#that moment when you a person w abandonment issues come across a person w commitment issues & discuss how to best maximize ur joint slay

[lesbiradshaw]

blah blah blah something about bradley shoving a hand at jake’s chest to push him away during a moment of provoked grief and anger blah blah blah something about that connecting to the moment at the end of the film where jake taps his hand over bradley’s heart right after he’s saved his life and they’ve taken the first steps towards peace with each other

[snicketstrange]

Rereading The End Chapter 13

Chapter 13: From the moment the Baudelaire teeth bit down on the apple—first Violet's, and then Klaus's, and then Sunny's—the stalks and caps of the Medusoid Mycelium began to shrink, and within moments all traces of the dreaded mushroom had withered away, and the children could breathe clearly and easily. The hybrid apple almost instantly cures the disease caused by the deadly fungus MM. This leads me to the conclusion that Kit's death was unnecessary. Kit could have been saved if the moment Beatrice Jr had her umbilical cord cut, she ate an apple. I don't know why Violet didn't even think about it, even if it didn't work out, I think it would be good for someone to have mentioned the possibility of saving Kit. "Stockpot," Sunny said, and walked to the rack of pots on the ceiling, where the snake helped her take down an enormous metal pot that could hold a great number of apples and in fact had been used to make an enormous vat of applesauce a number of years previously." This passage makes me even more certain that Lemony had read the island book, for how else would he know that precisely that cauldron was the same one that had been used to make a particular dessert years before? Certainly he read the island book and was able to compare information previously written in the book with the new information written by the Baudelaires. "Who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another..." This description bothers me a lot. This seems to indicate that Bertrand and Beatrice met for the first time in a restaurant, however, I believed that one of the people cited by Lemony as B in the VFD school on TBL in Lemony's childhood was Bertrand. But to think that Bertrand Baudelaire first met Beatrice a few years after she met Lemony makes more sense given that Lemony apparently didn't trust Bertrand very much. In ATWQ, the way S. talks to Lemony about Bertrand seems to indicate that Lemony didn't know Bertrand personally or at least wasn't intimate with him. Ish suggests that all islanders leave the island after being poisoned. I always imagined that Ish actually believed he could save everyone by getting to the factory that produced the poison's thinner. But rereading the chapter today, I realized that his plan was to let everyone die. Those people had failed to produce a peaceful community, and he himself had failed as a facilitator. As I said, Olaf had triumphed. Ish apparently acknowledged his defeat. But for some reason, this motivated him to let everyone die except himself. And just as some cult leaders led all the faithful to commit collective suicide by making them believe that this was the way to achieve salvation, Ish also made his faithful commit collective suicide. The deadly MM fungus wouldn't spread across the world, and Ish knew it. He would make sure everyone was dead before they reached shore.  I'm sorry for Friday... Ish has become a child killer. Friday chose to die rather than withdraw from her family's religious sect even though she was smart enough to realize that her decision would result in her own death. Daniel Handler makes the dangerous message in Ish's words very clear: "Your mother is right, Friday," Ishmael said firmly. "You should respect your parent's wishes."  This time it wasn't a suggestion: it was something Ish said Friday should do. Ish didn't want to lose any of his faithful. Ish knew that apples could heal the island people, because he had read about it in the island book. He ate the apple himself to save himself. He really decided to kill the entire colony. And everyone followed him blindly to death. But did they survive through the apple that Ink brought to them? I truly believe Daniel Handler inserted that hope here just to lessen how dark the story was. He left that question unanswered. Lemony Snicket doesn't know if they died or not. But I'm pretty sure Daniel Handler knows they're dead. People refused to eat the apple, even when they were poisoned, even with the arguments of the Baudelaires. Why would they change their minds when a serpent that doesn't speak came to the vessel? Ish didn't want people to eat the apple, he wanted them to die. Do you really think Ish would let one of the islanders eat the apple when the snake arrived? Also, how much time did the islanders have before they passed out from lack of air? The Baudelaires were infected at the same time and had almost no strength... So, in a few minutes the chance of saving the islanders through a single apple brought by a mute animal would become close to zero, considering that the only person who would still be awake and with strength would be Ish himself, who evidently didn't want anyone to eat the apple. Now let's talk about Kit again. "How reliable is Snicket a narrator?" I think this question is asked many times and there are still people who will defend one side or the other of the issue. However now I realized that maybe we were asking the right question about the wrong Snicket. Kit Snicket needs to be re-evaluated with regard to her narration being trustworthy or not. It is true that the certainty of death often makes a person very trustworthy. But there's an important detail about this: Kit wasn't sure she was going to die. Kit believed that survival was possible, precisely because the cure was so close to her. "I hope I'm half as good a mother as yours was, Violet," she said. "You will be," Klaus said. "I don't know," (Kit said)  I believe Kit's plan was to have the baby and then be a good mother to her. Despite that, she also knew she could die. Therefore, as death was not an absolute certainty, total honesty was perhaps not the only option. Now let's get back to what we actually know: 1 - Kit claimed that the Queequeg was attacked. 2 - Fernald went to Hector's mobile home with the object of attacking it and according to Lemony Snicket that's what he did. (See TPP chapter 8)- 3 - According to Olaf, the Carmelite Submarine was stolen by Fernald and Fiona. (See TPP chapter 9 In other words, while Fernald was fighting the Quagmires he had already betrayed Olaf and he had already stolen Olaf's submarine along with Fiona. Come to think of it, realize how unlikely it is that what Kit said was true. She said: "I failed you," Kit Said Sadly, and Coughed. "Quigley Managed to Reach the Self-Sustaining Hot Air Mobile Home, Just as I Hoped He Would, and Helping His Siblings and Hector Catch the Treacherous Eagles in an Enormous Net, while I met Captain Widdershins and his stepchildren." Then there's Quigley's difficult move to self-sustaining hot air mobile home. How did he do it? We don't know... But in the world of asoue amazing things are possible. But after that Kit claims that Captain W was already with his stepchildren. This contradicts Lemony's claim that Fernald was the enemy who had led the eagles to the self-sustaining hot air mobile home. So if Lemony isn't lying, (and I don't see any reason for Lemony to lie about these details when he could have just omitted it) Kit is lying. Fernald wouldn't have stolen the Carmelita along with Fiona, then gone to the self -sustaining hot air mobile home, used the eagles to attack them, then left the eagles there, returned to the submarine, met Captain W, regretted it, found Kit and then abandoned the Carmelita and then went along with Kit to help to the Quagmires. I mean... Is this possible? Yes. But this is very unlikely. Especially since Kit claimed to have been attacked. Did Kit Snicket have reason to lie? I believe so. The reason is that her hypocrisy had been exposed. When she spoke out against the mutiny, two islanders had shown the Baudelaires that she herself was also a violent woman. Now she needed to invent a story to preserve her image. In fact, even if she died there that day, she certainly wanted the Baudelaires to tell her daughter good stories about Kit Snicket. In other words, Kit wanted the Baudelaires to portray her from the best angle. So Kit Snicket lied. She denied having been attacked and taken part in a match against Fernald. If there's any truth to Kit's story, I think it's more likely that Submarine Q detected Submarine C via sonar. (After all, we saw in TGG that this is quite possible). Submarine C attacked Submarine Q. (Submarine C has tentacles that can be used as weapons at short ranges, as we saw in TGG). Kit hurt her feet in this attack, as she claimed to have happened. Fernald was on Submarine C along with Fiona. And the eagles were nearby causing problems for the self-sustaining hot air mobile home, which was right above. Then yes, the house fell on them. Then things can make sense. Both submarine C and submarine Q were hit. And then Fernald and Fiona were seen by Kit for the first time, in the water. I hope several kids also got off the C-sub in time, and Kit didn't mention them to avoid needing to give details about the fight she had with C-sub. "From the depths of the sea a mysterious figure approaching—almost like a question mark, rising out of the water." As we saw in TGG, this question-mark entity had been behind Submarine C for a long time. It was submarine C that attracted her.  An important note: I am not saying that this was Daniel Handler's intention. He probably just got confused by generating these contradictions. I am saying that, given what is written, I think this is the best explanation. "All I heard," she said, "was one of the Quagmires calling Violet's name." That phrase always made me dream. Now I understand that DH's goal was probably to somehow strengthen the love triangle between Ducan, Violet and Quigley. But he did it at such an awkward moment that it made me imagine other, more interesting things. And do you know? I still have a right to imagine. In my headcanon, one of the Quagmires saw a woman inside looking like Violet. And he got confused, thinking she was the girl. And so he asks out loud, "Violet?" to which Kit interpreted that he was screaming for Violet. And that's my big plot Twist from asoue. Beatrice was alive all along, and not even Lemony Snicket knows it. That might not be true, but for me it's the perfect ending. Chapter 13, on the other hand, goes against my selfish desires. It's a chapter devoted to accepting death, and my headcanon is the exact opposite of that. The Baudelaires and Kit mourn the death of the people they loved. And they cry a lot more than all the previous descriptions. I think Daniel Handler abandoned all ideas about the possibility that one of the Baudelaire parents could have survived, although he honestly thought about it at some point. But as I've already explained, Headcanon are valid when the author decides to let the story have a life of its own. But I have to recognize that the story is better if you just accept how the story looks. Death is surprisingly simple. So I don't think the great unknown represents death. I think the great unknown represents the open ending of asoue and uncertainty about the fate of some characters. In the end, it doesn't matter whether the Baudelaires' parents survived or not. The fact is, they never met again in recorded history. Just like they've never met the Quagmires again. All these characters are in the great unknown. And like the publication of the end, the Baudelaires themselves are symbolically in the great unknown, as it doesn't matter whether or not they survived their departure from the island: in the end we won't have access to new official adventures about them. But the beauty of the unknown is that it stimulates the imagination. And it's interesting that in my imagination, Beatrice was already inside the great unknown when one of the Quagmires saw her. So, in my own Headcanon, Beatrice's fate is uncertain. As much as I want to escape from allegories to interpret asoue, the allegory is present even though the entity in the form of a question mark is a physical entity: the name given to the entity and its shape make it a walking allegory, just like the ants are a walking allegory for organization and work. We keep thinking: if it was God who created animals like these, would he want to teach us a lesson? And if Daniel Handler is the god of asoue, did he want to teach a lesson with the question-mark entity? I think the answer is yes in both cases. So, in a universe created by someone's creativity, entities can be both physical entities and allegories at the same time. So, I think that's what TGU is. And I don't see any more problems with that. It is an interesting fact to note that Kit believed her both brothers were dead. In LSTUA we notice that Kit was trying to exonerate Lemony of the Baudelaire arson charge, even though she knew he might already be dead, which may indicate that she believed Lemony could have died in the fire itself. Kit claims that the Baudelaire family and the Snicket family needed to stay away from each other, not just Lemony and Beatrice needed to stay away from each other. These mysterious motives must surely have been detailed in the letter Beatrice wrote to Lemony.  So I don't think the wedding was canceled because Beatrice fell in love with someone else.  I don't think the wedding was definitely canceled because they were life-threatening.  I think there are organizational reasons for the Snickets and the Baudelaires to keep away from each other. Now the scene of Olaf's death. I have to say: what an epic scene! Whether it was Olaf who killed Beatrice and Bertrand we will never know for sure, but he never admitted it even when he believed he would die. He didn't seem to be willing to hide facts at the time. He seemed to me to list the things he managed to do. And Olaf always liked to brag about his murders. So for me the fire was accidental. Oalf bit the apple in order to recover from the MM fungus. He, like Kit and Ish, apparently knew that apples cure the disease caused by the fungus. He at first refused. Had he accepted death? I think so. Now: What was the relationship between Kit and Olaf? Everything indicates that it had been an old relationship. Something like a first love. Olaf did not apologize. He didn't think he was wrong. He wasn't sorry for his villainy. Kit survived for more than an hour, I am sure of it, before Beatrice could be born. A mother's willpower is really impressive. This excerpt below is for me one of the most important: "The Baudelaires would sit together in the two large reading chairs and take turns reading out loud from the book their parents had left behind, and sometimes they would flip to the back of the book, and add a few lines to the history themselves. reading and writing, the siblings found many answers for which they had been looking, although each answer, of course, only brought forth another mystery, as there were many details of the Baudelaires' lives that seemed like a strange, unreadable shape of some great unknown." This is clear proof that the Baudelaires left their own history on the island. Not only did Klaus write about it, but all three Baudelaires did, including Sunny who must have had enough time to learn to write. And Lemony knows they wrote it. I can only conclude that Lemony knows what they wrote, and it is on this basis that Lemony makes a narrative from the Baudelaires' point of view, even including an exact record of what they thought and talked privately. Another evidence that Lemony read this book is seen in the following excerpt: "As the night grew later the ould drop off to sleep, just as their parents did, in the chairs in the secret space beneath the roots of the bitter apple tree." Lemony knew details of what had happened to the Baudelaires' parents, which evidently happened when they were on the island. They themselves had written these events in the same book. Now, regarding the final section of the chapter: "In many ways, the lives of the Baudelaire orphans that year is not unlike my own, now that I have concluded my investigation. Like Violet, like Klaus, and like Sunny, I visit certain grave, and often spend my mornings standing on a brae, staring out at the same sea. It is not the whole story, of course, but it is enough. Under the circumstances, it is the best for which you can hope." I think it's pretty clear that Lemony wrote this passage while he was on the island. Lemony was visiting the same graves as he waited for an opportunity to leave the island. I will still read TBL again. So I know that Lemony wrote the letter to the editor of TBL after he learned of Beatrice Jr.'s existence. After he learned of her existence, Lemony searched for the items cited in TBL. So after that he went to the island and finished writing TE on the island. As I said, it is very likely that at this time the island was already inhabited by very nice people who did not allow apples to be removed from the island.

[nothingunrealistic]

another sorta jumping off prompt abt Billions In Full: thinking abt any & all instances of taylor's arcs having kinda Becoming Adrift or Struggling w A Quandary points that resolve into Turning Points & any such moments you might have especially had Thoughts Or Feelings abt in full context & knowledge of the series? a la navigating axe cap & axe's guidance vs their qualms in s2, the fancy watch saga, everything re douglas, anything re wendy, having plans to leave across s3, that kind of concept

hmm okay what Moral Quandary arcs do they have. let’s consider it

1. the sandicot fiasco (2x04-2x07): if you don’t count playing in the alpha cup / breaking krakow as a moral quandary (which taylor might, tbh) this is the first time they have to grapple with their principles. taylor is in on this from the beginning, researching the likelihood of sandicot getting a gambling license at axe’s request and telling axe there’s no reason to invest if they don’t get the license. when the license falls through, taylor is brought into the war room figuring out how to recover axe cap’s investment, and spells out both the repercussions of austerity and the reasons they think it’s the right choice. (people living in poverty? offensive. cities overreaching their budgets? MORE offensive, apparently.) mostly i find this arc boring & embarrassing to watch (libertarianism? in taylor? cringe), rather than compelling, but i’m still distraught over taylor telling axe “i find myself thinking in your words sometimes” in 2x05. (the words in question are “shit hole,” re: sandicot, which doesn’t help.)

2. the klaxon short (2x09-2x11): this actually starts out totally unrelated to taylor — dollar bill tells axe about klaxon, a company he is Not Uncertain will crash; axe hesitates to make this trade on inside information but decides to go for it. ben kim and mafee both fail to produce analysis that supports the short; taylor manages it because they analyze the situation from a different angle, and because they suspect axe has inside information supporting a short and just needs it to seem legitimate. coming up with this analysis, and signing off on it, gets taylor a promotion, a spontaneous bonus ($500k!) from axe, and thank-you money ($250k!) from dollar bill, but they’re conflicted enough about it to stop by the SDNY and find out what connerty knows first; seeing their signature on the report puts them under even more suspicion from connerty. this is the first arc that really Feels like a moral compromise for taylor, because they’re more obviously conflicted about it and get more material rewards for it.

3. their stance on fossil fuels (2x09-present): less a character arc than a character sinusoid. taylor’s reluctant to take a private jet given the carbon footprint, but axe insisting it’s fine if they buy some carbon offsets is enough to change their mind. they pitch ESG to grigor, an oil oligarch, as an act of sabotage because they don’t want axe cap to take his money, but they’re willing to take his money for mase cap, and to win over a sovereign wealth fund that gets its money from oil. they still somehow have an environmentalist reputation to preserve after all this, so they short fracking publicly and bait axe into legalizing fracking so they’ll profit privately. then from 5x03 onward, they’ve committed firmly to the Earth-Positive Approach, which somehow encompasses both convincing colleges to divest from fossil fuels and investing in fossil fuels themself while vowing to clean up the companies responsible. i don’t think this is taylor’s principles shifting so much as their commitment to those principles weakening when they’re in new and dire straits — torn between their personal and professional lives, desperate to break away from axe cap and make it on their own, or reeling from a rift in their family. in contrast, season 5 is about taylor (and everyone else) trying to get back on track & clean up the wreckage of their past choices — makes sense that it would include recommitting to the environmentalist approach. so i also have to wonder where it’ll go in the rest of season 5 — will mase carbon and its mission survive that long, or will some unforeseen crisis derail it?

4. having nice things (2x09-present): pretty much every instance of taylor purchasing some new & pricey thing accompanies another moral quandary, rather than the purchase itself being the only thing taylor’s torn about. for instance: reserving a flight on a private jet, as mentioned, while conflicted about the ethics of doing so and of Living Large more generally; signing the lease on a luxurious penthouse apartment after signing off on the klaxon short; buying the same $164k watch craig heidecker wore to quell their guilt over having profited from his death and wearing it every day, only taking it off when they’ve formally left axe cap and resolved to do business at mase cap The Right Way. similarly, though it’s never addressed in the show, i’m pretty sure taylor’s apartment in season 5 is a different, cheaper apartment than the one they rented in seasons 2-4 — the front door and interior layout we see in 5x02 are totally different from what we’ve seen before — and that this is another manifestation of taylor trying to get back on track / recommit to their principles in season 5. (it might also be that their income was reduced just a bit by mase cap crashing and burning and being forced back to axe cap and they decided to relocate to save on rent. multiple things can be true at once.) the only exception that comes to mind is axe offering to buy taylor a land rover to thank them for running axe cap: taylor turns it down, asks for a billion dollars of their own to manage, then changes their mind and asks for the car too once axe says yes to the billion. they’re not really in a moral quandary in that moment so much as a “wow it sucks that axe is taking the reins of axe cap back from me and undoing all my hard work, i’d like to have some semblance of control and power still, please” quandary, and we never see the land rover again after that, so it’s not exactly memorable. i still want to know what they did with it.

5. selling out oscar’s investment to axe (3x10-5x06): i would not count this as a moral quandary because i firmly believe that Taylor Did Nothing Wrong (in this case), but the 3x10 episode summary describes this incident as “taylor makes a personal compromise for business,” so i guess we have to consider it. taylor asks axe for a favor involving oscar and his business partner, then thanks axe for the favor and mentions the name of said business partner, as one might do when conversing with a trusted colleague / mentor. axe, who is scrounging for cash and should never be trusted, swipes the deal oscar was making; when taylor confronts him about it, he insists that they wanted him to swipe the deal, or else they wouldn’t have namedropped the business partner. it’s unclear whether or not taylor believes this / blames themself for what happened, but oscar certainly blames them — he refuses taylor’s offer of a conciliatory dinner in 3x12 because “after what you did, i could never open myself up to you again,” and tells the marithane ceo in 5x06 that taylor solving his patent issue actually proves just how untrustworthy they are, because “if they’re willing to do that for you today, they’re willing to do it to you later.” yet he was still willing to invest with taylor and have them make money for him, so long as axe’s name wasn’t attached. make it make sense, oscar!

6. selling douglas’s company (4x07-4x08): again, i don’t consider this a moral quandary because taylor was forced into a no-win situation by axe and wendy, and also because douglas just sucks, but again, the writing demands that we consider it. taylor was ready to partner with a VC on funding the development of douglas’s lattice fin design, but axe pulled some strings and got the federal government to demand the technology for national security reasons. with the VC and existing investors abandoning mase cap left and right, there was no way for taylor to keep both douglas’s technology and mase cap, so they chose to sell the tech to the government and keep their company afloat, at the cost of their already-crumbling relationship with douglas finally collapsing. naturally, axe then went on tv and spun this as taylor selling out their own father by flipping his company for their profit. much like what happened with oscar, this is yet another incident that’s more axe’s fault than taylor’s being described as a terrible choice taylor made that proves they can’t be trusted. (this only occasionally happens with actual questionable choices taylor made more freely — connerty prodding them about their new apartment in 2x11, danzig pointing out that taylor “led the charge in wringing cash from sandicot” in 4x01, axe also bringing up taylor taking grigor’s money in his tv appearance in 4x08.)

[dear-yandere]

lots of ilya q&a below - part 1

tw ... mentions of noncon and murder.

[ part 2 ] 

question:  so Ilya wouldn’t like a cop out of principle but what it,, Ilya had a darling but a (yandere?) cop investigating his case,, ALSO likes ilyas darling.. (obviously this would only be fun if the cop is rly competent and an actual threat)

answer: ilya believes that because he’s suffered, he should have a “free pass” to inflict suffering onto others, so of course he isn’t fond of having someone on his tail that constantly gets in the way of his fun. still, anything that staves off boredom is a plus in his book.

whether the cop is yandere or not, ilya isn’t fond of sharing his darling with the likes of an officer. simply put, this rival poses a threat to taking darling away (basically being a cockblock). ilya’d be sure to use the cop’s feelings to mock him, such as mentioning how wonderful darling is in bed, what a wonderful shade their skin turns when he chokes them to near-death, or – worst of all –  how popular darling’s pictures / videos have become on the dark web.

in reality, ilya has the upper hand in this situation. he’s avoided the cops for so long, what’s another one? then again, this devil-may-care mentality will surely be his downfall if the cop is competent enough to catch him.

question: Also sorry for spamming u I’m just in a mood rn- If Ilya likes hurting adults but wants to protect kids, how does he feel abt teenagers? Cause i feel like if I was an adult I’d see teenagers as kids so like are teenagers more like kids or more like adults to him? Also I thought it was rly funny that ppl seemed 2 prefer being ilyas partner in crime over being his darling but like if I had to interact w him I’d want him to protect child me lol cause I just want someone to watch out 4 me,,

answer: considering the amount of distasteful and illegal things he comes across involving minors on the dark web, anyone under the age of consent (or that looks too much like a child) is a kid in his eyes. even if he met an adult that looked young enough to be underaged, he’d feel uncomfortable with assaulting / killing them even after learning their age.

and i agree! ilya would’ve actually made a wonderful kindergarten or elementary teacher had his life played out differently. i was a bit shocked people preferred being his partner in crime, but it makes sense since they’d be prolonging their lifespan should they have the misfortune of meeting this man.

question 1: Can I ask how Ilya would react to a darling who cant die? Or dies but comes back to life each time? I’m torn between thinking he’d be frustrated because his ultimate show of love won’t stick or ecstatic that he has someone he can kill over and over again

question 2: I wonder how Ilya would react to a darling he COULDNT kill, maybe because they were immortal or simply always managed to stay just out of his reach. Perhaps they even returned a bit of his feelings but never as much as he wanted, never enough to die for it. - jinxdere

ilya would probably go through the stages of “grief”.

he’d be angry and distraught at first, adamant about maintaining his denial toward the situation. he’s never encountered a darling who couldn’t die; the moment he slit their throat, he expected them to never come back, to never question his love in such a way as to live. 

during the bargaining stage, he’d distance himself for a while, at least until he comes to terms with it and decide what to do.

during the depression stage. rather than be ecstatic that he can kill his darling over and over again, he’d feel an equal amount of anger as he does love. above all else, ilya wants to have fun, to cope with his problems by hurting as many people as possible. to him, killing others is his way of spreading his twisted version of love; he wants to kill as many people as he possibly can because he wants to love everyone. really though, this is an excuse to make as many people suffer as he possibly can. because he was wronged in his life, he wants to drag others down to his level. therefore, he’d rationalize his options and eventually decide to begrudgingly accept his darling’s immortality.

during the acceptance stage, he’d be willfully ignorant. he’d abandon this darling, sending them far away and telling them to never seek him out again; and if they do (especially if they fell in love with him), he will make every death more painful than the last. he wants nothing to do with them simply because they represent something he can’t overcome in life; ilya is fascinated by the marriage between death and love, and this particular darling is challenging his entire world view. he’d rather remain ignorant.

so basically, while he isn’t fond of having more than one darling at a time, he’d shun this immortal darling and no longer think of them as his. this seems counterintuitive, but a big part of ilya’s character is his hypocrisy and ignorance. they define who he is and act as a reminder of his past and innate psychopathic tendencies.

question: if u say Ilya has always had psychopathic tendencies, would he still be where he is rn if he had a good childhood? And I wonder like.. apathetic ppl/characters are often into morbid stuff and don’t care about hurting others but when u strip that down isn’t that just following your desires? Like are people like that obligated to be into violent stuff? Cause if Ilya just really liked collecting fish there’d be no issue.. I kinda think it’s a way to lash out at the world without letting it get 2 u

answer: i hope i understood this question correctly.

i can’t speak for actual psychopaths or serial killers obviously, but ilya is willfully ignorant and hypocritical. it’s his way of ‘lashing out without letting it get to him’ – his way of coping, basically. if he had a good childhood, it’s certainly possible he wouldn’t have treaded this path. however, childhood is only one factor that can push psychopaths over the edge. people who are apathetic or into morbid stuff aren’t obligated to be into violent things, especially as there can be some other mental issue at play; take narcissistic personality disorder for example. i personally know someone who likely has this disorder, but they are not into morbid / violent stuff even though they may lash out violently or disregard hurting others at times. i agree that your evaluation is probably correct in this situation too: lashing out is a way to cope.

now, if ilya’s parents had been more attentive, they would’ve noticed their son’s unsettling tendencies. killing animals is a big indicator of something greater at play and i’m sure they would’ve taken him for a psychological screening. i’m no doctor or psychiatrist (i’m not even in the medical field), but i imagine that with early detection and proper therapy, ilya might’ve been a normal person. would he still be into morbid things and have all the extreme kinks he currently does? yeah probably, but to a much lesser extent.

question: okay so u said Ilya knows he’s fucked up which is why he can’t have a kid BC he wouldn’t want them involved in that life so like.. if he knows he’s fucked up but still enjoys doing what he does, does he justify it to himself? Does he just not think about it? Like I often see evil characters be like “the world hurt me so I’m allowed to hurt others” - is it like that? Cause u said he’s a hypocrite and that’s quite hypocritical imo (if u know how bad it can be why make others suffer too yk?)

answer: part of it is that ilya is naturally sadistic and psychopathic, he doesn’t care if others suffer. even if he hadn’t become a serial rapist and killer, he would’ve had a clear disregard for others. he does justify himself and ignores his obvious hypocrisy. he realizes how much of a hypocrite he is, so it’s not that he’s an idiot or blind; it’s more of that he doesn’t give a damn about how selfish or contradictory he’s being.

you’re right that he thinks that he’s allowed to hurt others because the world hurt him, but it’s a bit beyond that. so for your question ‘why hurt others if you know how bad it can be’ – he gets off on it. even if he wasn’t the one committing crimes, he’d still get off on it. he’s similar to an incel that just stays in his room, complains about how the world is unfair, and watches porn all day, except more attractive, less whiny, actually gets sex bc he’s charming and doesn’t show his misanthropic side, and is into way darker porn than most incels probably are.

question: How would Eu-jin handle Illya taking an interest in his darling? I feel like things would get ugly fast.

answer: luckily, ilya doesn’t exist in the same universe as eu-jin or any of my other ocs! he’s human, so he’d get ripped to shreds pretty fast, especially by the overly-obsessive and protective supernatural (gumiho) eu-jin who hasn’t seen his darling in literal millennia. 

yuu wouldn’t even bother cannibalizing ilya, as he usually does with his prey; he’d find the Ripper far too disgusting to put in his own body, but he would torture ilya as painfully and slowly as possible. ripping off his fingernails one by one, removing his tongue so he can’t scream (much like the way ilya chokes his darlings), etc.

...so yeah, as soon as the hyper-aware eu-jin realizes that ilya is looking at the former’s darling with interest, it’d get ugly real fast.

question: What if when Ilya tried to kill one of his darlings but they manage to fight back and escape? I just see that throwing him for a real curve ball so I was curious to how he'd react.

answer: he’d be furious at first. to him, running away is the ultimate act of denying his love -- but, he’s a man that appreciates some fun every now and then. while he isn’t fond of darlings that fight back (especially when he’s about to kill them), having a darling who spices his life up every now and then is exhilarating. he’ll decide to play along with this darling’s little game of cat and mouse, and to be honest, he finds the increased risk of getting caught by authorities (should the darling get that far) fun. as i’ve mentioned before, ilya knows how much of a hypocrite he is and has long come to terms with his inevitable karma and death, he just doesn’t care enough to change his habits.

[sulietsexual]

home (ats)

Short opinion: Nothing in theBuffyverse kills me as much as Angel and Connor

Long opinion: Homeis probably one of the rawest, saddest AtS episodes, but it’s also one of themost satisfying and well-done season finales, especially since AtS tends todrop the ball a little when it comes to closing season arcs. Both Seasons 2 and3 have fairly lacklustre endings, despite the strong arcs both seasons contain.Season 4 is somewhat of a reverse – a convoluted and weak arc, but a strongfinish, which sets up the final arc of the show.

Homestarts out on a light note, with the hilarious(and somewhat macabre) reappearance of Lilah which, while darkly humorous,also brings up some negative emotions within the group, particularly forWesley. Her offer does, of course, come with strings (which emerge over thecourse of Season 5) but, for this weary and world-hardened group, it is made atexactly the right time, right when they are suffering and vulnerable, and theirhope has been taken away.

Season4 is probably the most traumatic season for all the characters, betweenCordelia’s disappearance, reappearance and body-jacking, to Connor’s emotionaltrauma conga line, to having to deal with Angelus, to the breakdown of severalof the personal relationships within the gang, Season 4 dishes out morepunishment than any other season, leaving the characters shattered by the endof it all. Add to this the pain and emptiness they are experiencing as a resultof Jasmine’s reign and subsequent death, and it really was the primeopportunity for Wolfram & Hart to swoop in and manipulate the gang justenough to get what they want, while providing the illusion that Team Angel madethe choice themselves (nicely tying into the ongoing theme of free will whichJasmine’s arc introduced).

Thescenes at Wolfram & Hart are well-written, and showcase the characters’various states of mind. Fred buries her head in the sand and finds herselfseduced by science (not to mention Knox’s boyish charm). Gunn, in aheartbreaking moment which really showcases how much Season 4 has wrecked hisbelief in himself, resigns himself to being “just the muscle” even as W&Hoffer them the world, before engaging in a cryptic and not entirelysatisfactory exchange with the Conduit in the White Room. Lorn – always more aTrue Neutral type than any of them – seems relatively at home in the newsurroundings. Angel recognises the strings attached to the offer, even if hedoesn’t quite know what they are yet. But the best scenes in W&Hsurprisingly belong to Wesley, as he knocks out his guide and goes searchingthrough the archives.

The reveal that he is searching not for powerful documents ormanuscripts but Lilah’s contract is beautifuland heartbreaking and is the bestmoment of the entire Wes and Lilah relationship. An endless source of conflictwithin Wes and Lilah’s relationship is their refusal to admit or acknowledgetheir feelings for one another, and neither party believes that the other genuinelycares. This gesture from Wes shows that, despite his gross behaviour during therelationship, he did genuinely love Lilah, and still cares enough for her totry to set her free. It’s a gorgeous, understated moment between the two, andadds some real depth to their otherwise imbalanced relationship.

Of course the true emotional crux of the episode comes not fromTeam Angel, but from the conclusion of Connor’s journey and his emotionalbreakdown, in truly one of the most intense and heartbreaking AtS sequences.

Unlike the majority of the fandom, I adore Connor and have huge amounts of sympathy for him. I havewritten previously about how much Connor is a victim of his circumstances andhow badly he is traumatised, abused and hurt over the course of his life, andthis episode is the culmination of all of that. Connor probably endures moretrauma than any other character on AtS over the course of Season 4, as theevents of the season see him rejected, thrown out of home, treated withsuspicion, manipulated, raped and emotionally abused. When Jasmine arrives,Connor goes along with the lie because it’s a happier and more stablealternative to his actual life. Despite the fact that he knows Jasmine is a lieand sees her true face from the beginning, Connor’s life is so miserable andconfusing that the lie is better than the truth.

When he kills Jasmine, Connor is killing what he believes tobe his last chance at happiness. As with everyone else, in the wake of Jasmine’sdeath Connor is left devastated, completely broken and without guidance or direction.His whole world has been destroyed, the people he trusts and loves most haveabandoned him and he is utterly and completely lost, wandering in a daze aroundthe broken city which he helped create. His state of mind is alarminglyrevealed when he comes across a man trying to commit suicide. After talking himdown, Connor discovers that the man has a family, and flies into a rage,horrified at the idea that this man was going to abandon his family for selfishreasons. The brutal beating he dishes out is a result of this horror, andunderlines Connor’s own abandonment issues as well as his deep desire forfamilial relationships and fatherly love.

The hostage situation at the sports store is Connor at hismost broken and vulnerable. As with the confrontation on the roof, Connor seemstorn between wanting to dish out punishment as a result of his own trauma, andwanting to force parents into being there for their children, as evidenced whenhe tells a father that he’s not holding/comforting his daughter properly.

Connor and Angel’s subsequent confrontation brings to lightmany of Connor’s issues, as the father and son engage in one of their mostbrutal and yet most honest discussions. The true extent of Connor’s abandonmentissues finally comes to light, as Angel insists that he does love Connor andConnor devastatingly replies “But notenough, Dad. You let him get me. You let him take me.” The look of devastationon Angel’s face is heartbreaking, as the father realises just how badly his sonis hurting, how abandoned he feels and how much hurt he has carried his wholelife. In what is simultaneously the hardest and easiest decision of his life,Angel gives up his son, erases Connor’s presence from his friends’ memories,and allows his son to have a life free of trauma and pain. The final shot ofthe episode, with Angel watching Connor happy, safe and content with his newfamily is so very bittersweet, as we see that Connor now has a chance at anormal, stable life but the cost is that Angel, once again, loses his son.

Ultimately, Home is a beautifully sad episode,wrapping up what was often a convoluted and messy season in a satisfying andheartbreaking manner, and opening up a new arc and direction for thecharacters. Emotional, raw and at times very hard to watch, it’s definitely oneof the better episode of Season 4.

[tayjcullinane]

Top 25 Films of 2016

25. Blue Jay

Directed by Alex Lehmann; Written by Mark Duplass

Mark Duplass and Sarah Paulson play old high school sweethearts who meet by a chance encounter two decades later in this darling of an indie film. The two actors give charming and heart-wrenching performances in a film that depicts the old kindlings of a past relationship. With a beautiful story that delves into the melancholy, Blue Jay genuinely conveys the regrets and regressed love between ex lovers.

24. Swiss Army Man

Written and Directed by Daniel Kwan and Daniel Sheinert (known as The Daniels)

Arguably the most original and authentic film to come out in 2016, Swiss Army Man gained momentum and noteriety through its peculiar, yet comedic, storyline. A man (Paul Dano) who had been stranded on an island for a presumably long time was about to end his own life until he comes across a flatulent dead corpse (Daniel Radcliffe) washed up on the beach. Starting out as a survival drama, it quickly evolved into a quirky buddy comedy as the man discovers the dead corpse’s many powers. Disturbing at times, it completely embraces its lunacy and whimsical humor, and it emphasizes the importance of imagination, which it boldly excels at.

23. 13th 

Directed by Ava Duvernay; Written by Spencer Averick and Ava Duvernay

With its controversial subject matter, this documentary couldn’t have been released at a more convenient and ironic time. In the span of The Black Lives Matter movement; to the hearing of Trayvon Martin’s shooter, George Zimmerman; and the 2016 presidential election, 13TH shook up viewers with its analysis on the thirteenth amendment and its correlation with America’s issue of mass incarceration of African-Americans. The film goes full depth into the history and business of the privately-owned prison industry and its ties in government. As alarming and concerning as these issues are, 13TH not only effictively tells the history of this dilemma, it commands one’s attention in efforts to act upon it.

22. Jackie

Directed by Pablo Larrain; Written by Noah Oppenheim

Playing the role of Jacqueline Kennedy after the assissination of her husband, Natalie Portman adds a revelatory performance to her illustrious career. Marvellously shot by cinematagrapher, Stephane Fontaine, with the eerie score from Mica Levi, the film commits its attention on the widowed first lady allowing Portman to guide the audience through the absurd and turbulent events during a time in history where paranoia and confusion were set in the hearts and minds of many Americans.

21. Silence

Directed by Martin Scorcese; Adapted Screenplay by Jay Cocks and Martin Scorcese

After twenty years of anticipation, auteur Martin Scorcese crafts a film that portrays theology in an alternative light in which it seperates itself from other films that center around religion. Based on the story from Japanese novelist, Shusaki Endo, Andrew Garfield plays Sebastiao Rodrigues, a Jesuit preist who decides whether to apostatize while searching for his mentor (Liam Neeson) who was captured in a Japanese village in the 17th century. Its long run time and slow pace can pose as a challenge, but its striking cinematography from Rodrigo Prieto is mesmerizing, and its unique perspective on religion emphasizes important moral questions in relation to conflicting ideologies from different cultures. 

20. Paterson

Written and Directed by Jim Jarmusch

Jim Jarmusch returns with a bang with this meditative, heart-warming drama starring lead man, Adam Driver, who plays a busdriver named Paterson who lives in Paterson, New Jersey and has a profound love for writing poetry. The film delves into the heart and mind of Paterson as he encounters the many people and places while on the job and at home. It takes one on a journey through an artist’s creative process in this case Paterson’s poetry as he gathers inspiration and tranforms the subtle beauty around him into words on a page. It’s quiet, easy-going, and thoughtful, and Paterson leaves you with an appreciation for the simple things in life.  

19. Kubo and the Two Strings

Directed by Travis Wright; Story by Shannon Tindle and Marc Haimes; Screenplay by Marc Haimes and Chris Butler

With a hearfelt story and its eye-dropping visuals from stop animation studio, Laika, Kubo and the Two Strings impresses on many levels. Beyond the incredible images is the story of a rebellious young Japanese boy who must make a decision that will effect his family’s legacy forever. Armed with his masterful abilities to play a two string sitar-like instrument called a shamisen and to tell stories through oragami, Kubo embarks on a journey of self-discovery that is both enchanting and enlightening -- a joy from start to finish.

18. The Salesman

Written and Directed by Asghar Farhadi

This acclaimed dramatic thriller from the director of “A Seperation” is a little gem that sublimely blends mystery and comedy in a story where a couple experiences a traumatic event that could unravel their relationship. Being an unmarried and childless couple in Tehren, Rana and Emad are both actors and members of a theater company that is in the middle of production of Arthur Miller’s, “Death of a Salesman.” After abandoning their apartment that was about to collapse from poor infrastructure, they move into a new flat only to encounter the horrors from the previous tenant who was a prostitute. Shahab Hosseini and Taraneh Alidoosti are magnificent as the two protaganists, and the film is well-deserving of its Oscar win for Best Foreign Film. 

17. Split

Written and Directed by M. Night Shyamalan

It’s a slippery slope when depicting a character who has dissociative identity disorder, or more commonly known as multiple personality syndrome. The argument in which the disorder is accurately portrayed remains, but as a whole, Split is a return to form for the largely polarized director, M. Night Shyamalan. Undoubtedly, the film owes its success to the audaciousness and dexterity of James McAvoy, who plays a troubled, ominous figure who struggles with DID and kidnaps three girls. The protagonist is one of the estranged girls played by Anya Taylor Joy, who is equally superb with a compelling background story. As per typical Shyamalan films, there is a reveal within the film that may pleasantly surprise his fans, but all in all, the film is entertaining with an ingenious plot and regains positive momentum for the director leading up to his future projects. 

16. American Honey

Written and Directed by Andrea Arnold

Messy, beautiful, bewildering, and vibrant. British director, Andrea Arnold’s docudrama follows an abused, poor, and inquisitive female teenager who runs away from her despairing household with a crew of young and reckless kids who travel around the U.S. selling magazine subscriptions for “supposed” fundraisers. Sasha Lane and Shia Leboeuf command the helm with their graceless charm and palpable chemistry, seamlessly weaving their ways through their uncarved path to adulthood. Because it embraces a non-structural narrative format, the film strays away from common stereotypes, inviting complexities and contradictions within the characters and story. It’s a fresh take on an adventure/coming-of-age story that excludes any moral stance or agenda, refraining judgement away from the characters. It simply breathes and lives from one moment to the next.

15. Lion

Directed by Garth Davis; Screenplay by Luke Davies

Lion is an incredibly emotional film that especially tugs on the heart strings of parents. Based on the non-fiction book, “A Long Way Home” by Saroo Brierley, the film is about a young boy named Saroo (Sunny Pawar) who accidently gets lost in India and struggles to survive on his own. After going through the foster care system and growing up with foster parents in Australia, the film flashes forward couple decades where Saroo, now played by Dev Patel, discovers how to track down his biological family using Google Earth. Nominated for a three Oscars, Lion effectively hits all the right notes even if the film is a giant Google product placement.

14. Hidden Figures

Directed by Theodore Melfi; Screenplay by Allison Schroeder and Theodore Melfi; Based on the Book by Margot Lee Shetterly

Hidden Figures tells the story of three influential women who were monumental in the development of NASA in the early sixties. Very much a David versus Goliath story, three of these women had to fight their way against gender and racial discrimination in order to excel in NASA and pave the way for America’s goal to win the space race. Although it focuses on the three characters, the film’s main protagonist centers around Katherine G. Johnson (Taraji P. Henson) who calculated the launch coordinates and trajectory for the Atlas rocket. Taraji P. Henson, Octavia Spencer, and Janelle Monae star in an ensemble cast in this powerful biopic that exudes positivity and inspiration.

13. Captain Fantastic

Written and Directed by Matt Ross

Probably portraying the most eccentric and ultra-progressive family in the history of film, Captain Fantastic is a stunningly ethereal adventure/fantasy drama about a radically idealistic father (Viggo Mortensen) and his six children who live an isolated life in the woods and must travel into civilization after a family tragedy had occurred. The father is an extremely well-disciplined man who rigorously teaches his kids through physical training and intense education. Because of his socialist ideals and political beliefs, he has successfully made his family into survivalists, which has lead them to a comfortable and blossoming life in the woods. His ideals are challenged when he faces the real world during their adventure into society. With a charming young cast and a phenomenal performace from Mortensen, Captain Fantastic is a remarkable, feel-good story with a philosophical outlook.

12. Nocturnal Animals

Directed by Tom Ford; Screenplay by Tom Ford; Based on the Novel, “Tony and Susan,” by Austin Wright

Drawing inspiration from Austin Wright’s 1993 novel, “Tony and Susan,” Nocturnal Animals mends elegance and style into its bloody, brutal story which revolves around the themes of betrayal, heartbreak, and revenge. Although Amy Adams is arguably underused in this role, it’s the supporting cast -- Jake Gyllenhaal, Aaron Taylor Johnson, Michael Shannon, and Karl Glusman -- who carry the film exceptionally well. From the Gucci maestro and director of A Single Man, Tom Ford combines his unique and authetic storytelling with expertly-crafted cinematography engaging the viewer into a world of sheer beauty and peril. It’s vivid and vicious, and even in its peculiar moments, the film shines exponentially.

11. Hell or High Water

Directed by David Mackenzie; Written by Taylor Sheridan

The middle of the year was hit with a bang when this wild and rambunctious thriller was released, making Hell or High Water the highest grossing indie film of the year. From the writer of “Sicario,” Taylor Sheridan composes a skillfully crafted heist story that rather than it completely embracing the Western genre, it portrays more of a humbling family drama. Chris Pine and Ben Foster play Toby and Tanner, two brothers who rob banks in West Texas in order to pay off the local banks before Toby’s farmland is seized. Jeff Bridges is remarkable as the Texas Ranger who takes on the challenge to put them into custody. This neo-Western is masterfully shot with envigorating action scenes and does not disappoint with an exceptional cast.

10.  Manchester by the Sea

Written and Directed by Kenneth Lonergan

It takes a special film that can effectively mix humor with densly serious subject matter without being offensive or mean-spirited. Manchester By the Sea is a film that does not shy away from the irony and sarcasm that occurs when the protagonist, Lee (Casey Affleck) is chosen to become the guardian of his late brother’s teenage son (Lucas Hedges). Through a series of flashbacks interspersed throughout the film, the reason becomes clear why Lee has become a damaged man, and since he is no stranger to tragedy, he helps serve as a guide to his nephew as he comes to terms with his father’s death. A powerful yet interesting account on grief, Manchester By the Sea definitely brings the tears but also with a subtle quirkiness that softens the pain.

9. The Lobster

Directed by Yorgos Lanthimos; Written by Yorgos Lanthimos and Efthymis Filipou

Brilliantly dystopic and hilariously cynical, Colin Farrel stars as David, a lonely introvert living in the futuristic world called The City where he is enrolled into The Hotel and must find a romantic partner in forty-five days or he will be turned into an animal. The film is essentially a critique of the social norms of love in modern society. It highlights the absurdities and ridiculous behaviors within The Hotel with its dark humor and hyperbolic metaphors. With subtle acting; wonderfully crafted and complex characters along with an ingeniuous story, The Lobster impresses on many levels and provokes further thought after the first viewing. 

8. La La Land

Written and Directed by Damian Chazelle

It’s an ode to old Holloywood musicals, but it’s fresh in its approach, and it simply bounces off the big screen with its sharp contrasts and hues. It is no surprise that La La Land has recieved critical acclaim and overwhelming attention since its release. It is officially tied with “All About Eve” and “Titanic” with the most Oscar nominations -- fourteen. At the heart of it is an aspiring actress (Emma Stone) and a traditionalist jazz musician (Ryan Gosling) who fall in love in Los Angeles all the while attempting to reach new heights in their artistic endeavors. It’s a classic tale about love and ambition with incredible fervor and choreographic prowess, and it adds another superb film to the list of the young phenom-director, Damian Chazelle.

7. The Handmaiden 

Directed by Chan-wook Park; Screenplay by Seo-Kyeong Jeong and Chan-wook Park; Based on the Novel, “Fingersmith,” by Sarah Waters

Being one of the longest films on this list, The Handmaiden masterfully grasps your attention in every scene, and it does not do so in predictable and obvious ways. From the director of “Stoker” and “Oldboy,” Chan-wook Park returns with a story filled with mystery, betrayal, and deception. Originally written as a novel titled, “Fingersmith,” by Sarah Waters, a handmaiden is hired to care after a Japenese hieress, but inconspicuously, the handmaiden has been hired to beguile her. Because of the story’s many twists and turns, it is one of the most entertaining films to watch and includes one of the most rewarding endings in a film this year. 

6. Fences

Directed by Denzel Washington; Screenplay by August Wilson; Based on the Play, “Fences,” by August Wilson

Denzel Washington and Viola Davis give a riveting performance in August Wilson’s film adaptation, Fences. Washington plays Troy Maxson, a rough-around-the-edges, loquatious working class man who must come to terms with the events in his life while raising his family in the fifties. From poverty to the Jim Crow laws and time in prison, Troy’s troubled past shapes his worldview, so much so that it escalates tension between him and his son, Cory (Jovan Adepo), who wants to play on a college football team. Although Troy commands the story, his wife (Viola Davis) is his crux and the chassis that holds the family together. This is arguably Davis’ and Washington’s best performances of their career, and because of its intense and personal moments, Fences is a humbling masterpiece. 

5. Loving

Written and Directed by Jeff Nichols

Loving tells the powerful, true story of Mildred and Richard Loving, an interracial couple who were arrested in Virginia in 1958 due to anti-micegenation laws. Joel Edgerton and Ruth Negga provide a powerful performance, and their on-screen chemistry is palpable, but much of the credit goes to director, Jeff Nichols. Loving could have easily been an over-reaching Oscar bait film, badgering the viewer with maudlin, overtly sentimental material, but it is the complete contrary. Its quietness and steadfast calmness emphasize the love and passion between these two characters, which makes it an absolute treasure.

4. 20th Century Women

Written and Directed by Mike Mills

1970′s. Second-wave feminism. The Talking Heads. There were some important cultural changes occuring when a young teen named Jamie (Lucas Jade Zumann) was being raised by his mother (Annette Bening) and two other women (Elle Fanning, Greta Gerwig) in Santa Barbara, California. 20th Century Women is indeed a dysfunctional family drama, but its layered political and societal themes bring a rugged texture and complexity that emphatically ring true through its characters. The film highlights Jamie’s struggle for identity as he searches for the many forms of masculinity portrayed in pop culture all the while his mother wishes to understand his desires and protect him from self-destruction. With a mesmerizing cast and a distinct tone, 20th Century Women beautifully depicts a group of people who are striken by the uncertainty of their futures and yet manage to navigate their lives while remaining together.

3. A Monster Calls

Directed by J.A. Bayona; Screenplay by Patrick Ness; Based on the Novel by Patrick Ness

Easily one of the most beautifully shot and animated films of the year, A Monster Calls will most certainly elicit a good cry. Interestingly enough, this film appeared to be catered for young audiences, but its dark and mature subject matter seem anything but suitable for its target audience. Suprisingly, the film holds its own for its unique direction and grounded tone when dealing with a story centering around grief and isolation. While his mother (Felicity Jones) is striken by a terminal illness, a boy (Lewis MacDougall) discovers a tree monster that could help him cope with the traumatic events that have occured in his life. The film is daring in regards to showcasing the dark and somber moments from the tragedies of this young boy’s life, and it successfully entices due to its strong visual and emotional magnetism. A brilliant and poignant achievement.

2. Arrival

Directed by Denis Villeneuve; Screenplay by Eric Heisserer; Based on the Story, “Story of Your Life,” by Ted Chiang

Denis Villenueve is one of the great filmmakers of this generation, and he surely does not disappoint with his latest sci-fi drama, Arrival. Like most of Villeneuve’s work, he brings gravitas to each scene by incorporating underlying tension between characters and evoking a subtle dread and unease, which has been a signature within his filmography. Arrival embodies that gravitas except with a remarkable story and new genre in which Villeneuve has yet to explore until now -- science fiction. Amy Adams is spectacular as linguistics professor, Louise Banks, who is delt an overwhelming assignment from the federal government to deconstruct the language of alien inhabitants who have landed on Earth via twelve elliptical spacecrafts. Gorgeously shot by upcoming cinematographer, Bradford Young, it is dauntingly visceral with its high contrast and greyish midtones, but it’s the story that shines and creates a breath-taking reveal that will be relished for quite some time. Villeneuve is a master of character study, and Arrival is yet another marvelous addition to his arsenal of acclaimed work.

1. Moonlight

Directed by Barry Jenkins; Screenplay by Barry Jenkins; Story by Tarell Alvin McCraney

It’s difficult for a film to justify the hype it has recieved, and in a lot of ways, too much hype could do so much to even discredit it. There are many reasons why some art is deemed “great art,” but how “great art” moves past all the expectations is by embodying an element in which it trancends beyond its labels. A great film is a great piece of art. It acts as a vessel that propels beyond the screen and into our lives. Moonlight is that film, and it is a cinematic triumph. In its entirity, it’s seamlessly executed aesthetically, technically, and emotionally. It tells the story of Chiron who grows up gay, poor, and black in an impoverished neighborhood in Miami. The story is told in three parts: Chiron as a young child, a high-school teenager, and a man in his mid-twenties. Tragedy has followed Chiron his whole life due to his sexuality, which is harshly rejected in an area pervaded by violence and poverty. His survival is dependent upon his ability to conform all the while his mother struggles with drug abuse. Moonlight is a timeless story about love that is universal and was released in a year where the marginalized needed a voice. Well, Moonlight is that voice, and it speaks volumes over the hype. 

[caesurabywriting]

do you have a drabble or headcanon of your otp: fooling the world & each other becoming engaged? pretty please. c: i'm curious.

because you said please + i’ll take any excuse to talk about them, i’m obligated to answer this. honestly i have way too many headcanons but i’m going to try and be concise and coherent here (+ huge apologies for how long this is anyway, but these two are hella complicated and i’m way too Extra for their angst)headcanons:

- they only get engaged because she claims she’s pregnant (spoiler alert: she’s not, but she’s relying on the fact that she can get pregnant soon after/in a close enough window for it to be true) - she uses that excuse to get his attention bc he seemed to be getting more and more distant and passive re: their relationship and she wanted to have a way to lock him down even if she has to heavily manipulate the situation to get her way. she’s like a milder form of amy dunne.- she’s also the poster child for abandonment and trust issues because her parents were awful, but it’s what brought them ~together~ in the first place. his ex-gf, viv, was her best friend. they all lived together in NYC, along w tom’s own bestie, for six years ( which is what #manhattan memoirs is about ) before viv one day abruptly moved out without an explanation, dropping contact with them both, abandoning their perfect unit of four. up until that point tom and tessa barely tolerated each other + had an ongoing banter thing going on. she had a short fuse and he loved to light it at any chance he got. antagonizing her was his favorite hobby. later on, they proceeded to ‘bond’ over angry and angsty hate sex to avoid being sad over her viv’s departure. but then feelings were caught. oops. anyways…- she’s a ~first comes love, then comes marriage, then comes baby~ kind of person, and he knows this. having a baby without being married first would be a huge deal breaker for her. if he declined stepping up to ask her to marry him there would be no baby and she’d tell him to leave (in theory, but between you and me i don’t think she could and would have come up with something more dramatic to get his undying attention)- it was very non romantic and went down more like a business deal discussion. she presented a serious ultimatum that needed addressing. she sprung it on him. essentially, pre-proposing his proposal. there was no ring or down-on-one-knee business. it was very much a highly staked version of ‘should i stay or should i go?’- she went out by herself after the ‘proposal’ and chose her own ring and everything. anything he chose would have been complained about and returned- he wanted/wants to propose again in a more romantic and thoughtful way because even though he’s pretty neutral about marriage, he sees it’s important to her and she deserves the best of things. alas, time kept ticking by and it seemed like he’d lost his shot, so he kept such plans to himself and lets her resent him a little extra for his apparent lack of involvement, as usual.i do not have a full drabble composed ( yet - but i probably will one day even though it will ruin my life ), but i do have various fragmented flashback/extracts from actual replies/past threads that may or may not make sense out of context but, regardless, i’ve collected them below if you’re interested on a glimpse of things somewhat engagement-related:

1. Their tables had done more than shift, they had been flipped and spun out. The undeniable truth tightly wrapped around his reality, pinning him transfixed in place. For better or for worse, those two lines had seen Tom’s uncontrolled fishtailing hitched onto a finite track. A duo of one dimensional pink had the power to change everything. Tom blinked over dilated pupils, his sentimental conscience sucker punched by a one-two hit of remorse and disquietude. It was all still etched into him like the grooves of a record, designed to be played on repeat at his masochistic leisure — Tessa presenting herself empty handed after already discarding the evidence, bearing the news with clutched hands and a penetrating gaze. Her voice, poised and decisively urgent: ’Stay.’ They were standing in the same room for the first time in three days. He’d avoided the sheen of her dark hair for the floorboards, ‘That’s not all you’re asking.’ His timbre noticeably wavered in comparison to hers. Like a whip, Tessa’s voice cut across with a warning flatline: ‘No. It’s what we are.’ Her eyes, calculating, soften magnanimously the moment he looks up, ‘You know your answer, don’t you, Thomas?’ 2. Her reveal had been a surprise. Admittedly, he was the only one to blame for that belief, his sense of awareness not particularly careful nor attentive during the time between an office shift ending and them falling from a fight into a bed together. In all it’s ‘A one time thing. We’re not doing this again,’ ( gradually switched out for ‘make it a one more time thing,’ ) glory. What had only ever been meant to be a secondary arrangement, intended to fill space, to pass time. The most beneficial way to end a combative argument. It was an exhausting interlude that matched the tone of his routine, wearing him down until he was nothing but fine grains. He had been confused, torn, and collectable.3. No celebratory graduation ceremony marked their progression as they impassively watched their shared temperature rise from ‘fling’ to ‘fiancé’, endlessly fluctuating between offensively heated and dishearteningly tepid throughout. Their anniversaries as somber as the sticker announcing it on the square of calendar. That catalyzing moment of history turned away from very deliberately. There were no sweet heart-eyed how did you two meet narratives to supply. Just Mr. Type-B and Ms. Type-A, two heartbroken kids susceptible to distraction. Amusing themselves until it became real. Maybe it did. Or maybe it was harmless and it was pure paranoia making it seem like a neon sign blinked above his head in an infinite line of alarmed exclamation marks.4. Wreckage was imminent no matter which way the pieces aligned. Home ( now ) was sleeplessly staring at a ceiling, deliberating in the dark and into the glow of the morning. Most of all, an internal pleading line of looped thought: Oh, God, let today be a normal day. Let him be normally nervous, unhesitating, and spontaneously happy. Let him not squint as Tessa walked away, the disheveled shadow of dark hair thrown down her back strongly evoking of another’s in poor lighting. Familiar shades of umber and taupe clashing with the lesser known notes of sangria and mint on her breath, the scent of rose in her hair. Tessa, an intended sojourn; a breathing space. An operating lightbulb to illuminate the dreary darkness of a vicissitude neither wanted to admit they were blind in trying to navigate. No one was ever prepared for a demotion into the limited edition status of another’s life when, viewed in the other direction, they’d presumably been branded essential. But it had happened, and Tessa was the only tangible reason not to go too far off an precipice that led to no tomorrow. Pulling at hands smudged with paint instead of cigarette ash in a desperate attempt at capsizing the insurmountable detritus of past imprints drifting throughout his system. Taking the brunt of all frustration, tremor, and every emotion banned from expression. Aggressively sidelining the only language he wanted to feel, touch, and listen to. Relearning a different one. Everything that had been absentminded and easy now requiring vigilance and humorless behavior. Yet as exhausting as all her short tempered glares and cavilling was, it had also been her strict accountability and interception between him and acts of stupidity that kept him together.5. She was a person to whom his surrendering murmur of ‘I love you’ often had the bitter aftertaste of something over-steeped. His palliative precursor, a promising commitment not to be cowardly, invitingly interchangeable with other prosperous phrases of three: I am here. I am staying. We are family. The woman who’d engaged in an unrequested initiative, yanking the dusty rug out from beneath their at-risk stale situation and pulling them into dazzling sunlight. He couldn’t have said no if he’d wanted to. He was prepared to try — faking it until it was true — just as he shouldered everything else. Maybe saying yes to Tessa, and in turn something that scared him, had been the gateway drug.6. There were many shouldn’t-ridden clauses, both spoken and not, between the two of them. Tessa and Thomas. One of the very first in-depth conversations they’d had ended with a shouldn’t. The first time he hadn’t felt the need to crack a prolonged, tensely held, silence with something deprecating. Instead, tentatively entering the humid air, a plea and a concern all in one: We shouldn’t do this, it’s too soon. Then, only two days later: we shouldn’t stop, I can’t do this alone. And the rest fell into natural order, the reoccurring theme of expectations fallen short: He shouldn’t come home so late. She shouldn’t have to ask twice. We shouldn’t talk about that. The clarity of her voice in his head was almost identical to a certain other someone’s. A different inflection, a different time — but just the same; a damning memory able to be plucked from the recesses of his mind at the most inconvenient of moments. Tessa’s censorious commentary was never far behind. He’d been consumed by it in slowly advancing increments for nearly ten years. In the beginning, a day-to-day routine of merely pretending he was listening to her as he dotingly observed the accompanying figure that she’d arrived with. More recently, her unimpressed narration wove through the fabric of any of the romantic or couple-y things they tried to do. Tom, begrudgingly following her into the overcrowded abyss of whatever public outing she’d pre-arranged, always far too absentminded, staying alert for all the wrong reasons. Looking down to check on even the slightest vibration of his phone — a problem? A meeting? A respite? — whilst completely avoiding having to provide any input on Tessa’s newly favorite subject ( it rhymed with bedding ). Their verbal tennis matches, a ceaseless tit-for-tat game of passive aggression, could run steady laps around everything else they did. It was almost an entity of it’s own. There was Tom, there was Tessa, and there was that low pressure that hung in the atmosphere whenever they entered into the same room as if someone had made tasteless a joke at a funeral. The one beam of hope through it all was the fact that, admitted to or not, they knew each other too well. Despite what they withheld from one another — even though, if presented the same card drawn during a Rorschach Test she’d see the shape of a book where he’d see a pint of beer — they could never return to being strangers. Getting to know her had been a muffled process, a slowly sinking feeling. The diluting of a strongly flavored concentrate with hot water. Three parts scathing to one part cordial. Mild enough to eventually be widely palatable as opposed to the too-potent original double dose; the sort of thing that appealed to rush-seeking junkies and hyperactive children and those who fell somewhere in between.

[demonbloodteen]

Demon Blood Teen: A New Persona

Episode Three. Veer convinces Charlie to form a new persona revolving around his newfound powers.

“Blasting people with laser beams! How rude!” Veer complained, walking over to Charlie, his body now charcoal-black. 

“Sorry, you’re just very annoying,” Charlie said. 

“Yeah, I get that a lot,” Veer admitted. 

“So…now what? Should I kill myself?” Charlie asked. 

“WHAT?! Why would your mind go to that?!” Veer questioned. 

“Sorry, I guess I’ve just thought about doing it so much that it’s become my natural go-to choice when I don’t know what to do,” Charlie explained. “Well..that’s disturbing,” Veer responded. 

“Oh, that’s just the surface level. Dig just a tiny bit deeper and things get much more disturbing. Much more disturbing,” Charlie grinned. 

“The fact that you’re grinning while saying this makes it even more disturbing,” Veer pointed out. 

“Oh, sorry about that. Smiling is just one of the many coping mechanisms to deal with my crippling anxiety and depression,” Charlie explained, the grin still on his face. 

“Hehe…okay then…” Veer said awkwardly, glancing down at the ground.

Alternate Dimension

“UGH! I had that blood right in my hands! I was seconds away from being cured! SECONDS! We have to somehow manage to find another portal into that dimension! Before it’s too late! Now, who here thinks they’re up to the task?” Treznor stated. 

“Ooh! Ooh! Me! Pick me!” Renita begged, raising her hand. 

“Alright, Renita. You have three months to find a way into this dimension. Otherwise, you’ll be sent to our torture chamber. I already have you microchipped, so there’s no reason in trying to just run and hide. I’ll find you,” Treznor said.

“You have me microchipped?” Renita asked, a confused tone in her voice. 

“I have everyone here microchipped,” Treznor stated. 

“Wow…someone has trust issues. But don’t worry, I’ll be sure to get him, sir!” Renita promised, saluting and then scurrying out of the place. Main Dimension “So I’ve got an idea. Why’d don’t you go ahead and create a new persona?” Veer asked. 

“New persona? Why would I do that?” Charlie asked. 

“Charlie! You’ve got a great opportunity here! All your life you’ve dealt with anxiety, worrying about what other people think about you!” Veer said. 

“Well, gee. You don’t have to remind me about it,” Charlie said, crossing his arms. 

“I wasn’t finished yet! This - this is your chance to change all of that! You can create a new identity and start all over! Become confident in yourself!” Veer exclaimed. “Veer, I can’t just completely give up on this identity and start a new one! I mean, where would I live?! I can’t just randomly disappear from home and then move back in as someone that my dad thinks is a drug addict! Granted, not very many people would miss me had I just disappeared, but still! I can’t do it!” Charlie pointed out. 

“No, no. I’m not saying just completely abandon your old identity for a new one…Rather, have like a side persona! You know, one that you use every once in a while - when you feel like it. Build confidence in that persona, and it’ll eventually transfer to your main one!” Veer explained. “Hmm, I see. Interesting idea. Have there been studies by psychological experts that show this works?” Charlie asked. 

“I have no idea - I literally just came up with it right now,” Veer said. 

“Well, it’s not as appealing an idea as committing suicide, but I suppose I’ll try it,” Charlie said. Later That Night Charlie had been sitting in bed, browsing through the internet. “Looking at porn?!” Veer questioned, popping out of nowhere. 

“Gah!” Charlie gasped, jumping slightly in fear. 

Veer glanced at the computer screen - it was currently on a Skype chat between Charlie and Paris. 

“So you’re not watching porn. Hm, you must’ve known I was coming,” Veer said. “N-No, I just…don’t watch that kind of stuff,” Charlie said. 

“Mhm. Ssssuuuurrrrreee you don’t,” Veer rolled his eyes. 

“I’m serious!” Charlie growled. 

“Charlie, Charlie, Charlie. It’s okay. You don’t have to lie about it - I understand. It’s perfectly normal for a teenager to experience those kinds of urges,” Veer said. 

“Is it perfectly normal for a teenager to experience the urge of wanting to murder themself? Because I get that urge quite a lot,” Charlie said. 

“…N-No, I don’t think that’s normal…” Veer answered. “Really? You sure? Hm, other teens are weirdos,” Charlie commented. 

“Yes…they’re the weirdos…So Charlie, you know right now would be a perfect time to go ahead and try out that new persona of your’s!” Veer encouraged. 

“Really? You think so? I mean…I still have homework to do,” Charlie said. 

“Pft, so you don’t do your homework one night. What’s the big deal?” Veer asked. 

“Mrs. Horrorfield will probably get really mad at me…” Charlie said. 

“Well, Mrs. Horrorfield can go fuck herself. Come on, go change into that diving suit of your’s and let’s go!” Veer grinned. Outside “You know, I’m not sure having my new persona wear a diving suit out is really the best way to make me more confident,” Charlie said dryly, now in his transformed self. 

“I for one think you look extremely attractive in that diving suit,” Veer commented. 

“Uh…thanks, I guess?” Charlie asked. “No problem! You know, I don’t look half myself,” Veer said, looking down at the black full-body suit he was wearing.

Suddenly, a scream could be heard. “Someone! Quick! Help! Help me!” a female voice could be heart shouting. “Someone’s in trouble! We’ve gotta go save her!” Veer exclaimed, beginning to run towards where the call was coming from. 

“Someone’s in trouble! We better leave because we’re in trouble as well!” Charlie said, beginning to run back home. 

“CHARLIE!” Veer shouted, quickly running back over to him. 

“W-What is it?” Charlie asked. 

“What are you doing?! We have to save this person!” Veer said, grabbing onto him. 

“We have to save ourselves! You’re gonna get us killed!” Charlie exclaimed. “Didn’t you say you wanted to be killed?” Veer asked. 

Charlie’s eyes widened at this. “We’ve gotta go save that woman!” he suddenly announced, running to the scene of the crime. 

“Shut up, you spoiled brat! Before I silence you myself!” the criminal said, pointing a gun at the girl as he tore her purse away from her. 

“HEY THERE! Hold on just one second!” Charlie shouted. The criminal’s eyes widened, quickly turning towards the teenager. “Oh, hey! A drug addict! Do you happen to have anything on ya at the moment? I can pay - I just stole this purse from this rich snob,” the criminal said. 

“I am not a drug addict! Why does everyone think that?!” Charlie questioned. 

“Well, you have crazy messed up purple hair and you’re running around the streets at night in a diving suit. Clearly you’re smoking something,” the drug addict stated. “I have not been smoking anything! Though, I do think that people have the right to do what they want with their own body and that we should not be throwing people in jail for doing so!” Charlie said. 

“Come on, kid. Quit with the act. You ain’t foolin’ anyone. Just hand me over some of those good ol’ drugs. I already told ya I have the money,” the criminal said. “And I already told you I’m not a drug addict! I don’t have any drugs! I’ve never taken any drugs! I’ve never even been near any drugs! And I never will! Well, unless I can attain enough so that I can overdose and thus die, in which case I will!” he exclaimed. 

“You know, you’re getting really annoying. Give me the drugs or else I’ll shoot,” the criminal said, pointing his gun at the boy. Charlie blinked, a grin forming on his face. “Oh, finally! This is the moment I’ve been waiting for! The moment I’ve been waiting for my entire life!” Charlie exclaimed. 

“Seriously? You’re still not gonna hand over the drugs?! Welp, here goes nothing!” the criminal said, pulling the trigger and thus launching the bullet. 

“WAIT!” Caitlyn shouted, tackling Charlie onto the ground, and thus causing the bullet to miss. Veer had been wandering throughout the streets, searching for his friend. “Charlie? Charlie? Where are you?” he asked, when suddenly the bullet from earlier flew by, lodging itself into his tail. “GAH! MY TAIL! MY TAIL!” Veer cried out, falling down to the ground. 

“Mommy! This animal looks hurt! Can I keep and take care of him until he gets better?” a child asked, picking up Veer. 

“Are you sure that’s an animal, Reed?” the mother asked. “Hey! What was that for?!” Charlie questioned. 

“You saved me, so I only thought it was fair that I return the favor!” Caitlyn explained. 

“Well now I’m wishing I hadn’t of saved you,” Charlie said dryly. 

“Haha! You’re so funny!” Caitlyn giggled, messing with his hair. 

“Don’t don’t touch me,” Charlie said dryly. “You may of dodged that one, but now you’re both going down!” the criminal said, pulling the trigger. Caitlyn gasped in fear, meanwhile the grin of Charlie’s returned. But nothing happened. 

“What the?!” the criminal gasped, pulling the trigger again. 

“Ugh! I must be out of bullets! Well…see ya, kids!” he said, quickly beginning to run away. Charlie quickly got up, pointing his hands up and shooting laser beams at the criminal, causing him to fall to the ground. “My hero!” Caitlyn grinned, hugging him. 

“I thought I told you not to touch me,” Charlie said, a deadpan tone in his voice. She just kept hugging him though. He glanced away awkwardly, before a small smile and blush spread across his face, hugging her back. 

“Hey! You wanna come over to my place?” Caitlyn asked, grinning up at him. “Well, actually I have homewo- Well, I guess,” Charlie accepted the request. 

“Great! Let’s go now!” she said, grabbing ahold of his hand and beginning to march forward. 

“Wait! What do we do with this guy?” he asked, pointing at the unconscious body of the criminal lying on the floor. 

“Just bring him with,” she said. “If you insist,” he said, picking up the unconscious body and heading towards her parents’ house. He rung the doorbell, the door quickly opening. 

“Why hello there, Caitlyn! Who’s this young man you’ve got with you?” Caitlyn’s father asked. 

“And who’s this unconscious man you’ve got with you?” Caitlyn’s mother asked. “Oh, well let me explain. So I was going on my normal late night stroll in a dark alley, when all of a sudden this guy pops out and tries to steal my purse! I mean, who would’ve thought that stuff could happen in a dark alley late at night? It was totally unexpected! Anyway, to make things even worse, he then takes a gun out and tries to shoot me! Luckily, this incredibly attractive teenage boy came to rescue me just in time! If it wasn’t for him, I’d probably be dead by now!” Caitlyn explained.  “WOW! Thanks a lot, Mr. Incredibly Attractive Teenage Boy!” Caitlyn’s father said, shaking Charlie’s hand. “You know, this is actually a huge story. We oughta get this on the news!” Caitlyn’s father exclaimed, quickly getting out his cellphone and dialing up a local reporter. “Hello? Mr. Reporter? We’ve got a huge story for you to report over there! We need you to come over straight away! You will? Great!” Caitlyn’s father exclaimed, hanging up the phone.

“How do you attain such easy access to the media?” Charlie asked. 

“Oh, we’re rich. We pretty much own the media,” Caitlyn’s father explained. 

It was that moment the reporter arrived. “Okay, okay! I’m here, I’m here, I’m here! What’s the big story?” he asked. “Oh, you’ve gotta hear this!” Caitlyn’s father exclaimed, walking over to the reporter and whispering the story into his ear. 

“WOW! That is a great story! We better get this on the news as soon as possible!” he grinned, quickly setting up his camera and rushing in front of it, explaining the story to the audience.  “And here with us tonight, we have the very same teenage boy that saved this young girl from certain death!” the reporter exclaimed, pulling Charle into the scene. “So let’s start with the basics. What’s your name?” the reporter asked.  “Oh! Uh, well, um...my name is...it’s....it’s uh...Wolf...Wolfgang. Wolfgang Steel. ...Oh geez, that sounds stupid. It sounded a lot cooler in my head,” Charlie muttered.

“And so, tell us Wolfgang. How long have you doing this?” the reporter. “Doing what? Contemplating suicide? I’ve been doing that for as long as I can remember,” Charlie answered rather bleakly. “No, no! I’m talking about vigilante justice! You know, going out of your way to save people and stop criminals despite not being formally associated with any type of law enforcement,” the reporter clarified.  “Oh! Hehe, can we take that ‘contemplating suicide’ part out? Um, I just started. Tonight. Like a few minutes ago. Literally,” Charlie answered.  “Fascinating! And is this a one-time thing, or are you planning to continue on this path of vigilante justice?” the reported asked. “Well, um, I don’t know. I guess I’ll do it if people want me too? Or if I see something bad happening and no one’s stopping it,” Charlie said. “You’ll continue it if the people want to, you say? Great! We’ll conduct a poll over the next few days and see what the nation thinks about you. Then you can make your decision! Welp, you heard it here first folks! On The Substantial Scoop With Kane Robinson!” the reporter exclaimed, closing out the show. Reed’s House “Don’t worry, little fella. I’ll take care of you!” Reed grinned, setting Veer down on his bed. Veer blinked, his eyes wandering the room before glancing back up at the child. “Here, let me get you some bandages to help with that boo boo of your’s,” Reed said, leaving the room. Veer quickly hopped off the bed, beginning to wander around the room. He walked over to the book shelf, glancing at the action figures placed on top of it. He then took a book from off the shelf, opening it and beginning to read it. Suddenly the door opened, causing Veer throw to quickly throw the book back at the book shelf and get down on his fours.  Reed entered the room, holding some bandages in one hand and a bowl of food in the other. He then placed the two down on the floor, right next to where Veer was. He placed the bowl of pet food on the ground, and then took the bandages, wrapping them around Veer’s tail. “There you go! Here, I brought you some food too,” Reed said, pushing the bowl closer towards the other. Veer glanced down at the dog food, a disgusted expression on his face. 

“Is he seriously gonna make me eat this stuff?” Veer thought to himself. 

“Come on, boy! Eat! You want to be nice and strong now, don’t you?” Reed asked.  “Well, I guess I have too...” Veer thought, sighing, and using his tongue to scoop up a single bit of the food into his mouth, nibbling down on it rather slowly. His eyes soon widened. “Oh my gosh...this stuff is delicious!” he thought. He grinned, diving into the bowl of pet food and beginning to devour it all. 

“Atta boy!” Reed cheered on, watching as his new pet hurriedly ate all his food. Caitlyn’s Room The two teenagers entered the room, Caitlyn quickly shutting and locking the door behind them. “So we’re all alone. Just the two of us,” Caitlyn said. “Yep! Just me, you, and the countless voices in my head,” Charlie said. “Wait, what?” Caitlyn asked. “Nothing,” Charlie answered. Caitlyn walked closer to Charlie, placing her hands on his shoulders. “W-What are you doing?” he asked. “Oh, you know...” she said, pushing him down on her bed. She smirked, taking her hand and slowly beginning to unzip his suit. “Hold on one second,” Charlie interrupted. “What is it?” she asked. “Aren’t we both 14?” he asked. “Yep.” “And isn’t the age of consent 18?”

“Correct.” “So aren’t we both four years too young to be doing this legally?” “You’ve got it!” Caitlyn answered peppily, continuing to pull down his zipper. She licked her lips as Charlie’s boxers came into sight, quickly moving her hand towards them. “WAIT!” Charlie asked. “What is it?” Caitlyn asked, pulling her hand away and glancing at the other. “I-I don’t really feel c-comfortable with uh, you know...” he stuttered.  “Oh! Sorry! So you’re one of those ‘take it slow’ guys. Yeah, yeah. That’s fine. That’s totally okay with me,” Caitlyn said, getting off of him.  “Well, I don’t care if it’s okay with you. It’s about what’s okay with me,” Charlie said, getting up. 

“Oh! Yeah, well that’s what I meant,” Caitlyn said. “Sure it is,” Charlie said, zipping his suit back up and yawning.  “Wanna cuddle?” Caitlyn asked. “Eh...” Charlie hesitated, shifting away from Caitlyn a bit. “Oh come on! Please! I won’t do anything weird! I promise!” Caitlyn begged. “Ugh, fine...But only if you keep your promise!” Charlie gave in. “Pft, of course I’ll keep my promise! I mean geez, come on, Wolfgang! What do you think I am? A politician?” Caitlyn said, hopping over to him and beginning to cuddle, causing a blush to spread across his face.