#this might also have something to do with how it breaks a plot point in one of my aai2 fics

[elyvorg]

The Most Significant Change in AAI2’s Official Localisation (according to me)

Ace Attorney Investigations 2 finally has an official localisation! This is kind of mind-boggling to those of us who played the fan translation and have loved it in that form for years, never expected an official localisation to happen, and now suddenly have to get used to everything about it being Just Slightly Different.

Having played the official localisation in full, I can say that for the most part, it’s even better than the already-excellent fan translation! Most of the lines have just a little bit more colour in them now, and there’s a bunch of small nuances that went over my head before that are emphasised better in the new version. There are some lines I prefer in the fan translation, but they’re vastly outnumbered by all the lines I prefer in the official version. All in all, strongly recommend fans of the fan translation to check out the official version in some form.

However, among these minor lines here and there that I prefer in the fan translation, there is also this one small but much more significant thing from the fan translation which is not present in the official version. I happen to care about this small-but-significant detail a lot, so here is a post explaining exactly why this is a Thing that Matters (to me, at least).

(This will mention major spoilers for the game! Do not click the readmore unless you have experienced the entire story of AAI2 in some form.)

The Thing is this: In the fan translation, Simon refers to his friend as “Knightley”, all the time. Meanwhile, in the official localisation, Simeon always calls him “Bronco”.

Now, I get why the localisers did this. It’s a Japanese cultural thing – in Japanese, it’s common for even close friends to address each other by their surnames, and indeed, Sim(e)on referred to Knight(ley) by his surname in the original Japanese game. This is usually changed into friends using each other’s first names in English localisations, because it feels strange in English to see two close friends addressing each other in what feels like a distant and formal kind of way.

(For example, in The Great Ace Attorney, Ryunosuke and Kazuma addressed each other by their surnames in Japanese, and this was – very correctly – localised to them using each other’s first names in English. It would feel wrong to an English speaker for these best friends not to do that, even though they are still characters from Japan.)

So it just makes sense as the obvious localisation choice to have Simeon refer to his friend with his given name, rather than his surname.

However! In this particular instance, I firmly 100% believe that this was the wrong decision.

See, Simon calling Knightley by his surname in the fan translation isn’t just an awkward holdover of a somewhat more direct Japanese translation – it actually means something. It’s a subtle hint that Simon doesn’t actually see Knightley as the friend he supposedly is; he’s distancing himself from his friend by talking about him in this more detached way.

This is subtle enough that it isn’t a spoiler, either! On my first playthrough of the fan translation, I never batted an eye at Simon using his friend’s surname. Some people in English-speaking countries do just prefer to go by their surname, even to their friends – particularly when their first name is kind of awkward. It felt perfectly natural that Knightley might prefer to be called just that even by his best friend, instead of “Horace”, which sounds somewhat old-fashioned and dorky.

(And this would go double, surely, for someone whose first name is freaking Bronco of all things. It’d make plenty of sense that he’d rather be called Knight!)

Knightley himself probably didn’t even question it. I imagine Simon would have called him Horace while they were kids at the orphanage, but then when Simon reappeared in his life years later after his disappearance and was calling him Knightley instead, Knightley probably shrugged and figured, yeah, Horace is kind of a dorky name, he’s not a kid any more, “Knightley” is way cooler. (Especially with his obsession with chess, not to mention his whole white-knight complex towards Simon.)

The biggest reason why this means something is that Simon calls him Knightley almost the entire time, with one single exception. In the flashback to their impromptu nighttime meeting in the prison, in which Simon knows he’s about to get his “friend” killed and this is the last time he’ll ever see him, the final thing he says to him is, “Goodbye, Horace.”

He uses Knightley’s first name, for the only time in the game’s present. And so, precisely because he’s used his surname every other time, this simple line becomes an achingly telling sign that Simon still cares about his best friend despite everything, despite the fact that he is literally getting him killed. It’s like he’s remembering the happier times they had being friends at the orphanage before everything turned sour, like a part of him wishes they could still have that, and it breaks my heart.

(This is the same in the Japanese, too – he uses his friend’s given name, which is a sign of extremely close friendship in Japanese and would have even more of an impact to Japanese-speaking players.)

This implication isn’t there in the official localisation, because it can’t be. Not when Simeon calls him Bronco all the time anyway, even when he’s revealed his true colours and is no longer pretending for the sake of Edgeworth and company. Which means that he simply did call him Bronco the whole time, even after they reunited, even while secretly wanting him dead. In that context, using the name Bronco when saying goodbye to him in the prison means nothing in particular. It’s just the name he always uses.

…Okay, granted, it’s not like that flashback scene has no emotional weight in the official version. It still is Simeon coming to talk to his friend one last time when he doesn’t really need to, which still means a lot on its own. But the final line itself isn’t a particularly notable part of it. In the localisation, it’s “Goodbye, Bronco. …And farewell.” The added “farewell” mostly just serves to make it obvious that he knows this is the very last time they’ll meet, but I suppose there is at least something to the fact that you wouldn’t usually say that to someone you didn’t care about. I don’t think it hits nearly as hard as calling him Horace for the first and only time in twelve years, though.

It seems like either the official localisers didn’t notice the significance of the given name in that line there, or they did notice it but they decided that localising Simeon to use his friend’s given name the rest of the time, like localisers normally would, was worth losing the impact of that line. And I firmly disagree that this was worth it. There’s nothing inherently wrong about Knight going by Knight even to his best friend, even if it might feel a little awkward in principle, and the emotional impact of the final thing his best friend says to him would have absolutely made up for that.

[exopelagic]

dr who is a strange show

[maelancoli]

Adding Tension After the Ship Happens

i feel a lot of slow burn ships lose steam after the characters finally get together, whether it's just from sleeping together or them actually engaging in a relationship, so here are some ideas for how to maintain steam.

their problems are not solved now that they've crossed the thresh hold

first things first, the plot itself i'm sure has other details than just their relationship. even the most fluffy of fluff has other things going on than kisses and giggles. don't abandon these details once the relationship truly begins. and if there was any kind of unresolved tension point or previously mentioned ex/trauma/insecurity/fear bring it back! bring things back around that might put a strain on a new, tender relationship. this can either make them have problems or be a way to develop their bonds and *show* it in action. any of these foreshadowing/resurrected points can be added in edits if you didn't start out with them or with retconning if you're writing rp/fanfic. all the writers do it. we see it in tv everyday it's ok if u gotta pull a rabbit from a hat.

their relationship will not be suddenly smooth and solid as if they have been married 20 years

okay they kissed/fucked/agreed to be together. now what? what circumstances kept them from getting there sooner? are those circumstances still present and how will they deal with it as a team? you also don't have to have characters officially together once they've done something physical. there is still discussion to be had and boundaries/expectations to establish. those conversations could be interesting to explore. and, even more-so, this is the perfect point for plot to happen and keep them from being able to have those conversations when they should. you can add angst, you can add miscommunication, you can add anything that tickles your fancy. especially a perfect time to have an ex return to cause some tension and uncertainty if they haven't made it official. they don't know what they are yet and that uncertainty is a delicious point to write it and really give the characters a hard time

utilize the main plot's tension

again, if you're writing more than just a contemporary fluffy romance, the romance should enrich the main plot. the romance as a subplot should be a component which merges with the main storyline and does not take away from it. if you don't want to milk the will-they-won't-they anymore than you already have it's time to build the relationship up in the midst of OUTSIDE conflict. let them disagree about how to resolve problems. let them butt heads. let them be scared and do and say stupid shit because they're scared. let them be worried or angry or frustrated and have to figure out how to balance their newfound vulnerability with who they are and were before that point. let them hurt each other a little so they can come back together stronger.

utilize the characters around them

if it is a plot which is mainly romance filled, then think about the tension from the lives around them. think about their loved ones and how their own issues could influence the plot points the characters have to face together. this could be a time for them to be introduced to loved ones. you could throw in a group trip with silly mishaps and shenanigans. you could even have loved ones try to break them up or doubt the love interest. navigating new relationships while also dealing with friends and family can be a source of plot and tension in and of itself. this can be a point to let love interests reassure each other and prove their salt. it can help them grow closer. it can be the heroic moment for one of them to stick up for the other or prove they're there for them no matter what.

overall if you're struggling with what to do after the slow burn feels like it's sizzling out it's time to zoom out. make sure you are not losing the whole picture of their environment or steamrolling past the real development of new relationships.

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[suugarbabe]

ballooning around | t.n x reader

warnings: fluff

word count: ~1.9k

a.n.: this is for my wives' @finalgirllx & @thatdammchickennugget jinxed july <3 this is for week one; water balloon prompt

Truly it was a marvel that you were functioning, with as hot as it seemed to be at the villa. Somehow, Theo had convinced all of you to spend two weeks with him in Italy at his parents' very large, very private (and very expensive) villa. You say somehow, but everyone knows that with just the smidgen of widening of his big ocean eyes and you’re a fucking goner, doing anything and everything your boyfriend asks or suggests. 

Pansy and yourself had decided that if you were stuck in the heat then you might as well also get bronze; the two of you choosing to lay out by the pool, oiled and lotioned with giant sunglasses perched on your noses. You two had managed only a mere hour of peace and quiet in the sun before you were bombarded with the shouting and rowdiness of the boys. The slapping of bare feet on concrete became louder and more multiplied until you saw three bodies whip by the two of you to cannonball into the pool. 

Your body tensed, eyes closing as you braced for the feeling of sun warmed water to assault you. But it didn’t come. You peaked an eye open when you heard moans and groans of curses (both english and italian), only to see Theo, Enzo and Mattheo hovering just above the surface of the pool. “There’s not a chance in bloody hell I’m allowing you to drench us in pool water just because you lot act like you’re all eleven again in the heat,” Pansy had her wand leveled, pointed strait at the three culprits in front of you. 

It was impossible to hide the grin on your face, pulling your sunglasses down ever so slightly to make direct eye contact with your boyfriend. “Please, bella, tell your friend to let us have a little fun, yeah?” he was laying his accent on extra thick, he knew it was something that often had you melting on his every word. However the heat had you feeling extra bratty, “Not today, amore mio, it’s too hot. Leave the shenanigans for cooler temps, please.” You turned to your friend beside you, “Let them down, Pans. I wanna go inside for a drink.” 

Pansy shrugged, tugging her wand slightly to break the connection. You didn’t miss the slight gape in Theo’s mouth, his expression that of slightly betrayed, but you thought it was cute that he thought you’d give in so easily. Pansy followed you, twirling her wand between her fingers. “Ladies, looking like you’re plotting something, should I be afraid?” Blaise teased as he and Draco exited the villa, Blaise holding the door for you two to enter. Pansy spoke over her shoulder cheekily, “If you know what’s good for you, I wouldn’t plot with the three stooges in the pool.” 

Blaise wore a smirk as he held his arms up in defense, backing away and towards the pool as he let the door close behind the two of you. Sliding up to the kitchen island you let Pansy work on making the drinks as you took off your sunglasses, pulling your wand from the strap of your bikini top where you had secured it for the walk inside. Pansy quirked a curious eyebrow, “Doing some plotting of your own, babes?” You shook your head as you smiled, “Not necessarily, more like…precautionary measures.” 

You held your sunglasses at arms length, pointing the tip of your wand to one lens, “speculo vicissm.” You did the same to the other lens as Pansy laughed lightly, “A reflection charm? Pray tell, my dear, how are these going to help?” You grab the glass she had just set in front of you and threw a decorative straw in it before taking a large sip, “Fucking, Merlin, Pansy, is there any mixer in here?” Pansy just shrugged her shoulders. You took another smaller sip, “Okay, actually it’s not that bad. Anyway, we know that Theo and the others are probably plotting some childish plan to get us back for your little hover charm earlier.” 

She nodded her head, waving her hand in a circular motion as if to tell you to continue, “So I figured…what better way to see him coming than to have eyes on the back of my head. Or rather, be able to see him behind me…without him knowing.” Pansy tapped the side of her glass with her fingers outstretched, her ring making a clinking sound like a mini applause for you as you put your sunglasses back on. “Oh, that is fucking brilliant. I knew Nott had to have fallen for you for more than just a nice ass-ouch!” Pansy rubbed her arm where you swatted at her, “Okay, okay, I’m sorry, your very average ass.” 

You laughed, going to swat at her again but she jumped back, running toward the door leading to the pool. Pansy was giggling as you followed briskly after her, being distracted only by Mattheo calling your name. You walked over hesitantly, eyebrow raised and scanning your surroundings as you approached, “Is this some ploy to help Teddy get back at me, Matt? You know I’ll get you back if it is.” You pointed an accusing finger at the raven haired boy who held his hands up in defense, “I’m clean, swear. Look, no wand. I was just, erm, wondering what you were getting Nott for his birthday this year?” 

Arms crossing you sat into your hip, “Theo’s birthday is not until December…why are you asking about that?” Mattheo started stumbling over his explanation as you saw movement in the reflection charm you put on your sunglasses, “I, erm, just wanted to know because I didn’t want to get the same thing as yo-” Mattheo was cut off by you crouching down, pulling him with you. The snap of elastic led way to a burst of water hitting the fence where Mattheo and you once stood. You raised to full stature, quickly turning around while Mattheo continued to sit behind you only to see Enzo with a weak smile on his face. 

“A water balloon, really? Explain yourself, Berkshire,” your tone took that of an accusing older sister and Enzo became visibly nervous. “T-theo,” Enzo cleared his throat after his voice cracked, “ahem, erm, Theo made me do it.” You turned to face your boyfriend who seemed completely unbothered. He stretched his long, toned body across the pool floaty, feet lazily hanging into the water, “What’s wrong, cara mia? Can you handle the heat, or no?” His accent made the question more taunting then it already was. You shook your head, smirking down at him, “Okay, pretty boy. I know what you’re up to. Good luck trying to get me now.” 

But try Theo did, and fail he did often. After the mishap with Mattheo distracting, or more like attempting to distract you Theo tried three more times to soak you with water balloons. And nearly each time your sunglasses charm came in handy. When you were walking back towards the villa to get you and Pansy another round, you saw Mattheo trying to sneak up behind you, “Don’t even think about it Riddle.” You heard him groan in defeat before throwing the balloon at Enzo instead. 

When you were laying out again with Pansy, he had tried to use a hover charm. Thankfully Pansy sensed that one a mile away, using her own wand to counter his spell and send the balloons chasing Theo until he jumped back into the pool to escape. His third attempt was the lowest one in your opinion, so you’re happy it didn’t work out for him. Theo had called you over, saying he wanted a truce and that “he forgave you for foiling his plans earlier.” He tapped on your bottom lip with his thumb, something he did often when he was wanting a kiss. You wanted to believe him, even began to lean towards him until you saw Draco and Mattheo tip toeing in the reflection. The moment you saw them release the balloons you apparated to the other side of Theo, causing both balloons to hit him in the chest and forehead. 

Theo had let out a slew of curses as your hands set firmly on your hips, “Really, Malfoy, you too? Shouldn’t you be hiding in the shade with how fucking pale you are? You’re brighter than the fucking sun.” Draco scoffed, a scowl gracing his face, “Hey, just because you’re pissed at Nott, don’t take it out on me.” Theo had called a truce then, and for the last thirty minutes you felt like you had finally found peace. So when Blaise called you over to the table, you didn’t find it suspicious whatsoever. That and the fact that you fully trusted him to stay out of the rest of the boy’s childish antics. 

“So how did you manage it?” Blaise asked as you sat down. You tilted your head, “How did I manage what?” Blaise leaned his elbows on the table, hand waving as he spoke, “How did you manage to always know when they were coming? Did you put eyes in the back of your head or something, love?” You laughed lightly, handing your sunglasses over to your friend. Blaise quirked an eyebrow, picking up the sleek shades and twisting them this way and that before finally putting them on himself. He let out a low hum of recognition, smiling as he pointed a finger at you, “A mirror charm, you clever witch.” 

You nodded, leaning back in your chair, “Thank you, much. I’m very proud of that. Although I do feel slightly bad with how many times Theo got pummeled with water balloons today.” Blaise pulled your sunglasses down his nose slightly, peering at you over the lenses, “Don’t feel bad, love. He deserved that. However, I do feel bad, because I don’t think you deserve this, but they roped me into it.” Before you even had a chance to properly process what Blaise had just said, what felt like a water balloon the size of your head burst above you, essentially drenching your entire top half in frigid water. 

Turning around slowly in your chair, a look of shock still etched on your face, you saw your boyfriend standing by the edge of the pool, looking far too proud for his own good. You stood up from the patio chair you were sitting in, your look of shock now exchanged for one of determination, “Oh, you are dead meat, Theodore.” You started running after him, Theo only giggling before running away and around the pool. Enzo took your earlier seat next to Blaise, mouth half full of licorice as he spoke, “M’money’s on Theo, his legs are longer and he’s far quicker. Ten galleons he laps the pool and catches her first.” Blaise shook his head, “Nuh uh, no chance. Our little witch is gonna get him and then they’re both gonna end up in the pool.” 

Not as soon as Blaise finished his sentence did you grab hold of Theo’s shoulder, a small yelp from him heard before you both hit the water; Blaise simply smirked at Enzo, holding his hand palm up and waited for his winnings.

[yumeka-sxf]

New chapter today, and even though most of it seemed to continue the silly tone from the previous one, the last few pages actually shocked me! 👀

For the first time, ANYA CONFESSED TO SOMEONE THAT SHE CAN READ MINDS! Now this doesn't necessarily mean anything crazy will happen in the series from now on, since Damian doesn't believe her (at first). But proving that you can read minds is easy to do, so the question now becomes, will Anya keep trying to prove it to Damian until he believes her? Or will she regret it later and not try to prove it, and then the plot point isn't touched on again? Regardless, this chapter definitely makes it seem like Damian will be the first person to know about her mind-reading powers.

Then there's the question of why Anya chose to confess this to Damian? I think it's a combination of a few reasons, the main one being that Damian doesn't have any connection to her family, so little risk of him telling them and thus bringing about the fear of abandonment Anya has should they find out. This might also be why she chose to tell him over Becky, since Becky already has somewhat of a relationship with Loid and Yor. The other reason could be that, as time has gone on, she's learned to trust him, at least when it comes to something like this. As hostile as he is towards her, she knows that he's not a double-crosser or a blabbermouth, and deep down he wants to do what's right. And lastly, it was the heat of a moment - her knowledge about him seemed weird so he questioned it, and perhaps at that highlighted moment, when Damian was being genuinely nice to her (since she can read minds, she knows if he's being genuine or not), she wanted to try not lying for once, just to see what happens.

Guess we'll have to wait until next time to see if anything ground-breaking comes from this...will Anya keep pursuing this, will she regret it and let Damian continue to not believe her, or will it just not be mentioned again until later? This reminded me a bit of the Mole Hunt arc where Yuri became suspicious of Loid, but the latter was able to throw him off the track. But the seed of suspicious was planted nonetheless. In this case, even if Damian continues to think Anya was lying, a seed of suspicion may have been planted in him too that could come into play much later on. We'll see!

But besides this big event, a few other notable things in this chapter was super rare soft Damian from the above page. This continues to prove what I've always thought - that Damian acts the way he does to appear "proper" in front of his peers, but when he's alone with Anya, his real feelings seep out. She's a rare person where he doesn't feel the need to put on airs around.

We also got more Henderson x Martha crumbs. Love to see it.

Also loved to see Anya getting cocky and Loid freaking out about it 😅

Overall, even though I'm not as into Damianya as I am Twiyor, I still enjoy seeing their progress, and this chapter was definitely one of the most Damianya-chapters of all~ Despite some of the "dance with Damian" challenges being a bit too silly for my taste (like, how did Emile and Ewen organize all that last minute?) the payoff at the end was worth it! Loid and Yor better get themselves together or their daughter will end up beating them in the romance department 😂

[ven0moir]

Will had hope ... and then lost it.

He had hope that maybe, just maybe, Mike and he felt the same way. And I think it started here:

Mike expressed relief at the idea of Will not joining another party. And Will's look seems ... surprised but joyful? Like he's picking up on Something the audience is not.

Then we have this:

I know a lot of people say he meant this in a friendship way. But I don't think he did entirely. I think he was 'testing the waters' so to speak, to see Mike's reaction to him asking something like this so forwardly--an action driven in part, possibly, also by frustration. Of course their friendship was his priority but he was also Sending Mike a Message. Speaking in code, if you will. And I'm not sure if Mike picked up on it or not, but he knew what he was doing when he used the word 'us'.

Then of course we have Mike's speech to Will in episode 4. The way he slightly tilts his head to the side inquisitively after Mike said 'It's Hawkins, it's not the same without you', as if he's thinking "am I dreaming? Is he really saying this?" And not to be meta but he might even be wondering if he's being delusional here.

On top of that, the speech prompted him to gather the courage to do this:

hope again. But then his arc culminated in this:

Will's facial expressions when Mike is self-depricating ... he seems so sad. In the second one, even Mike notices and cuts himself off to apologize for bringing up this subject.

I think he, sadly, realized Mike did feel the same way as him, but not in the way he had initially hoped. Mike, like him, is struggling with not feeling good enough for the person he loves.

And Will did not want Mike to feel the same way he did. So he did what we saw him do and give the painting to Mike, which symbolizes his love for DnD, for what they do together, for their friend group, for him. His intention here was to make Mike feel better. Important. Seen. Even at the cost of his own heartbreak.

"Every smile you fake, I'll be watching you."

So to recap, at the beginning of the season, Will had been acting weird and painting for someone he liked ( according to El ). We find out very quickly that the recipient of the painting was intended to be Mike. I don't think Will ever intended for the painting to be a full blown love confession--but a start. A continuation of the 'hint dropping' they started doing at the end of S3. But of course, the whole world went to shit, and his feelings got amplified to the point where the painting's meaning took a different turn. And it became the basis of a veiled love confession.

I think this is devastating because the narrative forced them, once again, down a different path from the natural progression this would've been had Mike been allowed to enjoy a nice spring break in California.

I do believe by the end of S4, Will has completely lost the last vestiges of hope he had left that Mike would ever reciprocate his feelings, especially after Mike's love confession. I think he feels stupid for even allowing himself to believe there was a chance.

I mean, look at him. And, terrifyingly, I feel like that is exactly where Vecna needs him to be at the start of S5.

Sprinkle in some #birthdaygate and voila ... we have the perfect recipe for a horrible Vecna vision.

I don't know how they'll resolve this, but it does feel to me that the intention of Will's S4 arc was to get him to a point of loss of hope, which signifies the death of his dream.

Going into S5, he probably sees this dream now as stupid and childish--an impossibility. Adding to this, there's no way in hell Will is going to confess. Not when this happened and it was never resolved.

The ball is on Mike's court, for better or for worse.

And I think this is also another plot twist we will find out through Vecna: the fact that Will had hope that he and Mike could be together and felt the same way. And that honestly makes whatever Vecna does to Will 10 times worse because if Will had NEVER had hope, then there's nothing new there. But having hope and then having it crushed to the ground? Yeah ... my heart hurts as I type this.

[letorip]

tara carpenter hcs?

tara carpenter headcanons

so glad you all liked the headcanons i previously made and had a lot of fun doing, because it’s something i can do more frequently and consistently than my long form fics, which i promise i am hard at work doing. here are a few more :) also, kiss with a fist [ii] out soon

***also i wrote this and i think (?) i cooked? would you want this as an actual story at some point? cause i was doing this a bit lightheartedly and then i was like wait a minute- i usually struggle to think of plots but this came super free-flowing

tara wants absolutely nothing to do with you at first. she doesn’t trust easy, and some random kid chad met in class is not going to quickly break down that barrier, no matter how not-fugly you are

but chad feels like he can really trust you. you grow to become best friends over time, and he's still healing from ethan's betrayal.

even after you've won everyone else over in the group, tara is the stubborn one who refuses to acknowledge your presence

it all changes at a singular party. you stand up for a girl being screamed at by her boyfriend and shoved, and even though he tries to fight you, you don't budge

he's a massive guy on the football team, known around campus for being super jacked and picking fights, and though you wouldn't win in a million years and she can see you're scared, you don't move a damn inch from in between them

she doesn't say anything to you while it's happening or while anyone else is around, but when you're on the roof, after chad's come to help you, staring out into the city, she finds you alone against her better judgement, and asks if you're okay

you give her a weak smile, say "no," and she nods and just sits next to you for a while. you don't say anything either, but you appreciate it

tara slowly opens up to you more. she actually starts to listen when you speak, and what she finds is that you're so much smarter, and sweeter, than she realised. you share a lot of similar interests she had missed until that point, and you bring her a sense of peace and happiness, whenever she sees you

even though sam still struggles to see you as one of them, tara finds herself defending you now, and with it, realising she just might want you more than as her friend

she hasn't had a crush that intensely childlike since amber, and now that you're there, she's a bit apprehensive

but you're you, and things happen, and you kiss one night, over at her apartment, while you're watching a movie. you're both with your eyes locked on the screen, until the music swells and suddenly you're looking at each other. It happens so quickly but it feels so right.

when you ask her if she's okay with this and if she's comfortable, it makes her heart flutter in a way she doesn't feel she deserves

she's definitely apprehensive about letting your relationship grow. ghostface has brought her life a hell that she doesn't want you to experience it. but you remind her thousands of hells are worth it to be with her every day

you finally get together on a warm summer day, right after your semester has ended

now that tara's experienced a life with you, she's upset that she had to live a life before

she clings to your chest and loves to lay on top of you, on the sofa. she doesn't seem like she would be, but she's a massive cuddler. she didn't have much physical affection as a child, with her mom and sam being gone, and so she makes up for lost time by hugging or hand holding whenever she can

you guys have silly arguments, where it's clear neither of you are taking your side especially seriously, and you argue the most outrageous things. you'll make her laugh until there are tears in her eyes and then tackle her in a hug

whenever you're running late for morning classes, ninety-nine percent of the time, it's because tara begged you for five more minutes to cuddle in bed, or just straight-up wouldn't roll off you, even when you reminded her you had to go.

she's little spoon sized, but she actually loves being big spoon, because she'll squeeze you against her and hold you tight. when she wakes up in a cold sweat, having a nightmare about woodsboro, you're right there, peacefully sleeping, and it helps her calm down and ground herself

she had a thing for a while, about not wanting you to see the scars on her stomach. she thought they meant she was damaged, and tara insisted you guys fucked in the dark for a while, until you asked her directly about it one day, like the good communicator you are

tara tends to bury her head in the sand when it comes to being direct to talk to you about something, but you communicate well

upon explanation, you insist nothing could make her ugly to you. she cries when you say you'll love her no matter what, and you see her completely in the light. your look of awe at her beauty, and your tender fingers reaching out to brush against it, just make her fall even harder

idk what else to put, did i yap for a long time?

okay so i kind of want to make this a story now? would you be down

[lemoniiiiiii]

DAD!RALPH BOHNER HEADCANONS

a/n: if we're gonna call him a dilf might as well write about it! also he gives girl dad vibes so we're going with that! AND SORRY ABOUT THE ANGST I'M LIKE ADDICTED TO WRITING IT

warning: mentions of PTSD, swearing

--

• you and your four year old daughter were coincidentally on a trip to visit family when the hex happened, your husband ralph couldn't get out of work but insisted you go without him

• after everything, ralph's mental state was so poor he had to quit his job, so instead of having a nanny, ralph becomes a stay at home dad while you work

• you were reasonably uncertain if ralph was mentally stable enough to take care of a child as well as himself but he insisted he's capable

• loves you and his daughter more than anything in the world

• calls her "bub, hon, sweetpea, babygirl, little gremlin, kiddo"

• is very protective of his family (especially after the hex)

• he buys everyone evil eye necklaces and makes you wear them to keep you safe

• doesn't sleep much anymore unless he's napping with his daughter

• it's quite literally the only time he gets any kind of peaceful sleep

• you had definitely spent an entire year trying to get her sleep on her own but that's out the window now and she'll only sleep in your bed

• on the occasions he does try to get a full night's rest, ralph still gets nightmares. but when he wakes up in a sweat, seeing "his girls" cuddled up with him calms him down, sometimes enough to where he can go back to sleep

• your daughter adores her dad's grown out curls, and often raves about how they look just like hers (compared to the cropped hair he had before) and mindlessly plays with his beard when they're sat on the couch watching TV

• does funny voices when he reads stories to her

• lives for hearing + making her laugh with corny jokes (btw she thinks he's the funniest person in the world)

• practices his one man show for her and the reason you know is because she'll try and recite certain plot points to you as if that's something that happened to her

• ralph forgets to eat but when he does, it's often just whatever your daughter doesn't finish of her food or he raids the fridge at 3 am

• generally his diet consists of celsius and half eaten dino nuggets

• sends her to preschool with totems he makes for show n' tell

• you got a call at work once because she did the black magic warding chants ralph taught her with an animal skull totem and it scared some kids and made them cry

• according to your daughter it was only "like 2 people" who cried and assured you that everything was fine b/c the rest of the class thought she was "the awesomest"

• you have to tell her to stop going around telling people her dad is an expert in "getting rid of witches" b/c they think she means "bitches"

• whenever you come home to seeing your daughter sat in ralph's lap at his computer, he tells you he's just working on his one man show but he's really on reddit and other forums teaching her how to protect herself from witches

• has learned well how to dress his daughter but b/c of his sketchy appearance sometimes ppl think she's been kidnapped, especially if she starts to throw a tantrum in public and you're not around

• cared very much for billy and tommy b/c they reminded him of his daughter

• there's been times where he's particularly struggling with his PTSD and accidentally scares her and it breaks his heart

• despite this, she'll come over and try to cheer him up with one of her stuffed animals and hug him or do one of the chants he taught her because that's what her idea of protection and safety is

-----------

ANGST DRABBLE

ralph sits with his head in his hands, distraught. he had another episode, this time in front of his young daughter. seeing the look of shock and fear on her face broke his heart.

those damn witches had hell to pay for what they've done.

"daddy?" he hears a small voice say. ralph's head shoots up. his daughter, holding her favorite teddy bear (which she renamed "papa bear" after noticing how closely his new look resembles the stuffed animal) walked up to him. her eyes are still a bit glossy, but she's smiling regardless.

"hey hon..." ralph speaks softly, reaching out to stroke her hair. "what have you got there?"

she puts the teddy into his arms, searching his face for a reaction.

"is.. this for me?"

she nods and ralph gasps holding it tight.

"oh wow, thank you babygirl- c'mere-"

he pulls her in for a deep embrace, kissing her head and whispering that he's sorry and that he loves her so much. a tear falls down his cheek as he holds her small body against his, hearing her say "i love you more, daddy!" in that sweet tone of hers.

it takes everything in his power not to completely break down.

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

FLUFF DRABBLE

after finishing dinner, you walk up the stairs, hearing the sound of chanting coming from the bedroom.

"close! remember kiddo you've got to do it twice for it to really work so let's go again- OUMMMM-"

"mommy!" at the sight of you, your daughter jumps off ralph's lap and throws her little arms around your legs.

"hi!" you respond enthusiastically, hugging her back. "just wanted to let you both know dinner was ready. what are you guys... up to?"

ralph avoids your eyes by pretending to look around the room. your daughter smiles up at you, bursting with excitement.

"daddy was teaching me-"

ralph interrupts. "dinner's ready? oh, you have perfect timing babe we're starving- uh kiddo? why don't you go wash your hands?"

"ooookayyyy!!" your daughter skips out of the room, curly ponytail swinging back and forth in time with her steps.

"again? ralph we talked about this-"

"i know, sorry..." he sighs. you notice his eyes linger on your chest.

"like what you see?" you tease, wiggling your eyebrows.

"no-! i mean- yes, of course but- you're not wearing the necklace..." he pouts.

you roll your eyes and reach into your shirt to pull the chain out.

"oh- my bad"

"yeah- now mr. bohnerrific69, could you please tell my husband that dinner's ready and he needs to actually eat tonight? because a whole pack of oreo's is not a sufficient meal."

"who told you i-?!"

ralph's gaze moves to your daughter, who's peeking past the door frame giggling.

"snitch!" ralph gasps dramatically and stands up from his desk, starting to playfully chase her down the hall. "thought you could rat me out huh? we had a deal!"

--

tags (ask to be added or removed anytime!): @fear-is-truth @juliamaximoff @jazz-berry @violetsghosts @quickreider @tiffysdeath @honeymoon8 @wcnderlnds @lacucarachapisser @xrag-dollx

[alexanderwales]

An Idiot's Guide to Creating Themes

There's something that Wildbow says about themes, which I'll paraphrase here: themes are something that grow without you even necessarily wanting them to, so long as the characters have strong traits and act consistently.

What this means is that if you have a character who has a real problem with authority, then naturally they're going to frame a lot of things through the lens of authority, and they're naturally going to get in conflicts with people in a position of authority. Suddenly, without even really trying to, you have created a Theme.

I don't really think that this by itself is enough, and think that it helps to bring some intentionality to the process. For one thing, if you have two protagonists who have their own strong traits, you might develop two different competing themes that do not work in harmony with each other, and suddenly people will start asking you "why isn't this two separate stories" and you'll come to the grim realization that they're right.

So if you have a single strong trait, you want to pick your other traits to be in harmony, and you want to do the same when you're thinking up secondary characters, villains, etc. Themes tend to flow a lot easier if all the stuff you're putting into the pot has something that links them together. Ideally you want a funhouse mirror where you get to see a bunch of different sides of your theme, different ways that the characters react to it, their different takes on it, even if you're just doing big shonen battles.

Doing theme construction in this way often involves trying to have the story as a prism, and your job as someone writing the story is to break that beam of light down into its component parts. Find as many pieces as you can, then make those into plot points, characters, side stories, etc.

Let's try an example!

I'm writing a superhero story and want to pick a theme, so first I think about what theme I want to spend a novel exploring, and I decide that the idea that's tickling me is the alienation of globalization and the information age, the way that everything feels overwhelming and Too Big sometimes, like there are a thousand things clawing at me for my attention.

So we start with our protagonist, and he's being pulled in a thousand directions at once, never feeling like he has enough time for anything, but paradoxically, for all that people want his attention and focus, he also feels alone. I haven't yet said that he's a superhero, but sure, it's easy to see how we can fit that in: people want him to solve their problems, to settle their disputes, to use his talents, to help them rise through the ranks, and that's not necessarily what he wants, but he feels trapped by it, like there's no other way to live.

If he's a superhero, he needs a superpower, and writing a story like this I would be extremely careful with what I picked since it needs to help carry many many fight scenes and plot points, but teleportation is my first thought: there's disorientation as he enters a new place, a feeling that he's never really anywhere because he could be everywhere, and maybe some secondary sensory powers on top of that, an ability to see and hear that can help evoke an internet connection (I have not at this point decided whether the setting has smartphones or internet, but I think maybe it works better if it doesn't, because one of the things about themes is that sometimes it's best to come at them from an angle).

So I kind of have a sense of the main character at this point, if not an overall plot. If the guiding star is "information age alienation and how it overwhelms us, offering infinite connection that leaves us lonely", then maybe the plot can be something about that. We can go toward the theme by having some plot about alienation, a society that's drifting apart, and probably a significant figure pushing that, or we can go toward the theme from a different direction, having someone who promises an answer. I like the promise of an answer better, something that our hero has tension against, so we whip up a villain whose whole thing is that the world has gotten too varied, too complicated, and promises a return to simpler times. Maybe they're a cult leader, promising family, promising that through their high-control group everything can be reduced down to something understandable.

(There are at this point many many options for our main villain and his/her powers. Maybe it's a woman who makes the world go still and silent in her wake. Maybe it's a time-traveler acting as a specter of the past. Maybe it's someone with mind control powers seeking to expand their reach until they can put the whole city under their thumb. Maybe they're a former superhero who couldn't take the constant desires and demands of the public and have twisted into a dirty form of self-induldgence. There are many "villain" answers to the question of alienation.)

So we add in some side characters. They should also approach our theme in some way. Here's a quick and dirty brainstorming list:

A friend who is terminally cape-brained, always keeping track of their specific domain of expertise, retreating hard into a niche where they know everything, which takes monumental effort and a sort of nervous anxiety approach to information. Probably a superhero with an info power, name of Dispatch or something.

A father who is blissfully unaware, but shows the flaws of that approach, always ignorant, knowing little about the goings on of the greater world, alienated in his own way by that, unable to connect to people because of it.

A government handler/contact who is a friend, but always pushing our hero, always ready with another thing that needs doing, another cause that needs nudging, a criminal manhunt to help with. A symbol of pressure, anxiety, and overload, but friendly in a way that makes it tough to say no. (A stand-in for the kind of friend who always wants to tell you about the latest atrocity, who doesn't quite demand that you know the name of every person brutalized by the police, or the latest list of people whose shittery has come to light, but does seem mildly disappointed that you're not as tuned in.)

A mentor figure who burned out, maybe a speedster who ran too fast, did too much, let themselves get run into the ground both figuratively and literally.

I think that this is a good enough starting point that if I wanted to writing this story, I probably could, and maybe the core of it would evolve as I wrote, but I have a guiding star to look toward, and one of the great things about setting out to write a theme is that if you ever hit a bump, you can look over at the post-it note that describes the theme in a few words and hopefully, get back on track.

[byoldervine]

Motivation For Writing

Getting Off Your Butt:

1. Aestheticise it. Let the light in through the curtains, turn on your fairy lights, lay a blanket over your lap, light some candles, whatever you need to do to feel like a writer. The right vibes can go a long way

2. Picture that one scene. There’s almost always a moment you’re super excited about that basically inspired the whole book. Picture it, play it out in your head in full cinematic fanfare, gush to yourself about how cool it is and how everyone will love it, picture a future fanbase going nuts for it. You might get excited enough to go back to writing

3. Set a word count goal. During NaNoWriMo this year I think I wrote more than I ever have in one go. The thing that kept me coming back was the desire to not fall behind. I ended up with ~45K words after some complications irl caused me to drop off in the final few days, and that’s all just because I was adding up the 1667 a day word count goal and realising where I needed to be at to keep up. I definitely can’t stay as rigid as I did with 1667 words every single day, but seeing that you’re only a few hundred words off of a goal is super motivating - just be sure to set realistic, easy to achieve parameters for just general use, like 1000-2000 words per week. I know 200 words per day is a popular one for people trying to establish a writing routine that can’t dedicate forever to the craft

Maintaining Motivation:

1. Writing sprints. Writing sprints are a godsend for me, I like to set myself up in the living room with Abbie Emmons’ writing sprint video on. The video lasts two hours and is broken up into two parts; 25 minutes to write and 5 minutes for breaks between writing, so four 30 minute sprints overall. Having the timer and countdown with peaceful music and an aesthetic background is both relaxing and encouraging, as well as giving me a specific time for how much longer I have to push through. It’s easier for me to say “Okay, only ten more minutes, then you can take a break” then it is to say “Just keep going, we’re not stopping until I say so” which is too arbitrary for my brain to accept

2. Give yourself a choice. If you’re struggling to keep your focus, come up with a finish line and tell yourself you don’t have to do any more work once you’ve reached that point. Finish the paragraph, go for another five or ten minutes, keep it up until your next scheduled break. Whatever sounds realistic and doable without being overwhelming. And once you’ve met this goal, ask yourself if you still want to stop. With any luck, you’ll have gotten back into the zone and will choose to keep going. Maybe you’ll want to take a quick break but you’ll come back later on. And maybe you’ll decide that now actually is a good stopping point. Just remember that, if you do still want to stop, don’t force yourself to keep going. You can’t strike deals with yourself if you know you won’t keep your word and all you’ll end up doing is burning yourself out, which will lead to even less writing getting done

3. Try a new angle. If you can’t be bothered to write anymore, is there anything else you can do for your book? Plotting, editing, worldbuilding, character sheets, one-shots all that sort of thing can still be productive for your book while still being different enough to give your brain a slight respite. It also means less work in that particular area later on

Afterwards:

1. Organise. Clean up your workspace and put everything away so it’s nice and neat for when you come back to it. Or if you don’t need to pack things out the way, set it up in an aesthetically pleasing way so it will tempt you back next time. Let it give you the writer vibe

2. Take care of yourself. Get a drink, have a snack, walk about, stretch your limbs, take a breath, cuddle your pet. Something that gets you away from straining your eyes looking at text for a bit. This is also a good time to reward yourself if positive reinforcement is something you use on yourself. If you always feel shitty after your writing sessions, you won’t want to go back to it

3. Positive reflection. Make sure to tell yourself you did good, even if you didn’t get as much done as you would’ve liked or it isn’t up to a standard of quality you’re aiming for. That can all be fixed later on, and you’re infinitely better off than you would’ve been if you didn’t do it. Be proud of yourself. Tell yourself you’re proud of your hard work and your dedication and your effort. Remind yourself that this is a fun thing you like to do. Marvel over how insane it is that you’ve gotten this far - not many people do - and that you’ve got all this tangible work to prove you’ve accomplished something so many people wish they could pull off. If this isn’t fun overall, there’s no point

[juqtier]

☆◞: IM ALWAYS JUST A DOOR AWAY ✧ SPENCER REID

SPENCER REID X FEM READER

SUMMARY: when you moved in to your new apartment, you never imagined your neighbor, spencer reid, would be such a nightmare. he wasn’t your favorite guy. in fact, you hated him. unfortunately for you, you can never seem to escape him. the universe clearly has other plans for you two.

WARNINGS: mentions of alcohol and alcohol consumption in some chapters, angsty, arguing, spencer is kind of (definitely) an asshole, kissing, cursing, somewhat darker plot points as story progresses (this is my first ever full story fanfic! so it might be bad…) this will also be 10 parts so yayyy

GENRE: enemies to lovers, fluff, angst

⋆·˚ ༘ *

chapter 1 : a nightmare..

✎Was it even possible to hate someone so much that even the thought of them made your blood boil?

You never thought that was even possible. You were always trying to see the best in people, even if they were rude to you. That all changed when you moved next door to Spencer Reid.

Spencer Reid

The bane of your existence.

You had moved into your first apartment alone, with the help of your parents loaning some money and your waitressing job, when you had the unpleasant experience of meeting him.

God, he was so stuck up and pretentious. Getting to know him might have been your biggest regret.

The first day you met him, he immediately gave you an attitude.

You weren’t all that familiar with this area, so you took it upon yourself to try and make friends with the neighbors.

As you walk up to the door and knock, you become excited at the potential of a new friendship.

Behind the door, you can hear a quiet, muffled voice and some shuffling before it’s opened to reveal a rather tall man looking down at you.

“Yes?” He sounded a bit annoyed, yet you continued your introduction.

“Hi, I’m your new neighbor! My name is-“

“Cool, I’m really busy, and if it isn’t important, don’t bother me.” The man quickly shuts the door.

You were so puzzled and quite upset.

Who just shuts the door on someone’s face like that?

-‘๑’-

However, after some time, you forgave it. Everyone has bad days; everyone is very busy at some point. Maybe he was just overwhelmed, right?

That was until you saw him again, in the parking lot of the apartments.

You found out his name was Spencer Reid from some other neighbors. This only made you more interested in getting to know him, or at least being civil with each other.

You were getting out of your car after returning home from work when you saw him coming down the stairs to the parking lot. Trying to be friendly, you waved and smiled.

“Hello!” Your expression was bright and kind, as always. Something Spencer never seemed to return. He visibly rolled his eyes at you, rushing to his car.

Did I do something wrong? Did I say something to offend him? Do I have something stuck in my teeth

Your thoughts ran wild, doubting every interaction you have had with anyone before. Were you just annoying? You barely had a conversation with the man; how could he find you annoying?

Maybe he just sucked?

-‘๑’-

For months, your interactions were the same. You’d attempt to be friendly, and he’d quickly (and quite rudely) shut you down. You had convinced yourself he was just a busy man until you were proven right. He just sucked.

Friday, 10:49 pm

Music played throughout your living room as you unwinded on your couch. The weekend had just begun, so you decided to finally relax. Work had been extra shitty today, and you felt you deserved a break. You sat on your couch, reading a book, as your favorite songs played when you heard a knock at the door.

Who could be knocking so late?

Placing your book down and quickly turning the music off, you rush to answer the door.

As it opened, you'd never been more confused to see Spencer Reid standing in front of you.

“Uh, hi? Is something wro-”

“Can you turn the music down?” He seemingly snaps, not even letting you finish your sentence.

“Oh, I’m sorry, I didn’t mean to have it so lo-”

“If you’re going to blare your music, you shouldn’t have such terrible taste.”

You were taken aback. You were used to the interruptions, the eye rolling, even being completely ignored. But now, he was just being plain rude.

“What? I said I’m sorry.. What’s your problem?”

You were almost about to snap at him. It took all of your power to not rip into him, calling him every name you could think of.

“My problem? My problem is that ever since you moved here, I can’t get even a moment of peace. Some people have jobs and commitments.”

What the actual fuck?

“Holy shit, Spencer. I’ve done nothing to you, but all you’ve done is be an asshole to me!”

Your anger and frustration seemed to boil over in that exact moment, not caring if you hurt his feelings anymore.

“Actu-”

“No, let me talk for once. I don’t know where you work or what you do to make you think you are so morally superior to me, but fuck. You are so fucking mean.“

He seemed shocked at the sudden outburst, as you only ever showed him your bright and bubbly side. His eyes widened slightly, not expecting the blow-up.

“You don’t get to talk down to me because you’re in a pissy mood. So leave me the fuck alone.”

With that, you slam your door in his face and quickly turn around. Your fists clench as you storm to your room and flop onto your bed, letting out a groan of frustration.

God, he was a nightmare.

-‘๑’-

PT 2

a.n : sorry if this sucks or is boring! i’ve never wrote a story like this before but i hope it’s okay!

[mxtantrights]

where you go, I go

a/n: okay so while I'm writing this whole series for azriel just know that I had this other recurring dream about a plot like this. I couldn't really make it a fully fleshed out story with a happy ending so I decided to type it all out and make it a one-shot with angst and not a lot of comfort (this is your warning, this doesn't end happily) anyways with all of that said, if you decide to read this please enjoy and tell me what you think! <333 also happy valentines day <333

azriel x assassin!fem!reader

5.1k words

The day court was home to many things. Vibrant colors, warm waters, ancient books and of course the very ancient and magical day blade. It's your job to know where that this is at all times.

You can't possibly understand why the shadow singer would try to steal it. Try being the operative word here. While you did sense him enter your court and break into the room where the blade was, it wouldn't have mattered.

Seeing as it is your job to protect the blade at all costs, it never leaves your sight. But that didn't mean you couldn't have fun with those who wanted so badly to get it.

In your pocket you feel a piece of paper appearing suddenly. You reach inside and unfold it. It's Helion. He's requesting your presence. You smile to yourself, this would be fun.

You leave your hiding place, the palace had many hidden rooms and hallways, and walk over to Helion's day room. As you approach from the hallway you can hear multiple conversations being had.

The door is closed so you open it slightly.

"There she is! Come in and greet my guests!" he says happily.

You make sure you face is kept neutral. You had an image to upkeep in this court.

The people respect you and fear you in the same breath. You don't go around killing people but you do often get justice in ways that aren't in the parameters of the law. Whether that be stringing up robbers and looters from their pants, or burning down the houses of dirty criminals.

You keep your eyes straight, not looking any of his guests in the eye. You walk until you are standing behind Helion who sits in his usual seat.

"I was just telling Feyre that I enjoy the new company. This is the inner circle." he says to you.

You nod once.

"She doesn't talk?" Nesta asks.

You know all of them. It's your duty to know The Who's who of the courts. The inner circle of the night court. High Lord Rhysand and High Lady Feyre-Curse breaker. Her sisters Elaine and Nesta. Rhysand's brothers Cassian and Azriel. Morrigan, past fiancee of Eris Vanserra. Amren, a mythical creature of serious power.

Helion laughs at Nesta's question. He knows you talk. He knows you very well, seeing as he practically raised you. But that information isn't public knowledge.

"She does, but not when theres something wrong." Helion answers.

You look at all of them now. How the girl closest to the shadow singer, Elaine, looks worried. And it's quick, you almost don't catch it, but you're so good at your job at this point.

"Trouble in the day court?" Rhysand says.

You lean over and whisper into Helion's ear about the blade. How the shadow singer came here to steal it, on a mission from his high lord. How he thinks he got away with it.

The room goes quiet as you pull back and Helion sits back in his chair. He loves the dramatics you pull off every single time someone tries to take the blade. The last person you caught was really delighted to be drowned in glitter, confetti and manure.

"Is there something you're forgetting?" Helion asks.

Rhysand looks at his inner circle with an incredulous smile. Then he looks to you, no doubt trying to read your mind. You can't imagine this will go over well either.

You can't feel it. The daemati powers that certain fae have don't work on you. You're not really sure why. Might have something to do with your unknown lineage. Or your overall hardheadedness-so Helion says.

Rhysand cocks his head to the side at your unmoving posture. He's still looking at you. You however are taking in the shadow singer. He's sitting there, not bothering to look at anyone. He must really think he got the blade.

"What would that be?" Feyre asks this time.

"Well, when you want something that another has you usually ask." Helion says.

At that everyone at the table grows grim. Caught red handed is what it seems like. You still manage to hide you smile though.

"Helion..." Rhysand starts.

"If you were anyone else I would have you locked up already. But lucky for me my security system is top notch." Helion smiles and grabs his glass for another sip of what could only be wine.

At his words the shadow singer now looks at the high lord. Your high lord. His face bares no emotion, like he can't afford to give a way a secret or smile.

You've heard about his reputation. But at this point that's all it is. He couldn't even steal from you correctly. This has to be the most interesting thing that's happened this year. You don't get around to much outsider business, you tend to stay out of it.

"I don't think it is." the shadow singer says.

Helion stifles a laugh. But you can hear it. And you know if you can hear it they all can. The room is big but not big enough that guests at a table can't hear things.

"Care to relieve them of their misery?" he looks up to you and asks.

You didn't really want to. But then again you'd have to play nice with them. Helion seems to like this group. Or most likely, his son is friends with this group and he wants to be friends with his son.

You sigh, "Take out the blade."

You watch in amusement as everyone at the table looks at each other. As if they all don't know what they really came here for. The shadow singer though, he's different. He's looking right at you.

His shadows materialize the blade right on the table for everyone to see. Cassian, gives him a look. But Azriel doesn't seem to see it or care.

"That's not the blade." Helion quips.

You call the blade to you with your powers. Being gifted with the ability to control sun made objects is fun most of the time. Most living things are sun made in a sense. So really you could control all things, to a certain extent.

The blade comes flying into your hand. As soon as it makes contact with your skin it transforms. The metal of the blade turns into a vibrant green stem. And the helm turns into the face of a sunflower.

Azriel seems to go through a range of emotions. First confusion. Then understanding. And then the last one, well you can't actually pin down the last one. You've gotten good at reading people but he's harder than others.

"The blade is safe in the day court, where it will remain until you ask for it." Helion says.

Rhysand lets of a breath, "I am sorry about lying, but we're short on time."

"And I thought our alliance was stronger than that. I am sorry too." Helion replies.

Helion stands from his seat, causing the others to match his actions. The sound of chairs on marble floors reaches your ears. You take a step back and cross your hands behind your back.

"We need the blade for a mission." Feyre speaks.

"It could be a simple mission or the end of the world. The fact that you have no respect to ask me tells me everything I need to know." Helion says casually.

You know that he is hurt by their lying. It's not deep, but it's there. He thought he could trust them. He thought because they had good relations with him before that they were better than the actions they are displaying right now.

Of course you know of the good bond between them. Which is why you don't understand why they didn't just ask. Unless there is a well justified reason. Why not ask the high lord for the blade unless he was implicated somehow.

How could Helion be implicated in a mission from the night court. He doesn't know anything, or he would have offered them the blade himself. No this is something he's not at the center of. But it still concerns him.

Lucien. You look at the guests around the room. He is no where to be found. True he's not part of the inner circle. He's an emissary. But if it was something the inner circle could simply ask Helion for, why not butter him up with his son?

Lucien may or may not know what going on.

"Where's Lucien?" you ask.

At you question all of the heads move to you. Right, you hadn't spoken to them this whole time. Well you weren't going to give them a smile and greet them kindly.

"What business do you have with him?" Nesta asks.

"He's in Spring. Managing relations." Rhysand answers.

You nod your head. Spring. If that answer can even be trusted. Let's say you do trust it for the moment.

The inner circle needs the day blade. They didn't want to ask for it. They didn't let Lucien come.

"Were you planning on returning it?" you ask again.

Nesta, rolls her eyes at your question. You can't help the giddiness you feel of getting under her skin. You hardly did anything to warrant it. But it felt kind of good.

"As soon as we were done." Azriel answers this time.

You don't ignore the stress he puts not he word soon. You also don't ignore the way his eyes seem to never leave yours.

"That blade is our most powerful weapon. We don't just give it out to anyone." Helion chimes in.

He maneuvers around his chair and stands behind you. When he grips both of your shoulders with his hands, you can tell he's smiling even if you can't see him.

"But I will let you use it," Helion continues, "on one condition."

"Go ahead." Rhysand says.

"Wherever the blade goes, she goes." Helion says.

"That won't be necessary." Nesta says.

At the same time Cassian says, "That's odd."

Helion shrugs his shoulders and lets go of you. He leans into your ear to whisper his next words very carefully. When you understand him and what he wants, you nod your head only once.

He grabs the sunflower from your hands as you uncross them from behind you. Helion stands next to you now. You watch as Helion brings the flower up to his nose and gives it a sniff.

"We agree to those terms." Azriel speaks up.

"Woah hold on-" Rhysand tries to cut in.

"Great. I think this will be beneficial to both courts." your high lord agrees.

You turn to face him now, your back towards the guests. Helion was looking at you with a very faint smile. You heard every word he whispered to you. And you understand the reason why: Family.

What you don't get it is why he won't just speak to Lucien himself. Why play nice with a high lord that knows his son when he can just reach out to him? Invite him to the day court or send him a letter.

Everyone in this room knows Lucien is Helion's son, except Lucien. And now your mission is to tell him so that he might finally have a true place to call home.

Helion wouldn't so easily agree to lending out the blade like this if it weren't for Lucien. And the night court wouldn't try to steal it if Lucien did know, because he could just ask on their behalf.

Your shoulders sag at the thought. You had no interactions with Lucien. You only ever heard of him from Helion and he only started referring to him as his son a couple of months ago.

It'll be you. You'll be the one to see him, come eye to eye to him, and tell him the truth.

You can see it in his eyes. The sadness. You'd do anything for him. He's a father figure to you. And you'll see this through, for his sake and Lucien's too.

"Promise me you'll smile a little bit during your trip." Helion says.

"The Sun Wraith doesn't smile." you answer.

"You're the Sun Wraith?" Cassian's voice asks.

You turn around and face the general. It's all over his face. The look of shock. It wasn't hard to become something of a legend in this court and the ones surrounding it.

"Even people in the night court are scared of you." Nesta says.

On her face seems to be another emotion. Not fear. Not shock. Something lighter amongst the surface. Admiration maybe? You aren't too sure.

"I'll grab my things." you say to no one in particular.

"And the blade." Azriel's voice sounds.

"I never go anywhere without it." you say, reaching behind you.

Grabbing the flaps of your yellow vest you flip it over and your hand wraps around the hilt of the blade. You pull it out for all of them to see.

"Best security in all of the courts." Helion jokes.

-

THREE WEEKS LATER

The mission has barely begun and you hate it here. You hate it in the night court. The days are shorter and you feel pale without even looking into a mirror most days. Nothing beats the sun of the day court on your skin.

Amren had told you it would get better. After your first meeting she had taken a liking to you. You were told by several members in the inner court that it was no easy feat. She talked to you the most out of everyone.

Second to her, came Nesta who was just curious about the things you allegedly did or did not do. You held off on telling her anything too juicy. It was funny toying with her with the details. She also likes your fighting style. Morrigan too.

Azriel talks to you. Sometimes. He's friendly to a point. Cassian is more friendlier than him but you're starting to understand it's just in his nature. Feyre and Rhysand are cordial. Elaine is, well you've been told that she's nice but you haven't really seen it. She greets you but that's it.

The inner circle didn't get on your nerves. But you also had your own mission. Deliver the news to Lucien that Beron isn't his father, Helion is.

Which is why though this whirlwind of a mission you're laying down on path of grass outside of the House of Wind. Weird. What was even weirder was the fact that Velaris, a secret city inside of the night court, has existed for so long with no one none the wiser.

You squeeze your eyes shut. Trying to turn your brain off. It wasn't working. The sun wasn't the same, it does't feel the same. You can't call off this mission either.

"Is this what you do in the day court?"

You'd know that voice anywhere. Which is weird to say as you've known the male for a couple of weeks now. But it's true. Azriel's voice was distinguishable from others. A bit low, but still soft. Clear.

"Yes." you answer.

"Is that all the explanation you can give me?"

"Yes."

You think he'll go away. He plays nice because you have the blade. He needs the blade, which means he needs you. Once he no loner needs the blade he won't need you.

When you hear the sound of him getting closer you want so badly to open your eyes. But you don't. You keep them closed. As much as you want to open them and see what he's doing.

The sound of him laying down beside you on the grass is one you weren't expecting. Also the feeling of soft cold tendrils nipping at your arm.

"It feels...nice. A bit cold." he speaks.

Of course he'd complain about he cold. Nesta had told you that Illyrians were whiny babies. You'd seen it personally when Cassian couldn't get a certain dish because there were no more potatoes for the day.

And now here his brother is. Complaining.

You hold up your left hand, the one close to him.

"Give me your hand." you command.

You half expect him to decline. To maybe even get up and leave. Or maybe say that he doesn't mind the cold. The other half of you expects him to just listen you-to see where it goes.

He takes your hand. You focus on letting the additional warmth you normally feel from the sun flow from your hand and into his.

Out of all the things you half expect and do expect, his laugh is something you don't plan for. It's deep. It comes from his core. It's gentle too. Which you wouldn't get just from looking at him.

"It's warm." he says.

"That's how the sun feels in the day court." you answer.

"I think you just spoke more than three words to me."

You scoff, "Don't get used to it."

"That was four words."

"Shut up."

"Two. We're regressing."

"Azriel."

"I'll be quiet now."

This is how you spend your time. If you are not training with Morrigan, Amren and Nesta. Or not eating with Cassian in the kitchen. You are laying out on the grass with Azriel in the sun.

It happens more times than you care to admit as the mission goes on.

-

ONE MONTH LATER

This place, Velaris, was starting to grow on you. You didn't want to admit that out loud, or in your letters to Helion. Or how well you were gettign on with Azriel. The trips into the city, the lingering glances and words with hidden layers.

You letters should only have on subject, Lucien.

He has been back from the spring court for two weeks now. You've taken that time to get to know him. You couldn't fathom unleashing the truth on him as a stranger. You don't need to be his friend. But he needs to at least trust the words coming out of your mouth when you say them.

Family dinner they called it. Even though only three of them were related to each other. But you guess that what makes their family unique. They choose each other, every day.

This meal was special. Seeing as you had finished the mission that Helion sent you on to protect the blade. There was a fae that needed to be tracked down and would only come out of hiding if he could see the sun blade.

Of course you didn't let him, but you did convince him that the fake blade you passed onto him was the real thing. When he found it wasn't after he revealed his intentions with it he got angry.

Angry enough to rain hellfire down on both you and Azriel. If it weren't for your fast thinking and powers you both wouldn't have made it out in one piece.

Now you're sat with the inner circle to celebrate your feat.

Someone clears their throat. This drags your gaze from the redheaded male to the dark haired one. The both of them were sitting in front of you.

How the mother is cruel and precious at the same time. One male is your mission which you planned for. The other male you didn't plan for, and yet...

"Az was asking if you miss home." Morrigan says from your side.

"Dearly. But its not bad here." You speak, not quite realizing what you just did.

You watch as Azriel's smile grows and grows on is lips. It hits you then.

"Wipe that smile off your face before I take it back." you say to him.

"No I don't think I will." he jokes.

You shake your head with a light laugh. You can pick up on his laugh too from across the table.

"Well if it means anything, you fit in well here." Amren speaks up.

Everyone at the table quiets down at that. You look over at her, peering around Morrigan. You nod once at the sentiment.

"You need to tell him." Elaine says suddenly.

You look to her sharply. She's gotten better about speaking to you. More than a greeting but still less than a conversation. It does weird you out some times but you let it go for the most part.

"Oh?" you ask rhetorically.

"Elaine I don't think we should discuss this here." Feyre starts.

"He needs to know." Elaine says again.

It upsets you. She is his mate. She is the one connected to him. She has known this secret longer than you. But you'll be the one to tell him? She doesn't want to get her hands dirty. None of them do.

"What do I need to know?" Lucien asks all of a sudden.

You look to him. Hoping nothin is being given away by your face. When no one answers him he scoffs lightly to himself and looks around at the table.

This is happening now.

"It's obviously about me, none of you can look me in the eye except for her." Lucien continues.

"I can tell you, in private." you offer.

He nods his head and gets up from his seat. You follow his lead and get up too. The two of you walk out of the dining room and onto the balcony. You pull the door close behind you.

"Before you say anything, do they all know about this?" he asks.

He can't be asking about Elaine. She's the whole reason you're having this conversation right now. No, he's talking about Feyre. His friend. Or who he thought was his friend.

What can be left of a friendship after a lie like this?

"Yes." you answer simply.

Lucien shakes his head, "Okay, you can tell me now."

You take him in. The tense shoulders. The bowed head. His hair is perfectly combed behind his back. In this light, he looks like Helion. Not too much, but just enough.

How do you up end someone's life?

"Lucien do you ever think about what it felt like growing up with Beron as your father?" you ask.

Lucien looks at you sharply, "It was unspeakable. I wouldn't wish that life on anyone."

"And it shouldn't have been yours either." you reply.

His brows furrow. Right in the middle like they want to meet so badly. You wonder if he's felt like an outsider before. If he's ever felt it amongst his brothers. The black sheep.

"When my mission is over here, do you think you could come back with me to the day court?" you ask softly.

His face goes from confusion to somewhat understanding. But you haven't told him enough for him to completely get what you're saying, what you're asking of him.

"A couple of times Eris tried to make me visit the day court." Lucien admits.

You nod your head at that. Of course. Ever the perfect actor. You knew him for a little slice of time in your life. A period in which you won't ever forget. He was your first kiss. You were young and kids, trying to figure out your own way in life.

Kissing Eris, the treacherous fox of the autumn court, was every bit exciting at your age. You gossiped, and word got around. But he didn't deny it. For all the lies and manipulation he pulled you thought he might say you were delusional, that you had made it all up. But he backed you claim.

Eris knew Lucien wasn't Beron's son. Eris probably protected him as best he could. In his own, Eris way. Whatever that means.

"You can invite him too." you say.

Lucien looks past you. No doubt at the inner circle lingering inside. If you were in his position you wouldn't even go back in there. You'd never talk to any of them again.

"I'll take my leave now, but thank you. For being honest." he says.

You give him a small smile, "To be clear I was to tell you the news in a gentle manner. What just happened was out of my hands."

"I get it. I'll see you around." he says.

You bid him goodbye. Then he's walking past you. You hear the door open and how voices inside seem to call his name. You don't hear him respond to any of them. You hear the front door slam.

With a breath you turn around and head back inside too. When you do everyone is looking right at you. It unnerves you. You hate it.

"I've done your dirty work now. I think I'll call it a night." you speak.

"He didn't deserve to find out like that." Feyre says.

"You're right, he deserved honesty from his friends." you retort.

"You were sent here to tell him the truth. Am I wrong?" Rhysand asks.

You turn to face him clearly. You can't believe he just said that. You cannot believe he formed the words with his mouth to say that to you.

Without saying another word you walk right out of the dinning room. You ignore Nesta and Amren calling out to you. And you ignore the shadow that walks with you right out of the room and into he hallway.

As soon as you get inside of your guest room the shadow disappears.

SUNRISE, THE NEXT DAY

You're skip training and packing for home instead. You wish you could pack faster but that isn’t possible. You don’t want to be here for another second. Not in this court, not among the inner circle.

When you throw in your last few shirts into the luggage a knock raps on the door. You don’t know who it is, but if it is Rhysand or Elaine you won’t open the door.

“Who is it?” You ask.

“It's me, can you open up?”

You go over to the door and open it. Standing there on the threshold is Azriel.

“I’ll be leaving soon.” You say.

His eyes seem to widen at that. You watch as he peers over you and takes in the bareness of the room, and the packed luggage. He straightens himself out.

“Why so soon? It feels like you just got here.” He replies. 

Based on his words alone he doesn’t want you to leave. You can feel it too. How it’s only been a month or so but the two of you are comfortable around each other. 

You sigh, “The mission is over.”

“And we’re back to this? Four word sentences?” He asks.

“Azriel.”

He looks down both sides of the hallway. His head turning left then right. Then he’s turning back to you. He looks nervous. Antsy. He doesn’t normally look that way. He’s usually so composed. 

He takes you by surprise. He side steps into the room and closes the door behind him. At that you know your eyes go wide. He holds up his hands in defense.

“I’m sorry, I’m sorry for that but I just—are you mad at me?” He asks.

You scoff, “Yes I am.”

“Okay I knew that, but I was also confused because on that mission you saved my life.”

“Hardly.” You answer simply.

He groans at your one word answer, “You made sure those arrows didn’t plant themselves in my wings. You made sure I was safe.”

“It was nothing.” 

“No it was something.” 

You’re catching on now to how tense he is. Tense or nervous you can’t tell. His eyes are frantic. His breathing is also uneven. And his shadows are fully out on display now.

You do the one thing you can think of. You reach out for his hand. He doesn’t even seem to notice it. When you make contact he looks you in the eye. “Please calm down.” You whisper.

He bows his head, his hair covering his face now. All of a sudden he sinks to his knees. The action catches you completely off guard. 

“I’m sorry.” He says again.

You focus on sending him warmth from your hand. In a second you can see his shoulders begin to shake. From this angle you can’t tell just yet if it’s what you think it is. 

So you bring your free hand to the side of his face. You feel it. In the palm of your hand you feel his wet cheek. He’s crying. Azriel the shadow singer is crying, on his knees in front of you.

“I could have died and for the first time in a very long time I felt this deep regret in the bottom of my belly.” He chokes out.

What would he have to regret? 

Slowly you drag you hand down his cheek. You place your pointer finger under his chin. Titling his head up, you meet his eyes. From this close you hadn’t realize how many shades of brown they hold.

“Azriel, you’re okay. I promise you you’re okay.” You whisper.

He shuts his eyes, more tears flowing down his face now. 

“I don’t think I will be.” He admits.

“Why?” You ask.

He opens his eyes again. 

“Because you hate us now, you’ll never come back here.” He answers.

In a sense he was right. Not totally. You didn’t hate the inner circle. You just couldn’t stand what they did last night. How they acted, how none of them would fess up. Even though some of them had known Lucien for a long time.

But you didn’t hate them. You didn’t hate him.

“I don’t hate you.” You reply.

“I could see it on your face last night. And now, you’re leaving so quickly. You want nothing to do with us.” He adds on.

There’s silence between the two of you. The emotions Azriel is feeling right now feel heavy. Way too heavy for someone he’s only spent about two months with. 

You had heard many rumors about him. But him being like this, wearing his heart on his sleeve like this? You don’t think you could have ever imagined it.

Remembering that he’s waiting for you to answer, you remember to speak.

“Yes I’m upset and I want to go home. But that doesn’t mean I never want to see you again. Azriel I really enjoyed my time with you.” You speak.

You don’t realize it but your hand is stroking his now. 

He gives you a look you can’t figure out, “Why does it feel like that time is over already? Like I’ll never see you again?” 

He reaches up and places your hand on his cheek again. You don’t emit the warmth from there but he nuzzles into your hand like you are. His thumb rubs back and forth on the back of your hand there.

“You talk like everything is set in stone. Like there is only one path.” You say.

“I can just, sense it.” He explains barely.

You shake you head, “Azriel I was always going to leave.”

“Not like this. Last night changed everything.” He says, but it comes out more like a whisper.

“Get up.” 

He looks at you, a bit of shock. You watch as he follows your command and gets back on his feet. He keeps your hand pressed to his face the whole time. Your other hand falls to your side.

“You can come visit me.” You say.

He’s silent. Silent but he nods his head at your words. You’re not sure if he believes you fully. But it’s enough. He wipes the tears from his face. His wings perk up, off the floor now.

You wrap your arms around his body before you can think against it. Instantly you feel his arms around you. Pulling you closer. He rests his head on top of yours. It feels right. It feels natural. No, it feels like something else too.

It feels the exact same way the sunlight in the day court feels on your skin. Like it is meant to be.

part two here!

[ladcedes]

melodrama

charles leclerc x musical theatre actress!reader, social media!au

summary a melodrama is defined as a dramatic piece with exaggerated characters and plot-lines that play to the audience’s emotions. when charles leclerc dates a queen of drama, there is bound to be some that seeps into his life.

notes yes, the title was from the lorde album. warning, google translated french

the anniversary posts

yourusername

Liked by lilymhe and 582.382 others

yourusername mon amour ❤️ i never could’ve imagined that i would spend 5 years with you… and i never imagined that i could find someone so amazing, who could make me feel like the most spectacular person in the world, the most special girl, yet also remind me of how human i am and how i’m allowed to be only human. you always manage to whisk me away from the pressures of life, push everything away, and make it feel like it’s just us in this world. you, my darling, are the comfort and calm of my soul. with you forever by my side, i can face anything

view 366 replies

12 March 2023

arthur_leclerc i can't believe it's been 5 years since you two started being publicly insufferable

⤷ charles_leclerc nous t'aimons aussi, arthur 🙄🙄🙄 (we love you, too, arthur)

carmenmmundt congrats on 5 years and cheers to many more!!

⤷ yourusername thank you love! ❤️

f1wagsite the caption is too sweet im jealous

⤷ ynfans2023 literally their relationship makes me wanna go in the bathtub with my hairdryer

charles_leclerc

Liked by alex_albon and 906.438 others

charles_leclerc always the light on my darkest days, my sunshine when it rains, melting away all my worries and doubts, always bringing me up from the lowest of low points. you are my courage and strength. you shine so brightly that you light up everything around you, including myself. you bring out the best in me and love even the worst. you give warmth to the deepest corners of my soul. with you, i’m the best and most natural version of myself. these 5 years together have been the best years of my life, i wish i had met you sooner. even eternity isn’t enough to be with you, mon étoile ❤️

view 523 replies

12 March 2023

lewishamilton congratulations guys ❤️

pierregasly congrats on 5! so where's the ring mate? 😂😂

⤷ alexalbon seconding this 😂😂

⤷ hamilfans pierre?? ALEX?? do they know something we don't or are they playing??

valenciacia the caption??? ME WHENNN 😭😭😭😭😭

⤷ f1girliee RIGHTT like "even eternity isn't enough to be with you"???? i'm going crazy.

⤷ leclercwdc i'm about to go take a bath with my toaster rn

charles_leclerc posted • 8/2/2023 | yourusername posted • 2/3/2023

charles_leclerc

Liked by pierregasly and 867.338 others

charles_leclerc my favourite actress ❤️ unbelievably proud of you, mon cherie @yourusername.

to be blessed with the love of such a hard-working, talented actress is an honour. you performed amazingly tonight and every other night before.

11 February 2023

view 406 comments

yourusername charlie you are such a sap (i love you so much)

⤷ charles_leclerc only for you darling (i love you more)

itsnessa they make me believe in love

⤷ loveleclerc real i don't know what i would do if they broke up

⤷ wdcleclerc i think i would lose hope in love

44britcedes my fav couple 🫶🫶🫶

yourusername

Liked by charles_leclerc and 724.198 others

yourusername all's well that ends well

3 May 2023

view 698 comments

myagramm is the ring on yn's finger a new addition orrrr

⤷ pierregasly i guess we found where the ring is

⤷ leclercism beating the breakup allegations with marriage allegations. only them.

⤷ myagramm PIERRE?? HELLO???

httpsainz is that ring what i think it is

solarpiastri im actually crying they rlly said fuck the break up rumours and decided to start up engagement rumours instead

a/n: might make a part 2 if i feel like it in like 5 months

[wenellyb]

How I feel about Buddie...

You guys have been warned, this is a long post.

I've always liked 911 and was a casual viewer but never got involved in the fandom or anything. Of course I knew about Buddie, but I personally never saw it. Buck and Eddie have always acted like best friends and do stuff best friends do. I have never seen any scene that could be interpreted as romantic, except maybe for the "you want to go for the title" scene. But to me it wasn't enough to ship them, especially since it was the only scenes in their hundreds of scenes together that could be seen as romantic.

That being said, I've always thought the ship was cute, and I understand it because who doesn't like a good friends to lovers storyline?

I just never got involved in the fandom because their behavior reminded me of the Stucky and Destiel fandom, which were chaotic experiences for me. Some people just don't know how to handle non canon ships and act entitled, complain to the showrunners and harrass the cast. I've always tried to avoid fandoms like that, but wasn't against the idea of Buddie as a ship.

The 911 Lone Star crossover episode for me was the confirmation that Buck was into men. To me, it was obvious they confirmed he was into men but hadn't set up a storyline yet. So naturally I thought... if they set up a storyline it will be with Eddie. There was no doubt it my mind.

So fast forward, a few years, I wasn't really watching season 7 and then I see all the fuss from Buddie shippers I follow, and it makes me watch the sneak peek video from 7x04 and I'm like....For sure Buck is being jealous right? (it was the scene where Eddie interrupted Tommy giving Buck a tour)

So I decided to watch the episode convinced this was going to be the episode where they confirmed Buddie, but I was also very cautious because Buddie shippers had cried wolf too many times before.

So I was careful, but I was also convinced that this was it: "Buck was going to get jealous of Eddie hanging out with Tommy and then confess his feelings or the other way around".

And that's actually what was happening until the end of the episode, we saw Buck get jealous, and most of us assumed he was being jealous about Eddie.

We didn't figure out until the end of the episode that it was all about Tommy.

And that's the beauty of that episode because you think you're watching something when in fact you're watching something else and when you rewatch some scenes you understand it, and that plot twist was written so beautifully.

So we have Buck and Tommy have a heart to heart in Buck's kitchen and they kiss. And what a kiss... the kiss itself was Nice but the look Buck gave Tommy after the kiss was breathtaking.

From that moment on, I was rooting for them.

But I still had Buddie at the back of my mind because I was thinking, what if this is all temporary and they're planning to break them up to set up a buddie storyline? So I shipped it but didn't want to get my hopes up.

This feeling got bigger when I started watching 7x05 and I saw the way their first date ended. I thought... this is it, we might not see Tommy again, what a shame. But then Buck talked to Maddie about his date and confessed it was with Tommy. And Maddie asked: "so tell me about the hot pilot", and I thought this isn't how they'd talk about a character we never see again. But I didn't know for sure.

Maybe they were setting up a Buck x Eddie storyline....

I changed my mind when I saw Buck's coming out scene to Eddie, the scene was beautiful and at that point I still was thinking Buddie was a possibility. But one line made me think that Buddie wasn't happening: "I can't stop thinking about him".

No writer would put a line like that and have Oliver say it like that with that look, if they were thinking Buck and Eddie would have a romantic scene in the future. And if you do write that, you would get a jealous reaction from the other character, not a "You should call Tommy".

And then I was conforted in my feelings when the writers doubled down and had Buck invite Tommy to Maddie's wedding. Buck could have just apologized and asked Tommy on antoher date, but no, he invited him to his sister's wedding.

There has been absolutely no hint of a romantic relationship between Buck and Eddie throughout the season. There has never been a sign of jealousy from Buck or Eddie's side when they were dating Tommy, Marisol. If they had been setting up that storyline, the writers would put some hints here and there. Instead, they shared meaningful scenes like best friends do.

I never had anything againdt Buddie as a ship, I was even open to it, but all the times I thought Buddie was going to happen, it was because of the fandom, not because of something I saw in the saw...To me Buddie is and will stay a fanon ship.

TL:DR: I don't hate the ship, I find it cute but the behavior of some shippers has made me want to stay away from the fandom. And when I thought Buddie might be happening, the writers showed us they had long term plans for Bucktommy.

[artist-issues]

I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!

Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go” and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!

Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.

Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!

Let’s do this! For fun!

1. They don't need to establish exhaustive rules for how magic works in their world.

Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.

Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."

The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.

Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.

If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life

—well, you're focusing on the wrong things for this kind of story.

It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.

But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.

Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.

But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."

That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.

Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.

So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.

2. The "twist" villain worked perfectly for the story.

A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.

But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.

Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.

So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."

So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.

3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.

Anna (as we understand her throughout the story) is introduced like this:

And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.

Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's

"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.

So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”

See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.

There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."

But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.

I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.

Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.

I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.

4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.

She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.

At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.

But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.

Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.

She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.

It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.

4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.

The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.

Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—

Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.

They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.

And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.

Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.

Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.

And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.

She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.

Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.

Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂

Guards! Take them away! Back to the theater with you! Watch the movie again!