#telling instead of showing...i don't even know where to begin with that because i have no idea what it's trying to reference

[harmless-variety-of-garden-snake]

Tommy's introduced as a bigot in season 2 and often shown taking initiative in starting the bullying of Hen and Chim vs. waiting for Gerrard to do something and just not standing up for them. There's even a scene in "Chimney Begins" where no one else is even in the room to overhear and Tommy still chooses to be nasty to Chimney instead of a bare minimum of civil. Even after the "resolution" of the episode and his 'apology' (not for racism, but for making Chim prove himself at work), he's still shown to have spent years not learning his lesson, becuase he goes back to the same behaviors with Hen and Chimnney even mentions that "the Asian guy" still isn't invited out by the team for drinks or BBQ.

Then when it's "addressed" in season 7, we see remarkably little growth from Tommy, where he's blaming "the environment" and Gerrard for his choices and actions as a grown man. And in season 8, we get a healthy dose of misogyny in ageism with how he speaks of Abby, while casually acknowledging he also screwed up her life.

It's not just that he was afraid to stand up against bigotry in the face of an evil boss. He could've taken Eli's route, and just be silent. But no, Tommy is someone who chose to actively participate in workplace bigotry and bullying, and then almost 20 years removed, shrugs it off as everyone else's fault.

let’s not forget his very recent comments about Abby that were reeking of misogyny. Talking about her dating some “himbo” younger than her (as if he wasn’t actively doing the same thing) and admitting he was lying the whole relationship (not just about his sexuality).

Word for word that man said, “Heard she went a little nuts after that” as if her entire world wasn’t flipped upside down with her engagement ending and having to take care of her sick mother. The only tiny bit of understanding he showed was him saying she deserved better, which duh. 

One time when I was five I put a bead in my nose and it went all the way up to the bridge and I had to push down on it from the top until I could get it out because I was scared it would go to my brain and kill me.

That has nothing to do with any of what you said, but I just thought I'd put that out there because you're doing some dumb shit and I wanted you to know we've all done dumb shit. This is a safe space.

Anyway, I don't think you've ever been a closeted queer person who's said and done some at times questionable or outright fucked up things to keep yourself safe from scrutiny.* I grew up seeing people like me getting murdered and heard people explain why it would've been avoidable if they hadn't been so obvious or if they'd just chosen to be normal. I also grew up with a lot of bullies who were only bullying me because it put them in the protected group. It kept them from having people look at whether or not they were actually a good target for bullying. I'm actually friends with a couple of those people now. Not close, but we're cordial and we'll talk when we bump into each other at the store. That has more to do with us being in our thirties and living our own lives. There's a couple who had no excuse whatsoever other than being actual homophobes, I don't talk to them.

I dated in high school, I was engaged but I was 18 so I don't know how much that counts, but then I came out when I was in my early twenties. I knew I wasn't actually interested the entire time I was with those people, either. At first I just thought the relationship wasn't right for me, then I started to realize what was actually going on. I still dated, I still asked someone to marry me because I thought I could be happy with them. I did love and care about them, just not the way you should if you're going to marry them. I also didn't tell anyone I was non-binary until two months ago, even though I figured it out about fifteen years ago. A trans person hiding their identity to protect themselves from danger or rejection is nothing new, but it's kind of a shitty feeling to know you've been lying to every ex you've ever had about something like that. I don't like that feeling, and it's going to take a while for me to shake that. I don't know that I ever will.

So all of that is to say that a character like Tommy is actually kind of important to those of us who also weren't perfect at being queer, especially those of us who grew up during a specific time. I was actually pleasantly surprised that a basic network show would have someone like that, but times they are a-changing. So onto your last point:

Abby Clark is played by a now 57 year old Connie Britton (drop the skincare routine, girl), Lou Ferrigno Jr is 40, and Oliver Stark is 33. When you're an actual grown person, a seven or eight year age difference is kind of nothing. One of you might be a little more ready for things like kids or marriage, but that's not a guarantee. But hearing that your ex started dating a 26 year old when she's about 50, whether or not he knows that she actually pulled Buck's info in a very questionable way (I love that no one going after Tommy ever seems to care about the massive ethical breach from Abby), is kind of...wild. And he presumably heard about this from a mutual friend of some kind, who likely gave him this information colored by their own perception of the situation. This is where critical thinking skills become important. Based on context clues, I can safely guess that Tommy asked someone how Abby was doing or ran into someone who knows her, too, and they said "Hey, did you hear about Abby's new guy?" Otherwise he would've said "I saw that she was dating...." or "She told me she was dating..." So this could've been secondhand bitchiness, it could've been that her behavior was being framed as extremely not okay by someone they knew. We'll never know, the show doesn't have the strongest writing all the time. I'm not touching the thing about her mother, because a very close family member of mine has Alzheimer's, a good friend just lost a parent to it, and I do not want to examine the behavior of a person who's dealing with that or that of the people in their lives.

Could he have said "But I get it, she would've been going through a lot because of her mom and then our breakup"? Yeah. Would it have been nice if they wrote any scenes between Tommy, Hen, and Chimney that bridged the gap between when they weren't close and when they actually celebrated him and his accomplishments when he left the 118 to show why he would be someone Chimney would call on in two major emergencies? Yeah. I think I would've liked to see them talk things out onscreen and to show any apologies. Mostly because it would keep people from dropping an essay in my ask box when I feel like my sinuses and temples are filled with hot needles. I don't actually need to see it other than liking the three of them together, because I figured that they would've shown some hesitation before Chimney would reach out to him or he would've pulled Buck aside to warn him to be careful with Tommy. Or Hen and Karen wouldn't have been so thrilled when they realized what had gone down before Buck and Tommy came into the hospital room. There's a lot of stuff they don't show on this show, but they'd at least make a point to do or not do certain things if a character hated or disliked a character.

*I believe a certain dispatcher even did a whole big speech about this on the very show you apparently watch. I didn't like the Glee part, because I don't like Glee after season one. But the rest of it was good.

[revvethasmythh]

How do you find the writing in veilguard? I won't be able to play it for a while but I'm curious how it holds up because I've heard it reads like a YA novel or that it tells instead of showing. (I'm definitely taking online reviews with a grain of salt.) Is it enjoyable writing, especially the dialogue?

Frankly, the dialogue is fine. It is nothing more "YA novel" than anything done in Inquisition that I can think of--though I do generally take umbrage with any criticism phrased like that simply for being entirely too unspecific to mean anything at all. It implies the dialogue is unsophisticated by invoking a genre that, in actuality, represents a wide variety of writing quality (just like any genre of anything ever). I've read YA novels darker and more sophisticated than some piles of adult books, just as much as vice-versa. It's a lazy critique that tells you nothing. Is all the dialogue utterly fantastic? I mean, probably not but I'm having too much honest fun to waste my time worrying about if something is kind of cliched. My biggest pros for the writing are that a) Rook has an actual personality, and b) I don't have to wade into an empty field for an hour just to hear my companions say one line of dialogue to each other (Inquisition, the game that you were, you gave me such low standards). Your mileage may vary on what you think is good writing or not personally but I think the dialogue is just fine--and, yeah. A grain of salt is good to have with critiques like that. If they can't give clear examples and break down what they mean by that in more depth, I tend to ignore critiques of that variety in favor of my own opinions, which I recommend you do for yourself as well.

[laugtherhyena]

Sometimes i remember how long it took for Dra to get a full translation and think, wow, if it had a more speedy english translation back in the day (sorta like the one Sdra2 had) and i had my first experience with the game be as intended i don't think i would be writing -2+2 today

[erwinsvow]

we need more moment where shy!reader was studying and practicing new things to show rafe!! ik that girl is so kinky and it’s always the shy girls <33

YESS omg i srsly love that drabble when i reread it im like she was cookin.. i feel like shes the type to try to prep herself with a dildo bc she can never take all of rafe but imagine he found it n was like ?!!?

really—your boyfriend was too big. it was excessive, and though you could never find the words to tell him to stop or slow down—mostly because you didn't want him to—he always did anyways.

no matter how much you insisted that you could take all of him, rafe didn't like to listen. so you were stuck in a conundrum, and your choices were either lying to your boyfriend that it didn't hurt or accepting the fact that he'll never be as rough with you as you want.

you were willing to sit down and accept a lot of things without a fight—but this was not one of them.

one discreetly wrapped delivery later, you had yourself your very own rafe-sized dildo—a pretty pink color and of such a size that it had your insides churning with anticipation. about half an hour later with the use of some lube and lots of work, you were successfully able to fit about three-fourths. it wasn't perfect, yet, but it was a work in progress.

you didn't want to overdo it and end up insanely sore either, and you were beginning to realize even half was enough to have you cumming over and over again. so much so that you almost forgot about the date you had planned with rafe for that night—scrambling to get up and get ready.

that night, after a nice date and way too much ice cream, you realized you were too fucked out from your afternoon activity to go for another round for rafe. it was no big deal—except it happened the next day. then the day after that. and the one after that.

you had mastered the rafe-sized dildo, and you could take the entire thing after week of practice. but it also meant that it had been a full week without your boyfriend fucking you—something that hadn't happened since you had lost your virginity to him.

a little too clueless around rafe like always, you hadn't realized anything was wrong. rafe was on edge—pent up and unable to keep taking out his frustration on the golf course after almost breaking one of his clubs—but you didn't really notice.

you were waiting for tonight, after another date to show him your new-found skills, but of course, he didn't know that.

getting ready in your bathroom, blasting music and doing your makeup, you don't even hear the door open to your bedroom. rafe came to get you early, knowing you would need more time but way too antsy to wait alone in his car.

he sits on your bed, listening to the muffled music from behind the closed door. he's not impatient with you and hardly ever like this, but the current situation had left him more desperate to see you than usual.

leaning against your headboard, he feels something under your pillow. lifting it to move whatever it was—knowing you, the book you had been reading last night—his jaw clenches when he sees it. a dildo. not just any dildo—a huge dildo. under your pillow like you'd just been using it or something.

the pillow stays in his hand but he has an overwhelming urge to chuck it across the room. was this the reason the two of you hadn't had sex in a week? were you finding pleasure from some stupid toy instead of him?

"rafe?" you ask, stepping out of the bathroom and staring at the scene in front of you with big eyes. you're distractingly pretty everyday but even more so today with a short skirt and done-up face for the date he's not sure if he'll be taking you on.

your face burns with humiliation—stupidly realizing you hadn't put the damn thing away after last night. rafe is looking at you and then looking back at your bed, his fist tight around your pillow.

"um, i-"

"do you wanna explain? i'll give you five fuckin' seconds to explain-"

"no, it's not what it looks like-"

"really, kid? what it looks like is you're fuckin' this stupid thing instead of me. y'know, i'll just fuck off and you can have fun-"

rafe stands, not really angry but still sounding like he is. it's more pent-up frustration bubbling up, but you rush over to him anyways, looking so panicked he feels bad the second he said anything. he can't stay mad at you for longer than a minute.

"it's not what it looks like, i swear-"

"what is it then, huh?"

"i was just practicing! i was just trying to get better for you. see, it's yours." you motion to the toy still on the bed.

"huh?" rafe asks, looking between you and the bed.

"it's you. see. it's like... your size. um-" you get flustered again, shutting up in the fear that you've just said something to rafe that you should have kept to yourself. "i'm.. sorry?"

"no you're not."

"no, but i feel bad. are your feelings hurt? i'm sorry."

when rafe glances back at you, tearing his gaze away from the bright pink that's beginning to hurt his eyes, he realizes how sad you look, thinking you've done something to upset him.

"no, m'fine. just.. tell me next time. it was a jump scare."

"okay.." you stay still infront of him, awkwardly playing with your hands waiting for him to say something. you're a little concerned rafe's still upset, but he doesn't seem to look it, rather looking at you expectedly.

"what?" you question immediately, eyebrows furrowing in confusion.

"what? get on the bed. you've had enough practice. time for the real thing."

[deadtired-highkeyenergetic]

Kidnapped

Lemme just give my baby boi Bucky all the headpats in the world

Summary: You get kidnapped and Bucky has to rescue you

Your head hurts. Badly. And for once it's not because you drank too much the previous night. Lights begin to focus and the muted voices start to become clearer, unveiling the fact that you're currently tied to a chair and the deep cut on your forehead is currently dripping blood into your eyes.

"Look who's awake. About time." One of the masked people yanks your head upwards by your hair and you grunt at the sudden stab of pain.

"Missed me?" You grin, laughter punched out of your system when a fist strikes your stomach hard. Still, you manage to wheeze a laugh out, even as a fist strikes the back of your head hard, causing your vision to spin. "Missed you all too."

"Shut up and tell us where the Winter Soldier is!" The one whom you assume is their leader based on his mask's unique marking grabs your chin, lifting your head so that your gaze meets theirs.

"You want me to shut up or tell you where he is? You've gotta choose one —" You're flung to the side along with your chair, the floor slamming into your already injured side. Blood splatters onto the concrete floor from your coughing and you hear heavy footsteps stomping nearby.

Amateurs. They're terrible at extracting information and it's making you laugh at how pathetic they are. Unfortunately you can't enjoy the show as much as you'd like to because of all the pain you're in but at least there's some show to alleviate it. You focus on your breathing, centering yourself. You have to keep a clear mind, backup will be here soon so all you have to do is buy time. Even without your earpiece, you know that reinforcements will show up at some point. Hopefully before you actually die from your injuries.

You know that Bucky will come storming to your rescue. Probably.

It is rather ironic that your kidnappers only need to continue holding you hostage to find the person they're looking for instead of trying to beat his whereabouts out of you. The pain is getting rather annoying, especially considering how long your injuries will take to heal. This is going to put you out of commission for about a month, and the thought of being stuck in the house for a month is scaring you far more than your kidnappers could ever do.

The floor is rather cold, freezing to the touch really and you would like to not be in contact with the floor, but your kidnappers don't seem to share your sentiment since they keep squatting down to yell at you.

"It's better for your knees if you put my chair upright so you don't have to keep squatting down to talk to me. Also do keep your voice down, I'm not deaf you know." There are times where you curse your witty tongue, this is one of those times.

One moment you're on your side, lying on the floor. The next moment you're sent flying into a wall, the chair nothing but splinters in a pile underneath you. Fingers dig into the soft flesh of your throat, squeezing the air out of your lungs. You kick the air, struggling instinctively and dig your fingernails into the arm as hard as you can. which is not very hard considering how much air and blood you're losing. Black spots begin to crowd your vision and you're about to send an apology to your boyfriend for being the sassy idiot that you are when suddenly your body collapses to the floor, lungs heaving as they gulp down as much oxygen as they possibly can.

Coughing, you massage your throat. The bruises are going to be ugly, and Bucky is probably going to explode upon seeing your injuries. You would feel bad for your kidnappers if it wasn't for the fact that they nearly killed you and ruined your nice little record of not getting kidnapped.

"I will not ask again. Where is the Winter Soldier?" The leader roars, slamming you against the wall.

"You know, it's a bit hard to talk when it's kinda hard to breathe." You hit his arm. "Also, I believe he's right behind you."

A loud thud echoes in the now empty room as a metal fist collides with flesh and the leader crumples to the floor at the feet of a furious super soldier. You lean against the wall, panting as you push your hair out of your eyes, wincing when you accidentally touch the wound on your forehead.

"Took you…long enough." You huff, looking up at Bucky.

"Maybe I wouldn't have to do this if you didn't get captured." He scowls, kicking the leader's now unconscious body.

"Try intentionally walking into an ambush by yourself and let me know if you get out alive." You grit your teeth, using the wall to stand up despite all the ringing in your ears and the blurriness in your vision. Your head is starting to hurt worse, and all the blood you're spilling onto the floor probably isn't helping either.

"Well, you're alive right now aren't you?" Bucky scoops you up. "So don't go dying on me or I'll have to clean up your messes too."

"Don't recall having too many messes for you to clean," you tiredly mumble into his chest. Your eyelids feel heavy, black starting to cloud your vision and you want nothing more than to close your eyes and sleep forever but Bucky keeps jostling you, snapping you awake with every step he takes. "You make a terrible groom, can't even carry your bride properly."

"My bride needs to stay awake or they'll die." He frowns, purposely shaking you. "I mean it."

"Try not to sound like you actually care about me or I might start believing it."

Bucky simply grunts, definitely out of annoyance and continues the way too long walk out of the building, jostling you all the way. Your fingers clutch at his shirt tightly as you take in the sights before you, realising that Bucky had single-handedly fought his way in just to get to you.

"Can't believe you didn't invite me for this party. Seemed fun." You groan.

"Wasn't so fun knowing the only person I can tolerate on missions could die before I reached them." He murmurs, worry sparking in his ice blue eyes.

"Tolerate? Pretty sure I make for better company than that." You weakly poke him in the shoulder, giving him a glare that doesn't quite reach your eyes.

"Dream on, doll." The sound of a jet landing drowns out the rest of his words and he carries you inside, laying you out on a stretcher so that the doctor can tend to your wounds. You give him the finger as he turns to leave and he throws one back over his shoulder.

"Don't miss me too much while I'm gone, doll." With that, he disappears into the cockpit and leaves you with the doctor.

"As if I'd miss that bastard," you mutter to yourself, finally closing your eyes and drift off to sleep, ignoring the way your heart clenches at the thought of Bucky fighting his way through the base just to rescue you.

When you wake, you're back somewhere in Avengers Tower, bandages decorating your head and chest. You partially recall this place being the medbay, and judging from the look on Bruce's face your wounds aren't that bad, at least not now.

"Hey," you croak.

"Welcome back," Bruce smiles. "How are you feeling?"

"Like I got slammed into a wall multiple times."

"That's not far off. You'll be back in the field in give or take one month, don't worry." He hands you a glass of water which you accept gratefully.

"Where's Bucky?" The question slips out before you can stop yourself.

"Missed me that much, doll?" Speak of the devil and he shall appear. The brunette walks in with the largest smirk you've seem him make, automatic door sliding close behind him.

"Was asking so I could avoid seeing your ugly mug so soon." You bury yourself back underneath the blanket, ensuring that the fabric covered your face.

"How unfortunate that I chose to walk in now." He takes a seat next to your bed, quietly signalling to Bruce for time alone with you. Bruce nods, slipping out of the room and Bucky lets out a sigh. "Doll?"

You make not a single peep, not even when Bucky pokes you through the blanket so he takes matters into his own hands and yanks the blanket off you. You yelp, hands scrambling to pull the blanket back but the super solider is faster and tosses the blanket onto the table behind him before folding his arms over his chest.

"What?" You scowl, mimicking his actions.

"I didn't know your idiocy had no limits." His brows furrow. "What were you thinking, springing that trap with no escape plan? Were you looking to die?"

"If I was, it was a very unsuccessful attempt." You roll your eyes, turning over so that your back faces him.

"Be honest with me." He turns you over, grip softening when he realises how much he's hurting you but he doesn't let go.

"I wasn't trying to die, okay? But if I did, well…" You look away, hating at how your chest constricts when you see the pain in his eyes. "Would've been fine."

"It wouldn't have been!" He snaps. "It's not fine if you just go off and die!"

"Right," you mutter, playing with the sheets. Tears are beginning to form in the corners of your eyes, and you refuse to let him see your weakness. Biting down hard on your bottom lip, you try to push your emotions down before they can overwhelm you but the tears keep coming anyways. Dammit.

"Doll I —" He takes a deep breath. "I don't want to see you to die, alright? Or at least I don't want to see you die before me."

You lie there in silence, tears still streaming down your face and staining the pillow beneath. Fist clenching, you stifle a sob. Shit, you really don't want to crumble in front of Bucky of all people.

"You…matter. A lot. To me." Bucky forces the words out, but his gaze is soft, and so is his touch. His fingertips gently press against your skin, little spots of warmth amidst the sudden chill that has set in. "So don't go dying on me, alright?"

"Only if you make the same promise." You mumble and his eyes brighten. Giving you a genuine smile, he leans in to press a kiss to your forehead.

"Deal. Now get all the rest you need, I'll always be here."

"If you're expecting a 'thank you', I'm afraid you're going to be disappointed." You give his cheek a poke.

"You're welcome." He grins, ruffling your hair. He grabs the blanket, tucking you in with it. "Heal up, or I'll have to go on missions by myself and that would be boring."

"Well, can't have a bored super soldier now, can we?" You smile back at him, grabbing his hand. "Hold on."

He huffs in annoyance, but his eyes say otherwise. "Won't be letting go any time soon, doll."

[franavu]

I think one of the problems with C3 is structural. Matt seems to be wanting to tell a story with themes about Gods, Divinity and Religion, which, great. But if you're going with those themes one of the worldbuilding questions that should at least be thought about is "in a world where the Gods are real, what does that mean for culture, society and community?" and the answer seems to be "it doesn't". It's like the religion parts are worldbuilding-adjacent, like, "I guess they're religious too." And this was fine for the previous campaigns and literally any other story, but for what C3 is doing, it should at least have been minimally addressed.

Part of it was that Matt could have gone in pre-campaign-prep, "For reasons, your character needs to have an opinion on the Gods that is rooted in your background." Something like, "the orphanage that Ashton grew up in was run by Lawbearer people and they came down hard on even minimal rule breaking, which made it a miserable place for a kid like Aston to grow up in, so he's understandably bitter." Or, "of course Chetney prays to the All-Hammer, he's a craftsman, he tries to go to the temple on his holy day, but he hasn't managed it for the last 20 years, and he feels vaguely guilty about it." That would have at least given the PCs some connection to the larger narrative.

It's also that in the whole first arc the Gods weren't relevant unless the BHs specifically needed a priest for something. And themes of religion could have been there from the beginning, which could have connected with the overall Predathos narrative. I think something really interesting could have been done with Jrusar, and worship of the Lawbearer and the Wildmother, and civilization rising from the wilds. It needn't have been particularly invasive, just there in the background, the same way the governmental structure was explained but not particularly relevant for what the BHs were doing there.

And it's such a shame, because Matt is really good with personal faith, and individual interaction with the Gods, but it seems to break down with organized religion. And I don't know if it's a blindspot, or if he was so busy during pre-campaign-prep that he just went with what he had, which, again, would have been perfectly fine for literally any other story, just not this one. It's just that this whole campaign feels like missed opportunities, and the feeling like it could have been so much better. 

(Like, for example, a personal frustration is that the Vasselheim parts could have shown diversity in forms of worship for different parts of Exandria, and diversity in ritual from priests of different Prime Deities, and show that despite their differences they are all working together towards a common goal. Instead in communal situations, we get fantasy-Protestantism, with a sprinkle of fantasy-Catholicism ritual on top. (And don't get me started on the alcohol ban, don't the fruits come from the Wildmother's bounty, grown and harvested under the Dawnfather's aegis? Isn't the All-Hammer the God of all craftsmen, including the vintner and the brewer?) It could have still been a bleak and hard place, just rooted specifically in the religions and Gods of Exandria.)

[kedreeva]

i have an odd animal husbandry question you seem like you might know the answer to, your comment about stan reminded me - ive been thinking about getting into backyard chickens for a couple years and the thing that makes me hesitate most is hard culling. im confident in my ability to put down an animal thats sick, or infirm, or for food, but for like, temperament? or for poor egg layers? just sticks on me for some reason. i think it would feel like telling them theyre not a good enough chicken for me. how to you process this part of animal husbandry?

This will be a little long, so bear with me.

If you want to keep use animals (animals bred for a purpose, to be used for a purpose instead of kept as a companion), you gotta get good with the idea that they are here for you under the agreement that you will only keep them as long as you need to. When you take them on, you are agreeing that you will release them to whatever their next life holds for them as soon as you do not need (or they've completed) their service. Maybe for some people that's just release to the biological cycle of life, for others maybe there's an eternal rest, for others maybe it's reincarnation. For soft culling that's just moving to the next household. Whatever it is, you are allowing them to pass to it in as humane a way as you can, and ultimately it is the single greatest kindness and gratitude you can show to them, to give them proper care while they are here and allow them to end with little to no pain- something animals outside of our care rarely get. You are thanking them for their service, and letting them go. Worth does not even begin to factor into it.

It is not easy to take a life. It is NEVER easy, regardless of reason, regardless of excuse, regardless of anything. It is ALWAYS heavy, and it will always hurt you. And it should. I am grateful for the weight of taking a life, because it reminds me that it is serious, and reminds me to take the production of life seriously, because at some point any life I cause to come into existence via breeding animals will have to end.

On top of that, some things ARE heath related that do not seem health related. Aggression in domestic animals IS A HEALTH ISSUE. A cock is aggressive because he is stressed about intruders, containment, mating threats, resource guarding, etc. Even with the best of care this can be true, and unfortunately for you both, this means the animal is not suited for domestic keeping. The same goes for animals (in any stripe of use, but particularly private care) that display repetitive stress behaviors from normal, proper captive care (for example, mice that are food chewing are stressed and should be culled from lines where possible because they are not having a good time). You are doing them a disservice to keep them in a stressful situation you cannot change because of their biology. It has nothing to do with not being good enough for you, and everything to do with producing/keeping animals that do not experience that stress in captive care and releasing the rest from duty because they will not be okay in any captive care.

For some issues (poor egg laying, for example) you CAN pet-home culls instead of hard culling. It's harder to do, you will spend time finding people who just want pets that don't intend to breed or don't care, but it can be done. However!! Is the bird just slow at producing eggs because her genetics say that's how fast eggs get produced, or is she producing slowly because there's a health problem that isn't immediately evident? Is her ovary damaged, is her reproductive tract infected, does she have a disorder that prevents her from processing food correctly so she can't get what she needs to produce eggs as fast as normal? Are you setting the bird up for failure (and someone else for heartbreak/money troubles) sending them to a pet home? Is it something which could lead to pain/suffering down the road if she's allowed to continue? Hard to say without spending a lot of money. Are you willing to risk your reputation, if someone takes a surprise illness/genetic issue down the road badly ("Oh THAT breeder sold me a sick/unhealthy bird/bird with bad genetics"), and compromise your ability to find homes for healthy birds down the road?

You are okay with culling a bird for food- there's nothing that says you cannot eat the bad temperaments, the poor egg layers, the one with genetic issues, and so on. And if you can tell early enough that you, personally, can't make use of the meat, there are plenty of folks with other animals that would LOVE feed for those animals. Take yourself down to a local reptile expo, grab the business cards for a few people who have big snake babies (retics, burmese, anaconda, redtail boa, even BP) that say they'd be interested in taking culls, OR look up local bird of prey rescues in your area (or reptile rescues or big cat rescues if there are any) and ask if they'd be interested in culls. There is ALWAYS someone that can use what you can't/won't. You may have to jump through some hoops to donate to some kinds of rescues (health testing for example), but it's an option you can look into if you want to combat the feelings you're talking about.

As a last note- and I am saying this gently and holding your face in both hands: do not anthropomorphize animals in reality.

In YOUR eyes, you are culling them an illness or an injury or for food or for temperament or for poor quality or or or---- it does not matter to the animal why you are culling them. A death is a death, to them. They are here, and then a thing happens, and they are no longer. They do not understand life or death or afterlife or reincarnation or that they are here for a purpose or not a purpose or literally anything you as a human might impose upon them in your head. They live while they are alive, and then they are not. They do not "want to live" in the "avoid death" sense because they do not necessarily understand "death" as a future concept. Instincts that have worked well to preserve life have been encoded in their DNA to one degree or another, they can and do respond to avoid pain, but with little exception (like... maybe elephants and dolphins and a crows and a few others), it's unlikely that they understand the connection between doing those things and being alive/avoiding death.

So while TO YOU it may feel like telling the bird they are not good enough, and TO ME it feels like allowing the bird to move on in peace... the bird doesn't know either way, and honestly the reason hardly matters. It is alive in the present, and one way or another it will not be alive someday, and you are responsible for making sure that the one way under your control is so peaceful or quick that the bird hardly knows it is no longer alive. The bird doesn't care about (and cannot understand) the why of their death, any more than they understand their pain/stress and how it relates medical assistance; it's why animals often freak out, refuse meds, etc. They don't hate the vet or the car or the carrier or anything- they just simply don't understand human stuff and react according to instincts/what they do understand. If you treat an animal like the animal it IS rather than the person you imagine it to be, you will find yourself with a lot better relationship with them during life, and be able to frame their passing a bit better later on.

[natasharswifey]

Happy birthday, by the way 🎂

Natasha Romanoff x fem!reader

Requests open <3

Summary: After a few months of dating, you realise you don't know when Nat's birthday is. She isn't interested in celebrating, and when you ask, she refuses to tell you. But you are very determined.

____☆____

A/N: This is just a little fluff, also my first x reader fic. Love reading em so I thought I'd give it a go :3. Also I find it hard to read Y/N as my name so I'm using [...] instead!

Tags: Just fluff <3

____☆____

"Oh, come on, why won't you just admit it?"

"Because I can't deal with you inviting half of the United States to the tower for a party."

"Exaggeration."

Natasha raises a brow at you. "Oh really? And what about he time you put flyers around about Wanda's party?"

"She was turning 21!"

She gives you a 'really?' look and you know you aren't getting anything out of her. It just didn't make any sense, birthdays were the one day a year where it was all about you. Well that's everyday if you're Tony Stark, but for well functioning members of society it should count as the best day of the year.

"I will not be disclosing that information until I can trust you not to make a huge deal."

"What if I pinky promise?"

"You always overdo it, detka, it's just how you are." She plants a small kiss on your forehead and leaves you on the couch to begin plotting.

___♡___

"And then she said 'you always overdo it', give me a break!"

Wanda looks up from the pot she's stirring and chuckles, "I didn't know half the people the showed up at the tower on my 21st, [.....]"

"I knew I should've gone to Tony, he would get this."

"I don't think asking the most flamboyant Avenger would be very helpful in this situation."

"Right."

"I think you should just leave it, she'll probably tell you eventually." She gently taps a bit of salt into the pot.

"Or..."

"No."

"You didn't even hear me out!"

"I can read minds. It's a terrible idea."

"Firstly, reading Nat's mind to figure out her birthday is literally a flawless plan, and secondly, you're good reading my mind and not hers?"

"Natasha already set her boundaries with me, and plus I don't feel like getting my ass kicked for aiding and abetting."

"Thanks a lot Wands."

"Any time."

If Wanda wasn't going to cooperate then you were simply going to have to enlist the help of a certain blonde assassin.

___♡___

You hear Lucky and Fanny barking hysterically after you ring the doorbell, followed by fast paced footsteps and a small "One minute" from the other side of the door.

Usually a simple question would only warrant a text or phone call, but for some reason Yelena NEVER answers her phone. Unless it's from Kate of course, you're half convinced that she has a special ringtone and notification for her.

It's none other than the archer that answers the door, "Hey, [.....]! I didn't know you were coming over."

"I've actually dropped in unannounced, but I won't stay too long." You reassure her. Kate has a habit of forgetting things, including scheduled hang outs and honestly everything else that isn't attached to her body.

"Come on in!" She steps out of the way and shuts the door behind both of you.

You're immediately greeted by the two large dogs, fighting over your attention in a confusion of wagging tails and paws. Kate tries to get them under control and ultimately fails until they're distracted by Yelena calling them.

"That's totally not fair, they only listen to you." Kate complains and Yelena laughs.

"Because they love me more."

"Lies and deception!" Kate is soon distracted by the golden retriever pulling at her sleeve and gives Yelena a smug look before pouring all of her attention to him.

"Hey, Yelena."

"Hello, [......]. To what do we owe the pleasure?"

"Uh, I actually had a quick question. When's Natasha’s birthday?"

"Ah. I do not know."

"What?? But you're sisters!"

She shrugs, "She does not want me to know. Birthdays are not really Natasha’s thing, surely you must know that."

"Yeah, I know, it just doesn't make any sense."

"That's Natasha for you."

You sigh in defeat and sit down on one of the armchairs, your lap immediately occupied by Fanny who still wholeheartedly believes she's the size of a puppy.

"Well, there is someone else you could ask."

Your ears perk up, "Who?"

"Melina."

Ah. Melina. It wouldn't be fair to say that she hated you, but it also would be lying to say that she was fond of you. Perhaps you could ask Alexei instead.

___♡___

"Hello? Can you hear me?" You ask over the phone to your future father in law.

"HELLO? ARE YOU THERE, [......]?"

"Yeah, I'm-"

"I THINK MY WHATISUP IS BROKEN- MELINA!"

"No, no, Alexei there's really no need."

You hear the sound of footsteps and Melina scolding Alexei for always forgetting to turn up the volume before she picks up the phone.

"Hello?"

"Ah, hello Melina."

"[........]. Do you need something?"

"When's Natasha’s birthday?"

"December third. Is that all?"

"But- that's today."

"I'm aware."

"Well, thank yo-" The phone cuts off before you finish your sentence and you're left with about two hours to plan a surprise party for a spy.

___♡___

"I did it, Wanda!"

"Only took you half the day."

"Okay, hater, I need you to help me surprise her."

"Are you sure this is a good idea?"

"One hundered percent." You reply confidently. For most of the day you'd been discouraged, but now it was time for you to trust your gut.

Soon enough you've formed a team of Kate, Yelena and Wanda gathered in one of the common rooms of the tower.

"Alright, Wanda you can be in charge of snacks, Kate you can do decorations, and Yelena you can find us the cake."

"Can-"

"No it may not have profanities on it."

The blonde sighs but jumps into action with the other two. Now all you have to do is buy them some time.

___♡___

You greet Natasha at the tower's entrance with a huge smile plastered on your face.

"Hi, Nat!"

"Hey, [.......]. How was your day?"

"A little hectic. Wanna go for a walk?"

"I would love to but I need to sleep for at least ten hours straight."

You step in front of Natasha as she starts to head inside, "Wait- Uh, did you know walking actually improves energy levels?"

Natasha raises an eyebrow, "What's up with you?"

"Nothing."

"For some strange reason I do not believe that." She holds you in place by your shoulders and steps around you, but you take her arm and try to steer her to the kitchen, your plans are foiled by Lucky and Fanny who bound up to Natasha happily.

"What are Yelena and Kate's kids doing here? Seriously, what is going on?"

"Uhh."

"Insightful."

"I don't know what you're talking about."

She stares you down for a few seconds before suddenly moving towards your shared quarters and only speeds up once she realises you're trying to stop her.

The red head clears the stairs in a few seconds and opens the door, only to be met with pitch black. When she steps through and flicks on the light Wanda, Yelena and Kate jump out from behind the couch and yell "Surprise!".

The look on her face is priceless when she turns to you, "How- when did you-"

"I have my ways."

Natasha pulls you into a tight hug and you hug her back even tighter when you feel a small damp patch forming on your shoulder.

___♡___

"Okay, now make a wish!" Yelena says excitedly, the three of you are crowded around the table where the birthday girl sits in front of her cake.

"Alright, alright." She closes her eyes and blows out the candles, which prompts a cheer from everyone in the room.

The five of you all squish onto the couch to watch a movie and eat snacks and cake, with Natasha curled into your side.

"So, did I 'overdo' it?" You ask playfully.

You hear her chuckle, "It was perfect."

____☆____

Tysm for readinggg, If you liked it I have more stuff in my masterlist :)). Reqs are open!!

Also, if you saw the unfinished version of this when I posted it by accident, no you did not.

@l0nelyish 👁👁

[nereidprinc3ss]

hii i love love how u write spencer omds🥸

uhh i was wondering if you could write sth based off the song “we’ll never have sex” by leith ross? pls dont feel pressured to write this btw😭😭😭 hope ur having a good day lovely💗💗

hello my love i have no self control so this is extremely long and plotty but i love this song and i hope that this is any good at all crying emoji (i'm on a laptop LOL) enjoy!!

warnings/tags: angst/fluff, fem!reader, negative self-talk from reader, mentions of past sexual coercion/feeling used, mentions of past excessive drinking to combat social anxiety, ive been watching a lot of new girl lately and i think it shows, SO FRIENDS TO LOVERS, happy ending

You weren’t expecting to end up on Spencer Reid’s worn-leather couch at two in the morning, clutching a chipped mug of coffee in your hands as you listen to the sounds of the city from the street below. But there you are, sitting with your legs folded under you, in your favorite dress and first date-night makeup (now bleeding and smudged from all the crying.) And realizing that despite considering him one of your closest friends, you haven’t been to his apartment in a long time. There are, of course, good reasons for that—but you try to push those from your mind. 

“I’m really sorry about this,” you sigh, staring at your warped reflection in the glassy black surface of your coffee. Spencer is coming out of the small kitchen, now bearing his own cup. 

“Please, stop apologizing.” 

You glance up, tentatively studying him from behind the safety of your mug. While he may not have been asleep when you knocked on his door ten minutes ago, lachrymose and barely verbal, he must have been getting ready for bed. He’s clad in patterned pajama pants, mismatched socks, and an FBI crewneck that is just big enough to reveal the collar of the tee-shirt underneath. He’s already taken out his contacts, and you were startled by the reminder that he also has glasses. 

“So...” he begins, bringing you back to the present moment, “we don't have to talk about anything, if you don’t want to, but...” 

You sigh, watching coffee bubbles swirl like stars in a galaxy. 

“It’s fine. Honestly, I’m kind of embarrassed. I didn’t really think, I just... ended up here.” 

“Yeah... where did you come from?” he laughs quietly. “Not that I’m complaining. But I recall you not living super close by.” 

“No, no. I was actually on a date. Kind of.” 

“Ah.” There’s a beat of silence, and ostensibly Spencer is waiting for you to say more, but instead you take a sip from your mug. “At two in the morning?” You nod dully, staring at the labyrinthine pattern of the Persian rug.  

“I’m taking it that it wasn’t a very good date...?” 

A whoosh of air escapes from your puffed cheeks. 

“No it was not. Not by the end, anyway. It actually started really well, which made it even more disappointing when he...” you laugh, but there’s not much humor in it. “Well, when he kicked me out of his car on a street corner because I didn’t want to sleep with him.” 

You don’t look to see Spencer’s reaction—only take another long, baleful sip of coffee and ignore the heavy silence.  

“I’m really sorry. You... you deserve so much better than that.” 

An attempt at a jaded scoff from you falls flat. 

“Yeah, well. Tell that to the last three white house interns I’ve gone on dates with. It’s the same thing every time.” 

“Have you considered going on fewer dates with white house interns...?” The nervous humor is a thin veil over genuine critique. You shrug, biting the inside of your cheek. 

“It’s not just them. Every single guy I’ve liked since I was 15 has been like this. Even my past relationships, I felt like I was almost... tricked into, you know? I mean, these guys, they act all understanding and willing to take it slow or whatever, until you’re in a relationship, and suddenly they’re guilt tripping you so hard and making you feel so obligated to...” you catch yourself just in time, glancing up at Spencer. You’re not sure what to make of his expression. The drawn brow and slightly squinted eyes trained so intently on you could be sympathy, or anger, or pity, or apathy—you look away, not sure you even want to know what he’s thinking. “Sorry. You don’t need to hear all about that. Basically romance is exhausting and since I’ll clearly be single forever I’m considering running away to join a nunnery.” 

When he doesn’t respond for too long, you look back up quizically. 

“I’m not sure you know what romance actually is,” he says as soon as your gaze meets his, like the eye-contact activated some kind of hair-trigger in his vocal box. 

You blink, lowering the coffee cup to your lap. 

Says Spencer Reid? 

“...sorry?” 

He flushes, stammering to clarify himself. 

“I just meant—I—I know I’m not exactly fighting women off with a stick—” he interrupts himself with a self-conscious (adorable) laugh— “but... but I have been in love, at least once.”  

“Maeve,” you say, gently—trying to shove down bitter guilt as you remember how jealous you’d been when Spencer had first told you about her. “I remember.” 

He swallows and nods. 

“We never even met—we just talked. All the time. I had no idea what she looked like. But it didn’t matter at all. Because I knew her, and I loved her. Maybe things would have gone further if I hadn’t been calling her from public phone booths, but that wasn’t the most important thing to either of us. We were still in love.” You try to shut out the sharp ache in your chest. Being jealous of the way he speaks about a dead woman is so wrong.  

“What I’m trying to say is that romance isn’t solely about sex, or even physical appearance. It sounds to me like you’ve been with a lot of men who don’t understand that. And it would be such a shame for you to write romance off in general before you even get to experience it. You are... an extraordinary woman. You’re funny, and intelligent, and kind, and so capable of being loved. One day, someone is going to see beyond your pulchritude and prove that to you. I hope you let them try.” 

More tears blur the pattern on the rug, pooling in the rims of your eyes before spilling down your cheeks in fast, fat drops. Shakily you set the cup down, resting your elbows on your knees and hiding your face in your hands. You sniff once. Twice. Shake your head quickly, attempting to wipe the tears away without further smearing your makeup everywhere. 

“Shit, I’m sorry,” Spencer breathes, leaning forward but obviously unsure how to comfort you. “Please don’t cry, I wasn’t--I was trying to do the opposite of this.” 

“No, I’m sorry! You didn’t have to—you didn’t—I’m sorry. That was way too nice.” 

But you're not crying because he was nice.  

Someone will love you, but not me. That’s all you can hear. 

His voice is a mere whisper when he next speaks. 

“I meant every word.” 

You take a shuddering breath, allowing yourself a moment of reprieve behind the peaceful black of your eyelids. You can’t be looking at his face when you say what you’re about to say. 

“I had a crush on you for the longest time, you know.” 

Ringing silence. But it doesn’t last as long as you’d imagined. It’s not as world ending. 

“Had?” 

The little smile in his voice is like a fist around your heart. 

“Yeah. You know what changed?” 

“What’s that?” 

Absolutely nothing. 

“Every time I got super drunk and started hitting on you, you’d just drive me home. And I did it a lot. Like, for months. But you were such a gentleman. It drove me fucking crazy. So eventually I figured you just didn’t like me and I gave up.” 

Another stretch of silence. A breeze comes in from the open window, fluttering the curtains and cooling the tears on your face. His response is sad when it finally comes. 

“You thought I didn’t like you because I didn’t try to take advantage of you when you were drunk?” 

“Pretty much.” You smile ruefully, fingertips still pressed over your eyes. “God, listen to me. No wonder I get treated like garbage.” 

“Stop. Don’t talk about yourself like that. Did you hear anything I just said?” 

You sniff, looking to the ceiling. 

“Yeah. Yeah, you’re right. It was really sweet.” 

More silence. 

“But you don’t believe it.” 

A bitter laugh poisons the air around you. 

“I don’t know.  I’m kind of tired of waiting for someone to prove it to me. Just for once, I want someone to be interested in me beyond having sex in the back of their fucking... Range Rover, or whatever. Like, maybe all that stuff you said is true, but there’s no evidence to support it, and I know logically you’re probably right but I can’t help wondering if... if I’m the outlier. Maybe there just isn’t someone for me like that. Maybe I’m just gonna be the sex in the back of the Range Rover girl forever.” 

A noise somewhere between a laugh and a sob forces itself from your throat and you bury your face in your hands again, shaking your head. 

“Wow, I am so sorry,” you say a little too loudly, “I did not mean to be this honest tonight. Did you spike my coffee?” 

“You are not the outlier,” Spencer whispers.  

You sniff, lifting your head haltingly to look at him. 

“What?” 

His voice shakes slightly as he speaks. 

“You said you can’t help wondering if you’re the outlier, and maybe there just isn’t someone for you like that. That’s not true.” 

“Spencer, those are just words. You can’t possibly know that. Statistical probabilities don’t count.” 

“That’s... that’s not how I know.” 

Your heart drops as you study his face.  

No. 

Surely he’s not saying what you think he’s saying. 

Surely he wouldn’t do this to you after you’ve just told him everything you told him. You have been harboring feelings for him for years. Since you met. He can’t just spring this on you one night because you’re a little bummed out. If he felt the same, you would have found out a long time ago; he had ample opportunity to tell you. There was a period of months where you practically threw yourself all over him at every chance you got, and he did nothing. So this... this is just cruel—something you’ve never known Spencer Reid to be. 

You stand up, trembling slightly with rage and grief and humiliation. 

“Don’t do that. Don’t say things that you don’t mean just to make me feel better.” 

“What are you doing? Don’t--” 

You scoop up your purse, trying to get to the front door as fast as your gelatinous legs will allow. More tears are streaming down your face now and you don’t need him to see what he’s done to you—to see how much you care what he thinks. 

“It’s fine. Thanks for the coffee, I’ll see you around—” 

A hand around your wrist stops you in your tracks 

“Stop. Just... please give me a second to talk, okay?” 

With nothing left to give, you turn to him. 

“Don’t be mean, Spencer. Don’t act like you liked me too. That makes me feel... so much worse.�� 

He takes a deep, shaky breath, as if steeling himself. Tawny eyes bore into your soul, and you realize that there is so much sheer nervous energy radiating off of him it’s infectious. Your heart begins to pound as he speaks. 

“I’m not doing that. I’m being an idiot, because you just told me that you don’t feel that way about me anymore but... but I do. And I have to tell you now because for six months I tortured myself wondering why you would flirt with me so much when you were hammered and then act like nothing happened the next day. There were so many times I almost told you how I felt but I didn’t and now I am because even if it ruins our friendship you need to know that somebody... that I wanted to be that person for you. I still do.” 

Your heart is like an unmoored zeppelin in your chest, bumping against your esophagus and threatening to either burst or jump out of your mouth. You take your chances, whispering so quietly it’s almost inaudible. 

“You... you like me?” 

“Yes,” Spencer sighs. “I have liked you for a very long time. And I’m sorry—” 

Whatever ridiculous thing he was going to apologize for, you don’t give him the chance. Instead you launch yourself at him, capturing his lips in a kiss that feels so much better than it’d ever been in your fantasies because it’s real. You hear his sharp intake of breath, but it only takes a second for him to respond, cradling your face in his hands like you’re the entire world. For a moment, time bends. Years of longing, of buried dreams crash into the present in a brilliant, dazzling explosion.

And then, as quickly as it started, he pulls away. The absence of his touch is like a vacuum, so much worse now that you know exactly how it feels to have his lips on yours, even if it was only for a few seconds. How the hell did you live like that for so long? How are you supposed to live like that ever again?

“You’re not thinking clearly,” he breathes, tilting his head back toward the ceiling like he’s barely holding onto his self control. “You just want someone to comfort you, I’m not going to take advantage of you when you’re in an emotionally vulnerable state and confided in me which is manufacturing a false sense of attachment—” 

You grab his wrists, which still graze your jaw.

“Spencer, stop intellectualizing for thirty seconds. I promise you I am thinking clearly.” 

“You said you used to like me, past tense—” 

“Yeah, I did. Do you believe every single murderer who says he didn’t do it?” 

“No, but—” 

“Have you ever heard the phrase; a drunk man’s words are a sober man’s thoughts?” 

“Of course I have.” 

“Then what more could you possibly need to be convinced that I really like you? I already kissed you! What is stopping you?” 

Another deep breath is taken by him that seems to suck all the air out of the quiet room. Briefly, you wonder if you’ve made a terrible, terrible mistake. If you really do like him so much more than he could ever like you.  

Until he looks back down, eyes so golden-brown in the dim light, so kind and full of affectionate concern as he carefully assesses every square centimeter of your face, looking for... well, you’re not exactly sure what. It’s like he’s extracting every thought from your head, turning them over like sun-warmed stones until he finds what he’s looking for. He smooths his hands over your hair, brushing strands away from your teary face. Finally, after what feels like an eternity of holding your breath, he speaks. 

“I just want you to believe what I believe about you. But I don’t want you to have to rely on me or anyone else for your own self-worth.” 

“Well, don’t you think very highly of yourself,” you tease with a sniffle. He laughs—it's quiet, but his smile is so bright without even trying that suddenly you can’t remember why you’ve ever been sad. The small miracle of his laughter makes you feel so light, and you realize it has nothing to do with the way he makes you feel about yourself. It has everything to do with who he is. 

Once the giggles die down, you tentatively mirror his hold on your face. 

“Spencer, I don’t like you because you like me. I’ve liked you for an embarrassingly long time. I liked you enough that I gave myself a severe hangover at least once a week for three months just so I could have an excuse to flirt shamelessly with you.” 

A half-sad smile pulls at the corner of his mouth, and he gently swipes under your eyes. 

“You never had to do that. I would have welcomed your sober brazen flirting with open arms.” 

“Well... do you believe me?” you plead. His amber eyes shine. 

“I do.” 

“Will you kiss me?” 

“If that’s what you want.” 

You nod, rising on your toes to meet him halfway. 

When your lips meet again, it is sweet, and honest, and slow, and deep. Still, there is no desperation--no race to an imagined finish line, no clash of teeth and pawing hands. It is a kiss for the sake of it—as if it were the greatest intimacy. Not a precursor to sharing a bed, but something bigger than that in and of its own. Something just as worthy and important. For the first time, you think you’re beginning to understand romance. And while you wouldn’t mind if things did escalate, you also know that Spencer knows that’s not what matters right now. Because he actually understands you—he actually cares. He will wait until you understand that you mean so much more than that to him.

To that end, he pulls away, gently supplanting his absence with a kiss to the corner of your mouth. 

“It would be polite of me to offer you a ride home, wouldn’t it?” he whispers, like it’s the last thing he wants to do. You bite the inside of your cheek, coming up with reasons not to go. One ridiculous one arises from the depths of your memory that you know he won’t be able to say no to. 

“Or... I could stay here, and we could watch one of those nerdy foreign films you’re always talking about?” 

A slow, perfect, high-watt smile blossoms on his face, and you know you’ve said exactly the right thing. 

“Nerdy? Oh, my darling girl... Soviet-era filmography is far from nerdy. небесная машина will completely defy what you thought you knew about the life of an average Russian villager in the 1950’s.” 

“Oh, good. Because I’ve really been meaning to change the way I think about the average 1950’s Russian villager,” you smile, already closing in to kiss him again. 

------------------------------------------ 

epilogue

Three hours later, you’re crying because the life of the average Russian villager in the 1950’s was so much worse than you’d previously thought. 

“It was good, right?” Spencer asks as the credits roll over a bleak snowy sepia landscape, leaning back to get a better look at you. You sit up from where you’d been leaning against him, furiously wiping your eyes. 

“It was terrible! Why didn’t you tell me that everyone except the kid dies in the end?!” 

“Because that’s the whole point of the movie!” he laughs, pulling you back into him. “I’m sorry. I probably should have explained how depressing this entire era of film was outside of the US.” 

“And also how long the movies were. I was not prepared for how many five minute long clips of empty fields there were going to be.” 

“You’re right,” he ammends, wrapping his arms around you in a way that gives you butterflies and makes you sleepy at the same time. “Next time we can watch whatever you want to watch.” 

Time passes like that—you in his arms, watching weak light slowly flood the room with half-lidded eyes and listening to the sounds of the city waking up from the street below, underscoring the steady rhythm of his heartbeat. Thoughts float by like leaves on the ever-flowing current of your mind, and you’re happy to let them pass until one in particular catches your attention. 

“Spencer?” 

He hums, like he’d been deep in his own proverbial river of thought. 

“What does pulchritude mean?” 

It takes him a split second to remember the bit of conversation from earlier to which you are referring, but when he does, he chuckles, running his hand over your messy hair. 

“Don’t worry about it.” 

And so you let it float away. 

[thermodynamic-comedian]

god. janus sanders really is a character of all time, just in terms of concept. when you were a little kid, you did something wrong, and you got so scared of getting in trouble that another little guy was born inside you. and he loves you. and he wants you to stay safe. so he tells you to lie now, take care of yourself now, keep yourself safe. but all the other little guys inside you hate him. he's too mean, too selfish. the little guy that was born from your desire to do good and be good hates him the most, because you're a little catholic boy, and lying is bad. and you're a good boy. so everything inside you that isn't good has to be shut away.

he knows he's not wanted. he creates his own place to stay, a hidden corner where he can't hurt you. because all the others say that he'll end up hurting you, and he can see how scared you are of being a liar, so he lets himself be forgotten. hidden away. this is how he shows his love: by hiding himself, and every subsequent unwanted part that grows inside you, from you. if knowing about their existence is too difficult for you, then he'll hide them all. he loves you. you don't even know his name.

he watches you grow, still unaware of his existence. the others make their presence known, felt. you let them take the reigns, most of the time. he sneaks in his own little influence here and there; small, harmless lies, only when necessary, so you won't even notice. and in the meantime, he acts as a herder of sorts for all the other parts of yourself that you've subconsciously cast away. he keeps them in line. he sympathizes with them, yes, he knows what it's like to be unwanted. but letting you see them would hurt you, and he loves you. so he keeps them there, in the shadow, unknown and unseen, just like him.

one of them, one of his little dark, unwanted things, doesn't want to be hated anymore. he wants to make himself known. he wants a seat at the table. and, in an ultimate slap to the face for janus, he gets it. virgil gets everything that janus was denied from the start. acceptance. power. control. his effort is acknowledged, his necessity is embraced. he gets a seat at the table. he doesn't have to hide anymore. and janus can't help but resent him for that. maybe it's a good thing, then, that the hatred is mutual. not even his own cattle, the ones he kept safe, the ones he kept out of thomas' way, can stand his presence. fine. none of it matters. as long as you're safe, it was all worth it. he loves you. you still don't even know his name.

janus was always thomas' protector. even when none of it was ever seen or acknowledged.

i find his mixed motif really interesting too, because before we knew his name, we only knew him as deceit. the snake. the ancient serpent deceiver, the biblical snake of eden. but then we hear his name. janus. ianus bifrons, two-faced janus, god of beginnings, passage, transitions. i think that his name being revealed was very much the start of thomas beginning to see janus for who he actually is, instead of the heavily modified version of him that he's been seeing, courtesy of his catholic upbringing.

[thriftedtchotchkes]

happiest day

pairing: mike schmidt x reader

summary: when you least expect it, mike surprises you with a confession

warnings: 18+ MDNI, established relationship, hint of angst, smut, unprotected piv, creampie, mentions of rough sex, requited feelings

word count: <1k

Mike tells you he loves you for the first time the way no one ever should. Balls deep, while he's cumming inside you.

It tumbles out, a quiet moan at first, then a louder realization that takes both of you by surprise. His hips slam into your ass once, twice, and then he's filling you up, his admission hanging heavy in the air.

You're almost positive you imagined it until he repeats it again with a little more conviction.

"Fuck. I think I'm in love with you," he pants heavily, his hands intermittently squeezing your waist in time with the heady pulsing of his cock.

There's a beat of silence while you struggle to process his words, torn between the warring sensations of his release leaking down your thighs and shock tugging at your ribcage. He slips out of you as he softens, and once your connection is broken, it hits you like a ton of bricks.

"...What?"

He freezes behind you, and you immediately regret your gut response. That's not what you meant to say at all. Of course, it's not. You're just...confused. You hadn't expected it from him, not when you've only been together for a few months. Part of you wants to wait and see if he takes it back, just in case. But he doesn't.

"If...it's okay, you know. If you don't feel the same, it's okay," he mumbles, folding over you to rest his forehead between your shoulder blades.

His breath is warm and humid against your skin as he peppers soft, lingering kisses down your spine. Strong arms wrap around your waist, clinging to you like this might be his last chance, and suddenly it all feels so real. You've been too quiet for too long and now he's afraid.

You haven't told him yet, but there's no need to be. You just can't figure out how. How can anyone possibly cram the immensity of months of pizza nights on the living room floor watching James and the Giant Peach with Abby, and days off work spent tangled in bed, fucking and fighting and forgiving, into three little words?

You try anyway, but what comes out isn't a response. It's a plea. You don't know what you're asking for—you just know you need him.

"Mike," your voice shakes with it. He holds you tighter, and now there's so little space between you, you can't tell where he ends and you begin.

"You don't have to say it. It's okay, I won't be mad. I just...I need you to say something. Anything," he whispers, his day-old stubble rough and grounding as he speaks.

He nuzzles into you, breathing unevenly—nervously—and you realize he's comforting you. Regardless of what you decide, you're still his first priority.

You find his hand where it rests, splayed across your stomach, and lace your fingers with his. Just say it. Just tell him, say it back. There'll be plenty of time to show him how much you mean it.

Because they're not just words. They're not even a feeling. Love is a promise, and you'll keep it.

Taking a steadying breath, you turn in his arms and pull him down on top of you. It's the first time you've seen his face since he got home and wrestled you onto your hands and knees, all searing touches and deep, frantic thrusts. Since he told you he loves you.

His eyes meet yours, darting from one to the other, desperate for an answer, but yours, instead, follow the freckles across his nose down to the curve of his cupid's bow. There is so, so much to love about Mike Schmidt, and he deserves to know it.

"Of course, I love you," you promise, tilting your chin up so your bottom lip just grazes his top.

His face lights up with an unrestrained smile you see so rarely, the one reserved only for you and Abby on his happiest days. You lean forward to kiss him, softly and open-mouthed, and he inhales sharply, his hands shooting down to your waist.

His grip is a little too tight, and you think maybe he's scared you'll take it back, so you wrap your legs around him to hold him right where he is. Then, the kiss deepens and, when his hands start to roam, you realize what he needs.

Mike has always found solace in you, inside you, whenever he's struggling to express or accept what he's feeling, and right now he's asking for reassurance. Hooking your heels behind his back, you tug his hips into yours, and he groans into your mouth as he slips through his release still dripping from your heat.

He's already hard as a rock and bucking into you as if he didn't fuck you into his mattress less than an hour ago, except this time you can see him. The tension between his brows and in his shoulders visibly loosens, and he exhales a sigh of relief the moment he's buried to the hilt.

Enveloped by your warmth and security, it falls from his lips again, over and over—an increasingly sure declaration as he continuously fills you up and hollows you out.

You repeat it back, and it feels good. It feels so good to love Mike Schmidt.

thanks for reading!

[badscienceman]

I saw someone ask what "I hope this hurts" means beyond the obvious, and I started to respond only for it to turn into an essay... Because I don't feel like dumping something so long in some unsuspecting person's notifs, I'm just going to post it here instead.

I started writing this after playing the game, but ended up watching a playthrough because I couldn't remember exactly where "I hope this hurts" was repeated. I think I caught the only few times it was mentioned, but I wouldn't be surprised if I missed something, so feel free to correct me on that or anything else I might have gotten wrong.

Spoilers for the full game and CWs for everything you would expect from discussing Mouthwashing apply.

Edited 10/16/2024 for clarity and some minor issues with formatting. I added sections in hopes of making it more readable, as well as a few more screenshots that I hope will support my points better. *Indicates where I made potentially significant additions to my original analysis.

Part One: Jimmy

Jimmy is someone who has a delicate ego. This means that he's very concerned with how he's perceived by those around him. We see this in how he responds to Curly and the news of the company's closure, which he takes it as a personal attack in spite of it very clearly having nothing to do with him on a personal level.

For people like Jimmy, a threat to one's image (whether it's a matter of their perception of themselves or, maybe worse, the perception others have of them) brings intense emotional pain. Even though it's clear that Curly meant no personal offense, and likely saw more good in Jimmy than was actually there, Jimmy sees this as a great threat to his own image, and thus identity.

To be clear, it's not just that Jimmy thinks Curly is looking down on him. It's also that Jimmy needs his role in the company to maintain his image, and he needs to eventually become captain. This is his ultimate goal because the respect and control that someone like Curly has, in Jimmy's mind, is tied to the title he possesses. And Jimmy wants that. He wants respect, he wants to be listened to, he wants power over others. (This is also why Swansea's final speech is so important, in relation to the belief that if one just reaches this next goal, they might feel a little more human, a little more in control, a little more fulfilled, but as Swansea shows us, that's just not the case. And it's true for Jimmy, too. Jimmy isn't magically fulfilled by obtaining the title of captain.)

But in the beginning, Jimmy has yet to realize that just getting the role of captain won't magically make him a man who is respected, or even a man who is truly in control. He sees no opportunities for himself on earth. The only option is to stay in this company and become a little lord of his own ship... and suddenly that's ripped out from under him. He will never reach the goal he's been chasing for all of this time.

Anya telling him about her pregnancy is the final push he needs to go over the edge.

Part Two: Captain

Returning to the initial reveal that the company is shutting down for a second, I think it's important to keep in mind a few things:

1. The importance of the title of captain in Jimmy's mind.

2. How this extends to his perception of Curly, him being the current captain.

3. Jimmy's self-centeredness preventing him from understanding the feelings and perceptions of those around him.

When Curly says what he does, Jimmy immediately jumps to the conclusion that Curly sees himself as above everyone else (and most importantly, as above Jimmy), to the point of considering them "dirt." I don't think Jimmy is just projecting his greatest fear (being seen as lesser) onto Curly. I think he's projecting his own perceptions.

He's placed all of this importance on the title of captain, and thus Curly. The captain is above Jimmy. Jimmy is beneath him, is lesser. And we know how Jimmy treats those he sees as lesser (first Anya, and then the rest of the crew once he's captain, *manipulating Daisuke into putting his life at risk because Daisuke, who is just an intern after all, just isn't important to Jimmy being an example).

I think this is a fair reading because Jimmy does something similar with Swansea when he insists that Swansea is keeping the last cryostasis pod for himself. I understand some might say that this is just Jimmy's attempt to manipulate Daisuke and Jimmy doesn't actually believe it, which is a fair interpretation, but I sincerely think he believes what he's saying in this instance. And I think that because Jimmy sees selfishness as common sense. It's what he would do were he in Swansea's position, and what makes him giving the pod to Curly significant.

Part Three: Anya

So, Jimmy is already hurt and panicking. He sees his chance at power and thus fulfillment slipping away. And then Anya tells him that she's pregnant.

Anya, who he has shown time and time again that he thinks little of.

Anya, who he clearly sees as beneath him.

Any mention of the pregnancy, no matter how gently it was worded, would immediately feel like a threat to him on multiple levels. And not only that, but a threat from someone lesser than him. His image, his status, his control, his power—it's already slipping from his fingertips. *It's happening right then, in that moment. It's not just a potential future where he's held accountable in a real way (maybe if Anya involved authorities, or if Jimmy was legally responsible for supporting a child once they returned to earth). It's happening now, because his image is crumbling.

For this reason, I believe I hope this hurts to be directed at anyone and everyone that he sees as "threatening" him.

Anya and Curly have made him hurt. He wants to make them hurt.

He doesn't care about Daisuke and Swansea. If anything, he's so caught up in himself and this contorted vision of reality, I wouldn't be shocked if he convinced himself in the moment that they, too, were looking down on him for some reason. (See again, "I know what everyone is thinking. The way they look at me." Obviously this is said in the midst of his spiral, after the crash, but I wouldn't doubt the paranoia was there before that moment.)

He wants to make them hurt as they've hurt him. He may also want to make himself hurt in order to vent out his emotional pain. If not, death may simply be the easiest way to escape pain and the threat the future holds in his mind.

*Part Four: Without the Guilt

In addition to all of this, I think crashing the ship (making them hurt) is his vision of what Curly has done or is doing to him. This is how he "leave(s) the dirt behind."

To understand this, I'm going to include the birthday conversation and the conversation between Jimmy and Curly about crashing the ship.

Jimmy: ... So I guess you got what you wanted. Without the guilt. Curly: Jim... If I had known... Jimmy: I can go back to my, how'd you put it? "Struggle of a life?" Jimmy: Anya never got into medical school because she's... well, let's be real. Jimmy: And how many employment years Swansea got left in him? Jimmy: Daisuke will be fine, mommy and daddy have him covered. So there's that at least. Jimmy: But you. Headed for bigger and better, right? Curly: I'm just... I'm just working on my life being a place I don't have to fucking escape! That's what I was trying to tell you, nothing mor- Jimmy: We're the ones you're trying to escape! Leave the dirt behind now that your boots are clean! Curly: That's not what I meant. Jimmy: It is what you meant. Jimmy: You just couldn't frame it to yourself in a way that kept you as the hero. Jimmy: Abandon the crew but remain the model captain.

To me, this is one of the most important and revealing sections of the game. Jimmy is not only projecting onto Curly, he's telling us exactly what he's going to go on to do (or attempt to do) when he becomes captain.

In addition to this, we see his manipulation on full display as he twists Curly's words and won't allow him even a moment to truly speak beyond a few lines he manages to get in between Jimmy's ranting.

That's not to mention we see the beginning of yet another pattern in Jimmy's behavior: getting a person to admit their weakness, then using it against them and/or using it to hurt them (he does this with Daisuke, for example, when he hears Daisuke's fears/desire for approval and proceeds to use it to get Daisuke in the vent). Here, Curly speaks about feeling trapped. Jimmy will soon trap him in a crashed ship just as much as he traps him in his own body, which Jimmy will proceed to drug. But I'll return to that.

Curly: Jim. I can fix this. Jimmy: What do you think will happen when we get back? Hm? Curly: We can figure all of this out. You and me. Take care of it. Kills ninety nine percent. Jimmy: All I ever hear is how great of a leader you are. God, it's so annoying. Jimmy: But, now... What do you think will happen now when we get back? Curly: We'll fix this together. Jimmy: Everything you and I worked for in our lives. Accomplishments, changes. Jimmy: None of it will matter. Curly: You've gotten through difficult situations before. This time won't be any different. Work through it, one day at a time. Jimmy: It's not just me, is it? Jimmy: You were supposed to be the one who had everything under control. You said so yourself. Jimmy: The ship, this crew, everything that happened here... Jimmy: This was your responsibility, Captain. Jimmy: That is what you'll be hearing the rest of your life. Take responsibility. Jimmy: Or this can all be remembered as a tragedy. Jimmy: Despite what must have been the best efforts of its acclaimed captain. Jimmy: The Tulpar crew was never found. Jimmy: No one survived to tell the tale. Take responsibility. Jimmy: You're standing at the top. Jimmy: Feet in cement. Jimmy: I get it now. Right? Curly: ... Curly: ... Right.

This is an important moment, because aside from the scene in which Jimmy is approaching Curly while he's on fire, it's the only other time that I can recall the game separating from their perspectives to allow us to see them both, standing together.

We see a flash of Take care of it. Kills ninety nine percent. Jimmy begins to pull away. Another flash. He continues to draw back. Another. He turns towards the cockpit.

Jimmy sees through Curly. He sees Curly's worst where Curly sees only Jimmy's best, and he's more that willing to use that against Curly.

He sees a man who is not going to do what's hard. He sees a man who is going to try to "fix it" only in the most superficial sense. A man who confuses the appearance of cohesion and peace with the reality of it. Someone who sees the rocking of the boat as a manifestation of taking action against a wrong rather than the wrong itself.

In the end, it seems they're both ruled by appearances. And Jimmy will soon rip appearances in every sense from Curly's fingertips. He will make him hurt. He will get his revenge. He'll turn Curly into the villain, taking away his title, his respect, and his very face.

For daring to look down on him, Jimmy will turn Curly into dust.

But I think these words—I hope it hurts—come back to haunt him.

Part Five: The Eye as a Mirror

Like I said, I went back to try to find each time the phrase is used. There's the beginning, of course, but then there's the pregnancy sequence, for lack of a better name.

When the Polle monstrosity emerges from the giant uterus (?), we see these words:

In this sequence, we see a lot of different images and concepts connected: Anya's pregnancy and thus her sexual assault by Jimmy are tied to Polle and the company. The emergence of the Polle monster from the giant uterus (and the idea of the removal of the pregnancy) is tied to the mouthwash, as it's an act of "cleansing." This is all then tied to the phrase I hope this hurts.

Unless I missed something, these are the only two moments when the phrase is used: When Jimmy crashes the ship, and when he's experiencing this hallucination.

All clean! Really gets rid of that bad taste in your mouth, huh? Through wreckage! Through silence! Wash it away! All day fire fresh!

"Clean" is important immediately. "Leave the dirt behind you now that your boots are clean," Jimmy says. Because in this accusation is Jimmy's actual intentions himself. He wants to rise above others and clean himself from their filth. Now, he wants to clean himself of his sins.

I think "Really gets rid of that bad taste in your mouth" is mocking him. A direct challenge to the thought that he could ever truly be "cleaned," at least in the ways he's so desperately trying to go about it. *Not to mention how this connects to the mouthwash, as it might get that 99%, but there's always going to be 1% left.

"Through wreckage" obviously refers to the wrecking of the ship, but also of their lives. All by Jimmy. Though I wouldn't doubt in his mind it connects to the wreckage of consequences (ie. Anya's pregnancy resulting from Jimmy's actions).

"Through silence" I feel connects back to Jimmy's attempts to keep everything quiet, both literally and figuratively.

"Wash it away" also has a mocking edge, as if stressing the foolishness of Jimmy's attempts to treat these very serious events as if it's all just "dirt" he can wipe off.

Finally, we see "All day fire fresh!" This line stresses the connection to the mouthwash, of course. It also calls to mind the concept of cleansing by fire. Important considering Curly.

And after each, I hope it hurts. Jimmy's statement of pure, childish rage. His desperate desire to make others hurt as he hurts. To lash out, to get revenge. To have control until the very end.

This is also why Polle haunts him. Because he, as a man desperate for control, will always be under the thumb of the company even with that title of captain. That hurts him. And maybe the closest thing to ever recognizing the evil he's done to Anya is envisioning it as similar to the company's control, but even that feels like a mockery because he's so horrifically incapable of seeing her as a human being that she's been reduced to her womb. That's what he's really afraid of, in the end, and the fear feels like something else is in control. It makes the organ feel giant, larger than him, capable of hurting him.

When I was watching the playthrough, I thought that there was going to be four or five "I hope it hurts." I thought it would represent each person Jimmy hurts, or all of them, because he hurts himself too. When the sixth came, I thought so much for that theory. But then, I thought about it and there's the fetus. That makes six.

So, I hope this hurts means "I want to hurt you the way I've been hurt. The way you've hurt me." It's Jimmy saying that if his life has been wrecked, he'll wreck yours. It's Jimmy saying he'll shut you up. It's Jimmy saying he'll burn everything down if it means he can maintain control, or even just the illusion of it.

Part Six: Pain

But I think there's another side to this. Like some of the other lines I said feel are mocking him, I think I hope this hurts turns against Jimmy, especially here. And more than that, pain (and by extension, pain medication) plays a massive role in the game, after all. So I hope this hurts feels as if it haunts every moment where it's involved.

Jimmy says this the first time he gives Curly his pills. Pain is how we know we're still living.

The pills are clearly connected to death from the start. If "pain is how we know we're still living" then pain is connected to life and freedom from it is connected to death. That's saying nothing of Anya's use of the pills to kill herself. I think this connects back to the crash, as well. If life is pain, death is an escape from it.

I think it's also significant that the act of swallowing the pain pills is in and of itself painful.

The pills that are meant to take the pain away become a method of torturing Curly. It's a way to make him hurt, and to exert control over him. Even something that should take away his suffering is just an extension of it.

At one point, Jimmy says "Once these are out, we'll have nothing to keep him quiet." In this sense, the pain pills are meant to suppress, not to heal (Through silence!). They're supposed to shut Curly up and keep him from expressing his anguish in the only way he has left (the noises that disturb Jimmy's sleep).

Others have compared this, or Curly's state, to how Anya has been forced to bottle up her own suffering. Jimmy is keeping them both quiet, or at least attempting to. The ultimate form of keeping them quiet would be to, of course, kill them all.

The pills can also be seen as an attempt to hide or conceal the hurt that has been caused rather than to actually heal. In this way, they're like the mouthwash: something that's not really helping, just covering up an issue (and thus making it worse). And the mouthwash represents Jimmy's attempts to "fix" things. He doesn't actually want to make things right, because that would mean taking accountability. He wants to protect his own ego by "fixing" things in a mimicry of Curly "fixing" things in which he wants to create a sense of "rightness" without actually adressing what (or who) has been wronged. Jimmy can't stand to look at himself, because he would see that he really is constructed of his worst moments, or at least, that's what I suspect he would see.

Conclusion

Considering all of this, I hope this hurts can then become a mantra about living in spite of everything. I hope this hurts means "I hope I'm alive in the end. I hope we're all alive in the end." It could mean "I hope I'm allowed to hurt, because I am hurt, and the harm that's been done to me must be seen rather than suppressed and hidden." It could mean "You can't keep me quiet. You can't ignore or hide what you've done to me."

Maybe most of all, I think it means I hope you reap what you sow. When it's turned back on Jimmy, when it's almost mocking or haunting him, it becomes in part about his emotional weakness. About his inability to look at himself and his reality without experiencing the pain of humiliation. I don't think he ever experiences half of the pain he's inflicted on those around him. Still, he has to deal with the fact that his attempt to hurt others instead of facing himself has caused him more pain rather than taken it away as he'd hoped.

And I think that's why he suddenly decides to make Curly a "hero" instead of a "villain." There's a tipping point where he's pushed into a corner. The pain is too much. He hasn't confronted his own actions in any real way, but he's done enough that he can't stand to save himself anymore. It hurts too badly to live with what he's done. It sends him into another stage of fantasy/delusion. The only thing left to do is what he intended to from the start: kill himself to escape and damn Curly to a slow death. Because to go on living in spite of the pain would be the right thing to do, in a sense. To live in the hell of his own creation. To face what he's done. But instead, he'll entrust those heroics to Curly.

This feels barely coherent in the end, so I might come back in a few days and say wow what the fuck was I talking about? But hopefully there's something here that captures some truth. Again, please feel free to correct me if I'm misremembering anything or if I missed something.

[hopesangelsprite]

Your Touch

Summary: A thought that turned into me writing at nearly 1:00 am 💀

Warnings: language, fingering, biting (sexually and not sexually at the same time-), groping, grinding if you squint, manipulation (this is Illumi we're talking about... bffr)

There are many, many things we don't know about Illumi Zoldyck. For example his birthday, the full extent of his power, his total body count, etc. But we can safely say that Illumi Zoldyck is one touch starved mf 💀.

We know that he didn't have the best upbringing or most affectionate parents, so we can safely assume that the only reason he doesn't have to Google what a hug is is because of his expensive ass education and the things he's seen on television. So, imagine his shock when his wife is one of the most affectionate people on the planet.

At first he's appalled and thoroughly considers getting an immediate divorce. Then, ever so slowly, that insanely thick layer of ice on his heart begins to thaw. Those hugs he used to blatantly reject? He welcomes them albeit stiffly. If you ask him how he's feeling now, he's less likely to release bloodlust with the intent to kill you. He even finds himself seeking situations that naturally warrant your love and affection being directed solely toward him.

And just like he usually does, Illumi becomes obsessed. Forget about sleeping on your own ever again. Night after night, his cold body is either completely on top of yours or pressed firmly against your backside. When he's on top of you, settle in for the night and kiss bathroom trips goodbye because he's not moving until sunrise. When he's spooning you, both his hands station themselves in two spots: one on your chest, the other between your thighs on your crotch.

The amount of times you've fallen asleep breathless because his hands have a mind of their own is insane. The amount of times you've tried to fall asleep but couldn't because Illumi wanted to see you cum on his fingers is even crazier. And he swears he wasn't even thinking about it. You could be overstimulated and crying before he pauses in the middle of you coming. "My bad, kinda spaced out a little there.", he whispers in a voice so even it's almost believable, "I suppose I should reward you for being so patient with me, right?". Then he's back to abusing your holes. Even though you might be missing sleep, Illumi's never slept better.

When he's not terrorizing you're sensitive spots in the night, he makes sure that no matter where you are that he's got his hands somewhere on you. In a car heading somewhere? His hand's on your thigh, kneading it "absentmindedly". At a party for reconnaissance or a hit? His hands only leave your hips when absolutely necessary. Relaxing while he's in the room? Be prepared to be moved from your spot onto his lap with a quickness. If you're already in comfy spot, he won't hesitate to climb into your lap instead.

Either way his teeth will find your skin shortly afterward. This is another thing he discovered that brought him comfort. There's nothing like coming home from a long day of murder and espionage to mark you're pretty little wife up out of pure, twisted love. Bonus points if you squirm a bit while he's marking a path across your throat. Bonus bonus points if you bite him back, now you've got him started. Say you don't encourage his not so innocent behavior, he'll relax and tell you all that's been on his mind recently. It's a perfect time to bond in more ways than one.

All of those things are good and all, but his absolute favorite way of showing his affection is practically glueing his hips to your ass whenever your bent over. Say you drop a utensil while you're in the kitchen or need to grab something from under a cabinet. No matter how far away in the house he is, within seconds his big hand is on the small of your back and his crotch is nestled perfectly against your ass.

Then, to make things even eerier, he'll say shit like "My my, that was a hard fall... you should be more careful next time." or "What have I told you about putting your ass in the air without me around, someone could take advantage of you. Now bend a little lower for me.". He's such a loving husband that he makes sure to punctuate each sentence with a warning thrust or a hearty slap.

Illumi Zoldyck may be touch starved, but he's slowly making up for lost time every step of the way.

[tealvenetianmask]

Thoughts about Striker being a "supremacist:"

On the surface, he's sort of a social class activist/ Robin Hood archetype. I think he truly thinks of himself this way. But when Blitz calls him a supremacist, who's he a supremacist against exactly? It's imps. This guy hates imps (and also identifies as one, even though he's clearly some sort of hybrid, which is interesting).

Let me show you what I mean. The short version is that he's the self-hating minority bigot trope, and it's executed really well.

"Blue Bloods"

"Disgusting, rich, pompous goetia"

"Some of us have everything we care about taken away by fuckers like you."

"You don't get to talk over me. . . all you ever do is try to talk over us."

"Once I split your neck open and let you choke on your own blue blood, you won't be worth any more than the tomb stone you'll be buried under."

So . . . first, he doesn't actually say a lot that's solely about royals, and ALL of the quotes above are about how royals look down on people like him, NOT about any inherent flaws that they have. They're about class, not race, unless you count "blue blood" as race. I don't. It's tied directly to money. "Disgusting" comes up in reference to Blitz's relationship with Stolas, but the words "rich" and "pompous" follow immediately. Striker hates royals because he hates that society places them above him.

Imps

"Pathetic."

"You little things aint worth the cleanup."

"Oh I remember how easy you are to choke the life out of, little one."

"Blitz, come on. You know the two of us are superior to most of our kind."

"I still think it's embarrassing. You're wasting a lot of potential relying on a weak little . . ."

"Vermin"

I think that this is where Striker's worldview comes into clearer focus. He thinks that Moxxie and Millie (and by extension MOST imps) are inferior to him. The word "vermin" is particularly telling. There's something visceral about his disgust for "lesser" imps.

I think Striker worries that they reflect who he really is. I think he truly believes that imps are inferior to higher class demons, and he fears that if he doesn't prove himself to be special (through violent dominance), he's vermin himself.

Notice how in the image below, his edge over Moxxie is all about size and physical strength- the things he implies throughout the episode make him the superior being. Look at that wide smile. He loves the feeling of being superior.

Relationships between imps and royals

"You are so above sucking on a disgusting rich pompous goetia . . ."

"kill the unkillable . . . starting with the one that treats you like a plaything."

"Blitzy"

"You two are both embarrassments to our kind for meddlin' with blue bloods to begin with. But at least loud mouth here has the sense to only fuck his rich bitch, instead of being a little purse dog."

"This worthless little pet reeks of his over bloated master. I'll at least enjoy getting rid of him."

Striker clearly sees these relationships as imps lowering themselves. It doesn't seem to occur to him even for a moment that these relationships might involve genuine care because he sees all interactions between social classes as being about power and "who wins."

Notice that despite in theory caring about the power dynamics, Striker puts most of his shaming language on the imps in the relationships, and uses demeaning language to do it- "embarrassments, purse dog, little pet," as if they're at fault (for being used, in his view . . .?) and should be ashamed.

I thought about delving more into why Striker sees Blitz as closer to his own level, and I think it comes down to the things he values (physical strength, willingness to kill, detachment/independence), which are not the things that we the audience end up liking the most about Blitz. He misses the point of what actually makes our boy great, basically. 😍

I've spent a lot of time reading and watching videos about real life white supremacists because I like to be miserable, and . . . yeah, this character really shares their view that some people are inferior to others, and that the traits that make them inferior are inherent and immutable. The people he hates just aren't the ones he'd have us believe he hates.

[sorrelchestnut]

I've seen a fair number of posts both here and on reddit that question why Tav (or the Dark Urge) would end up as a group leader for any other reason that "game mechanics say so." There's the requisite "okay, well if you play a high charisma character I guess it makes sense," or on the other end of the spectrum, "if you're playing Durge and murder someone right off the bat everyone would be too scared to tell you no." And I get where people are going with this! I really do. But it also fundamentally misunderstands a facet of human nature, which is that the vast majority of people do not actually want to be in charge, because that means being held responsible for the outcome. Accordingly, most people will dither when a group consensus is needed: have none of you ever tried to get a group of friends to agree where to go for dinner? Yeah, it's like that, but waaaay worse.

A lot of times "leadership" is just the willingness to say, "fuck it, y'all do what you want, but I'm doing this." I see it all the time in a corporate environment, where people will go back and forth on group meetings without anyone making a decision until finally one brave soul goes "in my opinion the clear answer is x" and then everyone gratefully goes along with it. Because now it's not their responsibility when something goes wrong! They're just following along with someone else's suggestion, and maybe it works or maybe it doesn't, but at the end of the day they don't have to worry about the consequences unless they're personally affected. In which case they might step up and argue back, and then they're stuck being a leader, too. Welcome to adulthood!

Lae'zel is the only one who ever even tries to exert some kind of control, when she tells you to follow her lead on the ship, or calls you her subordinate in the Grove. But, crucially, she doesn't ever make any serious attempt to take control: you can just tell her, "lol, no," and she sort of confusedly gives way, because she doesn't know how to handle this scenario. In her world there are commanders and subordinates, and everyone knows where they stand and falls in line. She's never actually had to take control of a situation and so at the first sign of resistance she falls back on the dynamic that's familiar to her, which is executing the commands of someone older and more experienced. She goes through a lot of growth over the game, to the point that she can take over as a resistance leader in her own right by the end, but at the beginning she's a wet-behind-her-ears private with some decent combat chops and it shows.

Otherwise, your party consists of:

Shadowheart, who's trained in infiltration and assassination and does NOT want a lot of attention brought to her or her mission for a variety of reasons;

Astarion, who has literally been a slave for two centuries and canonically takes a while to realize that he can exert an opinion beyond complaining about it;

Gale, whose only friend is his cat and couldn't project-manage his way out of a wet paper bag;

Wyll, who was probably trained for command at one point but has been doing the lone-hero thing for a decade and has a very large secret that he's trying to conceal; and,

Karlach, who's only ever been a bodyguard and a soldier and is genuinely just happy to be here.

Honestly, it would be more a surprise if Tav/Durge didn't end up as their unofficial leader, given the general power dynamics at play. The first time Tav/Durge says something like, "fuck it, we need to do something instead of stand around arguing about it, let's go check out those ruins over there," it's a done deal. They're The Captain Now! As long as they don't make decisions that fundamentally oppose something dear and important to the other group members, they're not even going to get any argument. Because at the end of the day, not one of these walking disasters has enough trust in themselves and their decision-making skills to feel any kind of certainty that they can choose the right path forward. If someone else is going to take that decision out of their hands? They're going to follow, no questions asked, right up until the moment they can't.

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, first of all, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.