#they do what they need to in the narrative

[malusokay]

What's the point of a diary if you're not lying in it?

On Anaïs Nin, literary self-mythologizing, and why personal writing should always be slightly dishonest. (from my substack)

If you’re not lying in your diary, you’re just journaling, and journaling is for people who don’t know how to edit.

A diary is not a record of events; it is an act of creation. The best diarists know this instinctively. Anaïs Nin knew it better than anyone. Her diaries were not mere confessions but performances, half-lit mirrors where the truth shimmered, distorted but no less real.

Nin understood that life is not lived in a single register. Her diaries are a study in contradiction—one moment, she is in love; the next, repulsed. She is independent yet wholly consumed by those around her. But contradiction isn’t falsehood; it’s literature. She rewrote and edited her diaries, sculpting herself into the character she wanted to be. And is that really so dishonest?

People love to be outraged by the idea of a diary that is not entirely factual. But fact is not the same as truth. Diaries, at their best, are emotional truths, shaped by mood, by desire, by the need to impose a narrative on the chaos of daily life. Nin was not interested in being objective—she was interested in being immortal. She once wrote, “We write to taste life twice, in the moment and in retrospection.” But why stop at tasting? Why not rewrite, reshape, embellish? If we can curate the lives we present to others, why should we not do the same for the versions of ourselves we leave behind?

Nin herself was a master of this. She edited her diaries before publication, removing, refining, turning herself into a protagonist. She blurred lines, shifted timelines, made herself more alluring. She called it shaping reality. Others call it lying. The truth, of course, is that all personal writing is selective. Even in confession, there is curation.

The danger, of course, is that history will take the performance at face value. That the diary, once private, will harden into biography. But this, too, is a kind of truth. A diary is not a static object. It lives, it breathes, it deceives, but always in service of something larger than the mundane details of existence.

[inamindfarfaraway]

At what point do you think Ashlynn fully processed that her mother doesn’t have to die in a few years? When the book she signed was revealed to be fake? When Raven fused everyone with their destiny pages to confirm their free will? The next time she saw or talked about her mother? Was it a random moment, like she was reading in class or stocking shoes at the Glass Slipper or trying to get to sleep when it struck her that her mum could see her marry Hunter. Her mum could see her with grey hair. Her mum could be the first Cinderella ever to meet her grandchildren. No wicked stepmother. No years of abuse and servitude. No need for the happiness to be a reward at the end of the narrative. It’s over. They’re safe.

[sunseed-fandump]

The Tarot from the new trailer has me FLIPPING OUT (Sorry for the shitty screenshot) I was already making an analysis on the previous cards we got, but THIS has really got me doing backflips in my head because of the implications.

Let me explain.

First off, have you noticed that one of these cards is not like the others?

The first card, Strawberry Cookie, is in reverse. She is on the major arcana card XII - The Hanged Man. When the Hanged Man is in Reverse, it represents Delays, resistance, stalling, indecision, stagnation.

"The upright Hanged Man encourages you to pause for a moment and see things from a different perspective. Reversed, this card can show that you know you need to hit the pause button, but you are resisting it. Instead, you fill your days with tasks and projects, keeping busy and distracting yourself from the actual issue that needs your attention. Your spirit and body are asking you to slow down, but your mind keeps racing. Stop and rest before it’s too late. The Universe will only dial up the volume if you ignore it, and as a result, you may end up crashing. So, as soon as you hear the call, clear your schedule and make the space so you can tune in and listen."

Next we move on to Gingerbrave's card: 0 - The Fool.

In the Upright Position, the Fool represents new beginnings, innocence, spontaneity, a free spirit, and adventure.

"To see the The Fool generally means a beginning of a new journey, one where you will be filled with optimism and freedom from the usual constraints in life. When we meet him, he approaches each day as an adventure, in an almost childish way. He believes that anything can happen in life and there are many opportunities that are lying out there, in the world, waiting to be explored and developed. He leads a simple life, having no worries, and does not seem troubled by the fact that he cannot tell what he will encounter ahead."

Finally we have Wizard Cookie's card: I - The Magician.

In the Upright position, the Magician symbolizes logic, desire, resourcefulness, willpower, intelligence, skill, and manifestation.

"When you get the Magician in your reading, it might mean that it's time to tap into your full potential without hesitation. As a master manifestor, The Magician brings you the tools, resources and energy you need to make your dreams come true. Now is the perfect time to move forward on an idea that you recently conceived. The seed of potential has sprouted, and you are being called to take action and bring your intention to fruition. The skills, knowledge and capabilities you have gathered along your life path have led you to where you are now, and whether or not you know it, you are ready to turn your ideas into reality."

So what do these 3 cards mean together? Well, we have someone who is stagnating, who is stuck and unable to move forward. But they go through a rebirth - an epiphany - and start on the path of a new journey. And on that new path they unlock their full potential.

This is Pure Vanilla Cookie's story in the next update in a nutshell!

Sorry for the sorta long post, i just wanted to geek out about this since I love love love it when Tarot is used as a narrative device :)

[didalexiabreakupwitholgaisback]

some general thoughts, or what NOT to do in a crisis*:

we can all acknowledge that the last 24 hours have been a clusterfuck in many ways, and i think we can all agree that everything that happened today should have been handled differently.

first and foremost, we can acknowledge the pain that daniela caracas has and is experiencing. it's not easy being a person of colour in spain, let alone a black woman and a female footballer at that. there is already coded language in how we speak about black players in our league and any type of harassment or abuse towards her is wrong. daniela felt violated and that deserves recognition. period.

we can acknowledge that mapi acted physically in a manner that was wrong. i'm not going to sit here and argue with internet lip readers as to what was or was not said. but whether the touching was incidental or not, the fact was that it happened. period.

we can acknowledge that there are right wing elements who are using this incident to further their own agenda. they are spinning narratives and putting out messaging to further their own agendas. that's wrong. period.

we can acknowledge that mapi is a person who may face criminal liability and thus her statement was directed under legal advisement. but we can also acknowledge that tone and messaging matters. you can protect your legal rights but still put out a statement that doesn't feed into anger or defensiveness.

we can acknowledge that our favourite players are human and will fuck up in life. but that doesn't mean we shouldn't call them out or demand that they learn and grow from their mistakes.

we can acknowledge that barça waited too long to put out any sort of statement. the club should have turned off its scheduled social media because those posts came off as flippant and oblivious. my personal feelings are that the club should have put out a separate statement first, and not relied on a statement through the player involved in the incident. again, you can put out a statement of concern without waiving any legal rights.

we can acknowledge that this team is at a crossroads and that no matter how frustrated you are in a match, your players need to be disciplined enough not to loss their cool or react in such a manner. and we can acknowledge that there needs to be concrete steps at the club level to address this behaviour collectively as a unit and not to hide it away.

and finally, we can acknowledge that the club has let many of us down today, and we should demand that it do better. period. more to come. 🙏

*i'm writing this from the perspective of someone who works in legal and compliance and deals with investigations all the time. i understand the potential legal ramifications here, but there are much better ways to have handled the situation.

[dolche-tejada]

"shirakumosolos is pretty spot on."

He's literally off-topic with my whole post so I don't know what you're even about, pal.

"Why would murderer get good ending?"

I answered that in the comment section in response to the guy you mentioned, you just needed to read like the very next reply after his own to get your answer.

So again, saving the League (more precisely Shigaraki, Toga and Toya) was the entire point of Deku, Ochako and Shoto's personal arc to become heroes, and overall one of the major themes of this manga. Beyond any ethical or pragmatic debates, they should have been saved at the end because that's what was promised by Horikoshi before he chickened out and tried to gaslight us narratively into believing that their conclusion is logical when it's a complete contradiction of what he'd been selling from the start.

"They get their karma, so what they were pitiful before?"

Karma, seriously how old are you ? Fourteen ?

Also I like the hypocrisy... So the LoV's members being murdered or incarcerated for life at Tartarus is karma for their crimes but them fighting back against a system that rejected them their whole life until they fall apart suddenly isn't karma ? Why ? Because you don't like them ?

"It didn't stop them from killing innocent people."

Indeed, it actually resulted in them killing people. I thought everyone would get that by now but I'm apparently too optimistic.

"Hawks killed twice, a literal murderer is a what now?"

The only people Twice killed onscreen were members from the equivalent of the KKK and soldiers from Re-Destro's army in self-defense. And don't even try to bring the example of this hero his clone killed since it was only in reaction to Hawks murdering Prime Twice.

"Hawks needed to stop that murderer to kill any more people anyway."

Firstly there's no concrete proof he intended to murder innocent people, only your assumptions. That's already kinda light to justify murdering someone running away.

Secondly, Hawks could have done that without murdering Twice considering how he effortlessly rolled over him during their whole confrontation. Twist this situation like you want, there's no rational justification for murdering a criminal who ran away and that you could have incapacitated at any point.

Thirdly, stopping murderers without killing them is quite literally Hawks' job so if he can't do that even when he's dominating said criminal, then all you're evidencing is that he sucks at his job.

Fourthly, killing Twice resulted with two heroes getting killed as a direct result and Toga using his blood later on to go an rampage. Both things wouldn't have happened if Hawks had chosen to just capture Twice and fly away.

"He's a hero to society."

Not an argument, don't care.

You know, I think this ending would have been slightly less of a fucking disappointment if the heroes hadn't been so unfairly favored by Horikoshi compared to the villains. I mean, seriously

Deku destroys every bone in his body multiple times throughout the story and is warned that if he continues, he'll permanently lose the use of his limbs ? Everything's fine, his body's just got used to being reduced to a bloody pulp somehow so there's no consequences for him. In fact even when he literally loses his arms to Shigaraki, he gets them back two minutes later thanks to Eri because guess what ? Her horn still works even when cut off from her body. How convenient.

Gran Torino gets his ribcage obliterated by Shigaraki ? Don't worry guys, he'll survive that despite his old age and injuries, and this to have no particular role in the plot afterwards.

Bakugo dies heroically trying to buy time before Deku arrives ? Lmao, did you really believe it ?? No of course not, Edgeshot just uses his last-minute Deus Ex Machina to save his life at the cost of his own and- Oops nope he's fine too, my bad !

Hawks murders a criminal fleeing for his life in cold-blood ? The best Hori has to offer is him completely free and in charge of the HSPC.

And no, losing his quirk isn't a real consequence for him because not only it literally played a major part in saving the world with Vestige!Hawks raising an insurrection among AFO's quirks, but also because his quirk has always been the element through which people exploited him.

Endeavor abused his family for years and completely destroyed his eldest son ? No jail time and no media backlash for that, the only blame he received was due to the heroes' failure to stop the League during the Raid Arc.

And don't even get me started on this bs about facing hell or whatever for what he's done : He's literally free and wealthy ; he has Rei, Fuyumi, Shoto, his sidekicks and Hawks on his side ; and all the difficulties he's apparently going to suffer are off-screened.

Deku had to sacrifice OFA and his future hero career to save the world ? Guess what, Bakugo invested all his time and money to make him an Iron-Man suit and now he can still be a hero with everyone else.

There are plenty more examples of this but I think you get the idea. Now let's take a look at the villains' ending :

Toya is now a piece of charcoal kept artificially alive for the few years he has left, unable to move a finger, and whose few minutes a day during which he can stay awake will be spent talking to his father who abused him as a child.

Toga, a literal teenager, killed herself to save Ochako and because she knew it's still better than rotting at Tartarus her whole life.

And not only did she die but she did by bleding to death. Let me repeat for those who have trouble grasping what I've just said : In a manga where the heroes can survive having their heart blown to bits, being impaled Kakyoin-style or smashed against buildings like a fly on a windshield, one of the main antagonists died of a fucking hemorrhage…

As for Shigaraki, after learning that his very birth and all the tragedies of his life have been orchestrated by AFO, after all this development and narrative promises about him being saved in the end... Deku just kills him.

Because despite all his speeches about saving him, it seems like the best our MC could do was beating him both physically and mentally until he crumbles to dust…

Compress on his side is apparently locked up for life and kept alive by machines too.

A begging Kurogiri tried in a desperate attempt to save Shigaraki, only to be unceremoniously blown up by Bakugo and dying off-screen without anyone giving a shit, including Aizawa and Mic.

And Spinner will now spend the rest of his life struggling with the extra quirks inside him that affect his body and mind, while having to cope with the thought that his boyfriend best friend and companions have either died alone or are locked away for life in horrifying circumstances.

Clearly not the same as with the heroes...

Now don't get me wrong, even if they suffered just as much from the consequences of their actions or the plot as the League, this ending would still be a disaster in terms of writing but AT LEAST it wouldn't reek that much of hypocrisy.

[wardensantoineandevka]

what ultimately gets me about learning that there was a way to destroy Predathos with a Luxon beacon is not necessarily that I would have preferred that as a narrative option. it's that learning that the Catatheosis option was chosen in complete ignorance of that option means that we completely missed out on any meaningful significance in which Bells Hells actively chose an option where nobody, not even Predathos, has to die

if Bells Hells knew that they could kill Predathos, just as much as they could kill the gods, but still chose Catatheosis out of empathy for both the gods and Predathos, it would have been a FAR SUPERIOR narrative and would have been the best, most meaningful, and most effective framing of the final narrative outcome.

the narrative we do have does not actually weigh handling Predathos with an eye as to what is just or fair for Predathos because, at the moment of the decision, the narrative and characters imagine that "destroy it" and "continue to contain it" are impossibilities. the idea that Predathos is hungry or that it's lonely or that it doesn't necessarily choose to behave this way end up non-factors in weighing the dilemma because it's believed that Predathos is going to be free in all cases. it actually takes any focus or weight on empathy or compassion for it AWAY because the characters and narrative don't believe there is any way to meaningfully act against Predathos. therefore, they don't need to weigh whether they are acting fairly to it. they simply believe they cannot meaningfully act unfairly against it because it's only a matter of time before it gets what it wants: freedom and a bite to eat. so, the dilemma is weighed entirely on what to do about the gods, and ultimately whether it is just or compassionate to allow them to be eaten or to chase them away or to find a way for their survival.

the fact that "there is a way to destroy Predathos" is never introduced in the narrative actually WEAKENS any idea that Bells Hells is choosing a radical and broad compassion and empathy for all life. they aren't choosing NOT to kill Predathos, they aren't choosing for Predathos to ALSO live. they simply don't know that the contrary is an option. you can't choose what you aren't aware of is on the table. so, we will never know if they would have still chosen Catatheosis if they'd have known that they could've destroyed Predathos this entire time.

it brings up a wild paradox for me in that, knowing that destroying Predathos was a real possibility and fully available if the right levers were pulled does not actually impart on the narrative as performed any meaningful thematic implications of mercy and compassion while simultaneously that knowledge weakens the narrative in my estimation because I am suddenly aware of how much that element would've vastly improved and added to the thematic arc, even if the outcomes remained the same and Bells Hells still chose Catatheosis, and given greater and more significant weight to the choice to pursue Catatheosis because it would've imbued it with a sense of active choosing to uphold particular values or ideals — but not enough work was done on Matt's end to ensure that it was part of the narrative, the available options, and its thematic fabric.

so, we don't get any of that. we just get a narrative outcome that is billed to us as, not out of any pursuit of ideological ideals (no matter what anyone else says), "Well, we didn't have any other choice, and I don't really want the gods to get eaten."

[neon-zipperooni]

in light of the new costume implying some things.. boy howdy, here comes a hot take, the crk fandom needs to understand the prospect of shadow milk being redeemed is not the end of the world

cookie run rarely even does redemption stories, the only big example of villainous characters being redeemed is in ovenbreak with lotus dragon cookie's growth and lychee dragon cookie building up to a redemption, which while i think on lotus's end it was kinda rushed they've been handling lychee very well, so its not like redemption stories in cookie run are "overdone" (also im sick of the "nooo im tired of redemptions" argument when 1. not everyone is, i personally love a good redemption story and 2. there are plenty of villains out there who are plain evil with no redemption, it's not a dying genre)

also it would be way more interesting than the more obvious resolution to the beast storyline of just sealing them away again, i think finding a way to appeal to the shreds of.. humanity? cookiemanity? still within them is a much more interesting narrative and lends itself to more stories to potentially tell with these five very interesting characters. and there are implications that the cookies they used to be are still in there somewhere, especially with burning spice, given how he full on bluescreens for a moment when reminiscing on the first kingdom he [....] (my money's on watched over, but we dont know what he was gonna say) when talking w/ nutmeg tiger in the kingdom

i've seen a lot of people say they'll lose interest in shadow milk if he gets redeemed which baffles me because for me at least, while a decent chunk of the appeal of the beasts is how interesting and entertaining they are as villains, one of my favorite parts of them is the heroes they once were, what they could've been like during those days, and the tragedies that led to them falling so deep into villainy: witnessing the worst in cookiekind and becoming disillusioned and deciding nothing should exist, witnessing their denizens live grow and die over and over and to the point they get sick of it and end up embracing destruction to take control of the cycle, and.. whatever we end up learning about the other three and what corrupted them.

for me, i see it like this lmao

and like, don't get me wrong, i know all the beasts really aren't good people but a redemption story doesn't necessarily mean a slap on the wrist, a redemption story can be about atonement just as much as it is about changing for the better, it can be messy, a sobering moment realizing everything you've done and everything you need to do to make up for it, there is sooo much story potential in delving into their pasts and delving into a redemption story of the beasts atoning for their deeds and growing as people it's crazy.. and besides, they were heroes once before, who's to say the potential to be that again isn't still within them?

i personally really wanna see a beast redemption and i'll never fathom why so many people are so against it when it's so much better of a way to conclude their story as the current main threat than just sealing them away again, i just hope that if this really is the route the devs go they'll handle it well because it can just as easily be done wrong, i have faith though

also i've seen a lot of people say the shadow milk costume looks ugly and they're WRONG it looks amazing i love blue and gold as a color combo

[lesbianherald]

Based Jayce take tbh….also I’m gonna confess this on anon but one of my most pretentious takes when it comes to fandom is that everything would be way easier to enjoy if ppl understood story structure a little more. Like Jayce’s arc is a negative arc. He sucked on purpose! If you had bad feelings about him that was intentional and okay (I do think Jayce hate was overblown but I also get why it existed. Like the audience was just picking up on the feelings the show was putting down). But he was definitely Like That for a reason! Usually in good writing, characters are tools for the narrative first you know…you don’t need to justify his actions to like Jayce because he’s fictional and he’s not a real person youre stanning. But also fandom is for fun so I know this take is pretentious but also it’s my truth. My story structure….my characters who are intentionally challenging my theme….my character arc….

NO NO BUT YOU ARE COOKING ON EVERY LEVEL !!!!

(Note: This randomly turned into a very hasty analysis of the shots used in the bridge scene? Because I got on a tangent about how we interpret visual storytelling as well and oops!)

Story structure is so overlooked. The role characters are supposed to play in an overarching narrative is overlooked. So much gets ignored in the way information is presented both in the story structure and visually that sometimes it frightens me and it makes me really bummed! And it's nobody's fault! Most of us live in a society that devalues art and literacy on purpose!

I don't think it's pretentious to wish people better understood the building blocks of the story or at least understood how to take in general arcs. And I think if they did as a whole most fandom spaces would be a lot more interesting and have a lot less bizarre takes/infighting.

I also think that - where arcane's writing can get weird and murky - the visual language will cover it. (Almost to an extreme.)

It makes me think of one of my favorite scenes in the whole show and how misinterpreted it gets and how quick people are to defend jayce here despite how much it is playing on the themes of the show and how clearly he is painted as in the wrong both by the writing and the shots ok fuck -

I think all the time about the imbalance of power represented by that insane low angle on Jayce. You know what fuck it. I'm going to go get it. Fuck. This is about to become a whole thing. Okay.

If I brought an angle like this into a classroom setting, I would be laughed at for it being too obvious. But its one of my favorites because its so visceral. In fact, I've shown this to a lot of friends - the reaction to this shot is usually an audible "Woah!" or even nervous laughter! Because clearly! He's supposed to be intimidating here. This is supposed to be like. Oh. He is not who he used to be. Oh. Oh no. Its so co clearly a representation of power and corruption you may as well stamp it on his forehead.

He's not only Jayce here, he's a representation of piltover as a whole - in its physical and political positions over Zaun. In a position of power over someone he's close with, who just verbally told someone he would "understand." Now we are seeing that he very likely wont. (He will! But right now, we are supposed to be with Viktor in this scene. We are supposed to become convinced he won't right with him!)

Note that the angle we get for Viktor is way less extreme. Way more eye level. And less centered. I could go on about this too. But oooh boy. Like! Clearly we are supposed to be more with him in terms of who we find rational. Clearly he's the voice of reason here. We are level with him. He is at a safe distance. We are seeing how he is looking up at jayce without looking down at him.

In this shot, he is someone we as an audience are level with, who is gathering information, making a decision. He is remaining more measured than I think the audience is supposed to be given the angle we're getting on jayce.

The only time we do get the "reverse" of that Jayce shot on Viktor is when he is quite literally standing out of the frame almost immediately. Whose furious with the position Jayce is putting him in. This is Right after Jayce says, "They're dangerous." He's gathered the information he needs. He sees Jayce for what he is. Somebody he cannot trust. And he refuses to be put in this lower position.

Jayce is not supposed to be the one we are rooting for here. He is the person we are supposed to be disappointed in. We are supposed to question him here. This isn't only dramatically spelled out in the narrative but also in the shot choicesss!

And then we have the apology -

That's why i always question why people are like. Okay but he apologized. When the apology is framed like this! We don't even get to see viktor's face because the damage is done!! JAYCE ISNT EVEN LOOKING AT HIM !!!! It doesn't matter. We don't even get full access to Jayce here! What's at the center of this shot is the barricade that Jayce has ordered!!! This makes the apology, and "I've had a lot on my plate" purposefully look ridiculous in the context of the Narrative here! It's not enough!

Viktor is DYING. And jayce is standing here all prim and proper, with the Talis symbol very visible in that fuckass suit, saying he's had a lot on his plate. We're very clearly not supposed to look at this and go awww! baby boy <3. If this apology was a meaningful moment for either of them that changed either of their minds - it would not be framed like thisssss. These words are empty in the context of it all. Jayce may be genuinely sorry, but he's accidentally revealed way too much about how he views Viktor's people. Even if he didn't mean to. Even if he didn't realize how deeply his biases ran.

And then we have Viktor lying. Viktor knowing he has to go about this alone. And this is the shot. This is the moment of fracture. Viktor looking back at him in disgust with Jayce's barricade in the background. HES ALONE!! JAYCE HAS FAILED HIM !!! This is so critical in understanding Viktor's entire everything moving forward, and it's so so critical for Jayce as well.

People talk a lot about that moment where jayce has his hand on Viktor's lower back because yaoi but that screencap is so hard to get because that moment is almost immediately interrupted by a protestor from zaun throwing a Molotov cocktail in their direction! And the touch, that reluctant familiarity, despite the conflict, gets broken.

Something that I think gets overlooked is Jayce's face after the (Molotov?) gets thrown by a protestor. ITS ANOTHER LOW ANGLE LIKE!!! Once again. Highlighting the power he has here.

We see Jayce in season 1 act 1 really highlighted with a lot of high angles. A lot of doe-eyed wonder. He looks young. Sweet. This is not the same jayce and it is very very clear in the way he is shot. This is the point !!!!!.

There are a lot of scenes i see misinterpreted but this is the big one. And its one of my favorite scenes. Because he's so wrong here! And he doesn't really fully grasp how much so yet.

I love jayce. I love my complex man. Because here's the thing. He needed this low to reach the character highs he does later. Jayce being as loving and determined to make things right as he is in season 2 wouldn't be nearly as compelling or tragic or exciting were he not like this in season 1. It's brutal to watch him get punished by the narrative! But it's also narratively satisfying!

Anyways anon i agree wholeheartedly sorry i made it into a whole thing.

[yua0ra]

𝐒𝐩𝐨𝐨𝐤𝐲

WARNINGS: theatrelover!theo x cinemalover!fem!reader, sex, porn with plot, semi-public sex, p in v, raw, cursing, hot, fingering, NSFW, english is not my first language. not proofread | minors please dni. smut 🂡

SUMMARY: In the cool of the evening, when everything is getting kind of groovy, you call me up and ask me: would I like to go with you and see a movie? First I say "No, Ive got some plans for tonight." But then I stop and say "All right".

WC: 6.3K AN: HAHAHAH finally, after what it seemed like a fucking eternity, I bring you... Theodore SMUT. Everyone say thank you! JK, enjoy it, you whore. <3

𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓:

Theodore Nott had an insufferable, borderline pretentious love for contemporary theatre. He would wax poetic about the brilliance of Jez Butterworth, the raw grit of Simon Stephens, and the immersive absurdity of Caryl Churchill. You, on the other hand, were a cinephile at heart—Tarantino’s razor-sharp dialogue, Scorsese’s masterful character studies, Nolan’s intricate narratives. You could analyze Pulp Fiction’s non-linear structure just as easily as you could tear apart The Wolf of Wall Street’s moral ambiguity.

Despite your differences, you both had an undeniable appreciation for storytelling—whether on stage or on screen. And naturally, that appreciation often turned into petty arguments.

"You can’t tell me The Ferryman isn’t one of the best pieces of theatre in the last decade," Theo scoffed one day, arms crossed as he leaned back in his chair.

You rolled your eyes. "Oh, please. Jez is just doing modern-day Greek tragedy with a sprinkle of Irish drama. It’s compelling, sure, but it’s not reinventing the wheel."

Theo narrowed his eyes. "And what, you think Tarantino’s constant foot fetish and non-linear storytelling is revolutionary?"

"At least Tarantino has mastered the art of tension," you shot back. "The Sicilian scene in True Romance? The diner scene in Reservoir Dogs? You don’t need an elaborate set change or monologues drenched in metaphor—you just need two people in a room and a damn good script."

"That’s rich coming from someone who praises Tennessee Williams and Arthur Miller—two of the most dialogue-heavy playwrights in existence."

Your friends groaned. They were used to this. You and Theo could argue for hours over narrative devices, symbolism, and whether theatre or cinema was the superior storytelling medium.

But one afternoon, during an extracurricular drama lesson, the argument escalated to a level that left everyone in the room speechless.

The class was discussing adaptations—how literature, theatre, and film intertwined.

Theo, ever the theatrical purist, argued, “Plays allow for the rawest human emotion. There are no camera tricks, no fancy editing—just an actor on stage, exposed. That’s why theatre will always have a deeper emotional impact than cinema.”

You weren’t about to let that slide. “That’s a wildly limited way of thinking. Film is just as much a visual art as it is a narrative one. Sure, theatre relies on the performer’s ability to hold an audience, but film can show a character’s internal struggle without a single word of dialogue. A glance, a shift in lighting—those subtle details can hit just as hard as a monologue.”

Theo tilted his head, amused. “Alright, then. A Streetcar Named Desire—would you rather see it on stage or in Elia Kazan’s adaptation?”

You smirked. “Kazan’s adaptation is brilliant, but you’re proving my point. The film version utilizes Marlon Brando’s raw, visceral performance while also using close-ups, sound design, and visual metaphors to enhance it. Theatre is powerful, but it’s limited by its medium. Film has more tools.”

The tension in the room thickened as you both volleyed back and forth—citing everything from Angels in America to Taxi Driver, from Arthur Miller’s The Crucible to Nolan’s Memento.

By the time you both stopped to take a breath, the rest of the class was staring at you like they had just witnessed an academic duel to the death.

Blaise, looking mildly concerned, muttered, “I think you two just argued in a language no one else speaks.” Pansy blinked and slowly nodded her head, “did you just name-drop fifteen different playwrights and directors in the span of five minutes?”

Draco, unimpressed, simply said, “I came here to watch people pretend to be trees, not to witness whatever that was.”

You and Theo exchanged a look. And, despite everything, a slow grin spread across both your faces. Because for all the arguing, all the differences, and all the passionate debates—you loved every second of it.

- ★、

The weekend had finally arrived, and with it, your much-anticipated cinema trip. It wasn’t every day you got to slip away from the castle, apparate to London, and immerse yourself in the warm glow of a dimly lit theatre, the smell of buttered popcorn thick in the air. Tonight’s screening? A Tarantino classic—Inglourious Basterds. You were practically buzzing with excitement as you stepped into the theatre, savoring the moment before the film began.

And then you saw him.

Theodore. Bloody. Nott.

Leaning against the concession stand, hands in his pockets, looking as if he belonged in some noir film with his perfectly tailored coat and unimpressed expression. His sharp gaze flicked over to you, a slow smirk tugging at his lips.

“Well, well,” he drawled, stepping closer. “Didn’t peg you for the type to sneak off to London alone for a late-night film screening. How rebellious.”

Your eyes narrowed. “And you didn’t strike me as the type to appreciate Tarantino. What are you doing here, Theo?”

He raised an eyebrow, feigning offense. “What, am I not allowed to expand my horizons? Maybe I wanted to see what all the fuss was about.”

You scoffed, crossing your arms. “Oh, please. You’ve spent weeks slandering film in favor of theatre, and now you suddenly show up to a Tarantino movie of all things?”

Theo hummed thoughtfully, stepping closer, so close that the scent of his cologne—expensive and frustratingly good—filled your senses. “Maybe,” he mused, “I just enjoy riling you up.”

You rolled your eyes, but your heart was betraying you with its traitorous thump against your ribs. “Right. So you apparated to London, found this exact cinema, and happened to pick the same showing as me? Coincidence?”

His smirk deepened. “Perhaps.”

Before you could interrogate him further, the theatre doors opened, and people started filing inside. You exhaled, shaking your head. “You know what? I don’t care why you’re here. Just—don’t ruin the film for me.”

“Wouldn’t dream of it,” he murmured, trailing after you.

You found your seat, sinking into the plush velvet, determined to ignore the fact that Theodore Nott had somehow ended up in the seat directly beside you. He stretched out, looking infuriatingly at ease, as if this hadn’t been some grand invasion of your sacred cinema time.

And then, as the lights dimmed and the first scene flickered onto the screen, Theo leaned in—just enough for his breath to ghost against your ear.

“If this film doesn’t impress me,” he whispered, “you owe me a ticket to the next play I pick.”

You turned your head slightly, meeting his gaze, and smirked. “Fine. But when you inevitably love it, you’re admitting I was right.”

Theodore just chuckled, his fingers tapping idly against the armrest. “We’ll see.”

As the film unfolded on the screen, you found yourself hyperaware of Theodore’s presence beside you. It was ridiculous, really—how could one person occupy so much space without actually moving? 

His elbow rested dangerously close to yours on the armrest, his long legs stretched out in that careless way he always sat, as if the entire world was his to lounge in. 

You tried to focus on the movie, on the tense exchange between Landa and Perrier LaPadite, but Theo shifted slightly, his knee brushing against yours, and suddenly, every bit of dialogue seemed to drown beneath the sound of your own heartbeat.

You weren’t sure when it happened—when the push and pull of your debates, the sharp edge of your banter, had morphed into something more charged, something that left a static hum in the air between you. 

Maybe it had always been there, simmering beneath every eye roll, every challenge, every smirk that lasted a second too long. And now, sitting here in the dim glow of the theatre, with flickering light casting shadows across his annoyingly perfect features, it was impossible to ignore.

Halfway through the film, Theo leaned in again, his voice barely above a whisper. “Alright, I’ll admit it. The dialogue is brilliant.”

You smirked, keeping your eyes trained on the screen. “Told you.”

His fingers tapped idly against the armrest, a steady, maddening rhythm. “Still doesn’t mean it’s better than theatre.”

You turned your head slightly, lips curving in amusement. “Oh? And why’s that?”

Theo tilted his face toward you, his voice dropping lower, smoother. “Because film lets you hide. Close-ups, cuts, music—it manipulates how you feel. Theatre? It’s raw. No second takes. No distractions.” His eyes flickered over your face, lingering just a moment too long on your lips. “You can’t escape it.”

A shiver ran down your spine, though whether it was from his words or the way his voice curled around them, you weren’t entirely sure. You swallowed, forcing yourself to focus. “You call it hiding. I call it perspective. The camera lets you see things no audience member ever could—something intimate, something only you get to witness.”

Theo hummed, considering that. The tension between you had shifted into something heavier, something that pressed into the space between breaths. He was still close, close enough that you could catch the faintest scent of his cologne, the warmth radiating from where his arm rested near yours. It would be so easy to lean in just a little more, to close that final inch between you.

And then, just as you were about to force yourself to sit back, to pretend none of this was affecting you, he moved.

Slow, deliberate. His fingers brushed against the back of your hand, the touch featherlight, testing. Your breath hitched, your pulse hammering against your ribs, but you didn’t pull away. Theo, ever perceptive, took that as permission, his fingers shifting, tracing the delicate curve of your wrist.

“You’re… mad, Theo. You’re out of your mind,” you murmured, barely aware you had spoken the words aloud.

His lips quirked, but there was something darker in his gaze now, something that sent heat curling low in your stomach. “That’s right…,” he murmured, his fingers sliding between yours, “but you’re too, you haven’t moved.”

You knew you should say something—should tease him, should act unaffected—but all logic had abandoned you the moment his hand fully curled around yours. The room around you had disappeared, the film reduced to a distant hum in the background.

Then, with a slow, deliberate movement, Theo lifted your intertwined hands, brushing his lips against the inside of your wrist. It was barely a kiss—more of a ghost of one—but it sent a shiver straight down your spine, igniting something electric in your veins.

Your breath hitched. “Theo—”

“I know,” he murmured, voice impossibly low, as if he was reading every thought racing through your mind. His thumb traced slow, teasing circles over your palm, his lips still hovering dangerously close to your skin. “Tell me to stop.”

But you didn’t.

You exhaled shakily, tilting your head slightly toward him, meeting his gaze through the dim flicker of the screen. “What if I don’t want to?”

His smirk deepened, but there was something softer there, something almost unreadable. For a moment, he just looked at you, as if memorizing every detail, before he finally whispered, “Then we might have a problem.”

And the worst part?

You wanted to find out just how much of a problem it could be.

The world outside of your little bubble had disappeared completely—the film playing on the screen, the murmur of the other audience members, the distant rustling of popcorn bags—it all faded into nothing. All that remained was Theodore, his touch burning into your skin, the weight of his gaze heavy as it flickered down to your lips.

His hand tightened ever so slightly around yours, his thumb tracing the delicate skin of your wrist, and you swore you felt your heartbeat stutter. There was something unbearably patient about the way he was looking at you, like he was waiting—waiting for you to pull away, to scoff and shove him off, to turn this into just another one of your never-ending debates. But you didn’t move.

Instead, you found yourself leaning in, the warmth between you growing thick, heavy. Your noses brushed—barely, just a whisper of contact—but it sent something electric crackling through your veins.

Theo exhaled sharply, like he’d been holding his breath. His voice was nothing more than a murmur, just for you. “You’re really not stopping me.”

You smirked, fingers tightening slightly around his. “I thought you liked risks.”

His lips caught yours in the next breath, slow at first—just a soft, testing press, as if he wasn’t entirely sure this was real. But then you sighed against his mouth, tilting your head slightly, and finally leaned in.

Theo let go of whatever restraint he had left. His free hand came up to cradle your jaw, fingers pressing gently beneath your ear as he deepened the kiss, slow and deliberate, like he wanted to savor every second.

He tasted faintly of Italian summer and something richer, something entirely him. His touch was both careful and possessive, like he was memorizing the shape of you beneath his fingertips. You felt yourself melt into it, the heat between you intensifying, stealing the breath from your lungs.

You barely noticed the way his thumb brushed over your cheek, the way he tilted your chin just slightly to kiss you deeper. Everything about it was intoxicating—the way he moved, the way he swallowed the quiet little sigh that escaped you, the way his fingers flexed against your skin like he didn’t want to let go.

Somewhere in the background, the movie continued playing—gunfire, sharp dialogue, the rise of a dramatic score—but it all blurred into nothing. All you could focus on was Theo, on the way he was kissing you like he’d been waiting for this, like he wasn’t sure he’d get another chance.

When he finally, reluctantly, pulled away, his lips barely ghosting over yours, you were both breathless. His forehead rested against yours for a moment, his fingers still cupping your jaw, his thumb tracing absent patterns over your skin.

You opened your eyes slowly, meeting his gaze. His pupils were blown, his lips slightly parted, and for the first time, Theodore Nott looked entirely, devastatingly undone.

A slow, lazy smirk curled at the corner of his lips. “Well,” he murmured, voice slightly rough. “I suppose I owe Tarantino some credit after all.”

You let out a breathy laugh, rolling your eyes. “Unbelievable.”

He chuckled, fingers trailing down the side of your throat, as if he wasn’t quite ready to stop touching you yet. “Admit it,” he said, his voice low and teasing. “You liked that more than the film.”

You hummed, pretending to consider. “Jury’s still out.”

Theo smirked, his lips brushing yours again in a featherlight kiss, like a silent promise. “Then I guess I’ll just have to convince you.”

And as he pulls you back into another kiss, slow and deep and utterly devastating, you realise with absolute certainty—you were in trouble.

Theodore's hand tangles in your hair, tilting your head to deepen the kiss, his lips moving with an urgency that steals your breath. He pulls you closer, eliminating any remaining distance between your bodies, his heart hammering against his ribs. 

His other hand splays across your lower back, pressing you flush against him as the kiss grows more heated, more demanding. He nips at your lower lip, his tongue soothing the sting before delving back into your mouth, stroking along yours in a dance that leaves you breathless. The cinema, the other people, the movie - it all disappears. There is only the two of you, lost in the passion of this stolen moment. 

When Theodore finally breaks the kiss, you're both left panting, your chests heaving as you struggle to catch your breath. He rests his forehead against yours, his eyes fluttering open to gaze into yours with an intensity that makes your heart stutter. “Fuck..." he breathes, his voice ragged with desire.

And then, an act on impulse, a surge of primal instinct driving him. In one swift, fluid motion, he reaches under your thighs and lifts you effortlessly, settling you straddled on his lap. The sudden change in position startles you both, but the shock quickly melts into a shiver of pleasure as you feel the hard, muscular length of his thighs beneath you. 

The cinema has long since faded from your awareness; now there is only the two of you, the heat building between your bodies, the electricity crackling in the air. 

Theodore's hands grip your hips, his fingers digging into your flesh almost hard enough to bruise as he holds you in place. Your chest is pressed against his, and you can feel the pounding of his heart, the rapid rise and fall of his breathing. 

His eyes are dark, almost black in the dim light, blazing into yours with an intensity that makes your own pulse race. "Darling," he murmurs, his voice a low, husky rumble. His hands move again up your back, one tangling in your hair while the other cups the back of your neck, pulling you into a searing, desperate kiss. 

The kiss is a clash of lips and tongues, a dance of passion and pent-up longing. It's a kiss that speaks of a hunger, a need, a desperation that can no longer be contained. Theodore kisses you like a man starved, like he is trying to devour you, to consume you, to make you a part of him.

Red faced, messy hair, you look up at him. “Sh-shit Theo, we shouldn’t be doing this here.” You quietly giggled.

Theodore chuckles softly at your giggle, a sound that sends a shiver down your spine. He doesn't stop his ministrations, his hands still roaming your curves with a familiar confidence. 

But he does lean back slightly, a smirk playing at the corners of his mouth. 

"Shh, shh, bella, what's the matter? Don't tell me you're getting shy on me now..." he teases, his voice a low murmur meant only for your ears. 

"We're just two lovers, lost in the moment. Surely there's no harm in that?" His hand slides from your hip to your thigh, his fingers tracing maddeningly slow circles on your skin. Your breath hitches at the touch, a fresh wave of goosebumps erupting across your flesh.

Theodore's eyes darken with lust as he feels your hips squirming against him, your plush rear rubbing against his hardening cock through the fabric of his trousers. 

A low, guttural groan escapes his lips, his fingers digging into the soft flesh of your thighs. His other hand slides up your side, his fingertips skimming the side of your breast, teasing you with the promise of his touch. 

He leans in closer, his lips brushing against the sensitive skin of your neck, his breath hot and heavy against your flesh. "Gorgeous, you feel what you do to me, don't you?" he murmurs, his voice a low, husky growl. 

His words sent a shiver down your spine, heat pooling low in your stomach as your grip tightened on his coat. The way he spoke, all dark velvet and wicked amusement, made your head spin. You did feel it—the tension thrumming between you, the heat of his body pressed against yours, the way his fingers ghosted over your skin like he was memorizing the shape of you. And Merlin, it was driving you insane.

Your breath hitched as you shifted against him, creating more friction, desperate for anything to relieve the ache building inside you. His sharp inhale, the barely restrained groan against your throat, sent a rush of satisfaction through you.

"Fuck," Theo muttered, his lips grazing the delicate skin beneath your jaw. "You're dangerous."

A breathy laugh escaped you, but it was cut short as he tightened his grip on your waist, pulling you impossibly closer. His nose skimmed along the column of your throat before he pressed an open-mouthed kiss there, slow and deliberate, as if savoring the way you trembled against him.

"You drive me crazy, you know that?" he murmured, lips brushing against your pulse point. "Arguing with you, watching you get all worked up—Merlin—and now this?" His teeth grazed your skin, not quite biting, just enough to make your breath stutter. "Gorgeous, you have no idea how long I've wanted this."

His confession sent a fresh wave of heat through you, and you couldn't help the way your hips rolled against his, seeking more of the delicious friction he so easily provided. His hands gripped you tighter, his restraint fraying with each passing second.

Theo let out a strained chuckle, pulling back just enough to look at you, his eyes dark and filled with something dangerous. "If you keep doing that, sweetheart," he murmured, voice thick with desire, "I'm going to forget we're in a bloody cinema."

The thought sent a thrill through you, but you knew he was right. The dim glow of the screen cast flickering shadows across his sharp features, but the reality of your surroundings was quickly slipping away, drowned out by the intoxicating heat between you.

You licked your lips, breathless. "Then maybe you should."

Theo stilled for a fraction of a second, his fingers flexing against your waist. And then—Merlin, then—his lips curled into a slow, knowing smirk.

"Brilliant idea, darling," he purred.

And before you could second-guess yourself, before the haze of lust could fade, Theo was back at it again, with more force and more desire.

Theodore's hand cups your breast fully now, his thumb and forefinger pinching and rolling your hardened nipple through the thin material of your shirt. His lips trail up your neck, pausing to nip and suck at your pulse point before moving to your ear. 

"I want to bend you over the back of this seat and fuck you until you scream, until the entire cinema knows who you belong to," he whispers, his voice rough with need. 

"I want to make you come on my cock again and again until you're begging me to stop, until you're completely and utterly satisfied..." His hand slides down your stomach, his fingers slipping beneath the waistband of your skirt, teasing the sensitive skin just above where you crave his touch most. 

Theodore's eyes blaze into yours, filled with a hunger and a desperation that makes your core clench with anticipation. "But I suppose I can be patient, for now," he murmurs, a smirk playing at the corners of his mouth. 

"After all, the anticipation, the build-up, the waiting... it's all part of the thrill, isn't it? Knowing that I could take you right here, right now, but choosing not to... for now." 

He pulls you into another searing kiss, his tongue delving into your mouth, claiming you, consuming you, until you're left breathless and wanting. 

When he finally breaks the kiss, he rests his forehead against yours, a wicked glint in his eye. "Tell me," he murmurs, his voice a low, sinful purr. "What do you want, my clever little witch?”

“N-no, Theo.” You blush, feeling hot. “I’m too turned on, I’ll be quiet I promise.” 

Theodore's eyes flash with triumph and desire at your breathless, needy words. A smug, satisfied smirk spreads across his handsome face as he realizes the effect he's having on you. 

His hand slides further down, his fingers brushing against your clothed sex, feeling the damp heat radiating through the fabric. "Mmm, is that so, pretty?" he murmurs, his voice a low, husky purr. 

"You want me to fuck you, right here, right now, don't you? Want me to slip my hard, aching cock inside your tight, wet little cunt until you're screaming my name?" His fingers rub slow, teasing circles over your clothed clit, applying just enough pressure to make you squirm and whimper with need. 

Theodore leans in closer, his lips brushing against your ear as he whispers, his voice dripping with sinful promise. "I promise, I'll make it worth it. I'll fuck you so hard and so good that you'll forget where we are, and every single time, that you watch this movie, you will only see me.” 

His other hand slides up your shirt, pushing the fabric out of the way to expose your heaving breasts. He cups the soft mounds, kneading and squeezing them, his thumbs and forefingers pinching and tugging at your hardened nipples. 

"You just need to be a good girl and stay quiet for me, understand? No matter how much you want to scream, no matter how much you want to cry out in ecstasy, you need to stay silent. Think you can do that, tesoro?" Theodore's eyes blaze into yours, filled with a hunger and a desperation that makes your core clench with anticipation. 

His hand slips beneath your skirt, his fingers brushing against your slick folds, feeling the evidence of your arousal. 

"Tell me, baby," he murmurs, his voice a low, commanding growl. "Are you ready for me to fuck you like you've never been fucked before, right here, right now, in front of all these unsuspecting people?”

Theodore takes your silent nod as the consent it is, his eyes darkening with a new wave of lust and desire. 

His hand slips further beneath your skirt, his fingers brushing against your slick, bare folds, feeling the evidence of your arousal coating his skin. With a low, guttural groan, he pushes two fingers deep inside you, his thumb rubbing tight circles over your clit. 

He pumps his fingers in and out of your tight heat, his palm pressing against your clit with each thrust, sending shockwaves of pleasure ricocheting through your body. Theodore leans in closer, his lips brushing against your ear, his voice a low, husky whisper. “Shit, you're so fucking wet. So ready for my cock, aren't you? I can feel your greedy little cunt sucking me in, begging to be filled..." 

His other hand still up your shirt, pushes the fabric of your bra out of the way completely. He leans down, taking the stiff peak into his mouth, suckling and nibbling until you're writhing against him, barely able to stay silent. 

Thank Merlin, you guys are in the last row, and the cinema’s loud speakers consume the room, the attention of the silent watchers move away from you both, the world narrowing down to the feeling of Theodore's hands on your body, his fingers pumping in and out of your dripping sex, his mouth on your breast. 

You can feel the hard, thick length of his cock pressing against your ass, the evidence of his own desperate arousal. Theodore's hand slides from your breast to grip the back of your neck, holding you in place as he grinds his hips against yours, the rough fabric of his trousers rubbing against your sensitive flesh. 

He captures your lips in a searing, desperate kiss, his tongue delving into your mouth, claiming you, consuming you. 

"Mmh... please Teddy." You can't hold it in. It's been too long, he's teasing too much. "Hurry up so we can get the hell out."

Noticing your discomfort, and your inability to stay fucking quiet, Theodore’s eyes widen briefly at your plea, a wicked grin spreading across his face. He chuckles softly, a low, sinful sound that sends a shiver down your spine. 

His fingers continue their relentless assault on your dripping pussy, pumping in and out, curling against that sensitive spot deep inside you that makes your toes curl and your back arch. "Mmm, so eager, aren't you beautiful?" he murmurs, his voice a low, teasing purr. 

"So desperate for my cock, so hungry for me to fill you up, to make you mine..." 

He nips at your lower lip, his teeth tugging on the tender flesh, before soothing the sting with his tongue. His hand slides from your neck to your hip, gripping the curve possessively. "Very well, my love. I suppose we can finish the movie another time… too bad we couldn’t do it in here.” 

Theodore's voice is low and rough with desire as he slowly withdraws his fingers from your dripping sex. You whimper at the loss, your body aching to be filled, to be stretched and used. He stands abruptly, pulling you up with him. 

With deft, practiced movements, he straightens your skirt and shirt, making you presentable once more. Taking your hand in his, he leads you quickly and quietly out of the cinema, weaving through the darkened aisles until you reach the emergency exit at the back. 

Pushing open the door, Theodore pulls you into the cool night air, the stars twinkling above you in the inky black sky. He doesn't stop until he finds a secluded spot behind a tall hedgerow, hidden from view of the cinema and the buzzing streets of London. 

Turning to face you, Theodore pulls you flush against him, his hands gripping your hips with hands that you knew would leave a mark. 

He connects both your mouths, hurriedly, impatient to fuck you good.

He groans into your mouth, his tongue delving deep, stroking along yours, tasting you, consuming you. His hands slide down to cup your ass, squeezing the firm globes before lifting you up, encouraging you to wrap your legs around his waist.

 He carries you a few steps further, until your back is pressed against the rough bark of a sturdy brick wall. 

Breaking the kiss, Theodore leans back just enough to look into your eyes, his own blazing with a hunger and a desperation that makes your heart race. 

He reaches down with one hand, fumbling briefly with the fastenings of his trousers before freeing his aching cock. It springs forth, shiny and veiny and heavy, the swollen head already glistening with precum. 

He strokes himself once, twice, hissing at the sensation, before gripping your thigh and positioning himself at your entrance. "Tell me, beautiful," he murmurs, his voice a low, rough growl. "Tell me you want this. Tell me you need my cock inside you, filling you, claiming you, making you mine. Say it, cara mia..." He rubs the head of his cock teasingly against your slick folds, coating himself in your arousal. 

His other hand slides up your jaw, cupping your face, his thumb playing with your swollen pouty lips. His eyes bore into yours, filled with a desperate, aching need. The cool night air kisses your skin, but the heat building between your bodies is scorching, all consuming.

Theodore's chest heaves with each ragged breath, his heart pounding against his ribs. He's waiting for your consent, your permission, his body trembling with the effort of holding back. 

With a sudden, sharp thrust, he sheaths himself inside you, burying his thick, hard length deep into your tight, wet heat. He groans, a sound of pure, unadulterated pleasure that sends shockwaves through your body. 

He starts to move, his hips rolling against yours, his cock sliding in and out of your dripping sex with long, deep strokes. “Cazzo..." Theodore grits out, his voice strained with exertion and ecstasy. "You feel exquisite, like you were made just for me. So fucking tight, so fucking perfect..." He captures your lips in a searing kiss, swallowing your moans and cries of pleasure. 

His hands grip your hips, pulling you down to meet his thrusts, the force of them making you shake against the hard wall.

Theodore groans at your sudden cry, the sound turning him on. He pistons his hips faster, driving into you with a newfound urgency, the force of his thrusts making the old oak tree shudder and sway around you. 

"That's it, bella," he pants, his voice a low, rough growl. "Let me hear you. I want to hear every little sound you make, every desperate plea falling from your pretty lips. Were not in there any more, don’t hold back princess…” 

One hand slides from your hip to your thigh, pushing your leg higher up his waist, opening you up to him, allowing him to delve even deeper into your tight, clenching heat. 

The other hand slides up your shirt, exposing once again your heaving breasts to the cool night air. Theodore leans down, taking one hardened nipple into his mouth, suckling and nibbling at the sensitive bud until you're writhing against him, your fingers tangling in his dark hair.

 He laves his tongue over the reddened flesh, soothing the sting of his bites before moving to its twin, giving it the same attention.

 All the while, he never stops his relentless assault on your pussy, his cock pounding into you with a force that steals your breath and makes stars explode behind your eyelids.

 You can feel the tension building low in your belly, the coil tightening with each thrust, each stroke, each press of his hips against yours. Theodore's hand slides between your bodies, his fingers finding your clit, rubbing tight circles over the swollen nub. 

His touch is electric, sending shockwaves of pleasure ricocheting through your body, pushing you closer and closer to the edge. "That's it, baby," he murmurs against your breast, his voice a low, sinful purr. 

"Come for me, my love. Come on my cock like the perfect little angel you are. I want to feel you…” 

Theodore feels your sex clamp down around his cock like a vice as your orgasm overtakes you. He groans, a sound of pure, unadulterated pleasure that echoes through the quiet night air, as your walls flutter and spasm around his throbbing length. 

He doesn't slow his thrusts, instead pounding into your quivering heat with a newfound fervor, prolonging your climax, drawing out your ecstasy. 

“Yes, yes, yes… just like that” he growls, his voice ragged and strained with his own impending release. "Fuck, you're squeezing me so tightly, like you never want to let me go. I can feel your greedy little cunt trying to swallow this big dick.” 

He captures your lips in a bruising kiss, swallowing your cries of pleasure, his tongue delving deep to stroke along yours, to dance and twine with yours in a lewd, filthy imitation of the act taking place below. 

His hands grip your ass, squeezing the firm globes, pulling you harder against him, burying himself impossibly deeper inside you with each powerful thrust. Theo's fingers continue their relentless assault on your clit, rubbing tight, fast circles over the sensitive nub, pushing you through your climax and straight into another. 

Your body is trembling, shaking, the pleasure almost too intense to bear as he fucks you through the aftershocks, the waves of bliss crashing over you again and again. He can feel his own release building, the tension coiling at the base of his spine, his balls drawing up tight. 

With a final, brutal thrust, he buries himself to the hilt inside your still fluttering sex, his cock pulsing, throbbing, as he finds his own completion. 

"Fuck, pretty, fuck!" Theodore roars, his voice echoing through the night as he starts to come, his thick, hot seed spurting deep inside you, painting your walls white. 

His hips continue to roll, grinding against yours, drawing out his orgasm, filling you up just like he promised.

 He holds you close as the waves of pleasure slowly ebb, your combined releases trickling down your thighs, marking you, claiming you, making you his. 

Theodore's heart hammers against his chest as he tries to catch his breath, his forehead pressed against yours, his eyes locked with yours.

You felt colder now, the sharp night air finally biting at your flushed skin, but Theo barely let you move away from him. His arms were still wrapped around you, firm and possessive, as if he had no intention of letting you go just yet. And honestly? You weren’t about to complain.

Your breath came in slow, uneven pants as you tried to recover, your forehead still pressed against his. His lips curled into the ghost of a smirk, his usual arrogance softened by the post-bliss haze settling over both of you.

“Merlin,” Theo finally muttered, voice still thick and gravelly, “that was—” He exhaled, shaking his head like he couldn’t even find the words.

You let out a breathy, satisfied laugh, tilting your head to look at him. “Better than theatre?”

His lips twitched, eyes gleaming with mischief. “You’re really asking me that?”

You hummed, feigning nonchalance even as your body still buzzed from everything you’d just done. “Well, I mean, I know you think theatre is the peak of human artistic expression, but surely even you have to admit that was… cinematic.”

Theo let out a short, incredulous laugh. “Cinematic?”

You grinned, biting your lip. “Perfectly timed tension, intense buildup, and an unforgettable climax—I’d say we just gave Scorsese a run for his money.”

Theo groaned, tipping his head back, but you caught the way his lips twitched, like he was trying so hard not to smile. “You would turn this into a bloody film analysis.”

You shrugged, smug. “And you would turn it into a tragic, forbidden romance.”

“Obviously,” he shot back, eyes twinkling with amusement. “Star-crossed lovers, clashing ideals, unbearable tension—”

“—and a dramatic resolution that makes the audience swoon,” you added, nudging his ribs.

He chuckled, shaking his head as he pulled you in closer. “Fine, I’ll admit it. That was—” He lowered his voice, leaning in to whisper against your ear, “—Oscar-worthy.”

You let out an exaggerated gasp, pushing playfully at his chest. “You’re giving credit to film? You? Theodore Nott?”

He smirked, completely unbothered. “Even I have to admit, some performances just can’t be staged.”

You laughed, shaking your head as you finally let yourself melt into his arms, letting the cool London air wrap around you both. “Well, I suppose there’s only one thing left to do now.”

He raised a brow. “And that is?”

You looked up at him, feigning seriousness. “Debrief. Proper analysis, compare our perspectives—”

“Absolutely not,” Theo groaned, dragging a hand down his face. “You’re insufferable.”

You grinned. “And yet, you’re still holding me.”

Theo sighed, shaking his head with an affectionate smirk. “Yeah, well… Guess I do have a weakness for a well-written story.”

His lips met yours again, soft and unhurried this time, and you couldn’t help but think—whether it was theatre or cinema, tragedy or romance—this? This was your favorite story yet.

[antonsbf]

The Scandal- jake x male reader

intro chapter

summary: Jake is caught in a scandal, and the group’s manager suggests a fake relationship with a mysterious boy to fix it

(next chapter)

The sharp clacking of hurried footsteps ringed in jake's ear.

Enhypen’s manager walks into the room, followed by assistants, their faces tense with urgency. The members sat in silence, dread settling over them like a thick fog. No one spoke, but the anxiety in their eyes said everything.

The manager cleared his throat, slicing through the heavy atmosphere.

“I think we all know why this emergency meeting was called.” His voice was firm but laced with frustration. “The scandal involving Jake and these dating rumors has gotten too big to ignore.”

Silence. So quiet you could hear a pin drop.

Jake swallowed hard. He wished the floor would open up and swallow him whole. Anything to escape this mess.

The manager continued, his tone sharper now. “We’ve come up with the only solution that can save Jake and the group.” His next words sent a shockwave through the room.

“We’re going to play into the controversy.”

“WHAT?!”

The members burst out in unison, eyes wide, eyebrows furrowed in disbelief. Sunghoon nearly choked on air, while Heeseung’s jaw practically hit the table.

The manager held up a hand, silencing their protests. “I understand why you’re shocked. This wasn’t an easy decision for the company either. But the fans are furious, and we believe that no amount of apologies or a hiatus will calm them down. We need to take control of the narrative before things spiral further.”

A pause.

“We’re going to create a fake relationship for Jake. And we’ve already found the perfect person for the role.”

The tension in the room thickened. The members exchanged uneasy glances. Jake felt his stomach twist into knots.

The manager turned toward the door.

“Bring them in.”

A boy, slightly shorter and younger than Jake, stepped into the room. Dressed in an oversized hoodie and baggy cargo pants, he moved with quiet confidence. His platform shoes added some height, but the mask covering his face kept his expression unreadable.

He bowed respectfully to everyone in the room.

The members, still processing the situation, instinctively bowed back. But their confusion was clear furrowed brows, puzzled glances exchanged between them.

Who was this guy? And what did he have to do with Jake’s scandal?

this is a very small teaser. i hope you like it. please give the story a heart if you want me to continue this story. :))

[utilitycaster]

Would you say there's any takeaways for DMs from how campaign 3 ended up going? Personally it's definitely made me understand the importance of prepping my players ahead of a campaign for what they're getting into.

Either way curious to hear your thoughts, thanks!

Prep the players for the kind of campaign you want to run

If the players want to be in a different campaign than you want to run, listen to them and figure something out that works for all of you

Your choices as the DM will influence what players will do; if you make the stakes meaningless, they will be uninvested and feel no need to make choices

Don't be afraid to say no

Making something that is fun to make; making something that has a happy ending; and making something that is narratively strong are three different things that can coincide but do not automatically do so. Moreover, one person's idea of fun or happy might be wildly different from someone else's; make sure you are in agreement

The DM is the keeper of the world, and retcons shake the world's foundations. If you're changing something, explain what and why, otherwise the players will assume they're on unstable ground and will act accordingly

[girl4music]

“She’s not burning just one paper, she has an entire fire going.”

What an analogy!

A+ meta on Vi OP.

Girl hasn’t even had chance the catch up with herself.

Let alone anyone else.

And yet she constantly puts others before herself. You’d think someone that closed off would be a little selfish.

Nope. She’s the last person to “me” the narrative.

And we love her for it but at the same time…

We just want her to get a break.

And she does in the end.

“Anti-climatic” or not… this was appropriate for her.

And if people can’t deal with that, then they don’t care about the character and her wants and needs at all.

And do you know what’s upsetting but also admirable?

Vi would be fine with that. I think it’s nice seeing the badass warrior woman be the selfless one for once.

It subverts the trope that tormented warriors aren’t capable of feeling empathy or having compassion.

Because at the end of the day the reason why they fight so hard and so much is because they’re deeply experienced in and sensitive to loss and grief and pain.

That’s what makes them true warriors and heroes.

JINX: “Vi was strong because she was afraid. Her fear of losing us is what made her fight so hard.”

I find it fascinating all the different interpretations (some of them way off when it comes to characterization BUT nevertheless entertaining) on Arcane. Sometimes it seems like people aren’t actually SEEING what they’re watching. HEARING what they’re listening to. FEELING what they’re touched by.

It’s almost like they’re the actual closed off ones.

They’ve got the entire experience right in front of them and yet… it’s not reaching them. Not getting through.

It’s mad. Sometimes I have to ask myself: “Am I just unusually perceptive and receptive?”

I don’t think so. 🫤

I mean there’s no reason why I would be.

I think the problem is on their end because the creators did all they could to illustrate the complexity of Arcane.

If people aren’t picking that up, there’s a problem there.

And I think it’s the difference between driving the vehicle and riding shotgun. Entirely different intake.

When you’re not in it, you don’t easily understand it.

But if you’ve been there, you sort of filter it that way.

And the result is what is cultivating the divisiveness.

But hey, that’s the key to exceptional storytelling and representation if you can get so many different intakes.

I find it fascinating. I am as equally entertained and fulfilled in watching the reactions over Arcane as I am watching Arcane itself. I think it’s one hell of a show.

I don’t say much. I just sit in the backseat observing.

And what I’ve experienced from doing that has been enlightening to say the least. But that’s just how I roll.

Vi’s ending is so important to me actually

Her life isn’t better without Jinx. That misconception drives me insane. Losing her sister is just adding more grief to the mountain she already has. But it is better that shes been allowed to just sit for once. She was an object in motion for basically the entire show, she was losing people constantly, she grew up in jail for fucks sake- shes never been allowed to just rest.

Her ending up in a safe home with someone who loves her and the time to finally process all the grief she’s been holding onto? She hasn’t had the chance to deal with the loss of anyone since Felicia and Connel. Her parents were the last people she had the chance to grieve in a safe environment.

She’s not burning just one paper, she has an entire fire going. That’s significant. Her getting to just sit for once, with no urgency, and watch the fire is so significant. It would be better if she had her sister there, and since it’s been confirmed that Jinx is alive I hope they reconnect bc they both deserve it, but just. Fuck. Healing is so bittersweet and I’m glad they allowed her that.

[dellamortethelesser]

The Wigmaker Job

Notes and Thoughts - Part 2

pt1 | pt2 | pt3 | pt4

Picking back up in the next scene, Lucanis and Illario are exiting the tavern on their way to the contract. Here, they are described as "lean with dark hair and umber eyes". ← THIS MEANS THEY PURPOSELY GAVE MY POOKIE BLUE EYES TO MAKE HIM LOOK MORE EVIL.

(I also forgot to mention in the previous scene they discuss that Illario fastidiously grooms his 5 o'clock shadow so they also took THAT from us. But! Veilguard did give him a huge ass… no, I need his brown eyes back).

"Illario was all smiles. His was a calculated handsomeness. From his smooth skin to his perfect, white teeth, everything was contrived to be enticing". ← insane thing to say i think what did caterina do to influence that so strongly. like yes, lucanis is a mage-killer and that's certainly a Niche, but let's not pretend that Illario isn't filling a different sort of niche. both of them have been trained to be more valuable Alive than Dead.

"As they walked through the crowd, he basked in the appreciative glances he received," ← unsure whether this is omniscient on part of the author or intended to be directly lucanis's pov. this specific passage i've never been able to figure it out. if it's lucanis's pov though, i would wonder if that 'basking' isn't just… a front.

I have to assume this passage is somewhat omniscient because it goes on to say that "… while Lucanis stared ahead, focused and intense. He was the kind of man you couldn't look away from—until he looked at you." ← i have to assume this is all referring to Lucanis? if so? because if it is lucanis's pov why would he… idk. 'the kind of man you couldn't look away from' could still refer to illario? idk. it's a really hard passage for me to parse i feel stupid. debate in the reblogs

This whole next part of the story makes me insane because it's just further emphasizing my point that Lucanis gives absolutely no thought to Illario as an equal working with him on this contract—THAT HE ASKED ILLARIO TO BE HERE FOR. i'll try to break this down but i recommend just reading along in your own copy alsfjk

"So what's the plan? Now that Ambrose knows we're coming" / "We were never going through the front door." ← Illario is asking here, now that there's proof the Venatori know the Crows are after them, what the new plan is. he is only JUST NOW finding out that Lucanis never HAD a plan that didn't account for this? again i'm not sure how lucanis "knew" unless it's supposed to make him out to be the better assassin, but it reads as though he was purposefully keeping Illario in the dark.

hang on let me just directly quote this next part

"I bought THIS—" Illario gestured towards his tunic. "Because YOU said we were dispatching Tevinter's 'premiere' wigmaker at an exclusive party. Emphasis on exclusive." "Uh-huh." "It was a rush order. We were with the tailor for hours." "I recall." "Why let me go through the motions of purchasing formal wear for an event we're not actually attending?" "I know how much you enjoy dressing up," Lucanis goaded and ducked under a pointed archway.

But. You are attending this event. Crucially you are in fact both attending this event and do need Illario to dress the part to get YOU where YOU need to be. Why are you goading him on like this?!

You're both on the way to this contract—and Lucanis is leading him through a back entrance, btw, AND THE FACT THAT ILLARIO DOESN'T ALREADY KNOW THAT TELLS ME THAT LUCANIS DIDN'T TELL HIM THAT PART OF THE PLAN EITHER—so why are you doing this?!

Lucanis why are you fucking with him like this on purpose? THERE'S NO REAL REASON GIVEN IN HIS NARRATIVE SO I HAVE TO EXTRAPOLATE THAT THIS IS JUST NORMAL FOR THEM. WHICH ISN'T NORMAL

quick interlude to add that Lucanis's 'bleeding heart' sympathies are here from the jump; he is aware of the cultural importance of the vhenedahl, and remarks that the magisters trying to make a statue to keep their slaves in line had the opposite effect.

Again Lucanis reveals some way into the passageways they're using—that Illario didn't know about on both accounts—and is SMUG ABOUT IT. HE TOSSES ILLARIO A SMUG LOOK OVER HIS SHOULDERS.

"I wouldn't complain if you filled me in," he grumbled. "Yes, you would." "As much," Illario conceded. "I wouldn't complain as much."

WHAT THE FUCK DO YOU MEAN BY THIS LUCANIS. The dynamic between them is just consistently reinforcing the idea that wherever Lucanis goes, Illario is expected to follow, unwaveringly, unquestioningly, and to be quite honest i would be driven fucking insane.

We're only so many pages in and there is a very clear way that Lucanis treats Illario just in the context of working CONTRACTS together, and that way is… not very good! YOU INVITED HIM HERE. WHY ARE YOU KEEPING HIM IN THE DARK?

I say this like I don't understand but a lot of people have rightly pointed out that this is their 'normal'. This is learned behavior, a learned dynamic, and I do believe Caterina is partly responsible for fostering it by showing such clear favoritism to Lucanis and likely giving him behavior to model.

Which goes back to my previous question of… why? If you're not going to name an heir and want this to be a winner takes it all relationship, why show such clear favoritism?! THESE ARE YOUR LAST TWO LIVING RELATIVES, CATERINA.

Back to the book. Lucanis's elf contact greets him with "Master Dellamorte". Cool! When she looks for an introduction, though, it is Illario that butts in with "Master Dellamorte the Lesser". ← hi my love. why did you do this? well because it reinforces the same shit we've been seeing the whole time. and calls back to how he already referred to lucanis as 'the great' in their first scene together.

"My cousin," Lucanis clarified. ← no defense or correction? fine maybe not the time or place. one of the more neutral statements that Lucanis has said to him but he's damned by faint praise and the fact there is no INNER NARRATIVE QUESTIONING ILLARIO'S ANSWER MEANS THIS IS ALSO ASSUMED TO BE NORMAL.

Heading up the passage. It's magic. the room spins

"Lucanis bit back a laugh as Illario held out an arm to steady himself." ← WHY. why is this funny to you. okay now im sounding like i'm seething at lucanis which i kind of am BUT TRUST I STILL LOVE HIM

THIS DYNAMIC IS JUST INSANE TO ME. okay anyways next bit. i'm covering one more scene and then will do another post for part 3. together we can work through this story a few pages every day. I'm gonna break up this last bit in some chunks

"You've made friends." / "You would too, if you ever left Treviso." / "I'm here now, aren't I?" ← Illario was trying to be nice. Lucanis immediately takes a shot at the fact that Illario stays in Treviso (are we implying here that Illario doesn't take jobs? Doesn't work?) and Illario reminds him that HE CAME TO VYRANTIUM FOR LUCANIS. He's here for you!

"Seriously, though, what is this place?" "A perk. Given by our mysterious benefactor." Lucanis quickened his pace, hoping to leave the answer at that. Illario did not take the hint. "Speaking of, I have some questions about him… her… them?"

1) diversity win

2) AGAIN. Illario is being kept in the dark about things and Lucanis is intentionally not sharing them. WHY? We are never given a reason WHY from Lucanis. Just that he doesn't want to share anything with Illario—ostensibly about their client but ABOUT THE WHOLE CONTRACT IS WHAT THE NARRATIVE SHOWS.

"Oh, come on," Illario urged, matching Lucanis's pace. "When have we ever taken on an anonymous client?" "Since someone could put tangible stock in the phrase 'Silence is golden'." "You're not the least bit curious?" Lucanis exhaled through his nose. "If someone wants to pay me top coin to kill a bunch of racist blood mages—who have it coming—I'm not going to complain."

again we see Lucanis's sympathies coming to light. these are not bad feelings to have obviously we should hate racists. but they are assassins paid to kill and not get emotionally entangled in the job which Lucanis consistently does in this short story.

additionally. again. the way he talks to illario. i just. can it be stated enough at any point.

Quotes are either paraphrased or taken directly from The Wigmaker Job, written by Courtney Woods.

[elrielffs]

There are 3 things that make me know for a fact that Elriel is endgame:

Truth-Teller:

Azriel didn't even let Mor touch Truth-Teller for all he was supposedly in love with her for 500 years.

Azriel figuring out what was wrong with Elain when Lucien couldn't after Madja says point blank a mate would know :

(this is actual foreshadowing for the antis out there)

Feyre:

And Hybern rescue:

Antis can try to twist and misconstrue these scenes all they want but it is in your face.

Bonus:

There is just no coming back from these scenes. Not only are they explicitly romantic in nature that antis want to copy them for their ship but even if their ship DOES do it, Elriel did it first and it has now lost it's impact and importance and becomes lackluster for the other ships. That is like if Rhysand already got on his knees for another woman then did it for Feyre when it was a big deal for him to do that.

An author would NEVER describe their MMC from his POV to be so down bad for another woman just to move on to another and especially cause someone told him to for political reasons.

Antis cay try to disregard these scenes cause they don't like what it means but for the readership at whole, for the actual narrative to make sense, SJM cannot backtrack or ignore these scenes that she has written (not that she wants to but you know how antis say she changed her mind, sure she can do that but it's to undermine her own writing.) it’s one reason antis also like to say that only ACOSF matters now (even tho Azriel’s story still revolves around Elain.)

The next book is written. The announcement is upon us. All articles, interviews, book canon text point to one couple. The time for others to be introduced as a solid possibility has passed. There needed to be actual scenes and not word associations that don't mean anything without substance to back it up.

[meanbossart]

I'm not sure if it's been asked before but first of all your writing skills are just incredible🤌 After reading "A Novel Experience" it was like scratching an itch that I couldn't quite reach after years of reading burnout. In summary I was genuinely interested in how have you improved and developed your writing skills? Like honestly your writing is so addictive and captivating that (respectfully) there just has to be some kind of exposure to expression through literature, or perhaps you are just simply into reading. (That's a lot of yap and sorry if it's personal in a way or another. Also thank you for inspiring me and other people alike, you are a phenomenal artist 🙏)

Oh, thank you! I am beyond flattered and I truly appreciate that you enjoy my writing so much. To be honest I am actually very dissatisfied with my work for about half of A Novel Experience - when I started it, I had no audience, I just wrote and posted the first chapter as an epilogue for the game since the canonical ending felt pretty abrupt (we didn't have the official epilogue with the extended dialogue or Wither's party back then).

Then, I just felt like I had more to say, so I kept writing and by chapter 4-5 I had this huge story plotted out. I wrote a lot of those early chapters very quickly, and often while a little drunk, and considered them rough outlines rather than a finished work. When the story and my art began picking up traction I started to put more effort into my style and presentation, which is why chapters take a LOT longer to write nowadays - but I can confidently say that I am very proud of everything that came after The Compound.

I'm not really a reader, I'd be surprised if I read more than 30 books in my entire 28 years of life, and frankly I only started to enjoy fantasy very recently through admiring many of the fromsoft games from afar, and of course by finally playing Baldur's Gate 3.

One thing I will say is that the fictional books I've read that really stuck with me - and that I would consider to have influenced the way I write - have all had very unorthodox styles. Blindness by Jose Saramago is page after page of overwhelming walls of texts that read like a slowing-down clock or an agonizingly tight turning of screws; Blood Meridian is a nearly incoherent babble written by a man who outgrew the need or patience for commas or proper sentence separation, who knowingly disregarded grammar for the sake of feel. The Consumer is a collection of borderline pornographic and horrible, horrible stories where every character is abstracted into a wider social phenomenon, point of view is irrelevant and there is no line between narrative, dissertation, or poem.

Unlike the aforementioned works and their authors, I'm not talented (or crazy) enough as a writer to COMPLETELY forego construction and grammar, but I do feel perfectly confident in prioritizing feeling and flow over what is "correct" and experimenting with text in the same way I would on a drawing. I don't think any of this makes me good at it, but hopefully it makes it interesting or unique enough to stand out. It also means that, despite disliking those first few chapters, I don't really mind having them out there, since my purpose with them was to just have fun and try to capture "a vibe" rather than show myself off as some sort of wordsmith.

Well then, I've definitely outyapped you so we're even now. Hopefully this was interesting in the slightest!

[your-turn-to-role]

okay so i haven't watched the episode and honestly i don't think i'm going to, there's a lot i've heard about what's happened with vm that i really don't know how i feel about yet

but it's been a long time since the cast were playing c1, huh

like i don't blame them if they've forgotten or moved on from the themes of it, it was a decade ago and sometimes this stuff changes

but as far as the characters go, like. yeah, loving people and losing them was keyleth's worst fear, and they all knew that from the start

vax let the choice to be in a relationship be hers because he didn't want to push her into something that would inevitably be traumatic for her

(and he even apologised when he died because "i've confirmed your worst fears and then some")

but loving vax was the start of her overcoming that! he's always had a huge heart despite the losses he's been through and he wears it on his sleeve. his entire philosophy is best summed up by his quote to vex in 72, when she's beating around the bush about admitting she likes percy, "what the fuck do we have in this world except moments with each other? that's all we've got. [...] you know what's awkward? a life not lived."

when the rest of vm tries to turn inwards and isolate themselves as protection vax drags them back together again because he knows the best remedy for a broken heart isn't to shut yourself off but to love even stronger in spite of it. and keyleth agreeing to be with him was proof some of that got through to her

and then there was kerrek, who saw that she was afraid of every step she took, because she knew she would live to see the consequences, she plotted out everything she did under the assumption she might come to regret it centuries from now. and he told her she had the soul of a gardener, and that was a good thing for a leader to have. but sometimes as a fighter, you need the soul of a blacksmith, who knows that when a project goes wrong you melt it down and try again. and he gave her a ring, as a reminder that even for a gardener, some seeds only flourish after they've been burned

and to the most important episode in keyleth's entire arc, her twisted mirror sprigg. sprigg terrified her because where everyone else looked at him and saw a kooky old man, she saw, in crystal clarity, her future. a retired adventurer who'd shirked his duty out of spite, who lived in utter isolation, all his friends dead so long ago he didn't even remember their names.

but (ignoring for now all the other potential consequences of that particular choice by bells hells) they helped him find himself again. they helped him find meaning in service to ioun, and in ioun's library, where nothing is ever forgotten. and once he was given a reason to remember, he realised none of their names had ever left him. a friendship that meaningful cannot be erased by time, and if you lose it, you can always find it again

she had all the coping mechanisms and support a narrative could provide. and while "how am i supposed to get over you if you keep sending ravens to me?" "i am imperfect, as are the gods" lives forever in my mind, i wonder how the vax of c1 would feel, seeing this

The thing that kills me about Keyleth getting Vax back is how anti character development it is for her.

Her horror at how her increased lifespan will inevitably result in her outliving people she loves is something introduced in campaign one, and losing Vax is the very first taste of that inevitability. Campaign three shows us Keyleth as a woman who has spent thirty years refusing to move on and develop a healthy relationship with grief, still terrified by the prospect of outliving those she loves. And then she gets her dead boyfriend back, and he's immortal now, so she'll never lose him again.

It's pathetic! It's sad! It's kicking the can down the road! What's she gonna do when Percy dies? Grog? Every friend she has besides her immortal dead bf? Is her social circle just gonna close up further and further till it's just her and Vax for a thousand years, because Keyleth never learned how to mourn people she loves while also forming new meaningful relationships, and was in fact rewarded by the narrative for refusing to do so?