#to actually playing adult main leads

[kuronekonerochan]

Going in blind watching a new drama be like (first episode spoilers for Castaway Diva)

Castaway Diva

Both @kdramastuff and @msisoverthegardenwall recomended this drama to me, so I gave it a try, but I didn't read a synopsis so I went in blind and boy oh boy was it entirely unexpected.

The vibes I got:

*Cutesy poster of a woman playing the guitar with hippie staging

* Word Diva in the title

Brain thinks:

"Oh, romcom about a former star who falls from a yacht (the title also gives me rich Goldie Hawn vibes - like the movie Overboard)"

Also, her name sounds like the Portuguese word for getting stoned and the hippie vibes of the poster aren't helping.

^^ me, before watching, a sweet summer child.

^^ Me, while watching the first episode.

The plot:

2 highschool kids who are beaten almost to death daily by their fathers.

One reports it, the cop father of the other shows up and forces her to take back the complaint and even apologize.

Both kids try to escape, from an island on a ferry bc the abuse is so bad they think they will end up dead soon if they don't run away.

Boy sacrifices himself to stop girls father from getting to her, clearly ready to be beaten to death in the process (and almost is) so at least one of them can live. Turns out his sacrifice is in vain.

Abuser father finds girl, she'd rather throw herself overboard (ha, my witch side DID sense the Goldie Hawn connection...witchy sense continues to work in mysterious ways) and probably die than go back.

Conclusion:

Both teen actors deserve all the awards. Damn!

I'm hooked but boy did I go blind into this expecting something else entirely.

[justicewasserved]

so I see a lot of people going "hahaha wild that Jon thinks everything (such as the apocalypse) is his fault when it REALLY isn't" and they would be correct but I keep thinking about why it is that he's like that. I think a lot of people simply put it down to "that's just how he is as a person" when I really think it's more of a combination between personality, how he was brought up (not that well) and the web.

in mag 81 he's never that specific about what his grandmother was like, and is very clearly trying to make her sound better than she actually is. but to me it sounds like she instilled a feeling that any and all problems that occurred throughout his childhood was his fault, or made worse by him. I'm thinking something like "I'm feeling so bad right now because I have to pick you up from school every day." and if she did do this, clearly it worked because he is, in his statement as an adult, retroactively pinning the blame for all his childhood problems on himself for being a "deeply annoying child". I really think that it's not normal to think you are to blame for someone else bullying you and that it was probably caused by his grandmother making him think he caused everyone's problems.

the mr spider event shocked him in a lot of ways but one of the main things that shook him was that he felt like he could've prevented what happened and he could've saved the guy's life. obviously this is ridiculous - it's clear to us that the web pulled him down the exact path which would lead someone else to interrupt his reading and get captured themselves. however Jon does not know this and clearly thinks he should've done better. I think that this, along with his upbringing, started the distinct way of thinking that he has where he decides that everything is his fault.

the web knew this would happen and then utilises it to make sure his crushing sense of responsibility causes him to get all 14 marks and then to, unwillingly, play his part in removing the fears from the universe.

[cacoetheswriting]

honesty: the music video

pairing: rockstar!eddie munson x popstar!fem!reader word count: 2.3k summary: after a long day on set, you can't wait to get it on with your costar.

content warnings: 18+, minors dni: mature themes, literally smut with a minor plot, established relationship, unprotected p in v, overstimulation, praise kink, dom-ish eddie, adult language, heavy use of pet names, mentions of aftercare — if i missed anything in this chapter, pls let me know!

celebrity skin. masterlist <- part of this lil' universe, but can totally be read as a stand-alone. timeline wise, this takes place somewhere after part 3 and before end part 5.

“We want it to be sexy.”

“But not too sexy.”

“Revealing.”

“But not too revealing.”

“Sounds like you guys don’t know what you want,” Eddie chimes in, interrupting the back and forth of your respective teams.

You stifle a giggle.

“That’s ‘cause of the two distinct styles,” someone from your team clarifies, “We wanna be respectful.”

“For sure,” one of the creatives on the Corroded Coffin side agrees. There’s a short pause. “We will have you two kiss at the end, though.”

At that, Eddie smirks. He looks at you from across the table and you could just about melt right there, blood rushing to your face, warming your cheeks.

“That won’t be a problem,” he says confidently and winks.

-

Honesty was a guaranteed hit. Top of the charts. Everybody that’s been so far involved in the project said it. They praised it. From the bass, drums, to the guitar and vocals. The production value was off the scale. A dream arrangement that would stand the test of time.

All the song needed was a music video equally as captivating.

A back and forth discourse began shortly after you first started recording with the band: whose style should the clip resemble more?

Corroded Coffin screamed all things dark, maybe a little gory. Their usual expression featured slightly melancholy undertones and a lot of references to all things Dungeons & Dragons. Imaginative, for sure. An artistry that had rarely been seen in the genre. 

Although it’s been an artistry vastly different from yours. 

The glitter hadn’t necessarily been your idea, but it certainly became a signature of sorts. Anything sparkly, always. And music videos that told a story. Most often one of love since that’s what you idolised ever since you were a kid — it obviously helped that love also sold millions of copies.

Eddie’s team argued that it’s the band’s song and you’re just a feature, therefore the accompanying video should lean into their style. Your management team was hesitant to agree. Calculating risk in case the lines get blurred a little too much and your pristine image shifts to the opposite end of the spectrum. Hours of arguments. Hours of negotiations. None of which you, or the rockstar were even mildly aware of. Too lost in each other's eyes and soft cotton sheets. 

Eventually, a compromise, of sorts, was found.

Ernest Hemingway’s The Killers influenced, in part, a 1946 film noir of the same title, with Ava Gardner and Burt Lancaster taking the lead. The movie, in turn, inspired the black and white music video.

Done up in flair of the characters, Kitty Collins and Ole Anderson (aka Swede), you recreated iconic scenes alongside the brown-eyed rockstar. The rest of the band was also dressed to the nines. Side characters that played their instruments in the background of main shots. They blended in well, while adding a unique spin to the known story. 

Overall, the Honesty shoot quickly became a big spectacle. Bigger than anything Eddie Munson and his band of closest friends has ever been lucky enough to be a part of.

Intricate sets. Glamourous. In front of cameras and bright lights, you and your scene partner, Eddie, mouthed along the lyrics to the song as if they were a script. And with every scene, as if the two of you were the only people actually there, no equipment and no crew, you got lost a tiny bit. Lost in the chocolate of the rockstar’s wide gaze. In the way he smelled. The style of that decade suited the brunette greatly, so you became lost in how he looked in this character. Dapper. Unlike you’ve ever witnessed him before. He committed to the role too. A certain swag in his movements. How he touched you so hesitantly, delicately because that’s what the video required.

By the end of the night, after the director yells, “Cut!” to signalise a wrap, a round of applause for all involved in this project, you’re feeling hot and bothered. Sweaty, though not because you just completed a full day’s work. No. Somehow, you found the Corroded Coffin frontman even more attractive than at the start of that day — something you didn’t think was possible. When you glance in his direction, he’s already staring you down, and you know he feels the same way.

Backstage, inside your trailer, you’re sitting cross-legged on the couch. Fingertips at your lips as you wait for that inevitable knock on your door. You know it’s only a matter of time considering the build up of tension throughout the shoot. From the lingering touches and that kiss the director had you two repeat over and over and over…

Logically, you could wait until the two of you were home. Back at Eddie’s Hidden Hills mansion, away from prying eyes and ears. In a bed that’s become all too familiar. Far from possible interruptions. Logic however, well, right now, logic was taking a back burner ‘cause you needed him now. Desperately. And without a doubt, Eddie needed you too.

A knock. Then again. But the rockstar doesn’t wait for you to answer. He lets himself in. 

“What happened to the wig?” You ask, raising a brow.

“It was itchy,” he replies with a slight laugh, then shakes his head. “I much prefer my natural locks.” 

“That’s too bad,” you say with a slight shrug, “You looked quite smart with that short hair.”

Eddie hangs his head with a smile, though his eyes don’t leave yours. Not even for a second. That’s when you notice the glimmer. That look, the reason he’s here, just like you predicted. So you return the expression. Only yours is a little more sly. Tempting him. Teasing. 

“I had fun today.”.

“Me too.”

There’s a lot that happens in the seconds after you stand up. A lot that happens quickly. 

Eddie reaches for your wrist, pulling you closer before wrapping his, for once, ringless hand around yours completely. He presses it to the middle of his chest, holding it against his heart. You can feel it beating and that’s enough to make you melt ‘cause it’s strong and you swear it skips at the contact. His other hand reaches for the base of your throat. He holds it gently, caressing upwards until he’s gripping your jaw. 

“Kissing you in front of all those other people kinda got me going,” he admits in a low tone.

Naughty, that’s what you want to say, but you don’t get the chance ‘cause his lips crash into yours. Hungry. Desperate. Rough. Heat rushes through your body at the sudden contact, no different than any other time his mouth found yours. You’re at his mercy, always, and he knows it well. 

His tongue glides along your top lip and you part your lips to accept him without hesitation. He wastes no time sliding into your mouth, letting this tongue work in tandem with yours as he tilts his head to further deepen the kiss. The hand holding yours lets go, instead finding home on the small of your back, pushing you as close to him as humanly possible. His other hand lets go of your jaw, albeit not completely. Ghosting along the side of your neck before you feel him wrap it around your throat, squeezing lightly. It’s nothing new for Eddie to be a little rougher with you, but there’s something about this moment, after a full day of moderate teasing and borderline foreplay, that causes a moan to burst through you when he squeezes again, only harder.

The rockstar pulls back, sporting a devilish grin. “Making such pretty noises for me and we haven’t even gotten to the best part.”

“Do your worst, Eds.” It’s a dare. Nothing sweet about it.

He smirks at the challenge and before you can register what exactly is happening, Eddie is lifting you up swiftly, hiking up your dress in the process, only to drop you down onto the sofa with a gentle thud. You’re wide-eyed as he unbuckles his belt with one hand, the other tugging at the pantyhose the wardrobe lady had you wear for the last scene of the video. He partially rips them off of you, then he hikes his index finger along the band of your underwear, eagerly pulling them down your legs until they’re wrapped around your ankles, with the reminisce of your stockings.

“The heels stay on,” the rockstar instructs, pushing your legs apart with force and positioning himself in between. All you can do is nod. Half-naked, half in costume. Same as him.

In the space of a heartbeat, his lips are on yours again. This time they don’t stay for long, instead moving downwards towards your chest. When he squeezes your breast through the silk material of your dress, he compliments how fucking good you looked, “I wanted to ravish you the second I saw you, baby.”

You whimper at his words, and at the fact that his now freed cock is gently brushing against your wet folds. Not quite breaching, just teasing you further. Only adding to the overall stimulation. 

“God, you’re so fucking hot. So fucking pretty. And all mine.” Eddie’s breathing into your bare chest ‘cause somehow in the moment your dress has slipped down ever so slightly and your tits made an appearance. Fingers from one hand are digging into your hip, holding you in place, while the other has you by the ribs. Thumb brushing your soft skin while his hot mouth is sucking on your hardened nipple.

Your eyes are closed. You’re not sure when you closed them. He’s invading your senses all at once. Just when you feel like you can’t take it anymore, when you want to whither and plead for him to touch you where you need him most, Eddie plunges himself into you without warning and your eyes snap open. 

“Oh God…” he groans, drawing his hips back only to slam them in again, making your body bounce against him. “Fuck, baby. Jesus.”

You sob in pleasure as Eddie knocks the wind out of you with each relentless thrust, still increasing his speed. Heavy panting and grunting fills the trailer, along with the sounds of where his cock slams against your sweet juices. He’s sitting straight now. Eyes are fixated on the mess you’re both making, where his length disappears in and out of you, while you admire the way his locks fall naturally in place. Although briefly, ‘cause you’re arching your back the next second, rolling your eyes to the back of your head when he hits that sweet spot.

“So. Fucking. Pretty.” He growls. “You’re so fucking pretty when you’re all stretched open like this, sweetheart. Your pussy was made for my cock, baby. You take it so well. You take this big dick so well, my good girl. Fucking made for me. Ain’t that right, dollface?”

“Made for you, Eds.” You just about whisper back, nodding your head feverishly.

Slap. His hand makes contact with your thigh and you practically wail. “That’s right,” he praises, “Made for me. So fucking tight for me.” Slap. Slap. Slap. 

Eddie’s cock starts to swell. You can feel it expand inside of you, then again when he thrusts back in. It has you heaving. The speed he’s established is close to becoming a little too much for the two of you and he drops his weight slightly, allowing you to wrap your arms around him, nails digging into his bare back. He can sense that you too are close and he’s trying hard to hold back, make this moment last longer, but his body refuses to slow down. Chasing the way your glistening pussy chokes his length. 

“Where do you want me baby?”

“Inside,” you croak out. “Cum in me, Eddie. Please. I need you to fill me up.”

“M’mph—” He chokes out, movements growing more and more erratic. The whole trailer is shaking at this point, that’s what it feels like to the two of you anyway. “Everybody out there will know what a good little slut you are. Not that innocent. Wanting me to fill you full of my cum, fuck.” 

Slap. Slap. Against your thigh. 

“Please, Eddie.” 

Slap.

“Shh… I’ll give you what you want, sweetheart.” He coos, “Gonna pump you full. Gonna make you see stars while my cum drips out of you.”

That’s when you shatter around him, uncontrollable desperate squeals making him groan louder as he continues. It’s sloppy, messy, and once you’ve completely unravelled underneath him, the rockstar can’t contain himself any longer. He lets out a broken moan as ropes and ropes of his warm spend start to throb into your hole.

His body gives up at the last spur and he drops flat on top of you, although not without a loose kiss placed to your jaw. His cock remains inside of your pussy. You can feel it pulsing until, after a few minutes, it no longer matches the beat of your heart.

Eddie lifts himself then. He kisses you softly and you smile against his mouth. When he eventually slips out and stands, he tells you not to move, that he’ll grab a towel from the small trailer bathroom and will help you get cleaned up.

“Wardrobe is going to kill us,” you call after him, balancing on your elbows as you sit up slowly. “Pretty sure these clothes can never be worn again. Purely for the fact that they reek of sex.”

“At least your wig stayed in place,” Eddie points out lightheartedly when he returns, his pants once again buckled, a towel in his hand. “That’s something the hair and makeup team should be proud of.”

“I’ll be sure to tell them,” you say, meaning it as a joke ‘cause there’s no way you would ever admit to what sins the two of you just committed.

Eddie smirks. “Pretty sure they already know,” he says as if it’s no big deal, “We weren’t exactly quiet, sweetheart.”

as always, thank you for reading! pls comment, reblog & support your creators.

celebrity skin. masterlist | the killers (1946) reference

& the celebrity skin. taglist: @eviethetheatrefreak , @thirddeadlysin , @haylaansmi , @nope-thanks , @tlclick73 , @vintagehellfire , @ashlynnkennedy , @avalon-wolf , @sidthedollface2 , @astheni-a , @bebe07011 , @aysheashea , @papillonoirsworld , @vol2eddie , @spideyanakin-interacts , @rogers-sweatbands , @mimsie95 , @mmunson86 , @eddiesguitarskills - (if your user is crossed out, it means the tag isn’t working. pls check you’ve enabled tagging in your settings)

[colourstreakgryffin]

HELLO! If you are taking requests can you do a Dazai Osamu! Reader with Alastor, Lucifer and Husk? Both romantic and platonic please. If you are uncomfy with it its perfectly fine!

Hehe! Okay. I actually haven’t gotten Lucifer or Husk yet and I like both of ‘em! I’ve written about this character before, Dazai Osamu but since it’s different, I’ll try it but i am sorry, I can’t manage over six over six-to-seven headcanons for the three boys in both platonic and romantic so just romantic it is! I hope that’s okay!

Alastor

Romantic

Alastor feels like he has to have you on a leash 24/7 and whilst it’s annoying, he wouldn’t mind being near you all the time. You’re a cunning and sophisticated person but you’re also quite suicidal and lazy at times so he has to have a eye on you all the time to ensure he won’t walk into you trying to make a joke, out of stabbing yourself

Alastor is quite protective. You’re a suicidal maniac and you even openly say to him you want to properly die with him, die with a handsome man and he is repulsed by this idea so he has to always cling you onto him to control your very bad habits and bad mannerisms. He will get you over them eventually, as your boyfriend, he cares about your health and he is thankful that you reciprocate

Alastor is glad when you’re more into your funny, caring state. When you’re more of an approachable and good person. Because then, it’s a golden opportunity to bond with you and not act as your damn suicide prevention police. He much prefers when you’re not fantasising and being picky about how you get erased then fail to complete these processes

Alastor’s quite impressed by your skills. You’re the strongest and youngest mafia leader back in your human life and your current sinner life so you have the passion you act you don’t and you’re more mature then you behave as. He is proud when he can watch you take charge and lead around the Hotel with your own knowledgeable being the main guide

Lucifer Morningstar

Romantic

Lucifer is a goofy sweetheart so you bet your ass that he is very good at keeping you passive and giggling, away from your dark mind. You’re always smiling and joking around with the King of Hell since he can handle you very well. He is as caring but he treats you like you’re made of glass. Something he won’t stop doing until your obsession over suicide dies out

Lucifer likes how mysterious you can be. You’re not entirely open, which he understands whilst being immensely open himself. He will just have to win your trust and your ability to express yourself over time as your new partner. You’re dark and enigmatic, if not the opposite of Lucifer and it’s a wonder why he likes you so much and he could write a book about why he likes you

Lucifer loves how committed and willing you are. You’ll do even the most shady things for him and he always feels both extreme pride and the extreme desire to scoop you up in his mighty six wings to kiss your face off. You’re so loyal and you do so much for him, it’s not a surprise that he sticks to you like he’s glued onto your hip

Lucifer is actually quite protective to you. He doesn’t want you touching even the smallest weapon, even if you’re an adult as well but because of your mental issues and how suicide trigger-happy you are. At least, you do have a good sense of humour and have a fun-loving side through how much you tease people, it’s adorable! Lucifer does like them, it, for some reason, soothes him hearing you play around more genuinely

Husk

Romantic

Husk is a grumpy, quiet but yet patient and considerate man. He may be older but he is still caring and makes a wonderful partner. Especially for this carefree and relaxed soul, one who expresses their suicidal tendencies quite a lot. Husk knows about your suicidal desires and for that, he has such a sharp’s tiger eye on you

Husk(in reality, of these three boys) is the most healthy to date. He is gruff and emotionless on the outside but compassionate and gentle on the inside, he is a Tsundere at best and he doesn’t mind being stern with you when you’re falling down a rabbit hole or trying to harm yourself like it’s some comedy show. You’re life is beautiful and you need to see that

Husk relates to you a lot, on deep levels. You’re both lonely, you’re both lazy, you’re both basically done with everything but you have each other, you both hide your real selves and your genuine personality under a armour of behaviours, so Husk acts as the proper one for you two. He tries to encourage you to join him whenever-wherever and to try put your wits and intellect to good use. He’d feel so proud of you if you did

Husk always sticks around you. He never leaves you alone, he doesn’t want you hurt so he takes you to bed with him, he cuddles you to his side whenever you’re both walking, he even comes into the bathroom with you. He does it for many reasons, mainly because he feels so comfortable with you

[sapphicsvibes]

my last post was also about the discussions of transmisogyny centering cis female athletes who are women of color. there is a wider conversation being had about transmisogyny in athletics, and that is that, trans women aren't even allowed to compete. before we start discussing how transmisogyny impacts not trans fems, we need to actually center the discussion around the heavily, transmisogynstic shit that is already happening.

and when we talk about how cis woc athletes being overly masculinized and decide to call it transmisogyny instead of what it actually is, racism, it sets us back. there is this understood idea that people can be indirectly impacted by transmisogyny, but unless the subjects of those conversations are transfeminine people, then the focus shouldn't be transmisogyny.

it should be racism. it should be the fact that the white, western gender binary and idea of femininty/womanhood is so fucked up that cis girls of color from a young age are viewed as more masculine, dangerous and larger than white women. we should be focusing on the complexities of misogynoir that black girls go through from childhood to adult hood where we are both masculinized and also hypersexualized and exposed to harmful race science that gets us preyed upon by older men. we should focus on how these conversations of masculinizing women of color comes to play in how white women and white afabs (yes, i know i said i dont like using afabs but i am starting ot use it when discussing the lived experience of white afab people and how that negatively impacts people of color in queer spaces) can utilize their privilege, tears, femininity, etc., to turn society against cis girls of color and how we are automatically seen as a threat to them

we need to talk about racialized misogyny when dicussing imane khelif, and how white women like jk rowling, who has a history of transmigoyny yes, but also anti-arab/MENA racism and islamaphobia, and is prominent in alt right groups, is using her platform to attack a possible muslim, MENA woman. and that's a big thing that hardly anyone talks about - Rowling is heavily islamphobia and anti-arab. when you se guys see her attacking a MENA woman, and decide to focus solely on transmisogyny, you are quite literally erasing a huge chunk of her bigotry.

yes, indirect transmisogyny comes to play, but when you are talking about racialized misogyny, you NEED to make sure that is the main focus - racism and misogyny, because if you don't you make it hard if not impossible for us to have any type of productive conversation. you guys being too afraid to call out racism and misogyny makes it seem like you are shielding white women/afabs and white society from the pain they have put women of color through for decades.

the same goes for misogynoir??? like when we are talking about misogynoir and them completely ignore it and lump it under transmisogyny, who does that help? not only does the black community have an issue with transmisogyny in general, but it also erases a term that we've come up with to help better discuss our oppression.

also, this isn't to say that trans woc don't face racialized misogyny and misogynoir (black transfems!) because they do. but it should be understood that while THEY face these things, transmisogyny is something that should also center them. and while we, as non trans fem women do face racialized misogyny/misogynoir - yeah, sometimes we can draw comparisons between transmisogyny, but we shouldn't be the ones taking the lead or taking platforms.

and last but not least, the way you guys who are claiming what is happening to cis female athletes is transmisogynistic. Do you know how many trans people, who aren't trans fem, that i've seen saying

"see, this is why we need to talk about transmisogyny affecting non transfems! xyz athlete was actually born a woman, she's not a man, she is afab! she has a vagina!" do you realize how that language is terfy, do you realize how you guys will try to hijack convos of transmisogyny while also reinforcing transmisogynistic requirements of what makes a woman a woman?

[actualhumantrashcan]

I can understand a silly workplace comedy about pirates not being everyone’s jam but I really can’t understand the amount of queer people I see hating on ofmd.

like for one thing most of the debates turn into gatekeeping queerness (which I think has a lot more to do with the ages of the main couples than actual concerns about authentic representation but that’s another post) and the rest are just hateful because it doesn’t directly name or label it’s queer characters but like why do we need that at this point?? listen I love heartstopper with all my heart but it is exhausting to watch them explain queer identities sometimes (even though I do think it’s super useful for younger audiences I’m just not the target demographic!) and ofmd is an explicit, violent, adult show that doesn’t NEED to explain it’s character’s identities.

queer people past their 30’s are usually very well aware of their queerness and have had (hopefully) plenty of time to go through the arc of discovering that. so why would we need to see Stede or Lucius or Ed going through turmoil because they’re attracted to men when they have already come to terms with that at this point in their lives?? i for one find it so fucking refreshing to watch a show where the characters being queer is not their main arc, they just ARE queer and life is still happening to and around them. maybe that’s just the millennial gay in me talking, but it gets emotionally exhaustive to watch show after show where the queer character’s arc is overcoming homophobia. yes obviously homophobia still exists and yes obviously if ofmd was trying to be historically accurate these characters would be living in a very dangerous time to be queer but it isn’t trying to be accurate!! it’s trying to be fun and diverse and kind!!

and also, they aren’t pretending homophobia doesn’t exist!! it’s just addressed in a different way. Stede was emotionally abused by his father for his entire life for being “soft” and then was chased down by his homophobic childhood bullies, one of which explicitly told him that he “defiled” the great pirate Blackbeard by simply falling in love with the man behind that name. Meanwhile Ed was forced into the world of piracy at a young age and developed the entire persona of Blackbeard (who fits the toxic, violent masculine stereotype of the time) to hide the fact that he’s actually an incredibly sensitive and deeply queer man! and is told multiple times by male figures in his life that sex with other men is fine but it is absolutely unacceptable to be in love with a man. both of their arcs contain homophobic rhetoric that is still present in society today, but its never presented as a problem that they have to wrestle with. they don’t have to come to terms with what it means to love each other, they just have to overcome some trials that go along with the complicated lives they both lead as a pirate and former aristocrat. the homophobia in ofmd is woven into the backstory of each and every character, it shapes them into the people they are at the beginning of the show when all of their walls are up and they are performing the “pirate” roles they are supposed to play. and then we get to see them grow and realize that they are in a safe space, part of a community not just on the ship itself but in the life of piracy (which in the show is pretty much explicitly an allegory for queer lifestyles.)

anyway, I could rant about this all day but just truly why do we have to tear people down for enjoying something? why do we have to find reasons to hate something so obviously created with sensitivity to it’s queer audience and with so much queer joy? if historically inaccurate gay pirates going on silly adventures and falling in love are not your thing, fine! but perhaps just let people enjoy things and find your own things to enjoy.

[piratecaptainscaptainpirates]

Okay, I wanna talk about Fun and Games and the Anne and Mary plot.

First thing: the whole setup with Anne and Mary is a very one-to-one reference to the play Who's Afraid of Virginia Woolf, as many have already pointed out, but unless you've seen the play you might miss just how clear the reference is - there are lots of direct, kinda subtle references, from Anne kissing Stede to Mary throwing an axe at Anne's clock, but the main plot of this episode is so heavily rooted in what happens in the play that it's very worth talking about. "Fun and Games" is the title of the first act of the play.

A brief synopsis of the play, if you've never seen it. It will sound very familiar. The setup is an older couple having a younger couple (who mirror them in many ways, down to occupation) over at their house. George and Martha, the older couple, have a relationship that at first seems normal but quickly becomes obviously dysfunctional. They're passive-aggressive with each other, have all these little games they play with each other with rules obvious only to them, and frequently get into heated arguments and try to embarrass each other in front of their guests. Nick and Honey, the younger couple, are revealed as the play goes on to have some issues between them that could very easily lead to their marriage going the same way as George and Martha's, just fun and games because they can't handle actually talking like adults and accepting each other as they are. When George and Martha are forced to stop playing little games with each other, the play concludes with an open ending, and we as the audience are left to wonder if George and Martha will be able to actually talk through their emotions and problems without the impuse to avoid them that they've been leaning on for years.

The name of the play is a reference to Virginia Woolf, who was an author very invested in earnest exploration of a character's inner thoughts and feelings - playwright Edward Albee says that the play's title can be read, really, as "who's afraid of living life without false illusions?" and when Martha says she's "afraid of Virginia Woolf," that's what she means. The characters in the play constantly play games and create little illusions to hide from their real feelings and what happened in reality because it's too scary for them to be honest with themselves and with each other.

Anne and Mary are a cautionary tale for Ed and Stede, but it's not a simple "if you quit piracy you're going to get bored with each other and regret it." The cautionary tale is "if you refuse to talk with each other, if you refuse to actually address the reality of the situations you're in together, if you allow yourselves to become so bitter with each other because you would rather pretend you can get by with fun and games instead of acting like adults in a relationship, that is when you'll end up like Anne and Mary." It's notable that Mary mocks Ed and Stede for acting like teenage boys and not having an "adult" relationship, because she and Anne approach their relationship very childishly, snipping with each other, trying to get a rise out of each other, and refusing to actually talk, and when Ed and Stede are having an open, earnest, heartfelt conversation, they laugh and mock them for it.

And I think a lot of analyses of this episode miss that Anne and Mary broke free from the fun and games cycle at the end of the episode. When Anne set their shop on fire, she's burning the illusions they've been living with, too - their version of George and Martha's game is trying to "kill" each other, so scared of that final mystery, which of them is going to keel over first, that they have to make it into a game. The episode is not saying that it was a mistake for Anne and Mary to quit piracy and settle down. It's saying that their problem is refusing to actually talk to each other and communicate like adults, and when Anne commits to Mary over their shop, this symbol of the life they've become so bitter about and all the games they play to talk around their feelings with each other, they share a hug and we get the sense that their relationship is on the mend.

This episode is extremely well-crafted. It references the play without becoming overly derivative, but the central themes remain strong. It's a cautionary tale for Ed and Stede, but it's not a basic one, and it comes back at the end of the season when Ed panics and runs away to live an illusion of a fisherman instead of communicating with his boyfriend. Ed and Stede are not becoming Anne and Mary when they settle down together - it's the opposite, they're committing to what they want and living a life without illusions.

[whatsjulietslastname]

Okay so this is me talking about everything that is wrong with Double Exposure because my first post about it was an angry reaction at the pricefield breaking up news and it wasn’t really diving into it. Obviously don’t read this if you haven’t played the game and do not want to get spoiled. Also, this is going to be long.

First of all, what I really want to speak about and what a lot of people are refusing to accept is how painfully out of character Max is throughout the whole game. “Yeah but she’s ten years older—” Don’t care. That doesn’t mean her entire personality has to change. I’ll say it over and over again, 2014 Max Caulfield would have absolutely despised her adult version. The thing that bugs me the most about 2024 Max Caulfield is how careless she is with her powers. She’s not asking herself where they came from, she doesn’t even freak out, or actually care. In the first game, right after she first rewinds, she constantly has to remind herself that she isn’t dreaming, and that this is real. In this game, she just accepts it, and goes on with her day, and uses her powers for the most useless reasons possible. What about the Max from her nightmare who represents the guilt she felt for using her powers wrong and putting all of those people in danger, you say? Absolutely forgotten. Max uses her powers so she can find items easier and so the people who rejected her in her main timeline want her in the other one. (Yes, after Chloe breaks up with her and expresses her worries about the fact that Max — apparently — uses her powers so things go her way — which is already incredibly out of character, because no, 2014 Max wouldn’t have used her powers on Chloe to avoid conflict, especially after what happened.) That is incredibly manipulative and shitty. SHE WOULDN’T FUCKING SAY THAT. And also, why on Earth would she try and use her powers to avoid her friend’s death when she KNOWS where this is leading. Did she not learn anything from the past? Apparently, she didn’t! And proceeded to completely forget about it all.

Something else that is incredibly annoying and gets tiring after like ten minutes is the amount of awkward sex-related jokes that Max (and every character, somehow) keeps making at any given moment. Pretty sure this was supposed to show us that Max is an adult now and that she hangs out with adults and knows what sex is but that is way too much. Nobody talks like that in real life (and if I ever meet someone who does I’m leaving the conversation). Max also makes cringey jokes all the time, because her dialogue (and hers only, which makes it sound even weirder) is the same as the 2014 one, except it was 2014 back then and it was acceptable. Now, if Max Caulfield says ‘let’s trash, shakabrah’, you’re only making it obvious how much fan-service you filled this game with. It would be funny if she said it to Chloe, because then it would have sounded like an inside joke, except she says it to her new lame love interest who has no idea what she’s talking about, and just. Why. Why would she, Deck Nine. The main problem about the fact that those jokes are thrown at us all the time is that Max’s inner dialogue is almost only focused on them. Something traumatic happens to her? Who cares. She’s gotta make a joke about the rock you pick up and then bring to another universe’s lame love interest who’s gonna reject her anyway and say ‘I’ll never apologize for my dad jokes’ because apparently, we’re never seeing the end of the fan-service in this game.

Chloe is out of character too the only few times we hear of her, but that’s only because Deck Nine makes it obvious how much they despise her. She leaves Max through a very underwhelming letter, which is already out of character enough. She then proceeds to never reach out for years (which is something Max has done to her and that has hurt her, so why the fuck would she do the same thing right after?) And apparently, she doesn’t care. She just moves on, and parties, and kind of starts flirting with Max’s high school bully, and makes cringey posts on the Internet that make her sound like an extremely corny player. That isn’t Chloe Price. That’s someone Chloe Price would make fun of, at most. I kept picturing 2014 Chloe reading the things her adult self apparently posts on social media and freeze in terror. Genuinely. Also, the whole ‘Joyce is dead and Chloe is angry at Max for it’. Sigh. Chloe gave Max the choice. She said ‘you’re the only one who can (make this choice)’. And then, when Max choses her, in front of her, and lets the town get blown away, Chloe says ‘I’ll always be with you’. Why the sudden switch up? Never explained. Chloe is just angry at Max for something she originally wasn’t angry at her for.

The writing in this game is super weak, too. There are a few cool scenes (I’m thinking the one where Safi tells Max to pulls the trigger in the middle of the storm, if you manage to make it past how boringly similar to LiS 1 it feels), but it’s mostly just…meh, at most. For instance, Safi asks Max about Chloe, we learn that Chloe and Max broke up, or that Chloe died, and then without giving us any time to process that, the game forces us to friendzone or flirt with some random girl that is apparently into Max. We don’t have any time to decide if we like her or not, you just take a look at her and decide if Max wants her. The dialogues are more often than not awful too. It sounds like something ChatGPT would write. Nearly every single interaction Max can have with basically anyone feels forced, and like people talk too much, or not enough, people say random thing that makes no sense and nobody cares, we suddenly hear Max’s thoughts in a middle of a conversation, there are awkward moments of silence. Painful to witness. Max has NO chemistry with either of her love interests (though the guy is somehow more interesting than the girl to interact with), and manages to have more romantic moments with her best friend who she’s not supposed to be into than with them. Both those love interests are useless and suck anyway, because they will both end up rejecting Max by the end anyway, and apparently won’t even return, which strikes the question of why the romantic plot lines were even involved. (Which also made me hate Amanda a lot. I guess she is somewhat likable at the beginning of the game, but she gradually becomes annoyingly pushy and ends up telling Max she’s too much to deal with at the end of the game anyway). Also, it’s annoying how obvious it is that the romantic plot line is way more explored with Amanda than it is with Vihn. Stop making Max look like she’s basically a lesbian but not completely because she hooks up with guys sometimes. Stop bisexual erasure, basically.

The game gives up on its own plot in the middle of it. It was promoted as a murder mystery but stop being one after a while to become a What The Hell Is Going On With Safi kind of thing. Also, there’s the whole thing with the detective. Why did they even create him only to treat him as a joke and never explain what happened with him. One of the most confusing thing about this game. What the hell was that for.

The nightmare sequence. God, how I hate it. If you want to deal with Max’s trauma, do it WELL. It’s a go big or go home thing, not a ‘let’s put some sort of references but never properly deal with anything’. IT WAS SO FRUSTRATING. There’s references about Chloe everywhere, and never Chloe. I get it, you don’t want her to be in this game. But if you do want to talk about Max’s trauma, you gotta swallow your pride and put her somewhere anyway. Max can’t have a nightmare about the things that traumatized her without Chloe being there. It just makes it even more obvious how much the studio avoided to put her in the game on purpose. The bathroom scene? God, please, what the fuck was that. Why would Max think of herself as some kind of Nathan Prescott parallel?? The only thing they had in common was pointing a gun at someone. That’s it. That was another poor attempt of the game to try and not put Chloe there but still say ‘look!! Max still thinks about her and is traumatized!! But she somehow dreams about it without seeing her face once!!’ like just stop. And the Dark Room part felt very underwhelming too. Kudos to Hannah Telle for the amazing voice acting on this, but the scene lasted ten seconds. Just don’t put it there, please.

The nightmare isn’t needed in every LiS game. So isn’t the Storm. So aren’t the nosebleed. Why does Diamond get nosebleed because of her powers? That was a Max thing. Daniel didn’t get nosebleed, Alex didn’t get nosebleed, Chris didn’t get nosebleed. (Rachel didn’t get nosebleed either). Why is this suddenly something everybody get because of their powers?? And why do every powers suddenly create Storms. It’s not a common Powers Problem, it was a Rewind Powers thing. God, this makes me mad.

And last but not least. The final choice. It felt so??? Underwhelming??? I use this word a lot, but it’s how the whole game feels for me. The LiS choices are hard to pick. There’s no morally wrong or right answer. It depends on who you are, what you stand for. The first game was about learning how to let go or refuse to let your friend get ruined by fate. The second game was about giving your life up for your brother to have a chance or refusing to give up on what you believe in and what makes you who you are, no matter what. Before the Storm was about protecting your loved ones from the truth or refusing to lie to them and let them hurt. True Colors was about forgive the unforgivable in the name of compassion or hold a grudge in the name of family.

And then there’s this game. ‘Do you wanna join the X-men me and my team of supervillains and take over the world lol’. Why would Max say yes to that. Just why. If you want to play the game in character, it’s obvious that you have to pick ‘refuse’. If you want to play an out of character evil Max just for the sake of it because it’s fun, alright! I don’t blame you. It’s fun. But why on Earth would Max Caulfield agree.

Also, they take you for an idiot with the cat content. Do NOT waste your money on it, you will regret it.

Anyway. This game would’ve been okay if it hadn’t been apart of the LiS franchise, and if it had starred a different main character. I still would’ve thought it was confusing and generally not great, but at least it wouldn’t have felt like such a let down. (Side note: everything I’ve said doesn’t include Moses and Gwen. I want to put them in my pocket and carry them around with me forever. Love them a lot.)

And congratulations if you’ve read this far. I probably would’ve gone ‘I ain’t reading allat’ and scrolled

[ourflagmeansgayrights]

obviously tho the narrative point of the garlic soup B-plot in 2x7 is to both parallel and contrast the gentlebeard A-plot up until the point where both storylines intersect. jim and olu successfully and maturely navigating a shift in their relationship(s) because they communicate their emotional needs openly vs ed and stede breaking up Again because they’re too busy running from their own insecurities to actually sit down and be vulnerable with each other. jim knows olu is down bad for zheng and sets up a meeting so the two of them can work it out but also they make it very clear that they’re a package deal with olu, something olu has also expressed, and zheng decides she’s cool with this and they all agree to give this new and unclear relationship dynamic a go and see how it plays out. meanwhile stede is getting attention in a way that his trauma and insecurities are going absolutely crazy for, and ed can’t imagine stede choosing him over piracy so he breaks up with stede before stede can break up with him. this is all very straightforward which i think is why it’s also so fucking hilarious

tfw ur on ur first date with ur newly-expanded polycule and everything’s been relatively low on drama but ur boss is the main character and he has to get his Main Storyline juice all over your shit. you’re navigating the complicated emotional landscape of adult interpersonal relationships with a surprising amount of maturity until the lead character shows up and you realize the reason things were going so well for you is bc they were going very badly for him and your good day has been supporting B-plot to his ongoing shitshow. ur literally just minding your business when suddenly you are accosted by the very specific experience of Stede Bonnet Is The Protagonist And He Is About To Make This Your Problem (many such cases)

[rockybloo]

Finally figured out Nova's hairstyle. It's a whole lot easier and fun for me to draw now.

I wanted her hair to better set her apart from Nana and Sweetheart since she is part of the main trio of leading ladies I got and I like to make the girls as different as possible so they have individual charm.

I honestly didn't change her old hairstyle much save for me just making her bangs more messy and making her hair frame her face because it's a hairstyle thing I really like which was super common in old school anime (which is what Nova and Pluto's designs are meant to play off of). I also just sniped the hair that used to go over her shoulders bc it was just needlessly busy (and Nana already has that going on).

Truth be told, her new hair now is just the same hairstyle she had WAAY back in the early days of when I first started drawing her.

I also gave Nova some slight eye baggage because it helps to make her noticeably older in appearance so people are more aware she's actually an adult.

[medievalandfantasymelee]

THE HOT MEDIEVAL & FANTASY MEN MELEE

FIRST ROUND: 26th Tilt

King Caspian X, BBC’s Prince Caspian and the Voyage of the Dawn Treader (1989)

VS.

Will Scarlett, The Adventures of Robin Hood (1938)

Propaganda

King Caspian X, BBC’s Prince Caspian and the Voyage of the Dawn Treader (1989)

Portrayed by: Samuel West

Defeated Opponents:

- Edward Seymour, Earl of Herford [Claude Rains], The Prince & the Pauper (1937)

“Seeing the other Prince Caspian in the list of entrants reminded me of my extremely justified childhood crush on Samuel West, lean and golden and gorgeous, as Prince Caspian. Rewatching the series as an adult, what struck me most about his performance was the way in which he combines boyish impulsivity and enthusiasm with genuine gravitas.”

Will Scarlett, The Adventures of Robin Hood (1938)

Portrayed by: Patrick Knowles

Defeated Opponents:

- Syrio Forel [Miltos Yerolemou], Game of Thrones (2011-2019)

“Will Scarlett: red Gucci boots. a little lute that he likes to strum. does absolutely nothing relevant to the plot and I think punches a guy, MAYBE once? is otherwise functionally useless. nonviolent king of the twinks. clearly the best character in robin hood (1938)”

Additional Propaganda Under the Cut

Additional Propaganda

For King Caspian X:

A Tale of Two Caspians: Interview with Samuel West and Ben Barnes

For Will Scarlett:

“Will Scarlett, gorgeous, useless vision in red that you are. Truly the template for the useless vibing Merry Man who does nothing but chill and sing little songs.”

reasons to vote for will scarlett:

he's useless. he does 0 things that contribute to the story beyond vibes. he is the icon for all of us who would drop into a swashbuckler adventure story and then do nothing besides look fantastic and fuck the hot male lead.

resources are limited and yet for some reason robin hood keeps around a man with 0 backstory, no fighting skills, who wears bright red when they're trying to sneak up on people and reacts to robin actually trying to save lives by looking like this:

3. he plays the lute. he sings little songs when robin is getting his ass kicked. again, deeply relatable and who we all want to be

4. he is visually linked by wearing scarlet with robin's other main love interest, maid marian, who wears red at the pivotal moment she falls in love with robin hood (will scarlett, already happily esconsed in permanent fuckbuddy status, wears it continually)

this tournament is full of manly men, heroic men, good and true men. but if we're getting truly hot we need to include some Useless Bastards, and peregrine took can not hold down this important coalition alone.

[shadysadie]

I’m still not over that final fight

I love children’s media, I always have and always will. Pretty much all I watch or read is aimed for children or young adults, I just think it’s more fun, more hopeful, and honestly more palatable for my neurodivergent brain. 

But now that I am coming up on 30, I so rarely see characters that represent me as main characters anymore.

I love the protagonists as the kid I used to be, but I have just had to accept any character that represents me will be the mentor that will at best stand aside to let the kid characters flourish, and at worst die to be the inspiration for the kids to keep fighting. Pre-Owl House the only show I could watch with my kids where the mentor remained an active character was The Sarah Jane Adventures, but that had to get canceled because the lead actress actually did die. (RIP Lis Sladen, you absolute champion)

Then we get Eda Motherfucking Clawthorne

The Owl Lady

Iconic chronically ill queen.

Con-artist

Garbage thief

Public enemy number 1

Drinking her morning alcohol from her Thirty and Flirty mug

Giving no fucks about what society thinks of her

She plays the role of a mentor. She sees this lost, lonely kid and takes her in; teaches her, protects her, grows to love her as her own, but that is not the only role she plays. Her life is shaped by Luz and King, but it doesn’t revolve around them. She still has her own stuff going on.

 From reconciling with her mom and sister to joining the BATTs and CATTs and her relationship with Raine, she is just as much of a main character as Luz and even when they are doing different things, Eda’s character growth is given just as much weight as Luz’s.

Even when we don’t see her throughout most of season 3, Luz’s love for her remains one of the driving forces of the story. And when we do see her she hasn’t been sitting idle, she’s still planning, she’s still moving forward, doing her best to save her home.

Then we get the final showdown which is traditionally just between the big bad and the young protagonist, occasionally a team of friends depending on the dynamics of the show, but this fight usually NEVER includes the mentor figure. But in the Owl House, you bet your ass Eda is going to be included. 

Not only is she in the final battle, but she continues to play the role of the mentor, covering Luz’s back, guiding her hand, giving advice and encouragement. And they are having a blast! Both of them have the biggest smiles on their faces because they are just so happy to be alive and together.

Even after they get to the Heart and Luz has to face Belos one-on-one to pull him off, Eda, Raine, and King are there protecting her. They are in this together through and through. Because Eda is just as much of the main character as Luz. This is their story. And as promised in episode one, they stuck together.

[darkstarofchaos]

Having seen some frankly irritating opinions from both sides of the aisle, I think some of y'all need to chill about the way the Decepticons were handled in EarthSpark.

Decepticon fans are allowed to be upset that the faction's depth and potential for development was tossed aside in favor of "Decepticons are just evil".

However, depth and potential doesn't mean the Decepticons have to be buddy-buddy with the Autobots. Depth is amoral, you can be a villain who resists "redemption" and still be a well-rounded character.

My issues with S2 vs S1 are as follows:

The lack of good explanation for why the sides are fighting again. I am not upset that the Cons are villains again. They have no reason to like or trust any human or Autobot, and gratitude for having your life saved only goes so far. My issue is that S2 literally opens by saying the Cons started the fight again just because that's what Cons do. Obviously the story is from the perspective of the main cast, and there are hints that they could be intentionally unreliable narrators (Starscream refers to them as oppressors, Breakdown challenges Bumblebee about giving up on Cybertron), but we aren't given enough time with the Cons to draw a solid conclusion about the intentions here.

The way the heroes treat Spitfire, i.e. a literal newborn. She was 100% in the right when she said that she didn't know the moral rules she was being expected to follow. But because she wasn't born with morals and an understanding of mortality preinstalled, the heroes condemned her instead of trying to de-escalate and take responsibility for their part in the situation (granted, Megatron was the only flight-capable adult present and he argued against de-escalation. Which tracks because he's Megatron. But someone should have pushed for a peaceful resolution).

How much depth do individual Decepticons still have? Who knows, Starscream, Shockwave, and Breakdown are the only ones with any focus. The others are only seen fighting, causing trouble for fun, or just standing around growling. Twitch - i.e. one of our main characters - literally spends an entire episode in the Con camp and we still manage to see nothing of Decepticon life when they're just hanging out. And yes, I know that the more characters you have in a scene, the harder it is to show their personalities. You can still show them playing cards or arm-wrestling or something. Anything to show that they're actually people and not just a hive mind that exists to fight.

Starscream. Specifically the last 20 minutes of the S2 finale, because everything else in his characterization fit S1 until that point. He literally calls the Autobots oppressors, so of course he's going to fight them. He wants Aftermath kept out of the way (that's a child, so that's perfectly reasonable) and he's frankly patient with Twitch-as-Spitfire, in spite of Skywarp's incredulity that he lets her "get away" with causing trouble (again, that is a child. Patience is the correct response). He even seems to like Spitfire after meeting the real her. The only issue I had with Starscream leading up to the second half of the finale was that his motivations didn't seem to be much deeper than "I want power" (I could be misremembering that point - there may have been an "Earth is going to be our home, let's make it better to live on" when he and Shockwave discussed Cybertron). And then the last 20 minutes happened and I can't see any logical extrapolation from S1 to that. It was just a generic "Starscream goes mad with power", and it came completely out of left field. Not even any remorse about what he "needed" to do or any attempt to justify himself, it was just, "Yeah, I'm worse than the people I called out for being oppressors, isn't it great?"

If there is some big plot twist where it turns out the heroes were unreliable narrators all along, some of my issues will actually be fixed. However, I find that extremely unlikely, for one major reason: all of the non-Decepticon characters who disagree with the heroes are either villains or they "come around". The Quintessons felt betrayed by Quintus? Nah, Quintus was a great guy, you can tell because he tortured a kid for wishing she had never been chosen by him. Prowl doesn't like the Autobots' reliance on children? Silly Prowl, those kids are special, we want them to fight. The narrative never, at any point, entertains the idea that those dissenting voices might have a point. Which means we're probably meant to take the heroes at face value on most, if not all things.

TL;DR: the Decepticons being villains makes perfect sense, even with the context of S1; it's the heroes acting like they're only fighting for power after we had several episodes about second chances and not all Decepticons being the same that makes it feel like a cop-out. And Decepticon fans are allowed to be upset that some of their favorite characters had interesting stuff going on only to be functionally relegated to Voiceless Grunt Number 3 (and yes, several Autobots have also been relegated to Voiceless Grunts. If one of your favorite characters has fallen victim to this affliction, regardless of faction, you have my sympathies).

[honeii-puff]

ALRIGHT SIX OF CROWS AU 2: ELECTRIC BOOGALOO

This is a modern au, where they're all adults and alive thank you for asking.

Wylan is freshly graduated from college with his theatre degree, and in an attempt to land a side role in a musical, gets the role of the female main character's love interest. Except he's gay and is slowly falling for the guy who did get the role he was looking for.

Jesper has been around the theatre circuit for a while, and after getting off a west end production of Hamilton playing John Laurence, got casted into a new production directed by a friend of his with a cute male lead.

Inej didn't think her career in dance would bring her to west end theatre, but after doing an audition for a show just for kicks (and to stop her friend from bugging her about it), she gets casted as the female lead and has to keep adverting her gaze from the director.

After Kaz broke his leg while playing JD in a west end production of Heathers, he distanced himself from the spotlight and used his dual major of business and theatre to use, and reminding himself to not get close to the actors due to what happened last time.

Nina bugged the director to get her friend a role in the production after she got casted as the female lead's best friend, though she spends more time flirting with the costume designer that was apart of the rival drama department at her college than actually rehearsing.

After getting severely blackmailed by the director, Matthias agreed to make the costumes for the production, all while trying to ignore the constant flirting attempts from his theatrical rival.

GIVE ME THOUGHTS

GIVE ME OPINIONS

SHARE THEM

[obsessivestar]

'What If It's All A RomCom?' - a Ted Nivison x Reader.

!! This is Chapter 3! Chapter 1 and Chapter 2 can be found here! If you'd like to be here for the next part, ask to be added to my taglist! It'd be my pleasure ♡ !!

{{-Story Description: You're a youtuber with a fairly decent following deciding to help your good friend Tanner with a minor film project, with you set as the leading lady. When the actor for the male lead is a no show, Ted takes up the role himself. One problem: This short film's a Rom Com, and you just met the guy.-}}

//18+, Def gonna be some smut. Reader is implied to be afab, under 5'5 and has specifically named friends, all who have no real connection to Ted.

This story will be in multiple chapters. Also gonna post this on Wattpad and Ao3 (when I figure them out LMAO) under the same username: ObsessiveStarla. Hope you enjoy :^)\\

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@k-k0129

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Word count: 3.5k

Chapter 3: My Eyes Are Up Here

The first day of shooting the film finally came and went. We had spent most of that afternoon figuring out what every character's wardrobe would be like and making sure everything on set looked good on camera. If any furniture needed to be moved, we moved it. Paintings were taken down or added, blinds were closed or left open, overrall it felt like the first day was about preperation. While I had thought we'd get at least some filming done on the first day, it actually worked out well. It gave Ted an entire day to go over the script with Tanner, and Joe the entire day to play the role of my father, demanding I stay away from bad boy Ted. I mean that sarcastically. Mostly sarcastically.

The plot of the film is almost similar to our real lives: We're supposed to be a bunch of adults out of college trying to hold on to our youth while spending their last summer together at some...summer house. There's a few extras that are meant to be playing our friends, but the main focus is on the relationship of Ted and I; our characters, I mean. At the end of the first day, everyone part of the film crew leave to sleep at their own accommodations except 5 of us. Ted, Myself, Tanner, Joe and another member of the editing team, though I don't learn his name tonight as he spends the entirety of it in his assigned bedroom. Joe had offered to get me a separate Airbnb when he realized I was the only one staying here that didn't identify as a guy, but I'm not uncomfortable with these arrangements. I have a lock for my assigned bedroom if need be, but I have no reason to distrust anyone else that will be spending the next 3 weeks living here.

The first night passes with no problems from anybody, except from Ted. He started knocking on my wall around 12am. Took a good couple minutes and a quick Google search to realize the fuckass was knocking 'cunt' in Morse code. He stopped shortly after I messaged him a picture of my middle finger being held up at the same wall.

The next morning i'm involved in a few scenes with some of the extras first so I can get a real feel for being on camera in this light, which also gives Ted time to read over the script in another room. In the film, my name is supposed to be Kara, and he's Mason. Tanner picked simple names. Ted looks like he could be named 'Mason'. The scenes go by fairly quickly, doing the necessary repeats to get multiple takes and angles, standard procedure when filming. I find myself to be quite a natural at this sort of thing. Other than the occasional stammer, I'm able to speak my lines and act the part with little to no difficulty. No bloopers just yet.

Next thing I know, morning turns into noon and we're having to move outside to take advantage of the last bit of full sunshine we'll have for the day, including Ted, who will finally be joining me in front of the camera. Like Ted had explained yesterday, we'd been filming a lot of the scenes out of order, this one included. At this point in the story, several days have passed, and our characters have already shared their first kiss, so our chemistry needs to be on point to make it believable. We need to act like there are some real, lingering feelings for one another while keeping it subtle. It was actually challenges like this that made me agree to take the leading lady role. I could've easily been one of the extras and only have a page or two to read off of, but I wanted to explore true acting, not just pretending.

I can't say I'm inherently a romantic. I'm certainly intrigued by how romance in film was handled decade's ago compared to now and I'd absolutely invest myself into a romantic comedy of the 90's or 2000's if one was turned on in front of me, but I didn't sign up for this to play pretend with a handsome guy. I want to explore the trials and tribulations of this cheesy kind of storytelling I'm a sucker for. I want to see if I'm capable of bringing chemistry into one scene, then slipping it into my pocket for the next as if it were never out there.

My thoughts are cut by Tanner and Ted meeting me and the rest of the crew outside, with the script still in Ted's hand. He's still in the white t-shirt they fitted him with yesterday, changing his slacks into some dark blue jeans. He looked pretty good in jeans.

"Okay, so we wanna get some establishing shots.." Tanner explained to us, Ted moving to come stand beside me. "We're gonna get some of the extras to toss around a football and sort of...run around, get some shots of them playing. You two are gonna go stand over by that post and just...talk..." He pauses on that last word, as if to really emphasize it. "Just talk?" Ted repeats, raising both of his brows with a smile. "I don't like the way you hesitated there, my good man."

"No, I mean--"

"I feel like you're trying to imply something, good sir."

"Yeah, Tanner. He can talk to the 'pretty lady'." I pitch in with a knowing smirk, getting a look from Ted. "We won't need an intimacy coach just yet."

"No, I get it.." Tanner chuckles slightly. "What I was trying to say is now might be a good time to talk about what your 'tell' is going to be, if you can't think of anything to talk about."

I furrow my brows in confusion, silently looking to Ted for an idea of what that is. He looks equally confused. "Our 'tell'?" I ask.

"Yeah, for when you have to kiss." Tanner replies, pointing at Ted and I. "We can't just count down from three and shout at you. It has to feel natural, so if you have a tell, a non-verbal way of signaling that one of you is going in for it, it makes it...realistic and saves up some time."

I suppose the way Tanner explained it make sense. It makes me think back on a moment in Stranger Things. There's a scene at the end of Season 2 where everyone's dancing, and you can just barely see Finn Wolfhard's mouth move before he goes in for a kiss. He had mouthed 'I'm coming in' or something like that to Millie and it's noticable in the final shot they went with. Tanner wanting to avoid that is completely valid.

"OK. No problem." Ted was the first to agree with a casual shrug, turning to look at me. I give a quiet little nod in return. "Where should we go stand?"

"Just over there would be perfect." Tanner pointed over by the large empty flagpole in the distance, a bit farther away from the rest of the extras. "I'll just be a little more to the left with the film crew, I'll give you a. O.K. signal just before we start filming so you know when to start and I'll shout 'cut' when we're done."

"Sounds good to me. Let's go." Ted beckoned me to follow, heading towards the flagpole.

I'm walking somewhat behind Ted, blushing a little to myself as I take in just how much taller he is than me. He's definitely at least a foot taller, maybe more. I'm only noticing it now. I wonder how tall he is?

"It's 6."

I stop walking for about a second, almost wondering if Ted had somehow read my mind. "What?"

"It's 6 kisses. I counted."

"O-Oh." I giggle a little to myself, crossing my arms over each other to rub them with my hands. "You counted them? Did you even read the script?"

"Better than you did! How do you over count kissing?"

"I counted 7!"

"You added one in, you fuckhead."

"Why the fuck would I add one in? What, you think I was enticing you with an extra kiss, asshole?!" I move up a bit to stand beside him as we walk, just so I can playfully nudge his arm. "I counted 7!"

"You fucking wish, princess."

"Ooghh, you fucking wiiiish!..." I start to mock Ted's strong voice again. "You're projecting. Maybe you under-counted."

"How about you under-count how cute you think you are, huh?" Ted snickered to himself, nudging me back a little harder. "We're supposed to want to smooch it up more once we get to this pole, I need to be able to stay in character."

"That sounds like a you problem. I can stay in character, even with your headass."

"I am going to stick you up on that fucking flagpole, princess. One more."

"Stick--" I pause and close my mouth, resisting the urge to burst out laughing. "Stick deez nuts down your throat."

Ted and I erupt into laughter, almost getting a little hysterical. I leaned forward and hugged my stomach while Ted flung his head back. I'm sure at least some of the others could hear us, our laughter was practically echoing out. We knew we had to come down from our laughing fit when we reached the flagpole, letting out a few more cackles and giggles. I lean back against the large flagpole, it's wide enough for me to push all my weight on it without shifting one way or another. From here, we can see that Tanner was still talking to the film crew as they mess with their large cameras. I'm having to squint and raise my hand up to cover them from the sun's bright, harsh rays, though I smile to myself. I'm glad I agreed to help with this.

"How much longer, do you think?" I ask Ted, watching as Tanner moved over to a different cameraman. Before Ted can answer me, I see Tanner turn to us and raise his arm up high. I can just barely make out the O.K. symbol he's doing with his hand. Next thing I know, the sun's rays are no longer over me. Did some clouds move over it, or...?

I turn my body, only to stiffen it up against the flagpole, almost like I'm trying to push my body into it. Ted is now completely towering over me, only being held up by his forearm resting above my head against the pole. He's crossed his legs somewhat, so if he were to remove his arm, all of his weight would come crashing down on me. "You feelin' alright there, (Y/N)?" Ted's grinning like an absolute winner, keeping his dark brown eyes on me as he removes his round glasses and rests them atop his head. I feel like his eyes could be replaced with the red laser of a sniper, and I'd be just as tense.

"Wh-Why are you--"

"Ohhh, nothing sassy to say now, eh? Where's more deez nuts jokes, hm? Where's being an annoying little cunt?"

Before I can create a coherent response, I feel another one of his hands move closer to me. Ted rests his hand right on my forehead. "You're burnin' up, princess. Did you pack some sunscreen? Gettin' real red over here.."

Something about the way he's bullying me is making my stomach twist. His tone, his words, his smile....

I try to turn my head away to get his hand off my forehead. It works, but his hand moved down to the side of my chin, gently pushing it to the side to make me face him once more.

"My eyes are up here, baby."

I glare daggers right back at him. I can't tell if he's actually flirting or if he's just fucking with me 'cause of yesterday. Both are plausible.

"Y'know this isn't helping your case." I collect my composure enough to speak plainly.

"What case?" He asks with a snicker.

"The case where you don't think I'm a pretty lady."

"I don't. Tanner said I need to act like I'm into you, so I'm acting like I'm into you."

"You're a terrible actor."

"I act for a living."

"You make YouTube videos for a living."

"Well, I'm good at pretending to like you, so.."

Ted's earthy orbs linger on me as he removes his hand from my chin. I'm not sure what I'm feeling at this moment. Is it embarrassment? Is it uncomfortable? Am I...intrigued? Interested, even? The way he speaks to me, it's just...

"Sh-Shouldn't we be discussing what our tell is going to be?"

"St-St-St-Stammerin' up a storm over here.." Ted mocks my stutter, his confident grin becoming even more annoying to me.

"You're not funny.." As the words leave me, I realize I've been smiling a little at him.

"What, and you are?"

"I mean it! I--"

"Woww, you wake up on the wrong side of the bed, princess? All that knockin' bothered you?"

"I'm gonna knock you into this fucking pole if you don't shush. I meant about the tell." A chuckle escapes me. "He's gonna want to know what we've come up with. Any ideas?"

Ted let's out a gentle sigh, finally pulling back to stand beside me against the pole instead. I feel like I can breathe properly again. "It's gotta be subtle, yeah?" Ted asks, crossing his arms. "I believe the term Tanner used was 'non-verbal', but yes." I cackle a little. Tanner has a certain way of speaking that's rather amusing. He's one of those friends that are naturally funny, whether he's intending to be or not. "Something that, if picked up on camera, would make sense in the moment.."

"Like a wink?" Ted asks. I turn my head to him, watching as he gives the most non-subtle wink I'd ever seen a man give me. A chuckle leaves me. "More subtle...like..." Thoughts about how the kissing scenes are shot wander through my mind, where the camera may be at any given moment, whether or not there will be a close up. It needs to be as non-verbal as possible; the most subtle way a person can signal to another that they want to kiss them.

"...Like...a quick look at the lips."

"Like a quick little one-two?" Ted asks, moving his eyes from my lips to my eyes to give me a physical demonstration.

"Yeah. I'm sure people do that when they're about to kiss someone."

"You're 'sure'?" Ted's smile drops, his change in expression suggesting he's nervous. "Oh man, don't tell me I'm about to be your first kiss.."

"Oh fuck you! I've had my first kiss! I'm in my 20's!" I laugh at him, watching as he let's out a sigh of relief. "I've had several kisses with several other boys, thanks!"

"Wowww, okay, first of all, kissin' the bro's is different." Ted points his finger at me, trying to appear serious with his lips tucked in a bit. "Second of all, boys? I'll have you know you'll be kissing a MAN, (Y/N). A fully grown 26 year old man!"

"What happened to the 'man' that was supposed to put me up on the flagpole, hm?"

"I basically already did, and you turned into a tomato."

"My feet didn't even leave the ground."

"Were you expecting me to pick you up? Cause I can do that!"

"Oh please, looks like the heaviest thing you ever carried was a Tuba."

"Okay, fuck you, I was in theater, but I can throw a mean ball and could absolutely carry you."

"You think so?"

"Absolutely."

"Try it."

Ted raises a curious brow at me and turns his body towards me once more. For a moment, I thought I saw his eyes wander downward, but our moment is interrupted by a shout, though it's not from Tanner. Right before my eyes, like time moved way faster than I was ready for, Ted had moved around me to stand in front of me to catch a fast-moving football. His back was close to me, in fact, this was the closest he's been to me so far. Though for only a brief moment, I could feel his white shirt slightly caress the tip of my nose as the wind blew. He smelled like...pine trees.

"Dude!" Ted shouted at the extras as he threw the football back. He may not have been a jock in high school, but his form was pretty good.

His. His football form. Y'know, like, not--not his--

I think that football would've hit me if Ted hadn't reacted as fast as he did.

"Jesus..." Ted huffed before turning to me again. He noticed how tense I had gotten, reaching to touch my arm. "I'm sorry, I didn't back up into you, did I? You alright?"

"I-I'm alright.." I managed to mutter back. It was odd hearing his voice sound so concerned for me. Up until now, most if not all of our interactions had been full of sarcastic, tyrannical but overall light-hearted jabs at each other, but in this very moment, I realized we may have unintentionally developed something here. I'm not saying it's necessarily romantic, but...there's a tension building up between us. It's not just in my head, is it? Does he feel it too? Is that why he's?...

"That...works too." Tanner catches up with us, alongside the man that had thrown the football. I didn't even realize they had been approaching us.

"What, did you plan that?" Ted turns to Tanner, sounding quite frustrated with him. "That could've hit her."

"Dude, I'm so sorry, I messed up my throw..." The man next to Tanner spoke with a genuine frown. "I-I meant to throw it higher up and hit the pole, the sun blocked my view. It's my fault."

"No, I told Dan to throw it, I'm sorry." Tanner speaks up as well, his hands resting on his hips nonchalantly. "I've been shouting at you two for, like, a good minute. I thought it would've been funny if Dan hit the pole.."

Ted and I are silent. Oh fuck. How long have they been trying to get our attention? How did we not hear them? I can tell Ted still isn't satisfied with the answer. Angry wasn't a good look for him, I don't think it's a good look for anyone.

"We need to buy you a whistle.." I manage to get out a joke, smiling to show everyone that I wasn't upset. I knew Tanner hadn't meant for anyone to get hurt. He probably trusted this 'Dan' to make the shot. Tanner wouldn't hurt a fly. He /would/ hurt a spider, though. He hates those things. "Yeah. Clearly." Tanner chuckles slightly, slipping his hands into his shorts pockets. "I'm really sorry."

"I'm okay, Tanner. Teddy's got me." I move away from the flagpole to place my arm on Ted's shoulder, leaning against it somewhat. I think my attempts at showing him I was OK finally worked, watching as he looks down at me with a friendly scoff. "I should've let it smack you in your stupid face." He remarks, finally bringing some of the tension from that altercation down. "Maybe, but at least I believe you now." I smile at Ted, moving my hand off his shoulder. Dan apologizes one last time before moving to rejoin the extras. Tanner let's us know that we'll be moving back inside to check on the shots before returning to the cameramen to help pack up. Ted and I start walking back to the house, though he pauses for a moment.

"What do you mean you 'believe me now'?" He asks, furrowing his brows while smiling. "Believe what?"

I give him a cutsey smile and reply simply.

"That you could carry me."

I walk a bit ahead of him, feeling the weight of my cheeks from how wide I'm smiling to myself. I hear a quiet scoff from Ted, though the rest of the walk is quiet.

After a few minutes of packing up and walking, we all return inside to look over the footage and set up for other scenes the extras will be filming. Now is the time we let Tanner know that we've figured out what our 'tell' is going to be. I look over at Joseph in the meantime, who's across the living room helping an extra with adjusting their outfit. As Ted explains the idea, Joe shoots me a look, furrowing his brows like I had just disobeyed a direct order. I return the look with a shrug. He's just going to have to deal with it. Tanner absolutely loved the idea, said it would add 'real intimacy' to a scene if he caught it on camera.

I suppose that's it, then. If I'm ever going in for a kiss, I'll look at Ted's lips to let him know.

__________________________________

|| Chapter 1 || Chapter 2 || Chapter 4 || Chapter 5 || Chapter 6 (smut) || Chapter 7 || Chapter 8 || Chapter 9 || Chapter 10 (smut) || Chapter 11 || Chapter 12 || Chapter 13 || Chapter 14 (smut) || Chapter 15 ||

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All That Glitters is Not Feminism - An Analysis of LO's Brand of "Feminism" and What Remains of its Fanbase (A Prologue)

So I referenced a certain article in a recent reblog/ask response and I just need to talk about it because what the actual fuck-

This has to have been written by either a bot or a hater who's reached peak god tier level at playing the long con sarcasm game because NOTHING about this feels sincere or even factual. Much of it almost has to be read in a mocking tone for it to make any real sense.

It says "Lore Olympus" (literally in quotations) in just about every single paragraph over and over again and every single talking point revolves EXCLUSIVELY around Persephone, which I suppose comes as no surprise considering that seems to be all the comic - and its fanbase - cares about at this point.

I really love (/s) how Persephone's "evolution" is being naive and then 'blossoming' into an independent woman who relies entirely on the rich man who groomed her to solve all her problems.

Also all she's done since becoming Queen of the Underworld is abuse lower class people. That's the stuff feminist dreams are made of <3

While we're talking about the main leads, "poster child" is definitely a word for Hades, I think a more appropriate term would be "literal child". And boy howdy, 'god of consent' sure is a title to give the guy who ripped out a lower class satyr's eyeball and beat him half to death.

This man owns slaves, btw. And both he and his "powerful wife" are equally horrible to lower class people, especially women.

This is hands-down the funniest section of the article and we're only three bullet points in.

Thetis and Persephone have never even so much as spoken one word to each other outside of the courtroom that Thetis technically put her in after plotting against her for an entire season.

Eros is a man. Nothing wrong with that but it comes with the unintentional icky hilarity of implying that because Eros is the gay best friend, that means he's a woman.

They literally don't read this fucking comic-

Everyone always relies on this weird talking point of Demeter not being able to "let Persephone go"... y'all, she just didn't want Persephone to outright move to Olympus, she wanted her to commute. That was it! That was literally the only problem! She wasn't preventing Persephone from pursuing a higher education or telling her she wasn't allowed to work, she literally fucking encouraged it! And with the added later context of Persephone killing a bunch of mortals - and, ironically, the fact that Persephone was assaulted/put in harm's way by TWO SEPARATE MEN in the first two days of her time in Olympus - yeah, I don't blame Demeter for not wanting her daughter to move cold turkey actually LOL

Also hilarious that they claim Rachel has turned "tradition" into "innovation" when the only thing she's managed to do is set back modern feminism in her young adult readers by 80 years and re-establish misogynist brainwashing in her adult ones. Rachel, your fanbase was literally shipping a victim of abuse with her abuser just a few days ago.

oh boy this is uh

this is some cult shit ngl

and the "rewriting the script of Greek mythology" part is VERY concerning knowing what we know about Lore Olympus and who it was written by. This is literally cultural appropriation, full stop, and it exists because Lore Olympus - and works like it, made by people like Rachel - exists.

I can't even commit to the original theory that this was written by a bot because it all feels very pointed and intenetional. This is being written by someone who, at the very least, REALLY sucks at media analysis and writing, because the entire article is just "Lore Olympus, buzzword, Lore Olympus, buzzword, buzzword, Lore Olympus", it's like a white knight incantation for guilty virtue signallers who have zero clue what they're talking about. And at worst, yes, it's appropriation from someone who doesn't mind taking a culture's stories and myths and promoting their erasure by people outside of the culture like Rachel.

And that's it, that's literally the article lmao

*EDIT: There was a section here before addressing the writer of the article from a very opinionated POV that, while isn't unusual for what I do here, did feel necessary to remove after I was contacted by the article writer who addressed the flaws in their original article and is now seeking to correct them with revisions/an article rewrite. So I felt it only fair as a compromise to at least remove that section as it really doesn't have a whole lot to do with this post as a whole and can be removed without entirely ruining the flow of this analysis. If/when that article is rewritten, I'll be revisiting this post and my overall analysis !

And honestly, it's all really telling, because this does accurately reflect the state of the LO fanbase.

Not only do many of the people who defend this comic like it's their job not pick up on the blatant misogynist tones that are going on in its narrative (I can't even call them "undertones" anymore, they're no longer that subtle) but whether or not they even read the comic at all is up for debate with how much stuff they tend to get wrong in their own arguments and justifications. And this is something that's VERY regularly seen in the fanbase discussions, readers will constantly be unaware of things that happened because they skimmed through it at lightning speed just to see if Hades and Persephone kiss and so they can get the top comment on Webtoons so they can be "ahead of the fanbase". It's no wonder that Rachel has gotten used to getting away with retconning things because her fanbase didn't even read what she established the first time.

Rachel's fanbase was literally defending the romance ship of an abuser and his victim on the newest FP episode preview. When that FP episode came out two nights ago and Hera said, point blank, that he didn't love her but abused her, I could only think of that portion of the fanbase who was very audibly simping over Kronos in the IG comment section. Are they actually having their moment of shameful clarity now? Or are they just gonna move the goalposts and pretend that didn't happen?

I don't want to say anything bad about Shelby here because she really seems like she's fighting for her life on this site that she's trying to get off the ground, but a lot of her other articles also come across as very one-note while being peppered with buzzwords that make it seem like what she's talking about is "progressive" when it really isn't. Case in point, Lessons in Chemistry has been commonly criticized for not actually appealing to the demographic that its Mary Sue-ish main character is supposed to represent - women in STEM career fields.

I've said it before, and I'll say it again: Lore Olympus is not 'feminism', it's white feminism that is designed to appeal to predominantly heterocis white women who think the solution to misogyny is to willingly submit to it and accept the status quo - that it's "empowering" if the woman is smiling and having all her needs paid for by a man. Sure, I can accept that different women will be looking for different relationship dynamics, some women genuinely are happy being in a relationship where they support their husbands first and foremost. But can that truly be called feminism? Or is the real feminism the choices we make along the way that we should be given the freedom to make?

It says a lot about the folks who tend to regularly prop up LO on a pedestal like this as some "revolution in feminism" despite the contrary after spending more than just 30 seconds skimming the attention-grabbing art, and Shelby is just one of many. She's not the worst of the bunch, though.

That goes to someone else who I want to give proper light to in their own essay. Someone who definitely earned a good stern talking-to this past week and has, thankfully, had consequences dished out to her for her horrible actions towards queer POC writers.

If you know, you know. If you don't, buckle up.