#and yeah...this is very Klaus

[qdkdraws]

Wish 2023: I uniquely combine 2D and 3D techniques! Klaus 2019: ahem

[lizasweetling]

Boris, thank you for demonstrating, you've reminded me of the base rule of untangling intrigue.

Specifically: Ignore what Didn't Happen. Avoided outcomes can feel and even be very important but what is done is the lever by which any absence is accomplished- and the place to look for who was in reach.

So. What actually happened, in no particular order:

Agatha was sealed into mechanicsburg, which was itself sealed away

Gil's credibility was utterly wrecked, and he was unable to function normally much less manage the empire with a handicap

the stable head of the empire fell off (decapitation metaphor here)

the actual state of play remains opaque re: who is influinced

..... every one of these points seems to have an obvious gain to Lucrezia, and they're certainly the main points politically

what does Lu care if Klaus uses the opportunity to strongly influince Gil? if Gil is still publicly declared compromised it doesn't change anything. Even a full overwrite like she tried to do to Agatha wouldn't make significant difference: the empire would still beleive he was wasped and not trust him.

And the Lu's (with Zola as cuckoo) agreed that Agatha was a huge problem and sealing her seems an obvious choice if it's availiable. And Mechanicsburg clearly has some kind of mojo, or just some facet of how it is, that makes it hugely inconvenient for them, so that's also not a minus.

and if Lu is confident in her time manipulation abilities (and she would be) then she probably figures the time stop is a safe for things just for her. So She by chucking Klaus in there, she can 'kill' the head of the empire and still have her dear Klaus, because she's a possessive freak that way.

and all of this nonsense and in fact any freedom she allowed Klaus only works as a smokescreen to make his allies more confused on what the fuck she is doing.

So Yeah. Registering an official bet:

That was Lu's Plan.

[artifeast]

Holzmann (and a Margot I thought I'd throw in) catified! Thanks for the ask!

My designs aren't really specific breeds per se, but Holzmann is certainly inspired by Oriental Shorthairs. They just feel very him

[cyellolemon]

ocs: Klaus, Myel and Stellan, apparently they're boyfriends..

[catastrophicdisasters]

alright i need to ramble abt TUA s4 somewhere that isn't at someone who doesn't care lmao

putting it under a see more bc a lot of it is based on stuff that's been said in the recent cast interviews and could definitely be considered spoilers

tl;dr: a theory post about who, if anyone, i think is going to die this season (and why, ranked by how narratively coherent i think their death would be, and how it would - or wouldn't - round off their character arc)

emphasis on the "i think", as obviously this is my opinion on what i think would make a satisfying narrative

so, in one of the interviews from today, Robert is asked how he feels about the "kind of sacrifice" at the end of the story, and his response is "yeah there's a kind of death that happens" and to then wax philosophical about physical death vs the kind of death that happens when the memory or the person is gone, and how there's a "kind of passing that happens"

and like, most people are convinced that someone's going to die by the end of the season, myself included, but i've just had another idea Robert really talked AROUND the word death, saying "a kind of death" and "a passing", and with him talking about that 'do you die when you physically die or when nobody alive can remember you' style thing, I'm thinking that maybe someone gets themselves erased from the timelines

so they still EXIST, as theyre not physically dead, but because nobody can remember them, it's still a kind of death (exactly like Robert said)

whether or not that person retains their memories is kind of irrelevant, though them keeping them does make for a more tragically satisfying arc - they gave up their existence to keep their family safe/save the world, and yet none of them will ever look at them with recognition or love again, and will never truly know just what they did for them. i think that could be done really well, as there's a special kind of beauty in a character who is happy to accept their own end in order to protect those they love (also, if i wanted to get super analytical of that, i could draw parallels between that idea and the trailer's choice of song - The End; the opening song of The Black Parade album, the funeral song that kicks off the narrative album with themes such as the life that comes after death-)

~

now, with that said, i want to go off about who my top choices for death/erasure actually are:

well, first i want to say who i don't think it's going to be, and that's Diego and Lila. and that is because they've set up this little family arc for them via Lila's pregnancy, and right from ep1 it was established that Diego was the most attached to Grace - his mother figure - highlighting the importance of the parental figure in his life. both of them have a strong sense of detachment and independence / not needing anyone else, while actually longing to be part of something, to have a family unit. so with the two of them now being married and having a child together, especially given what Ritu said in an article - that "they are not really communicating and are snapping at each other" - it sets up the perfect arc for them to find their place, together, and forging the family dynamic they both so clearly want.

I could talk more about them (i.e, Diego having multiple instances that make reference to his desire to prove himself to his father, vs Lila collapsing post s2 because she just wanted to know if The Handler - if her mother - ever really loved her), but that's not the point of this post

so working backwards from who i think is least likely (and why, obviously):

Viktor:

- originally i had a big question mark over Viktor, bc ive always kind of struggled to pick up the threads of his arc, but even then i still don't think that death/sacrifice would be narratively satisfying for him? is it possible that he sacrifices himself to save his family? i mean… i guess? he's always been more passive and less confrontational than the others, so even if the opportunity presented itself i feel like someone else would probably beat him to the punch

- BUT, that's still not actually the reason i think it won't be him - it's because i think a more satisfying ending for him would be for him to have everything he was denied in childhood. with him coming out, they've set themselves up really nicely to push an ending for Viktor that has him finding himself, understanding himself, and finally being happy with himself. whether he ends up keeping and accepting his powers or not makes no odds as long as HE makes that choice for himself! let him be surrounded by family/people who love him for who he is, let him choose to live for himself and be happy!

Allison:

- i have a similar problem with Allison that i have with Viktor, in that i don't really know where her arc is going, at least as far as the Hargreeves are concerned. Allison's been pretty clear that her priority is her daughter, getting back to her daughter, protecting her daughter. and now she has her back. and she even has Ray back!

- i've never reeeeally been a fan of redemption through death (though there are exceptions), so the thought of her being the one to die/sacrifice herself to save the rest of the Hargreeves just… doesn't sit right with me. particularly because i'm also fairly sure i read somewhere that Emmy said that Allison is kind of "done" with the Umbrella Academy family stuff, and that she's all about being a mother again, which brings me to my next point;

- Allison dying would actually have more of an emotional impact on Claire and Ray than it would to any of the Umbrellas. and, as nice as Ray is and I'm sure Claire will be, they are not the major characters in this show. they are not the ones we have spent three seasons connecting and sympathizing with. would her death still have impact? of course! but i think that there's too much to resolve (such as the events of s3, the fact that she already feels done with them all) to make her death be tragic and satisfying, and to still wrap up everyone else's arcs and the story as a whole

- her finding a way to accept and love her Umbrella family instead of constantly trying to distance herself from them, and learning to balance the family of herself, Ray, and Claire, with her family within the Umbrellas feels like it would be more satisfying for her than sacrificing herself to save the Umbrellas / the world

- could she still end up sacrificing herself to save Ray/Claire, and that in turn leads to someone else dying? yes, absolutely! or something happens to Claire and she no longers cares about living because she can't lose her daughter again? also yes, but that feels a bit... too dark, even for tua

Klaus:

- i feel a little controversial, putting him so far down the list (he's still placed fourth out of eight, though), but the thing is - with his powers back, he is functionally immortal. at that point, the only way he's dying is if he chooses to die. which could still lead to a satisfying end!! the boy who was scared of the ghosts he saw, who became scared of dying, becoming the man who chooses to die? very tasty potential, there. contrasts very nicely with the fact that he kept bringing himself back to life without even realising

- buuuut, that would conflict with what we've heard so far about Klaus's storyline this season; Klaus becoming a scared-of-everything germaphobe, having to learn "how not to be scared of life", falling back into addiction, and learning new aspects of his powers. i don't really see how all of that would lean into a storyline of him accepting death, ya know? it's a lot to do, with not a lot of time to do it well

- i will say, though, that i do love the idea of him somehow finding Dave in the afterlife, and that being part of helping him to accept death - that he can be reunited with the love of his life (this falls apart, however, when you realise that Dave's actor isn't currently credited for any episodes on imdb. still doesn't mean that he won't be, but... makes it less likely)

Luther:

- i genuinely debated with myself about who gets third slot between Luther and Five, but ultimately decided on Luther (which i'll further explain during Five's section)

- Luther literally has no purpose outside of the Umbrella Academy. in s1, he was defined by his being the only 'true' remaining member of the Academy, and having been sent to the moon for a seemingly pointless mission (and even though we now know that he was sent there to protect Abigail - she's alive now, so that doesn't really need revisting). s2 also had him at a loose end - he was fighting simply because that's all he thought he was good at, he tried to give his relationship with Allison another go once he realised she was alive, only for it to turn out that she's married, and then he was a (frankly, terrible) spotter for Five during the paradox psychosis fiasco. s3 literally had him get kidnapped by the Sparrows without anyone really noticing, and although he did eventual fall in love and gett married to Sloane, she vanished with the resetting of the universe. Sloane, incidentally, also doesn't have her actor listed on imdb as returning for s4

- he doesn't really have a multi-season arc to finish off; in fact, the only consistent facet of his personality is his desire to protect his family and 'do the right thing', whatever that might be

- i feel like for him, a good arc to send him on would be him becoming comfortable in his gorilla-body and maturing into the confident leader that would be expected of a "Number One". but, given the way his character has evolved (or devolved) through the series so far, i don't really see them doing that

- in fact, i think it's much more likely that they kill him simply because they don't know what else to do with him. which, ya know, kind of sucks

- HOWEVER, i do think there is good potential in having the first major leader-like decision that Luther makes - free from the influence of others - being to sacrifice himself to save his family. the one time he stands up and says "no, i've made my decision, and it's time for you all to respect that" while also tying it back to his overwhelming desire to love and protect his family? oh yeah, that'd be some good shit right there

Five:

- my god please just let the old man rest

- so, i think Five is less likely to flat out die than Luther is, but i do think some kind of timeline fuckery is much more likely where Five is concerned

- considering what Adian has already said about Five's arc this season

- "He doesn’t know what his place is in the universe. When he goes on this emotional arc with Lila, for the first time, he feels there is a reason for living." - i honestly think killing him would be an incredibly shitty thing to do. having him finally, finally, find his place in the universe, after getting stuck in the apocalypse at THIRTEEN, where he finds his entire family dead, proceeds to then spend 40 years alone, trying to get back to his family, before being picked up by the Temps, turned into a killer, finally getting back to his family, only to end up stuck back in his teenage body AND having to deal with three weeks of constant apocalypses, to then kill him???? jesus christ that would SUCK. like, i'm aware i have bias because Five is one of my favourites and i think his arc has some insane narrative potential, but i cannot be the only one thinking that if they kill him after all of that it's just going to leave a bitter taste?

- THAT SAID!! that said, i do think that it's likely that he would be the one that ends up getting erased from various timelines in order to save his family

- his whole thing has been about getting back to his family to save them from the apocalypse - to have him find his ultimate purpose being to do exactly that? it makes sense!

- in erasing himself from this timeline in order to save it, his purpose also then becomes founding the Temps Commission, with the intention of preserving the new main timeline that he literally 'died' to create and protect (and considering that they technically exist outside of the timeline, who is to say this isn't all part of Commission Founder Five's master plan anyway? hell, given that the Commission resides in the year 1955, he can go play guitar with Marty McFly and bitch about the perils of time travel while he's there)

- it would also solve the awkward elephant in the room; the fact that as of s4 he looks 18 but is actually in his 60s. he can erase himself from the main timeline, putting himself back into his old man body, and retire in peace knowing he's successfully saved his family and given them a future by also saving the world

- it's so deliciously tragic

Ben:

- oh god okay here we go

- i adore Ben and don't really want him to die, but i'd be lying if i said that his death wouldn't be incredibly satisfying, in the way only a true tragedy can be

- we all know this season is going to be focused on him and how he is going to be the one to cause the apocalypse this time, so it ending with him would make sense

- Blackman (the showrunner) has also said that he "wanted to come full circle with the family relationship". what is the FIRST thing we know about Ben? he's dead

- for the first two seasons, he haunts the narrative in a literal sense by being a ghost that only Klaus can see and so still sort of interacting with things, but considering we don't yet know what the Jennifer Incident is and how it actually affected the Umbrellas moving forwards, it could turn out that he has also been actually haunting the narrative - he's dead but so much has been driven by the nature of his death

- i also just really love the idea that the first thing we learn about Ben is that he's dead, and that also ends up being the last thing we learn about him

- taking it a step further, given that the Ben in the recap was definitely Sparrow Ben, it would be disgustingly, delightfully tragic for the final fate of Sparrow Ben to be the same as that of Umbrella Ben - that nothing any of them did actually mattered, because in the end, Ben was always going to die (can you tell i like a good tragedy)

- also, going far too deep into it (to the point that this isn't so much evidence that Ben is the most likely to die, but just a nice little tie in), parts of Ben's arc very much tie into the narrative of The Black Parade. you know, the MCR album that the song they used in the official trailer came from. The Black Parade, as an album, opens with a funeral song (just like the show opened with a funeral) and then continues to go over The Patient's life after death, the experiences from the afterlife, and even reflecting back on his life. quite fitting for Ben, in a way

- ANYWAY! Sparrow Ben also spent a good chunk of his time in s3 desperately wanting to be part of the Umbrellas, but having no idea how to go about it. the thought of him sharing the fate of Umbrella Ben and therefore becoming just like him, becoming Umbrella Ben? poetic

- there is also my sort-of half-theory, that the reason Ben is being overloaded with the Marigold is that he's actually somehow channeling both versions of Ben, so has twice the amount he should have, thereby destabilising him in some way, and one of the Bens needs to die. but, that doesn't really tie into Jennifer in any way, because that wouldn't have happened in the original/main timeline

- Ben is also the only character to have actually existed as multiple versions of himself in the two timelines - again, it is a perfect tragedy for him to die in both of them. maybe this time they save him from the Jennifer Incident, only for him to choose to sacrifice himself to save them all. ergo, it didn't matter, it didn't matter, he was always going to die

- i really like a well executed tragedy, okay? i also feel like it's one of the few satisfying ways to successfully kill off a character. still hurts like a bitch, but at least it was worth something

~

okay well, this got sufficiently away from me! kudos to you if you read the whole way through, and i do not blame you in the slightest if you skipped through lmao i also probably missed a few things, and maybe got a few things wrong so uh, whoops on that

tl;dr: probably won't die: Diego, Lila unlikely to die, but possible: Allison, Viktor wouldn't surprise me if they died: Klaus, Luther probably won't die, but might end up erased from the main timeline: Five most likely to die (and would be beautifully tragic): Ben

again again - purely my opinion!! and also what i'd like to see, based on what i personally feel can make a good narrative!

good luck for the 8th brellies <3

[citruscloudsandmoon]

Whenever I remember the scene from Klaus where a boy was playing with a toy frog while Klaus was watching from the window, I always tear up because there's this sombre happiness and underlying sadness in the old man's eyes 😢

He doesn't say anything but his silence does;

'Was made for someone who wasn't born yet but was very dear to me...'

'But it wasn't meant to be...'

'Perhaps it was fated to be yours'

[erinravenseeker]

so I just rewatched Kekkai Sensen s1 and while I’m still working through my thoughts about it I DID recognise why I fell for it so hard and fast. episode 1 is a pretty good intro, but episode 2 is tailor made specifically for me. it ticks ALL of the boxes for what I like in these sorts of ensemble supernatural organisation casts and it’s just. so good. ive rewatched the whole sequence like twenty times already everything so perfectly set up, explained, and timed, and the music slaps.

[buildoblivion]

I did quite like the klaus & allison dynamic this season but I think the fight would have landed a lot better if the two of them had exchanged more than like 10 words total in s3

[luluwquidprocrow]

like a row of captured ghosts

kit snicket

teen

2,568 words

Kit Snicket visits a house in the city.

for @asouefanworkevent's woevember day 2, the baudelaire mansion! featuring my enduring headcanon that the baudelaire mansion was previously the snicket mansion, and b+b get it when they marry lemony. i am 100% willing to admit it is Unlikely, however let us not forget kit saying “our families have always been close”, so, yknow

title from welcome home by radical face

Kit could get in if she wanted. She’d been given lockpicks expressly for the purpose, because the locks on the house were special, but she didn’t need them. She knew the statue in the back of the garden had a hairline crack in one of the hands – she didn’t remember which one, but it wasn’t as if there were many options – that, when pressure was applied, opened a brick in the patio. Under the brick was a lever. If one were to pull the lever, the little window in the hidden attic opened, roof shingles shifting out of the way, and one could wiggle themselves in, with enough effort. Her grandfather had put a number of clever little secrets in the house, and Kit had gone looking for them when she was very, very young, so she knew a decent amount of them. Few others did. 

(The lockpicks confirmed that. If they thought that was the only way someone could get into the house, Kit was not going to correct them. And there were worse things, weren’t there, than simple theft, things for which no real defense existed.) 

Night air bit at her ankles, her fingers, her neck. She wasn’t dressed nearly warm enough for November, having grabbed her blue spring jacket in her hurry, but the cold was of little concern to her. The mansion stood across the street, set back from the road, with that winding brick path up to the front doors, the maple trees scattering their leaves around the yard. It was in the heart of the city but in a place one would never know unless explicitly looked for – a turn off an erroneously marked dead end, then another, to an old avenue along a river with more trees than houses. Her grandparents had picked it on purpose. Presumably safe, but close enough. 

They had added to the windows. Neat, decorative ironwork, curled into hearts and vines. 

Kit put her hands in her pockets and crossed the street, her footsteps the only noise. 

The fence out front had been replaced as well. Kit’s grandmother had done most of the architecture, and Bernadette Snicket had favored a simplistic, practical style in her work, but the new fence matched the intricacy of the window grates. That just-too-big space in the bars a person could slide themselves through if they desired, that Kit had, years ago, when she’d – that was gone. Kit walked the length of the fence twice, considering. She couldn’t linger long. There was a light on in a downstairs window, glowing soft behind the drawn curtains. Kit could not put it past them to eventually see her. She walked down the sidewalk one more time, picking up her pace. There was no way around the fence. Climbing over it didn’t seem like an option. The points at the top of each iron bar looked sharp, glinting in a stray hit of light from the streetlamp over near Kit’s car. 

(Kit wondered how much was a choice – how much was a needed decision – how much was meant to erase. She couldn’t judge Beatrice and Bertrand for that. Not without damning herself, which Kit was not, overall, in the habit of doing.) 

Of course there was a sewer grate nearby, and of course Kit pushed it up soundlessly and slipped down inside. 

Her grandfather had three boxes – one Kit had already taken some years ago and given to Bertrand, for reasons better left unsaid. One had been given to Lemony. The third was still in the house and held a very specific map of the city. Headquarters wanted it, among other things. And if Kit came across one of those other things, she was at her liberty to take them. 

(She and Beatrice had argued, Kit remembered. The sewer was dark and icy, and Kit shivered hard, grinding her teeth together. They’d argued about those other things, and Kit had not been able to give Beatrice, or herself, a satisfactory answer. It was one of the last conversations they had, if not the last. Most likely the last, if Kit was honest. Beatrice had made it clear where she and Bertrand stood, and where Kit stood, and that it was no longer in the same place. And it never would be. 

Kit told herself over and over that she would never do it. There would always be another option, as long as Beatrice and Bertrand were alive to emphatically refuse. Right now, there was this option – Kit was going into the house. She was taking the box back. Nothing else. And the box wasn’t even going to headquarters. There were other plans for that box.) 

The box would be in the downstairs office, under a floorboard. Probably Bertrand’s office. The windows were one of the ones her grandmother had put the stained glass in, and shards of blue fell over the green floor when the sun sat just right in the sky. It was a good room for thinking, and Bertrand likely did a great deal of it there. Kit swallowed and hurried further through the sewers, past the names that didn’t matter, and started scanning the curved ceiling. If one knew where to look, there was a sloped hatch up there that led up into the passage between the house and 667 Dark Avenue. Kit would open the hatch, get inside, go into the house, and then leave the same way. And there it was. Tucked in a shadow, just waiting for her. Kit reached up for the wheel, ready to heave the door open. It was going to stick with so little use. 

The wheel turned easy under her hands. 

Kit jerked back, her whole body seizing up. Someone had been here. Someone who was not her. Someone who wasn’t just checking. Kit spun the wheel frantically and the hatch fell open. 

(She’d brought Olaf here. Her grandparents hadn’t cared who knew the location of their house, but their generation had been different, and Kit’s parents had stressed, when they could, the importance of keeping this secret. Her associates thought it was a safehouse, one they could never quite find the location of, and wrote off as another ruse. She’d driven Olaf, pointing out landmarks the whole way, because she’d thought – 

Kit was not foolish enough to think she’d get married. But Olaf was important to her, and she was foolish enough to think he’d stay important, and that when Lemony inevitably married Beatrice and they took the house, Olaf would be there too.

They crept in through the fence. Olaf chased her around the maple trees. Kit took him into the house through the font doors and showed him what her grandparents built. And he understood what the Snicket mansion meant, in the way he had to understand what the Count’s mansion meant. Some time later, Kit realized he had not. 

Olaf’s memory was shit, except where it mattered. Except in the things she wanted him to forget. He’d remember where this house was and it was only a matter of time before he – before anyone – got their hands on the Baudelaires.)

Kit hoisted herself up into the passageway. She tugged the hatch closed behind her, then felt around in the black for the dip in the center. Her fingers kept slipping, shaking, pushing into metal that wasn’t right, nicking her nails, her heart thudding faster and faster in her chest and rising to a crash in her ears – where was it? There. She found the button and jammed her thumb into it. The metal hissed as it sealed from the inside. It wasn’t enough, Kit knew. Nothing would ever be enough now. But it would have to do. 

She ran along the passageway, keeping one hand on the wall. It came to an abrupt end, and Kit had her hand ready to pull open the trap door into the office when her mouth went dry. She swallowed, and then did it again. Once more. She let the trap door fall open and climbed into the Baudelaire mansion. 

The office was dark, as expected. Bertrand kept his desk by the windows, because of course he would. Not because Kit’s grandfather had, but because Bertrand would obviously like the view. The bookcases still lined the walls, but the books must surely be different. Kit wondered what he kept there, but there was no time to get into it. She could see the strip of light hovering under the door. It was poetry, probably. He probably kept poetry. Fairy tales he read to his children. The chair at his desk was different than the one her grandfather had there, perfect for sitting in and telling stories. She turned and faced the wall.

The floorboard was in the far left corner, at the front of the room. Kit moved slowly, quietly, barely breathing. Bertrand had covered the whole floor with a thick, heavy carpet, so at least that was in her favor. She bent down, tugging the corner of the carpet up, and lifted the single loose floorboard. 

(She always wound up doing this, she thought, in a voice that sounded stunningly like Lemony’s, wry as he ever was. Sneaking into someplace to steal something important. At least now she had experience.) 

There it was. Just as it had always been, another secret waiting for its time. The small, jeweled box with the complicated lock with the code her grandfather had taught all three of them. Kit tucked it inside her jacket and replaced the floorboard. 

It hit her like a shot, her breath catching in her throat. The sewer hatch locked only from the inside. She couldn’t go back that way. She whirled around, clutching the lump in her jacket to her chest. The best way to leave – the closest way out – that was through the library, two rooms down, through the passageway in the wall and up to the hidden attic. But that meant leaving the room. Standing in the hallway. Walking to the library, unseen. 

(She did not have experience. That voice sounded like Jacques, if Jacques had ever been so straightforward in his disappointment. She had to get out of this house before she kept thinking.)

Kit waited. Listened. She couldn’t hear anything from here in the office. She went through the map of the ground floor in her head, the foyer at the front, into the parlor, the living room to the left, the kitchen to the back, the dining room to the right – the hallway behind the kitchen, with the office, the billiard room, the library. The left wall in the library, where the hidden door was. Conceivably, it was easy. Wasn’t it? 

She turned the door handle and left the office. 

The hallway was half-lit from the living room at the end of the hall. Now she could hear the phonograph, playing a jazz record she didn’t recognize. Beatrice and Bertrand had to be in there, and it was right across from the library. Unless they were in the library. Unless they were – Kit gave herself a shake. She wouldn’t know anything until she moved. She just had to move. She just had to move. Kit just had to move. 

She couldn’t see the green floors. Beatrice and Bertrand had rugs everywhere, in elegant red and ivory. Kit tiptoed over it, hesitating. Paintings hung in groups down the hallway, flowers and little portraits and framed children’s drawings, scribbles of the garden hung with the same care as the art. They must be Violet’s. The jazz record kept going. Kit’s grandmother had liked oil paintings of flowers. She’d had a few in the hallway herself in her time. 

(Katherine, Bernadette Snicket had said. 

No, Kit insisted. How old was she then? Four? Just Kit. And her grandmother had looked pleased, like Kit had passed a test. Everything was a test and always had been, tests she’d completed perfectly, and why did it hurt? How far had Kit gone down the hall? The box sat against her ribs like another heart, heavy. Everything ached, especially her jaw, clenched shut like her life depended on it. And it did. This life around her she wasn’t a part of anymore, this family, this safety, Kit’s life existing outside of this place, everything depended on Kit, on her walking out of here alone, back to her apartment. The whole series of events spooled out in front of her as a nightmare unraveling. Was she crying? Why was she crying?)

Kit took another step, then another. The library was one foot away on the right, a mile away, mere inches, an eternity. The passthrough to the living room on her left gaped open.

Bertrand hummed a bar of the jazz record. And then – 

“What’ve you got there?”

Kit froze.

“I knew I left it somewhere in here – ha! That book I was looking for, for Violet and Klaus.”

“You really want to do the cob, don’t you?” The smile was clear in his voice, and Kit pictured Bertrand leaning forward in his chair, his hand on his chin, gazing at Beatrice and bursting with delight. 

“I absolutely do! I get to do a fake death scene and everything. How many kids books are going to give me that kind of opportunity, Bertrand?” 

They were alone. Their voices were far enough into the room that they shouldn’t see her at the doorway. They joked like she remembered, exactly like she remembered. Did they joke like that with their children? Would they have joked like that with Lemony, here, like they used to? With her? Would Olaf have – would her grandparents – wasn’t Kit supposed to be here too, not because it was hers, that wasn’t what mattered, what mattered was – 

Kit held her breath and didn’t let it out until she’d slipped into the library, until she’d rushed to the wall, until she’d nearly slammed her hand into the door hidden in the dark wallpaper, until she was safe in the narrow passageway. She wanted to run, to keep running. But they’d hear her in the wall. She took it step by step with her chest burning, traveling up two floors to the hidden attic. There was the little window in the roof, waiting for Kit to wiggle her way out. She did. The climb over the roof and down the trellis was harder, with her whole body trembling, but she made it. 

She stumbled through the garden, racing over the brick path back to the road, to the fence – she shoved her heels into the ironwork, scrambling over it, the tip of a bar slicing into her calf and her palms. She slipped on the way down the other side and her hip met the sidewalk, pain skittering through her leg and up her side. Get up. Get up, Kit. And Kit did, back to her car across the street, into the driver’s side. 

Kit took long and deep breaths. In and out, until her head was back on straight, with the plan set right in her thoughts, as it was supposed to be. Everything was as it should be. She set the box down gently on the passenger seat. She did not look at the Baudelaire mansion. She would patch herself up later, when she had time. She took another breath and put the key in the ignition. 

She had to go back home.

[alfhildr-the-word-weaver]

I watched 2x14 of the Originals tonight and when Klaus told all the assembled werewolves at Hayley's wedding that Hope was still alive after killing his own father just for finding out the very same thing a mere handful of episodes ago, it made me think of this moment in this Studio C sketch -- "she knew, so naturally, she had to be taken care of! Of course, I didn't realize I'd be revealing that secret myself just a few hours later, but at the time it seemed very important to keep her quiet." Like. I guess I get his reasoning and can sort of see why it changed. But for a guy who killed the biological father he'd been so curious about just a few days ago to keep his secret, he sure did just announce that same dang secret to a roomful of strangers. If I was his biodad hanging out on the Other Side (or wait I think maybe that's gone by now? But if it was still there) I'd be trying my darndest to slap that idiot upside the head for that.

[thatmintleaf]

Class was boring today and I've been wanting to draw Teutonic Knights Klaus for so long-

I thought it would be nice to compare him to Gilbert so, two of them

One is NOT enjoying monastic life

[rogers-attic]

OH MY GOD?!???

[lizasweetling]

this under most other circumstances 'I do get tired of being right all the time' would sound pompous but when he's been presumably pulling out his hair trying to get in contact with someone about all the strange orders coming through, it's just funny. Yeah, that was probably tiring

but more seriously, the Clanks are Klaus' personal design If I recall Correctly- no only are they immune to wasps, but they probably wouldn't have accepted an override of Boris' clearance from anyone besides Klaus (and maybe Gil. Maybe.)

they may not have a structure designed to countermand their obedience when Klaus himself if compromised. (seems like an exploitable weakness under any other situation)

Meaning a Lu of some stripe may be here, but if she is, she's making remarkably little use of the wasps, which could be explained away but I'm not confident she just isn't there.

[s-une]

I could write an essay on why delena and Damon's development is superior

[lingeringthesecond]

AK AK AK NO FLIPPIN WAYYYYYYYYYYY

LITERALLY MINE TOO

OMIGOODNESS I DIDNT KNOW YOU LIKED KLAUS

LSNFCASMFJDKSJ I LOVE THAT MOVIE SO MUCH

KLAUS 2019 | Dir. Sergio Pablos

"A true selfless act always sparks another."

[seddair]

.