait do you not call yourself a radfem? You wore makeup to a wedding which is literally supporting the makeup industry

my aunt put her makeup on my face so now im supporting the makeup industry 🤪 hilarious. but no i dont call myself a radfem

[novy2sirius]

𝐇𝐎𝐖 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐆𝐀𝐈𝐍 𝐅𝐀𝐌𝐄

𝐓𝐡𝐞 𝐬𝐮𝐧 𝐫𝐞𝐩𝐫𝐞𝐬𝐞𝐧𝐭𝐬 𝐟𝐚𝐦𝐞

Sun in Aries/1H

Athletics, fighting/boxing, modeling, fashion designing, makeup related things (ex: being a makeup artist), sex symbol, racing (ex: being a race car driver)

Sun in Taurus/2H

Singing, modeling, your material achievements/financial status, cooking (ex: being on a cooking competition show or having your own)

Sun in Gemini/3H

Social media, your siblings, podcasting, politics, gossiping (ex: gossip page), blogging, writing (ex: author), journalist, comedy, streaming, driver (ex: being a race car driver), teaching, mental health advocating

Sun in Cancer/4H

Your family, cooking/baking (ex: being on a baking/cooking show or having your own), real estate/houses (ex: being on a show like house hunters)

Sun in Leo/5H

Acting, your love interests, your children, any type of entertainment, gamer, only fans, your hobbies (ex: if one of your hobbies is playing the piano you could gain fame from that)

Sun in Virgo/6H

Social media, fitness/health, writing (ex: author), journalist, judge (ex: judge judy), comedy, animals/pets (ex: being on a show similar to animal planet)

Sun in Libra/7H

Dancing, your love interests/relationships/spouses, makeup related things (ex: being a makeup artist), beauty symbol, stylist, judge (ex: judge judy)

Sun in Scorpio/8H

Athletics, psychology, inheritance, sex symbol, death/mystery, conspiracies, surgery (ex: being on a show similar to botched), owning your own famous business

Sun in Sagittarius/9H

Television, interviewing, news reporting, the law (ex: being on a show similar to law and order), your grandparents, your in-laws, religion, blogging, photography, comedy, teaching

Sun in Capricorn/10H

Owning a famous business, directing films, your status, your father, your success, industry plant, historian, this is also a big indication of fame in general from anything

Sun in Aquarius/11H

Social media, DJing, film, your connections/friends, wealth, science, inventing, humanitarian, streaming, vlogging, manifesting, this is also an indication of accumulating lots of loyal supporters/fans in general

Sun in Pisces/12H

Singing/music, modeling, acting, astrology, tarot, psychic, spirituality, fantasy/sci-fi film producer, conspiracies, hypnotism, impersonator, mental health advocating

© novy2sirius

[theabigailthorn]

In the response to a person asking why you don't move to the US, one of your reasons for staying in Britain was "The entire US entertainment industry is about to move to Britain!". Is that a thing that's happening that I just haven't heard about? Or was it a joke?

Oh that's real. Almost everything is filmed here now. All the Marvel stuff, all the Disney stuff, Barbie, Venom, House of the Dragon, it's all done here because we have very low wages, tax breaks for production companies, and very strict anti-union laws. You've also got Europe on your doorstep, which is great for location shoots, and Romania is a cheap place to film too - Wednesday is all shot in Bucharest and Django was filmed both there and in Transylvania. The notable exception is The Last of Us - Season 2 is going to shoot in Canada 'cause they need snow. It is, no jokes, cheaper to make a British street look like Las Vegas than it is to film in Las Vegas. Pinewood Studios in London is building an extension that'll make it the biggest movie studio in the world. I think the WGA and SAG strike victories will probably accelerate this trend: they can't replace Americans with AI, so they're going to replace them with Brits!

Which might sound good in theory to Brits cause it means jobs, but not if those jobs are exploitative. The stars, director, and the bosses will be Americans, but the drivers, makeup artists, crew, caterers, background artists, supporting players, editors and so on will be underpaid, overworked Brits, and the profits will go primarily to American companies.

I talked about this on tiktok a while ago:

[yuri-for-businesswomen]

there are women who went through female genital mutilation and force their daughters through the same violent process. there are women who were forced to wear hijab who force their daughters to wear hijab too. there are women who defend their husbands and sons after they assaulted or abused her and other women. there are women who cant stand to see their natural face and still defend makeup and fillers. there are women who only have kids because they couldn’t get an abortion yet support the criminalisation of it. etc etc

just because there are women defending it doesnt make it any less misogynistic and harmful!

and just because there are prostitutes, strippers and women in porn defending the sex industry, doesnt change that its an institution systematically subjecting women to violence and abuse at the hands of men!

[hotvintagepoll]

Propaganda

Madhubala (Mughal-e-Azam, Barsaat Ki Raat, Mr. & Mrs. '55)—The Venus of India; heart-throb of all who saw her; responsible for the sexual awakening of every single desi lesbian I know (including me!) And my god, she is breathtakingly beautiful. Look at the subtle grace with which she moves, and that smile - the kind of radiant smile that can make you laugh with sheer delight, or cry because of its hidden pain. Those wild curls! That Cupid's bow! The way she tilts back her head and smiles at you with mischief dancing in her eyes! She has a way of looking at the camera that makes you feel she's sharing a private joke just with you; it's something about that quizzical twist of the lips and eyebrows. As an actress, she is inimitable; she seems to effortlessly inhabit roles ranging from a heart-broken courtesan to a laughter-loving socialite. Fun fact : she's had quite the fan following in Greece! Stelios Kazantidis even wrote a song as a tribute to her.

Ingrid Bergman (Gaslight, Casablanca, Notorious)—Where do I even begin with Ingrid Bergman? I fell in love with her with her astounding performance in the 1956 version of Anastasia -- the best Anastasia movie in large part due to her wonderful and touching performance. She's got this amazing, fascinating intensity to her in whatever role she's in. She commits 100%, and she's got this light in whatever she's in that's stunning. She's utterly convincing no matter what she plays, from an amnesiac possible lost princess, from a nun, from a woman taking her revenge on the town that wronged her, to light romantic comedy. She's never missed in any role I've seen her in! Also she became quite the MILF.

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Madhubala:

An icon of Bollywood, who was well known for her beauty and has continued to inspire performances and songs into the 21st century. She was at times described as "the number one beauty of the Indian screen" and "the biggest star in the world".

SHE IS EVERYTHING AHHH. JUST LOOK AT HER SMILE-

She's been nicknamed the Marilyn Monroe of India and was one of the highest paid actresses in the Hindi film industry (the term Bollywood did not exist yet) during the 1950s. Also an extremely talented dancer and singer

SHE'S JUST SO STUNNING, like seeing her eyes IMMEDIATELY CAPTIVATES YOU, THE DANCING, THE BEAUTY!!!!!!!!! She worked in Bollywood for over 20 years and passed away at a sad early age of 36, BUT THE IMPACT SHE HAD WAS UNMATCHED!!!!!

That sassy sideways glance she does always has me WEAK AT THE KNEES. And when she's making silly faces at the camera to mimic someone ahhhh my gay little heart <3

Ingrid Bergman:

God, she's fantastic. She's both beautiful and a compelling actor who's more than capable of putting the whole movie on her shoulders if necessary. It's worth noting that while her beauty is conventional, she was seen as refreshingly "natural" with more eyebrows and less makeup than many other leading ladies of the time. She's well known for her role in Casablanca, but in Notorious, Spellbound, (both available on archive.org ) and Gaslight (1944) she shows how immensely capable she is.

I mean...she's Ingrid Bergman. I feel like that should be enough, you know? She's physically beautiful (her eyes!) but watching her is like a transcendent experience. Her voice, her expressions... beautiful woman, beautiful actor.

I'm a gay man but even I understand her appeal. I'll watch any movie she shows up in. Gorgeous woman.

Just try and watch her movies without sighing wistfully, then get back to me!

Choosing 1-3 movies where Bergman was at her hottest was agony because, of course, she was always at her hottest. Not just because she was beautiful but because she was absolutely willing to go up against the bs women in Hollywood were constantly dealing with. When exiled from Hollywood for having an affair with Roberto Rossellini, not only did she refuse to apologize at any point, but she went on to say that Hollywood's films had grown stagnant and boring to her. Though she said she appreciated her time working there, she wanted to try new, different techniques (hence starring in Italian neorealist films, working on stage, and acting under directors like Ingmar Bergman). She was not afraid to chase after her artistic ideals and go outside the box regardless of what society had to say about it. From her first movie to her last she killed it. There's so much more to say about Bergman's career and life, but I've already written five million words so I'll stop at that.

ion words so I'll stop at that.

One of the most incredible actors I've ever seen on film. Her facial expressions are so intricate and poignant that I cannot look away. I'm either ace or straight, but damn she made me question that.

SEVEN TIME OSCAR NOMINEE QUEEN. Girl also PULLED, having affairs with famously hot men Gary Cooper and Gregory Peck IN ADDITION to her three marriages...sexy

She has a very natural beauty to her, and she's from Sweden!

She left Hollywood and only became more beautiful. You could drown in her eyes. She can look innocent AND like she's seen it all. She is effortlessly elegant. She's played Joan of Arc (automatically hot) AND was in the movie that coined gaslight as a term. And where would we be without that!

She was known for being a breath of fresh air on the movie scene at the time with her windswept hair, dreamy smile and soulful eyes. I have loved her in every movie I have seen her in - she was just magnetic!

Where do I even start. There's a neighborly quality to this beautiful, talented actress that makes her hotness one of a kind and her looks impossible to forget

With a career spanning five decades, Bergman is often regarded as one of the most influential screen figures in cinematic history. Known for her naturally luminous beauty, Bergman spoke five languages – Swedish, English, German, Italian and French – and acted in each.

She's hot, don't get me wrong, but I've always found her very approachable, like she could easily be a member of my friend group

A lot of the time hotness in a movie is just about words and framing. "You're the most beautiful person here" [vaseline lens] well I sure hope so because that's who you cast. But when, in Casablanca, they call Ingrid Bergman the most beautiful woman in the world... they were not fucking lying. And such a dynamite actor too!! I'd only seen Casablanca up until last year, and there she's confined to love interest. But in Gaslight she was maybe one of the most incredible actors I've ever seen!!!! Goddddd shes so fucking hot and cool.

[thatonegreenleaf]

~industrial chic CAS background room! (with mirror!)~

-

I was needing a new CAS room to replace the one I was using, so I was VERY focused on finding out how to make one of these, and now I'm kind of obsessed because it's so fun!! A cozy, industrial yet chic room for your sims to get ready in! I love making these so if you have any suggestions for ones you want to see please send an ask!

♥ Download the package file and put it right in your Mods folder! (up to 5 folders deep)

♥ You can only have one CAS background/room in your game at once, remove any other before putting this one in!

♥ Reflections need to be set to low, medium, or high but not OFF in your game's graphics settings for the mirror to be functional.

♥ Base game compatible!

♥ DX11 and DX9 compatible!

-

DOWNLOAD "INDUSTRIAL CHIC" CAS BACKROUND ROOM ON SIM FILE SHARE!

Support me on patreon!

Follow me on twitch!

TOU: do not redistribute, reupload, or claim my cc/CAS rooms as your own! recolour for personal use OR upload with credit.

♥ built using littledica's original CAS room files ♥

stuff I'm using here: reshade | cas lighting | hair | skirt | sweater | shoes | makeup

[flashdyke]

ellen page is just sad to watch, especially so because she’s trying to incorporate “trans joy” into her brand. a lot of people can’t get past her not having long hair and makeup, but even accounting for that it seems like she’s gone through a lot of aging in a short period, and/or looks quite tired even when prepped for appearances. also, she’s got her “proof i am a man” book coming out which appears to largely consist of, “i am an androgynous lesbian who was raised in a family that made it clear they all hate me. i have also been regularly threatened, sexually harassed and assaulted because i am a lesbian by people i work with, and i can’t say who it is. I have a longstanding poorly treated eating disorder and self harm problem, as well as serious depression. while isolating myself and struggling to cope with this, i abruptly decided to undergo radical cosmetic surgery and refashion my entire identity to be appeal to the people who have hurt me my whole life, because nobody will help me.“ the fact that an industry that was sexually abusing her for being a lesbian was willing to edit every public mention of her name almost within hours of her changing it, and it’s given her much more prominence than she had before, does support that.

[jesncin]

Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."