#but right now as someone who is very aware of mental illness

[folerdetdufoler]

Oh wow so Even IS worried he could be bipolar!!!!Thank you so much for the latest chapter of one word, I think this is such a good twist to some of your fics as this time they are kinda trying to figure it out together….

I remember you once mentioning something along of the lines of not wanting to erase that part of Even from his character (sorry if I’ve worded this wrong) but it’s so appreciated that you touch on it somehow in all your writings, :)

I’ve been waiting for them for so long to realize they have an attraction to each other but now I’m just so invested in their friendship :)

yeah! and it's definitely one of the big reasons he feels so connected to june. he sees a lot of himself in her, and that includes her mental illness. i know i was really vague about it before, but i think that was me trying to avoid spoilers. they won't find out a diagnosis, but they'll continue to talk about it as a very likely possibility, and i like...headcanon? him actually having it. if i were to write a future update then it would probably be included.

i have to find that mention because yes! i never want it to define him, but it does heavily shape who he is in canon. and i like being able to use that character while also seeing who even could be at different stages of it. how does it affect him when he doesn't want to face it, how does it affect him when it's something he has learned to live peacefully with, how does it affect him when it's something he wants to hide, how does it affect him when he doesn't know it's part of him, etc. it can change you, but also you can change around it, outside of it. and a character's relationship with their mental illness can evolve. i want even to be recognizable as even while also given the range that any human with a mental illness can have in their singular lifetime.

and OH my god i kind of want to apologize for how long this is taking. it doesn't feel long when i'm writing it or rereading it because i get to do it in one sitting. but i really am dragging this out, and isak is being so stubbornly resistant to even. i'm sorry! i can't even say he's going to improve in the next chapter! we'll take one step forward but i fear it'll feel like ten steps back. he's just so scared of losing even that he doesn't want to risk the truth.

[malleleothreesome]

Leona who is pining after you...

💛 summary: Cohesive blurbs about things Leona would do and what he would be like if he were pining after you. ༶༶༶ 💛 warnings: gender neutral reader, unedited, pretty much just a stream of my thoughts. There is cursing. Very angsty but also has romance. Mentions of depressive thoughts. A very raw look into Leona's mind. There is smut (wet dream) in the middle, marked with 🔞 if you want to skip to the next bullet. ༶༶༶ 💛 word count: 4.7k because I'm delulu

💛 Leona who is pining after you... tries to gaslight himself and cling to any sort of logical explanation he can come up with to try to convince himself that he definitely does not have feelings for you. It was probably just a one-time thing, and he just needs to find a way to get you out of his head. He's never thought about anyone this way before, so it's definitely just an error in his brain chemistry or something. It was only a coincidence that he happened to be thinking about you at that particular time, and if you had never been on his mind at all, his heart wouldn't be beating so fast every time he interacts with you. He would never allow himself to develop feelings for anyone, especially you, so he must not actually have any. It's really that simple. It couldn't possibly be that he's fallen for some weird, magicless human, right? Right?! There has to be something medically wrong with him! He must be crazy to have these kinds of thoughts about a stranger who just randomly poofed into existence at the beginning of the semester. Why did you invade his dreams? It doesn't matter! What the hell is wrong with him?!

It has to be a mistake, because there is no way he would EVER fall for someone as annoying and boring as you are, even if you do seem to have a better understanding of him than the people who have known him his whole life, and you treat him like he actually matters instead of seeing him as the scumbag you probably should have gotten to know better before giving him your time and attention. It's not like he genuinely cares what you think of him, anyway – he’s just grateful that he doesn't have to deal with another person treating him like a failure or a lazy, worthless piece of shit.

The way you look at him like he could be someone worth loving despite his constant tirade of anger is definitely not a key factor in him caring for you. Your smile and laugh makes his chest feel funny, and the fact that he is suddenly hyper-aware of his body when he's around you is probably just a symptom of mental or physical illness. Maybe he’s finally eaten too much red meat and he’s about to succumb to heart disease at the ripe age of 20. Perhaps he simply hasn't rubbed one out in a while and he’s thinking with his dick and not his head? He's definitely not attracted to you, and he's absolutely not thinking about what it would be like to kiss you right now. That would just be insane, and he can't believe he even let himself entertain the thought! He’d rather die than think about what it would be like to wrap his arms around your waist, pulling you closer to him as you sit on his lap, looking down at him with that beautiful smile and those cunning eyes of yours, gently stroking his face as you lean down to press your lips against his… oh, god dammit!

💛 Leona who is pining after you… finally lays down in surrender to the fact that, alright, maybe he does have feelings for your dumb ass – against all odds. He convinces himself that he’s only humoring this pathetic little crush because it makes his monotonous, tiresome days a little more riveting. Lions are predators, and the thrill of the hunt is a key part of their nature, after all. Before you, all he had to look forward to was staring at the ceiling in his dark room for most of the day until the stars showed up in the sky, or until he got roped into housewarden drama and became too frustrated to do anything other than restlessly pace around Savanaclaw before eventually confining himself back to the comforting solitude of his room. He tells himself he might as well allow himself the small luxury of thinking about someone who doesn’t entirely annoy the shit out of him, because he could sure as hell use the emotional relief. At least this way, he isn’t actively thinking about how much he hates his life, and how much he hates himself for letting it become this way. Besides, what would be the harm in letting himself entertain the idea that maybe, just maybe – if he was lucky enough – you could be the first person to ever break down the walls he built to keep himself from getting hurt by other people? Plus, if nothing else, you make for such a pretty daydream.

Every moment he spends with you makes him want you to keep sticking around even after everything is said and done. You can actually keep up with his banter, which is probably why he can actually stand being around you in the first place. No one else is capable of keeping up with his quick wit, or of providing him with a good challenge. You aren't scared off by his harsh demeanor, and you're able to stand up to him when he gets a little too overbearing. You don't take his bullshit, but you still care about his well being and treat him with respect. Despite his public struggles, you don’t see him as some sort of charity case. He's never met anyone else who is able to be so firm with him, but gentle at the same time. He didn't know someone could have such a strong presence without even having magic, but you're somehow always able to pull the rug out from under him, showing him that you're much more powerful than he initially gave you credit for. You're a real pain in his ass sometimes, but you're also the only person in years who's made him feel like life might actually be worth living. Maybe these feelings aren't so bad after all…

💛 Leona who is pining after you… starts leaving his room more often and even attending classes again, hoping he'll run into you on campus. If he doesn't see you, that would suck, but he knows if he stays in his room all day, then he'd risk losing the chance to spend the day with you completely. Besides, if there's even the slightest possibility, seeing you could be the highlight of his day and make even his shittiest days seem almost bearable. When you finally show up, he throws a casual greeting and a nonchalant raise of a single brow, pretending like he coincidentally ran into you in the crowd and totally didn't memorize your class schedule. When your face lights up, telling him you were glad to run into him, his pulse races and for a split second, a goofy grin flashes on his face and he desperately starts fighting his tail from swishing eagerly behind him. All he does is mumble in agreement, then shove his hands in his pockets, rolling his eyes like this isn't what he's been waiting for since he woke up. He says he might as well join you in the cafeteria, because he's starving and it's that time anyway, so whatever.

As you enter the lunch line, your face falls in disappointment when you realize your favorite sandwich is sold out. Leona expected something like this would happen, so he asked Ruggie to grab him one of that type of sandwich along with his usual order, on the chance that he would get to spend lunch with you. He looks to his right, glancing at your slumped shoulders as your mood seems to deflate a little as a frown forms on your face. He steps forward and grumbles an off-hand comment that he snagged one earlier for himself, but since you look so pitiful, he'll let you have it, only because he doesn't want to deal with your incessant whining the whole lunch. When you gape up at him, shocked by his thoughtful gesture, his face starts burning red as he quickly turns away, aggressively stuffing a bite of food in his face to make himself look distracted. When he happens to catch your thankful eyes glistening at him, it feels like the air has been punched right out of his lungs, and the small smile and sincere gratitude tugging on the corner of your lips causes his stomach to do backflips. How annoying that his usually stoic demeanor always falls apart in front of you.

💛 Leona who is pining after you... constantly teases you and tries to embarrass you, attempting to make it sound like you're the one pining for him (even if you're not!) just to try to distract you from the truth. He teases you relentlessly, hoping it’ll make it so you won't feel confident calling him out on the little ways he treats you differently than everyone else. He loves seeing you get flustered trying to deny it, but he also uses it as an opportunity to study your reactions, trying to deduce your real feelings for him by the color in your cheeks, the wavering of your voice, how often you avert your eyes, and how quickly you fire back with an argument. The smirk that emerges on his face tells you exactly that he's not convinced, even if you deny everything. He may be subtle about it, but he uses every opportunity he can find to feel you out, to see if there's even the slightest possibility you might feel something for him. He'll never let you know how badly he wants it to be true with every fiber of his being. He’d be absolutely thrilled if you confessed to him, but he’ll never show it, because it's far more comfortable hiding behind sarcasm. His prideful, guarded heart prevents him from expressing genuine positive emotions and potentially opening himself up to any type of mockery.

💛 Leona who is pining after you... slowly becoming more attached to the idea of you falling for him. As the weeks go by and he hears you giggle as you argue with him, his thoughts linger a bit more when they try to calculate why he's not actually feeling burnt out from spending so much time with you. His patience with the rest of the world starts waning, not really bothering to deal with anyone or anything that could distract him from basking in your aura for as long as possible. He even takes a more active role in interacting with you, whether you two are chatting as he sits on a bench in the botanical gardens, or hanging out after-hours in his room, hoping that this could eventually become a common routine. He loves learning about you and the world you come from. When you open up about your background, he enjoys getting a glimpse into your mind. His brain starts rapidly filing away little details about you, creating a catalog of thoughts for each of his favorite things about you, or the little quirks you have that he secretly finds endearing. The memories of conversations where you both held each other's gaze for a fraction of a second longer than normal or the accidental touches that cause his heart to skip a beat come to life with a vibrance never seen in other parts of his memory bank. The time you grabbed his hand because the tree branches kept making “spooky” noises around you and the time you playfully messed up his hair (even daring to cop a feel of his ear in the process!), are some of his favorite memories to revisit.

As you two grow closer and more comfortable with each other, he pretends to be annoyed at you more often, only because he wants to test how well you can read him, and also how far he can push you. He revels in the way he feels a spark in his chest and a faint smile tugs at the corner of his lips whenever your eyes meet. He tries hard to remind himself that the growing heat rising to his face every time you grin at him is all because of the temperature. His playful touches start to become more sensual, his voice dips deeper and more seductive as his hands linger on your skin, his breath fanning against your face and neck with every taunting word spoken. He hates himself for loving the way you bite your lip and blush under his gaze as he continues to run his hand up your arm, causing your eyelids to flutter. He loves the feeling of power your vulnerable, affectionate expression grants him, the rush of endorphins so great he thinks his entire body might collapse. When he pulls his hand back, the stinging absence leaves him in a state of panic, terrified that this might have been the moment you'd realize how he feels about you and finally flee. In an effort to swallow his vulnerability and save face, he'll cover up his aroused desire with aggression. With a bite in his tone, he'll lash out at you, mocking the way you acted so touch-starved and desperate in the heat of the moment, even though the only one truly desperate here is him. He has to force himself to maintain eye contact and an air of dominance with you while he snaps at you, even as he feels his throat tighten, heart slamming against his ribs. He metaphorically shoves you away and leaves before he loses control, before his raw affection for you spills from his lips like a confession.

💛 🔞 Leona who is pining after you... fast asleep as he lies alone in bed, your figure haunting his dreams. Right before he fell asleep, he was having a particularly bad day and he found himself clinging to a fantasy of holding you in his arms, using you as an anchor to help him process the dread of reality. On a typical night, all he has are his regrets and unanswered questions swirling around in his subconscious, but tonight is different – he falls asleep dreaming about being curled up against your warmth, wondering what it would be like for you to stroke his hair, gently reminding him that there's at least one good thing to wake up for, no matter how empty the day may feel.

As he falls deeper into his slumber, his eyelids begin to twitch and his long eyelashes tickle his flushed cheekbones. He finds himself lost within a dreamy state that feels so very real to him as your face fades into focus. You're kneeling beside him in the bed, and his body is covered in the sheets, with your arms wrapped underneath his shoulder. He can barely tell whether or not this is really a dream at this point as you rest your head against his. He can feel his body stirring and his tail twitching, roused by the comforting and blissful affection. The way you smile at him as you run your thumb along the curvature of his sharp jawline stirs a dormant ache in his soul as you lean forward and leave featherlight kisses in the crook of his neck, causing him to whimper under his breath. He buries his nose in the locks of your hair, desperately wrapping his arms around your waist, pushing your face deeper into the space between his neck and shoulder, craving the coziness and comfort of being physically close to the source of his yearning. In his dreams, your lips are able to be as soft and gentle as they are fierce and demanding, as the grip he has on reality grows weaker the longer he lets himself be trapped under the intoxicating spell you cast upon him, rendering him at the mercy of his deepest desires.

His breath becomes more labored and hitched, his temperature rising as a flush spreads across his face. His body starts moving involuntarily and he buries his hips further into his mattress, his aching cock desperate to be touched, throbbing as his precum smears against the sheets. He begins humping the bed, whining from the friction against his bare skin as he pulls you closer in his dream, shamelessly chasing after the erotic thoughts racing through his mind, fueled by the illusion of having you in his possession – ready to be ravished and worshiped by him and him alone. His full lips part as he moans your name. He thrashes around in his bed, a tingling, aching need radiates throughout his groin as his back arches off of the sheets, grinding his cock against the fabric of his blanket. He can almost feel the warmth of your body as he bucks his hips upwards once more, desperate for your heat. His fingers twitch as they clutch tighter onto the fabric, desperately trying to grab onto the illusion of you instead, wishing he could feel the texture of your skin underneath his fingertips. In his hazy state, he bites his lips and runs his fingers down his sculpted abdomen, his hand with a mind of its own, aching to reach lower. With a sigh of pleasure, he teases the tip of his leaking, throbbing erection as the muscles in his legs quiver with anticipation. He pushes his thumb against the slit of his tip, already wet with his excitement. He slowly rubs circles around his cockhead, causing his breath to hitch and his cock jerk at the sensation. In his unconscious mind, it's not his hand gripping his shaft – it's yours.

He wraps his large hand around the length of his dick, letting out a moan of pleasure as he starts to stroke, his pace increasing steadily with each pump, imagining what it would be like to have you kneeling between his spread legs, looking up at him as you jerk him off, begging to be fucked by him. His cock twitches and aches to be inside of you, to see your lewd expression as his dick fills you, his senses overwhelmed by the sight of you under him, sprawled out, sweaty and splayed wide open for the taking, gasping for air in between broken moans. His hips buck into his hand and he lets out a low growl as he feels the pressure building within him, feeling himself getting closer to the edge. He quickens the pace as he squeezes the base of his cock, stroking faster and faster, trying to keep up with the intensity of his dream. He wants to feel your velvety walls squeezing around him, milking every drop of cum from his throbbing cock. He pants heavily as the sensation of ecstasy courses through his body, moaning your name as he orgasms, his back arching off of the bed as he cums all over his hand, shooting thick ropes of hot cum onto his abs. He slows his pace, riding out his orgasm, lazily stroking his cock as it pulsates through his veins, feeling the aftershocks of pleasure tingling down his spine. With a final moan of satisfaction, he collapses on his bed, utterly spent from his activities. The euphoria of his orgasm fades away as he comes back to reality, slowly finding himself coming into consciousness. As he opens his eyes, the first thing he sees is the mess he made. He groans as he rolls out of bed, annoyed that he has to clean up after his wet dream before he can go back to sleep.

💛 Leona who is pining after you... falls into despair when he realizes his stupid feelings for you aren't going away – they're actually getting stronger by the day. You’ve made him feel like the world's not actually so cruel anymore, but he knows that his tiny, fragile castle is sure to crumble at any moment. Nothing good ever stays his way, does it? He's been telling himself that this was all some game. It's not like he actually wanted to be in a relationship with you, right? That would be far too much work. But what if you were actually worth the time? What if he could have someone who knew every aspect of his being and still loved and accepted him? What if he could be the person who's worthy of your beautiful, unrelenting love? Even as he chastises himself for entertaining the possibility of a relationship with anyone – especially a herbivore like you – a desperate, longing ache burrows into his bones, overpowering the cold, empty hollowness within him that had haunted him his whole life. This can't be love that he's feeling, and if it is... he knows now that love is the only strategy game in existence he's terrible at playing. There's no doubt in his mind he'll make the worst decisions imaginable because his entire being is clouded with insecurity. He is painfully aware that if he were to ever open himself up to the possibility of being with you, then his first thought would be of a thousand ways you would hurt him. He tortures himself with worries and fear, letting himself be consumed by anxiety.

The thing that frightens him most is becoming reliant on someone else for his happiness. Having someone whose opinion he actually values not thinking he is good enough for them is his worst nightmare. If there's one thing life has taught him, it's better to not have anyone at all. Besides, he doesn't even deserve you. There isn't a soul in this world who deserves someone like you – someone so selfless, understanding, empathetic, and forgiving. If you were his, you'd suffer. Your light would slowly flicker out from the darkness he would drown you in, just like everything else in his life that ever mattered to him. There is so much beauty to you that would go to waste in his care – why would someone as perfect as you ever settle for someone like him, anyway? There's no way you'd ever return his feelings. And even if you did… could he even be brave enough to allow you in? Does he have the strength to accept a heart freely offered to him? Will the scars and darkness within him allow him to accept such pure and unconditional love? He can't possibly be selfish enough to ask you to take the chance on him. You deserve to be with someone who is strong and complete – someone who can give you their whole being, wholly and unreservedly – not someone who is afraid of showing weakness, for fear of you leaving him broken-hearted. Someone who would actually have the capacity to love you like you should be loved. Not a broken, shattered shell of a Prince that could only ever give you pieces of his heart that are full of cracks.

Why the fuck does his chest hurt just thinking about the fact that you would be better off without him? It feels as if someone were stabbing his heart repeatedly, and no matter what he does, the wounds refuse to close and the blood continues to ooze through the cracks. He stares up at the dark ceiling of his dorm room as a single tear rolls down his cheek for the first time in years as he tries to cope with this excruciating feeling of hopelessness, despondency, and despair. The fear that you will one day be gone from his life grips his soul, his heart pleading with him to simply confess, yet his twisted mind forces him to remind himself of his inadequacy. What a sad, pathetic sight you would see, the once fearsome lion, pitifully pawing at your ankles as his heart poured itself at your feet, praying for the warmth of your love and the validation of your approval.

💛 Leona who is pining after you… hates how obsessed he is with you and your opinion of him. Every day he finds himself trying to be better because you make him want to try harder to make the world a brighter place. Maybe you're right, maybe he doesn't need to be King in order to lead people and do great things. Because of the friendship you two have nourished, he finally feels comfortable opening up to you and talking to you about what he's going through: his past, and how much he truly cares about everyone's safety, success, and overall happiness – a sentiment that's foreign to everyone who's ever known him in the past. Although he still can't bring himself to vocalize his emotions aloud, you now truly understand the message his eyes are always trying to relay, no matter how small the glimpse: even if he was destined for a fate in the shadows, his biggest hope is to someday become the leader he was supposed to be. His newfound vulnerability allows you to slowly chip off the armor that guards his heart and bring him peace, healing his wounded spirit. Because of you, he now understands what it feels like to be valued and treasured by another, and he feels empowered enough to put the effort into doing something to change his future for the better. It scares him how badly he wants to impress you, wanting you to be proud of how he's matured.

Before taking on the daunting task of bettering his Kingdom, he starts with something small – making a positive difference in your life. You actually make him feel useful. He loves the way you look up at him with admiration. He knows now that one of the reasons he fell for you so hard is because you always ask for his advice – knowing damn well he's the smartest person in this godforsaken place – and you actually take it. You listen to him and you value his opinions. Seeing things work out for the better when you take his advice and enact his plans gives him a rush of pride and confidence. It motivates him to keep working hard to have good ideas that benefit the world. He's always enjoyed helping people even though he's bad at putting it into words, or showing his true intentions, instead preferring to keep people guessing while he hides behind his indifference and nonchalant attitude. But now, thanks to you, he finds that the more time he spends caring about helping the people around him, the more understanding and honest he is with himself, the happier he becomes. He's feeling more confident stepping up to the plate, having less fear of letting himself or the other people he cares about down.

He started feeling honored to be the housewarden for Savanaclaw again and he actually takes the responsibility seriously, tackling issues and standing his ground with the students and teachers. He wants to set an example for others, making you proud of his actions by raising his standard. When it comes to issues in the school and within his territory, he's calm and diplomatic as he addresses issues – making sure everyone is heard and everyone walks away satisfied. No longer is he plagued by a lack of enthusiasm to make real, significant changes. He now genuinely enjoys himself, striving to go beyond his expectations to overcome his shortcomings, always pushing himself to think outside of the box. It's like the Leona of his past no longer exists, and he doesn't feel any resentment or shame at the thought, simply believing it's for the better that he finally has the strength to make room for a version of himself he can enjoy instead. Because of your guidance and patience with him, he’s slowly learning to no longer fight his introspective nature, instead choosing to work hard every day to embrace all aspects of himself – whether they be negative or positive. Every day is far from perfect, but he's allowing himself the respite of leaning on your shoulder, even though for now, it’s just as a friend and trusted ally, not as a lover. For the first time, he's happy with where his life is going and the person he is becoming. Through this whole experience of falling for you, he learned that there are still things worth fighting for, regardless of if you one day soon reciprocate his feelings or not. At least, that's what he keeps telling himself.

I was nervous to write this because we all know that canon Leona leaves much to be desired when it comes to his story and the complexities of his character. I've spent over a year of loving him, meticulously crafting who I think he is and who I want him to be. Most days, I'm pretty sure Leona Kingscholar is just a character who exists solely inside of my mind, completely separate from the source material. So, if this resonates with you, I am very glad! Thank you for reading. I hope I was able to bring justice to my beloved Leona! If you would like to see this series with another character, please let me know. 💛 Erica Malleleothreesome

[azulsluver]

𝐂𝐔𝐑𝐄 𝐌𝐄 𝐃𝐎𝐂𝐓𝐎𝐑

tw. aggressive behavior, mentioned hallucinations/murder.

|| Note: You will be addressed as [Mx. LN]—which means last name ||

[01]         [02]

you always thought of the good of people, everyone deserves a second chance. with files in hand, you enter the luxuries building filled with lost souls. the very first patient who goes by the name, 

Riddle Rosehearts,

waits patiently for your arrival. dying to meet his savior.

                            the queen has gone mad!

People always told you how good of a person you were. With a pat on the head and a pinch to the cheeks you were a good child with good intentions. Always seeing the bright side of things, aware of current and past situations to make you even more mature. It was a perk everyone adored from you.

Likewise, you wanted to do something more with your kindness. Studying the human behavior was interesting and unique in your eyes. You wanted nothing more than to help those in need, those less fortunate. Your heart was heavy which often times let’s you trip over the hands that wish to take advantage of you.

Your life was going just where you wanted, hired in a field where you can help the mentally ill, and with a supportive fiance who waits for you every night with a hot meal on the table.

—

(0)

—

With a click of your pen pressing down on the tip, the sound soothing your ears with each press. Your eyes scan over the many files of your assigned patient, it switches up every week with new faces. Wanting to be familiar with them you study each character’s appearance to their background. Interesting, intimidating and beautiful, pictures from mugshots to present photos. Looking up at the clock in the wall besides the clicking of your pen, the handles little movements are just as loud to remind you.

You gather the files back in a neat pile by slamming it gently on the table in order, tucking them under your arm. The pen clipped to your work shirt as the outside of the room gets busy. Heels ponder the floor as you make your exit out of your office, admiring how docile some patients are as they go for a walk near the garden.

The hallways were something you were determined to remember by, each carved figure and painting makes it unique to look. You’re almost too caught up in the beauty of your surroundings to see how your area of people tend to get smaller and smaller.

“Are you insane? You let him speak to me as some peasant!? I can’t take this any longer, I’m reporting this to the headmaster..” A lady screams just across from you.

She storms right pass you without notice, bumping into your shoulder. She’s wearing an ID clipped to her chest, the first thing you thought of was how unprofessional that was but kept that to yourself.

“Ma’am! Please wait—“

“Leave her man, they always complain.” A blue haired guard runs past you, ignoring his coworkers comment.

What an odd encounter. You turn your attention to the more laid back security guard who puts a hand over his neck. Disappointment spreads his features before irking a smile your way. Your lips pull back into one as well, a small wave.

“Say, are you new here? Haven’t seen you around before.” His voice is playful and lively, the atmosphere changing just as quickly.

“I am. I’ve grown accustomed to this place just last week before moving my belongings.” Small talk, but hopefully it was quick because your first patients room just so happens to be right behind him.

“Sweet, we’ll I’ll see you around!” He tips his cap towards you, his walkie-talkie flaring to life as the man from before crackles.

Now that they were out of the way, you noticed that the lady who stormed off left the room you were supposed to enter. Shrugging, you make your way towards the door. Your hand grazes the handle, its oddly making you feel heavy and warm.

You stop yourself from turning the handle.

Knock Knock

“May I enter?”

It’s silent for a moment before you heard someone. You enter. The room is coated in a nice smell of herbs and roses, you close the door gently behind you before looking up to meet the eyes of your patient.

His face is relaxed, yet his lips look more of a frown as his brows are sharp and small. His demeanor is slightly intimidating yet his looks are beyond pleasing to look at. Large eyes watching you as you sit on a chair across from him. He seems to be having tea, his spoon mixing the herbs together. You’re unsure of who has been providing him tea, his records show that he should at least be supervised.

You eye the tea, it’s not hot because there is no smoke piling off it. You get straight to work, clearing your throat.

“Good morning, Riddle. My name is [Mx. LN]. We will be talking just for today, how does that sound?” You place a hand over your chest putting up your best introduction to get him comfortable to speak with you.

He brings the tea cup to his lips, not a noise made but the movement of his throat as he drinks. Riddle seems to be pondering for a moment, gazing at the tea before straightening himself up. His eyes seem to glare at you now, the sudden change of his attitude didn’t alarm you however.

“You’re much more civilized than the current one. How rude of her to walk out so sudden, it’s not my fault she can’t handle simple criticism. Doesn’t she know who she’s speaking too!”

Interesting, you nod along to his angry rant, taking note on how his pupils dilated and how the grip on the teacup makes his knuckles turn white. Strangely enough his body heat is clear to the eye, his face contorts from a lovely looking man to some angry sports fan. The redness on his face nearly matching his hair.

Riddle let’s out a sigh, that got out of his system and he never felt better when not being interrupted.

“Apologies…how crude of me to behave towards my underlings.” You blink.

There is a small silence again, you aren’t sure on how to respond, not when his smile is nothing but comforting. Was he aware of his behavior? How he speaks to you like some higher being yet with a tiny pinch of kindness.

Almost like child playing make believe.

“I see. I can understand how upsetting that is. Is there anything else that’s upsetting you?—“

“My king.” Riddle snaps at you, his brows furrow at you.

“Pardon?”

He makes a face of irritation, you’d have no choice but to play along to not further anger him.

“Right. My king..” The name is funny yet sends goosebumps down your arms. “I’m here to listen for your troubles.”

There’s a flash of calmness through all those fury, his breathing is much more softer and so was the atmosphere. You played carefully with your words, testing some phrases to see how he’d react. Riddle doesn’t like any back talk from what you’re understanding. His records were right about this “delusion” he’s been experiencing lately. A terrible outburst, stuck in the past as he believes rightfully the name he’s being addressed by is appropriate. 

Although it’s unhealthy to encourage this behavior, you’ll try to worm your way into his comfort. That way things could be settled easier, communication would flow once he’s trusted you enough to set personal boundaries. 

Riddle thinks over his next response, touching his forehead with a silent hiss. Medication, each patient must have medication in the morning. You cough into your hand.

“Have you taken your medication yet?”

“No…that imbecile of a woman has not yet fulfilled her duty.” You’ll call someone in later to give him his meds. Maybe next time he’d be more docile.

Time goes much slower than you expected. You get to understand a picture of Riddle’s world or view. He’s seeing things that shouldn’t be there, but those are rare occurrences. You don’t disagree over certain topics, he enjoys talking about the garden he gets to visit during his free time. Riddle is much more kinder when agreed upon, he wants things his way. Although it isn’t entirely that difficult to twists those needs.

By now he’s finished his tea, you’ve been chatting for a good hour now. You stand up and bowed a goodbye for your leave, Riddle was pleased with it at least. As you close the door behind you with a huff, you remember to report his medication to his personal nurse.

Trey, was it? You have plenty of time to get to know your new colleagues.

—

(0)

—

The door shuts with a soft click, it rings a melody in his ears. Riddle frowns at hearing your footsteps slowly disappear. He sits quietly in his seat, taking glances at the empty tea cup and white clean room. The light above him burns when he looks up. He’s bored. No one is around to talk with, not until another hour or Trey comes back.

…..how silly, he does have friends to talk to. He can’t wait for free time, there’s a white rabbit hidden behind rows of rose bushes. It doesn’t make much noise anymore, but it’s good company.

[attractive-nuisance-esq]

Ed’s journey this season is going to perfectly mirror addiction and recovery, and I am so fucking here for it. Watching these first three episodes of S2 was like watching a highly dramatized AU of my own descent into rock bottom (except everyone was dressed wayyyyyy cooler than I ever was), so I have a lot of thoughts, reactions, and insights that I want to share with other fans. I’m sure many of us who have struggled with our mental health connected with Ed in these episodes, but I think addiction is the most appropriate lens through which to view him because addicts (more often than people who struggle with other mental illnesses) so wholly destroy their own lives and utterly devastate those of their loved ones. I want to share - from the perspective of someone who has steered her own ship straight into a storm and woke up alone to face some very hard choices - what is going on with Ed at the start of this season and what I think is coming.

Let me start by saying that Ed isn’t literally addicted to any one thing, despite his heavy use of drugs and alcohol, but his goal is the same as that of all addicts: escape. He does not want to sit with the pain of Stede leaving him on an immediate, surface level; on a deeper, more habitual level, he doesn’t want to sit with the pain of his own self-loathing. Of course the two are related: the former brings the latter to a head. Stede abandoning him dredges up and brightly illuminates all of his insecurities, and now Ed has to run. Get out. Escape. Don’t think about it. So he is fighting, stealing, drinking, snorting, shooting, killing - whatever it takes to not think about it.

“Demon? I’m the fuckin’ devil.” People in recovery often talk about addiction as if it were a separate, sentient monster living within them. Ed taking on the mantle of demon - a creature known specifically for possession, for removing the host’s free will - is intentional. So is his insistence that he’s not just any demon but the demon. The worst there is. (More on that when we get to The Innkeeper.)

Izzy’s confrontation of Ed in the captain’s cabin and then on deck is a form of intervention. Izzy is trying to help Ed, but of course this goes terribly for him and for Ed because interventions (I cannot stress this enough) are maybe the worst thing you could do to an addict. All addicts know things are bad, but they cannot be pushed to change one single second before they’re ready. Ed knows things are bad. He’s well-aware of how he’s spending his time, how his crew feels about him, how disappointed Izzy is. Being confronted with all of those truths by Izzy was always only going to make him do two things: 1) dig further into his unhealthy coping mechanisms, never mind that they don’t have nearly the effect that they used to; and 2) lash out at the person who forced him to think about it. Izzy lost his leg the moment he stepped into Ed’s cabin.

The impossible bird. You guys remember the song Chandelier by Sia? The one about her addiction to alcohol? The whole thing may as well come right out of Ed’s mouth at the end of that first episode, because that experience is exactly what he’s trying to convey to Frenchie. Nevermind that Frenchie has the temerity to tell him the bird can’t exist, that it has to come down sometime, that flying forever isn’t sustainable. The bird can come down on its own terms, or crash… but Frenchie’s definitely not going to say that much. Still, “that sounds like something that can’t exist” hits Ed, and leads us to the next episode.

Now we’ve got Ed forlorn, heartbroken, almost catatonic while playing with his cake toppers. We don’t actually see him crying in the opening of the episode, which is the point. He’s done crying now. The impossible bird can’t exist, and Ed has already resigned himself to this. He’s decided to die. The only sure-fire permanent way to not think about it.

When next we see Ed, he seems to be doing better, but this is a huge red flag for anyone who knows to look. He’s giving away his responsibility to Frenchie; he’s cleaning the cabin for the closure. He knows the end is coming fast, and the relief that knowledge brings him leaves him weirdly at peace. It is he eeriest part of these episodes, IMO.

Then he goes to find his first mate, the person who knows him better than anyone else in the world, the man he just fucking shot and ordered killed. Ed needs his low opinion of himself validated, and of course he thinks he’ll get it from Izzy after everything he’s done to him. He wants the one person who has stuck with him through everything to confirm that he’s now irretrievably broken and no longer worthy of his love. Ed wants someone to tell him that he’s right: he should die.

He doesn’t get that from Izzy. Interestingly, Izzy doesn’t tell him he should die. He says “Clean up your own mess.” Izzy has learned the lesson now that Ed isn’t ready to get better and that he can’t make him be ready. (This post isn’t about Izzy, but hoo boy - I have big feels about that man.)

Ed has been indulging in various forms of self-destruction in order to not feel his feelings, and steering the ship into the storm is his worst indulgence yet. This is the worst of his crimes - not beheading or arson or a red wedding. It’s when he tries to bring down everyone who has ever loved him into his misery, into believing what he believes. The audience generally (and Ed’s audience of Stede specifically) can forgive him for hurting strangers and for the non-specific mayhem whose victims we’ve never met; but it is much less certain that anyone will forgive him for hurting the only family he’s ever known.

The storm itself is the perfect metaphor for Ed’s attempt on his and, incidentally, everyone else’s lives. One of the most common metaphors used by friends and family members of addicts is that of a hurricane: that their addicted loved-ones tend to destroy everything they touch, anyone who was foolish or brave enough to stick around. And, like hurricanes, addicts aren’t malicious. Ed’s primary goal here is to get himself killed, not to kill everyone else. He wants the ship to go down so his death is certain. His firing a cannonball into the mast and asking Jim and Archie to fight to the death isn’t malice: it’s utter and complete nihilism. Nothing matters anymore. Nothing and no one. The end is near, and he’s so fucking drunk and high off these distractions that he couldn’t think about it if he tried. He’s manic with relief. (See also: “Finally.”)

And now for the finale: Purgatory. Buckle up, because this is where the addiction analogy gets real *chef’s kiss.* Purgatory is the equivalent of the morning after the worst, most rock bottom binge night of your life. You wake up with no one for company but the ghosts of your former selves. Now what?

Well, first - who is Hornigold to Ed? Why is he the guy Ed sees? It’s because Hornigold is another addict, if you will, but one who is (in this Purgatory hallucination) farther along in his recovery. He can impart some wisdom from that place, but he can also stand in as someone Ed can loathe because they’re not as different as Ed once thought, even if Hornigold can say he’s grown.

Hornigold tries to give him soup. He tells Ed, “Gotta get these nutrients into you,” and then literally shoves soup down his throat. That’s what it’s like in rock bottom. You don’t want to take care of yourself, but some lizard brain survival instinct takes over and makes you drink water, eat a piece of fruit, take yourself to the hospital. These things don’t really happen voluntarily that morning after, but you can still count on that instinct to kick in with some damage control.

Ed telling Hornigold how he “got here.” Hornigold says “Mutiny. It’s always mutiny.” Ed insists his mutiny was special, worse somehow. This whole scene is exactly what happens in your first recovery support group meeting. You go in thinking no one has ever been as fucked and fucked up as you are, which makes you feel isolated and alone. But then you get there and everyone else in the circle has done the same shit, been through the same shit. Ed’s not actually the devil; he’s just another demon, like many demons before him.

Ed worries he’s insane when he reflects on everything he’s done. Hornigold’s reply that “Feeling bad isn’t going to rebuild an abdominal wall” is a concept that people usually learn a little bit later in recovery, so I expect we’ll see more on this theme from Ed. Guilt is a useless emotion that only serves to conversely make the addict feel better but doesn’t help the harmed party: the addict feels like their suffering is cleansing, but it’s not - feeling guilt is just more self-indulgence, more self-destruction. Hornigold - a fellow addict in this moment - is trying to get this lesson to him early. It’ll return.

“You’ve got to move on or blow your brains out.” We’re getting back to Purgatory as the metaphor for the morning-after rock bottom, because this is the exact calculation that every person in recovery has done. They all had to answer that one big question. Your whole life is a mess, and you made the mess. Do you want to clean it up? Or quit? (Or make some soup? Yeah. That big question can’t be answered without basic needs having been met. So let’s eat. Let’s start there. It’s easier.)

Now we have Ed’s fantasy about opening an inn: This is also a common part of the morning-after rock bottom. You start thinking about the wrong turns you took, the mistakes you made, the way your life was supposed to go and all the reasons you’re not where you wanted to be. (And all the people you can blame for the fact that your life didn’t go as planned.) And when that honest part of yourself starts telling you that actually it’s all your fault… well, a) you don’t wanna hear it, and b) you can’t silence (kill) that monster, no matter how hard you try. You’ve got to face it. Face all those truths you’ve been running from for years. Now you have to think about it.

So now the big question, the inevitable math. Hornigold suggests looking at the pros and the cons. That’s the easiest way to break the calculation into manageable variables. This is probably my favorite moment of the episode, because when you’re sitting there, morning after the worst night of your life, everything is fucked - these are the exact variables that go into your equation. Do I really want to live? You ask yourself that, and because your life is in fucking shambles, you come up with the stupidest goddamn reasons to keep going. You wanna see the next seasons of Good Omens and Loki. You wanna eat your mom’s spaghetti again. Sometimes it’s nice when someone hugs you. It’s never the big things that save your life; it’s a bunch of the littlest things. The smallest comforts. The big things… they’re too unattainable. They’re too much to hope for, and they’re more than you could possibly deserve. What are the pros of living for Ed? Warmth, good food, orgasms. This is a stunningly accurate representation of the things that will keep you alive once you’ve hit rock bottom.

And then the cons: “I don’t think anyone is waiting for me.” This is why addiction is the better metaphor. There is no human experience more isolating than addiction. You are alone in more ways than you’ve ever been before. You have pushed away or pissed off everyone who ever cared about you. And even the ones who will maybe still be there for you - they can’t help you clean up the mess you’ve made. You have to do the work alone, even if they’re still willing to stand next to you. And this con… it’s the scariest one. Your list of little pros looks so pathetic next to the horror of being utterly fucking alone. Who is going to brave that for some stupid shit like Tom Hiddleston sexily flipping his hair back in that Loki way he does? Why should Ed carry on just because blankets are cozy and marmalade is pleasant?

This is where we get to the moment on the mountain, and what Stede represents. Hornigold tells Ed “You’re unlovable, and you’re afraid to do anything about it.” Ed could do two things about being unlovable: He could try to fix it, or he could end it all. Hornigold represents the worst part of Ed: his weaknesses and cowardice. And if Hornigold is in the driver’s seat, he’s going to end it all. He throws the rock off the cliff, and Ed gets dragged down into the water to drown. (Let’s also talk later about how often addiction is compared to drowning, and how nothing else in the show actually threatened Ed’s life - not Izzy with a gun, not all the rhino horn, not Jim’s cannonball - like drowning in his own mind.)

But then there’s Stede. Stede is how the pros win over that one big, horrifying con. Stede is hope. Stede is just a glimmer of hope. Hope is the most important thing you need in the morning-after rock bottom. As much as I enjoy the idea that it was love that saved Ed, I don’t think that’s a wholly faithful interpretation. Because Stede’s love for Ed doesn’t solve anything, doesn’t fix anything - it certainly doesn’t fix Ed. It cannot fix Ed. Hornigold just told Ed that he’s the one who has to “do something about it,” because Ed is the only one who can save himself. But even if Stede’s love for him in itself isn’t what saves Ed, Ed’s trust in Stede combined with that love gives him hope. Stede loves Ed, truly loves him, came back to him even though he knows Ed’s nature, knows his list of crimes, knows what he’s done to Stede’s friends and family. And maybe Ed can find in himself what he trusts Stede truly sees. It’s a “maybe,” not a certainty. But it’s hope. Someone loves him. Maybe he can love himself, too.

This Woman’s Work: I read this song as referring more appropriately to Ed’s relationship with himself, in no small part because Ed literally made himself the woman in the cake topper couple. All the things that should have been done, should have been said - they’re things Ed needs to do and say to himself. He’s got a little life and a lot of strength left. The journey has just begun.

I want to pop back quickly to a few other moments in The Innkeeper that resonated, starting with Stede and Izzy’s discussion about what happened to Ed: “He went mad. He was a wild dog.” Izzy describes Ed’s breakdown as if he was no longer the same person he once was; this is exactly what addiction does to a person. Ed hasn’t been himself; he’s been held hostage by his need for escape, and he’s become something else. Possessed, if you will.

Izzy: “You and me did this to him, and we can’t let the crew suffer any more for our mistakes.” I’m not writing an essay on Izzy (yet), but this is a very interesting perspective that says a lot about Izzy. Stede and Izzy both owe apologies to Ed, but they are not responsible for his actions. I predict we’re going to see this theme explored in later episodes as a part of Ed’s healing process and recovery. And also hopefully in Izzy’s growth.

Frenchie’s line that “We’ve been living second-to-second for a while now” is a callback to the impossible bird idea. Which, again, is just Chandelier x Sia. “I’m holding on for dear life, won’t look down, won’t open my eyes, keep my glass full until morning light ‘cause I’m just holding on for tonight.”

So what’s next? For me, it was learning to sit alone in a quiet room with my thoughts. It was apologizing to the ones I hurt, because even if I didn’t mean to hurt them - even if I was suffering also and worse - they still got hurt, and in the end it didn’t matter why. It was developing the habit of liking myself, and acting on whatever self-love and affection I could conjure up. And yes… it was new seasons of Good Omens and Loki, my mom’s spaghetti, and hugs.

So I think Ed has a lot of accountability, reflection, and breaking of old habits in his future… but also warmth, good food, and orgasms. And good for him. That’s the beauty of recovery: we get to come back.

[alans-maladaptive-daydreams]

The monster living in my mind. Yandere!MC x Obey Me brothers.

I've always seen fics of the brothers being yandere, which makes sense, they are demons but I think I also want to see a bit more yandere!mc so I wrote this. I didn't put a specific brother because the use of pacts and magic is a bit involved so it affects all seven equally, feel free to imagine it with whoever you want.

note: I might edit it again later to change the gender of the witch, since I don't feel completely comfortable with the female gender for the lover, I'll see if I can do it another day (cries in college student) I've been doing this for almost 3 months now so I just want to finish it lol.

Warnings: Violence, mutilation of the human body (self-harm and injury to a third party), infidelity, mental illness, insecurity, and insults related to someone's sex life. (I think that's all if there should be anything else I will edit it immediately, suggestions are very welcome). No-native writing, corrections are welcome.

Reader: Gender neutral.

Genre: Yandere and explicit violence.

Masterlist

You had always managed to control those negative feelings that consumed your brain. Those feelings that made you think that the person you loved was betraying you, those same feelings that convinced you that you deserved it because after all you will never be enough.

Although you were a very jealous person, you rarely showed it to your partner. You suffered in silence and sometimes even other people paid the consequences of your moodiness and insecurities.

Your jealousy sometimes terrified you, the thought of ripping the throat out of anyone who had the slightest romantic or sexual interest in your partner was not uncommon in your head. Sometimes your brain played tricks on you, convincing you that you should make them understand that no one would love them more than you. They belonged to you.

You were aware that these thoughts were dangerous, you usually pushed them into the deepest and darkest depths of your being because, in the end, it was all part of your imagination and insecurities.

You had different partners, and none of them gave you a reason to distrust or get violent treatment from you. So even though you brutally disliked certain friends of your exes, you never said a word and preferred to ignore the violent flame inside you.

That was until you met him, a beautiful demon from head to toe who, while you brought out the best in him, he brought out the worst in you.

Many of your insecurities were drowned out as you moved through life together, yet they never completely disappeared.

The violent feelings became almost extinct, but they were still there, waiting to be fulfilled at the right time.

That's why you were visiting your psychologist almost daily, that violent insecurity resurfaced.

It resurfaced like an unstoppable flame, a bomb waiting to explode.

In a constant state of nervousness, your body trembled every time your boyfriend had an attitude that made you distrust him.

It started out as something you chose to ignore, but it never left a good taste in your mouth. All of his devices now had a different password than the one you knew.

When you questioned him, afraid of making him think you were invading his privacy, he simply replied "Security", you didn't dare ask him for the new passwords because you feared it would make you look bad.

Your second sign was his obvious nervousness every time he received a message or a call which, of course, he had to take in private.

It was then that you decided to blindly trust your boyfriend and avoid at any cost those thoughts that were taking away your sanity.

However things became more evident, from cancelled dates, strange looks at RAD, his brothers' nervousness when you asked for his whereabouts, his disappearance for hours at a time with ambiguous explanations. The relationship became weird, to the point that your boyfriend couldn't even look you in the eye every time you met because he didn't even have time for you, in his words; he had too much work to do.

That part of you that you thought you had buried was resurfacing, but much more violent, psychotic and anxious.

It was as if your brain was screaming at you in a loud voice "He's cheating on you, kill that slut so he can see who he's fucking with".

The thought of your beloved boyfriend with someone else disgusted you and made you completely sick.

It was then that something in you changed. You don't know what it was exactly, and you can't explain in what moment you started to think like that. It just happened, it was as if that sick and violent being that had always lived in you had finally found a way out, and you decided to accept it because, after all, that was your reality.

"We're demons, you're stupid for thinking he wouldn't cheat on you. "The demon mocked you as she showed you a video in which her friend, a witch, and your beloved boyfriend were the main characters in a sexual scene so repulsive that your stomach turned inside out creating a pain you never thought you would be able to feel.

With trembling legs and a broken heart, you walked to the bathroom holding back your tears and the vomit that threatened to come out. The demon watched you walk with perhaps the saddest look she had ever seen on you.

As soon as you entered the bathroom, you stuck your head in the sink, completely emptying your stomach.

Your cold fingers ran over the dark circles under your eyes, caused by sleepless nights of overthinking the whole situation. You reached down to your lips, covered in the residue of breakfast, and with a trembling hand, you stilled the sob of pain that shot through you like a bullet.

Tears soon overflowed from your eyes as your heavy breathing forced you to crouch on the floor, making yourself as small as possible, as if that way you could avoid the intense pain you felt. Your fingernails reached your scalp, digging violently into it, causing blood to slowly stain your hands.

"'Son of a bitch" you whispered.

You were going to kill him. Him and his fucking whore.

You were going to eat his brains while his brothers watch your feast.

Or better, you were going to rip every fingernail off his body, every finger, every tooth and make a beautiful necklace.

You'd open his head like a jar and eat his insides for breakfast.

You were going to tear him apart piece by piece. You were going to burn every part of his body that you touched until you saw living flesh.

Although you knew you were only a mere human, you also knew that the pact that bound your souls together was your greatest weapon. You were not the same human that had started the exchange program, you were a powerful sorcerer and you had seen death with your own eyes, you were not afraid. You were going to ruin his fucking life.

"Sometimes demons need a show of dominance to know their place, you must prepare yourself because eventually, that day will come". Your master had told you a long time ago. You never thought that day would come so soon.

You stood up and looked at yourself in the mirror, the wounds on your scalp looked deep enough for blood to drip down your face.

"MC? Fuck, I didn't know you'd get like that, I'm so sorry, I shouldn't have shown you that." The demoness approached you with a worried expression. She placed a hand on your back to comfort you.

"No, thanks. I needed to see it."

Your cold tone sent a shiver down the girl's spine, without looking at her you headed for the exit and before you left she said; "Don't blame her, okay? I know you know her and you exchanged a couple of words. She's not a bad person, it was just a mistake."

"I don't give a fuck, he was my fucking boyfriend, she knew that." with that, you walked out of the bathroom and headed straight to the House of Lamentations.

That day you locked yourself in your room and refused to let anyone in. They were all traitors, they always knew about his affair with his mistress and didn't have the balls to tell you.

Every time you remembered how they told you they appreciated you and thanked you for saving their family your stomach would drop. You no longer saw them as your friends, they were just disgusting beings who needed a reminder of who was in charge.

For seven days you didn't sleep, you didn't go to RAD and you didn't eat. For seven days you watched your boyfriend's every move, his whore's every move. Every move was etched in your brain like a tattoo. You didn't need to think about it for a second to recite it out loud.

By the end of the week, everything you had been repressing and controlling for years had come to light. What you had always been was now comfortable in your brain, the insecurity was gone, but the violence was more alive than ever.

At the end of the seventh day, in the middle of the night, what you had always feared became your nature.

You grabbed your bag and left your room, leaving it secured in case any of the brothers tried to break in, a spell that would shatter any limb that even accidentally touched your door.

"MC?" you heard one of his brothers say, but you ignored him. You were too focused on your plan.

Behind the House Of Lamentations was the place where you opened a portal, one straight to her lover's house. You didn't hesitate for a second to walk through it, standing right in the entrance hallway.

Your ears heard what you had always feared.

The familiar moans along with a not-so-familiar voice. The sharp movement of the bed's wood.

The love you had once felt for him disappeared completely.

You walked through the dark house, trusting your hearing until you reached the door.

Before you opened it you contemplated all that you were putting at stake in carrying out your desires. You contemplated whether it was really worth it. However, that little spark of reasoning vanished as soon as it arrived.

You set your bag aside and opened it.

The heavy hammer saw the moonlight for the first time since you had bought it. You held on tight and opened the door.

If at any time your sanity was present during all that suffering, after what you saw that night it not only disappeared, you killed it and buried it deep inside your annihilated and diseased self.

Silently you approached him and the first blow was directly to his head. Knocking him unconscious instantly.

The whore looked at you with frightened eyes and screamed trying to get the heavy body off her.

"Do you like getting into other people's relationships?" you asked, grabbing her hair in a fist and dragging her into the living room.

"You're fucking insane!" she screamed as she kicked and struggled with your violent grip. You lifted her body roughly and slammed her against the hard wall, squatted down and with your hand gripping her hair you forced her to look at you.

"Do you like messing with other people's relationships?" you asked again. She tried to defend herself from you with a pathetic and weak spell. You laughed and grabbed her face violently. "That's your attempt to save yourself? You should put a little more enthusiasm into it, like when you spread your legs like the whore you are."

She perhaps saw that she really couldn't against you, after all she knew who you were and she knew that no one could control the seven princes of hell as easily as you, so she felt that her only solution was to kneel at your feet and beg for forgiveness, praying for sanity to return to your mind, for your humanity to win over that monster that had awoken.

"I'm sorry," she cried, her voice heavy with fear. "I won't get into your relationship again" she grabbed your legs begging for your forgiveness over and over again.

"I hope it was worth it," you muttered as you grabbed her hair again to drag her into the dining room.

"What are you going to do?" she asked between sobs still clutching your arm, in an attempt to loosen your hard grip.

"You'll see." you smiled as you picked her up and slammed her down on the table in the middle of the room, causing her bones to crack slightly. "Or you may not survive to find out." You placed a hand on her chest as she tried to get up quickly and with a simple spell you completely paralyzed her body.

Her eyes widened gigantically and as she tried to scream for help you pulled the rest of your things out of your bag.

"It's no use, try screaming all you want, no one will hear you."

"What the fuck are you doing MC?" The voice of the main character appeared behind you. You turned to see him, blood was pouring from his head and he was in his demonic form in all his glory.

He was the love of your life, but if he couldn't play fair you would have to get rid of him, and you knew it would hurt you more than him.

"Don't worry, you'll be the only audience to this wonderful show I call 'Whore Anatomy, for cheating boyfriends'. Sit down and shut your mouth." He rushed over to you, intending to stop you. "Sit down, and shut your mouth." you repeated in a loud, clear voice. The pact worked its magic and your boyfriend was sitting there staring at you with undecipherable eyes.

"You know I love you, don't you? That's why I'm doing this because I love you and you must not disappoint those who would give their lives for you," you said as you took different things out of your bag.

You looked at all your instruments and thought carefully about what to start with, the excitement made your skin crawl. You didn't expect it to be so exciting.

"So, that's why I'm going to show you that this bitch isn't worth what I'm worth and hasn't done what I've done for you. It will be…educational." your eyes sparkled at the sight of the sharp scalpel. You took it and showed it to your boyfriend. "Pick a portion of the head. Ears, nose, eyes…" your kind smile faded as you saw his expression of fear, your hand slammed violently against his cheek and you repeated. "Choose a portion of the head. Ears, nose or eyes."

"Eyes…" he whispered to your surprise.

"Wow, I didn't expect you to go straight to it." You laughed and approached the witch, who was silently praying. "Stop praying, hoes don't go to heaven." With your fingers you opened her eyelids and showed her the scalpel. "Eyes are a hollow, fibrous globe, we use them to see beautiful things and to see unpleasant things. Whores, like your friend here, use it to track down men in relationships and crawl like a snake to get some cock" you muttered as your scalpel pierced the socket of the girl, who was crying and trying to scream, or so you thought after all her mouth was sealed.

As your sharp scalpel pierced the socket, her quiet cries became more erratic. " Quiet." you murmured, trying not to lose your concentration. Your index finger buried itself in her lacrimal duct pressing hard in an attempt to pry the eye out as cleanly as possible. Blood stained your fingers and the witch's constant attempts at movement were beginning to annoy you. "Stop or I'll cut your fucking eyelids off."

When she calmed down, you took the opportunity to completely bury your finger in the lacrimal, practically ripping the eye out of its socket and cut the nerve that attached it to her body.

You looked at the orb with pride and showed it to your boyfriend. "I pulled it off pretty well, don't you think?"

Your boyfriend looked at you with a strange look on his face, one you couldn't quite figure out. However, the game had only just begun, and the excitement was altering every part of your body.

Morning came, and your boyfriend woke up to the sun shining directly on his face. He looked around when the reality of everything that had happened the night before hit him violently.

"Good morning." You smiled brightly. "Go get changed and make me breakfast, the ingredients are in the freezer." you pointed to the kitchen as you lazily flipped through the channels.

Your boyfriend looked around, everything seemed normal, as if nothing had happened. He was a demon thousands of years old, he'd seen and done some fucked up shit but what he'd seen you do surpassed anything he'd ever lived through.

He've never seen a human look so… happy while mutilating a living person piece by piece.

He had never seen your smile and gaze as bright as it was last night.

He walked over to the fridge and opened the freezer, finding his mistress's frozen head, along with different pieces of her body separated into containers.

"So? Any idea what you're going to make?" you asked as you sat down on the island with a quiet smile.

It was then that he realized who was in front of him.

The monster watched him curiously as they rocked back and forth gently, perhaps trying to soothe the voices that were tormenting their deteriorated mind.

He realized that he had never truly met the depths of your being, that your loving, human form was nothing more than a barrier to prevent the one thing you yourself feared from coming to light.

But now… you seemed comfortable with this new nature of yours.

Too comfortable for his liking.

[powerpolyculeshowdown]

A vent about the poll runner that got doxxed:

I was originally going to reblog the post, as many people have - and I don't blame anyone for doing so, it's something people will want to spread awareness about, especially among other poll runners, because the stakes just got a lot higher. It's not just worrying about mean and hateful people in your inbox or your notes - which can be extremely harmful on its own and has led some mods to abandon their polls - but it adds a new layer of concern.

doxxing is very serious, it comes with it's own mess of fears to the victim: there's the same psychological harm you might get from the hate, but also a physical danger, because letting someone know you have their address is a threat. It's a very clear and serious threat, even if you don't say you'll do anything. It can be traumatizing, a lot of us are already neurodivergent and/or mentally ill in ways something like that can cause more harm than it would to a mentally healthy/neurotypical person, and those would probably be heavily affected by it as well. If you struggle with paranoia as a symptom of anything, or just very high anxiety, this could change your life drastically. If you don't struggle with those, you might start to. I don't know what kind of sick fuck would doxx someone without knowing how awful their action is, but on the off chance there's people out there that would do it and somehow don't realize the gravity, please have some compassion. You don't even need empathy, you just need common sense. Think critically about how you're going to hurt that person. Hurt people around them. Why do you want to do that?

In the end I decided against reblogging the original post. I don't know OP, i don't know how they're feeling right now, I can only hope they're as okay as they can be, and they're safe. But I know that in their place I wouldn't want notifications reminding me of the whole thing. I know you can turn those off, but I felt more comfortable not reblogging it. I also won't say who the victim is, I don't feel comfortable exposing them like that, but there's lots of other poll runners reblogging it* and you might find out through them.

*to clarify, i'm not trying to claim me not reblogging it is somehow the "morally correct choice". its not a matter of what's correct, it's just a personal choice. In fact, i'm thankful that people are reblogging it because I was made aware of the danger, as I didn't follow op. There's pros and cons to either decision, mine was to not reblog.

And not to make this about myself, that's really not my intention, but i'm fucking terrified after reading that. I haven't given up on the poll, but I might need some time to recover because i'm not exactly the most stable person and shit like this rlly messes me up. I hope you can all understand if the round one polls don't come out on sunday. I won't apologize if they don't, cause i think this is a pretty good reason to need a break.

Once again, I hope the mod for that poll is safe, and i hope they can recover from this soon.

[orangeypopsicle]

Writing this because I'm scanning through fics right now like a sad cat in a wet cardboard box. Like, I'm so desperate for a story that shows the complexity of Velvet and Veneer's relationship, but also, I've been in such a depressive funk the past few weeks that I can't write it. I feel like I can dedicate another post to them here, though.

Velvet wasn't an angel, nor was Veneer heartless, but there is something to note how they both had a mix of qualities. This may be a controversial statement, but Veneer seems to have this issue where he leans on his more domineering sister due to low self-esteem, which results in him enabling Velvet. He loved his sister and was partially convinced to go through with harmful actions, but to what extent does loving someone also explain hyping up that person while they hurt people? Also, I don't particularly enjoy the difference in how he phrased the reasoning for his actions to Floyd versus the public. Veneer mentions the attachment to his sister when talking to Floyd, but his own personal gains in the situation are emphasized. When Veneer apologizes to the public for being a fraud, he mentions his want for fame but also retracts this statement by saying that only Velvet wanted fame, and he followed her due to not standing up for himself. It was an admission of guilt, but the shift to his sister being malicious instead of them both wasn't fully taking accountability either. It's a point of emphasis for me due to the softening of Veneer's personality by the fandom. He's a person with a reserved personality and more likely to feel remorse, but also is materialistic and a bit two-faced.

Since I don't want this to be a rant about Veneer because I very much love both characters, I want to get to Velvet. She's a person with a history of emotional regulation issues: explosive, self-serving, and self-centered. Velvet is a person who is desperate for attention and approval by any means necessary. She puts on a show (with talent she stole), gives it her all, gets very close to seriously injuring herself multiple times in the process, and offers to entertain them more when the audience cheers her on. Similar to her brother, I like to think that she's a person with horrendously low self-esteem but tends to deal with it by putting people down so that she can feel better. However, I want to give the benefit of the doubt that she may not be aware of the extent to which she uses people. When Veneer directly states his issues with their relationship in his confession of their crimes, Velvet responds by saying that she thought that he was on the same page with her ideas. Velvet implies multiple times in the story that she believes that they both wanted fame. Did that make Velvet's lack of concern over Veneer voicing his worries okay? No! I want to bring some attention to Velvet not seeming to fully understand how people feel when they are hurt or when they may have different needs. (Writer's note: Mind you, I have a disability and other mental illnesses that impair my ability to understand other people, so I'm more willing to humanize traits like that.) I also want to mention that Veneer did reap the benefits of exploiting the trolls and said that he enjoyed his luxurious lifestyle more than his remorse about hurting people. So it also may be a mix of Velvet struggling to understand people on an emotional level and a genuine misunderstanding.

Despite the two being a bundle of issues, it's very sweet how well they mesh and how they like to be in-sync. Veneer catches Velvet before she falls, Velvet pats Veneer on the head when he's nervous, Veneer instinctively goes behind Velvet to feel safe, they go shopping together and wear matching clothes, and they naturally lean into and are generally physically close to each other. They both aren't great as people, but care for each other.

On a semi-related topic and not wanting to make another post dedicated to it, I wish the movie expanded on the drug metaphor? It's a children's film, but I do feel that talking to young children at home who may be experiencing family members struggling with addiction has a place in media. It makes you do things you wouldn't normally do, it can make you hurt people in a variety of ways, it's an unfortunate lifestyle choice in a number of young people who were chewed up and spat out by the entertainment industry, it frequently starts with the idea that it's casual use/emotionally or psychologically beneficial and quickly snowballs horribly, and it alienates you from your loved ones. This could have been a unique opportunity to not only be about how drug use is harmful but also what it's like to be unequipped to help a person who doesn't want help. We tell children that drugs are bad but also don't prepare them for when the person doesn't want to stop despite all evidence showing that it's harmful. It can be very confusing because it's not emphasized how hard of a process it is to get sober or even want to get sober.

But yeah, those were some of my thoughts! Thanks for reading, if you got this far. 😅

[sleeplesslionheart]

The Haunting of Bly Manor as Allegory: Self-Sacrifice, Grief, and Queer Representation

As always, I am extremely late with my fandom infatuations—this time, I’m about three years late getting smitten with Dani and Jamie from The Haunting of Bly Manor.

Because of my lateness, I’ll confess from the start that I’m largely unfamiliar with the fandom’s output: whether fanfiction, interpretations, analyses, discourse, what have you. I’ve dabbled around a bit, but haven’t seen anything near the extent of the discussions that may or may not have happened in the wake of the show’s release, so I apologize if I’m re-treading already well-trod ground or otherwise making observations that’ve already been made. Even so, I’m completely stuck on Dani/Jamie right now and have some thoughts that I want to compose and work through.

This analysis concerns the show’s concluding episode in particular, so please be aware that it contains heavy, detailed spoilers for the ending, as well as the show in its entirety. Additionally, as a major trigger warning: this essay contains explicit references to suicide and suicidal ideation, so please tread cautiously. (These are triggers for me, and I did, in fact, manage to trigger myself while writing this—but this was also very therapeutic to write, so those triggering moments wound up also being some healing opportunities for me. But definitely take care of yourself while reading this, okay?).

After finishing Bly and necessarily being destroyed by the ending, staying up until 2:00 a.m. crying, re-watching scenes on Youtube, so on and so forth, I came away from the show (as others have before me) feeling like its ending functioned fairly well as an allegory for loving and being in a romantic partnership with someone who suffers from severe mental illness, grief, and trauma.

Without going too deeply into my own personal backstory, I want to provide some opening context, which I think will help to show why this interpretation matters to me and how I’m making sense of it.

Like many of Bly’s characters, I’ve experienced catastrophic grief and loss in my own life. A few years ago, my brother died in some horrific circumstances (which you can probably guess at if you read between the lines here), leaving me traumatized and with severe problems with my mental health. When it happened, I was engaged to a man (it was back when I thought I was straight (lol), so I’ve also found Dani’s comphet backstory to be incredibly relatable…but more on this later) who quickly tired of my grieving. Just a few months after my brother’s death, my then-fiancé started saying things like “I wish you’d just go back to normal, the way you were” and “I’ve gotten back on-track and am just waiting for you to get back on-track with me,” apparently without any understanding that my old “normal” was completely gone and was never coming back. He saw my panic attacks as threatening and unreasonable, often resorting to yelling at me to stop instead of trying to comfort me. He complained that he felt like I hadn’t reciprocated the care that he’d provided me in the immediate aftermath of my brother’s loss, and that he needed me to set aside my grief (and “heal from it”) so that he could be the center of my attention. Although this was not the sole cause, all of it laid the groundwork for our eventual breakup. It was as though my trauma and mourning had ruined the innocent happiness of his own life, and he didn’t want to deal with it anymore.

Given this, I was powerfully struck by the ways that Jamie handles Dani’s trauma: accepting and supporting her, never shaming her or diminishing her pain.

Early in the show—in their first true interaction with one another, in fact—Jamie finds Dani in the throes of a panic attack. She responds to this with no judgment; instead, she validates Dani’s experiences. To put Dani at ease, she first jokes about her own “endless well of deep, inconsolable tears,” before then offering more serious words of encouragement about how well Dani is dealing with the circumstances at Bly. Later, when Dani confesses to seeing apparitions of Peter and Edmund, Jamie doesn’t pathologize this, doubt it, or demean it, but accepts it with a sincere question about whether Dani’s ex-fiancé is with them at that moment—followed by another effort to comfort Dani with some joking (this time, a light-hearted threat at Edmund to back off) and more affirmations of Dani’s strength in the face of it all.

All of this isn’t to say, however, that Dani’s grief-driven behaviors don’t also hurt Jamie (or, more generally, that grieving folks don’t also do things that hurt their loved ones). When Dani recoils from their first kiss because of another guilt-inspired vision of Eddie, Jamie is clearly hurt and disappointed; still, Jamie doesn’t hold this against Dani, as she instead tries to take responsibility for it herself. A week later, though, Jamie strongly indicates that she needed that time to be alone in the aftermath and that she is wary that Dani’s pattern of withdrawing from her every time they start to get closer will continue to happen. Nonetheless, it’s important to note that this contributes to Dani’s recognition that she’s been allowing her guilt about Eddie’s death to become all-consuming, preventing her from acting on her own desires to be with Jamie. That recognition, in turn, leads Dani to decide to move through her grief and beyond her guilt. Once she’s alone later in the evening after that first kiss, Dani casts Eddie’s glasses into the bonfire’s lingering embers; she faces off with his specter for a final time, and after burning away his shadow, her visions of him finally cease. When she and Jamie reunite during their 6:00 a.m. terrible coffee visit, Dani acknowledges that the way that she and Jamie left things was “wrong,” and she actively tries to take steps to “do something right” by inviting Jamie out for a drink at the village pub…which, of course, just so happens to be right below Jamie’s flat. (Victoria Pedretti’s expressions in that scene are so good).

Before we continue, though, let’s pause here a moment to consider some crucial factors in all of this. First, there is a significant difference between “moving through one’s grief” and simply discarding it…or being pressured by someone else to discard it. Second, there is also a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming. Keep these distinctions in mind as we go on.

Ultimately, the resolution of the show’s core supernatural conflict involves Dani inviting Viola’s ghost to inhabit her, which Viola accepts. This frees the other spirits who have been caught in Bly Manor’s “gravity well,” even as it dooms Dani to eventually be overtaken by Viola and her rage. Jamie, however, offers to stay with Dani while she waits for this “beast in the jungle” to claim her. The show’s final episode shows the two of them going on to forge a life together, opening a flower shop in a cute town in Vermont, enjoying years of domestic bliss, and later getting married (in what capacities they can—more on this soon), all while remaining acutely aware of the inevitability of Dani’s demise.

The allegorical potentials of this concluding narrative scenario are fairly flexible. It is possible, for instance, to interpret Dani’s “beast in the jungle” as chronic (and/or terminal) illness—in particular, there’re some harrowing readings that we could do in relation to degenerative neurological diseases associated with aging (e.g. dementia, Alzheimer’s, Parkinson’s, progressive supranuclear palsy, etc.), especially if we put the final episode into conversation with the show’s earlier subplot about the death of Owen’s mother, its recurring themes of memory loss as a form of death (or, even, as something worse than death), and Jamie’s resonant remarks that she would rather be “put out of her misery” than let herself be “worn away a little bit every day.” For the purposes of this analysis, though, I’m primarily concerned with interpreting Viola’s lurking presence in Dani’s psyche as a stand-in for severe grief, trauma, and mental illness. …Because, even as we may “move through” grief and trauma, and even as we may work to heal from them, they never just go away completely—they’re always lurking around, waiting to resurface. (In fact, the final minutes of the last episode feature a conversation between older Jamie and Flora about contending with this inevitable recurrence of grief). Therapy can give us tools to negotiate and live with them, of course; but that doesn’t mean that they’re not still present in our lives. The tools that therapy provides are meant to help us manage those inevitable resurfacings in healthy ways. But they are not meant to return us to some pre-grief or pre-trauma state of “normality” or to make them magically dissipate into the ether, never to return. And, even with plenty of therapy and with healthy coping mechanisms, we can still experience significant mental health issues in the wake of catastrophic grief, loss, and trauma; therapy doesn’t totally preclude that possibility.

In light of my own experiences with personal tragedy, crumbling mental health, and the dissolution of a romantic partnership with someone who couldn’t accept the presence of grief in my life, I was immediately enamored with the ways that Jamie approaches the enduring aftereffects of Dani’s trauma during the show’s final episode. Jamie never once pressures Dani to just be “normal.” She never once issues any judgment about what Dani is experiencing. At those times when Dani’s grief and trauma do resurface—when the beast in the jungle catches up with her—Jamie is there to console her, often with the strategies that have always worked in their relationship: gentle, playful ribbing and words of affirmation. There are instances in which Dani doesn’t emote joyfulness during events that we might otherwise expect her to—consider, for instance, how somber Dani appears in the proposal scene, in contrast to Jamie’s smiles and laughter. (In the year after my brother’s death, my ex-fiancé and his family would observe that I seemed gloomy in situations that they thought should be fun and exciting. “Then why aren’t you smiling?” they’d ask, even when I tried to assure them that I was having a good time, but just couldn’t completely feel that or express it in the ways that I might’ve in the past). Dani even comments on an inability to feel that is all too reminiscent of the blunting of emotions that can happen in the wake of acute trauma: “It’s like I see you in front of me and I feel you touching me, and every day we’re living our lives, and I’m aware of that. But it’s like I don’t feel it all the way.” But throughout all of this (and in contrast to my own experiences with my ex), Jamie attempts to ground Dani without ever invalidating what she’s experiencing. When Dani tells her that she can’t feel, Jamie assures her, “If you can’t feel anything, then I’ll feel everything for the both of us.”

A few days after I finished the show for the first time, I gushed to a friend about how taken I was with the whole thing. Jamie was just so…not what I had experienced in my own life. I loved witnessing a representation of such a supportive and understanding partner, especially within the context of a sapphic romance. After breaking up with my own ex-fiancé, I’ve since come to terms with my sexuality and am still processing through the roles that compulsory heterosexuality and internalized homophobia have played in my life; so Dani and Jamie’s relationship has been incredibly meaningful for me to see for so, so many reasons.

“I’m glad you found the show so relatable,” my friend told me. “But,” she cautioned, “don’t lose sight of what Dani does in that relationship.” Then, she pointed out something that I hadn’t considered at all. Although Jamie may model the possibilities of a supportive partnership, Dani’s tragic death espouses a very different and very troubling perspective: the poisonous belief that I’m inevitably going to hurt my partner with my grief and trauma, so I need to leave them before I can inflict that harm on them.

Indeed, this is a deeply engrained belief that I hold about myself. While I harbor a great deal of anger at my ex-fiancé for how he treated me, there’s also still a part of me that sincerely believes that I nearly ruined his and his family’s lives by bringing such immense devastation and darkness into it. On my bad days (which are many), I have strong convictions about this in relation to my future romantic prospects as well. How could anyone ever want to be with me? I wonder. And even if someone eventually does try to be with me, all I’ll do is ruin her life with all my trauma and sadness. I shouldn’t even want to be with anyone, because I don’t want to hurt someone else. I don’t want someone else to deal with what I’ve had to deal with. I even think about this, too, with my friends. Since my brother’s death and my breakup, I’ve gone through even more trauma, pain, grief, and loss, such that now I continue to struggle enormously with issues like anhedonia, emotional fragility, and social anxiety. I worry, consequently, that I’m just a burden on my friends. That I’m too hard to be around. That being around me, with all of my pain and perpetual misfortune, just causes my friends pain, too. That they’re better off not having to deal with me at all. I could spare them all, I think, by just letting them go, by not bothering them anymore.

I suspect that this is why I didn’t notice any issues with Dani’s behavior at the end of Bly Manor at first. Well…that and the fact that the reality of the show’s conclusion is immensely triggering for me. Probably, my attention just kind of slid past the truth of it in favor of indulging in the catharsis of a sad gay romance.

But after my friend observed this issue, I couldn’t stop thinking about it.

I realized, then, that I hadn’t extended the allegory out to its necessary conclusion…which is that Dani has, in effect, committed suicide in order to—or so she believes, at least—protect Jamie from her. This is the case regardless of whether we keep Viola’s ghost in the mix as an actual, tangible, existing threat within the show’s diegesis or as a figurative symbol of the ways that other forces can “haunt” us to the point of our own self-destruction. If the former, then Dani’s suicide (or the more gentle and elusive description that I’ve seen: her act of “giving herself to the lake”) is to prevent Viola’s ghost from ever harming Jamie. But if the latter, if we continue doing the work of allegorical readings, then it’s possible to interpret Bly’s conclusion as the tragedy of Dani ultimately succumbing to her mental illness and suicidal ideation.

The problems with this allegory’s import really start cropping up, however, when we consider the ways that the show valorizes Dani’s actions as an expression of ultimate, self-sacrificing love—a valorization that Bly accomplishes, in particular, through its sustained contrasting of love and possession.

The Implications of Idealizing Self-Sacrifice as True Love

During a pivotal conversation in one of the show’s early episodes, Dani and Jamie discuss the “wrong kind of love” that existed between Rebecca Jessel and Peter Quint. Jamie remarks on how she “understands why so many people mix up love and possession,” thereby characterizing Rebecca and Peter’s romance as a matter of possession—as well as hinting, perhaps, that Jamie herself has had experiences with this in her own past. After considering for a moment, Dani agrees: “People do, don’t they? Mix up love and possession. […] I don’t think that should be possible. I mean, they’re opposites, really, love and ownership.” We can already tell from this scene that Dani and Jamie are, themselves, heading towards a burgeoning romance—and that this contrast between love and possession (and their self-awareness of it) is going to become a defining feature of that romance.

Indeed, the show takes great pains to emphasize the genuine love that exists between Dani and Jamie against the damaging drive for possession enacted by characters like Peter (who consistently manipulates Rebecca and kills her to keep her ghost with him) and Viola (who has killed numerous people and trapped their souls at Bly over the centuries in a long since forgotten effort to reclaim her life with her husband and daughter from Perdita, her murderously jealous sister). These contrasts take multiple forms and emerge from multiple angles, all to establish that Dani and Jamie’s love is uniquely safe, caring, healing, mutually supportive, and built on a foundation of prevailing concern for the other’s wellbeing. Some of these contrasts are subtle and understated. Consider, for instance, how Hannah observes that Rebecca looks like she hasn’t slept in days because of the turmoil of her entanglements with Peter, whereas Jamie’s narration describes how Dani gets the best sleep of her life during the first night that she and Jamie spend together. Note, too, the editing work in Episode 6 that fades in and out between the memories of the destructive ramifications of Henry and Charlotte’s affair and the scenes of tender progression in Dani and Jamie’s romance. Other contrasts, though, are far more overt. Of course, one of the most blatant examples (and most pertinent to this analysis) is the very fact that the ghosts of Viola, Peter, and Rebecca are striving to reclaim the people they love and the lives that they’ve lost by literally possessing the bodies and existences of the living.

The role of consent is an important factor in these ghostly possessions and serves as a further contrast with Dani and Jamie’s relationship. Peter and Rebecca frequently possess Miles and Flora without their consent—at times, even, when the children explicitly tell them to stop or, at the very least, to provide them with warnings beforehand. While inhabiting the children, Peter and Rebecca go on to harm them and put them at risk (e.g. Peter smokes cigarettes while in Miles’s body; Rebecca leaves Flora alone and unconscious on the grounds outside the manor) and to commit acts of violence against others (e.g. Peter pushes Hannah into the well, killing her; Peter and Rebecca together attack Dani and restrain her). The “It’s you, it’s me, it’s us,” conceit—with which living people can invite Bly’s ghosts to possess them, the mechanism by which Dani breaks the curse of Bly’s gravity well—is a case of dubious consent at best and abusive, violent control at worst. (“I didn’t agree,” Rebecca says after Peter leaves her body, releasing his “invited” possession of her at the very moment that the lake’s waters start to fill her lungs).

Against these selfish possessions and wrong kinds of love, Jamie and Dani’s love is defined by their selfless refusal to possess one another. A key characteristic of their courtship involves them expressing vulnerability in ways that invite the other to make their own decisions about whether to accept and how to proceed (or not proceed). As we discussed earlier, Dani and Jamie’s first kiss happens after Dani opens up about her guilt surrounding her ex-fiancé’s death. Pausing that kiss, Jamie checks, “You sure?” and only continues after Dani answers with a spoken yes. (Let’s also take this moment to appreciate Amelia Eve’s excellent, whispered “Thank fuck,” that isn’t included in Netflix’s subtitles). Even so, Dani frantically breaks away from her just moments later. But Jamie accepts this and doesn’t push Dani to continue, believing, in fact, that Dani has withdrawn precisely because Jamie has pushed too much already. A week later, Dani takes the initiative to advance their budding romance by inviting Jamie out for a drink—which Jamie accepts by, instead, taking Dani to see her blooming moonflowers that very evening. There, in her own moment of vulnerability, Jamie shares her heart-wrenching and tumultuous backstory with Dani in order to “skip to the end” and spare Dani the effort of getting to know her. By openly sharing these difficult details about herself, Jamie evidently intends to provide Dani with information that would help her decide for herself whether she wants to continue their relationship or not.

Their shared refusal to possess reaches its ultimate culmination in that moment, all those years later, when Dani discovers just how close she’s come to strangling Jamie—and then leaves their home to travel all the way back to Bly and drown herself in the lake because she could “not risk her most important thing, her most important person.” Upon waking to find that Dani has left, Jamie immediately sets off to follow her back to Bly. And in an absolutely heartbreaking, beautiful scene, we see Jamie attempting the “you, me, us,” invitation, desperate for Dani to possess her, for Dani to take Jamie with her. (Y’all, I know I’m critiquing this scene right now, but I also fuckin’ love it, okay? Ugh. The sight of Jamie screaming into the water and helplessly grasping for Dani is gonna stay with me forever. brb while I go cry about it again). Dani, of course, refuses this plea. Because “Dani wouldn’t. Dani would never.” Further emphasizing the nobility of Dani’s actions, Jamie’s narration also reveals that Dani’s self-sacrificial death has not only spared Jamie alone, but has also enabled Dani to take the place of the Lady of the Lake and thereby ensure that no one else can be taken and possessed by Viola’s gravity well ever again.

And so we have the show’s ennoblement of Dani’s magnanimous self-sacrifice. By inviting Viola to possess her, drowning herself to keep from harming Jamie, and then refusing to possess Jamie or anyone else, Dani has effectively saved everyone: the children, the restive souls that have been trapped at Bly, anyone else who may ever come to Bly in the future, and the woman she loves most. Dani has also, then, broken the perpetuation of Bly’s cycles of possession and trauma with her selfless expression of love for Jamie.

The unfortunate effect of all of this is that, quite without meaning to (I think? I hope—), The Haunting of Bly Manor ends up stumbling headlong into a validation of suicide as a selfless act of true love, as a force of protection and salvation.

So, before we proceed, I just want to take this moment to say—definitively, emphatically, as someone who has survived and experienced firsthand the ineffably catastrophic consequences of suicide—that suicide is nothing remotely resembling a selfless “refusal to possess” or an act of love. I’m not going to harp extensively on this, though, because I’d rather not trigger myself for a second time (so far, lol) while writing this essay. Just take my fuckin’ word for it. And before anybody tries to hit me with some excuse like “But Squall, it isn’t that the show is valorizing suicide, it’s that Dani is literally protecting Jamie from Viola,” please consider that I’ve already discussed how the show’s depiction of this lent itself to my own noxious beliefs that “all I do is harm other people with my grief, so maybe I should stop talking to my friends so that they don’t have to deal with me anymore.” Please consider what these narrative details and their allegorical import might tell people who are struggling with their mental health—even if not with suicidal ideation, then with the notion that they should self-sacrificially remove themselves from relationships for the sake of sparing loved ones from (assumed) harm.

Okay, that said, now let’s proceed…‘cause I’ve got even more to say, ‘cause the more I mulled over these details, the more I also came to realize that Dani’s self-sacrificial death in Bly’s conclusion also has the unfortunate effect of undermining some of its other (attempted) themes and its queer representation.

What Bly Manor Tries (and Fails) to Say about Grief and Acceptance

Let’s start by jumping back to a theme we’ve already addressed briefly: moving through one’s grief.

The Haunting of Bly Manor does, in fact, have a lot to say about this. Or…it wants to, more like. On the whole, it seems like it’s trying really hard to give us a cautionary tale about the destructive effects of unprocessed grief and the misplaced guilt that we can wind up carrying around when someone we love dies. The show spends a whole lot of time preaching about how important it is that we learn to accept our losses without allowing them to totally consume us—or without lingering around in denial about them (gettin’ some Kübler-Ross in here, y’all). Sadly, though, it does kind of a half-assed job of it…despite the fact that this is a major recurring theme and a component of the characterizations and storylines of, like, most of its characters. In fact, this fundamentally Kübler-Rossian understanding of what it means to move through grief and to accept loss and mortality appears to be the show’s guiding framework. During his rehearsal dinner speech in the first episode, Owen proclaims that, “To truly love another person is to accept that the work of loving them is worth the pain of losing them,” with such eerie resonance—as the camera stays set on Jamie’s unwavering gaze—that we know that what we’re about to experience is a story about accepting the inevitable losses of the people we love.

Bly Manor is chock full of characters who’re stuck in earlier stages of grief but aren’t really moving along to reach that acceptance stage. I mean, the whole cause of the main supernatural haunting is that Viola so ferociously refuses to accept her death and move on from her rage (brought about by Perdita’s resentment) that she spends centuries strangling whoever she comes across, which then effectively traps them there with her. And the other antagonistic ghostly forces, Rebecca and Peter, also obviously suck at accepting their own deaths, given that they actually believe that possessing two children is a perfectly fine (and splendid) way for them to grasp at some semblance of life again. (Actually…the more that I’ve thought about this, the more that I think each of the pre-acceptance stages of grief in Kübler-Ross’s model may even have a corresponding character to represent it: Hannah is denial; Viola is anger; Peter and Rebecca are bargaining; Henry is depression. Just a little something to chew on).

But let’s talk more at-length about this theme in relation to two characters we haven’t focused on yet: Hannah and Henry. For Hannah, this theme shows up in her struggles to accept that her husband, Sam, has left her (Charlotte wryly burns candles in the chapel as though marking his passing, while Hannah seems to be holding out hope that he might return) and in her persistent denial that Peter-as-Miles has killed her. As a ghost, she determinedly continues going about her daily life and chores even as she’s progressively losing her grip on reality. Henry, meanwhile, won’t issue official notifications of Dominic’s death and continues to collect his mail because doing otherwise would mean admitting to the true finality of Dominic’s loss. At the same time, he is so, completely consumed by his guilt about the role that he believes he played in Charlotte and Dominic’s deaths that he’s haunting himself with an evil alter-ego. His overriding guilt and despair also result in his refusal to be more present in Miles and Flora’s lives—even with the knowledge that Flora is actually his daughter.

In the end, both Hannah and Henry reach some critical moments of acceptance. But, honestly, the show doesn’t do a great job of bringing home this theme of move through your grief with either of them…or with anybody else, really. Peter basically winds up bullying Hannah into recognizing that her broken body is still at the bottom of the well—and then she accepts her own death right in time to make a completely abortive attempt at rescuing Dani and Flora. Henry finally has a preternatural Bad Feeling about things (something about a phone being disconnected? whose phone? Bly’s phone? his phone? I don’t understand), snaps to attention, and rushes to Bly right in time to make an equally abortive rescue attempt that leaves him incapacitated so that his not-quite-ghost can hang out with Hannah long enough to find out that she’s dead. But at least he decides to be an attentive uncle/dad to Miles and Flora after that, I guess. Otherwise, Hannah and Henry get handwaved away pretty quickly before we can really witness what their acceptance means for them in any meaningful detail. (I blame this on some sloppy writing and the way-too-long, all-about-Viola eighth episode. And, on that note, what about the “acceptances” of Rebecca, Peter, and Viola there at the end? Rebecca does get an interesting moment of acceptance—of a sort—with her offer to possess Flora in order to experience Flora’s imminent drowning for her, thereby sparing the child by tucking her in a happy memory. Peter just…disappears at the end with some way-too-late words of apology. Viola’s “acceptance,” however, is tricky…What she accepts is Dani’s invitation to inhabit her. More on this later).

Hannah and Henry’s stories appear to be part of the show’s efforts to warn us about the ways that unprocessed, all-consuming grief can cause us to miss opportunities to have meaningful relationships with others. Hannah doesn’t just miss her chance to be with Owen because…well, she’s dead, but also because of her unwillingness to move on from Sam beforehand. Her denial about her own death, in turn, prevents her from taking the opportunity as a ghost to tell Owen that she loves him. Henry, at least, does figure out that he’s about to lose his chance to be a caring parental figure to his daughter and nephew—but just barely. It takes the near-deaths of him and the children to finally prompt that realization.

Of the cast, Dani gets the most thorough and intentional development of this move through your grief theme. And, importantly, she learns this lesson in time to cultivate a meaningful relationship that she could’ve easily missed out on otherwise. As we’ve already discussed, a critical part of Dani’s character arc involves her realization that she has to directly confront Edmund’s death and start absolving herself of her guilt in order to open up the possibility of a romantic relationship with Jamie. In Episode 4, Jamie’s narration suggests that Dani has had a habit of putting off such difficult processes (whether in regards to moving through her grief, breaking off her engagement to Edmund, or coming to terms with her sexuality), as she’s been constantly deferring to “another night, another time for years and years.” Indeed, the show’s early episodes are largely devoted to showing the consequences of Dani’s deferrals and avoidances. From the very beginning, we see just how intrusively Dani’s unresolved guilt is impacting her daily life and functioning. She covers up mirrors to try to prevent herself from encountering Edmund’s haunting visage, yet still spots him in the reflections of windows and polished surfaces. Panic attacks seem to be regular occurrences for her, sparked by reminders of him. And all of this only gets worse and more disruptive as Dani starts acting on her attraction to Jamie.

It's only after Dani decides to begin moving through her grief and guilt that she’s able to start becoming emotionally and physically intimate with Jamie. And the major turning point for this comes during a scene that features a direct, explicit discussion of the importance of accepting (and even embracing) mortality.

That’s right—it’s time to talk about the moonflower scene.

In a very “I am extremely fed up with people not being able to deal with my traumatic past, so I’m going to tell you about all of the shit that I’ve been through so that you can go ahead and decide whether you want to bolt right now instead of just dropping me later on” move (which…legit, Jamie—I feel that), Jamie sits Dani down at her moonflower patch to give her the full rundown of her own personal backstory and worldview. Her monologue evinces both a profound cynicism and a profound valuation of human life…all of which is also suggestive, to me at least, of a traumatized person who at once desperately wishes for intimate connection, but who’s also been burned way too many times (something with which I am wholly unfamiliar, lol). She characterizes people as “exhaustive effort with very little to show for it,” only to go on to wax poetic about how human mortality is as beautiful as the ephemeral buds of a moonflower. This is, in essence, Jamie’s sorta convoluted way of articulating that whole “To truly love another person is to accept that the work of loving them is worth the pain of losing them” idea.

After detailing her own past, Jamie shifts gears to suggest that she believes that cultivating a relationship with Dani—like the devoted work of growing a tropical, transient Ipomoea alba in England—might be worth the effort. And as part of this cultivation work, Jamie then acknowledges Dani’s struggles with her guilt, while also firmly encouraging her to move through it by accepting the beauty of mortality:  

“I know you’re carrying this guilt around, but I also know that you don’t decide who lives and who doesn’t. I’m sorry Dani, but you don’t. Humans are organic. It’s a fact. We’re meant to die. It’s natural…beautiful. […] We leave more life behind to take our place. Like this moonflower. It’s where all its beauty lies, you know. In the mortality of the thing.”

After that, Jamie and Dani are finally able to make out unimpeded.

Frustratingly, though, Jamie’s own dealings with grief, loss, and trauma remain terribly understated throughout the show. Her monologue in the moonflower scene is really the most insight that we ever get. Jamie consistently comes off as better equipped to contend with life’s hardships than many of Bly’s other characters; and she is, in fact, the sole member of the cast who is confirmed to have ever had any sort of professional therapy. She regularly demonstrates a remarkable sense of empathy and emotional awareness, able to pick up on others’ needs and then support them accordingly, though often in gruff, tough-love forms. Further, there are numerous scenes in which we see Jamie bestowing incisive guidance for handling difficult situations: the moonflower scene, her advice to Rebecca about contacting Henry after Peter’s disappearance, and her suggestion to Dani that Flora needs to see a psychologist, to name just a few. As such, Jamie appears to have—or, at least, projects—a sort of unflappable groundedness that sets her apart from everyone else in the show.

Bly only suggests that Jamie’s struggles run far deeper than she lets on. There are a few times that we witness quick-tempered outbursts (usually provoked by Miles) and hints of bottled-up rage. Lest we forget, although it was Flora who first found Rebecca’s dead body floating in the water, it was Jamie who then found them both immediately thereafter. We see this happen, but we never learn anything about the impact that this must have had on her. Indeed, Jamie’s exposure to the layered, compounding grief at Bly has no doubt inflicted a great deal of pain on her, suggested by details like her memorialization of Charlotte and Dominic during the bonfire scene. If we look past her flippancy, there must be more than a few grains of truth to that endless well of deep, inconsolable tears—but Jamie never actually shares what they might be. Moreover, although the moonflower scene reveals the complex traumas of her past, we never get any follow-up or elaboration about those details or Dani’s observation of the scar on her shoulder. For the most part, Jamie’s grief goes unspoken.

There’s a case to be made that these omissions are a byproduct of narrator Jamie decentering herself in a story whose primary focus is Dani. Narrator Jamie even claims that the story she’s telling “isn’t really my story. It belongs to someone I knew” (yes, it’s a diversionary tactic to keep us from learning her identity too soon—but she also means it). And in plenty of respects, the telling of the story is, itself, Jamie’s extended expression of her grief. By engaging in this act of oral storytelling to share Dani’s sacrifice with others—especially with those who would have otherwise forgotten—Jamie is performing an important ritual of mourning her wife. Still, it’s for exactly these reasons that I think it would’ve been valuable for the show to include more about the impacts that grief, loss, and trauma had on Jamie prior to Dani’s death. Jamie’s underdevelopment on this front feels more like a disappointing oversight of the show’s writing than her narrator self’s intentional, careful withholding of information. Additionally, I think that Bly leaves Jamie’s grieving on an…odd note (though, yes, I know I’m just a curmudgeonly outlier here). Those saccharine final moments of Jamie filling up the bathtub and sleeping on a chair so that she can face the cracked doorway are a little too heavy-handedly tear-jerking for my liking. And while this, too, may be a ritual of mourning after the undoubtedly taxing effort of telling Dani’s story, it may also suggest that Jamie is demurring her own acceptance of Dani’s death. Is the hand on her shoulder really Dani’s ghost? Or is it Jamie’s own hopeful fabrication that her wife’s spirit is watching over her? (Or—to counter my own point here and suggest a different alternative—could this latter idea (i.e. the imagining of Dani’s ghost) also be another valid manner of “accepting” a loss by preserving a loved one’s presence? “Dead doesn’t mean gone,” after all. …Anyway, maybe I would be more charitable to this scene if not for the hokey, totally out-of-place song. Coulda done without that, seriously).

But let’s jump back to the moonflower scene. For Dani, this marks an important moment in the progression of her own movement through grief. In combination, her newfound readiness to contend with her guilt and her eagerness to grow closer to Jamie enable Dani to find a sense of peace that she hasn’t experienced since Eddie’s death…or maybe ever, really (hang on to this thought for this essay’s final section, too). When she and Jamie sleep together for the first time, not only does Dani actually sleep well, but she also wakes the next morning to do something that she hasn’t done to that point and won’t do again: she comfortably looks into a mirror. (One small qualification to this: Dani does look into her own reflection at the diner when she and Jamie are on their road trip; Viola doesn’t interfere then, but whether this is actually a comfortable moment is questionable). Then, shifting her gaze away from her own reflection, she sees Jamie still sleeping soundly in her bed—and smiles. It’s a fleeting moment of peace. Immediately after that, she spots Flora out the window, which throws everything back into accumulating turmoil. But that moment of peace, however fleeting, is still a powerful one.

However, Bly teases this narrative about the possibilities of finding healing in the wake of traumatic loss—especially through the cultivation of meaningful and supportive relationships with others—only to then totally pull that rug out from under Dani in the final episode.

During that final episode, we see that Dani’s shared life with Jamie has supported her in coming to terms with Viola’s lurking presence, such that “at long last, deep within the au pair’s heart, there was peace. And that peace held for years, which is more than some of us ever get.” But it’s at the exact moment that that line of narration occurs that we then begin to witness Dani’s steady, inexorable decline. Sure, we could say that Dani “accepts” Viola’s intrusions and the unavoidable eventuality that the ghost will seize control of her. But this isn’t a healthy acceptance or even a depiction of the fraught relationships that we can have with grief and trauma as we continue to process them throughout our lives. At all. Instead, it’s a distinctive, destructive sense of fatalism.

“I’m not even scared of her anymore,” Dani tells Jamie as the flooded bathtub spills around them. “I just stare at her and it's getting harder and harder to see me. Maybe I should just accept that. Maybe I should just accept that and go.” Remember way back at the beginning of this essay when I pointed out that there’s a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming? Well, by the time we reach the bathtub scene, Dani’s grief and trauma have completely overtaken her. Her “acceptance” is, thus, a fatalistic, catastrophizing determination that her trauma defines her existence, such that she believes that all she has left to do is give up her life in order to protect Jamie from her. For a less ghostly (and less suicidal ideation-y) and more real-life example to illustrate what I’m getting at here: this would be like me saying “I should just accept that I’m never going to be anything other than a traumatized mess and should stop reaching out to my friends so that I don’t keep hurting them by making them deal with what a mess I am.” If I said something like this, I suspect (hope) that you would tell me that this is not a productive acceptance, but a pernicious narrative that only hurts me and the people who care about me. Sadly, though, this kind of pernicious narrative is exactly what we get out of Bly’s ending allegory.

“But Squall,” you may be thinking, “this scene is representing how people who struggle with their mental health can actually feel. This is exactly what it can be like to have severe mental illness, even for folks who have strong support systems and healthy, meaningful relationships. And there’s value in showing that.”

And if you’re thinking that, then first of all—as I have indicated already—I am aware that this is what it can be like. Very aware. And second of all, you make a fair point, but…there are ways that the show could’ve represented this without concluding that representation with a suicide that it effectively valorizes. I’ll contend with this more in the final section, where I offer a few suggestions of other ways that Bly could’ve ended instead.

I just want to be absolutely clear that I’m not saying that I think all media portrayals of mental illness need to be hopeful or wholesome or end in “positive” ways. But what I am saying is that Bly’s conclusion offers a really fuckin’ bleak outlook on grief, trauma, and mental illness, especially when we fit that ending into the framework of the show’s other (attempted) core themes, as well as Dani’s earlier character development. It’s especially bleak to see this as someone with severe mental health issues and who has also lost a loved one to suicide—and as someone who desperately hopes that my life and worldview won’t always stay so darkly colored by my trauma.

Additionally, it’s also worth pausing here to acknowledge that fatalism is, in fact, a major theme of The Beast in the Jungle, the 1903 Henry James novella on which the ninth episode is loosely based. I confess that I’ve only read about this novella, but haven’t read the story itself. However, based on my (admittedly limited) understanding of it, there appears to be a significant thematic rupture between The Beast in the Jungle and The Haunting of Bly Manor in their treatments of fatalism. In the end of the novella, its protagonist, John Marcher, comes to the realization that his fatalism has been a horrible mistake that has caused him to completely miss out on an opportunity for love that was right in front of him all along. The tragic fate to which Marcher believed that he was doomed was, in the end, his own fatalism. Dani, in contrast, never has this moment of recognition, not only because her fatalism leads to her own death, but also because the show treats her fatalism not as something that keeps her from love, but instead as leading her towards a definitive act of love.

All of this is exactly why Dani’s portrayal has become so damn concerning to me, and why I don’t believe that Bly’s allegory of “this is what it’s like to live with mental illness and/or to love (and lose) someone who is mentally ill” is somehow value-neutral—or, worse, something worth celebrating.

How Dani’s Self-Sacrifice Bears on Bly’s Queer Representation

In my dabblings around the fandom so far, I’ve seen a fair amount of deliberation about whether or not Bly Manor’s ending constitutes an example of the Bury Your Gays trope.

Honestly, though, I am super unenthused about rehashing those deliberations or splitting hairs trying to give some definitive “yes it is” or “no it isn’t” answer, so…I’m just not going to. Instead, I’m going to offer up some further observations about how Dani’s self-sacrificial death impinges on Bly’s queer representation, regardless of whether Bury Your Gays is at work here or not.

I would also like to humbly submit that the show could’ve just…not fucked around in proximity of that trope in the first place so that we wouldn’t even need to be having these conversations.

But anyway. I’m going to start this section off with a disclaimer.

Even though I’m leveling some pretty fierce critiques in this section (and across this essay), I do also want to say that I adore that The Haunting of Bly Manor and its creators gave us a narrative that centers two queer women and their romantic relationship as its driving forces and that intentionally sets out to portray the healing potentials of sapphic love as a contrast to the destructive, coercive harms found in many conventional dynamics of hegemonic heteronormativity. I don’t want to downplay that, because I’m extremely happy that this show exists, and I sincerely believe that many elements of its representation are potent and meaningful and amazing. But…I also have some reservations with this portrayal that I want to share. I critique not because I don’t love, but because I do love. I love this show a lot. I love Dani and Jamie a lot. I critique because I love and because I want more and better in future media.

So, that being said…let’s move on to talk about Dani, self-sacrifice, and compulsory heterosexuality.

Well before Dani’s ennobled death, Bly establishes self-sacrifice as a core component of her characterization. It’s hardwired into her, no doubt due to the relentless, entangled educational work of compulsory heterosexuality (comphet) and the aggressive forms of socialization that tell girls and women that their roles in life are to sacrifice themselves in order to please others and to belong to men. Indeed, Episode 4’s series of flashbacks emphasizes the interconnectedness between comphet and Dani’s beliefs that she is supposed to sacrifice herself for others’ sakes, revealing how these forces have shaped who she is and the decisions that she’s made across her life. (While we’re at it, let’s also not lose sight of the fact that Dani’s profession during this time period is one that—in American culture, at least—has come to rely on a distinctively feminized self-sacrificiality in order to function. Prior to becoming an au pair, Dani was a schoolteacher. In fact, in one of Episode 4’s flashbacks, Eddie’s mother points out that she appreciates Dani’s knack for identifying the kids that need her the most, but also reminds Dani that she needs to take care of herself…which suggests that Dani hadn’t been: “Save them all if you can, but put your own oxygen mask on first”).

In the flashback of her engagement party, Dani’s visible discomfort during Edmund’s speech clues us in that she wasn’t preparing to marry him because she genuinely wanted to, but because she felt like she was supposed to. The “childhood sweethearts” narrative bears down on the couple, celebrated by their friends and family, vaunted by cultural constructs that prize this life trajectory as a cherished, “happily ever after” ideal. Further illustrating the pressures to which Dani had been subject, the same scene shows Eddie’s mother, Judy O’Mara, presenting Dani with her own wedding dress and asking Dani to wear it when she marries Eddie. Despite Mrs. O’Mara’s assurances that Dani can say no, the hopes that she heaps onto Dani make abundantly clear that anything other than a yes would disappoint her. Later, another flashback shows Dani having that dress sized and fitted while her mother and Mrs. O’Mara look on and chatter about their own weddings and marriages. Their conversation is imbued with further hopes that Dani’s marriage to Edmund will improve on the mistakes that they made in their lives. Meanwhile, Dani’s attentiveness to the tailor who takes her measurements, compliments her body, and places a hand on her back strongly suggests that Dani is suppressing her attraction to women. Though brief, this scene is a weighty demonstration of the ways that the enclosures of heteronormativity constrain women into believing that their only option is to deny homosexual attraction, to forfeit their own desires in order to remain in relationships with men, and to prioritize the hopes and dreams and aspirations of the people around them above their own.

Dani followed this pathway—determined for her by everyone else except herself—until she couldn’t anymore.

During the flashback of their breakup, Dani explains to Eddie that she didn’t end their relationship sooner because she thought that even just having desires that didn’t match his and his family’s was selfish of her: “I should’ve said something sooner. […] I didn’t want to hurt you, or your mom, or your family. And then it was just what we were doing. […] I just thought I was being selfish, that I could just stick it out, and eventually I would feel how I was supposed to.” As happens to so many women, Dani was on the cusp of sacrificing her life for the sake of “sticking out” a marriage to a man, all because she so deeply believed that it was her duty to satisfy everyone’s expectations of her and that it was her responsibility to change her own feelings about that plight.

And Eddie’s response to this is telling. “Fuck you, Danielle,” he says. “Why are you doing this to me?”

Pay close attention to those last two words. Underline ‘em. Bold ‘em. Italicize ‘em.

“Why are you doing this to me?”

With those two words, Eddie indicates that he views Dani’s refusal to marry him as something that she is doing to him, a harm that she is committing against him. It is as though Dani is inflicting her will on him, or even that she is unjustly attackinghim by finally admitting that her desires run contrary to his own, that she doesn’t want to be his wife. And with this statement, he confirms precisely what she anticipated would happen upon giving voice to her true feelings.

What space did Edmund, his family, or Dani’s mother ever grant for Dani to have aspirations of her own that weren’t towards the preordained role of Eddie’s future wife? Let’s jump back to that engagement party. Eddie’s entire speech reveals a very longstanding assumption of his claim over her as his wife-to-be. He’d first asked Dani to marry him when they were ten years old, after he mistakenly believed that their first kiss could get Dani pregnant; Dani turned him down then, saying that they were too young. So, over the years, as they got older, Eddie continued to repeatedly ask her—until, presumably, she relented. “Now, we’re still pretty young,” he remarks as he concludes his speech, “but I think we’re old enough to know what we want.” Significantly, Eddie speaks here not just for himself, but also for Dani. Dani’s voice throughout the entire party is notably absent, as Eddie and his mother both impose their own wishes on her, assume that she wants what they want, and don’t really open any possibility for her to say otherwise. Moreover, although there’s a palpable awkwardness that accompanies Eddie’s story, the crowd at the party chuckles along as though it’s a sweet, innocent tale of lifelong love and devotion, and not an instance of a man whittling away at a woman’s resistance until she finally caved to his pursuit of her.

All of this suggests that Eddie shared in the socialized convictions of heteropatriarchy, according to which Dani’s purpose and destiny were to marry him and to make him happy. His patterns of behavior evince the unquestioned presumptions of so many men: that women exist in service to them and their wants, such that it is utterly inconceivable that women could possibly desire otherwise. As a political institution, heteropatriarchy tells men that they are entitled to women’s existences, bodies, futures. And, indeed, Eddie can’t seem to even imagine that Dani could ever want anything other than the future that he has mapped out for them. (Oh, hey look, we’ve got some love vs. possession going on here again).

For what it’s worth, I think that the show’s portrayal of compulsory heterosexuality is excellent. I love that the writers decided to tackle this. Like I mentioned at the beginning, I found all of this to be extremelyrelatable. I might even be accused of over-relating and projecting my own experiences onto my readings here, but…there were just too many resonances between Dani’s experiences and my own. Mrs. O’Mara’s advice to Dani to “put your own oxygen mask on first” is all too reminiscent of the ways that my ex’s parents would encourage me to “heal” from my brother’s loss…but not for the sake of my own wellbeing, but so that I would return to prioritizing the care of their son and existing to do whatever would make him happy. I’ll also share here that what drove me to break up with my ex-fiancé wasn’t just his unwillingness to contend with my grief, but the fact that he had decided that the best way for me to heal from my loss would be to have a baby. He insisted that I could counteract my brother’s death by “bringing new life into the world.” And he would not take no for an answer. He told me that if I wouldn’t agree to try to have children in the near future, then he wasn’t interested in continuing to stay with me. It took me months to pluck up the courage, but I finally answered this ultimatum by ending our relationship myself. Thus, like Dani, I came very close to sacrificing myself, my wants, my body, my future, and my life for the sake of doing what my fiancé and his family wanted me to do, all while painfully denying my own attraction to women. What kept me from “sticking it out” any longer was that I finally decided that I wasn’t going to sacrifice myself for a man I didn’t love (and who clearly didn’t love me) and decided, instead, to reclaim my own wants and needs away from him.

For Dani, however, the moment that she finally begins to reclaim her wants and needs away from Eddie is also the moment that he furiously jumps out of the driver’s seat and into the path of a passing truck, which leaves her to entangle those events as though his death is her fault for finally asserting herself.

Of course, the guilt that Dani feels for having “caused” Eddie’s death isn’t justa matter of breaking up with him and thereby provoking a reaction that would prove fatal—it’s also the guilt of her suppressed homosexual desire, of not desiring Eddie in the first place. In other words, internalized homophobia is an inextricable layer of the culpability that Dani feels. Internalized homophobia is also what’s haunting her. As others (such as Rowan Ellis, whose deep dive includes a solid discussion of internalized homophobia in Bly, as well as a more at-length examination of Bury Your Gays than I’m providing here) have pointed out, the show highlights this metaphorically by having Dani literally get locked into a closet with Edmund’s ghost in the very first episode. Further reinforcing this idea is the fact that these spectral visions get even worse as Dani starts to come to terms with and act on her attraction to Jamie, as though the ghost is punishing her for her desires. Across Episode 3, as Dani and Jamie begin spending more time together, Edmund’s ghost concurrently begins materializing in more shocking, visceral forms (e.g. his bleeding hand in Dani’s bed; his shadowy figure lurking behind Dani after she’s held Jamie’s hand) that exceed the reflective surfaces to which he’d previously been confined. This continues into Episode 4, where each of Eddie’s appearances follows moments of Dani’s growing closeness to Jamie. A particularly alarming instance occurs when Dani just can’t seem to pry her gaze away from a dressed-up Jamie who’s in the process of some mild undressing. Finally turning away from Jamie, Dani becomes aware of Eddie’s hands on her hips. It’s a violating reminder of his claims over her, horrifying in its invocation of men’s efforts to coerce and control women’s sexuality.

It is incredibly powerful, then, to watch Dani answer all of this by becoming more resolute and assertive in the expression of her wants and needs. The establishment of her romantic relationship with Jamie isn’t just the movement through grief and guilt that we discussed earlier; it’s also Dani’s defiance of compulsory heterosexuality and her fierce claiming of her queer existence. Even in the face of all that’s been haunting her, Dani initiates her first kiss with Jamie; and Eddie’s intrusion in that moment is only enough to temporarily dissuade her, as Dani follows this up by then asking Jamie out for a drink at the pub to “see where that takes them” (i.e. up to Jamie’s flat to bang, obviously). The peace that Dani finds after having sex with Jamie for the first time is, therefore, also the profound fulfillment of at last having her first sexual experience with a woman, of finally giving expression to this critical part of herself that she’d spent her entire life denying. Compulsory heterosexuality had dictated to Dani that she must self-sacrifice to meet the strictures of heteropatriarchy, to please everyone except herself; but in her relationship with Jamie, Dani learns that she doesn’t have to do this at all. This is only bolstered by the fact that, as we’ve talked about at length already, Jamie is very attentive to Dani’s needs and respectful of her boundaries. Jamie doesn’t want Dani to do anything other than what Dani wants to do. And so, in the cultivation of their romantic partnership, Dani thus comes to value her own wants and needs in a way that she hasn’t before.

The fact that the show nails all of this so fucking well is what makes all that comes later so goddamn frustrating.

The final episode chronicles Dani and Jamie forging a queer life together that the rest of us can only dream of, including another scene of Dani flouting homophobia and negotiating her own internal struggles so that she can be with Jamie. “I know we can’t technically get married,” she tells Jamie when she proposes to her, “but I also don’t really care.” And with her awareness that the beast in the jungle is starting to catch up with her, Dani tells Jamie that she wants to spend whatever time she has left with her.

But then…

A few scenes later—along with a jump of a few years later, presumably—Jamie arrives home with the licenses that legally certify their civil union in the state of Vermont. It’s a monumental moment. In 2000, Vermont became the first state to introduce civil unions, which paved the way for it to later (in 2009) become the first state to pass legislation that recognized gay marriages without needing to have a court order mandating that the state extend marriage rights beyond opposite-sex couples. I appreciate that Bly’s creatorsincorporated this significant milestone in the history of American queer rights into the show. But its positioning in the show also fuckin’ sucks. Just as Jamie is announcing the legality of her and Dani’s civil union and declaring that they’ll have another marriage ceremony soon, we see water running into the hallway. This moves us into that scene with the flooded bathtub, as Jamie finds Dani staring into the water, unaware of anything else except the reflection of Viola staring back at her. Thus, it is at the exact moment when her wife proudly shares the news of this incredible achievement in the struggle for queer rights—for which queer folks have long fought and are continuing to fight to protect in the present—that Dani has completely, hopelessly resigned herself to Viola’s possession.

I want to be careful to clarify here that, in making this observation, I don’t mean to posit some sort of “Dani should have fought back against Viola” argument, which—within the context of our allegorical readings—might have the effect of damagingly suggesting that Dani should have fought harder to recover from mental illness or terminal disease. But I do mean to point out the incredibly grim implications that the juxtaposition of these events engenders, especially when we contemplate them (as we did in the previous section) within the overall frameworks of the show’s themes and Dani’s character development. After all that has come before, after we’ve watched Dani come to so boldly assert her queer desire and existence, it is devastating to see the show reduce her to such a despairing state that doesn’t even give her a chance to register that she and Jamie are now legal partners.

Why did you have to do this, Bly? Why?

Further compounding this despair, the next scene features the resumption of Dani’s self-sacrificial beliefs and behaviors, which results in her demise, and which leaves Jamie to suffer through the devastation of her wife’s death. This resumption of self-sacrifice hence demolishes all of that beautiful work of asserting Dani’s queer existence and learning that she doesn’t need to sacrifice herself that I just devoted two thousand words to describing above.

Additionally, in the end, Dani’s noble self-sacrifice also effects a safe recuperation of heteronormativity…which might add more evidence to a Bury Your Gays claim, oops.

And that is because, in the end, after we see Jamie screaming into the water and Dani forever interred at the bottom of the lake in which she drowned herself, we come to the end of Jamie’s story and return to Bly Manor’s frame narrative: Flora’s wedding.

At the start of the show, the evening of Flora and Unnamed Man’s (Wikipedia says his name is James? idk, w/e) rehearsal dinner provides the occasion and impetus for Jamie’s storytelling. Following dinner, Flora, her fiancé, and their guests gather around a fireplace and discuss a ghost story about the venue, a former convent. With a captive audience that includes her primary targets—Flora and Miles, who have forgotten what happened at Bly and, by extension, all that Dani sacrificed and that Jamie lost so that they could live their lives free of the trauma of what transpired—and with a topically relevant conversation already ongoing, Jamie interjects that she has a ghost story of her own to share…and thus, the show’s longer, secondary narrative begins.

When Jamie’s tale winds to a close at the end of the ninth episode, the show returns us to its frame, that scene in front of the cozy, crackling fire. And it is there that we learn that it is, in fact, Jamie who has been telling us this story all along.

As the other guests trickle away, Flora stays behind to talk to Jamie on her own. A critical conversation then ensues between them, which functions not only as Jamie’s shared wisdom to Flora, but also as the show’s attempt to lead viewers through what they’ve just experienced and thereby impart its core message about the secondary narrative. The frame narrative is, thus, also a direct address to the audience that tells us what we should take away from the experience. By this point, the show has thoroughly established that Jamie is a gentle-but-tough-love, knowledgeable, and trustworthy guide through the trials of accepting grief and mortality, and so it is Jamie who leaves Flora and us, the audience, with the show’s final word about how to treasure the people we love while they are still in our lives and how to grieve them if we survive beyond them. (But, by this point in this essay, we’ve also learned that Bly’s messages about grief and mortality are beautiful but also messy and unconvincing, even with this didactic ending moment).

With all of this in mind, we can (and should) ask some additional questions of the frame narrative.

One of those questions is: Why is the secondary narrative being told from/within this particular frame?

Answering this question within the show’s diegesis (by asking it of the narrator) is easy enough. Jamie is performing a memorialization of Dani’s life and sacrifice at an event where her intended audience happens to be gathered, ensuring that Miles and Flora begin to recognize what Dani did for them in a manner that maybe won’t just outright traumatize them.

Okay, sure, yeah. True. Not wrong.

But let’s interrogate this question more deeply—let’s ask it of the show itself. So, Bly Manor: Why is the secondary narrative being told from/within this particular frame?

We could also tweak this question a bit to further consider: What is the purpose of the frame? A frame narrative can function to shape audiences’ interpretations of and attitudes towards the secondary narrative. So, in this case, let’s make our line of questioning even more specific. What does the frame of Flora’s wedding do for Bly’s audiences?

Crucially, the framing scene at the fireplace provides us with a sense that we’ve returned to safety after the horror of the ghost story we’ve just experienced. To further assure us of this safety, then, Bly’s frame aims to restore a sense of normality, a sense that the threat that has provoked fear in us has been neutralized, a sense of hope that endures beyond tragedy. Indeed, as we fade from the secondary narrative and return to the frame, Jamie’s narration emphasizes how Dani’s selfless death has brought peace to Bly Manor by breaking its cycles of violence and trauma: “But she won’t be hollow or empty, and she won’t pull others to her fate. She will merely walk the grounds of Bly, harmless as a dove for all of her days, leaving the only trace of who she once was in the memory of the woman who loved her most.”

What Dani has accomplished with her self-sacrifice, then, is a longstanding, prevailing, expected staple of Western—and especially American—storytelling: redemption.

American media is rife with examples of this narrative formula (in which an individual must take selfless action—which may or may not involve self-sacrificial death—in order to redeem an imperiled community by restoring a threatened order) to an extent that is kind of impossible to overstate. Variations of this formula are everywhere, from film to television to comics to videogames to news reports. It is absolutely fundamental to our cultural understandings of what “heroism” means. And it’s been this way for, umm…a long time, largely thanks to that most foundational figure of Western myth, some guy who was crucified for everybody’s sins or something. (Well, that and the related popularization of Joseph Campbell’s hero’s journey, but…I’m not gonna go off onto a whole rant about that right now, this essay is already too long as it is).

In Bly Manor, the threatened order is the natural process of death itself, which Viola has disrupted with a gravity well that traps souls and keeps them suspended within physical proximity of the manor. Dani’s invitation to Viola is the initial step towards salvation (although, I think it’s important to note that this is not entirely intentional on Dani’s part. Jamie’s narration indicates that Dani didn’t entirely understand what she was doing with the “It’s you, it’s me, it’s us” invitation, so self-sacrifice was not necessarily her initial goal). It nullifies the gravity well and resumes the passage of death, which liberates all of the souls that have been trapped at Bly and also produces additional opportunities for others’ atonements (e.g. Peter’s apology to Miles; Henry’s guardianship of the children). But it’s Dani’s suicide that is the ultimate completion of the redemptive task. It is only by “giving herself to the lake” that Dani is able to definitively dispel Viola’s threat and confer redemptive peace to Bly Manor.

It’s tempting to celebrate this incredibly rare instance of a queer woman in the heroic-redemptive role, given that American media overwhelmingly reserve it for straight men. But I want to strongly advise that we resist this temptation. Frankly, there’s a lot about the conventional heroic-redemptive narrative formula that sucks, and I’d rather that we work to advocate for other kinds of narratives, instead of just championing more “diversity” within this stuffy old model of heroism. Explaining what sucks about this formula is beyond the purview of this essay, though. But my next point might help to illustrate part of why it sucks (spoiler: it’s because it tends to prop up traditional, dominant structures of power and relationality).

So…What I want us to do is entertain the possibility that Dani’s redemptive self-sacrifice might serve specific purposes for straight audiences, especially in the return to the frame at the end.

Across The Haunting of Bly Manor, we’ve seen ample examples of heterosexuality gone awry. The show has repeatedly called our attention to the flaws and failings of heterosexual relationships against the carefully cultivated safety, open communication, and mutual fulfillment of a queer romance between two women. But, while queer audiences may celebrate this about this show, for straight audiences, this whole situation might just wind up producing anxiety instead—as though heterosexuality is also a threatened order within the world of Bly Manor. More generally, asking straight audiences to connect with a queer couple as the show’s main protagonists is an unaccustomed challenge with which they’re not normally tasked; thus, the show risks leaving this dominant viewer base uncomfortable, threatened, and resentful, sitting with the looming question of whether heterosexuality is, itself, redeemable.

In answer to this, Dani’s self-sacrifice provides multiple assurances to straight audiences. To begin with, her assumption of the traditional heroic-redemptive role secures audiences within the familiar confines of that narrative formula, which also then promises that Dani is acting as a protector of threatened status quos and not as another source of peril. What Bly Manor is doing here is, in effect, acknowledging that it may have challenged (and even threatened) straight audiences with its centerpiece of a queer romance—and that, likewise, queers themselves may be challenging the status quos of romantic partnerships by, for instance, demanding marriage rights and improvements in media representations—while also emphatically reassuring those audiences in the wake of that challenge that Dani and Jamie haven’t created and aren’t going to create too much disturbance with their queerness. They’re really not that threatening, Bly swears. They’re harmless as a dove. They’re wholesome. They’re respectable. They—and queer folks more generally—aren’t going to totally upend everything, really. Look, they’ll even sacrifice themselves to save everyone and redeem imperiled communities and threatened orders—even heterosexuality itself!

A critical step towards achieving this assurance is the leveling of the playing field. In order for the show to neutralize the threat of queerness for straight audiences, comfort them with a return to safety, and promise them that heterosexuality is redeemable, the queer women need to have an on-screen tragic end to their relationship just like all of the straight couples have. And so, Dani must die and Jamie must grieve.

That accomplished, the show then immediately returns to the frame, the scene at the fireplace following Flora’s rehearsal dinner.

There—after we’ve witnessed so much queer joy and queer tragedy crammed into this final episode—we see Flora and her fiancé, bride and groom, sitting together, arms linked, taking in all that Jamie has to tell them. And with this warm, idyllic image of impending matrimony between man and wife, the safety to which straight audiences return in the frame is, therefore, also the safety of a heterosexuality that can find its redemption through Dani’s self-sacrifice. Not only does Dani’s death mean that Flora can live (and go on to marry her perfectly bland, unremarkable husband, all without the trauma of what happened at Bly), but it also means that she—and, with her, straight audiences—can ultimately benefit from the lessons about true love, loss, and grieving that Dani’s self-sacrifice and Jamie’s story bestow.

And so, Bly Manor concludes with a valorization of redemptive self-sacrifice and an anodyne recuperation of heteronormativity, bequeathing Flora with the opportunities to have and to hold the experiential knowledge that Dani and Jamie have provided for her. Here, queer tragedy serves up an educational opportunity for heterosexual audiences in a challengingly “inclusive,” but otherwise essentially non-threatening manner. The ending is a gentle, non-traumatizing, yet frank lesson to heterosexual audiences in the same way that Jamie’s story is a gentle, non-traumatizing, yet frank lesson to Flora.

Did the show’s creators intentionally do all of this to set about providing such assurances to straight audiences? Maybe. Maybe not. I don’t really know—or care! But, especially in light of incidents like the recent “Suletta and Miorine’s relationship is up to interpretation” controversy following the Gundam: Witch from Mercury finale, I absolutely do not put it past media corporations and content creators to very intentionally take steps to prioritize the comfort of straight audiences against the threats of queer love. And anyway, intentional or not, all of this still has effects and implications loaded with meaning, as I have tried to account for here.

Honestly, though, I can’t quite shake the feeling that there’s some tension between Jamie, Owen, and maybe also Henry about Jamie’s decision to publicly share Dani’s story in front of Flora and Miles. Owen’s abrupt declaration that it’s getting late and that they should wrap up seems like an intervention—like he’s been as patient and understanding as he possibly could up to that point, but now, he’s finally having to put a stop to Jamie’s deviance. I can’t help but read the meaningful stares that pass between them at both ends of the frame as a complex mixture of compassion and fraught disagreement (and I wish that the show had done more with this). The scene where Dani and Jamie visit Owen at his restaurant seems to set up the potential for this unspoken dispute. By their expressions and mannerisms (Dani’s stony stare; the protective way that Jamie holds her as her own gaze is locked on Dani), it’s clear that Dani and Jamie are aghast that Flora and Miles have forgotten what happened and that Owen believes that they should just be able to live their lives without that knowledge. And it’s also clear, by her very telling of Dani’s story, that Jamie disagrees with him. Maybe I’m over-imposing my own attitudes here, but I’m left with the impression that Jamie resents the coddling of Miles and Flora just like I’m resenting the coddling of straight audiences…that Jamie resents that she and Dani have had to give up everything so that Miles and Flora can continue living their privileged lives just like I’m resenting the exploitation of queer tragedy for the sake preserving straight innocence. (As Jamie says to Hannah when Dani puts the children to work in the garden: “You can’t give them a pass forever.” Disclaimer: I’m not saying that I want Miles and Flora to be traumatized, but I am saying that I agree with Jamie, because hiding traumatic shit is not how to resolve inter-generational trauma. Anyway—).

Also, I don’t know about y’all, but I find Flora and Jamie’s concluding conversation to be super cringe. Maybe it’s because I’m gay and just have way too much firsthand experience with this sort of thing from my own comphet past, but Flora’s whole “I just keep thinking about that silly, gorgeous, insane man I’m marrying tomorrow. I love him. More than I ever thought I could love anybody. And the crazy thing is, he loves me the same exact amount,” spiel just absolutely screams “woman who is having to do all of the emotional work in her relationship with an absolutely dull, mediocre, emotionally illiterate man and is desperately trying to convince herself that he does, in fact, love her as much as she (believes) that she loves him.”

I feel like this is a parody of straightness?? Is this actually sincere??

This is what Dani gave up her life to redeem??

To me, this is just more bleak shit that Bly leaves us with. It is so painful to watch.

Bless.

Okay, so I know that I said that I wasn’t going to offer a definitive yes or no about whether Bly commits Bury Your Gays with Dani’s death, but…after writing all of this out, I’m honestly kinda leaning towards a yes.

But I’m already anticipating that folks are gonna push back against me on this. So I just want to humbly submit, again, that Bly could have just not done this. It could have just not portrayed Dani’s death at all.

To really drive this point home, then, I’m going to conclude this essay by suggesting just a few ways that The Haunting of Bly Manor could have ended without Dani’s self-sacrificial death—or without depicting her death on-screen at all.

Bly Manor Could Have Ended Differently

Mike Flanagan—creator, director, writer, editor, executive producer, showrunner, etc. of The Haunting of Bly Manor—has stated that he believes that the show’s ending is a happy one.

I, on the other hand, believe that Bly’s ending is…not. In my view, the way that the ending treats Dani is unnecessarily cruel and exploitative. “Happy ending”—really? If I let myself be cynical about it (which I do), I honestly think that Dani’s death is a pretty damn transparent effort to squeeze out some tears with a sloppy, mawkish, feel-good veneer slapped over it. And if we peel back that veneer and look under it, what we find is quite bleak.

To be fair, for a psychological horror show that’s so centrally about grief and trauma, Bly Manor does seem to profess an incredibly strong sense of hopefulness. Underlying the entirety of the show is a profound faith in all the good and beauty that can come from human connection, however fleeting our lives may be—and even if we make a ton of dumb, awful mistakes along the way. If I’m being less cynical about it, I do also think that the show’s ending strives to demonstrate a peak expression of this conviction. But—at least in my opinion—it doesn’t succeed in this goal. In my writing of this essay, I’ve come to believe that the show instead ends in a state of despair that is at odds with what it appears to want to achieve.

So, in this final section, I’m going to offer up a few possibilities for ways that the show could have ended that maybe wouldn’t have so thoroughly undermined its own attempted messages.

Now, if I were actually going to fix the ending of The Haunting of Bly Manor, I would honestly overhaul a ton of the show to arrive at something completely different. But I’m not going to go through all the trouble of rewriting the entire show here, lol. Instead, I’m going to work with most of what’s already there, leading out from Viola’s possession of Dani (even though I don’t actually like that part of the show either – maybe someday I’ll write about other implications of Viola’s possession of Dani beyond these allegorical readings, but not right now). I’m also going to try to adhere to some of the show’s core themes and build on some of the allegorical possibilities that are already in place. Granted, the ideas that I pose here wouldn’t fix everything, by any stretch of the imagination; but they would, at least (I hope), mitigate some of the issues that I’ve outlined over the course of this essay. And one way or another, I hope that they’ll help to demonstrate that Dani’s self-sacrificial death was completely unnecessary. (Seriously, just not including Dani’s death would’ve enabled the show to completely dodge the question of Bury Your Gays and would’ve otherwise gone a long way towards avoiding the problems with the show’s queer representation).

So, here's how this is going to work. First, I’m going to pose a few general, guiding questions before then proposing an overarching thematic modification that expands on an idea that’s already prominent across the show. This will then serve as the groundwork for two alternative scenarios. I’m not going to go super into detail with either of these alternatives; mostly, I just want to demonstrate that the show that could’ve easily replaced the situation leading to Dani drowning herself. (For the record, I also think that the show could’ve benefitted from having at least one additional episode—and from some timing and pacing restructuring otherwise. So, before anybody tries an excuse like “but this wouldn’t fit into the last episode,” I want to urge that we imagine these possibilities beyond that limitation).

Let’s start off by returning to a point that I raised in the earlier conversation about grief and acceptance: the trickiness of Viola’s “acceptance.”

What Viola “accepts” in the end aren’t her losses or her own mortality, but Dani’s desperate, last-ditch-effort invitation to inhabit her. Within the show’s extant ending, Viola never actually comes to any kind of acceptance otherwise. Dani’s suicide effectively forces her dissolution, eradicating her persistent presence through the redemptive power of self-sacrifice. But in all of my viewings of the show and in all of my efforts to think through and write about it, there’s a question that’s been bugging me to no end: Why does Viola accept Dani’s invitation in the first place?

We know that Peter figured out the “it’s you, it’s me, it’s us” trick in his desperation to return to some form of life and to leave the grounds of Bly Manor. But…what is the appeal of it for Viola? How do her own motivations factor into it? For so long, Viola’s soul has been tenaciously persisting at Bly all so that she can repeatedly return to the physical locus of her connection with her husband and daughter, their shared bedroom in the manor. She’s done this for so long that she no longer even remembers why she’s doing it—she just goes back there to grab whatever child she can find and strangles whoever happens to get in her way. So what would compel her to accept Dani’s invitation? What does she get out of it—and what does she want out of it? What does her acceptance mean? And why, then, does her acceptance result in the dissipation of the gravity well?

We can conjecture, certainly. But the show doesn’t actually provide answers to these questions. Indeed, one of the other major criticisms that I have of Bly is that it confines all of Viola’s development to the eighth episode alone. I really think that it needed to have done way more to characterize her threat and at least gestureat her history sooner, rather than leaving it all to that penultimate episode, interrupting and drawing out the exact moment when she’s about to kill Dani. (Like, after centuries of Viola indiscriminately killing people, and with so many ghosts that’ve been loitering around for so long because of that, wouldn’t Bly Manor have rampant ghost stories floating around about it by the time Dani arrives? But there’s only one minor suggestion of that possibility: Henry indicating that he might’ve met a soldier ghost once. That’s it. And on that note, all of the ghosts at the manor needed to have had more screentime and development, really). Further, it’s disappointing that the show devotes that entire eighth episode to accounting for Viola’s motivations, only to then reduce her to Big, Bad, Unspeakable Evil in the final episode, with no rhyme or reason for what she’s doing, all so that she can necessitate Dani’s death.

As we continue pondering these unanswered questions, there’s also another issue that I want to raise, which the show abandons only as an oblique, obscure consideration. And that is: How the hell did Jamie acquire all that extensive knowledge about Viola, the ghosts of the manor, and all that happened, such that she is able to tell Bly’sstory in such rich detail? My own sort of headcanon answer to this is that Viola’s possession of Dani somehow enabled Viola to regain some of her own memories—as well as, perhaps, a more extended, yet also limited awareness of the enduring consciousnesses of the other ghosts—while also, in turn, giving Dani access to them, too. Dani then could have divulged what she learned to Jamie, which would account for how Jamie knows so much. I bring this up because it provides one possible response to the question of “What does Viola get out of her possession of Dani?” (especially given the significant weight that the show places on the retention of one’s memories—more on this in a moment) and because this is an important basis for both of my proposed alternative scenarios.

Before we dig into those alternative scenarios, however, there’s also a thematic modification that I want to suggest, which would help to provide another answer to “What does Viola get out of her possession of Dani?” while also alleviating the issues that lead into the valorization of Dani’s suicide. That thematic modification involves how the show defines love. Although Bly’s sustained contrasts between love and possession have some valuable elements, I think that the ending would’ve benefitted from downplaying the love vs. possession theme (which is where we run into so much trouble with Dani’s self-sacrifice, and which has also resulted in some celebratory conflations between “selflessness” and self-sacrifice that I’ve seen crop up in commentary about the show—but, y’all, self-sacrifice is not something to celebrate in romantic partnerships, so please, please be careful idolizing that) to instead play up a different theme: the idea that love is the experience of feeling such safety and security with another person that we can find opportunities for peace by being with them.

Seeking peace—and people with whom to feel safe enough to share traumas and experience peace—is a theme that already runs rampant across the show, so this modification is really just a matter of accentuating it differently. It’s also closely linked to the moving through grief theme that we’ve already discussed at length, as numerous characters in Bly express desires for solitude with loved ones as a way of finding relief and healing from their pain, grief, and trauma. (And I suspect that I latched onto this because I have desperately wanted peace, calm, and stillness in the midst of my own acute, compounding traumas…and because my own former romantic partner was obviously not someone with whom I felt safe enough to experience the kind of peace that would’ve allowed me to begin the process of healing).

We run into this idea early in the development of Jamie and Dani’s romance, as narrator Jamie explains in the scene leading up to their first kiss, “The au pair was tired. She’d been tired for so long. Yet without even realizing she was doing it, she found herself taking her own advice that she’d given to Miles. She’d chosen someone to keep close to her that she could feel tired around.” Following this moment, at the beginning of Episode 5, narrator Jamie then foregrounds Hannah’s search for peace (“The housekeeper knew, more than most, that deep experience was never peaceful. And because she knew this ever since she’d first called Bly home, she would always find her way back to peace within her daily routine, and it had always worked”), which calls our attention to the ways that Hannah has been retreating into her memory of her first meeting with Owen as a crucial site of peace against the shock of her own death. Grown-up Flora even gushes about “that easy silence you only get with your forever person who loves you as much as you love them” when she’s getting all teary at Jamie about her husband-to-be.

Of course, this theme is already actively at work in the show’s conclusion as well. During her “beast in the jungle” monologue, Dani tells Jamie that she feels Viola “in here. It’s so quiet…it’s so quiet. She’s in here. And this part of her that’s in here, it isn’t…peaceful.” As such, Viola’s whole entire issue is that, after all those centuries, she has not only refused to accept her own death, but she’s likewise never been at peace—she’s still not at peace. Against Viola’s unpeaceful presence, however, Dani does find peace in her life with Jamie…at least temporarily, until Viola’s continued refusal of peace leads to Dani’s self-destructive sense of fatalism. Still, in her replacement of Viola as the new Lady of the Lake, Dani exists as a prevailing force of peace (she’s “harmless as a dove”); however, incidentally, she only accomplishes this through the decidedly non-peaceful, violent act of taking her own life.

But…what if that hadn’t been the case?

What if, instead, the peace that Dani finds in her beautiful, queer, non-self-sacrificing existence with Jamie had also enabled Viola to find some sense of peace of her own? What if, through her inhabitation of Dani, Viola managed to, like…calm the fuck down some? What if Dani’s safety and solitude worked to at least somewhat assuage Viola’s rage—and even guide her towards some other form of acceptance?

Depending on how this developed, the show could’ve borne out the potential for a much more subversive conclusion than what we actually got. Rather than All-Consuming-Evil Viola’s forced dissolution through the violence of Dani’s redemptive self-sacrifice (and its attendant recuperation of heteronormativity), we could’ve instead had the makings of a narrative about sapphic love as a source of healing that’s capable of breaking cycles of violence and trauma. And I think that it would’ve been possible for the show to accomplish this without a purely “happy” ending in which everything was just magically fine, and all the trauma dissipated, and there were no problems in the world ever again. The show could have, in fact, managed this while preserving the allegorical possibilities of Viola’s presence as mental and/or terminal illness.

But, before I can start describing how this could’ve happened, there’s one last little outstanding problem that I need to address. In the video essay that I cited earlier, Rowan Ellis suggests that there are limitations to the “Viola as a stand-in for mental/terminal illness” reading of the show because of the fact that Dani invites Viola into herself and, therefore, willingly brings on her own suffering. But I don’t think that this is quite the case or that it interferes with these allegorical readings. As I’ve already mentioned at various points, Dani doesn’t entirely understand the implications of what she’s doing when she issues her invitation to Viola; and even so, the invitation is still a matter of a dubious consent that evidently cannot be withdrawn once initially granted—at the absolute most generous characterization. Dani’s invitation is a snap decision, a frantic attempt to save Flora after everyone and everything else has failed. Consequently, we don’t necessarily have to construe Viola’s presence in Dani’s life as a matter of Dani “willingly inviting her own suffering,” but can instead understand it as the wounds and traumas that persist after Dani has risked her life to rescue Flora. In this way, the show could have also challenged the traditional heroic-redemptive narrative formula by offering a more explicit commentary on the all-too-often unseen ramifications of selflessly “heroic” actions (instead of just heedlessly perpetuating their glorification and, with them, self-sacrifice). Dani may have saved Flora—but at what cost to herself? What long-term toll might this lasting trauma exact on her?

And with that, we move into my two alternative ending scenarios.

Alternative Ending 1: Progressive Memory Loss

Memory and its loss are such significant themes in Bly Manor that theycould use an essay all their own.

I am, however, going to refrain from writing such an essay at this moment in time (I’m already super tired from writing this one, lol).

Still, the first of my alternative scenarios would bring these major themes full-circle—and would make Jamie eat her words.

In this alternative scenario, Viola would find some sense of peace—even if fraught and, at times, tumultuous—in her possession of Dani. As her rage subsides, she is even able to regain fragmented pieces of her own memory, which Dani is also able to experience. The restoration of Viola’s memory, albeit vague and scattered, leads Dani to try to learn even more about Viola’s history at Bly in an effort to at least partially fill in the gaps. As time goes on, though, Viola’s co-habitation within Dani’s consciousness leads to the steady degradation of Dani’s own memory. The reclamation of Viola’s memories would occur, then, concomitant with a steady erosion of both herself and Dani. Thus, Dani would still undergo an inexorable decline across the show’s ending, but one more explicitly akin to degenerative neurological diseases associated with aging, accentuating the “Viola as terminal illness” allegory while also still carrying resonances of the residual reverberations of trauma (given that memory loss is often a common consequence of acute trauma). Jamie would take on the role of Dani’s caregiver, mirroring and more directly illuminating the role that Owen plays for his mother earlier in the show. By the show’s conclusion, Dani would still be alive, including during the course of the frame narrative.

I mentioned earlier in this essay that I’ve endured even more trauma and grief since my brother’s death and since my breakup with my ex-fiancé. So, I’ll share another piece of it with you now: shortly after my breakup, my dad was diagnosed with one of those degenerative neurological diseases that I listed way back at the very beginning. I moved home not only to get away from my ex, but also to become a caregiver. In the time that I’ve been home, I’ve had no choice but to behold my dad’s continuous, irreversible decline and his indescribable suffering. He has further health issues, including a form of cancer. As a result, he now harbors a sense of fatalism that he’ll never be able to reconcile—he does not have the cognitive capacities to address his despair or turn it into some other form of acceptance. He is merely, in essence, awaiting his death. Hence, fatalism is something that I have had to “accept” as a regular component of my own life. (In light of this situation, you may be wondering if I have thoughts and opinions on medical aid in dying, given all that I have had to say so far about fatalism and suicide. And the answer is yes, I do have thoughts and opinions…but they are complex, and I don’t really want to try to account for them here).

Indeed, I live in a suspended, indefinite state of grieving. Day in and day out, I watch my father perish before my eyes, anticipating the blow of fresh grief that will strike when he dies. I watch my mother’s grief. I watch my father’s grief. He forgets about the symptoms of his disease; he looks up his disease to try to learn about it; he re-discovers his inevitable demise anew; the grieving process restarts again. (“She would wake, she would walk, she would forget […] and she would fade and fade and fade”).

What, then, does acceptance look like when grief is so ongoing and so protracted?

What does acceptance look like in the absence of any possibility of acceptance?

Kübler-Ross’s “five stages of grief” model has been a meaningful guide for countless folks in their efforts to navigate grief and loss. Yet, the model has also been subject to a great deal of critique. Critics have accused the model of, among other things, suggesting that grieving is a linear process, whereby a person moves from one stage to the next and then ends conclusively at acceptance (when grieving is, in fact, an incredibly uneven, nonlinear, and inconclusive process). Relatedly, they have also called attention to the fact that the model commonly gets used prescriptively in ways that usher grieving folks towards the end goal of acceptance and cast judgment on those who do not reach that stage. These are criticisms that I would level at Bly’s application of Kübler-Ross as well. Earlier, we thoroughly covered the show’sissues with grief and acceptance as major themes; but in addition to those issues, Bly alsotends to steer its characters towards abrupt endpoints of acceptance, while doling out punishments to those who “refuse” to accept. At root, there are normative ascriptions at work in the show’s very characterization of deferred acceptance as refusal and acceptance itself as an active choice that one has to make.

This alternative ending, then, would have the potential to challenge and complicate the show’s handling of grief by approaching Jamie’s grieving and Dani’s fatalism from very different angles. As Dani’s caregiver, Jamie would encounter and negotiate grief in ongoing and processual ways, which would continue to evolve as her wife’s condition worsens and her caregiving responsibilities mount, thereby lending new layers of meaning to the message that “To truly love another person is to accept that the work of loving them is worth the pain of losing them.” Dani’s fatalism here could also serve as a different interpretation of James’s Beast in the Jungle; perhaps her sense of fatalism ebbs and flows, morphs and contorts along with the progression of her memory loss as she anticipates the gradual whittling-away of her selfhood—or even forgets that inevitability entirely. Still a tragic, heart-rending ending to the show, this scenario may not have the dramatic force of Jamie screaming into the waters of the lake, but it would be a relatable depiction of the ways that many real-life romances conclude. (And, having witnessed the extent of my mom’s ongoing caregiving for my dad, lemme tell ya: if y’all really want a portrayal of selflessness in romantic partnerships, I can think of nothing more selfless than caring for one’s terminally ill partner across their gradual death).

Additionally, this scenario could allow the show to maintain the frame narrative, while also packing fresh complexities into it.

Perhaps, in this case, Dani is still alive, but Jamie has come to Flora’s wedding alone, leaving Dani with in-home caregivers or within assisted living or some such. She comes there determined to ensure that Miles and Flora regain at least some awareness of what Dani did for them—that they remember her. The act of telling Dani’s story, then, becomes not only the performance of a mourning ritual, but also a vital way of preserving and perpetuating Dani’s memory where both the children and Dani, herself, can no longer remember. To be sure, such purposes already compel Jamie’s storytelling in the show: Narrator Jamie indicates that the new Lady of the Lake will eventually lose her recollection of the life she had with the gardener, “leaving the only trace of who she once was in the memory of the woman who loved her most.” But in the context of a conclusion so focused on memory loss, this statement would take on new dimensions of import. In this way, the frame narrative might also more forcefully prompt us, the audience, to reflect on the waysthat we can carry on the memories of our loved ones by telling their stories—and also, maybe, the responsibilities that we may have to do so. “Almost no one even remembers how she was when her mind hadn’t gone,” Jamie remarks after returning from Owen’s mother’s funeral, a subtle indictment of just how easily we can lose our own memories of those who suffer from conditions like dementia—how easily we can fail to carry on the stories of the people they were before and to keep their memories alive. (“We are all just stories in the end,” Olivia Crain emphasizes during the eulogy for Shirl’s kitten in The Haunting of Hill House. In fact, there’re some interesting comparative analyses we could do about storytelling and the responsibilities incumbent on storytellers between these two Flanagan shows).

Along those lines, I think that this would’ve been an excellent opportunity for the show to exacerbate and foreground those latent tensions between Jamie and Owen (and maybe also Henry) about whether to share Dani’s story with the now-adult children.

In the show’s explorations of memory loss, there’re already some interesting but largely neglected undercurrents churning around about the idea that maybe losing one’s memory isn’t just a curse or a heartbreaking misfortune (as it is for Viola, the ghosts of Bly Manor, and Owen’s mother), but can, in certain circumstances, be a blessing. Bly implies—via Owen and the frame narrative—that Miles and Flora have been able to flourish in their lives because they have forgotten what happened at Bly and still remain blissfully unaware of it…which, to be clear, is only possible because of the sacrifices that Dani and Jamie have made. But this situation raises, and leaves floating there, a bunch of questions about the responsibilities we have to impart traumatic histories to younger generations—whether interpersonally (e.g. within families) or societally (e.g. in history classrooms). Cycles of trauma don’t end by shielding younger generations from the past; they especially don’t end by forcing impacted, oppressed, traumatized populations (e.g. queer folks) to shoulder the burdens of trauma on their own for the sake of protecting another population’s innocent ignorance. But how do we impart traumatic histories? How do we do so responsibly, compassionately, in ways that respect those harrowing pasts—and those who lived them, those most directly impacted by them—without actively causing harm to receiving audiences? On the other hand, if we over-privilege the innocence of those who have forgotten or those who weren’t directly impacted, what do we lose and what do we risk by not having frank, open conversations about traumatic histories?

As it stands, I think that Bly is remiss in the way it tosses out these issues, but never actually does anything with them. It could have done much, much more. In this alternate ending, then, there could be some productive disagreement among Jamie, Owen, and Henry about whether to tell Flora and Miles, what to tell them, how to tell them. Perhaps, in her seizing of the conversation and her launching of the story in such a public way, Jamie has taken matters into her own hands and has done so in a way that Owen and Henry can’t easily derail. Perhaps Owen sympathizes but does, indeed, abruptly cut her off just before her audience can completely connect the dots. Perhaps Henry is conflicted and doesn’t take a stand—or perhaps he does. Perhaps we find out that Henry had been torn about whether to even invite Jamie because of the possibility of something like this happening. Or, perhaps Henry wants the children to know and believes that they should hear Dani’s story from Jamie. Perhaps we see scenes of past quarrels between Jamie and Owen, Owen and Henry. Perhaps, once the story has ended, we see a brief aftermath conversation between Owen and Jamie about what Jamie has done, their speculations about how it may impact Miles and Flora. Perhaps the show presents these conversations in ways that challenge us to reflect on them, even if it does not provide conclusive answers to the questions it raises, and even if it leaves these conflicts open-ended, largely unresolved.

Alternative Ending 2: Living with the Trauma

If Bly’s creators had wanted Viola’s inhabitation of Dani to represent the ongoing struggles of living—and loving someone—with severe mental illness and trauma, they could have also just…done that? Like, they could have just portrayed Jamie and Dani living their lives together and dealing with Viola along the way. They could have just let that be it. It wouldn’t have been necessary to include Dani’s death within the show’s depicted timeline at all.

The show could’ve more closely aligned its treatment of Dani’s fatalism with James’s Beast in the Jungle—but with, perhaps, a bit more of a hopeful spin. Perhaps, early on, Dani is convinced that her demise is imminent and incontrovertible, much as we already see in the final episode’s diner scene. For a while, this outlook continues to dominate her existence in ways that interfere with her daily functioning and her relationship with Jamie. Perhaps there’s an equivalent of the flooded bathtub scene, but it happens much earlier in the progression of their partnership: Dani despairs, and Jamie is there to reinforce her commitment to staying with Dani through it all, much like her extant “If you can’t feel anything, then I’ll feel everything for the both of us” remarks. But maybe, as a result of this, Dani comes to a realization much like The Beast in the Jungle’s John Marcher—but one that enables her to act on her newfound understanding, an opportunity that Marcher never finds before it’s too late. Maybe she realizes that her fatalism has been causing her to miss out on really, truly embracing the life that she and Jamie have been forging together, thus echoing the show’s earlier points about how unresolved trauma can impede our cultivation of meaningful relationships. Maybe she realizes that her life with Jamie has been passing her by while she’s remained so convinced that Viola will claim that life at any moment. Maybe she comes to understand that her perpetual sense of dread has been hurting Jamie—that Jamie needs her in the same ways that she needs Jamie, but that Dani’s ever-present sense of doom has been preventing her from providing for those needs. And maybe this leads to a re-framing of the “you, me, us,” conceit, with a scene in which Dani acknowledges the extent to which her fatalism has been dictating their lives; in light of this acknowledgement, she and Jamie resolve—together—to continue supporting each other as they navigate Viola’s lasting influences on their lives.

By making this suggestion, I once again do not want to seem like I’m advocating that “Dani should fight back against Viola” (or, in other words, that “Dani should fight harder to win the battle against her mental illness”). But I do want to direct us back to a point that I raised at the very beginning: grieving, traumatized, and mentally ill folks can, indeed, cause harm to our loved ones. Our grief, trauma, and mental illness don’t excuse that fact. But what that means is that we have to take responsibility for our harmful actions. What it absolutely does not mean is that our harms are inevitable or that our loved ones would be better off without us.It means recognizing that we still matter and have value to others, despite the narratives we craft to try to convince ourselves otherwise. It means acknowledging the wounds that fatalistic, “everybody is better without me” assumptions can inflict. It means identifying the ways that we can support and care for our loved ones, even through our own struggles with our mental health.

“Fighting harder to win the battle against mental illness” is a callous and downright incorrect framing of the matter; but there are, nevertheless, intentional steps that we must take to heal from trauma, to receive treatment for our mental illnesses, to care for ourselves, to care for our loved ones. For instance…the very process of writing this essay incited me to do a lot of reflecting on the self-defeating narratives that I have been telling myself about my mental health and my relationships with others. And that, in turn, incited me to do some course-correcting. I thought about how much I want to work towards healing, however convoluted and intricate that process may be. I thought about how I want to support my family. How I want to foster a robust social support network, such that I feel a genuine sense of community. How I want to be an attentive friend. How, someday, if I’m fortunate enough to have a girlfriend, I want to be a caring, present, and equal partner to her; I want to emotionally nourish her through life’s trials and turmoil, not just expect her to provide that emotional nourishment for me. I started writing this essay in August; and since then, because of it, I’ve held myself accountable by reaching out to friends, spending time with them, trying to support them. I’ve also managed to get myself, finally, to start therapy. And my therapist is already helping me address those self-defeating narratives that have led me to believe that I’m just a burden on my friends. So, y’know, I’m workin’ on it.

But it ain’t pretty. And it also ain’t a linear upward trajectory of consistent improvement. It’s messy. Sometimes, frankly, it’s real ugly.

It could be for Dani, too.

Even with her decision to accept the certainties and uncertainties of Viola’s intrusive presence in her life, to live her life as best she can in the face of it all, perhaps Dani still struggles from day to day. Perhaps some days are better than others. Perhaps Viola, as I suggested earlier, begins finding some modicum of peace through her possession of Dani; nonetheless, her rage and disquiet never entirely subside, and they still periodically overtake Dani. Perhaps Dani improves, only to then backslide, only to then find ways to stabilize once again. In this way, the show could’ve more precisely portrayed the muddled, tumultuous lastingness of grief and trauma throughout a lifetime—without concluding that struggle with a valorized suicide.

Such portrayals are not unprecedented in horror. As I contemplated this ending possibility, I couldn’t help but think of The Babadook (2014), another piece of horror media whose monster carries allegorical import as a representation of the endurance and obtrusion of unresolved trauma. The titular monster doesn’t disappear at the film’s end; Sam emphasizes, in fact, that “you can’t get rid of the Babadook.” And so, even after Amelia has confronted the Babadook and locked him in the basement of the family’s home, he continues to lurk there, still aggressive and threatening to overcome her, but able to be pacified with a bowlful of worms. Like loss and trauma, the Babadook can never be totally ignored or dispelled, only assuaged with necessary, recurrent attention and feedings.

Bly could have easily done something similar with Viola. Perhaps, in the same way that Amelia has to regularly provide the Babadook with an offering of worms, Dani must also “feed” Viola to soothe her rage. What might those feedings look like? What might they consist of? Perhaps Viola draws Dani back to Bly Manor, insisting on revisiting those same sites that have held implacable sway over her for centuries. Perhaps these visits are what permit Dani to gradually learn about Viola: who she was, what she has become, why she has tarried between life and death for so long. Perhaps Dani also learns that these “feedings” agitate Viola for a while, stirring her into fresh furor—but that, in their wake, Viola also settles more deeply and for longer periods. Perhaps they necessitate that Dani and Jamie both directly confront their own traumas, bring them to the surface, attend to them. Perhaps, together, they learn how to navigate their traumas in productive, mutually supportive ways. Perhaps this is also what quiets Viola over time, even if Dani is never quite sure whether Viola will return to claim her life.

You may be wondering, then, about what happens with the frame narrative in this scenario. If Dani doesn’t meet some tragic demise, what happens to the role and significance of grieving in the act of Jamie’s storytelling? Would Jamie’s storytelling even occur? Wouldn’t Dani just be at Flora’s wedding, too? Would we miss the emotional gut-punch of the reveal of the narrator’s identity at the end?  

Perhaps, in this case, the ending removes some of the weight off of the grief theme to instead foreground those troubled deliberations about how to impart traumatic histories (as we covered in the previous scenario). As such, the frame could feature those conflicts between Jamie (and Dani here too this time), Owen, and Henry concerning whether or not to tell Dani’s story to Miles and Flora. Perhaps Dani decides not to attend the wedding, wary of contributing to this conflict at the scene of what should be a joyous occasion for Flora; perhaps she feels like she can’t even face the children. And then, without Dani there, perhaps an overwrought Jamie jumps into the story when the opportunity presents itself—whether impulsively or premeditatedly.

Or…Perhaps the show could’ve just scrapped the frame at Flora’s wedding and could’ve done something else instead. What might that be? I have no idea! Sky’s the limit.

At any rate, even with these changes, it would’ve still been possible to have the show conclude in a sentimental, tear-jerking way (which seems to be Flanagan’s preference). Perhaps Jamie’s storytelling does spark the return of the children’s memories. Perhaps, as they begin to remember, they reach out to Dani and Jamie, wanting to connect with them, wanting especially to see Dani again. And then, perhaps, the show could’ve ended with a scene of Miles and Flora finally reuniting with Dani—emotional, sweet, and memorable, no valorized suicide or exploitation of queer tragedy needed.

Conclusion

In my writing of this essay—and over the course of the Bly Manor and Hill House rewatches that it inspired—I’ve been finding myself also doing a great deal of reflection about the possibilities and purposes of horror media. I’ve been thinking, in particular, about the potential for the horror genre to provide contained settings in which we can face and explore our deepest fears and traumas in (relatively) safe, controlled ways. Honestly, I think that this is part of why I enjoy Flanagan’s work so much (even if it also enrages me at the same time). If you’ve read this far, you’ll have seen just how profoundly I relate to so much of the subject matter of The Haunting of Bly Manor. It has been extremely meaningful and valuable for me to encounter the show’s depictions of topics like familial trauma, grief, loss, compulsory heterosexuality, caregiving for aging parents, so on, all of which bear so heavily on my own existence. Bly Manor produced opportunities for me to excavate and dig deeply into the worst experiences of and feelings about my life: to look at them, understand them, and give voice to them, when I’m otherwise inclined to bury them into inconspicuous docility.

Even so, the show does not handle these relatable topics as well as it could have. Flanagan and the many contributors to this horror anthology can’t just preach at us about the responsibilities of storytellers; they, too, have responsibilities as storytellers in the communication of these delicate, sensitive, weighty human experiences. And so, to reinforce a point that I made earlier, this is why I’ve written this extensive critique. It’s not because I revile the show and want to condemn it—it’s because I cherish Bly Manor immensely. It’s because I wanted more out of it. It’s because I want to hold it and its creators accountable. It’s because I want folks to think more critically about it (especially after how close I came to unreflectively accepting its messages in my own initial reception of it).

Television usually doesn’t get me this way. It’s been a long time since I was this emotionally attached to a show. So this essay has been my attempt to honor Bly with a careful, meticulous treatment. I appreciate all of the reflection and self-work that it has inspired me to undertake. I’ve wanted to pay my respects in the best way I know how: with close, thorough analysis.

If you’ve read all this mess, thanks for taking the time to do so. I hope that you’ve been able to get something out of it, too.

Representation matters, y’all.

The end.

[boy---interruptedd]

Alfred's Playhouse Commentary.

Alfred's playhouse is a vent show I recently discovered made by Emily Youcis. I will be addressing the actual content of the show before I move on to my opinion on Emily herself so please hold fire until the end because I KNOW what you're thinking.

TRIGGER WARNING - CSA, SH, CHILD ABUSE, NAZISM, GRAPHIC IMAGERY.

(Not all these themes are discussed in my post but you should be aware of these before watching the show)

Alfred's Playhouse features main character Alfred, who is a dog described in the introduction song as desperately attempting to escape his painful reality. I agree that it is genuinely disturbing, but I'd like to address its vague poignancy and how it deals with its themes.

In the first episode, we see what I think (as a survivor myself) to be the most accurate representation of how it feels to be sexually assaulted I've ever seen. The moment where everything is odd and numb and quiet followed by pure panic and rage.

The first episode also displays mental instability incredibly well. I've struggled with my mental health for the past six years and honestly the scenes where Alfred just rambles about essentially nothing at all, addressing an imagined audience, accurately represents what feels like the descent into madness many mentally ill people are convinced they go through. The thought that you've lost your mind is an extremely painful one and Alfred's Playhouse depicts that with surprising levels of accuracy.

Episode two, however, is essentially just this massive showcase of Alfred brutally harming himself. Though it portrays the very common desperate desire for attention many people experience when they struggle with self harm, myself included, I feel the level of gore is a little gratuitous, displaying Alfred almost bleeding to death from the wounds he's inflicted upon himself. That being said, it is a vent show so I see why Youcis made the decision. She never really made it for other people it was a way to make herself feel better. Then again, it was her decision to post it publicly.

Episode three essentially explains the whole show from a weirder perspective and honestly I don't want to go into it since I have so much to say and it's quarter past 11 at night and I have college tomorrow, but it is a good episode with the context of the show.

Overall, though it is important for assault victims and mentally ill people to have content in which they feel seen, I feel Youcis should have toned her work down a little before posting it. However, the Internet was a wild west in 2007.

Now onto Youcis herself, I feel it is incredibly unjustified to attribute her current political views to the show. She fell down the alt-right pipeline after publishing Alfred's Playhouse. This is almost definitely because of her downward spiral. It's not uncommon for groups like the alt-right to target vulnerable people like Emily. She has so clearly been crying for help for years and, though there's no excuse for her words or actions, I feel you should take her art for what it is rather than apply a made up meaning to it. The depictions of Nazis in the show - I think - are more a commentary on her childhood trauma and the themes of the show, Alfred feeling his life is dictated by someone/something else. While there's definitely better content in the genre and in general, the massive controversy surrounding Alfred's Playhouse is - in my opinion - unwarranted and really just watch it with an open mind and separate it from current Emily because she wasn't like she is now when she made it. Instead of hating on the present, understand the past and don't be overly shocked when mentally ill people do fucked up shit, especially when they've received the kind of backlash Emily Youcis faced.

Final disclaimer- I don't support her actions I hope she burns I just want people to understand things how they actually happened yk?

[ooppo]

National Bipolar Awareness day - March 30th.

I remember the first time I had a auditory hallucination (that I was aware of) was when I was, like, 15~ years old and I was sitting in my bed reading fanfiction. It was 7 at night when I heard the sound of these musical instruments being knocked together at a steady beat:

I started to look around really, really confused because like where the fuck is this sound even coming from? It sounded like it was being played right near me. So I was looking around until I found the source of the wooden knocking, which was from my stomach. Once I found the source the rhythmic knocking slowly faded until it was silent. Before this incident I had several visual hallucinations of spiders and bugs that weren't there but I attributed that to being tired (after a Google search of 'tired hallucinations') so when faced with this very loud new hallucination at 7PM when I was feeling awake, I told myself "oh. I must be tired." And went to sleep.

Moral of the story is that your brain will downplay the signs of serious mental disorders if you aren't educated in what they are. I think everyone should learn the signs of what mental illnesses look like just so they can help themselves or others. I went undiagnosed for seven years and my father went undiagnosed for nearly 50. The signs were there and obvious to both us and outsiders, but due to a lack of information that could have been cleared up by a simple search of 'bipolar symptoms' 'what are delusions' 'what kinds of hallucinations are there' these symptoms were overlooked.

Serious mental illnesses like bipolar/schizophrenia aren't as uncommon as you think. Here are some popular actors/celebrities who have been diagnosed with bipolar disorder (ones that are open about it):

I don't want to post a ton of links here so you can Google "celebrity name bipolar disorder" if you'd like to. Historically influential people with a suspected bipolar disorder diagnosis are Virginia Woolf, Vincent Van Gogh, and Edgar Allen Poe.

With national bipolar awareness day coming up (March 30th which is also Van Gogh's birthday) I wanted to post something for it.

So please learn the signs of mental illness for your sake and others. Bipolar disorder is as common as autism. They are both 1 in 100. Schizophrenia is 1 in 300. Ocd is also 1 in 100. Here are some helpful articles about the signs of these illnesses:

Bipolar

Schizophrenia

Ocd

Schizoaffective

Your mentally ill siblings aren't scary boogyman, they are mothers, teachers, artists, lovers, poet's, garbage men, deli workers, etc. They are people.

I remember when my father was diagnosed after me, he told me: "All my life people would ask me, 'what the fuck is wrong with you?' and I would always say, 'I don't know'."

You could be the reason why someone gets help.

No one in my fathers or my life knew what bipolar disorder looked like, so we suffered with it for years unknowingly.

I remember when I was learning the signs when I was suspecting my diagnosis, I had learned the signs for schizophrenia as well (since psychosis is a shared symptom between the two illnesses) and when I saw the symptoms of schizophrenia I remembered my old highschool friend who I thought was weird because he talked about how he could get called into the matrix and would go still for long periods of time when he was "transferring" from this world to the matrix world. Now I see that as possible signs of delusions and catatonia. That weird and off putting kid in school could be suffering unknowingly. Your strange uncle who accuses people of stealing his shoes could be suffering. YOU could be suffering and asking yourself why you're so weird/don't fit in/can't keep up.

So please for national disability month and bipolar awareness day learn some of the symptoms for serious disorders because you or a loved one could be suffering from it without knowing. Thank you.

[blindmagdalena]

Hi, Amy! How are you?

You know, I've been having a lot of thoughts about Homelander's relationship with both Ashley and the rest of the Seven, and wanted to share them, if that's okay :)

Although at first glance it really seems that Homelander just hates his team, I think that it's a bit more complicated than that.

Sure he likes to bully them, intimidate them and generally just play mind games with the team. He's a sadist for sure. However, I also think that he rationalizes his mistreatment of them as "toughening them up".

I've had a lot of teachers (and one terrible boss) who had this mentallity. They use the people bellow them as pounching bags, an outlet for their own frustrations because they know they won't face any repercussions, but they don't see it as an abuse of power. They think that this mistreatment helps to build character and it's necessary.

In a way, they think "they are doing us a favor", and in my mind that's exactly how Homelander sees his relationship with the Seven. "Oh, they re weak and pathetic and so bellow me, but it's okay, I'll make them better" basically.

It's also a form of revenge, because Homelander went through abuse as well while he was in the lab. So, now he believes that pain and humiliation is something everyone should go through because it will make them stronger. This helps him justify his own suffering too. Because if pain isn't necessary to become better, why did he have to go through that?

I think (weirdly enough) that this is particularly true when it comes to his relationship with women.

In his mind, Alex's death was not just a way to intimidate Starlight. It was a loss she needed to experience to "understand the situation she was in". That's why during the interview he held her hand and even said that he missed her, acting like everything was fine between them. Because what he did was for Starlight's benefit so she doesn't have a right to hate him for it.

His issues distinguishing reality from fiction (as in marketing and PR stunts, branding, etc) also played a role in that, but that's beside the point.

AND ASHLEY!!?? I have so many thoughts about how he actually is, deep down, VERY fond of Ashley but feels the need to terrorize her bc she won't be a useful paw if he goes soft on her. Even if she's just using her, you don't hang over the most sucessful company of the world to someone you hate.

Yes, everything he does is horrible and ill-intended, but he doesn't realize it!

He thinks he can hurt people and still have an emotional connection to them, because abuse is just an intrinsical part of any relationship. That's what Jonah Vogelbaum and Vought taught him, and that's why he's always so dumbfounded when people turn on him.

(Poor thing, he really needs to be commited at this point 😩).

aahh wow, so many good points! i agree that Homelander absolutely ascribes to 'tough love,' like pushing Ryan off the roof. that is undoubtedly exactly how he was taught to fly, too. you've nailed his warped perspective on how he goes about teaching people lessons.

though a good deal of his bullying, especially in regards to A-Train and Deep, seems like him lashing out against them for not being his dream team. he's at his worst with them when he feels small and insecure. he treats them as extensions of himself and his image, and when they fail to live up to that, it infuriates him.

i don't know if i entirely agree with the latent fondness beneath his bullying of Ashley: if he is fond of her, i don't think he's aware of it at all. to me, it seems much more like she's his designated adult. a frazzled babysitter. someone he has terrified into being loyal and responsible for all the company related nuances he doesn't understand. it makes so much sense to me when you take into account what Starr said about Homelander having the emotional intelligence of a 14-year-old. she's his stand-in for Stan Edgar.

he's pretty openly doting when he has fondness for someone. Black Noir is a very good example of this.

that said, fondness is different from attachment. i do think he's both attached to and reliant on every member of his team. a teenager who lashes out at their friends and family is still very much reliant on those same people.

i like what you said about him viewing abuse as an intrinsic part of relationships, and something that shouldn't cause people to turn on him. it's fucked up and tragic, and his perspective definitely IS very skewed, but he shows us several times that he's actually pretty soft when it comes to his loved ones.

when Ryan has a panic attack, he doesn't scold him or tell him to get over it. he removes him from the situation, gives him space, and then empathizes with him. obviously he's much softer with his son bc he's actively looking to change the way he was raised through his son.

ultimately to me, Homelander's sadism doesn't come across as quite as meticulous or well thought out as he'd like people to believe. he's a wounded, frustrated child taking out his pain on those around him. he uses fear and torment to get his way because that's what was done to him, and yet he expects them to have the same weird reverence for him that he had for Vogelbaum.

[akindplace]

We all know hurt people hurt other people. But your trauma, your anxiety, your fear, your mental illness does not give you a pass on being hateful towards other people, especially when they have clearly communicated boundaries and stated how you are making them feel. What happened to you was unfair, but it won't heal unless you face it directly and learn to let go of all this rage, instead of lashing out on the wrong people. You don't get to abuse others because you were abused, you don't have the right to infringe on their boundaries, you don't have the right to be so hateful towards someone who never hurt you, even though you are struggling yourself. Everyone is struggling, and everyone has their own limitations.

Your feelings are valid, your desires, your rage, but they are not facts, and they don't give you control over other people and excuses when you become toxic to others. Don't infantilize your own behavior as that of someone who cannot stop themselves to excuse the same behavior your abuser had towards you when boundaries were communicated, which you understood and infringed them anyway, lashed out anyway, and ended up repeating the cycle of abuse over and over.

Your rage over what happened to you is valid, but traumatizing other people because you are hurting yourself is just repeating the cycle. Sometimes, we are the ones in the wrong, and we need to take accountability on the fact that we can be toxic so we can face our own hurt, our own relationship problems, and start healing from all this pain instead of directing them to other people who had nothing to do with it in the first place.

Boundaries are boundaries, and you if you are aware of that and they were communicated directly to you, don't get the right to infringe upon them, to restrict someone's freedom, to restrict someone's agency over their body because you don't agree that they should have the choice, or because you feel like you lack control, or feel like your own needs are more important than of others because you are suffering. Everyone is suffering too, you are just acting with disregard towards them. Even when you are suffering, you don't get to infringe on someone's autonomy when they have clearly communicated over and over and you have understood it but did it regardless. It's disruptive to your personal relationships, and you don't get to pick and choose which boundaries you are going to respect, you don't get to be rude, to lash out or to abuse anyone else because you were abused yourself, or because you are struggling too.

You can't deny other people any respect just because you were denied of it by someone else, years ago. Your responsibility now to face this trauma, this illness, this fear, instead of lashing out at other people who have nothing to do with the your own hurt. No matter how hard it seems to you now, you can recover from all these intense feelings, but don't use them as an excuse for toxic behavior instead of taking responsibility for what you do. You don't get to infringe upon others' rights no matter how you feel, you don't get to hurt them because you are hurt yourself, you don't get to use it as an excuse instead of acknowledging that you might be prone to repeating the cycle of abuse (which is something very common in the first place).

Your hurt, your illness, your trauma, it doesn't put you above anyone else to the point you can completely disregard their autonomy and agency when you already clearly know they don't want you to keep disrespecting them because they have communicated it repeatedly. You are choosing to disrupt your relationships as long as you don't take accountability and deal with your own issues for what they are, instead of lashing them out in other people in hopes they will just deal with it.

[zoeykallus]

Hi Zoey!! Hope you're doing well!! You deserve all the love!!

This is my 2nd request ever, and you handled my 1st request beautifully, so i thought that perhaps i would request again?

Recently, i was randomly hard-blocked on Tumblr by a (now former) mutual.. and also got randomly cut off by some friends irl too ...

To this day i have not the faintest idea what i did wrong and don't even have the capacity to ask any of them.. it makes me incredibly sad/disheartened to loose them, especially since i don't know/understand if/what i did anything wrong..

As far as i've been aware i never violated anyone's guidelines/boundaries.. it makes me physically and mentally ill to think that i could have somehow done something so terrible accidentally/unknowingly and gotten cut off for it.. 😥💔

Despite getting some support and lovin' about it, I've been crying about it so much and don't know how to deal with it still 😓💔

What are your thoughts on how the TBB, (and possibly Wolffe, Rex, and/or Cody if it isn't too much), would react/deal with/comfort (preferably fem!) Reader on randomly loosing friends and getting very sad over it?

I'm sorry for all the angst here!! Also, i know you already wrote something kind of similar (had to do with TBB helping the reader lose a toxic friend), so if this is too much, repetitive, or uncomfortable for you, i totally understand not doing the request!!

Take care and thank you so much for all that you do!! Your love and support and kindness knows no bounds!! 🫶🏼💕🩷

Aloha, hun!

I'm really sorry to read that. It's hard to lose friends, especially when you don't really know why or what's going on. The only way to find out would be asking them about it. But you mentioned you don't feel up to ask them yourself. Maybe you have someone, a friend, who'd be willing to do that for you? Sometimes you can't change peoples minds, and you don't have to. Real friends don't just leave you behind without telling you what bothered them. Real friends communicate and try to fix things and don't just leave or ignore. Hold on to the real ones and let the ones who want to go just go. I know it feels devastating, but you don't need people like this in your life. If they just show you the cold shoulder without voicing what's the deal, they are not willing to really make an effort for this friendship, so why should you run after them? Invest your energy in your real friends.

And friends who need some time to themselves for personal reasons usually at least tell you that they need to retreat for a while, at least in my experience (I do that sometimes when I need to charge up my mental batteries). Cutting someone off without at least addressing them once about the reason is Kindergarten or headless teenager behavior at best. People who really care/cared, don't just vanish out of your life quietly.

That's probably not making you feel much better, but what I'm trying to say is, that you should focus on yourself a bit more and those who deserve your friendship. Don't cry over undeserving idiots. Easier said than done, I know. It'll take time, like everything emotionally heavy does, but you'll feel better at some point when you manage to sort out your priorities. And Drama queens who cut you off on purpose, to make you run after them, are even worse. Those are energy vampires, don't play that game with them, you will always be at the exhausted, losing end.

But, I'm still here, not exactly a close friend, but a mutual I guess. I hear you and even though I can't do much for you right now, I can send you a hug and write something for you 🤗

I picked this request out of my list to do before the others, because I felt this was a little more... urgent, at the moment.

The Bad Batch/Wolffe/Rex x F!Reader HCs - True Friends

Warnings: Angst/Hurt/Comfort

___________________

Losing friends is never easy. You struggle with being left behind by some of them. How do the clones react?

___________________

Hunter

He is organizing and sorting a few things for the next mission when he talks to you and asks what is bothering you. Your revelation makes him wonder.

"And they didn't say anything? Didn't say why?

You shake your head sadly.

Hunter puts down the datapad on which he's just checked an inventory list and turns to face you fully.

"Then they're not friends either"

You frown and look at him questioningly.

Gently but firmly, he says, "Friends don't just turn their backs on you without comment. Someone who doesn't even expend enough energy to tell you what might be bothering them didn't really care much about this friendship or you in the first place."

You wrap your arms around your body, really not feeling much better now.

Hunter comes closer and takes off a glove and gently strokes your cheek.

"I know that's probably not what you wanted to hear. What I'm trying to say is that you shouldn't have to chase after these people. Focus on your real friends, the ones you can always count on. Me, for example," he says with a smile, "Or my brothers. We would never abandon you".

"It just bugs me that I don't know what's going on," you say dejectedly, leaning your head against his chest.

Hunter puts an arm around your shoulders and continues to stroke your cheek with one hand.

"I know, that would keep me busy too. But all I can tell you is focus on other things, other, real friends, important things in your life. If you want I can ask them if you tell me who it is, but I can guarantee you, no matter how it turns out, friends like that will always let you down, again and again"

You sigh wistfully.

"You are a great person, a great friend and partner, don't worry, there will always be someone who appreciates that, one way or another"

Echo

He looks at you worriedly, a depressed expression on his face. Echo can't quite understand why anyone would act this way toward you.

"Maybe they just need some time to themselves?" he asks cautiously.

"All three of them?" you say doubtfully.

Echo sits down next to you in the grass in the shade where the found you and moves a little closer.

He says thoughtfully, "Real friends talk to each other, they say what's going on and don't just take off. Maybe they weren't as good friends as you thought."

"Maybe," you say quietly.

Echo puts an arm around you, and you automatically lean against him, seeking warmth and comfort from his body.

"You're never all alone, Mesh'la. I'm here, my brothers are here, and Omega adores you. You have a family here with us that you can always count on, at all times."

You smile. The loss of your friends hurts, especially that you don't know why. But the thought and feeling of having Echo by your side gives you a sense of security, the impression that everything is actually okay.

"I love you, Echo, what would I do without you?"

Echo gently hugs you and says, "Don't worry about that, you won't get rid of me that easily".

Wrecker

He looks at you in confusion.

"Why would they do that? Friends don't do that"

With a helpless sigh, you look up at your gentle giant.

"Maybe I've upset them?"

Wrecker frowns critically, takes your hand and pulls you with him to the open ramp where he sits down on it and pulls you onto his lap.

Gently putting both arms around you, he says, "Even if that were true, which I kind of can't imagine, then you bring up something like that. Problems that you ignore or eat into yourself only become bigger and bigger problems. If they're really upset about you, then they need to tell you, have a conversation. To just ignore you or shut you out is pretty childish."

You lean against him, resting your head on his shoulder.

"It just feels so weird, so heavy and devastating".

Wrecker strokes your back and pulls his arms, gently, a little tighter around you.

"Don't be sad Cyar'ika, you still have us after all, and that won't change. I love you"

"You are so sweet, Wrecker" you say softly with a small smile.

He chuckles, "I know, I'm great, aren't I?"

"Indeed," you say with a soft laugh, "I love you too."

Tech

He listened to you carefully. When you finish your sentence, Tech puts the datapad aside and looks at you thoughtfully.

"Why would a friend turn his back on you without justification?"

You shrug your shoulders helplessly.

"That's just what's bothering me. Did I upset them, perhaps?"

"Come here, my love," Tech taps the seat next to him invitingly for you to join him before he says, "Well, I think that's unlikely, but it's still possible. However, it still wouldn't justify a lack of explanation about the situation."

You look at him for help.

"What would you do, Tech?"

He blinks, then says, "You know me, I wouldn't dwell on it for long. Even if I had negative feelings about it, I would go on my way and do what needs to be done."

"But what if it was Hunter and Wrecker?"

Tech sighs, "Well, we had something similar with Crosshair, however he gave us some sort of explanation. I don't know, honestly, I don't think there could be a fault line between us that isn't addressed. Especially Hunter would be looking for a dialogue to clear things up, and Wrecker probably would too."

He looks at you, trying to read your face.

After a pause, he says, "Well, in my estimation, these friends aren't worth your concern or friendship. If they don't feel the need to communicate with you about any problems that may exist, then they are obviously not willing to put any particular effort into this relationship. So my conclusion would be, if you are not worth their effort, then you should do the same the other way around and save your energy for more important things and people that are worth yours. Time for new priorities. If it helps you, I could work out a plan with you to help you redirect your energies and reorganize. It may be a good therapeutic distraction."

You smile at him.

"My beloved genius, I would greatly appreciate your help, yes."

Crosshair

He frowns.

"Well, I guess they're idiots," he says dryly, "You know I don't like most of your friends anyway."

Crosshair doesn't like to share your attention, that's the main reason. He tolerates your friends for your sake, but he'd much rather have you to himself. However, he would never go so far as to try to separate you from your friends.

When he sees the sad look on your face, he says, "If they just cut all the lines without telling you why, then they weren't friends either. You don't turn your back on a friend for no reason, and even if there is a reason, at least you talk about it, and then you decide whether to go your separate ways."

"Is that so?" asks Echo dryly from the background.

"Quiet back there," Crosshair grumbles, "You knew why we parted ways, I never made a secret of why I left."

"True."

Crosshair looks at you again and says, "People who really care about you don't turn their backs on you without comment, no matter how much your opinions may differ. What happens after a clarifying conversation is another story"

"Sometimes an ugly one," Echo mutters.

Crosshair snorts, "Would you please stay out of this".

You look from one to the other, finally looking up at Crosshair and asking, "What do you think I should do?"

"Keep going. Don't run after them, focus on yourself and the people who are really there for you," he lifts your chin slightly with his long fingers, "Like me for example."

Wolffe

He puts down the box he just took off his speeder, takes off his helmet and tucks it under his arm. He looks at you with a furrowed brow.

"Well, I guess they're not really friends, then."

"What do you mean?"

Wolffe looks at you urgently, "Someone who really cares doesn't turn their back on you without comment. Simple as that."

You wrap your arms around your body.

"I guess they don't care about me then."

Wolffe sighs, lifting your chin with his fingers and seeking eye contact.

"I care about you, a lot. I'm certainly not the only one"

You look up at him, swallowing and blinking back tears.

"It's just so scary. It feels like at some point everyone could suddenly be gone and then I'm alone"

Wolffe puts his helmet on the speeder, then puts both hands on your shoulder left and right.

"Cyare, you're not alone, you won't be alone. It may feel scary and defeating now, but you'll get over it. You will see and learn in time who your real friends are, what really matters and what your priorities should be"

"You won't abandon me, right?"

Wolffe gently kisses your forehead and says, "Never."

Rex

Rex looks at you in surprise. He expected everything possible, but not really.

"Do I know these friends?"

"No not really"

He shrugs and says, "Well, I don't really know what to tell you. In my experience, friendships are never one sided, at least they shouldn't be. You invest quite a lot of energy in these contacts and suddenly nothing comes back? Mesh'la, it sounds like you were used and… well, don't need you anymore. That doesn't have much to do with friendship, though."

Startled, you sit down on a bench nearby. Rex follows you. He looks at you meekly and says, "Sorry, you probably didn't want to hear that."

You sigh softly and say, "Maybe. But maybe I needed to hear it."

Rex shrugs and says quietly, "Maybe I'm wrong too, Mesh'la, but you should focus on yourself for now and be careful in case they contact you again. You can't let them hurt you."

He sits down next to you and says with a gentle smile, "In any case, you have me, I won't let you down."

His hand clasps yours with gentle pressure.

When you look up at his face, he gives you an encouraging look with that mischievous, yet soft and warm smile of his.

"I got you, Mesh'la, always"

Ko-Fi (If you feel like giving me some coffee)

@rintheemolion

@andyoufollowyourheart @clone-whore-99

@brynhildrmimi @kaliel2310

@misogirl828 @tech-deck

@meshla-madalene

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@starwarsnerd111

[pianostarinwonderland]

Hi there! I really liked your post on Chapter 7 and Malleus's actions!

Gotta admit I was one of those people whose initial reaction to Chapter 7 part 2 & 3 was "Malleus divorce era", mostly because of the copious amounts of "Malleus is the physical manifestation of every abusive and obsessive boyfriend they talk about in trauma group therapy" takes I've seen over the past 3 years in the tags messing with my perception of how bad the canon situation actually is but I came around eventually.

One thing that really stands out to me is how, in the first part of Chapter 7, Malleus made the active choice to be a good person and do the right thing. He shut down Silver and Sebek and said "If that's what Lilia decided, then we have no right to stop him" and when he reflects on that time he froze the castle over it's clearly visible he, at that point, has no intention to do something like this again. He has learnt 0 coping strategies for these kinds of situations and he has a week (which is like, a blink of an eye for fae especially) to adjust to the loss of one of his closest loved ones. Most of us find a way to deal with grief in some way because we're powerless in the face of it and the only way is through it but I've seen my fair share of very mentally ill people and grieving loved ones and I can name a handful of people I could see pull this off if they had god-like magical powers. Right now, Malleus's idea of what the immediate future was going to be like is radically clashing with a (to him) infinitely worse outcome that his brain has a week to adjust to, so he snaps.

He's basically the "insanely op magic" equivalent of someone with a loved one suddenly ending up on their death bed and they're told "you have about 5 days to say goodbye to them" so they start suggesting all kinds of insane surgeries and hire a mystic healer who advertises they can cure cancer with crystals and call all kinds of specialized hospitals around the world because they can't process the fact that that person is gonna go no matter what. That's the mental state Malleus is in right now even if Lilia probably isn't gonna immediately die in a couple weeks, but there's still a very real possibility Malleus is never going to see him again.

[Reply to this post!]

i am so sorry that i'm only getting to this now :,3 woohoo end of year spring cleaning

also when i finally found the post that was being responded to, i was reading it and i wanted to cringe so bad. it could have been written better :,3 i'm glad you guys liked it though!

on the first long ask, honestly anon, you nailed it really well. i don't really have much to say because yeah... yeah malleus has never learned to properly cope with grief and loneliness. much of it is due to the way he was raised and the lack of social interaction especially prevents him from getting to experience enough and thus hindering his learnings. and you're right. a week is too much to really process for someone like him. it's hard.

and i'm pretty sure lilia is very well aware of this, so it brings to question why he's in a hurry to leave. which in itself supports the current theory going around that he's not actually leaving for retirement, he's leaving because the senate demanded him to.

for the second ask, weelllll not everyone got to understand malleus' extremities, either due to not reading properly or not getting to read his stories at all. and that's how things went bam during the second part of book 7.

[olderthannetfic]

I'm in a server where one person consistently complained constantly, vented in channels that weren't meant for venting, talked over others who were venting in correct channels, and couldn't understand (or care) that other people had (gasp!!) different thoughts on characters.

Someone finally seemed to get fed up and responded what I know I and other people I talked to were thinking -- basically that complaining everywhere in the server is stressing others tf out, and that they come across like an asshole who expects everyone in a random server to drop everything to talk about their problems. Cause honestly? They did.

The individual flipped out at them. They genuinely didn't see that they were annoying people at best, and stressing people out (or more) at worst. I've talked to friends about how some people don't seem to grasp that other people online are people as well, and just because they don't constantly overshare and complain doesn't mean they're not going through shit. This person flat out said that. The person calling them out mentioned also being chronically ill, and the response amounted to belittling them and saying that they were 'so much worse off so has the right to vent'.

This person left the server (thank fuck, things are already so much better, and the channels for personal shit aren't a wall of them complaining about everything wrong with them, everything others have apparently done to them, and anything and everything in between), but they very much left thinking they were some victim, not someone who was pissing everyone off and stressing people out.

I guess I just didn't really think people like this existed, not to this degree. I know a lot of us can be guilty of venting online (just look at your inbox sometimes lol, or me now), but I think I always thought people were aware they were doing it? But I checked out this person's tumblr, and they had walls of text talking about how horrible everyone in the fandom was for not supporting them when they were going through hard times and needed a space to talk. Some users were responding things like "fandom's an escape for everyone, people don't always want to hear venting or interact with it, people are going through their own shit, and more" and oh god this person didn't care.

And just... huh?? The server's for fandom to talk about random characters. There are some non fandom channels yeah, but people usually just talk about knitting or made a random comment about having a shitty day.

idk, I know fandom is socialisation for a lot of people as well as a space to talk about blorbos, it certainly is for me, but expecting people to put their own mental health on the line cause you had a bad day just seems cruel. And given their tumblr, they're still doing it, and think they're in the right.

This just happened a couple days ago, but the server is already a much more chill place now that they're gone. Must be an exhausting way to go through life.

--

[catnippackets]

social media websites are simultaneously very good and very bad for spreading awareness about mental illness and neurodivergency bc on ONE HAND. they can be such a good way to learn about disabilities and even put a name to feelings that you’ve been experiencing and haven’t been able to put a name to. a lot of actual professional doctors don’t know how to properly identify certain mental conditions, so hearing people with those mental conditions talk about them and spread awareness so others can learn and realize that they might have something that doctors will miss in them is really great!! of course it’s great!!! I am fully pro self diagnosis, I completely understand how many actual professionals will straight up not listen to you, so if you put in the effort yourself to do the proper research and do it right, then of course you’re valid. and furthermore, if you do it right, then you should be able to get to a point where you know when something is exaggeration or a joke when you make general statements about it in regards to your own experiences (like ‘I can’t touch velvet bc I’m autistic’ or something). I love seeing tiktoks and being like "wow that is so relatable! a lot of people really don't know this so it's nice to see someone who very clearly knows what they're talking about :)"

and, disclaimer, I don’t want to be one of those people who’s like “well I personally don’t relate to this other person’s autistic experience, therefore they are not autistic and are just faking it” bc I’ve definitely had that interaction before from the other side and it does not feel good. if you’ve met one autistic person, then you have met one autistic person. we are all varied and can sometimes differ really wildly.

but ON THE OTHER HAND. the way it’s becoming more popular to make tiktoks and shit about mental disabilities and illnesses is how you get things like:

ppl saying very generic things like “I didn’t know that listening to the same song on repeat was an autism symptom until now! :)” and then dozens of clueless ppl commenting under it going “omg I do that all the time!! should I go see a doctor??” when it’s a drop in the ocean that could relate to literally anybody

someone doing some random tiktok game filter and saying “I’m autistic so that’s why I’m so good at this ;)“ the ability to score points on a tiktok filter is not an indicator of autism and the amount of people that I have seen interpreting it that way that is not a great thing

I am haunted by the time I mentioned on my tumblr a few years ago that I didn’t like the colour yellow and somebody eagerly messaged me wondering if not liking yellow was an autistic thing

and none of those things are part of self diagnosis. all of these are called “jumping to conclusions”