#but also that this was a romance from the very beginning

[teeny-tiny-revenge]

Look, when Ed leaves with Jack it isn't Ed choosing Jack over Stede as the better partner/love interest. This is what Stede thinks is happening. Stede hasn't even entirely admitted to himself at this point that his investment in Ed is romantic, but he does treat it as a breakup, he sees Jack as a rival for Ed's attention/love, so from Stede's perspective, yes, Ed is leaving him for Jack.

Stede thinks he is in the romance novel plot and has to compete with his love interest's ex for his affections.

This is also what Jack is intending to make Stede feel.

Jack is playing a con. He is actively working towards Stede coming to the conclusion that Love Triangle Business is happening, but Jack's motivation isn't winning back Ed as a boyfriend from Stede. I don't think Jack does boyfriends. Jack does dalliances. He would probably agree with Lucius's "we don't own each other". And this would apply if Jack happened to randomly come across the Revenge and decide to fuck with Ed's new crush for kicks and giggles (which is what Anne and Mary do when in that situation!). But Jack doesn't come across the Revenge by accident. He is on a mission, given to him by Izzy. We don't know if Jack gets paid for it or if he does it because he's worried about Ed and doesn't want the Navy to get him, or some combination of both, but Jack is the only one in this equation who actually knows what is happening, and what is happening is a plan to drive a wedge between Ed and Stede to make Ed leave the Revenge so he's out of the picture when the Navy shows up.

But neither of this is what's going on from Ed's perspective. (This entire episode is a masterpiece in the "characters completely misunderstanding each other and what's going on" trope.) Ed doesn't really figure that he's been cast as the pivotal point of a love triangle. Ed isn't spending the episode trying to choose the better boyfriend candidate and then leaving with him.

Ed is busy having a personal identity crisis.

This crisis has been ongoing for a while when Jack shows up. With Izzy's pressure to pirate a certain way gone, Ed is freer to explore what Ed wants to do now and how he wants to live and who he wants to be. He is tired of the traditional pirate life, he wants to try something different. He also isn't ready to fully do a hard cut. He just figured out Stede might return his feelings during the treasure hunt. They just decided to co-captain. A lot of things are changing for Ed.

And then comes by a very old pal. Jack and Ed have history, they used to sail together, they survived their difficult youth under a cruel captain together. Jack represents a different type of pirate life than Izzy. Jack is fun. (Everyone but Stede thinks Jack is fun, and that's in no small parts because Jack is actively working towards making Stede uncomfortable but everyone else have fun and take Jack's side - this works on everyone in the crew including Ed!)

From the beginning on, Ed is struggling to make Stede and Jack get along and like each other. He's trying to somehow combine his old life and his new life because he doesn't want to choose between one of them. He wants to have the best of both worlds. He wants his old friend and his new friend/his ex and his crush to be friends and get along. He wants to keep what was fun about traditional piracy (as represented by Jack) but also move on to Stede's new brand of doing things. He wants fancy breakfasts, and then has to realise that Jack pours alcohol into his teacup. He wants to play coconut war like the old times, but has to realise Stede hates the idea. A big part of this episode, from Ed's perspective, is about trying to reconcile these two worlds and failing.

Ed's main problem, through both seasons, is that he doesn't really know who he is or who he wants to be. He struggles massively with self-worth and self image. He views himself as an unlovable monster and spends his entire life bending over backwards and wearing masks to cater to what he thinks other people want him to be. He plays up Blackbeard for Izzy, Blackie for Jack, and he isn't sure if who he is being with Stede is actually Ed or not. Ed thinks nobody can possibly like him, so he constantly tries to perform to whatever expectation his direct peers have of him.

Next to this main crisis, Ed is having another secondary crisis called "fuck I'm in love with this guy" and "does my crush like me back". This secondary crisis is heavily influenced by the first, because Ed thinks he is a terrible unlovable person, remember, so "does this guy who I think is the bee's knees return my feelings" becomes a lot more fraud than it would be for a person with a modicum of self-esteem.

Ed, who struggles with "who/what am I as a person", sees Jack as a person who is similar to Ed. They have a lot in common. They share a lot of backstory. They are both pirate captains. They used to do the same things. Ed always played Yardies and Whippies and Turtle Vs Crab, because really that's just pirate culture. The main difference between Jack and Ed is that at some point Ed outgrew this life, and Jack didn't. But Ed, who is bad at recognising himself as a person and to define his identity, is only sorta vaguely aware of that. In Ed's perception, him and Jack are very much alike.

So when Stede, Ed's new friend and crush who he already thinks is too good for someone like Ed, starts rejecting Jack and Jack's behaviour, and says things like "I don't like who you are around this guy", what Ed hears is "I don't like who you are". Ed hears Stede thinks Jack is a bad person, and because in Ed's head a) he and Jack are the same and b) Ed is a bad person anyway, Ed hears "you are a bad person".

"You were always going to realise what I am", says Ed, as he is leaving with Jack after Stede tells Jack to leave the ship. Note the dehumanising "what" instead of "who" Ed used for himself. Ed, who thinks he sucks and is an unlovable monster, thinks this is the other shoe dropping, and he's been waiting for it to drop all along, because someone great like Stede isn't for a guy like Ed. Stede was always going to see what Ed is.

Ed's leaving the Revenge/Stede is 100% down to Ed's abysmal self-worth. It's a self-perception born from childhood trauma that fucks Ed over several times during the show (and ultimately leads to his suicide attempt).

Ed is so busy having All That going on that he mostly fails to notice that Jack is playing him, or what exactly happens between Jack and Stede, that Stede perceives Jack as a romantic rival for Ed's attention/affection or that Stede too struggles with self-worth and that Jack is hitting him where it hurts all the time. Ed's headspace in this episode isn't "oh, two sexy guys I like, which one should I choose to be with". It isn't even "oh my old pal is being a real dick to my new friend who is feeling really insecure here". Ed's headspace is "I'm a terrible person and Stede is seeing it now and Jack wants me to do more pirate party stuff but Stede hates that so now they both hate me and I probably deserve that because I'm a monster".

Ed leaves for Jack as much as Stede an episode later leaves for Mary. It's the exact same situation. For Stede, his own trauma and self-worth issues show up in the form of Chauncey Badminton, telling him he is a monster and ruins beautiful things, and Stede's reaction is to agree because he already thinks that of himself, so he takes his horrible ruinous monster self away from beautiful things (Ed) and back to where it belongs (to a miserable life he was hoping to leave behind). And for Ed, no Chauncey Badminton is required, because he's already constantly thinking these things about himself anyway. From Ed's perspective, Stede tell him he is a bad person (just as Jack), so Ed agrees and takes his horrible self away from beautiful things he doesn't deserve (Stede) to a miserable life he was going to leave behind.

Neither Jack nor Mary actually feature into the leaving much. Neither situation is "leaving the new guy for the ex". They're both situations of "I have a fuckload of trauma and self-hatred and it destroys my actually pretty nice new relationship".

And this is very interesting as a parallel. It doesn't even end there! When Stede returns, and Ed hears where he went, Ed too goes to "you left me for Mary". Same as Stede went to "you left me for Jack". And neither of it is actually what was happening!

Stede doesn't leave Ed for Mary, and Ed doesn't leave Stede for Jack. They both decide, driven by very similar trauma, to leave because surely the other one is going to be better off without them.

[astrolovecosmos]

Libra is the sign of beauty and autumn can be a beautiful time of the year. This period begins with the Autumn Equinox, when day and night are of equal length, symbolizing balance. This sign starts the season of transformation with a shift from the intensity and heat of summer to a more calmer and reflective energy.

The falling leaves and cooling temperatures evoke a sense of letting go, urging people to find peace in the impermanence of life, which resonates with Libra's diplomatic nature and its ability to embrace change while maintaining inner balance. While many times we talk about how Libra aims for balance and can reach it often, they also experience times of imbalance. With September being very warm still in many places, but the beginning of cool weather in others, and even more common a month filled with swinging, ranging temperatures, this also matches up with the lifting and falling scales.

During September people anticipate the comfort and celebration of fall and eventually winter. Libra is about pleasure, relaxation, and indulgence. It is also worth noting Libra season aligns with the beginning of "cuffing season", perfect for the sign of love, romance, pairs, and partnerships.

Libra may balance beauty with intellect, objective judgment or acceptance with subjective taste, a busy schedule or work with rest, as well as their weaknesses and strengths - their light and dark. Libra has a lot of positive attributes that are talked about, but we can't forget their flaws or darker side such as jealousy, selfishness, vanity, and a deceptive side. This part of them paired with their seduction, creativity, beauty, and charisma makes a great story or archetype for the spooky days that will eventually be upon us in October.

[tealottie]

What are your headcanons about Della?

I have so many, but tbh my favorite headcanons have to do with her having PTSD - so i can't promise this will be a fun post

MASTERLIST OF DELLA HEADCANONS BELOW:

Appearance:

Scars from the Moon

One across her beak on left side

Scars on her arms and legs

Other markings

Stretch marks especially on her tummy and butt

A few stretch marks on her chest and thighs

Freckles on her beak (because she had triplets and ducks IRL sometimes get freckles after pregnancy)

Other

Chubby pear shape

DD cup size

Squishy belly

Big eyes

Fluffy unkempt feathers (she's bad at preening)

Thin hair (also bad at taking care of it)

Short beak

Queer Headcanons:

Homoromantic

Bisexual

Prefers to just call herself a lesbian

Ciswoman (doesn't mind they/them pronouns and probably finds it entertaining if she's referred to as he/him)

Supports all of her queer babies

She also does not actively seek out romance, but she isn't offput by the idea entirely

Mental Health and Neurodiverse Headcanons:

PTSD

Hates being alone at any given moment and had to ask Donald if she could room with him in the houseboat for a few months

Genuinely cannot look at her reflection and will be needing exposure therapy

Does not like the feeling of movement underwater because it reminds her of the moon's gravity

Terrified that she'll never be fully capable of being a mom because of the 10 years she missed

Cringes at any moon or space themed items now - sometimes triggers her on a bad day or if she looks at them for too long

Her hair being too long is a trigger for her, so she always keeps it shoulder length or above

She ALWAYS feels cold even if her body temperature is normal and sometimes it drives her crazy

Lots of nightmares about what-ifs - what if it was my kids instead of me, what if it was my brother instead of me, what if i didnt have oxychew, what if i never met the Moonlanders, etc etc etc

The taste of black licorice will genuinely send her spiraling, and because it lingers - it wrecks her for days (she hates similar flavors such as rootbeer)

Finds a lot of joy in warm places so she now loves to be out in the sun

Had a period of time where she wasn't really talking with Penumbra because of the severity of her triggers/ptsd

Both finds peace in dead silence, but it also brings her back to the moon as well - she has a very complex relationship with isolation

Prefers silver over gold (even though she doesn't wear jewelry, she likes silver on others and silver on things such as zippers and buttons)

Spent quite a few years terrified of flying after the horror of her own trauma set in, but it threw her into a big depression since piloting is her passion

Hates taking care of her stump because she doesn't like taking her prosthetic leg off - she sees it as her own, so she hates taking it off even though she knows she needs to when sleeping or showering

She has a hard time looking at her stump and scars because on one hand; sick as hell battle wounds, but on the other; damn was that the worst time in my entire life

Depression and Anxiety

Even before crashlanding on the moon, she dealt with depression and social anxiety

She has a bit of a hard time keeping her room tidy and taking care of herself, but she's phenomenal at putting other people first

Feels as though she's not attractive enough

Wants to be a ray of sunshine in other peoples' lives

She's very scared that she won't be enough for people and therefore she must put 110% into everything she does for others

ADHD and Autism

Her sensory issues tend to directly conflict with her PTSD issues - like she hates silence because of the moon, but sometimes she gets overstimulated by noise and needs the silence or alone time

She does not sleep until her body physically passes out because the change in activity is hard for her to deal with

Goes insane if she feels understimulated because her brain begins to shut down and she dissociates

Many, many stims (sometimes doubles as grounding with PTSD): bouncing her leg, various hand motions, feeling the fabric of her clothes, physical affection with her loved ones, playing with the tightness of her prosthetic (loosening and then tightening it over and over), shaking her head to feel her hair around her shoulders (and solidifying that what she's feeling is earth gravity)

Really hard time understanding social cues that makes her come across as rather ditzy

Special interest in aircraft technology and was a top student at her flight school

Love/Hate relationship with reading because if she enjoys what she's reading she gets invested, but if she's understimulated, the words jumble together in her mind

Not good at math for a similar reason

Fish are a huge sensory nightmare for her; the scales, the smell, the taste, etc

Is generally pretty sensory-seeking, but has a few Hard Nos on textures (such as slimy scales)

Other:

I headcanon Della having compulsive sexual behavior disorder, and her libido especially spiked after being on the moon for 10 years, and it makes her feel really gross at times

Due to said hypersexuality, she gets intrusive thoughts that piss her off

Because of the moon not really having a clear indicator of night and day, Della lost her circadian rhythm and struggles with a Hell combination of non-24 and ADHD insomnia

The lack of general sleep makes it hard for her to lose weight and so she's insecure about that

Physical Disabilities:

Because she was on the moon for so long, the zero gravity and lack of proper breathable oxygen took a huge toll on her, physically

She developed really bad asthma and will likely be recovering from it for the rest of her life

Her lungs can only intake so much oxygen at a time, so she also struggles with shortness of breath

Upon returning to earth, her body was really broken down from the cold atmosphere - causing her to not be able to regulate her body temperature properly

Her bones were weakened upon arrival, so she has to spend years recovering physically from it

Her stump is irritated a lot because she doesn't like taking care of it properly

She owns crutches for when she needs to take breaks from her prosthetic just because of the discomfort when wearing it

She is not afraid to hit Donald with a crutch BTW

IF THERE ARE ANY OTHER SPECIFIC HEADCANONS THAT YOU ARE CURIOUS ABOUT, SHOOT ME AN ASK! <3

[strawberrystepmom]

neuvillette x fortune teller f!reader. semi established rapport/friendship, mutual pining, flirtation, references to astrology. / wc 2.1k, divider thanks to @enchanthings

The heavy door separating Neuvillette from the rest of Palais Mermonia opens up with a drag across the floor, grasping the attention of the man himself while he works at his desk. The sun is hardly visible through the window behind him, still making an arrival into this world and taking her time just as you have.

“Please forgive my tardiness.” You curtsy with as polite a smile as anyone could accomplish while stepping through the crack. “You know how particular Mona can be when discussing, well, anything at all.”

The judge laughs to himself, aware of the mage’s tendency to mumble and subsequently hold others captive to her ramblings. Shuffling papers between his hands, he settles on tapping the bottom edges of the documents against his desk to organize the stack. Placing it down, he casts a measured if not nearly warm smile in your direction and nods toward the set table that has been awaiting your arrival.

“It’s quite alright. Although if I may, I’d like to encourage you to remind her that your time is as valuable as hers in the future.”

Entering his office, you shut the door quietly behind you and nod in agreement with his sentiment. You’ve always been terrible at asserting yourself, especially if you get the sense that someone needs to be heard.

It’s always strange to be in a place so grand. When compared to your office back at the newspaper, scattered with books and half scribbled messages that your connection to the stars has given you to spread to others, this place becomes a museum. Despite the differences in standing and work environment both, you never feel out of place amongst the hanging portraits and the stacked gold spined books across the shelves.

The Iudex also rises, making his way around the ornate desk where he does most of his work and arriving at the small table set for two to pull out your chair and then his. Nodding appreciatively, you sit down and immediately begin preparing your tea. You set the pitcher of cream next to your saucer, tidying everything while he looks on fondly.

“I’ve already added two sugar cubes to your cup so proceed with caution,” he mentions offhandedly, watching you reach for the small bowl in the middle of the table containing a perfectly aligned pile of them.

The pair of you have been engaged in this dance for long enough that he has become very familiar with your tea and how it’s taken; two sugar cubes, the tiniest splash of cream, four shallow stirs and your spoon will always gently clang against the lip of the cup on the final one.

Pouring tea over the sugar, you tilt your head to watch it pour. Neuvillette watches you intently, refusing to move even an inch as he settles into his seat.

“Mona is more than aware of the one appointment I maintain yet insists upon making my mornings complex for reasons I have yet to discover,” you sigh theatrically, lower lip jutting out slightly. Neuvillette steals a glance at your mouth but averts his gaze quickly, reaching for the chalice sat in front of his place at the table to sip his water.

This buys him blissful time to consider his next move. Perhaps he’s too careful in his approach to you, insisting upon his life being unfit for romance to avoid confronting the truth about why his chest flutters when you peek your head around his door. He swears he smells your perfume if he shuts his eyes and sniffs deeply enough, your essence permeating every inch of his office and consciousness until he can hardly think.

These feelings are hardly something he can run from or face head on. He’s caught in a trap made of his own desire for your company but at the same time finds himself haunted by the very real notion that his feelings may not even be shared.

“Then it’s paramount that we begin enjoying the time we have together while we can, no?”

This is the sentiment he settles upon as he works through his internal struggle, giving you a practiced smile and placing his chalice down.

Noticing the slight change in his demeanor, you lift your cup and sip demurely, smiling against the lip as the promised sweetness covers your tongue.

How could one not smile at such a kindness? A man who is not indebted to you yet enjoys you enough to understand your desires is a rarity. You’d be foolish not to flutter your lashes at him ever so slightly while leaning forward and placing the cup back down on the table below, handle turned toward you.

“It’s wonderful that you are ready to begin because the stars have spoken and given me some excellent news for you, Iudex.”

The pearls adorning the collar of your gown create a lush sound as you move, one that Neuvillette has long come to associate with your presence. It’s similar to the comfort of rainfall but accentuated by your laughter which he has not heard enough of yet today.

How can a laugh chase away his loneliness yet send him spiraling into its depths at the same time? A puzzling situation to find himself in, to be sure.

In an effort to compose himself, he raises his brows and crosses his legs with one knee bent over the other.

“Is that so?” Thoughtfully humming, he drums his fingers against his impeccably well dressed thigh.

You sneak a glance at his thigh and the way his impeccably tailored pants stretch across it while leaning in to hook your finger around the handle of the teacup in front of you, sipping and nodding to play off your own lecherousness lest you be caught.

It’s not uncommon that you attempt to shroud your readings in mystery though he’s never quite sure if it’s in an effort to thrill or further confuse him. He has never been one to indulge in games unless it is for the enjoyment of another but there is a compulsion in him to play along with yours.

The effusive smile you’ll graciously bless him with when you leave as thanks for being allowed this indulgence will make it worth his while anyway.

“May I guess what they’ve said first?”

A slight lilt of amusement in his voice draws your attention back toward his handsome face, head tilted to the side playfully.

It’s impossible to deny such a kind and charming man a thing. You nod affirmatively with a giggle, leaning forward in your chair but taking pains not to place your elbows on the table, instead keeping them resting on your thighs with your hands linked together.

“Be my guest.”

Your light as a feather response draws an elegant laugh from the man. He has left you no choice but to hide your pleasure at being the one to make him laugh by drawing your shoulders inward, going against your body’s natural response to shimmy them in excitement.

The mere thought of being someone Neuvillette enjoys enough to smile with thrills you. You could do nothing but make him smile for a lifetime. You’d feel permanently satisfied draped across the chaise in his office with a story or a quip or a joke to uplift him. Anything to hear the laughter that stirs a storm inside of you.

Realizing you’re losing yourself in romantic notion rather than reality, you focus back on the task at hand. Being fortune told by the judge while you’re the judge of his telling, a strange bit of role reversal. Maybe he isn’t so stuffy after all. You’ll let your mind wander to that possibility later while you’re alone.

He clears his throat, shifting his face to admire you from the corner of his eye. You feel his gaze upon you and fix your posture, shoulders no longer drawn inward but rolled back, head held high and neck extended.

“I bel –” Eyes traveling down to your now very exposed neck and throat, he stumbles on his words. This leads him to stop himself and reach for his water.

Taking a quick sip and shooting you an apologetic glance, you hold up your hand to dismiss him and nod to encourage him to continue. Swallowing, he follows your example and straightens out his posture.

“I apologize for that.” You shake your head and smile at him, holding your hand up again. “As I was saying. I believe that the stars have foretold that I’m going to have a wonderful day and that great fortune will befall me, correct?”

Smiling, you shake your head and bite back another giggle. He’s so loose with his tongue when you’re around, your sense of humor clearly rubbing off on him at least the slightest bit. It gives you false hope that these meetings are actually as you’ve seen them which is a shared joy rather than strictly business.

“Not entirely inaccurate though if you begin telling your own fortunes I believe I may be out of a job.”

This is, of course, untrue. Your employment with The Steambird is as ironclad as your reputation for being as trustworthy as you are lovely. The man nods thoughtfully, his face shifting enough that you notice it and you decide to give in.

“Would you like to know what they truly told me about you?”

“Be my guest.”

He echoes your prior sentiment with a gracious smile on his face. Now looking at you head on, he nods in defiance of his concern about what is to come from your sweet lips.

How could something so desirable ever foretell calamity?

“The stars tell me that love is coming your way, monsieur.”

He must have spoken too soon. Calamity it is.

“Is that so?”

He raises his eyebrows in surprise, leaning back into his chair in an effort to hide his distress.

It’s not that the notion of love itself is distressing, it’s unavoidable in every aspect of his life even in the justice that he doles out. It’s simply that it feels daunting to consider having to juggle the responsibilities of caring for another person, something he will never take lightly, with the existing extraordinary life that he has.

Considering what it would be like to love another thrills Neuvillette, against his better judgment. A less unapproachable part of him longs to hold and be held; to wake and sleep next to the same person every night. These meetings with you are the closest he’s ever come to a practical relationship.

The moment the true picture of how he views your gatherings enters his head, he visibly stiffens.

What if the love coming for him isn’t…you?

“Are you alright?”

He nods in response to your question, the slightly uncertain look on his face quickly replaced with his usual smile.

“Of course, mademoiselle. I have simply been caught off guard by the stars and their plans for me.”

Reaching for his water, he grips the stem of the chalice tightly in an attempt to ground and comfort his racing mind.

“I didn’t mean to offend,” you begin but you’re stopped when he raises his hand and extends it.

You follow his lead, offering your hand to him gingerly. He presses his fingers against the tips of yours and his thumb to your palm, closing the distance between the two of you slightly. This may not be the wisest choice but he’s following the flutter in his chest that only grows with each passing moment he spends gazing down at you, large eyes looking back up at him.

“You could only offend me if you stopped sharing your readings completely.”

The sentiment makes you smile, looking away to hide it. Warm cheeks that you feel from the inside out tell you everything you need to know about how it makes you feel to receive his reassurance and praise.

You’re in too deep.

“Excuse me, Iudex?”

The two of you turn toward the door when you hear a voice, that of an assistant coming to alert Neuvillette that it’s time for his next appointment. He carefully - tenderly - squeezes your hand while placing it down with a different kind of smile from his default across his face. You collect your hand back and place it in your lap, settling it beneath its twin so that you can rub the spot he just touched with your own thumb to memorize how it felt.

“Forgive me but I must go.” He rises and bows before you, making his way to the door slowly but not before stopping to look over his shoulder once.

“And do tell me if the stars speak any more on these developments.”

He meets your returned look, satisfied with the dazed expression on your face. You nod dumbly, struggling to find the words to form an actual response, watching him leave. The door shuts behind him, leaving you alone to gather yourself.

The stars may like to know about these developments themselves.

[inmyheaddd]

can i call you tonight? - xander hawthorne x reader

a/n: i adore autumn with my whole heart but i’m missing those carefree summer romance vibes soo bad 😖 wc: 1.8k warnings: kissing, mild language, verryyy fluffy ur teeth might fall out masterlist

the sun was just beginning to set, the sky looking like something out of a painting, and you and xander had spent the whole day at the beach together — swimming, laughing, and, of course, getting covered in sand. 

now, still giggling from the ‘sand ball’ fight you had with him earlier, you both stumbled toward the beach shower, desperate to wash the sand off of you.

the water came out freezing at first, eliciting a yelp from you as you stumbled back — in turn making xander laugh, before you adjusted the temperature perfectly to your liking.

which, according to xander, was: very, very, hot.

“are you trying to boil us alive?” his eyes were comically wide, furrowing his brows after he stood under it for half a second, jumping back with a shout. 

you simply stood under the shower head calmly, attempting to get the sand out of your hair.

you huffed a laugh through your nose, “xander, it’s not even that hot, i—“

“—were the hours under the scorching sun not enough? you also need to stand under water that’s practically a few degrees away from turning you into a boiled lobster?” he rambled on. 

atleast he was so chill and normal about the temperature, so very calmly expressing his dislike!  

you stifled a laugh as he continued, unbotheredly wringing water out of your hair as you watched him complain. “i’m just saying, there’s a fine line between a shower and a chemical peel.” he said, pointing at the shower with a shake of his head. 

“that water is hot enough to sterilize surgical instruments.” he crossed his arms over his bare chest, as you watched him watch you, a slightly confused furrow in your brows and intrigued smile growing on your face.

a slow grin grew on his face as he raked his eyes over you, taking in your slightly sunburned nose, wet hair, and bathing suit you had picked out with him a few weeks back. 

he lolled his head to the side before he spoke, “i’m sorry— why was i mad again?”

you laughed at his quick demeanor change, playfully rolling your eyes and sighing dramatically before making the temperature colder and motioning for him to step in.  “just get in, you big baby.”

“oh, thankyou very much, i appreciate your willingness.” he responded, bowing his head jokingly as he stepped under the water, his hands finding your lower back instantly. 

but of course, xander being xander, couldn’t just stand there like a regular person. 

no, he shook his head, like some sort of dog sending water droplets and little sand particles everywhere. 

“xander!” you squealed, shielding your face and taking a step back, but you couldn’t stop laughing. 

“oh my god— you’re so annoying!” you squeaked out, still laughing.

he chuckled, taking a step closer to you and placing his hands where they just were, eyes sparkling with mischief as water dripped down his hair. “and you’re so easy to annoy.”

he reached out, gently brushing sand off your cheek, his touch lingering for a moment longer than necessary. “that wasn’t funny.” you said, biting back a smile. 

it was funny, but he didn’t have to know that.

“i’m sorry,” he faux pouted at you. he didn’t sound sorry, in fact, he sounded a little amused. 

you felt your stomach do a little flip, but before you could say anything, his eyebrows raised like a lightbulb went off in his head, and he grabbed the shampoo bottle from your beach bag on the ledge. 

“here, let me do this right.” he turned to stand behind you, pouring an adequate amount into his hand and then started working his fingers into your scalp. 

you tried to turn your head to ask him what he was doing, but it did feel a little nice to stand there and feel his hands run through your hair. okay, maybe not just a little.

he gently guided your head back forward. "hold still," he said, his voice lower, but with a little hint of that teasing edge remaining. 

when he noticed you weren’t saying anything back, and that if anything you were feeling relaxed, he spoke again. 

“see, would you look at that?" he said softly, "i can be helpful too." 

you could practically hear the grin in his voice, but it was hard to focus on that with the way you felt like you were buzzing under his touch.

you hummed, “yeah, only when you want to be.” you let your eyes close for a moment, and then he spoke again.

“i want to be helpful with you all the time.” you could hear the fake pout in his voice, then it flipped completely, and you heard that grin in what he said next.

“i’d make an excellent stay at home husband for you, yeah?” he joked with his voice all breathy-like. 

“you wouldn’t have to worry about me complaining…” he trailed off, “you know, except about the shower temperature.”

you let out a little chuckle, and opened your mouth to remind him about the time he somehow burnt instant noodles, and that maybe being a stay-at-home husband wasn’t the right path. 

you didn’t get the chance to say anything, though, because he swiftly grabbed your shoulders and turned you around, standing you under the shower head. 

your eyelids immediately squeezed shut, squealing a little with your whole face scrunched up as the shampoo-y water ran down your hair.  you were careful not to get it in your eyes, laughing as xander stepped infront of you and gently moved your hair out of your face. 

you opened your eyes, still squinting a little as you looked up at him. “that also wasn’t funny.” you remarked. “not in the slightest.”

he quirked a brow up, looking like he was biting back a grin, “it wasn’t?” he asked, cocking his head to the side in question.

“no.” 

then a roguish smile started to spread on his face, and you began to deeply regret your words. 

“well then, would you like to see,” he paused for dramatic effect and raised his eyebrows, “something funny?”

you were the one biting back a smile now, taking a step back from xander as you shook your head, already anticipating what he was going to do. 

“…no.”

he rendered the step you took back obsolete as he stepped right on forward, his smile turning into a chuckle as you shook your head. 

there were about three things you were afraid of in this world, 1: a bug getting in your food and you eating it, 2: getting kidnapped and held hostage, and 3: xander blackwood hawthorne’s tickles. 

“xander, i was kidding, i swear.” you rambled with your voice dropping lower, trying to get out of this situation, but xander’s face only scrunched up in laughter as he gave you about 5 seconds to make your case.  

“you’re like, the funniest person i’ve ever met! you’re so charming and hilarious, and —“

your time was over, it seemed, because xander bent down and picked you up over his shoulder, his laughs increasing in volume as you squealed in the secluded beach. “xander! it was a joke, i promise! put me down!” 

as if he was on a quest to become even more annoying he began running to the beach beds, regardless of your protests which were now coming out more as laughs. 

he placed you on a beach bed breathlessly, his hands coming to cup your face as he basically climbed on top of you, then leant down to kiss you.

oh, you weren’t expecting that. 

granted, you were both still breathless, and the two of you were smiling and laughing against each other so much, that you weren’t sure whatever you were doing could be considered a kiss.

then it came. xander pulled back ever so slightly and his hands moved down and jabbed at your neck, then your sides, your arms, anywhere you were ticklish, and you were both equally a laughing wreck. 

you tried to peel his hands off of you as you writhed under him, repeating his name surely over 20 times in between giggles. 

after what seemed like forever, he stopped, putting his hands up in the air as he sat up, and your chest heaved as you caught your breath.

“now,” he said, “was that funny?” he raised an eyebrow, “choose your answer very wisely.” 

“fine,” you huffed, “it was a little funny.” 

his other brow joined the raised one at the top of his forehead, “that was not the wise  answer i thought of,” he muttered, as he slowly started put his hands back down towards you, your eyes darting between his face and his hands.

“okay. okay, yes!” you scrambled before he could literally attack you again, “i lied, it was funny, and not just a little.” 

his hands retreated, “brilliant. very wise answer,” he commented, “well done.” 

he brought his hands up to your jaw and only your jaw this time, cradling your face like he did earlier as he placed a short peck on your lips, but you pulled him in for a longer one. 

he smiled at that— you felt it, and he reciprocated the kiss 10x harder.  

 as he pulled back, resting his forehead against yours, he murmured with his voice low. “question,”

“what is it?” you breathed out, still catching your breath. 

“does it genuinely annoy you when i tickle you like that?” he asked, his voice bare of any teasing, “don’t lie, please.” he added on. 

“besides, i can be very perceptive of micro-expressions, and i can feel your heartbeat against me right now.” 

you let out a little laugh, even though your heart was doing somersaults in that moment. xander was possibly  the most caring person you’d ever met —he was a deeply empathetic person underneath his rube goldberg obsessions and masks of humor he used so often.

“no,” you said truthfully, “i don’t actually get annoyed, i could never actually get annoyed at you. why?” 

you felt his breath hitch against your lips, a very un-xander like manner. “your micro-expressions and heart rate indicate you’re telling me the truth.” he muttered. 

how did he sound hot talking about micro expressions and heart rates?

then you realized, he was expertly dodging your question on “why?”.

“because it is the truth.” you muttered back, smiling a little as you watched him pull back too see your eyes better. 

he didn’t say anything after that— in lieu of words, he pressed another sweet kiss to your lips. he wasn’t one to expose his worries or be vulnerable very often, and you understood that. he’s opened before about people saying he’s ‘too much’ and how it sometimes gets to him, but in all honesty, you could never get enough of him.   

as you felt the warmth of his hands on your face and your lips moved across his in rhythm, a thought crossed your mind: 

if that’s what you get for telling him he was funny, you’d start telling him he’s a world class comedian now. 

tag list: @charsoamerican @ariabedumb @x-liv25-jamieswife @wish-i-were-heather @thecircularlibrary

@whatsamongus @littlemissmentallyunstable @anintellectualintellectual @bewitchingkisses @maybxlle

@sheisntyou @emelia07 @midiosaamor @sweetreveriee i love u guys 🙈🙈 if you’d like to be removed or added lmk!!

[mephistopheleswasrobbed]

Right so, I currently feel a very strong urge to cut open my stomach like Chef Hong, but let's put that aside for now and focus on all the new evidence that Peaceful Property is very much gay, actually:

(somehow in light of the end of this episode all of this feels so shallow but well, I got this far, I'm not giving up now)

1

Peach is wearing THE shirt. The infamous "more than friends less than lovers" shirt.

And as is usually the case when this shirt appears, it perfectly describes the current state of Peach and Home's relationship.

2

I'm not really attentive enough to analyse colours in these shows, but even I noticed that Home's shirt is pretty blue at the beginning of this episode

Looks like both of them are (not so) subtly expressing their feelings through their clothes this week

3

We didn't really get confirmation either way about Peach's relationship with Best. Though judging by this little interaction between them, if there was something between them, it was probably initiated by Best. He's full-body reaching more than half-way across the frame, trying to get Peach to fistbump him while Peach only half-heartedly raises his fist towards Best's a little. (I admit I might be somewhat biased against him because of Pangpang, but I almost get the vibe that he kinda tried to get close to Peach to siphon off some of Chef Hong's attention. So he was using him from the beginning, first for his cooking skills then for his exorcism skills. But tbf it might have also just been innocent excitement.)

Anyway look at Chef Hong frowning at their interaction. She knows this is not the right man for her son favourite student.

4

Home, deepely and sincerely, wants to help Peach.

As soon as he finds out about Peach's trauma his first priority becomes helping him, not selling the property and not exorcising the ghost.

He even goes all alone to meet the ghost of Chef Hong and asks her to help Peach.

This is kind of a parallel to the second episode where Home went to confront Rak alone (with Suradech and Kan) after Peach refused to help him anymore. Except this time he actually goes alone and instead of asking the ghost to leave so he can make some more money, he sincerely asks her to help Peach. Character growth. But also. Doing it for the guy he likes. And this is why he gets the mother in law approval and not Best.

But helping someone is not always easy, so:

This is the face of a man who's desperate to help the person he loves even if that person doesn't think he can be helped. And he's willing to play the bad guy to get him that help.

It so clearly hurts him to talk to Peach that way but he doesn't know what else to do.

And Peach is also hurt because he thought that he and Home had gotten close enough that Home would care about his wellbeing more than making money. And he's right, too because Home IS actually doing this FOR his wellbeing and NOT for money. Peach just doesn't know that, yet.

(Quick aside about Peach: Shouting at someone while clutching their shirt. That's 'I love you so please understand me' level of fighting)

Classic tragic romance shit (in preparation for later things to come?). Especially with their next conversation happening through a glass pane. (Star Trek anyone? and many more that I can't think of right now)

And Home gives him hope. Hope that maybe his mentor didn't kill herself, hat maybe he's not responsible for her death. And with that he gives him the strength to face his fear. Good (not yet) boyfriend.

5

It's love, your honor!

He litterally takes over the job of taking care of Peach from Peach's mother figure

and then holds him while he breaks down. And not only does he hold him, he PULLS HIM IN so Peach can cry into his shoulder.

And Peach lets himself fall apart in Home's embrace, to let out all of the grief and guilt he had been carrying mixed with the relief of realising it wasn't his fault she died, and she never blamed him for any of it.

(I know I've said it before but man, Tay and New are really blowing this out of the water. They're just so good. Everything about this show is just sooooooo good.)

6

Is that jealousy I smell, Peach?

Don't worry. Home has already admitted that he's flirting with Kan as a bit not with any real intention. The real is reserved for you.

7

He fully plans to give it to Peach, doesn't he? Simp.

8

Between all the real talk, raw emotions and vulnerability, they're right back to bickering and teasing each other.

9

Now there's a classic BL trope. (And also again a callback to Chef Hong taking care of Peach, making it even more meaningful.)

10

Its LOVE, your honor!!!

But seriously:

Peach has fully fallen in love with Home at this point. And how could he not, after Home fully proved his kindness and selflessness and care for Peach this week. Peach had already started to really trust and be comfortable around Home last episode, but with this he's fully brought down Peach's walls. (too bad it's going to end up hurting them both soon)

And Home knows it, too. Speaking it out while also giving the plausible deniability of a joke. And note how Peach denies on behalf of Kan but not of himself.

They're inching their way towards each other, neither of them willing to say it without beating around the bush but both of them fully aware of what's happening between them. (too bad there's a big storm coming for them that's going to wreck this puppy love bliss)

11

And this, ladies and gentlemen and everyone in between and beyond,

is the face of realisation that you did irreconcilable harm to the man you love and you didn't even know it. That the man you love just said a most sincere and heartfelt "Thank you" to his killer. To you. That all your newfound happieness is about to come crashing down around you and it's all your fault.

Seeing them be happy and flirty in the credit scene hurt. Because how long will they still have this? And either way, any blissful moment from now on is going to feel hollow for Home. And Kan knows, too. Will Pangpang find out before Peach? Will Home get to tell Peach himself or will Peach have to find out from someone else?

Major angst is incoming and honestly? That's pretty gay. Silver lining and all that, I guess.

Anyway I don't want to leave us off at a complete downer so have a quick

Lesbian Corner

The focus was very much on Peach this episode and Kan was mostly off doing her own thing so there's not much but there is this:

Pangpang felt quite betrayed when Kan didn't take her side against Home. She's clearly aware that they should hook team up seeing as the boys are busy with each other.

Don't worry girl, you'll get there eventually.

[sitp-recs]

Between the Power Lines by @tackytigerfic (M, 3k)

For Harry Potter, all roads eventually lead to Draco Malfoy. Or: this is not an AU! It's just Harry and Draco meeting by chance in an imported food shop in Connecticut and going on a road trip together. Featuring motels, cacti, Americana, and a hefty dose of pining.

In New Orleans, they got drunk on Bourbon Street, and Malfoy danced on his own (arms bare, laughing; Harry could have watched him all night) and later on, so late it was almost morning, they let themselves into the St Louis Cemetery—Malfoy unpicking the lock so sweetly—and walked around until the sky was pink-edged with the promise of another day’s heat. Then they sat on the steps of a crypt, watched over by sightless eyes of the statue of an angel. She looked exhausted rather than sad, Harry thought, and that made a lot of sense when he thought about his own longstanding, dull-edged grief.

It’s been ages (or 2 years) since I last wrote a rec for Tacky (I usually write for other readers, except when I’m reccing friends - then I write for them) and their birthday was the perfect excuse to put my reccing muscles back to work. I almost bailed out because I know this is one of T’s own faves and “what if I don’t do it justice?” but that tired angel banner has been sitting in my drafts for 3 long years and it deserves a proper rec!

Where to even begin? Anyone who knows Tacky is aware of their superb prose - rich and nuanced, compassionate, effortlessly funny, with a strong sense of place and a soft spot for suds scenes and filthy m-rated sex I mean devastating romance. Their writing breathes heart and personality, very much like Tacky themself. So knowing that this fic came out exactly as they intended it to should be enough to make you go read this right now, but in case you need further incentive, see below all the reasons why this oneshot is so special to me:

1. The *vibes*: if you thought that 3k is nowhere near enough to build the sexiest, most intriguing Americana atmosphere you’ve seen, think again. The aesthetics are impeccable here, decorating the beautiful and strange landscape - cacti and cheap motels included - into something peaceful and desolate, an overarching melancholy making it even more compelling. The dialogue is brilliant but the silences are just as loud and meaningful, with a quiet intimacy and a dreamlike quality that make you feel as if you're intruding a memory.

2. The romance: at this point everyone and their dog know that pining!Harry is Tacky's jam - they luxuriate in making us all suffer with him until the realization that Draco has been loving him back all along slaps us in the face. Harry is so stupid and desperate and wanton, I love it. And the way Tacky reinvents this delicious trope to make it work in new angsty ways blows my mind. Imo the slow burn is particularly effective here, a feat in any 3k story, because the narrative gives us so much character insight. We learn all the little things that make these two lonely boys tick as we watch their ever-changing perception of each other evolve from a tentative truce to reluctant confidants to a comfortable, easy love that comes naturally and earned. We often get those bits of information from imagery and emotions alone, no dialogue needed, and a road trip is the best way to explore those dynamics in a smooth, unhurried pace.

3. The journey: this is truly an immersive journey, not only physical as we keep jumping from one destination to the next, but also emotional, as we learn more about their vulnerabilities and desires the more they gravitate towards each other. This story shows that being far away from home can be both freeing and grounding, when you’re stuck with your hot enemy someone who knows about your darkest hour. It gives you the chance to heal and visualize a different future without forgetting your past or letting go of that which has shaped who you are. I love their chance encounter and how this poignant 30k love story is told in such impressive economy of words.

TL;DR: if you’re a short form fan and prone to melancholy like me believe me when I say it doesn’t get any better than this. The whole road trip shebang mixing grief, romance and nostalgia wrapped in Tacky’s lush writing is a gift to any reader and an elegant work of art. Enjoy!!!

[my-mt-heart]

Idk how to say this but I am not as bothered about whatever is going to transpire between Daryl and Isabelle (bcoz for one thing - we know what is going to happen in the end- and for another - I honestly believe that the male execs are not at all confident abt their vision for these two as they would like to be and the whole thing would prolly boil down to ambiguity and ultimately- it will fall upon the viewers to dissect how Daryl feels - the Caryl fandom especially is really adept at reading into storylines - even stupid ones) None of this is good by any means. It cheapens the integrity of all the characters involved. It blatantly insults and reduces female characters - I believe that Isabelle deserves better. That a story should hold space for multiple female characters. Also - I am worried about putting the fate and the story of one the best female characters on TV (Carol) in the hands of someone who has proven that he can't be trusted to handle them with care. Reading S2 reviews - I am sort of reassured that Carol is treated well enough in the story - which I believe - has a LOT to do with Melissa McBride's input. Going forward - it is going to be more difficult bcoz once we have dealt with old traumas - we do need to evolve these characters and make sure they don't stay stagnant. I don't believe Zabel has the chops to do that.

sorry for that rant. I am just really frustrated.

What I worry about is the way all of this bts stuff amongst the male execs is going to impact the Caryl dynamic. Whatever the antis may think - and while McReedus has insane chemistry - I do believe that the romantic energy is generated between them by a lot of their acting choices (bcoz the underlying story is teasing a romance). What happens to all that when a romance is completely off the table? When AMC has been pushing this friendship narrative down our throats in a very evident bid to do damage control - the insecure/defensive promo that we have been getting last few weeks is proof enough that Caryl was always more than friends?

The problems were already glaringly obvious from the very beginning. the fact that Melissa isn't billed equally for a season where she is proclaimed to be the major focus? It is not even about Caryl going canon for me anymore. I love Melissa and Carol way too much for me to give up yet but I treasure the Caryl bond primarily bcoz they have always been each other's everything. it is truly a bond that evades definition. Both Carol and Daryl doesn't have what they have with each other with anyone. THAT IS A CANON FACT. I don't think I can watch that dynamic that I treasure so much being butchered - s11 was painful enough - I can't go through all of that and more again.

Going to watch s2 and then my further commitment will depend entirely upon how the characters are treated and their dynamic is portrayed?

It sucks that I am dreading watching Carol and Daryl back together on screen.

been here just for a few months but the way AMC has been fumbling with this promo - have you guys always experienced this whiplash or is it a new thing?

I’m going to include big spoilers in my response, so proceed with caution ⚠️

I respect your opinion, but I disagree with you on the point about Daryl’s and Isabelle’s arc. It seems like the male EPs (Zabel, Nicotero, Gimple) are overly confident that an explicit romance between their male hero and a younger blonde nun who accused Daryl of being like his abusive father just for trying to go home to his family will attract a larger male audience and they aren’t sparing any feelings with it because we aren’t their ideal audience anyway. To them, we’re just a bunch of “hysterical” shippers whose POV’s don’t matter and we can just take their crumbs. AMC is a bit more complicated, but I’ll get to them later.

Daryl and the nun kiss in 202, so there’s little to no room for us to dissect how Daryl is feeling. Isabelle’s death is the furthest thing from a relief because 1) it reduces her character down to man pain like you said and 2) from what I’m gathering, it completely overshadows Caryl’s reunion and then their entire arc. We get another hug that does absolutely nothing to elevate their relationship and then Carol has to face that Daryl didn’t need her to rescue him because he found a new family and become his emotionally supportive friend to help him through his grief of a lost love interest he’s known for a few months. It almost feels like it’s going to be a retread of Beth’s death, only worse. We know how Greg Nicotero views both of those relationships and to be blunt, the man needs to stop projecting his creepy fetishes onto Daryl and making it our problem 🤢

The way the story is framed, it’s not even about Caryl at all. They’re the relationship we’re the most invested in and yet all the emotional weight is given to a highly problematic relationship that developed over a dozen ish short episodes (compared to Caryl’s decade+ of emotional depth) and it’s all for nothing too. Zabel just resets Daryl like the hokey network procedural writer he is. And Caryl fans are rewarded for their years-long loyalty by getting more ambiguous subtext to analyze? Really?

I think you’re spot on about Melissa though. The reason she’s the bright spot of the season, the reason Carol’s individual arc feels true, and her spiritual connection to Daryl stays alive is because Melissa influenced all of that. She’s shown us time and time again that she understands her character so deeply and respects her fans. It really breaks my heart because I think she had a beautiful story in mind for Carol and she deserves all the support in the world, but as I’ve said many times, if damage is done to the character who has been written as her soulmate for over a decade, damage is also done to her. And I can’t watch that. I can’t watch the destruction of my favorite characters and my favorite relationship and put money in AMC’s pockets for gaslighting me. Retconning Caryl’s relationship into a platonic friendship is their way of protecting themselves from backlash. “Daryl isn’t emotionally cheating because he and Carol have always been besties?” “We didn’t mislead you. We told you they were friends, so you dumb shippers are doing this to yourselves. Please watch our slop anyways ✌️” They’re even trying to shift responsibility to Melissa by making her answer the shipping questions despite the fact that it’s Daryl’s arc throwing a wrench in everything and I expect that to continue at NYCC/Palyfest. It’s completely unethical and it’s backfiring.

Zabel cannot write for Daryl and Carol. He keeps showing us that he doesn’t understand their bond nor does he value it. A couple of the reviews mentioned it felt like Carol was shoehorned into certain aspects of the story, which tracks with what I already knew—that he and the other EPs think she’s hindering the story they want to tell about men doing manly things. That’s why they try so hard to challenge her significance to Daryl’s story and that is not going to change just because they’re moving to another location. Somebody like that should not have power to decide her trajectory. Fuck whatever he has planned for S3. I don’t want it. I still want Caryl and I still want to see them get the stories they deserve, but that’s only going to happen if we get a new showrunner who respects them and respects their fans. In case it needs to be said, Gimple is not that guy either (he can fake his enthusiasm on SM all he wants 🖕🖕🖕). A complete rebranding of the show to something that honors the characters and gives Melissa her dues (equal billing, title, etc) is the only way I’m tuning in now🤷🏻‍♀️ I don’t have the emotional capacity to sit through S2, but I will be here, speaking up, to make sure Melissa gets all the necessary praise and those assholes can’t blame her if the show tanks.

I’ve only been here a few years and there’s been a lot of turn over at AMC even just in that time (I kid you not, all of our problems can be traced back to Josh Sapan leaving. He loved Caryl and Melissa). That being said, I cannot for the life of me understand why any of the guys over there (even the misogynistic ones) would approve of the Daryl/Isabelle arc after the PR disaster that Leah caused not even that long ago and at least for that, the arc tied back to romantic Caryl and we weren’t subjected to any uncomfortable physical intimacy. Why the fuck would they make the same mistake? Why the fuck do they have to spend more time cleaning up messes than avoiding the mess altogether at every fucking opportunity they had (and they had a lot). I just don’t get it. And I’m so tired of taking the abuse.

[physalian]

Narrative Framing Devices

This is a long one…

A story need not be told chronologically, nor does it have to be only one layer deep. There’s a ton of different ways to frame your narrative, I’m just picking a couple today, some I thought worked and some I thought didn’t, and my personal favorite.

Most people think of framing devices in terms of time travel stories or fairytales, where it may start in the present or the future and work backwards, giving up the ending before telling how we all got here. Or by chopping up the chronology and letting the audience try to puzzle out the order.

There are also those that break the fourth wall, with the narrator beginning the story directly addressing the audience but never doing so again, or the narrator opening the story telling their own story to a present audience, so we’re the audience behind the fictional audience.

The other obligatory framing device is the time-skip, a la “6 years later” or “8 months later”. I’ve already talked about those. Or the preface/preamble/prologue that may spoil some important event later in the story, or is simply an important moment or montage of moments to catch the reader up on “how did we get here”. Shoutout to Castlevania for the most efficient pilot episode I have ever seen, with a 1 year timeskip.

Also honorable mention to the “A Life in the Day” montage from Magicians, speedrunning decades of a life together between two characters stuck in a Situation, maybe 60 years? Key moments between the two having a whole romance, with a kid and grandkids, over the course of one beautiful bit of soundtrack. One of the best episodes in the show, for a sequence that only lasted a little over 5 minutes.

—

Story within a Story | Princess Bride, "Ember Island Players"

Best example I can think of, specifically the film, which is based on a book that already incepts itself. The movie opens with a regular kid being read the book The Princess Bride by his grandfather, and occasionally cutting between the kid’s reactions and the fantasy story with the actors.

There’s several moments where the grandfather either loses his place and rereads a scene that replays the same dialogue, or skips a scene in the “kissing book” because his grandson gets squirmy, and moments where the grandfather narrates over a couple montages.

Princess Bride is one of those movies that knows exactly what it is and isn’t trying to be something it’s not. It’s self-aware and loudly and proudly sincere, with one of the best revenge arcs ever put to film.

Recap episodes can either be clipshows or get really creative like ATLA, telling the series recap through the medium of a propagandized play about the Avatar's journey, performed by actors of the Fire Nation. The Gaang sits there in vague states of discomfort, horror, or in Toph and Sokka's case, thrilling enjoyment, watching their hardships and heartbreaks played for laughs. That it's the story we know, but also with the added filter of it being enemy propaganda takes what could have been just a clipshow and still told multiple layers of a story with it.

The Fourth-Wall Break | Riordan-verse, Deadpool

“Look, I didn’t want to be a half-blood” defined a generation. It’s one of those fourth wall breaks that opens up the story and never appears again, though occasionally Percy will get slightly self-aware, saying things like “I didn’t know it then, but I’d never come back here”. But for PJO it almost doesn’t count.

Kane Chronicles on the other hand chose a bizarre framing device, having the two leads pretend to host a radio show, or a podcast—something where they were recording themselves and I don’t think it worked very well whenever it popped up and stopped the plot.

Shoutout to Tangled, too, for having a fairytale style fourth-wall break at the end, much like KC, where Flynn reveals that Rapunzel has been listening to him tell their story the entire time. Many fairytale stories open up with the physical book flipping open to the story, like Shrek and Shrek 2, but I don’t think those are translatable to the written medium very well.

The big one, though, is of course Deadpool. Have not seen the second one, and while ‘breaking the fourth wall’ isn’t by itself a framing device, DP & Wolverine absolutely makes it one, fast forwarding and jumbling up the sequence of events to deliver a “how did we get here?” during the opening credits.

Chronology Salad | Memento, Predestination

Have not actually seen Memento but I know the premise, working backwards as the protagonist recovers his memory of “how did we get here?” Predestination is a batshit insane time travel story that I don’t think most people have even heard of and detailing the plot at all is giving spoilers but it is the most “how the fuck did we get here??” movie I have ever seen.

Then you have stories like Twilight that open with “I’ve never given much thought to how I would die” that spoils (kind of) the ending, with the goal of the story not detailing if something bad will happen, but how. Twilight’s prologue reminds me of The Bachelor, where they’ll tease the audience with *shocking* moments completely out of context from later in the season that are way less cool when they actually come to pass (from the one time I watched with relatives out of morbid curiosity).

The point of these chronological mixups is how all the random puzzle pieces fit together, despite essentially spoiling themselves constantly, they’re so random, so out of place, meant to keep you constantly guessing until the big reveal of the picture on the box—and are extremely tricky to do well without completely losing your audience. You’d have to have a very thorough outline to not confuse yourself while trying to write it.

Honorary mention here for Inception, one of my favorite sci-fi movies, because the plot is crazy, but still told chronologically, just across different dream levels. However, the movie does open with the ending scene (though you don’t know that on your first watch). And Tenet, but I don’t know anyone who likes or cares about that movie.

Dual Timelines | Outlander

There are others I just cannot think of them at this moment. Dual timelines tell two stories simultaneously across two different eras, either decades apart or mere hours, with some relation between the two. Sometimes one timeline’s protagonist is the ancestor of the present timeline, for example.

Dual Timelines happen in sequential order, making them distinct from a flashback arc (more below) essentially two chronological plots running in tandem squished into the same book, episode, or film. They carry equal weight and try not to overshadow each other in flair or importance.

In Outlander, Protagonist Claire is already a time traveler, in a time travel story whose rules are “whatever happened, happened, and you end up causing whatever you tried to prevent”. Season 2 opens with her returning to the present, leaving the entire rest of the season with a foreboding sense of dread, wondering what will get her back to that moment.

Season 3 dangles the carrot on the stick, randomly cutting between Claire in the 60s and trying to move on with her life for… I think 20 years, while Jaime, her love interest from the past, just keeps getting kicked while he’s down. It takes forever to get these two back on screen together. And the dual timelines continue taking up screen time when Claire and Jaime’s adult daughter also eventually makes a trip to the past. Points off for being blatantly manipulative storytelling with its cliffhangers, but season 1 is still worth the watch.

Flashbacks, Flash-Forwards, and Flash-Sideways | Lost

This show’s earlier seasons were heavily framed with this device. In The first 3 seasons (up to the last episode) the framing device was exclusively flashbacks, focusing on one of the main 13 heroes for an episode, particularly in season 1.

They didn’t always answer “how did we get here” but told some story relevant to the character in the present, either a challenge they had to face or parallel relationship drama or ghosts come back to haunt them. Usually, these little flashbacks were told in sequential order, but they could hop months or years ahead at a time depending on the episode.

The flash-forwards began in season 4 and closed the gap between the “Oceanic 6” escaping the island and all the missing time while they were gone, before the infamous “We have to go back” line.

The show also had flash-sideways, which featured the main cast, many of whom had been dead for a few seasons, reprising their roles to show what could have been their lives if they never crashed. To… mixed reception.

The show also also had a time-traveling character who in-universe experienced flashes of the future and got mentally temporally displaced between two timelines for a hot minute.

Lost was… a show that demanded a dedicated following. I still love it.

Flashback Arcs | My own personal soapbox

This right here is the whole reason for this post. First you have flashback episodes and I can name a lot of those—ATLA has a couple, “The Storm” & “The Avatar and the Firelord” but both are technically “stories within a story” with characters either around a campfire telling it or reading about it. The alternate timeline takes up a majority of the runtime, only occasionally cutting back to the present characters for a reaction.

In TFP there’s an offbeat flashback episode “Out of the Past”, framed, again, as a character telling this backstory stuff to another character. Many, many vampire stories will have flashbacks to some degree, since their characters live for so long. Vampire Diaries, especially in the earlier seasons, had dozens of them filling in all the blanks back during the Civil War when the two leads, Stefan and Damon, were competing for the affections of the main villain, all leading up to how they were turned, and how she allegedly died. Once the Originals were introduced, the show then had flashbacks to a thousand years ago, when they were human, and various eras in between.

True flashback episodes don’t waste precious minutes setting up a framing device, they just dump the audience in an alternate timeline and let them figure it out on their own that something isn’t right.

But none of that comes close to the full-on Flashback Arc. I. Love. This. Trope.

I actually first saw it when Arrow was good in its earliest seasons, cutting fairly equally between a present-day Oliver back home and starting his hero journey, and him learning combat back in the past, over several episodes like a series within the series.

What you end up with is a happy medium between a full dual timeline and a random grab-bag of flashbacks as they become necessary to the plot. A flashback arc relies entirely on the existence of the A-plot to make sense, as opposed to a dual timeline where it’s essentially two self-sufficient stories rolled into one big narrative. This arc is substantially shorter than the rest of the plot, cutting the story it’s telling down to the absolute need-to-know moments and cutting all transitions between the two. These arcs tend to cover weeks, at minimum, and decades of a long life at most.

I think they're best implimented after the first book, film, or season. Not something you want to throw at your audience who barely knows or cares about these characters, so if you're stuck with ideas for a sequel, consider the Flashback Arc.

My favorite thing that I have ever written (sans ENNS) was for my sci-fi WIP, a C-plot flashback arc in 13 parts. They started out as in-universe nightmares to give credibility to when these flasbacks started occuring, framed around the character's reaction to the scene, but then took off independently to avoid redundancy.

This arc covered his time as a POW, telling the reader how he came to be the living weapon he was, and the first detail it opened with was the reveal that he wasn’t the only one of his kind, he’d lied and shouldered the blame of every atrocity to protect the others, as their numbers dwindled and it all fell into place. A truth he wouldn't tell with a gun to his head.

Because you already knew he lived, because he’s right there in the present A-plot, the arc wasn’t telling you if he’d survive the war, but what he’d do to survive, and how it all fell apart. Because it was framed up with the existing narrative, I had a lot more leeway in omitting details and dropping the reader weeks or months ahead as opposed to this being a completely fresh story with new characters. You knew immediately based on the tone that this POV was the C-plot flashback POV, and you knew the only person who could narrate it was my poor character.

Over 13 POVS, 34k words (of a total whopping 202k), I told a whole love story, established and killed off 10 characters, and gave heaps of worldbuilding lore and exposition to fill in all the blanks in the present and answer questions that this character would never, and revealed just how much he lied about and why.

All of this tied in with the A-plot, staggering the physical placement of POVS within the book to hit at the right moments tonally and as the character’s condition kept deteriorating because he refused to talk about What Happened. His reason was that he’d done all of this and suffered so much to keep their legacies pure. If he gave it up now, he would have done all this for nothing.

And this was some heavy shit. There was murder, suicide, death by giant alien super robots fond of ripping people apart, assault, mercy killing, torture, gaslighting, and psychological horror. One of my magic systems let magicians regrow limbs alchemically, which meant they could endure a shit ton of pain and just get reset to do it all over again.

It was a lot.

But because it was just in flashbacks, I gave you just enough dark shit before cutting back to something marginally lighter, not just one long slog of misery. There was also the unknown of how quickly it would end. The book would end when you hit the last page, but you had no idea which flashback POV would be the last.

And also.

I got to flex my writing skills to the fullest, writing this character’s flashback POV in a completely different tone and style to make it that much more distinct from the rest of the present book.

ENNS’ sequel is very much under construction, but the one thing already polished is a flashback episode packed into one chapter for one of my characters. It’s perfectly knife-twisty and I can't wait for people to read it.

—

There’s dozens of framing devices out there. Most important thing, I think, is not sacrificing audience understanding for the sake of something ‘cool’. Doesn’t matter how amazing the story is if your audience gets completely lost and confused trying to keep up with what’s going on.

If you'd like to check out my book, Eternal Night of the Northern Sky is available now!

[wikitpowers]

the fact that ty is sure that he is in love with kit is making me go feral. like there is absolutely no denial of his feelings, like he knows knows. to have it officially confirmed is making me so emotional stop

[antigonesghosts]

What I loved about Cinderella's Castle is it is so entirely about Ella. We know starkid can handle a show with tons and tons of characters but I found it quite refreshing for it to be so wholly her story? I think it was a lovely choice for this show and man Bryce did such a perfect job of it, she is truly such a star

[undead-moth]

I know I've been on about this for a while now and I'm being a hater but you're telling me SydCarmy was "always meant to be platonic" even though there are two seasons of writing making use of tried-and-true explicitly romantic tropes, themes and writing signals, and SydLuca is going to be romantic because...he was nice to her on screen for a few minutes?

I don't even care if people ship SydLuca, or if they just prefer it, but you can't honestly tell me that you believe Carmy was always meant to be a friend but Luca is an obvious love interest.

Just because Syd and Carmy haven't kissed or confessed their love to each other doesn't mean that isn't very obviously the direction this show is going. The Bear has already shown you who is endgame. It has shown you every episode of the show so far.

Honestly I really don't think The Bear fanbase understands this show or cares about these characters or the story being told here, which is unfortunate because this show is shockingly well-written in comparison to most shows right now, and we should be so grateful for it but all we're doing is complaining that the writers led us on by not making a ship canon fast enough. It's just. Sad.

[moiraimyths]

Before we call anon rude because let’s see it from their perspective, imagine getting an entire feast to eat. That can be pretty hard to start with so much that’s going on, but if they start with one thing they know they’ll like (aka one character they like) that can be the start for them leaping to other characters to finish the story and the bigger story. I struggle the same way to start book series if I don’t have at least one character that drives me to read it, it’s all about what can be the hook to push them through. Sounds like the anon is neurodivergent (just a guess) so they might genuinely not see it as rude and see it as a solution to even play the game to start with.

Btw absolutely adore the game, the complex and rich characters making them all so unique is amazing. The art is so pleasing to the eyes I love it!! I’m waiting for it all to get out at once so I don’t get too impatient. Shae however interests me the most, which routes will have the most lore for them? Will there be routes that give more lore in general based on decisions you make or do they all share the same amount? (I mean general lore not just Shae lore)

Apologies; we are not trying to accuse any asker of being rude! We are simply explaining our perspective as the developers / are trying to broadly encourage folks to dip their toes into other areas of the story outside of the main route(s) they're interested in, especially considering some routes will be made available sooner than others, and these other routes will likely contain additional scenes/lore of everyone's fave(s) regardless! We want to give each main cast member an equal amount of love (and lore) regardless of their overall popularity, so our goal is not to tut-tut anyone for having strong preferences for one character over the others, but rather to explain that you may be surprised by how much *more* you learn about your preferred characters in the other routes. That's all!

For Shae... Well, they were a foot soldier for one of the worst periods of the War. Lore wise, any other story that touches on the War will likely have content relevant to them and their experiences. ^^

[aroaessidhe]

2024 reads / storygraph

The Principle of Moments

start of a scifi space opera series

a teen girl in the far future where humans are oppressed learns she has a destiny & a lost sister and escapes

and a young time traveler who’s given up trying to find his father through time, and is about to settle in 1812 with the prince he loves, but is unwillingly thrust into the future

they both learn their fates are entangled by a prophecy, and have to race across the galaxy, followed by a galactic emperor and the legacy of heroes from an ancient religion

[lilidawnonthemoon]

[an-inky-fingered-lass]

Let Me Speak: A Character Study

(A story of life, love, and hope; of sorrow, struggle, and rebuilding after loss. A story of everything a life can be, and all the ways it matters. A character study of Melinda May, and the parts of her story they didn’t tell.)

. . .

PART ONE

At the age of six years old, Melinda Qiaolian May knew two things:

One—regardless of the cheerful ribbing from her father about children and the things they would understand when they were older, she would not, at any point in her life, enjoy coffee. (This assertion stood the test of time, as it turned out, a fact Melinda maintained with righteous dignity throughout her life).

Two—she was not afraid of heights. 

There were other things she knew, of course, and things she was very much afraid of. But — there are priorities. As she grew older, Melinda liked to keep a count of all the things that didn’t scare her, and practiced leaning into the way those certainties weighed steady on her spine when shadows stretched strangely in the night. 

Continue reading on ao3.