#t;; Odette

[thebulletgirl]

🚨 New Katie Photo 🚨

From Melia's Instagram of Katie, Melia, Odie, and her daughter Charlie in 2018 💖💖

[funfactory]

[blazeofmuses]

@dcydrecmings

''do you know if you keep staring any harder, your face will freeze?'' probably not the safest thing to say, but it was the only set of words that came to mind when he finally looked up at the figure. two drinks in and he's feeling the weight off his shoulders, the amused smile settling onto his features as he properly looks up at her from his spot on the couch he tucked himself into. patting the spot next to him and moving the book from his lap. ''i'm thinking of breaking a few rules and ordering some food? would you want some?''

[auxoubliettes]

Pour une nuit d'amour, dir. Edmond T. Gréville (1947)

[metjewelryetsy]

Gold - Silver Swan Charm • 25x29mm • Cz Pave Bird Pendant • Gold Bird Charms

[airasora]

When your little brother's imagination is so strong, he brings the museum's T Rex to life.

[bccksmarts]

❧ hogwarts au sentences ☙ ⤷ ALWAYS ACCEPTING ⤶

➤ @gentlepuff asked: “ i’m tired, and i want to go to bed, and i’ve been sitting here, trying to figure it out for like an hour, save me: what has a head but no body, but does have a tail? ”

  ❝This sounds like something Fred and George Weasley would tell to you.❞ Hermione huffed lightly, rolling her eyes as she looked at the Hufflepuff girl, ❝Who even told you that? I swear I've heard that one before...❞ She couldn't really blame the other girl for staying up and thinking on it. Riddles are difficult for that reason alone, but spending hours just pondering the answer? Absurd, if she was honest.

[luvrsoath]

# XIANZHOU ALLIANCE

An ancient union composed of many intelligent races. They commandeer Xianzhou to eliminate the Abominations of Abundance.

hàoyú — pawprints leaving foam

hónghuā —

# PENACONY

A colossal structure located in the Asdana system, with the soaring hotel "The Reverie" as its iconic landmark. Once a frontier prison belonging to the IPC, The Family had modeled it to serve as an interstellar transportation hub and the gateway to the Sweetdream Paradise.

nine — eerily uncovered inhabitions

valentino — the serpent surrounding eden

sinclair — countdown of the cherubim

aislin — circus bunny booboo

# SAN HÔ ; MY OWN ORIGINAL WORLD

Beyond the skies and below the seas, a world with a long forgotten history lurks within the universe. As the currents shift and the tides rush in, what lies below the surface of the waters?

khôi — #85 of the genius society

tien — the ocean’s call

lure — keeper of the lost sea

utsurimono masako —

remora —

finn rinn —

# CIMETIR ; MADE BY @cvpiidbiites

TBA…

jiāngjiāng — corpse of the river styx

sauvignon cabernet — duke of house sauvignon

russel rue —

rothschild toto mosqui —

hibi — of witches and whimsy

doukeshi —

odette —

weepings angel —

# MASKED FOOLS

Fanatical worshipers of the Aeon Aha. They seek the pinnacle of hedonism. There are no limits in their pursuit of pleasure.

kumikuma —

# INTERASTRAL PEACE CORPS.

A company created to support the Aeon Qlipoth. It has since become the largest economic entity in the cosmos.

rhodolite — doe faced dolly

# STELLARON HUNTERS

An organization that travels between worlds hunting for Stellarons. It is unknown which Aeon bestows them with their power.

shūfēn — in the gaze of the abundance

[therealmrpositive]

Operation: Endgame (2010)

In today's review, i find that duplicitous comedy is on the cards. As I attempt a #positive review of Operation Endgame #JoeAnderson #OdetteAnnable #AdamScott #ZachGalifianakis #EmiliedeRavin #MaggieQ #VingRhames #EllenBarkin #BobOdenkirk #RobCorddry

We expect our governments to employ the best and brightest; Dedicated servants who will sacrifice their bodies and souls for their patriotic duty. Who through careful plying of their craft shouldn’t need to put themselves into considerable harm in the first place. That is, we’d like to think that. In 2010, when the nation was looking for a new breed of hope and change, the most covert of…

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[lovepctions]

A night to rest his head was the most reasonable thing to do as he just got into town to visit a childhood friend that moved away years ago. A childhood friend that he and Odette now shared. "Yeah let's stay-in. Uh, do you know the best Thai place around here? Or are you craving something different?"

Pressing her lips together, she pulled her lips up into a smile as she nodded her head, ❝ Take-out for sure. I’m kind of feeling like staying in tonight. I mean if you wanted to head out that’s cool too. ❞ She slightly laughed as she scratched the back of her head thinking about it. She just felt like staying in might be better for him to settle to begin with.

[yandere-paramour]

Why is noelle so openly unhinged towards darling? Does it stem from hidden fears? At least the others try to find common ground.

Noelle has DEEP psychological problems stemming from her childhood. Basically, Noelle grew up in a shitty 3 bedroom house with her mother, 4 sisters, and a rotating cast of stepfathers. She shares a father with her older sister, Odette, but is half-siblings with her younger sisters. She has no idea who her father is because he dipped when she was a young toddler.

Noelle's mother is a... complicated woman. To put it simply, she was a serious alcoholic more interested in trying to keep a man than she was raising 5 daughters, which left Odette and Noelle with most of the responsibility. After school, they would both go home to make bottles, give baths, clean the house, cook dinner, and basically raise the other sisters. Mom brought home a paycheck, but it was sparse and usually only enough for rent and a few groceries. Odette and Noelle went without food more than a few times so the younger ones could eat. It was worse when they were younger, but once Odette and Noelle got to their early teens, they started working to supplement the meager income.

In addition to this, Mom was also not too selective with the men she brought home. There was always a new man sleeping in the house one door down, and the bedsprings were always squeaking, making another little sister to take care of. Multiple men were creepy with the many girls, but Noelle always managed to threaten them/scare them off before anything too bad happened, but it seriously scared her; they never slept without the doors locked. Noelle and Odette escaped because they did well in school and got scholarships, but they are both deeply scarred by their childhoods. Their mom is older now (40s), and it's harder and harder to keep a boyfriend, so she mostly drinks, leaving the younger sisters home alone. They're teenagers themselves now, and Odette and Noelle send money home to help out and visit when they can, but they don't interact much with their mother. None of them really do.

Obviously you can see why Noelle is the way she is. She doesn't eat because she's used to skipping meals to feed her younger sisters. She has insomnia/sleeps very lightly because she's used to staying up to study/watch the locked door. She works/cleans/controls constantly because that is all she knows how to do to keep herself sane. Every aspect of her adult life is controlled by her shitty childhood.

This clearly spills over into her relationships too. The reason Noelle takes so much time with stalking gathering information and getting to know her Darling during dates at first is because she doesn't want to make the same mistake her mom continues to make over and over again. She needs to know you, needs to know how you'll react and if you'll be able to love her because any uncertainty scares her. Once she knows she loves you, she can't let you go. She can't let you walk out like everyone else in her life.

She keeps you inside because the inside is safe. She can control the inside, she can keep you safe and pure away from a heartless world that will crumble you up and spit you out, god knows she knows that. She wants to keep you pure and unspoiled by the horrible facts of life, untainted in the way she isn't. Your virtue and loveliness purify her, make her feel like her past doesn't have to haunt her so bad because you are here and you love her so maybe she is worth loving. She loves you so so so so much, she just wants to keep you close and safe because she doesn't want you hurt, she has to protect you.

Since Noelle does so much surveillance with you, she also knows you quite well and tends to pick a Darling that she knows will be receptive to her love and (eventually) love her as much as she loves you. Noelle's Darling tends to be someone who is overwhelmed and exhausted, afraid of the endless painful choices of life, and who wants someone to swoop in and take care of them, treating them like a precious treasured spouse while they sit loved and adored on a soft pedestal. Noelle will absolutely do this for you. She will shower you with gifts and luxury as long as you're a good girl who listens to and obeys her. She knows what's best for you, she loves you more than she loves anything, just let her protect you and everything will be okay.

When she lets you out of the house, even if you're with her and in her sight, she feels like she can't breathe. The world is dangerous and unpredictable and if something random happens and hurts you and she can't prevent it, she'll never forgive herself. She can bring anything you need inside, or she'll ask Ata for a favor and make sure no other people will be at the event to hurt you. She can protect you, she's not a little kid anymore, she's stronger now. Just please please let her protect you.

She doesn't know if she can handle it without you there at home, knowing you are waiting for her with a cuddle and a kind word, making her feel like she's worth something.

[camilaxmartin]

Good morning (technically, it's like 1am for me rn) but could I request Carmilla and Rosie (separately) with a reader that's like one of those friends that are shy for a bit but then open up after a bit when they're singing with friends or something (I'm not great at explaining stuff so sorry about that). You don't have to right this if you don't want to, but thanks if you decide too. :)

not so shy after all

navigation // rules // masterlist

summary: *request*

warnings: none i think! NOT PROOF READ THO!

notes: just a quick drabble cause that’s what came to my mind!:) hope you’ll like it!

requests: closed!!

୨ৎ | okay so for me personally carmilla would adore your shy personality. i mean? a partner of hers who is calm and doesn’t disturb her in any way? perfection.

୨ৎ | i think she would also adore how you’d just listen to her and not interrupt her or just calmly sit through all the overlords meetings like she doesn’t have to shush you or get mad at you? could you be any more perfect?

୨ৎ | she would also tease you a lot and enjoy how flustered you get while not being able to respond to her. her ego would get massive. and it’d be a nice change to her daughters cause i can’t believe odette and clara are calm little kittens around her

୨ৎ | in conclusion, i think she would adore having a calm and shy partner

୨ৎ | let’s get into the more brave side now

୨ৎ | she would be so shocked the first time you show your more open side and don’t get me wrong, it’s awake something in her

୨ৎ | at first, she would just watch you from distance and enjoy how relaxed you seem chuckling to herself that she haven’t had an idea you had it in you

୨ৎ | and when you’d start singing and be even more yourself (i just went with this form the request) she would chuckle more openly and wait for you to notice her starring

୨ৎ | when you do, she would come over to you and hug you letting you go rather quickly not to stop your relaxing and singing

୨ৎ | i can see her even joining you after some time when she feels more comfortable as well cause for me personally, she’s just like that as well

୨ৎ | give her some time and then the two of you will be singing and dancing to taylor swift (or whatever you like to listen!) at 2am in her kitchen making your own eras tour

୨ৎ | clara and odette would accidentally walk on on you two having fun as they were woken up by you just having fun and as much as clara would giggle and join you almost instantly, odette would just roll her eyes and sit somewhere watching you all having fun together, humming the songs herself, she’s not that strong-

୨ৎ | carmilla would enjoy your brave side but i wouldn’t say she would prefer it more than the shy one just… she’s be happy with whatever you give her to be fair

୨ৎ | when that side would come out on the meetings and actually interrupt her somehow she would send you a warning glance but you’d just roll your eyes at her and that would have her IN SHOOCK

୨ৎ | she would try to compose herself and just get on with the meeting trying to keep calm as much as she possibly could

୨ৎ | after it she would somehow scold you for your ‘outrageous’ behaviour but in reality she would be chuckling to herself all the time while doing so and then tell you to keep that side of you for later when the two of you are alone

୨ৎ | and then, depending on what you’d do, depends the next situation

୨ৎ | if you’d just get flustered and all shy again she’d chuckle once again and wink at you leaving the room and going to her office

୨ৎ | but if your brave side would take over you, probably the two of you would end up aggressively making out in her office as she tries her best to scold you more and doing whatever she has in her power to make it sound like she’s actually scolding you and not just teasing you (no matter how much it turns her on)

୨ৎ | after all, carmilla would be amazing with a partner who’s shy at first cause she isn’t her full self at first as well, and she knows better than anyone what’s it like to let you be yourself and enjoy that side of you:) giving her a solid 10/10 what can i do

❀ | okay so i feel like rosie would be SO interested in you just because you’re all shy

❀ | like i imagine her meeting you for the first time at the overlords meeting and her interest would just flow straight out of the roof

❀ | she’d be like “oh who’s that? and why are they so silent and not doing anything?” she would have her eyes on you ALL THE TIME and i mean REALLY all the time

❀ | after a few times you’d notice her gaze and stare at her too but in a more subtle way just looking at her when she’s not looking or so you think

❀ | many meetings later she would straight up come over to you and ask you out and as you’d get all flustered she’d smile to herself and wait patiently for your response

❀ | you’d nod your head agreeing and she would literally clap her hands in happiness telling you to come over to her place whenever you feel like it

❀ | after a lot of doubting yourself you’d find yourself walking around the cannibal town looking for her house and gently knocking on her door

❀ | she would be all bubbly letting you in and already pouring you tea she’s made earlier

❀ | at first your dates would look exactly like that and exactly the same, just gossiping over tea and her trying to dig deeper and deeper into your personality

❀ | don’t get me wrong, she adores your shyness but there has to be something more there, right?

❀ | and finally when you’d stay the night at her place and feel comfortable enough to be yourself more, rosie would catch you singing in her bedroom when she was supposed to be showering

❀ | she would just watch you from the door adoring how relaxed and comfortable you look just having fun when you think no one’s watching you or just that you can actually act like that in her house

❀ | after a quick moment she would clap her hands when the song ends and you’d turn your head towards her immediately and feel your cheeks blush slightly

❀ | but what she didn’t expect was you coming over to her with your hands out asking her to dance and sing with you

❀ | rosie would be stunned at first but quickly shake it off, grabbing your hands and letting you swing her however you want

❀ | the two of you would have so much fun together that you forget she was supposed to be showering and that’s it’s night already and you should rather calm down than getting it on

❀ | but rosie wouldn’t mind that, she would love that side of you and do anything she can to bring it out more often and even in public

❀ | at the same time she would understand that you just let it come out when you’re comfortable and then she would stop pressuring you to be like that among other people

❀ | but still it’s in her nature to try and bring your authentic side whenever she can however she can

❀ | after the whole dance play in her bedroom she would fall onto her bed while laughing and breathing deeply being tired from all of it

❀ | you’d giggle and lay down next to her as she cups your cheek with her hand stroking it softly and giving your forehead a soft peck, smiling to you and doing it even wider than usual

❀ | after all i don’t think she would mind a shy partner but also would adore your more open side as she is very open and confident herself

❀ | i’d give her a solid 9/10 for the bit of her trying to bring it out rather more than she should

[charliesangel67]

Home with you:

Authors note: I wrote this so much faster than I thought I would. Anyway, just a cute lil drabble based off a Mamma Mia theme bc I just re watched it and forgot how good it was.

Parings- Jensen Ackles x Fem!reader

Word Count- 769

Warnings- Mentions of drinking, nothing else, pure fluff.

“So, when you're near me, darling, can't you hear me? S.O.S.

The love you gave me, nothing else can save me, S.O.S.”

I sang as I moved around the kitchen, swaying my hips to the music and occasionally stirring the soup I had cooking on the stove. I heard a key turn in the lock and turned to see my boyfriend walk into the house, dropping his bags in the hall before coming to give me a hug. I giggled as he held me tight in his warm embrace.

“Oh, Jensen. I've missed you so much,” I said to him when he finally let go. “I missed you too, sweetheart,” he responded, leaving a soft kiss on my lips. “How was Louisiana?” I asked, interested in how the filming went. “Not bad. We did have to put filming off for a day because of storm warnings, and our scenes for the day were supposed to be outside.”

“Oh, that's too bad,” I responded. “I'm gonna go upstairs and take a shower real quick, okay? I'll be back in 10,” Jensen said before leaving a kiss on my cheek and heading upstairs, carrying his bags with him. A couple of minutes later, I had set the table, plated up the soup with bread on the side, and Jensen was coming down the stairs in a black t-shirt and grey sweatpants. Gosh, he looked handsome.

“What's for dinner, sweetheart?” he asked as he got himself a beer from the fridge. “Tomato soup with bread. I don't think beer goes very well with it,” I stated, eyeing him.

“Fine then, I'll have the beer later.” He put up his hands in defeat and I giggled. We talked over dinner about filming, The Boys, and what I did over the 3 weeks that he was away.

“Well, I drove out to Austin to catch up with Maya.” “Oh, really? When was the last time you saw her? Hasn't it been since Gen's baby shower?” Jensen asked, surprised that I had brought her up.

“Yeah, since Odette. I just wanted to hang out with her a little. I stayed over for a couple of nights and we went hiking and shopping. It was fun,” I said, shrugging my shoulders, facing Jensen while he sat at the table sipping his beer. “I'll pack up the dishes. You go have a shower, love,” he announced.

I stepped out of the shower, the fluffy towel feeling soft on my skin. I dressed in my silky blue pjs and dried my hair. When I walked down the stairs to greet Jensen, I saw there was a box on the counter.

“Ooh, what's this?” I asked curiously.

“I ordered some donuts so that we could have a movie night,” Jensen stated from the far side of the kitchen, preparing a big bowl of popcorn.

“I'll grab the drinks and choose the movie!” I yelled as I raced to the fridge to get him a can of soda and myself some wine so I could pour a glass.

“Whatever you please, my love,” Jensen whispered under his breath.“What movie are we watching tonight?” asked Jensen as he entered our bedroom with the popcorn and donuts in hand. He had already changed into his pjs and was looking sexier than ever.

“I have chosen an absolute classic, a personal favorite of mine, and most teenage girls.”

“Oh gosh. Lemme guess: She's the Man or 10 Things I Hate About You?” Jensen questioned.

“No! Although either of those would've been a good option. I have chosen to go with a more musical one. We are watching Mamma Mia!” I announced excitedly.

“OK, I'll pre-warn myself about the crazy singing,” Jensen laughed as he leaned in to kiss my lips.

“I'm just kidding, love. Sing as loud and as crazy as you want. I love your singing,” he whispered in my ear, making me smile.

Together, we belted out every word to "Mamma Mia", danced to "Dancing Queen," and drank a lot of wine. By the end of the movie, I was too dizzy to even walk downstairs, so Jensen took the empty box and bowl to the kitchen, and I went to brush my teeth. I lay in bed, suddenly feeling the bed shift over from Jensen's weight. I turned over to kiss him. “I forgot to tell you earlier, welcome home, babe,” I said before giving him another passionate kiss.

“When you're gone, how can I even try to go on?

When you're gone, though I try, how can I carry on?”

[heartintact]

Odette’s stubbornness was cute, even if the white-hot pleasure got her stumbling over her own words, she was still determined to point out what an asshole he was being. “Stop flirting with me, I’m already in your bed,” he retorted softly in response to her insult, eyes rolling as at her next words.  “I don’t think you’re in a position to tell me what to do.” As if to prove his point, his thumb applied sweet pressure on her clit, fingers slipping in and out of her at a torturous pace, slow and deep with every thrust, motivated by the idea of having her wanting and sobbing before he was kind enough to give her the release she desired so much. He leaned down to lick a stripe over the column of her neck, biting softly at her skin in silent admonishment. “We can make this as easy or as difficult as possible, it’s really up to you, baby.” A condescending smile adorned his features as he spoke, hungry gaze moving from her pretty face to her body, barely able to suppress a groan at the filthy vision of her pussy taking his fingers so perfectly well. “You can keep up being a brat, and I can edge you all night,” and he meant it, it was something he had actually thought about before, jerked off to the idea of turning her into a whimpering mess, “or you can be nice for once, y’know, apologize for calling me a dick, beg me to let you come… and maybe I’ll consider it.”

"you are such—a dick." odette hiccuped as shane's long, calloused fingers pressed deeper into her, curling to rub against that sweet spot that made her hips buck up from the bed. her brain wanted more but her body seemed unable to take it, tried to wiggle away from him but there was nowhere to run. "don't tease me."

[punikyukyu]

Courting

I have a silly personal hc that Odette loves pressing kisses on Velvette's knuckles when seeing her, and the reason she does this is because Zestial told her about it when she asked him for advice, which she followed to a T

Velvette refuses to admit she actually loves it when Odette does this (such an outdated gesture that it is... it makes her heart flutter)

☆ Commissions Open!! ☆

(Version without the thought bubble under the cut)