#this is like shakespeare level tragic

[arthursfuckinghat]

God guys I'm really in the trenches with thinking about Mary and Arthur and how utterly tragic they are.

After so many years of no contact, Arthur only meets Mary three times throughout the span of the story, three times where they talked about love and regret and pain and wishing things were different. Three times was all it took to officially break both of their hearts again, and one broken forever into the grave.

They wanted to run away, they wanted to run away and be happy, they wanted to be together again, they wanted it so badly and it was just so out of reach.

The last thing Arthur ever did with Mary was take her to the theatre, the last thing Mary ever did with Arthur was give back the engagement ring he had given her.

Because Arthur wanted to marry her.

Arthur wanted to marry her and run away with her and forget their families and make a life together.

But Mary didn't get a letter back, she didn't hear anything from Arthur, maybe she hoped that Arthur had moved on too, but Arthur died and had been dead the whole time. Mere days or weeks after she sent that letter, Arthur died.

How utterly soul destroying would the guilt and pain be after finding that out? That the last thing you did with the love of your life was write about how you're ready to move on days before they died? How she wrote about never forgiving herself for falling back in love with Arthur again when he was alive, but now he's dead? He's dead and there's so many things she'll never be able to take back or write about again, now she's all alone without even Arthur to help her even when she felt horrible for asking in the first place, now she will have to grieve instead of trying to move on like she promised, god you guys.

[britneyshakespeare]

The gaslighting Duke of Vienna

[neptuneiris]

could you pretend to be in love? (06/10)

The Connection

pairing: modern!aemond × fem!reader (fake dating)

summary: an unexpected person from the past shows up and there is a family dinner to attend, resulting in disastrous thoughts and difficult decisions.

word count: 8.9k

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the chapter is finally here!

sorry it took me so long, if you didn't see my last post go do it and you'll know why👀 but we can put it behind us now and I'm excited to tell you that the next chapter will finally give us that next level we've been waiting for so long!

I really hope it won't take me that long but for now, let's enjoy this new chapter and as always, I'll be very anxious to read your comments🥰

enjoy!

The day of the dinner is slowly approaching.

And you still don't feel completely sure about it. However, despite your doubts and worries, you haven't backed out.

Mostly you think about what you're going to tell Aemond's mother by way of ruining things out of nervousness. Of course he should have already given her information about the relationship, but you're worried that she'll ask you questions and you won't know how to answer.

But that's not the reason she wants to get to know you… is it?

You think she probably just wants to know more about you, your likings, your non likings, your aspirations in life, your dreams, your family and things related to that.

Right?

You just hope so.

You've never done this before, meeting a guy's parents, ever. And you just get more nervous and feel more pressure knowing that Aegon and Helaena will be there too.

As well as you also feel guilty about the fact that they all think that you and Aemond are for real and you're just going to go there and convince them and assure them that you and Aemond are crazy about each other… when it's not true.

Now it's Thursday, tomorrow is dinner and Aemond doesn't seem at all concerned about it, when your thoughts are being completely tormented with it.

Still, you listen attentively to his words as you put away some books in your locker and he's standing next to you, leaning against the lockers, with the Romeo and Juliet book in his hands.

"Why did you make me read this shit? It's too hard to read and I don't like it," he says longingly.

You look away from your books to him and place a small amused smile on your lips at the sight of his face.

"It's like poetry and I don't like poetry, I don't understand it," he says frustrated, "I don't understand any of the weird rhyming they say."

"Well, Shakespeare has a unique way of expressing himself."

"Yeah, but what does he mean by 'My lips, two humble blazons, are ready to seal with a kiss softly'?" he recites reading the phrase with his brows furrowed and you let out a small laugh.

"Shakespeare loved beauty in words, even if it meant complicating things a bit."

"Yeah but why can't he just kiss her and be done with it without saying these weird words that give me cringe?"

"Come on," you give him an incredulous look, "It's romantic. The whole book is romantic with a tragic ending."

"This is definitely not romantic," he says incredulously and shaking his head, "It's weird, boring and makes me want to puke."

You look at him with a pout.

"You're not romantic at all."

"Excuse me?"

He immediately comes to defend himself, staring at you incredulously and completely indignant.

"I can be extremely romantic, thank you very much."

You raise your hands in a gesture of surrender, with a small smile as you see the spark of amusement in his gaze.

"You of all people should know that, you've witnessed it and you're the reason I do it mostly," he adds.

"But that's not… you know," you give him an expectant, knowing look.

"It's still romantic."

"No, it's not," you say with a laugh.

At your playful response, still busy at your locker, you don't notice and Aemond suddenly approaches. He takes your chin with one of his hands gently but firmly enough, causing you to look up at him, catching you off guard.

"What did you just say, my love?" he asks with a mischievous smile and amusement in his gaze, appearing serious and warning.

He brings his face closer to yours with a demanding gaze and your heart begins to pound as you let yourself be carried away by his proximity.

It is clear that he is going to kiss you, what does this mean if not kiss you? So you watch him expectantly and with your face lifted towards him, really looking forward to the sweet contact, your lips inches from his.

But first Aemond looks around briefly, wanting to make sure that some students in the hallway are watching you. When then, you see that he is overlooking a specific spot in the hallway.

You see how there is a slight glint in his eye and then he no longer moves.

You frown slightly, waiting. And before you can say or do anything, Aemond suddenly pulls away.

Confusion overtakes you and he clears his throat by averting his gaze, then smiles softly at you as if he wasn't about to kiss you seconds ago.

"Then I'll be more romantic next time," he says, taking his distance from you, as if trying to minimize the tense moment you've just shared.

Was he going to kiss you or not?

You can't just tell him to kiss you either, that he was going to, since this isn't real but… the change in his behavior confuses you, you don't quite understand what just happened and you don't know what to say.

"I have to go to the field now," he tells you, averting his gaze for a moment before looking at you again, "I'll see you in class, okay?"

"Hum… yeah, yeah, okay," you nod, still confused.

He gives you one last smile and before leaving, he gives your shoulder a light squeeze with his hand, another gesture that catches you off guard. Without a kiss on your forehead or cheek, as he usually does, he walks away.

You stand in the hallway, watching him go, with a mix of emotions you can't help but feel confused, uncertain and... disappointed.

Questions swirl around in your mind, but you don't have any answers. So shaking your head to clear your thoughts, you close your locker door and head to your next class.

Eventually you continue to run into him and he acts normal, as usual. He sits next to you in class, does the teacher's requested activities with you, and walks with you through the halls to the next class.

And everything is…normal, in a way.

Although he's still being kind and attentive, he's not being as affectionate as usual.

You can see how he's distracted, deep in thought from time to time, something is on his mind, something that you have no idea what it is but that keeps you alert, confused and makes you feel completely different from previous days.

You sense that the dynamic between you today has changed somehow, leaving you feeling bewildered.

And you don't know why.

Although it's not until break time that you find yourself sitting at a table alone, still feeling this awkwardness, when Alysanne comes in and drops the big bombshell on you that makes all the sense in the world.

"Why are you here eating so casually when I just saw your boyfriend catching up with his other ex-girlfriend?"

You raise your gaze to her almost instantly, with a mixture of surprise and confusion, a knot forming in your stomach as the weight of her words settle on your shoulders.

"What?"

"Yeah, Floris Baratheon," she says, then looks at you slightly confused, "How did you not know this?"

"What?" you repeat, not understanding.

"Floris Baratheon," she repeats to you slowly and clearly, "Dark hair, not as tall and certainly not as bitchy as Alys but still she falls into the category of girls who are superficial and think they are better than other girls," she explains to you.

Confusion lingers in your gaze, for despite the explanation, you still don't remember anything about a girl named Floris Baratheon at school.

"You really don't know who she is? Aemond didn't tell you about her?" asks Alysanne incredulously and your face answers her questions, "She transferred schools for a semester and just returned this morning. She and Aemond weren't actually dating but they had a thing when he and Alys broke up for like the twelfth time."

Your mind whirls as you process the information.

Honestly you had no idea about Floris' existence back in your invisibility days at school. Therefore, you also had no idea that she and Aemond had ever had any kind of relationship.

However… there is something you have an idea of at the moment.

This is why Aemond acted weird with you this morning, because of her. He must have seen her in the hallway and his demeanor changed completely.

"I-I didn't know that," you admit in a soft, low voice, trying to hide the uneasiness that is starting to creep up on you.

"Well, it's weird that Aemond didn't tell you anything, especially since I saw the two of them so comfortable and happy talking," she lets you know, "And I'm not telling you this with any malice or to make you feel bad, it's just that I think you should know, even though I thought you already knew."

You bite the inside of your cheek, feeling a surge of emotions wash over you that you can't quite explain, nor can you avoid.

You're not sure what to think or how to react to this, but one thing is for sure; things between you and Aemond are likely to get complicated.

But what can you really do?

You and he aren't really dating. What's the point of asking him about it when it's really none of your business? Besides if he didn't talk to you about it before, when he saw her, it must be for this very reason.

You have no right here, even if you feel this.

"Do you want to get out of here?" asks you Alysanne later, noticing your face and probably everything that is invading your mind.

And soon enough, she takes you to the rooftop of the school, outdoors, where you just sit and watch the sky and listen to her while she smokes a cigarette, talking to you about Cregan being around her lately.

But as much as you want to give her your full attention and corroborate what she is telling you, you can't.

The rest of the classes are without Aemond, since you don't share them with him, and when the school day ends, still not knowing exactly whether to wait for him to drive you home or not, you head for the exit of the building, deep in thought.

"Hey."

You feel a hand grab your shoulder and when you turn your head without stopping moving forward, you find Aemond standing next to you.

"Hi," you reply softly, turning your gaze back to the front.

And he at your side gives you an attentive, curious and slightly confused look.

"Are you okay? I didn't see you at break," he says softly, "I also texted you and you didn't respond."

"Oh," your mind goes blank for a moment, "I was with Alysanne on the roof. She was talking to me about some things."

"Hmm," he nods, still watching you between a mixture of attentive and curious.

Then the two of you say nothing more, with the silence loud between the two of you and that tension emanating from your body, when you speak again.

"Are you going to drive me home today?" you decide to ask him, watching him, with that hesitation in your tone of voice and look.

And he frowns, watching you blankly.

"I always drive you."

You are about to speak but a third voice does it for you, stopping your steps and also Aemond's.

"Aem!"

The two turn their heads and there she is, Floris Baratheon.

Black hair, brown eyes, slender and absolutely beautiful features. She approaches with a smile, showing off her perfect, aligned teeth.

Everything about her screams money, as well as elegance, from her perfectly coiffed hair to her impeccable designer clothes and accessories.

And the moment she catches both your attention and Aemond's, you notice how he beside you tenses slightly.

"Hey," she gives him a charming smile and her full attention, placing herself in front of him, "The guys are going to get something to eat, I was just told. Do you want to join us? We can take off in your car and catch up some more."

"Hum…" he is silent for a moment, shooting you a nervous glance, scratching the back of his neck.

And throwing you another glance, this finally catches Floris' attention and she notices your presence as well.

"Oh… hi," she smiles softly at you.

Despite your nerves and how uncomfortable you're starting to feel, you force yourself to smile as kindly and genuinely as possible.

"Hi."

"I'm sorry, I don't think I know you," she tells you in an exaggeratedly kind tone of voice.

And this too finally gets Aemond to react.

"Yeah, right, that's my fault," he says trying to act nonchalant and completely relaxed, "Floris, this is Y/N, m-my girlfriend."

You watch as she parts her lips and her surprise is evident as she looks at Aemond and then turns her attention back to you.

"I-I didn't find the moment to tell you."

You instantly observe Aemond, with a look that even you can't explain and he suddenly can't control his nervous gestures anymore, giving a wary glance to you and then to Floris.

"Oh."

She turns her gaze back to you and though she tries to hide her surprise, the strength of her smile seems a bit forced as she holds out her hand to you.

"I'm Floris, nice to meet you."

And within everything you're feeling right now, like awkwardness and feeling out of place, you still shake your hand with hers.

"Nice to meet you."

Tension is in the air and Aemond looks hesitant for a moment. And you continue to feel like an intruder between them, getting in between the interaction of two people sharing a history you don't fully know about.

When Aemond speaks again.

"Floris is my…

He tries to tell you, but his words are left floating in the air.

Suddenly you see how he struggles and searches his mind for a way to introduce you to the girl he had a thing with in the past, only according to him, you don't know that, when certainly Alysanne already took care of it.

And just like you, you too feel Floris' anticipation, waiting for him to introduce her.

"An old friend," he finally says.

Floris arches an eyebrow slightly at Aemond's introduction, her lips curving into a smile that seems to contain more than just politeness.

"Yes, that," she punctuates, with a knowing look that to you does not go unnoticed, "Well, I just wanted to know if you were free for this afternoon. Although if you want you can bring your girlfriend with us," she proposes.

Aemond takes a moment to respond, averting his gaze as he scratches the back of his neck in a nervous gesture.

And that's when you decide to speak.

"You can go with them," you tell him and that immediately gets his attention and hers, "I can just take the bus or something and I'll see you later," you say to start walking away from both of them.

His attention and slight surprise is most visible on his face, but before you can move too far away, he grabs your hand and advances towards you.

"What? No" he immediately inquires, "No, I'll take you home."

The determination in his tone of voice and in his gaze makes you feel a little more comforted, but still, you can't shake this uneasiness in you about Floris' presence.

And that's when Aemond turns to her again without letting go of your hand.

"Sorry Floris, another time," he tells her in his firmer, slightly strained voice.

And she nods with a sympathetic look, though you can't help but sense there's something else behind her expression.

"Of course, I understand, it'll be for next time then," she says, before turning to you, "It was nice meeting you, Y/N."

And finally she is the first to walk away.

You exchange a look you can't quite describe with Aemond and feel the awkwardness and seriousness linger between the two of you, even as the two of you leave the building and make your way to his car.

And once in the passenger seat and with Aemond driving through the city streets, you find yourself fiddling with your fingers in your lap, still feeling the awkwardness in the air.

You don't understand exactly what's got you right now but you can't even see Aemond out of the corner of your eye, so you keep your gaze focused straight ahead and on the side where the window is.

"Are you okay?"

You suddenly hear his voice speak softly to you, feeling his gaze on you from time to time and you squirm a little in your seat before you speak, swallowing hard.

"Yeah, all good," you say, trying to sound convincing.

He exhales deeply, noticing your distance again.

"I'm sorry if the Floris thing made you uncomfortable. S-she…" he sighs, "She's truly a childhood friend. We had something in the past but it was very brief and it's no longer relevant."

And although there is nothing wrong with his words, you still can't help but feel a slight knot in your stomach. And you act completely unconcerned.

"I understand," you say simply, in a soft voice and still without looking at him.

But this is not convincing to Aemond, who licks his lips and can't help but worry about the situation.

"I mean it."

"Aemond," you call him softly, finally looking at him, "I understand, I really do," you assure him, "I also meant it when I said you should go eat with her and your friends. You seemed very uncomfortable and there was no problem from me."

He nods slowly, but still looks a little uneasy.

"I just didn't expect I was going to see her again."

And you don't know if that's worse.

"Are you ready?"

Oh God, are you?

"I don't know," you answer honestly, nervously, looking at your outfit.

For this occasion you chose a pair of pants, ankle boots and a white tank top with a black jacket over it. You don't look overdressed but decent for the occasion, along with your makeup and hairstyle.

"Hey, easy," he says softly, placing both hands on your shoulders, "It's going to be okay. Besides we won't be alone, Aegon and Hel will be with us."

"Yeah but that's not what I'm worried about," you clarify, playing with your fingers, "What if I ruin everything?" you ask watching him fearfully, "What if everyone realizes that we're not really dating because of me?"

"I'll take care of that, don't worry," he assures you, with his soft gaze, "You just have to corroborate everything I say and stick to the main story. Other than that, my mother will just ask you questions about you to get to know you better."

"Are you sure?" you ask, not entirely convinced.

"Very," he affirms you, conveying calmness and assurance in his voice.

"You've done this before?" you can't help but ask, still with some hesitation, "I mean…" you lick your lips, nervous, "You've brought a girl before to dinner with your family?"

He is silent for a moment, as if considering how to answer, as the implication is clear because that's not the real question, you know that too.

Rather it is: have you ever brought Alys to dinner with your family before?

"Yes," he finally admits in a murmur, sincerely, "Yes, I have."

You stare at him silently, without the two of you saying anything else, only to look away and nod, again trying to look unconcerned, trying to calm your nerves further.

"My mother never liked her," he says later, again attracting your attention, "You know, Alys."

Again, you say nothing for a few moments, just lick your lips and nod.

"I understand."

Aemond lets out a heavy breath and takes a step towards you, lowering one of his hands to take one of yours, gently rubbing his thumb against the back of yours, this also immediately catching your attention, as you see him looking at you for a moment thoughtfully.

"Are you ready now?" he asks you softly, raising his gaze to you, "We can stay here a while longer if you want."

"No," you reply immediately, "No, I don't want to make everyone wait for us," you release a long breath, calming your nerves, "I'm ready now."

He places a small comforting smile on his lips.

"You'll do fine, trust me," he assures you then moves closer to you and leaves a soft kiss on your forehead, just like at school.

His action definitely catches you off guard and you look at him slightly surprised, but Aemond doesn't give it that much importance, as if it was already a natural and routine thing between both of you, like a gesture of encouragement, to then take you by the hand together with him to the entrance of his house.

His house is nice and big, with a beautiful garden, so when you open the door, you see a huge and cozy living room with the dining room visible in the background, where you can make out Aegon's figure and his short silver hair.

Aemond closes the door behind you and you briefly look around, seeing the decorations of the elegant house, such as mirrors, flowers vases and also family photos.

Mostly, you see pictures of young children, which you recognize as Helaena, Aemond, Aegon and his other brother, Daeron.

There are also photos of what you assume is their mother and also a man, who you assume is the father, with Aemond and his siblings as children. But it strikes you that none of the four are smiling, just the mom a little.

There are more current pictures, only of Aemond, Helaena and Aegon smiling next to their mother, with no trace of their father and Daeron.

"He's my younger brother," he takes a single photo of a boy, standing next to you and handing it to you, "Daeron."

And just as you imagined, he's a boy of about fifteen with striking blue eyes and short silver hair, smiling at the camera with a bright face and looking in the background like he's standing in a lake at Honeyholt.

"Helaena was right," you say with a small smile, still inspecting the photo, "He really is the handsomest of the three of you."

"That's not true," he tells you immediately, taking the photo out of your hands and putting it back in its place with a quick, automatic gesture, making you laugh.

"What's up, bro?"

You both hear Aegon's voice and turn around, with the silver-haired man already walking towards you with a bottle of beer in his hand and a huge grin on his face.

"Are you drinking already?" Aemond inquires, "Mom's going to kill you."

"Oh, you know how persuasive I can be," he tells him without wiping off his smile, "Besides, I've already set the table," he points to the dining room, "It's dinner, bro."

"Careful," he warns you but he deliberately ignores him, heading in your direction.

"Y/N!" he exclaims your name smiling, coming over to embrace you, "Welcome to our home."

"Hi Aegon," you smile back at him.

He envelops you in a hug and you reciprocate cordially, instantly the strong smell of beer reaching your nostrils.

"Want one?" he points to the beer in his hand as he pulls away from you.

"I don't think so," Aemond answers him, again intertwining his hand with yours, "Where's mom?"

"In the kitchen with Hel" he points out, "Tell them to hurry, I'm starving," he says in a tone of voice that catches your attention.

But Aemond pulls you forward, starting to leave him behind, with a serious and disapproving look at his brother's attitude.

"It's the beer," he explains to you quietly, "I hate it when he drinks at home. I just hope it doesn't get unbearable later."

"Why?" you ask him, curious.

He shakes his head.

"Aegon is… complicated."

He doesn't say anything else and neither do you, mostly because he leads you toward the kitchen, but curiosity still lingers on that subject.

He gives your hand a gentle squeeze in a supportive gesture that comforts you as you both cross the threshold into the kitchen, where instantly the smell of delicious freshly baked food hits your nostrils.

And the first thing you notice is a silver hair along with a darker one, who you assume must be Aemond's mother.

And immediately your nerves again explode and you feel your heart pounding hard in your chest.

"Hey, Y/N!"

A friendly voice says to you, being Helaena, who is wiping her hands with a clean dish towel and wearing a beautiful blue dress, instantly heading towards you with open arms.

"Hi Hel," you smile back happily, hugging her enthusiastically.

"Oh I'm so happy you're in our home," she says excitedly and warmly without letting go of you, "We've prepared turkey, I hope you like it," she says as she pulls away from you.

"Oh I'm sure it will," you nod at her with a sincere smile, feeling welcomed by the warmth of her welcome.

"Mom."

Aemond's voice momentarily pulls you out of your conversation with Helaena and you turn your head to meet the gaze of Alicent, Aemond's mother.

Instantly you try to control your nerves and keep your composure, remembering his comforting words.

And when Alicent's gaze meets yours, a warm smile forms on his lips, which makes you feel less nervous and conveys a sense of calm. Although the nervousness lingers, you feel a little more secure with his kindness.

Aemond places a comforting hand on your shoulder and steps forward to introduce you.

"This is my girlfriend, Y/N," he points to you with his small smile, "And Y/N, this is my mom, Alicent."

She is a very beautiful woman.

It's the first thing that comes to your mind, noting the dimples in her cheeks and that warm look she has, not being intimidating at all and being rather kind.

Besides the dark green dress she wears is completely beautiful, as well as her accessories. Everything about her radiates elegance and poise.

"A pleasure to finally meet you, my dear," she says, turning to you, "Gosh, I was so excited to meet you. It's so nice of you to come."

And without expecting it, just like Helaena, she too greets you with a hug, taking you completely off guard, causing you to let out a nervous little laugh as you hug her back.

"The pleasure is mine, Mrs. Hightower," you say softly, feeling slightly overwhelmed by her kindness and warmth.

"Please call me Alicent," she says as she pulls away from you.

Before all this you asked Aemond what to call her, just for the heck of it and to feel less nervous and he told you 'Hightower', the last name of her father.

So you assume that Aemond's father is not someone who gets mentioned much around here. In the family photos he is present in only one picture. And Aemond doesn't talk about him either.

And he watches with a small smile at the interaction between you and his mother, feeling relieved that things are going well so far.

"Please go and take your seats. Dinner will be served soon," she says to Aemond and you.

"Do you need help?" he asks her.

"I'm already doing it myself," Hel says, "Don't worry, little brother."

"Can you help me with your brother, please," Alicent tells him, with a look of slight concern.

"Of course," he assures her in a gentle tone.

Soon the two of you return to the dining room, the two of you take a seat together with Aegon and Aemond tries to tell him not to overdo it with his drinks, that you are here to enjoy a nice dinner with his family.

But he just makes nonchalant gestures and tells him that everything is fine, to continue drinking, looking at the screen of his phone, waiting for dinner.

Then you don't know how much time passes exactly but Alicent returns very soon along with Helaena with the food, placing the dishes in the center of the table, indicating that all this will start soon.

Aemond places his hand on top of yours underneath the table, giving you every supportive gesture possible, reassuring you at every turn that he can that all will be fine.

Every brush of his fingers against yours conveys reassurance and comfort.

You feel a slight relief as you feel his touch, reminding you that you are not alone at this moment and his presence gives you strength to face any nervousness that may arise during dinner.

And with the food finally served, the silverware begins to clink against the plate glass as everyone begins to enjoy the delicious dinner.

Aemond, like the supposed boyfriend in love with you, is totally attentive to you, asking if you're served this or that, wanting to make sure you're well received and comfortable to make this more bearable.

And you thank him all the way, feeling his mother's gaze on both of you from time to time, without wiping away her warm smile.

"Did you like the food, dears?" she asks generally.

"Oh yes," Helaena says with a look of total complicity, delighting in the food.

"It's delicious, Mom," Aemond tells her later.

"Totally," you corraborate politely, nodding in her direction.

Alicent smiles in satisfaction and then turns her attention to Aegon, who hasn't said anything since everyone started eating.

"How about you, son?" she asks him softly.

"It's fine," he says curtly, taking a huge swig from his bottle of beer.

This definitely gets your attention but Alicent as well as Aemond and Helaena decide not to give it enough attention, as if they're already used to it and don't want to ruin the moment by his behavior.

But you do notice the disapproval in each of their looks, especially the disappointment in Alicent. Though she almost instantly turns her attention away from Aegon to Aemond and you.

"So, how long have you two been dating exactly?" she asks curiously and without losing the kindness in her gaze and tone.

"A month," Aemond replies without hesitation at your side, resting one of his arms on the back of your chair.

And Alicent shakes his head with a small smile on his lips.

"And I still can't believe he kept you hidden from me, Y/N."

You smile in his direction, trying not to let your nerves give you away, as Aemond again interjects, with a soft look.

"We didn't want to rush things."

"I told him not to take too long to tell you," Helaena says as well, pointing at Aemond as she watches her mother.

"But he didn't tell me anything, Aegon did," Alicent says in amusement.

"Oh come on, I was going to tell you anyway," Aemond tries to justify himself.

"Oh you were going to?" Hel questions him.

"You want to turn her against me."

"I'm just telling the truth, little brother."

This causes Alicent to laugh softly and his gaze meets yours, where you laugh softly too, as the fight between Aemond and Hel continues. But this causes you to begin to feel comfortable and more at ease with the whole situation.

The only thing at the table that is completely serious is Aegon, who continues to concentrate on his drink and the food in front of him.

His reserved attitude contrasts with the energy you have with Aemond, his mother and sister, but they don't really give him much attention and everyone continues to enjoy the delicious food and create topics of conversation.

"So…" Alicent begins to speak, watching you with her warm gaze, "What are your college plans, sweetie?"

Oh my God.

Okay, it's happening.

You think as you slowly start to panic, but quickly get yourself under control, settling back in your seat.

"You're all graduating soon," she points to her kids with a small smile.

And you're about to speak but someone else does first.

"Which wouldn't be the case if Aegon hadn't repeated year… twice," Hel says condescendingly, pouring herself more food in a casual gesture.

"Helaena," Alicent reprimands her in a soft tone.

"Don't start with me."

Aegon's voice finally makes itself heard in a long time, speaking in a cold, curt tone, not even observing his sister, focused on his food.

"Just saying," Helaena says also with a pout in his direction.

"Then speak for yourself. You're a year behind too."

"Ugh," she sighs, "You talk like you don't know what happened."

"That's enough," Alicent says calmly, watching you both with a look of silent warning.

The atmosphere tenses slightly and all is silent for a moment, as you notice how Aemond next to you only runs a hand over his chin and you only hear the clink of silverware clattering against glass plates.

Alicent then turns his gaze to you and there you decide to speak, hoping to restore comfort to the atmosphere.

"Well, actually, I've applied to Oldtown University," you say with a soft smile, controlling your nerves, "I'm planning on getting into law school."

Surprise flashes across Alicent's face, as you briefly feel Aemond watching you beside you.

"Oh, wow," she nods slowly, her expression one of amazement, "What a coincidence, that's the same college Aemond wants to go to."

Aemond nods with a small smile, completely keeping up appearances.

"Yes," he confirms, "In fact it's perfect for us to go to the same place after graduation."

And just to show more affection with you, he places his hand and yours intertwined on top of the table, watching you with that 'love' he seeks to convey in these moments in front of his mother.

And Alicent watches you both with her soft smile, but is still intrigued by you.

"And why that choice? Law is something you always wanted to study?" she asks you, with genuine interest in her voice.

You try not to focus too much on the way Aemond's thumb begins to gently caress the skin on the back of your hand, which at the same time also reassures you.

And you nod in Alicent's direction.

"Yes, it's something I've always been interested in. It's a very heavy degree with very dense material, but it's very interesting and it's long been what I've decided for myself."

Alicent nods in your direction, listening to you intently and looking completely interested.

"And I guess at Oldtown it's a great opportunity to want to study law."

"Oh yes," you say eagerly, "Oldtown has one of the best faculties with very capable professors and all the material you need. It's certainly a great opportunity."

"But I also think that getting to study at such an in-demand university with few places in that major can be difficult," she tells you corroborating in conversation.

"Yeah, that's the bad thing, but…" you shrug, "I'm hopeful."

You watch subtly beside you, focusing for a moment on Aemond, speaking with that complicit tone, as of course he doesn't forget that the reason you're here doing this is precisely because of Oldtown.

He knows that all too well too.

"And your parents are supportive of your decision to study law?"

Slight surprise passes across your face, definitely not expecting that question, but you quickly manage to soften your face, though you still remain silent for a moment.

You try to hide any trace of bewilderment as you search for a suitable answer. And it is Alicent's same warm gaze that encourages you to respond.

"Uh… yes, my father is just as excited as I am about this possible opportunity," you reply with a small smile, being honest, "He has always supported me in all my decisions."

You respond without saying anything else and with sincerity, not mentioning anything about your mother.

"Well, I'm glad to hear that," he nods at you and smiles warmly, "And what about your mother, dear?" she asks with genuine curiosity.

Inevitably your whole body tenses at that moment. And an uncomfortable feeling settles in the pit of your stomach as you think again about how to respond.

You honestly didn't expect the conversation to get to this point, about how even after talking only about your father, you're still being asked about your mother.

And for a moment, you don't know what to say or what to do, but you finally decide to react after everything falls into an awkward silence and they begin to look at you slightly confused by your lack of response.

Until you decide to be honest.

"Well, I-I…" you bite your lips, "I don't actually live with her," you admit in a soft voice, avoiding eye contact for a moment, "And I haven't seen her since I was six."

Slight concern crosses Alicent's face, instantly watching you in regret.

"Oh, I'm so sorry, sweetie," she says sincerely, embarrassed to have caused you discomfort, "I had no idea. I apologize."

You're about to tell her it's okay, that it's no problem because she didn't know, that it's no big deal, but you don't even get a chance to speak when sudden laughter is heard throughout the dining room.

The tension in the air dissipates in that instant as everyone turns to the source of the laughter, Aegon.

He is visibly drunk, but still conscious enough to know what is going on around him and that is what is alarming.

Alicent, Helaena and Aegon's faces fill with bewilderment and disapproval, except for yours, as you watch Aegon in confusion, not quite understanding what is going on.

"Aegon," Alicent calls to him now truly annoyed, watching him seriously and reproachfully.

But Aegon barely manages to contain his laughter as he apologizes between laughs.

"Sorry, I couldn't help it," he mutters, his tone full of amusement and insolence.

Then Aemond at your side watches him completely serious, his jaw clenched and his gaze dark, holding back his fury at his reaction after you shared a very intimate and sensitive piece of information to you.

And Aegon laughs at it because of his own stupidity? Of course he's not going to allow that.

"What's so funny?" he inquires, expectant and about to explode.

Aegon straightens in his chair, a smirk on his face.

"Oh, nothing," he replies mockingly, "I just think she and you are perfect for each other. Apparently, we're not the only ones who have parental issues, are we?"

He asks watching his mother and sister, which makes Alicent feel even more tense, watching you worried and apologetic about the little show her eldest son is putting on.

"That's enough," she reprimands him firmly.

But Aegon seems determined to move on and turns to you again with a gesture of camaraderie, ignoring his mother's words and his brother's attitude.

"Don't worry, Y/N," he tells you with a crooked smile, "You can talk about it here and no one will judge you. All of us would understand, wouldn't we? We who wouldn't know about the subject of fucking neglectful parents with their kids."

Aemond's gaze becomes even more intense and his jaw tighter, watching his brother as if he could throw daggers at him with his eye.

"Shut the fuck up," he orders him, controlling himself as much as he can at that moment.

"Aemond," Alicent calls out to him worriedly.

"Or what?" Aegon challenges him, "She better know what she's getting herself into once and for all. With our fucking family traumatized by her own father who never cared about us."

"I said shut the fuck up," Aemond demands of him rising from his chair, causing everyone at the table to become alarmed.

Alicent rises at about the same time he does, and Helaena rises next, alert and worried, while you and Aegon continue to sit, he still unconcerned and you… because you don't even know how to feel about it.

The tension is too much, this is all unexpected and it's all happening too fast. And as if things couldn't get any worse, Aegon continues to talk and drink more.

"I'm just saying you two are the perfect match," he continues, his tone increasingly amused, "She doesn't have a mom and you don't have a dad, bro. Awesome, isn't it?"

Then it all happens too fast.

Aemond advances towards Aegon with a furious determination on his face that puts everyone at the table on alert, reaches towards him and grabs him hard by the collar of his shirt, forcing him to get up.

"Aemond!"

Alicent and Helaena immediately intervene, rushing towards them to stop them, but Aegon doesn't even have time to react before he finds himself on his feet, with Aemond holding him tightly.

"Stop it, Aemond!" exclaims Alicent, his tone full of authority and concern.

You finally rise from your seat as well, alert and worried, not knowing exactly what to do or what to say, feeling your pulse racing.

Then Aegon reacts as well, his face transforming into one of rage, placing his hands on top of his brother's.

"Get your fucking hands off me," he manages to say with difficulty.

"I told you to shut the fuck up or didn't I?"

"Oh and now you're going to hit me? Huh?" he asks, punching him in the chest with his hands, "You're going to hit me? And for what? For telling the truth?"

"What the fuck is wrong with you huh!? You fucking cunt," Aemond hits him back in the chest.

"Let go of me, you fucking asshole!"

"That's enough!" Alicent intervenes again, her voice firm and full of authority, "Aemond, let go right now!" she orders, furious, implying that she won't repeat it a fourth time.

The tension in the room seems to increase with each passing moment, as you hold your breath, watching Aemond worriedly, as does Helaena.

Aemond hesitates for a moment, glaring at his brother with determination, until he finally releases him with a tug, pulling away from him still watching him in warning and utter annoyance.

Aegon straightens, rubbing his neck as he glares at his brother resentfully.

"I don't need this shit. Enjoy your fucking dinner," he says grumpily, grabbing his bottle of beer and heading for the stairs, not giving anyone a glance.

At least your pulse starts to calm down when you see how it's finally all over, but you still watch Aemond worriedly.

"I'm so sorry, sweetheart," Alicent turns to you sorrowfully, averting your gaze to her, "What a shame."

"No, no, don't worry…

You start to say in a soft tone when Aemond's serious but definitely kinder voice makes itself heard in your direction.

"I'll wait outside."

The three of you watch him silently and watch as with nonchalant gestures he takes his car keys from his front pocket and with his face still contained in fury, heads out of the house.

With a lump in your throat, you turn to Alicent and Helaena, feeling the weight of tension still hanging in the air even so.

"Thank you so much for dinner. It was nice to meet you," you say to Alicent, trying to sound as calm, gentle and kind as possible.

Alicent smiles sadly back at you, still with her saddened and troubled face.

"It was lovely to meet you and have you come, honey," she tells you sincerely, "Still I'm so sorry. It wasn't my plan for dinner to end like this."

"I totally understand, don't worry," you say with a small smile, "We can always do it again."

You say and immediately regret it, but manage to soften your face in time.

This was supposed to be the only time you would do this, but you feel you owe it to her, to Alicent, as she prepared a delicious dinner with great care. She seemed so excited and happy about everything, especially about you coming that it is such a shame that this happened.

More than anything else that's why you say so.

"Of course," she nods to you, kindly and cordially.

You bid her goodbye with a gentle hug, then embrace Helaena as well, conveying your silent support through the simple gesture.

"If you need to talk, we can do it at school," she murmurs in your ear before releasing you.

"Sure," you promise, returning the hug gratefully.

You take one last look at both of them and head out of the house. And once outside, you feel a shiver run down your spine as you face the cool night air.

And there you see him, in the middle of the night silence and at the edge of the street, leaning against his car, smoking a cigarette with an almost absent gesture, looking thoughtful but also still a little upset about what happened.

You watch as he lets the smoke go between his parted lips and you, letting out a long breath, head towards him.

When he looks back at you, you too just watch him silently and he wordlessly opens the driver's door with a soft squeak and gets in the car, so you follow after him, feeling the weight of silence between you.

You too slide into the passenger seat and close the door, where soon the two of you find yourselves moving through the quiet streets of the city, the music on the radio playing at a low volume in the background.

And that's the only sound between you, the music, and even then it's a little uncomfortable.

You bite the inside of your cheek, struggling to find the right words as the tension lingers, but you don't even know what to say. What are you supposed to say when that happened?

But finally it's Aemond who breaks the silence.

"I hope you enjoyed the show," he murmurs, not taking his eye off the road.

You are momentarily speechless, not knowing what to say at that, not even finding the right words in your mind. Then you let out a low sigh, understanding how he must be feeling.

You mean… you went to meet his mother, it was a family dinner, everything was going well and to suddenly have it all end like that with very personal confessions that you had no idea about… it must be completely frustrating for him that you witnessed that.

"Are you okay?" you ask him in a low, soft tone, watching him intently, concerned and understanding.

He lets out a long breath, pursing his lips as he considers your answer, saying nothing for a moment. But when he finally does, he says it in a voice laden with weariness, regret and seriousness.

"I'm not even upset that Aegon said all that… he… he's right," he says resentfully, "I'm upset that you had to witness it."

The weight of his words falls on you, sensing Aemond's seriousness and frustration in his words. You watch his serious and weary face, the fury he is still holding back.

And for a moment, you look like you're not going to say anything, but after biting your lips, you finally speak.

"You don't have to worry about me," you tell him in a soft voice, "After all, he was right about what he said about my mother too," you add, seeking to offer some comfort, "I don't even remember her, you know? And honestly… it doesn't affect me nor do I care."

If your words caused anything in him, he doesn't show it, as he continues with his eye focused on the road.

But inside, he can't help but feel a little surprised and amazed at your ability to accept those circumstances with such calm and determination compared to him.

And finally he nods, understanding the truth of your words.

"I'm sorry," he murmurs, his voice barely a whisper.

You watch him with a soft and… slightly thoughtful gaze, feeling the tension between the two of you finally begin to fade, resulting in a warm and pleasant atmosphere for the two of you, as usual.

And unexpectedly for him, you take his free hand gently and intertwine your fingers with his, offering a small gesture of support amidst still the frustration he is feeling.

"I don't," you confess softly.

You don't say anything else and neither does he, hoping you can put this behind you. And all along the way, he keeps gently stroking the back of your hand with his thumb.

You wait anxiously, moving your foot repeatedly up and down, glancing from time to time at your surroundings and also at the screen of your phone, wanting to keep the time very much in mind.

The gentle morning breeze caresses your face, with the sun painting golden hues in the morning sky and listening in the background to the birds singing, but also all the movement of the soccer team training early at this hour from the field.

Everything seems to be calm, except for your racing heartbeat, where you avoid biting your nails and simply bite your lips in a nervous gesture, as well as the inside of your cheek.

Then you finally see Aemond approaching with his backpack on his shoulder and his face soft.

"Hey," he says softly, taking a seat in front of you, taking off his backpack and watching you carefully, "What's up? Is everything okay?"

Out of nerves, your whole body tenses and you avoid stuttering as you speak, stirring in your seat.

"Yeah, yeah, just…" you lower your gaze, playing with your fingers, "I just want to talk to you about something."

Aemond nods, giving you his full attention.

"Well? What is it?" he asks you warmly, not wanting to put pressure on you as he notices all the tension that is invading you at the moment.

But he honestly starts to worry seeing you that way.

And you swallow hard, with your gaze lowered, feeling the need to just let it out and nothing more, having that urge so you don't keep torturing yourself with your destructive thoughts.

"I was thinking that… maybe…" you let out a sigh, "Maybe we should stop this," you mutter, your voice barely a whisper.

And Aemond only watches you more intently, beginning to look alert, furrowing his brows in confusion.

"Stop what?"

You bite the inside of your cheek hard, completely flustered.

"Our fake relationship," you reply cautiously, watching him intently and with some concern.

"What?" he immediately queries you, "I-I don't-I don't understand."

"I think we've both accomplished what we wanted to… oh well, almost everything," you tell him knowingly, "But we've already put on a good show in front of the whole school, Alys is upset enough, and the cheating thing is behind us. We should stop."

You explain but in the middle of all your explanation, Aemond only frowns more, listening to you completely attentive, watching you surprised and incredulous.

"And the trip to Dragonstone?" he inquires you, with a serious and alert look, "That trip is key, it would be great for both of us to go together, as a couple."

You try to remain calm, but your heart is pounding and your nerves are getting the better of you.

"Yes, I know, but… do we really need to keep pretending?" you ask, "You've already saved your reputation, remember?"

Aemond shakes his head firmly, his jaw tense with mounting frustration.

"It's still not enough," he tells you seriously, "At least wait until after the trip."

"Aemond, I don't see why we should wait until then," you mutter, unsure, "We can finish everything now."

Aemond's expression hardens, his jaw tense with frustration as he tries to understand you.

"Y/N, the trip is in the contract," he tells you firmly, "And we agreed to finish everything until graduation."

You exhale, feeling the overwhelming weight of the situation that you didn't expect was going to get this bad the moment you decided to do this.

"I know, but I don't see the point of this anymore."

He becomes more confused, shaking his head, looking at you confused and now completely frustrated.

"What-what's wrong?" he asks you in a soft but urgent voice, attentive, "Did something happen?" he asks you concerned and interested, "Did something happen that I still don't know about?"

Oh God.

Fear grips you as you struggle to keep your composure and not let your nerves get the better of you.

"Or is this because of the dinner thing? And because of Alys' pranks?" he asks you worriedly, "If it's that, tell me. I-I'll find a way to fix it. You won't have to go to dinner at my house again and I'm sure I can talk to Alys."

"No, no… I-I…" you sigh, "It's not that-

He shrugs, looking at you confused and frustrated.

"Then what is it?"

Your heart pounds as you struggle to keep your composure in front of him.

Your words get stuck in your throat, enduring Aemond's still serious, worried and frustrated look on you, waiting for an explanation. But the feeling of panic grows in your chest and you resign yourself completely.

"Nothing, forget it," you say in a whisper, lowering your gaze.

You stand up and gather your things, slinging your backpack over your shoulder, just as Aemond sighs and looks more frustrated.

"Y/N," he calls your name in a tired gesture.

But you don't heed him, just focus on getting away from him,

"Y/N, please stop," he says to you in a soft but urgent voice.

But you don't stop, you can't.

How could you do it and how could you tell him that the real reason you decided to bring this up to your fake boyfriend is because maybe you are actually falling in love with him and the feeling is getting more and more intense, and you can't help it?

You just can't.

general taglist:

@melsunshine @at-a-rax-ia @jxdegodfrey @ttkttt @yentroucnagol @kate-to-the-ki @iamavailablesstuff @bluerskiees @urmomsgirlfriend1 @toodlesxcuddles @rosie-posie08 @iloveallmyboys @bellaisasleep @deliaseastar @cupcakesminicakescupcakes @dixie-elocin @lilostif16 @wickedfrsgrl @a-beaverhausen @a-beaverhausen @saturnssrings @ladythornofrivia @iloveallmyboys

[fangirl-writes]

Doppelgänger

Benny Weir x Fem!Reader

MBAV Masterlist

Warning(s): near-death, canon-level violence

Request: can be found here.

Notes: This is a mix of multiple things that we’ve seen in MBAV episodes while also stealing a little bit of plot from the Vampire Diaries. Hope you like it! 

PS: I kinda want to make this into a full fledged fic because I had so many ideas that were hard to package into a one-shot but we’ll see if I ever actually do that.

Summary: A doppelganger traps you in a mirror dimension and slowly sucks the life out of you so it can take your place. Will Benny and friends save you in time? (yes obviously, but the suspense)

You stare across the room, into the only window in the otherwise dark room, the yellow glow of it staring back at you.

It was a tragic way to die, in a place without light, where your loved ones would never find you. All the while a cheap copy of you wandered freely, fooling your friends and your Benny.

Benny. Would you ever get to see him again?

Perhaps you’d get lucky and he would peer into the mirror so his eyes would be the last thing you saw before the life finished draining from you.

He’d probably feel so guilty, think it was all his fault. 

But it wasn’t.

If there was anyone to blame, it was the vampire who seemed a regular bane to the existence of White Chapel and its inhabitants.

Let’s start from the beginning, shall we?

In the school’s theater, in a dressing room we’ve seen before, lies a cracked mirror that once held the spirit of Olivia Frye. And while her spirit no longer posses it, that doesn’t mean the magic of the mirror is gone.

The vanity lights flicker on in the otherwise dark room, illuminating the pale face and blue eyes of Jesse Black.

Reaching into his pocket, Jesse pulls out Benny’s spellbook.

He opens it on a marked page, running his fingers across the paper before reading aloud: “Zacaroth Maznacaroth. Dimitte hunc spiritum e carcere, ut iterum vivant.”

As he reads, the mirror begins to repair itself, the cracks sealing up. But as they are doing so, a mist also starts to leak from the glass.

A grin spreads across Jesse’s lips and he chuckles darkly. “Welcome back, my dear.”

Before him stands the ghostly figure of who appears to be you, but she’s faded, missing the color in her body that signifies life. Except for her eyes that shine the same unnatural blue as Jesse’s.

The following morning, you, Ethan, and Benny are walking down the hallway of White Chapel High as Benny searches in vain for his spellbook.

“Are you sure you didn’t accidentally make it vanish again?” Ethan asks.

“No, it was in here last night I swear,” Benny says before groaning and angrily throwing his bag closed. “The one day I wanted to make Ms. Fine forget about our essays and the thing disappears! It’s like it knows when I’m using it for evil. You think my grandma put a spell on it?”

��If she was gonna do that, she’d have done it long before now,” Ethan replies.

“You know, if you started memorizing your spells like you talk about, this wouldn’t be a problem,” You say.

“And if you had agreed to strip studying I would have tried,”

“Okay, gross,” Ethan says, pulling a face.

“Y/N.”

You perk your head up, looking around the hallway for whoever said your name, finding no one in a sea of faces.

“Y/N.”

You turn around, following the voice but still seeing no one.

“Hey.”

You jump as Benny’s hand touches your shoulder.

“Are you okay?”

You let out a breath and smile at him. “Yeah, I just thought I heard someone call my name. It’s probably nothing.”

Benny nods and pulls you closer to him, his arm wrapping around your shoulder as you continue your trail to your lockers.

The voices persisted as the day went on, bothering you in class and at lunch, making you feel scared and crazy. Not to mention incredibly distracted.

It made it hard to focus on math or science and especially English where you were meant to be reading Shakespeare and reviewing essays.

“Ms. L/N.”

Ms. Fine startles you out of your stupor and you hurriedly hand her your rough draft, printed and stapled together.

“Are you feeling alright?” She asks and you make a quick decision.

“Actually, I’m feeling a little sick. Can I be excused for the nurses office?”

“Sure. But hurry back.”

You nod and gather your things, exchanging a glance with Benny and Ethan each before leaving.

You really did plan to go to the nurses office until you could talk to your friends, but that damn voice started bothering you again. And in an otherwise empty hallway, it was hard to ignore.

“Y/N.”

“Oh, I’m gonna regret this,” you mumble before heading in the direction of the voice.

You follow it all the way to the theater, which is dark except for the light coming from one of the dressing rooms.

“Please don’t be a ghost,” you whisper to yourself. “Or a vampire, werewolf, ghoul, zombie, whatever. Let me be having a psychotic break because of stress and this voice isn’t real.”

You cautiously peak into the room...and find nothing.

The room is empty except for the vanity and chair. And the voice has gone quiet.

Shaking your head, you walk into the room and sit down in the chair. “Maybe I am going crazy.”

Your a little startled by your reflection, which is pale even under the warm lighting.

“...or maybe I’m actually sick.”

You press a hand to your face, checking for a temperature, watching as your reflection does the same.

Letting your hand drop, you observe the mirror more closely, eyebrows furrowing together.

“Wait a minute, wasn’t this mirror-”

You let out a scream as your reflection surges forward and pulls you into the mirror before jumping out in your place.

You collapse on a cold floor, hurriedly standing back up and rushing toward the mirror’s opening but your reflection holds out a hand, causing the mirror to seal back up and trap you inside.

“Sorry,” she says. “But I can’t have two of us running around to ruin my plans.”

You bang on the glass. “Hey! Stop! Let me out!”

But she’s already gone, leaving the room and shutting the door, enveloping you in darkness.

“Didn’t you see the look on her face?” Benny asks. “Something’s wrong.”

“I’m sure she’s fine,” Ethan replies. “It’s probably just a headache. You know how too much supernatural stuff gets to her sometimes.”

“Yeah, but this was different. She’s been hearing voices all day. I’m starting to worry this is something bad.”

Benny pushes open the door to the nurse’s office, expecting to find you laying there but instead the small bed was empty.

“Can I help you boys?” The nurse asks from her desk.

“Uh, sorry, but did Y/N L/N come in here earlier?”

“No, I haven’t seen her in here today.”

Benny feels a pit in his stomach. “Right, thank you.”

He closes the door and exchanges a look with Ethan. “She didn’t come back to class and she didn’t come here. So where is she?”

Ethan looks a little more worried now. “I don’t know.”

“Oh, hey, Y/N,” Rory says.

Not-you turns to look at him and Rory is taken aback.

“You okay? You’re paler than usual. Did you get bitten by a vampire? Attacked by an abominable snowman? Possessed by a ghost?”

Not-you smiles. “Oh, no, I’m actually an ancient doppelgänger who just looks like Y/N.”

Rory’s eye go wide. “Woah, really? That’s so cool. But...why’re you telling me?”

Not-you pats him on the head. “Cause you’re not smart enough to try and stop me.”

“Oh. Yeah that’s fair. Where’re you off to anyway?”

Not-you hums. “I’m smart enough not to tell you that.”

“Oh, great,” you mumble, watching as your battery drops another percentage, but the bars never move from zero.

How are you supposed to call for help?

It’s chilling, sitting in the dark with nothing but your phone for light. Your eyes can’t even adjust to the darkness because there’s nothing to see; you’re in a void.

A headache is slowly making itself known and you can’t be sure if its from staring at your phone screen or because a doppelgänger trapped you in a mirror.

The supernatural always has a way of giving you a headache. Doesn’t matter what it is.

Ethan can hardly touch you because if he has a vision, you’ll have a migraine for the rest of the week. If Erica, Sarah, or Rory use their superspeed around you, you’ll nearly faint.

Benny’s the only one who can use his powers and not effect you. You aren’t sure why.

He likes to joke that it’s because your soulmates. 

“I don’t know, E, I just have a bad feeling about this,” Benny says. “Sarah! Have you seen Y/N?”

Sarah, who was just putting her bag on her shoulder at her locker, turns to the boys. “No, is she missing?”

“Yeah we haven’t seen her since English and Benny’s freaking out,” Ethan replies.

“Aw, does Benny miss his girlfriend?”

“No, I mean yes, but that’s not what I’m worried about. She’s been hearing voices all day, what if something spooky got her?”

Sarah smiled. “Benny, if something spooky was happening we would surely know by now. Ethan would’ve had a vision or Rory would pop in with some information he doesn’t realize is important.”

As if on cue, Rory appears. “Heard my name!”

“Perfect,” Benny says. “Okay, Rory, give us some of that sweet sweet information. Have you seen Y/N?”

Rory’s eyebrows furrow. “Well, yeah, but she said it wasn’t really her. She said she was an ancient doppelgänger who just looks like Y/N.”

Benny gestures wildly. “You guys concerned now?!”

“Okay, yeah, maybe,” Ethan replies. “Did she say what she was doing or where she was going?”

Rory shakes his head. “No, she said she was too smart to tell me.”

“Curses,” Benny says. “They’re starting to figure out our tricks. Come on, I need to find my spellbook to track her.”

Ethan, Benny, and Sarah hurry off, leaving Rory behind. 

“You’re welcome,” he says, miffed that they disregarded him. 

“Ah, nice to see you in the flesh again,” Jesse says, tossing some popcorn in his mouth.

“I see you’re still fond of the theater where your plans were ruined,” Not-you replies, eyeing the room.

“I’m a sentimental guy,” he says. “And with you, my plans can’t be ruined again.”

“I wouldn’t be so sure about that. My doppelgänger might be a mortal but she has the same power I do, under the surface.”

“Don’t tell me your afraid?”

“Not afraid. Just cautious,” Not-you says. “Arrogance is what got you defeated the first time. I won’t make the same mistake of underestimating them.”

Jesse stands up and walks over to Not-you, grabbing her arm. “Starting to get some flesh back, I see.”

“Swapping places with Y/N has helped immensely. Give it a few more hours and I’ll be back to full strength.”

“And Y/N?”

“Collateral damage.”

Jesse smiles. “Then we don’t need to underestimate them. We can destroy them.”

Meanwhile, Benny, Ethan, and Sarah are tearing apart Benny’s room, trying to find his spellbook.

“Goodness me, what’s going on in here?”

“Grandma!” Benny exclaims, popping out from under his bed. “Have you seen my spellbook?”

“No. Don’t tell me you’ve lost it, Benny, you know how dangerous that is,” she replies.

“I know, I know, but lecture me later, we have to find Y/N.”

“Y/N is missing?”

“Yeah,” Sarah says. “She was switched with a doppelgänger.”

Evelyn purses her lips. “Circe.”

“Who?” Ethan asks. 

“Circe,” Evelyn repeats. “She’s an old witch who caused quite the ruckus in White Chapel. Reverend Black tried to have her burnt at the stake but considering that he turned out to be a vampire I wouldn’t be surprised if he’s resurrected her somehow.”

Benny gasps. “With my spellbook!”

“Follow me,” Evelyn says, leading the group of them to her basement where she digs through a box for a leather bound book.

“Ah!” She says. “Here it is.”

She flips it open, going through the pages before stopping on one. “Here she is.”

“Woah,” Ethan says. “She really does look like Y/N.”

“Doppelgängers were created by nature after ancient beings defied their laws by creating immortality. Circe must’ve tried to make herself immortal, causing the doppel curse,” Evelyn explains.

You’re starting to feel horrible. Your body getting heavier and heavier, a weight on your chest growing. 

It wasn’t like the usual anxiety or claustrophobia you’ve experienced before. No, this felt like your soul was slowly being sucked from your body.

Is this it? you think. Is this really how I’m going to go out?

You raise your phone, the bars still empty and the battery too low for comfort.

“God,” you mumble.

Jesse pulls the Cubile Animus from his pocket. “This is what we’ll use to capture the souls.”

Circe raises an eyebrow at him. “Is that thing going to be able to hold all the supernatural souls? They’re more powerful than human souls.”

“Well, if you happen to have another soul-holder laying around, you just let me know,” Jesse says, scowling at her.

“I’m just saying, maybe you should’ve done some research before you set this plan into motion.”

“It’s going to work.” Jesse snaps, getting into Circe’s face. 

“All right, if you say so,” she replies, lifting a magical hand, glowing gold, and pressing it against the box.

You gasp, feeling a sudden rush of adrenaline and your eyes flicker a gold that makes its way down your face, arms, and into your phone, causing it to call Benny.

“If Circe has taken Y/N’s place you need to find her fast. The longer Circe stays in her place, the more of Y/N’s lifeforce she takes,” Evelyn says. “She could die.”

As if on cue, Benny’s phone rings. 

He scrambles to check it, Y/N’s name glowing on the screen. “Oh my god.”

He answers it. “Y/N? Where are you, baby?”

“Benny...” your voice is faint and quiet. “...mirror...”

“Mirror? I don’t know what that means, you’re gonna have to be more specific.”

The urgency in his voice is obvious and you’re trying your best.

“At- at school...the mirror...”

“A mirror at school? The mirror at school?”

“Olivia Frye’s mirror!” Ethan says with a snap of his fingers. “In the theater.”

“Y/N, babe, is that right? You’re in Olivia’s mirror?”

“..yes.”

“Great, let’s go,” Sarah says.

“Be careful!” Evelyn replies as they go.

“Y/N, stay on the phone with me, okay?”

You groan. “Benny, I’m so tired...”

They throw themselves into Grandma’s car, Sarah driving.

"No, no, baby girl, stay awake for me,” Benny pleads, hearing your breathing become labored.

“Benny...” you whisper out one last time before the phone goes dead.

“Y/N? Y/N! Y/N, baby, please- god dang it!” Benny throws his phone down.

“It’s okay, Benny, we’ll find her,” Ethan says. “She’s gonna be fine.”

“I hope so, E, I really hope so.”

"Do it now,” Jesse demands.

Circe’s eyes glow gold and she whispers an incantation.

Meanwhile, Erica and Rory are out looking for a midnight snack. 

“Are you sure we should be out here?” Rory asks. “Sarah said there’s a powerful witch out here somewhere. And that she’s working with Jesse.”

“What’s Jesse got against us?” Erica replies. “If anything he should be thanking us for being his only turns that survived. Natural selection in my opinion.”

Suddenly, her body goes rigid and a glowing, white mist flows out of her mouth and shoots off. Her body collapses to the ground.

“Erica?” Rory asks, nervously, leaning down next to her.

Erica’s soul finds its way into the Cubile Animus and Jesse smiles.

Rory’s body follows ensuite of Erica’s, going still and his soul being taken from his body.

And now we’re caught up. You’re dying in unimaginable darkness, weeping. Wishing with all your might that they find you. That you’ll see your friends and Benny again.

Luckily for you, they burst through the door.

Ethan, Benny, and Sarah are to the mirror in no time, Benny’s hand pressing against the glass.

“Y/N! Come take my hand, please!”

“I-I can’t,” you cry, tears rolling down your cheeks as you look at him, his eyes worried, scared even.

“Yes, you can!” He replies. “I won’t let you die! You’re so close, Y/N, just come take my hand.”

It’s hard, and it hurts, but you move.

You crawl, sobbing, towards him.

Benny’s own tears are threatening to spill over as he listens to you crying. 

“Please,” he whispers. “Please, I love you.”

You reach up. And take his hand.

Feeling your grip, Benny pulls.

Your body comes tumbling out of the mirror and into Benny, who immediately hold you close, whispering “oh my god” over and over.

You’re shaking, still crying. You’re thin, pale, and weak.

“Y/N,” Sarah says softly. “Do you know where the doppelganger is?”

You close your eyes, focusing. “The theater,” you whisper. “They’re at the theater.”

More souls are being sucked into the box: Kurt Lockner’s, David Stachowski’s, all the vampire nurses.

Evelyn, knowing - or rather feeling -  what’s happening, sits in her rocking chair and mumbles a counter spell that will keep her soul inside her body.

Circe growls. “Let go, Evelyn. I’ll get your soul if it kills you.”

“Not a chance.” Evelyn replies.

Sarah hits the breaks hard, putting the car in park and jumping out of the car, Ethan following closely.

“Y/N, stay here, okay?” Benny instructs.

You nod, closing your eyes and lying down.

“Hey!” Sarah kicks open the door to the theater. “Having a party without me?”

“Sarah!” Jesse says. “Glad you can join us. Just in time for Circe to take your soul.”

“Oh yeah? Over my dead body.”

“That can be arranged,” Circe replies, turning to Sarah with glowing gold eyes.

It strikes her then how nearly exactly she looks to you.

“So your the witch who’s stealing my girlfriend’s soul!” Benny shouts.

Circe smiles. “I’m a much better model, don’t you think?”

“Not a chance, honey.”

“Jesse, I’m busy. Take care of them, won’t you?” Circe says. “Your grandmother can’t hold on forever, Benny.”

“What?” Benny cries, becoming angry. He shouts a spell, hurling it in Circe’s direction, who waves it off easily. 

“You’ll have to do better than that.”

“Come on, Sarah,” Jesse says. “We’ve been here before, haven’t we? What makes you think you’ll win this time?”

“This!” Ethan yells, shooting Jesse in the face with holy water.

Jesse screams.

“Literally never go anywhere without this. We’re smarter this time, don’t you know?”

“I don’t think you nerds have the capacity,” Jesse says, wiping the burning liquid off his face with his sleeve.

Sarah attacks him and Ethan gasps, being overcome with a vision. It’s a vision of Benny’s grandma and Jane chanting the same words she used to defeat Jesse the first time.

When he comes back to, he shouts, “Benny! Your grandma’s spell! The first one!”

The pieces clicking in his head, Benny chants those same words and watches as a bolt of lighting appears and hits Circe in the chest. She cries out, dropping the box that Benny scoops up.

“Hey, Jesse,” Benny says.

Jesse stops, Sarah’s neck in his hand, and looks at Benny.

“This look familiar?”

He opens the box, releasing the souls inside.

Jesse screams, dropping Sarah and running off.

“You coward!” Circe yells. “Coward! AH!”

The souls attack Circe, slowly pulling Y/N’s soul out of her body.

Once it’s out, Circe drops to the ground and fades away in a fog.

Breathing heavily, the three left watch as Y/N’s soul shoots off, presumably back to Y/N’s body.

“We really need to destroy this thing,” Benny says, tossing the box in the air and catching it again.

Erica and Rory burst through the doors, fangs bared, ready for a fight.

“Aw, man, did we miss it again?” Rory asks.

“Yeah, sorry, Ror,” Ethan replies.

“Ugh. I’ve been waiting to tear Jesse a new one for like, ever,” Erica says.

“Oh, I’m sure you’ll get your chance,” Sarah says.

“Oh my god, Y/N,” Benny says, shoving the box into Ethan’s hands and running out to the car, the others following.

You’re still sleeping, and breathing, thankfully. But your color isn’t back to normal, neither is your weight.

So, they take you to Evelyn.

“Her body isn’t used to magic,” she explains as Erica and Sarah set you gently onto Benny’s bed. “It’s going to take a while for her to naturally heal. But, if a few powerful magicians were to try to speed things along...”

“We can do that?” Benny asks, hopefully.

Evelyn grabs his shoulders. “We can try.”

They hold hands over your body, shutting their eyes and chanting “Extende in desiderium cordis mei; Sana hoc vulnus cum virtute ignis. Aufer aegritudinem et dolorem; Sanatio est quod offero.”

Your body glows, color coming back to you and your weight returning to its normal size, but you don’t wake up.

“Did it work?” Benny asks. “Why is she still asleep?”

“Even healing magic takes time,” Evelyn explains. “Give her a little bit.”

She pats him lightly and leaves the room, leaving Benny alone with you.

“God, I really thought I was going to lose you,” he whispers, squeezing your hand.

The time stretches on as he waits for you to wake up and he eventually nods off.

Which is when you decide to wake up.

You smile as you see him lying next to you and lean over to kiss his cheek.

He shoots awake immediately, practically tackling you in a hug. “Thank god!”

You laugh. “Thanks for saving me.”

“Always,” he replies. “Always.”

[batsplat]

Chad reed on always the entourages creating the drama. I cannot believe that is what caused rosquez downfall but also given the level of Vale's celebrity and the way he carried himself, I can totally believe that it was the entourage (iPad stand I'm looking at you) that brought the end

(about reed's 2020 quotes in this) yeahhh I mean the downfall was caused by a whole bunch of factors, not just any one thing... like all great tragic narratives, it feels inevitable from a global perspective and yet thoroughly preventable in its specifics, with loads of points where you think, 'oh, if things had just gone a little bit differently'... there's this tension in how, in the end, maybe it would've always gone wrong, but a lot had to come together for it to go wrong in quite such a spectacular fashion

reed's definitely correctly identified one of the factors - the entourages, and valentino's entourage specifically. though fwiw, I did cut off the article before reed predicted the marc/fabio rivalry was headed a similar way (this was from 2020, obviously before the arm injury):

for better or for worse, fabio has skipped the villain arc to head straight to the depressed frenchie arc

regardless of whether this rift would have happened or not, the idea that marc would have gotten a new appreciation for the situation valentino found himself in is at least an interesting one. though if anything, the rivalry with fabio would have more closely paralleled valentino's with the other aliens (new talent coming through, but with the previously dominant rider still a regular winner). now is the time marc's learning what it feels like to come back from a prolonged absence from being competitive at the highest level - and of course with a new superstar simultaneously making his debut

so yeah, anyway, tragedy, you can point to all sorts of strains and pressures and tension inherent to professional sport that were exacerbated by the personalities involved and the influence of the media and the passage of time etc etc. but never mind all that, let's get back to entourages! I know you mention everybody's favourite b-list shakespeare villain, but I'm going to basically mostly ignore him because it's well-trodden ground. yeah, it does help to have one guy who's whispering poison into your ear for a prolonged stretch of time before showing up at your motorhome doorstep with a bunch of telemetry and a dream. and yeah, there were people in valentino's entourage definitely encouraging this path to doom. but what I'm also interested in is the flip side - why nobody stopped him

I would like to submit into evidence this passage detailing the thoughts of vale's mechanic alex briggs. now briggs in this excerpt blames two groups for how things went down in 2015:

the yamaha side (specifically the press group) for not talking him down from the ledge before the presser

the crew chief and other assorted italians on the team for being too "yessy" and not standing up to him

let's briefly (for a given value of the word) focus on the first one. if you're a random yamaha pr person and you see the valentino rossi run to a press conference (given he was late) with a bunch of papers in his hands (well, he's not actually holding the papers in those gifs, but presumably somebody's got them), it's probably a tough ask to expect you to hold up the valentino rossi and ask him what exactly he's intending to do with those papers. also, is he really going to back off because you, random yamaha pr person, have asked him to please not accuse the competition of sabotage? added context is that some at yamaha were aware of what valentino thought about the race at phillip island (which we'll get to in a sec), but god knows if the pr people did. unless he confided in anyone on the yamaha side what the plan was, a lot of them would have been blindsided too - which does come back to the problem of how big a deal valentino is and how maybe you're a little more cautious about questioning what he's about to do with those papers than you would be with somebody else. it does feel like perhaps a bit too much to expect for them to have launched some last-minute intervention, or to even know what kind of intervention they could have gone for beyond low-level comedy hijinks to stop him from even getting to that room. why did nobody from yamaha place a banana skin in his path

but we do know that at least some in yamaha were aware of valentino's great big phillip island sabotage theory, because lin jarvis has very helpfully told us as much (from the post-sepang media scrum):

Q: Do you think it was a mistake for Valentino to [provoke?] Marc so much on Thursday with a very personal and hard attack? Jarvis: There are always many different ways of addressing different problems - Valentino chose to do it in that way. Perhaps that is what provoked Marc into being quite aggressive on the track. I really don't know, you need to ask Marc not me about that. Every action has a consequence. That's life. Q: And did you know before that Valentino was going to be so aggressive with Marc in the press conference? Did you know before? Did you discuss with Valentino about this decision or you didn't know until it happened? Jarvis: Personally, I was not aware of that. I was aware of Valentino's opinion of the race in Australia, but I was not aware... but I was not aware that he would - Q: Don't you think because Valentino at the end of the day is an employee of Yamaha he should discuss before with you about such an important decision, to attack a rider of another factory in such a heavy way [...]? Jarvis: You can't control every incident, everything that happens and you know, generally we have a very good [...] relation, connection with our riders, we talk to them before about things before, but anyway I think this is something Valentino felt strongly about and it was his decision and that's it.

note the use of the word "personally", which does leave the door open to others within yamaha (outside of valentino's inner circle) knowing what was going to happen. jarvis, unsurprisingly, comes down pretty firmly on the side of 'well what were we supposed to do'. given that jarvis admits he knew valentino's theory and is hardly a stranger to valentino's modus operandi - after all, he was already team boss at the time of another tense press conference in sepang eleven years prior that took place in the wake of valentino accusing a competitor of messing with him - you do have to wonder whether yamaha could not have tried a little harder to stop valentino. but again, accounting for the power of valentino's status and the power of his character, I'm personally unconvinced yamaha could've done much to convince valentino to change his mind

so then: the italians. a little bit of context - briggs started working with crew chief jerry burgess in 1994 and both of them were on mick doohan's team for all of his five 500cc titles. when doohan's injuries forced his retirement, valentino inherited his championship-winning team upon moving up to 500cc. jb was vale's very first crew chief in the premier class, and him as well as briggs have been working with vale since december 1999. understandably, this is a very tightly-knit group. it is one that made the jump to yamaha with valentino - here's just a quick excerpt (also from oxley's valentino rossi: all his races) about briggs' thoughts on that move:

When Valentino decided to defect to Yamaha, he was determined to have his crew go with him. Only one stayed at HRC. "We first got to know about the Yamaha deal in Portugal, I think [September 2003]," Briggs continues. "I wanted to stay with JB, because I hadn't finished learning what I wanted to learn. "I remember a clandestine meeting in the car park at Phillip Island, about salaries and how everything was going to work. It was really exciting. When I very first started working with Honda the whole group was very much a team. Towards the end we felt like it started to become a bit us and them: the engineers and management, then the mechanics and the riders. They'd sort of got too big for their boots - they'd designed this wonderful bike, so it was like it had nothing to do with us. That made it easier to leave.

and also about the move to yamaha, from the 2020 barker biography of valentino:

But with his trusted crew chief Jerry Burgess and most of his other team members from the Honda garage agreeing to defect with him, Rossi had the crew he needed, not only to win but also to enjoy his racing. It was a heartening display of loyalty and something of a risk for all involved. ‘When I announced to the mechanics that I was going with Valentino they said, “I’m coming too,”’ Burgess later explained. ‘Some of those guys were leaving very secure jobs and taking a big gamble.’

the group also survived the move to ducati (obviously a deeply frustrating two years not just for the guy riding the bike) and the move back to yamaha. but then, valencia 2013, valentino announced his decision to fire jb in a press conference organised for the pair of them. his 2013 season had been deeply frustrating - yes, he had gotten a podium in his first race beating both marc and dani, but after that generally speaking he couldn't come close to matching the other aliens when healthy. he was comfortably the fourth best rider that year, scrapping and clawing his way through midfield battles and having to rely on misfortunes befalling the three title contenders to achieve his podiums and his sole victory at assen. he was considering retiring at the end of the 2014 season once his current contract expired, but wanted to try everything he could to see whether he could be competitive again against the world's very best. and so, he made the decision to roll the dice and get himself a new crew chief, the italian silvano galbusera

now I have to say, personally I have a lot of time for this decision (even if it was maybe not... uh, enacted in the most graceful of manners, given how sudden it was). I come from a sports background where a certain ruthlessness in personnel decisions is encouraged and generally praised - if something isn't working, you should have the courage to make a change, even if it's deeply uncomfortable (including on an interpersonal level). also, while it was a sudden departure, it's not like burgess was that keen on sticking around much longer (again from the same oxley book):

Valentino ended his collaboration very suddenly at the end of 2013. Burgess was shocked but not too much, because he already knew that he was coming to the end of his own career. "When it ended for me I'd already been doing it 30-odd years and I'd told Valentino a few weeks earlier that I wasn't going to sign any more multi-year contracts. I was 60 by then, so I'd go year by year. I'd already signed a contract for 2014, but I would've thought if we hadn't had any more success by then that there wasn't much point in continuing. I felt we would win more races but I was more doubtful about championships. "I'd read enough sporting biographies to know that sportsmen change their coaches towards the end of their careers. It can give them a spike in results but it doesn't change the overall story. Looking back, Valentino's career went on longer than I expected. He enjoyed some success but no more championships and that's what you race for. Of course he was in the unique position of being able to get a factory bike until he retired. He was very special and deserved everything he got."

which, look. again, personal bias, but to me it's reasonable to part ways with somebody who doesn't think any more titles are plausible, because at that point it's just somebody who has a very different view on your career than you do and may well not stick around for much longer anyway. also, at the end of the day, jb was wrong! valentino came extremely close to winning another title, and just because he didn't, doesn't change the fact he could have. if it had rained on the 8th of november 2015 in valencia, we might be having a very different conversation. (or if they hadn't changed the bloody qualifying format post-2012.) honestly, if the 2016 and to a lesser extent the 2017 season had gone just a little differently - a working bike in mugello here and an unbroken leg there - he could have been a genuine title threat in two more seasons. in any case, what it does show is that valentino even at the end of 2013 was still as determined as ever, was ready to engage in what was a huge gamble (given how almost all his success had come with the highly decorated jb) on the off chance he might find what it took to win again. this will not have been an easy decision for valentino. here's a write-up of the presser at valencia, that stresses how uncomfortable the occasion was, how surprising a decision it was to jb, but how publicly at least there was a lack of recriminations (which, to be fair, wouldn't be much fun to do in a shared presser):

(you'll note that the phrasing in the presser about athletes attempting to extend their carrers by changing things up is echoed in what he says in that book interview where he adds that it doesn't change the overall story, again suggesting he didn't really believe valentino would be competitive. he also uses the same phrasing in ANOTHER interview that confirms as much, but I think you get the point.) valentino said at the time, "it was a very difficult decision for me because I have a great history with jeremy. he is not just my chief mechanic. he is like part of my family. my father in racing". this is somebody he'd been working with since age 21, somebody who is not only revered within the paddock for his work with several of the sport's greats but is also a man who valentino obviously has a close personal connection to. meeting for the first time when vale snuck into the honda pit to check out the bike he might ride next season, hitting it off immediately, countless rowdy dinners together, parties, jb and another older colleague sitting back when food fights started, watching valentino grow up, working with him throughout all his big manufacturer switches, all his successes and all his failures... as much as anything else, it's evidence of how strong vale's desire to win was, how determined he continued to be, to make this choice at this stage of his career. and jb was open to the idea (at least publicly) that it might end up being a smart call:

the 'dirtiest' part of the whole affair is how it was actually carried out - it's not great form to tell your crew chief the day before you end up doing a press conference together to announce your choice. for whatever it's worth, this is how valentino justified the timeline:

and lastly, which I think is the most key part, is valentino's belief. because at the end of the day, the only reason why he's doing any of this, and the only reason why what was to come was possible at all, is that he himself still thought that he could challenge for another title - as much as that belief had come under strain:

now what this piece also goes on to say is that nobody believes this will work. nobody believes that firing jb will lead to better results. people expect that this is going to lead to his retirement, quite possibly at the end of 2014. it's worth just remembering sometimes how extraordinary valentino's return to the top of the game post-2013 really was, how it went against how we expect a rider's competitive lifecycle to work, went far beyond the longevity exhibited by any top rider before or since - all while going up against riders who are widely believed to be some of the best to ever do it. valentino beat jorge in both 2014 and 2016, and remains one of two people to outscore prime marc marquez over the course of a season. not to engage in too much rossi prop here, but sepang 2015 can't really be understood without all the frustration that led up to it, to this one golden chance, this miracle that everybody had believed to be impossible (sometimes even valentino). this wasn't supposed to be happening. it was happening. and then, so so close to the finish line, valentino could feel it slipping, slipping, slipping away

but of course, we still don't know whether changing crew chiefs is the key factor that made him competitive again. maybe he just needed a bit longer to get back into the swing of things post-ducati disaster. maybe the bikes just started to suit him better. hey, maybe it was that nifty exercise regime he'd engaged in a wee spot of espionage for so that he could pinch it off his teammate. what we can say, however, is that valentino's choice both tells us a lot about his mindset, as well as (to finally bring us back to the actual point of this post) representing a massive shift in his 'entourage'. this is what briggs is referring to in his quote - the italians. the new crew chief. the people who couldn't stand up to valentino. now obviously, as mentioned above briggs had worked with jb for the better part of twenty years and can hardly be considered a neutral party. here were briggs' feelings on the matter (yeah it's from the same oxley book again, I got it new for eighteen quid which is a very generous price, would recommend):

When JB was out at the end of 2013 it was like losing my mechanic dad. I remember being in the garage when we found out about it. Then they arranged a kind of farewell, a kind of hodgepodge farewell. It was terrible, I didn't like any of it. I was just hiding behind one of the bikes in the garage, crying, going, what's going on here? It didn't seem right to me. I think maybe Valentino thought he would get faster again sooner, but I think it took at least a year to get the taste of the Ducati out of his mouth. I think if he'd stayed with JB we would've won the championship in 2015.

which. look. we don't have time to unpack all that. but. the point is that obviously briggs wasn't exactly a massive fan of the change within valentino's team, and his comments about the 2015 season do have to be read with that in mind. as to whether vale really would have done better in 2015 with jb at his side, your guess is as good as mine. all that being said, a part of me wonders how much losing that grounding presence enabled valentino's late-2015 spiral. maybe not in terms of talking valentino out of the great big fluctuating lap times treachery theory - to state the obvious, valentino got himself involved in plenty of drama during jb's time as a crew chief. jb himself occasionally helped add fuel to the fire in those feuds, like his infamous comment about how he would be able to fix the ducati's issues in 80 seconds that casey still brings up every three business days (the comments were poorly phrased but also somewhat taken out of context, in that jb was talking about a specific set-up problem). he's generally been pretty happy to be forthright about valentino's rivals, for instance this about casey:

My feeling at the time was that Casey probably only had one game plan, and having watched Casey over the years, he doesn't have a plan B. If it doesn't go his way from the outset, it's probably one of the weaknesses that he had through the youth that he had, through the lack of experience that he had. That's not a criticism of him per se, he was still only 22 at the time.

(this is about laguna seca 2008 and how he helped valentino win that race, including in plotting out vale's rather ruthless tactics - which casey was of course not exactly a fan of.) or these. uh. harsh comments about dani from spring 2010:

Q: Is that atmosphere or track knowledge? Is it like the Spanish finding something extra at the racetracks in Spain? JB: Well, therein we show the weakness, don't we? If you can get up on that weekend, on the technical racetracks of Spain, why can't you get up on the technical racetracks like Australia, where the Italians do? Lorenzo is a guy who will and does. Stoner has been able to get up on tracks all over the world. Unfortunately, Dani Pedrosa's into his 6th year in MotoGP, and he's won 8 races, Jorge Lorenzo's two months into his 3rd and he's won 6. It's night and day between those two, is the way I see it. Dani's an extremely fast rider, but a shockingly poor racer. Q: Were you surprised at Jerez [2010] when Pedrosa fought back when Lorenzo passed him? JB: When did Dani fight back? With two laps to go, and he didn't even get close enough to try to come back. Dani has never been a fighter in races, he's a lovely kid, don't get me wrong, but you can see that Lorenzo, having Pedrosa in front of him, it was never going to be the way he was going to finish that race. He was going to finish on the ground or he was going to finish in front of Pedrosa. That's the sort of race that we want, we had that with Biaggi and Valentino, and from history with Schwantz and Rainey. All the good riders have always had somebody they have had to put the target on the back of. It was Doohan and Gardner, and Doohan won that battle hands down, and I think Jorge Lorenzo's going to win this battle [with Pedrosa] hands down.

kind of a dick! so his attitude to valentino being valentino has generally been a) well having enemies is good, actually, with an added slice of b) good luck to his enemies :) - see also this quote (from the barker biography) in the context of the gibernau rivalry:

And that made Rossi even more dangerous, as Jerry Burgess pointed out: ‘Valentino is the sort of rider I wouldn’t want to get angry. He can take you apart on the track.’

so yes, jb is also perfectly brutal in his own right, as you presumably have to be to work alongside valentino so closely for so long. he is, however, also somebody valentino has a massive amount of respect for, somebody who helped turn him into a legend and is responsible for a lot of vale's success - not least, of course, in the pivotal move to yamaha. he was replaced by a man of a far far lesser stature in the sport, one who presumably would have been grateful to valentino for the biggest job he was ever going to get. if briggs is right and there was a shift in valentino in 2015, surrounded as he was by italians (derogatory) who could not stand up to him, who allowed valentino to insist on war and peace on the pit boards, to focus more and more on things that had nothing to do with riding... it would be going a little too far to say that valentino was missing an adult in the room given he was, in fact, in his thirties and should have been capable of being that adult. and who knows what jb would have said or thought or done about the great big childhood hero deception theory. but sepang 2015 was the culmination of a lot of things, including a pressure cooker of a season that grew more and more tense and put more and more stress on everyone involved - perhaps for none more so than valentino. maybe, just maybe, if he'd had somebody around him with fifteen years of experience in handling him, who could have just occasionally told him to knock it off, to concentrate on the racing, to keep things simple (always jb's defining philosophy), to maybe not get so wrapped up in the great big spanish collusion theory...

or maybe it wouldn't have mattered! maybe we're getting cause and effect all wrong here; maybe valentino was deliberately fashioning his entourage into one that was only going to give him positive feedback. maybe he would have just stopped listening to jb, maybe the very decision to fire jb makes it clear he was no longer interested in what jb had to say. it's a tragedy, after all! maybe it was always going to go like this. maybe it was always going to end like this

speaking of entourages, marc's manager played a bit of a cameo role in fanning the flames just a little further (article from marca, 26/10/2015):

alzamora obviously will be somebody valentino is familiar with, having raced him in 125cc and also having just coexisted in the paddock over the years. valentino could of course be lying, but idk, why would he? he's already made his case by this point, and what if alzamora were to contradict him? if it's true and this conversation did happen, you do have to say it's a spectacularly unhelpful intervention from alzamora. even if marc was mad at valentino, why the hell are you telling valentino this AFTER sepang 2015? what's the plan here buddy

^ 1999 world champions: alzamora in 125cc, vale in 250cc and alex criville in 500cc. people think motogp lore is complicated but if you know like, five guys, you're set for about twenty years of drama

which does get to the heart of the matter - a lot of these people have big egos and their own agendas and they love to run their mouths. they like talking a big game and getting involved in things they really shouldn't be getting involved in. is reed right that these people in the riders' entourages 'created the drama'? well, no, I think the two men at the centre of this particular tragedy were plenty capable of doing that themselves. nevertheless, you can point to how professional sports (and motogp in particular) forces you to rely heavily on a small group of people to keep you sane at the centre of the storm, and the risks that can emerge when that small group collectively unmoors itself from reality. you can point to the perils of fame, both in making your reliance on your inner circle so unnegotiable as well as in providing you with the status and power and ego to ignore anyone who might wish to change your mind. you can point to specific figures in this story who managed to incite the conflict between the two of them, as well as how the pressure cooker competitive environment they were operating within helped set up the ultimate catastrophe. you can point to how valentino lacked anyone with the power to stop him - both in the direct sense of forcing him to reconsider and the indirect sense of commanding his respect enough to make him see sense. maybe, just like in 2004, valentino had simply been "looking for an excuse" and he was always headed down this path. or maybe if somebody had just held him back a little that year, kept him focused on his riding, maybe if the right person had intervened at the right time...

maybe, maybe, maybe. that's why it's a tragedy

[buttermarmalade]

the combined comedic and tragic elements plus the absurd levels of miscommunication make me feel like jetko is a ship straight out of a shakespeare play

[memoria-99]

Thoughts about Gilbert's route

I was originally writing something about IkePri routes but then Gilbert part became ridiculously long so just decided to make this a single post.

Sooo...

Gilbert's route looks like the whole combination of dark routes I've seen in Ikeseries.

I'll fix this damn world myself no matter what it takes(Vlad) + death wish(Dazai, Charles) + puts a fake smile as a mask(Shakespeare) + is aware of own sin and knows it's unredeemable(Licht) + @

Obviously not a fun route, relatively heavy plots, frankly there were many wtf moments, and I really do think Emma suffered way too much, but it was a good "villain" route. I mean, other villains I know... like Shakespeare and Vlad in IkeVamp who are supposed to be the villains didn't look much like villains tbh, they didn't do real bad things to Mitsuki(well, Shakespeare did tie her up but still). But Gilbert looks like a proper villain to me. He is weirdly obsessed with Emma, tried to corrupt her, threatened her and isolated her. He even nearly killed her. Yeah this is the villain. He had a tragic past and was actually doing stuff for what he believed to be a better world, but that doesn't justify his behaviors anyway.

Emma in this route has real great mentality, very brave and embraces everything(except violence) like a saint. Her love is almost in the level of agape aka god's love.

I also love the ways "sinner" LIs are written in this game, including Gilbert and Licht, and how Emma deals with those. Instead of trying to just reassure it's okay don't let that bother you, she's like "I know what you did cannot be forgiven, nothing can change that, but I'll embrace even that part of you and lead you to step forward"

And this is the best adaptation of "Beauty and the Beast" theme, Chevelier would come second(thought his route was the best in this category before doing Gilbert). A prince who was once a human turned to a beast, this beast has a limited time, a beauty decides to be the "hostage" of the beast herself, she and her love brings him a change.

I've seen some hates of this route, and yeah their relationship is not healthy AT ALL, rather twisted, but I don't think it's particularly bad in this case. I mean, he's the villain indeed, and not all romances should be like the happiest fairytale, right? Moreover, Emma was no shrinking violet. She never gave up on her ideals, didn't hesitate to state her opinion in front of Gilbert's threat, worked as Chevalier's spy, and whenever the relationship with Gilbert turned feeble she was the one took the lead and spoke up, renewing the relationship. And while it's true Emma looked like a victim of his behavior it's also said that she conquered him at last. She won.

"I want to make you a part of my normal life. ... ...and this time, I'm going to drag you into my world. ... So I'd like to start again. Prince Gilbert, will you be my friend?" (Emma)

Up until halfway through I was like hmmmmm, but when the route came to an end I couldn't dislike this bastard.

Nonetheless, irl this kinda guy should be in the list of someone to avoid, but he's more than attractive as a 2d guy.

P.S. Considering his physical state and what happened in this route, does this mean in all the other routes he'll be dead and only the fake would be left???

P.P.S. I like his blue eye, but seeing eyepatch for so long made me think him with both eyes look a bit off. Idk, I prefer the eyepatch version.

... Oh wow this really is ridiculously long.

[batsycline69]

I'm trying to figure out how to formulate my thoughts on this but Jane Austin is great, I'm sure as you said Jason would like her works but he was originally a Shakespeare kid and I do think it follows him as a character thematically. The comic where he holds his helmet the same way hamlet holds Yorick's skull has always stuck with me. (1/?)

continued:

And as much as I love Jane Austin's works and romances its never struck me as how I personally perceived Jason's way of expression (everyone is entitled to their interpretations however). I think the type of tension, devotion and tragic undertones of Shakespeare fit Jason very well. But back to what you were actually saying, I think you nailed it with Jane Austen and Bruce. (2/3)

As you said I the repression specifically suits him So well. Its one of Bruce's core characteristics to me. And again the traits you pointed out just suit him so well. I think part of it that works so well for me is that I think on a level it hurts Bruce to love like that (after such loss) and I think that is something that Austen writes very well. If any of this makes sense I'm not great at being articulate dshbjdsk. (3/3)

ALRIGHT GANG BUCKLE UP HERE WE GO

So okay. Original post was all about how Bruce is kind of fits the build of an Austonian character; there's a lot of reservation and control. There are themes of the roles one is expected to play. Themes of society and influence and all of that.

Jason is defined by his passion and how incredibly thought out his plans are. And that's not to say that Bruce isn't passionate, nor is it to say Jason doesn't have control or hasn't played into certain roles or expectations, because that's the thing. Bruce and Jason are so similar in some ways, yet incredibly different in the ways that the other one values the most.

I LOVE that you brought up the panel from The Lost Days because GOD what a panel. I had to dig in my Jason tag because I HAD to add it in (spoiler alert: it took a long time; turns out I post about that guy a lot).

And yeah, let's talk about Hamlet. Because god. GOD. All events in Hamlet take place because his father's ghost asks him to AVENGE HIM. Hamlet DIES because he wants to avenge the king, his father!!!

You referenced the Lost Days panel (and GOD WHAT A PANEL. I've got it just down a little bit for anyone who hasn't seen it), so we've gotta go over the Yorick speech:

...a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times--and now how abhorred in my imagination it is! my gorge rises at    it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chop-fallen?

(for anyone who has not spent several hours a week in Shakespeare lectures, the gist of this is 'aw man, he used to be so funny and now I'm disgusted by him')

LIKE.

Yorick was THE KING'S CLOWN. In this context, looking exclusively at the speech, this can so easily be about Jaybin! He was a kid and full of life and loved learning and laughing. And now anything that reminds him of that time makes him feel disgusted with himself. And that manifests as his resentment towards Bruce.

EXCEPT. When you look at the panel that's so clearly referencing the scene with Hamlet and Yorick's skull, Jason has assigned himself as the role of the clown; he is going to always be a tragedy of his own making. It's foreshadowing for Jason's continuing need for Bruce's approval, for him wanting something that Bruce is incapable of giving him in the way he wants.

And like. When I first made the addition, I was thinking really in terms of tone. The context most of us have for Shakespeare (sitting in a classroom reading out loud) is NOT how the plays were meant to be enjoyed. Even in the tragedies, there are dirty jokes; there's very clever wordplay, and a lot of that is lost when you just toss a book onto a high school kid's desk and tell them to read out loud (but that's an entirely different post).

Point being, literacy was very low around 1602 when Hamlet was published. A play was going to be the most accessible form of entertainment. By design, uneducated people were meant to enjoy these plays. And then we think of Austen being published works, and how there's an inherent barrier between the two. In order to enjoy Austen, someone would have to be literate. You see what I'm getting at here? I'm not saying Jason's own personal training adventures are something just anyone could have done (shout out to Talia), but coming into his Robin-hood (pun intended) was. Jason was literally taken off the streets to become Robin, whereas Bruce used his financial resources to build himself up to being Batman.

So I guess back to the thesis of Jason fitting Shakespearean themes vs. Bruce fitting Austonian themes. There's so much blood in Shakespeare. There's ruthless plotting. Shakespeare's characters are willing to do what they have to to achieve their goal. And it's sort of comparing apples and oranges in terms of Red Hood vs. Batman. And that's kind of the point, right? Batman isn't going to kill Claudius; he's going to very quietly make sure Mr. Wickham doesn't yet again abandon a young woman. Like, no, Batman isn't going to kill anyone because that's just not the role he plays. That doesn't fit into his story.

And that is not Jason. The whole ordeal of putting on a play to get the new King to confess to the murder of the old king? That's absolutely the sort of psychological bullshit Jason would do. That is a statement. He is quite literally putting on a show, and is that not what all of Under the Red Hood is? Jason making statements, blowing things up, just to get Bruce's attention?

anyway thank you very much for this ask i am vibrating with excitement over this. i broke out my shakespeare anthology and everything

[unsoundedcomic]

I reread chapter 14 today and god! I love Roger! Love a tragic sad anime man. Seeing who he was and where he ended up is some Shakespeare-level tragedy. I am curious, though: if an Aldish person was outside the Dammakhert when the curse resolved, would they still be affected by it? Or does it travel through the bit of Alderode they have in them?

They'd catch it first time they came in contact with another Aldishman (including Roger himself) who was affected. It's like an electric current, hopping from point to point :)

[she-posts-nerdy-stuff]

Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

[yonemurishiroku]

Take a seat. The point of romeo and juliet is not the romance. Though it's a part of it. The point is it's a tragedy. And all this tragedy happening because all these dumb rich grown ass adults couldn't get over themselves and had to drag everyone including their own children into their bullshit. I hate when in Romeo and Juliet people focus too much on the romance(sex) aspects. Because that's not the point. The point was that they were so young, and had to hide, and only new each other for such a little time. That the world around them became so horrible. That they thought they had no other option but to kill themselves. Fate is also an aspect of the book. Fate is purposely punishing the two families by making the only heirs in their family fall in love and then commit suicide in such a brutal way. Causing both lines to die out. So when you think about all that. That why I'd love a Percy and Nico aus with this concept. Because god does the universe play with fate and tragedy so much. Because you know its Greek and Roman mythology. But also the gods already having so much horrible petty drama with each other that it affects there kids. I feel like it fits with Percico ship really well.

Oh my. I didn't expect a Romeo and Juliet lesson in my askbox but this is much appreciated, thank you! 🤗

Tbh I have never actually read Romeo and Juliet. Mainly because I'm not particularly interested in romances, and again not capable of Shakespear-level English. I know bits of it through the mainstream media, and that's that. In many ways, I enjoy the concept of tragedy. Heaven knows how I always go for the tragic tales. On the other hand, though, I'm a little averse to romance as a whole, so a story that (supposedly) revolves around young love just loses me from the summary. I don't know how it differs with ships, either, it probably has st with my interpretation of it.

Anyway. Percico and tragedy is indeed a match made in heaven. The gods' petty dramas, as frustrating as they are, can be stimulating purely because of their meaninglessness - bc it means things can just be completely out of your control, sometimes all those dramas just came knocking on your door, worse yet demanding a heavy price you don't want to pay. It's the helplessness that pushes them to keep trying - or just my inclination to tear Percy and Nico apart to see them suffer. Probably the latter.

Percy and Nico's dymanic is also a funny thing, if you get what I mean? I mean. They try so hard to make it right, but as they do so, they fail to catch the other's wavelength, fail to pull the other to their own orbit, so they keep following their own thoughts and ideas, which have been derailing since forever. They try - gods know they try - but it hardly pays off. It feels like the universe conspires to separate them.

And maybe it's the vanity that characterizes Percy and Nico's relationship IMO. I want to see them try, fail, and then try again. It sounds like hopelessness, which it is, but there is beauty in trying, even in hopelessness. And that's what is beautiful to me - when there's no hope, but you'll still go on.

[traxanaxanos]

I couldn’t deal with it anymore I’ve gotta have an explanation for why all Betazoids on Voyager have extremely human names so I’ve made up my own:

Lieutenant Veronica Stadi: one of her parents was a xenobotanist who were fascinated with the alien flora of Earth. She’s actually named after her mom’s favorite alien flower Veronica longifolia, also known on Earth as the Speedwell. Veronica probably picks up the nickname Speedwell as an almost-pun on her ability to fly ships really speedily and really well all while avoiding quantum filaments

Juliet Jurot: given that she choses to attend the Vulcan Science Academy, I’m just going to assume that her whole family is very interested and open to experiencing the cultures of other species. Thus she’s named after the Shakespeare character - her father had a deep and important friendship and working relationship with a Klingon translator who worked on translating Shakespeare from the original Klingon into several Betazed languages. She’s a little mad that out of all the Shakespeare characters her dad could have picked he went for the tragic teenager and Jurot just has to carry that reference as a level-headed adult woman now, but she also does see the appeal of the alliteration over like “Perdita Jurot” (Sycorax Jurot though, now there’s a fucking cool Betazoid name)

Lon Suder: his parents were SO psychic that they saw both into the future and outside of the bounds of the narrative and knew their son would be in a horror episode of Star Trek: Voyager and were like “hmm let’s name him after renowned Earth horror actor Lon Chaney just to be thematically appropriate; that’ll be fun for a couple people in the audience to speculate on.”

[shakespearenews]

The word “Shakespearean” gets thrown around a lot when it comes to Succession. At the most obvious level, this comes from the echoes of King Lear that suffuse the show’s very premise: a power struggle between the heirs of wealthy, waning patriarch Logan Roy (Brian Cox). There is no good-hearted Cordelia here, though – just Gonerils and Regans, with flashes of Iago and Macbeth thrown into the mix for good measure. Yet it is not just these villains who the children embody; they are tragic and complicated, and capable of contradiction.

---

But Succession was Shakespearean in more specific ways. Armstrong has described it as a tragedy: it was only in the finale that this descriptor took on its full, haunting resonance. All three of the main Roy siblings, Kendall (Jeremy Strong), Roman (Kieran Culkin) and Shiv, are quite literally tragic figures; the ending had the perfect tragic ring of inevitability – all the while reframing everything that led up to it. Succession’s language, too, evokes the Bard in its use and choices of metaphor. How many other shows could have a character utter a phrase like, “Maybe the poison drips through”, and it not sound madly overwrought? If it shoots for grandeur in some of its language, then Succession proves just as adept at evoking the playful side of Shakespeare: the constant wordplay, the ingenious rhyming. It’s a linguistic dexterity that most TV shows would never even attempt to capture, let alone nail this hard.

---

It is also a testament to Succession’s greatness that it was able to drown out the more superficial readings of its material, to render irrelevant the kind of banal social media mewings about being #TeamKendell or #ShivHive. The question of “who wins” is ultimately reductive. Yes, Tom (Matthew Macfadyen) emerged as the ostensible victor but also, who cares? The point of Macbeth is not that Macduff becomes king at the last. This is the story of a failure, and the poignancy lies in the hows and whys.

[kaz-rizzveld]

I just wanted to put in my 2 cents with season 4 of The Umbrella Academy.

Disclaimer: no hate please, this is my opinion!

SPOILERS AHEAD!!!

Starting off with the ending.

So what the actual fuck. One time I saw someone say back before the season came out that they did in fact think the show should end with all the siblings dying together and realizing there’s nothing they could do and someone else replied how weak that thinking is and I completely agree. (I believe the person who explained how that was weak was "mortal-song" here on tumblr, btw)

Anyway, if the show creators thought of this choice as another “tragic ending” that should have been written or a lesson that things don’t always end well, I get it from a standpoint of someone who thinks all outcomes should be portrayed in media, I just don’t agree that it was the right direction for this show. It’s literally become nothing more than a trend and people thinking they’re quirky and different by ending things badly with a handful of unexplained plot holes because they think they’re Shakespeare. I hate to be the one to tell you this, but you’re not. 

I also understand the idea that this is not a kids show and deep and sophisticated plot lines will be explored, so there should be no problem ending the show this way, right? Wrong again. I’m sick of the idea that because this show is for adults, that we can, and should, give it a tragic ending to communicate that things don’t always end well, no matter how hard you try and that’s such a dangerous message. I’ve also seen people talk about how the show is about coming together as a family and working through childhood trauma as now grown ass adults and that the final conclusions the characters came to is that “we’re the problem and we should give up and die.” This the complete wrong message on so many levels. The devolution of these complex characters and unnecessary romance storylines is so ridiculous (don’t even get me started on Five and Lila) and, quite frankly, insulting to the actors, but I’ll get into that in a minute.

My overall point is that the message and ending in general is absolutely WEAK. It’s rushed, sloppy, and weak. If we had to keep all of the other batshit crazy plot lines that don’t even make any sense, but ended the show differently, we could’ve ended the show with the characters allowing the world to end and them die because they believed that they would also make it to the next world, another motivating message that could’ve been explored, by the way. They could’ve ended out also alive and well in the fixed timeline, living their lives as regular people and healing together. Them literally dying and being erased from existence making the past three seasons pointless is just. Weak. 

Now onto the actors, especially Aidan because based on interviews, I feel like I relate to him and this is just what I feel I can speak to. !! Now I am not him, I do not know him, and I don’t know how he feels !! but if I played Five Hargreeves, if I grew as an actor playing such a complex character, and if I learned a lot about who I was and who the people around me were through my character and theirs, and then the writers completely changed who he is in so many ways, whether that’s selfishness, self pity, giving up, or being a complete home wrecker, I’d be quite upset. If I was in Aidan’s shoes, I’d be furious. That’s so insulting because he brought your character to life and explored a traumatic story for you and for viewers AND gave an absolutely amazing performance, and you go and do him like that…. That’s honestly just so odd of you and I feel bad for him and his costars for being insulted like that. 

I could talk about Ritu as well because as an actress she watched her co-star and friend grow up, and then you go and make her have a romantic relationship with him. I know they’re actors and it’s their job but that’s literally so odd. This mainly, but also other aspects of her character that I feel was completely different to who she was as a person in the last two seasons, is also very insulting to Ritu. Like just wow.

Some other smaller examples for the other actors:

It’s insulting to Tom that you reduced his character to a literal stripper and over the top golden retriever after he progressed and grew.

It’s insulting to David that you reduced his character to a “father” who isn’t doing his job well and in a highly broken marriage. Not to mention he was against the Lila and Five plot and you went and did it anyway.

It’s insulting to Emmy that she didn’t get to build on and explore a real or complex relationship with the people her character sacrificed everything for in the first place.

It’s insulting to Robert that you developed his character to someone sober and more mature, just to strip it away and reduce him back to season 1 him- someone the others can’t trust or take seriously, whether he’s drinking or a germaphobe, just for giggles. It wasn't funny by the way.

It’s insulting to Aidan that you reduced his character to a blind and selfish boy who betrayed his own brother and gave up on his family when that's literally the opposite of his character.

It’s insulting to Justin that you reduced his character to the monster he was afraid of becoming since the beginning and probably gave him false hope about being able to share a powerful message this season since he was supposed to be the focus.

It’s insulting to Elliot that though he was able to explore his character as a grown individual who stands up for himself to his father, that it was all for nothing, meant nothing in the long run.

It’s insulting to Ritu that her character development also meant nothing and her character was reduced to a messy adulterer and questionable mother.

It’s a bad and weak message to the audience and it’s a bad and weak message to the actors and it’s insulting to them that they had to communicate said message after all of this.

[crazylittlejester]

DAILY BRAINROT

Rejoicing in the fact that it is Friday, and I'm home free for the weekend! Which means more time to dedicate to my projects. >:)<

I've been feeling very inspired by somerknights' Burial Rites and Zarvasace's White Walls. They're both very fantastic, creative stories, and I particularly like the way that they use little details to seem more bizarre or unsettling or horrific. I am aspiring to have that level of awesomeness someday.

Anyway, I've been thinking about the AUs again because when am I not thinking about the AUs?

I started thinking about LU EAH AU Fi again. Her story is so tragic because it really was preventable! But nobody did anything, so now she's not exactly dead and not exactly alive. :( And I was thinking that, if she didn't lose her memories, she'd be a very different person.

Best case scenario, simply a sad story about loving someone so much you sacrifice your own happiness because you believe that they're inherently more valuable than you are. Which is the truly tragic part about this whole thing. Fi believes that Hylia's happiness is more important than her own happiness, to the point that she is willing to lie and suffer and give up her entire life for Hylia! And while her soul is being put to good use to save the world, there is absolutely no reason why she should treat herself as less morally valuable just because she's in love.

Worst case scenario, she'd become not only a holy weapon, but a likely corrupted holy weapon. I think it'd be awfully hard on her to be wielded by the reincarnation of Hylia's lover over and over again so that Hylia's reincarnation can be reunited with him, and that would probably allow space for some vices to grow. I get that the whole point is defeating evil and saving the kingdom, but the cycle started because Hylia loved Link so much she gave up her immortality for him. She basically died for him. Which... is romantic, but probably not the best idea.

Honestly, at this point the only person who hasn't died for their lover is Link, and that's probably going to change with the way this story seems determined to emulate Romeo and Juliet by Shakespeare.

YIPPEE FREE TIME!!

ooooh, i havent read those two. I’m familiar with the authors, but not the fics

OUGH. OUGGGGGH. god im so obsessed with this au and fi’s story for it. grabbing it in my evil little hands and squeezing it with the upmost care and appreciation

[triviareads]

ARC Review of Marriage and Masti by Nisha Sharma

Rating: 4/5 Heat Level: 3.5/5 Pub Date: August 27th

Premise:

A Twelfth Night-inspired romcom; Veera Mathur drunkenly marries her friend and crush Deepak Datta, and they agree to stay married as platonic friends until they meet their respective career goals.

My review:

Nisha Sharma finished her If Shakespeare Were An Auntie series strong with a friends-to-lovers romance done RIGHT. It has the perfect amount of pining and angst without veering into pathetic territory, and the way Deepak and Veera's romance develops post-marriage feels so natural and QUITE swoony.

Veera's in a bad place after being forced out of her family business by her own dad before they merge with Deepak's company. She's aimless and trying to raise capital with her twin sister for their next venture when she's yacht-wrecked in Goa. Enter Deepak, who was juuuuust dumped by his influencer fiancée via "get-ready-with-me" video (I did laugh; THERE'S your "com" in the romcom) and he rescues Veera, except they have a few too many and wake up married the next morning.

Here's the thing: Veera and Deepak have a history. Their friend groups merged a couple years back and they really hit it off, something we see via flashback text message conversations (similar to Tastes Like Shakkar which I loved), and you really see how Veera developed feelings for Deepak, as well as her hurt when she found out Deepak was engaged to someone else without telling her. Somewhere along the way, probably after his engagement, Deepak realizes he has feelings for Veera too and he takes the opportunity to play the long game after their accidental marriage. I like how neither Deepak nor Veera are in a place where they're like, super tragic about their love being unrequited which is how a lot of friends-to-lovers romances don't end up working for me. They never take it out on the other person, and though Veera especially hesitates even after they have sex and Deepak has kind of made his feelings known, it doesn't feel contrived.

I think Indian weddings are seen both in India and abroad as this enormous to-do (if recent events are any indication) and sort of the be-all-end-all, but there is so much more to a marriage than the wedding. And because Veera and Deepak basically elope, we don't get the wedding and instead, we see all these lovely, meaningful post-marriage Indian (specifically Hindu-Punjabi) traditions like the Aunties blessing their home and the Grihapravesha pooja to welcome Veera to Deepak's family home. And some of these moments are so so romantic— I DIED when Deepak pleats Veera's dupatta and helps her with her baliyan earrings before their wedding reception, and the way they observe, but also subvert the patriarchal tradition of Karva Chauth (where married women fast for their husband's well-being) in such a sweet way.

A couple other things worth noting— there is a lot of boardroom drama; the plot is centered around Deepak getting enough votes to become CEO, and Veera finding closure and moving forward after being shunted out of her family's company by her own dad. And a part of that, interestingly, is going no-contact with a family member, something that is still looked down upon in =South Asian communities, but I appreciate the nuanced way it was handled in this book, and by the end, you can see Veera is 100% valid for doing what she does. I also liked how the story deals with Veera feeling like the odd one out after both her friends coupled off which is very relatable.

The sex:

Deepak has strong "don't worry baby I'll take care of you" energy and I have to say, I'm a fan. It starts off strong with a sleepy sex moment (HOT; I love when two characters are just too exhausted to not give into their impulses), but my favorite scene is definitely before their belated wedding reception, and Veera is feeling anxious so she asks for "stress relief"— Obviously Deepak is more than happy to oblige, and there are so many details I loved, like the chime of her anklets against his back, and the way her lehenga is half off and exposing her partially. Again, Nisha Sharma is doing the most to eroticize Indian clothes and jewelry and I'm HERE for it.

There's also this mild brat/bossy dynamic which kind of peaks when Veera and Deepak go all the way the first time. It was surprising in a good way, and I just wish Nisha had expanded on it some more.

Overall:

Look, it's hard to find South Asian romances with this level of heat (and believe me, I've looked) and Nisha Sharma did a great job of interweaving the romance and culture in a really lovely way that I'd recommend to anyone looking for a romcom-esque romance novel.

Thank you to Avon Books and NetGalley for the advanced copy in exchange for my honest review.