#but the fact that she can connect with me in so directly in such a brief scene makes her one of my favourite characters/actors on the show

[brandonxdylan]

[springtyme]

hii!! i saw ur inbox open and was wondering if i could request this; so, imagine dad!simon (or konig idm!!) having his son / daughter see his face for the first time since they were born and theyre just kinda sitting there like :000?? hes so pretty?? while yn is just screaming in the back?? <33 have a great day n thnaks for reading x

𝐔𝐧𝐦𝐚𝐬𝐤𝐞𝐝 𝐋𝐨𝐯𝐞 ♡

Thank you for the request, I had such a good time writing this! I love writing dad!Simon so much! ♡ but also, ngl, the image of this big bloke wearing a mask in front of his baby seems borderline comical to me.

Simon Riley x afab!reader || Masterlist || Ghost playlist

summary: Your daughter finally sees her father's face for the first time.

word count: 2.2k

warning/tag: Mostly just dad!Simon fluff with a little hint of angst. No gendering terms are directly used for the reader, but they are pretty fem coded. It's mentioned that they were pregnant. No use of y/n.

As the soft morning light filters through the curtains of your bedroom, you slowly begin stretching your limbs and blinking away the remnants of sleep. As you slowly settle into wakefulness, you hear the screeching sound of the baby monitor on your nightstand coming to life and you feel how your heart flutters happily in your chest as a familiar sound comes through. The sweet sound of your daughter’s happy coos, accompanied by Simon’s deep, gentle voice, fill the room with sweetness. 

“Morning, sweet pea,” Simon’s voice crackles through the monitor followed by the sound of your baby happily gurgling at her father and then exclaiming a little more whiny sound. “Yeah, yeah, I know you’re hungry, but we have to get you changed before we can make breakfast, lovie.”

A smile tugs at the corners of your lips as you lie there, basking in the warmth and comfort of your bed. The love and joy that echo through the monitor remind you of just how much love fills your home. It’s moments like these that make your heart swell with an indescribable sense of happiness.

Your mind wanders, and you find yourself reminiscing about the journey that brought you here. 

From the moment you and Simon first met, there was an undeniable connection, a spark that ignited and grew into a love that was both fierce and tender. However, it hadn’t been that easy to convince him that he in fact was deserving of such love. He had been scared that he would mess it up, mess you up, convinced himself that he wasn’t able to make anyone happy and that he was broken beyond repair. But you had been rather insisting, and he had finally let his walls crumble and let you into his heart. 

And as you had expected, all his worries had been unfounded. He is the best, most loving partner you could ever have dreamt of. 

The love you share with him is a love that feels like home.

And then, the arrival of your daughter added a new dimension to your love story. From the first time you had held her tiny hand, you knew that your family was complete. Watching Simon transform into the most loving and doting father has only deepened your admiration and affection for him.

And as you lie here,  reminiscing on your life, you can’t help but feel a profound sense of gratitude for the love that surrounds you. 

With a content sigh, you finally pull yourself out of bed, ready to start the weekend with your little family. 

As you make your way down the stairs you can hear the sound of your daughter’s laughter from the kitchen, filling your heart with warmth and you can’t help but smile and make your way towards the source of the joyful commotion. As you enter the room, the morning sun gently illuminates the kitchen, casting a soft glow over the room, and you are greeted by a heartwarming sight. Simon is standing at the stove, stirring a pot of millet porridge, your daughter’s favourite, while she is sitting in her highchair, which has been moved away from the kitchen table and closer to the counter, so she can see what Simon is doing, clapping her hands in delight.

The aroma of freshly brewed coffee fills the air, mingling with the comforting scent of the porridge. You can’t help but feel a surge of immense love and gratitude for the man who stands before you, effortlessly balancing the roles of partner and father.

Simon turns towards you. “Good morning, love,” he greets you, his eyes twinkling with warmth, the bottom half of his face covered by a black mask. He had started to wear it around the house again after your daughter had been born.  

“Good morning,” you reply, your voice filled with a mix of amusement and adoration. “I see you two are having quite the breakfast party.”

Simon laughs softly and nods. “We thought we’d surprise you with breakfast in bed, but it seems that someone couldn’t wait,” he says, glancing at your daughter, who just giggles in response.

You walk over to them, planting a soft kiss on Simon’s masked cheek before planting another on your daughter’s, much chubbier, one. “Well, I can’t say I’m disappointed. This is the best way to wake up,” you say, gazing at your little family with a heart full of love.

Together you finish cooking breakfast, porridge for the baby and scrambled eggs and turkey bacon for you and Simon.

You begin to set the table as Simon picks up your daughter, supporting her with one arm as he settles her on his hip, so he can move her chair back to the table, but before he can grab the chair he stops dead in his tracks.

Your little girl has grabbed a fistful of his mask in her tiny hand. She doesn’t seem to be pulling on it, or otherwise trying to take it off him, but she also doesn’t seem to want to let go of it when Simon gently takes her hand to get her to release her grip.  

“Sweetheart, please…” Simon says softly, but he trails off, a wave of emotions flickering over his eyes, but they end up having a sort of determinant look to them as they lock with his daughter’s.

You feel how your heart skips a beat as Simon lets go of her little hand to instead grip the place his mask is fastened.  

With a deep breath, Simon removes the mask, revealing his face to your daughter for the very first time in her young life. You feel goosebumps rise along your arms as Simon’s features come to light. The room falls silent, and time seems to stand still.

Your daughter’s gaze is fixed on Simon, you can see a whirlwind of emotions flickering across her little face. 

It’s a pivotal moment that holds the power to change everything. You can see how Simon, too, feels a mix of emotions coursing through him. 

He has once mentioned to you that he was afraid that his scars would scare her, but you have had a suspicion that something else might be the reason he has kept the mask on in front of her for. 

He does have a few scars from his work, but they are nowhere near severe enough to scare anyone. You do have another theory to why he has kept it on, one he hasn’t directly confirmed, but a conversation from your pregnancy has stuck with you. 

He had voiced his concern that something would happen to him on the battlefield. not because he was that concerned for his own wellbeing, he knew what the risks of his job was, but because he was afraid of something happening to him, leaving you and your little one alone in the world. He had, on the whole, had many worries about becoming a father. 

He had been worried that his past had broken him so severely that he couldn’t be the dad your daughter needed him to be. Like the fear he also had about you and your relationship in the beginning of it, the fear that he couldn’t be the man you deserved. 

He has, in all the time you’ve known him, done everything to disprove that concern, he is the best partner you could ask for and now the most lovable dad to your little girl, but you know that he still has his concerns and that his feelings about them are valid. 

You think the mask has served as a sort of safety blanket for him. Like he thought that it would be easier for you and your daughter to lose him if your little girl couldn’t remember his face, or something like that. You find that thought heart rending.               

You know that his job comes with a risk, you had known it when you got together and you had known it when you married him and you had known it when you got your daughter. Losing him on the battlefield would be your worst nightmare come true. You know that he is smart, strong and capable, but you also know that there are no guarantees in war, which, to you, is just all the more reason for  your daughter to know her father’s face, but you have let Simon choose for himself when he was ready for that.  

But you don’t want to think about any of that right now, so you push those thoughts away, and instead let yourself be completely mesmerised by the sight before you   

Your little girl focuses on his, now revealed, face, taking in every detail. Her eyes widening in surprise, curiosity, and perhaps even a hint of fear, her little mouth forming a perfect ‘o’ of surprise as she absorbs every detail of her father’s face. 

“It’s just me, princess,” Simon tells her, his voice filled with a mix of amusement, nerves and an overwhelming love for his little girl. His eyes, once guarded, now shine with warmth and affection. 

The confirmation of his voice is what convinces her. A wide smile spread across her little face, revealing the adorable dimples she has inherited from Simon, on her sweet, chubby cheeks. She lets out a happy squeal, as she realises that it really is her father who’s now smiling down at her, a set of dimples matching hers on his cheeks.    

She giggles happily, which, to you, is the most beautiful sound in the entire world. Her little hands starting to explore Simon’s face, her tiny fingers tracing the lines and contours of it. It’s a gentle and tender gesture that speaks volumes. You watch in awe as the beautiful moment between your daughter and her father unfolds in front of you. It’s a moment you will cherish forever. 

When she finally seems satisfied with her mapping of his face with her small hand, she turns her head to look over at you with an excited expression on her little face, one that conveys something along the lines of ‘you seeing this too?’ Her eyes lighting up, reflecting the genuine joy that fills her little heart.

“Yeah, baby, that’s your daddy,” you smile at her, and she lets out another happy shriek before looking back at Simon again, happily nuzzling her little face into his neck. “He’s handsome, isn’t he?” You continue as you step forward, placing a hand on her back, rubbing gentle circles over the dusty rose bodystocking that she is wearing, one that Simon picked out when he got her ready and you still laid in bed.   

You look up at Simon, a soft smile on his lips as your eyes lock. 

“He never wants to believe me when I tell him, but he is actually the most handsome man I know,” you say, with a playful glint in your eyes. “He’s probably the most handsome man in the whole world, actually.”           

Simon chuckles, his cheeks turning slightly pink. “Oh, come on now,” he replies, his voice a mix of embarrassment and amusement.“I think you might be a bit biassed there, love.”

You shake your head, a warm smile spreading across your face. “Nah, I don’t think I am,” you state, wrapping your arms around both Simon and your little girl in his arms. “Just stating facts. I actually got the most handsome husband and the most beautiful daughter in the whole wide world.” you say with a content sigh, hugging your little family tightly.  

It’s a hug that speaks volumes, conveying love, affection and acceptance. In this embrace, you know that you truly have the most beautiful family in the world.  

As you finally let go of them you place a sweet kiss on your daughter’s little nose. She giggles joyfully, and you can’t help but feel an overwhelming sense of gratefulness over what a happy little girl you have. Simon seems to be thinking the same as he smiles down at her.  

But your adorable little troublemaker doesn’t seem to be done with causing havoc yet.   

She reaches out her tiny hand and grabs for the mask again. Simon hesitates for a moment, looking down at the fabric in his hand, the symbol of his past, before letting her have it. The mask, once a symbol of his doubts and fears, now becomes a simple toy for your daughter as she happily shakes it up and down, a cheeky grin on her little face. 

You and Simon lock eyes, and then the two of you burst out in laughter.  

As your laughter fills the room, a sense of pure joy washes over you. You look at Simon, his eyes sparkling with happiness, and you know in this moment, that the love and bond the three of you share is unbreakable, and it fills your heart with an indescribable warmth.

With a deep sense of gratitude and contentment, you take a mental snapshot of this beautiful moment. It’s a memory that will forever be etched in your mind, a testament to the strength of your love and the joy that radiates from your little girl.

As the laughter subsides, you gather your family close again, embracing the love and happiness that surrounds you. In this embrace, you know that you have everything you could ever need.

Your daughter’s laughter and Simon’s unwavering love fill your life with immeasurable happiness, and you couldn’t be more grateful for the beautiful family you have created.

[halemerry]

So there's a lot to unpack here but I want to start by talking about the ending and specifically about the Metatron and the calculating moves made at the end of episode 6.

Every single piece of what happened there was a manipulation technique being employed against Aziraphale to an almost brilliant degree and I'm honestly a little obsessed with what this says about the Metatron in particular.

Let's go in order.

First of all. We see him order coffee. In a human body. Something sweet and sugary. He talks to Nina and asks her about her shop name. Does anyone ever ask for death? And when she tells him no they don't his response is to say "so predictable". Our introduction to him here even when everything about him reads like a sweet old man is presented to show us someone who reads the world in terms of being predictable to him.

He then shows up in the middle of Aziraphale's existence being threatened. He immediately cuts down the threat's authority (using outdated language like Az himself would favor) and reemphasizes his own connection to Heaven. When Michael doesn't recognize him and he puts her down and then directly engages Crowley. Crowley who, to Aziraphale, has for centuries at a minimum been someone he thinks is smarter, better, more Good than these other archangels. The Metatron validates these beliefs. Crowley is more Heavenly than these archangels who couldn't even recognize the voice of God when he was standing right in front of them.

The Metatron draws attention to the fact he's in a human body. The kind of body Aziraphale has been in and loved for nearly 6000 years. He then banishes the archangels, implying their morality is in a gray space, and validates Muriel someone we have seen Aziraphale react positively to and someone outside the current power structure. Look at me, he's saying. I see and validate the little guy.

He then tries to talk to Aziraphale. Aziraphale says "I've made my position quite clear." And then the Metatron offers Aziraphale the coffee. This bartering chip, consuming sustenance, is a thing that Aziraphale and Crowley have used as their connective tissue for centuries. It's an olive branch for them. It's giving Aziraphale bodily pleasure and the Metatron implies that he himself has partaken also - a thing we know that Aziraphale has struggled historically with moralizing. He is seen by the closest thing he has left to his parent and he is having old fears validated as safe and old habits being played upon to make him feel secure

He then REMOVES Aziraphale from his home turf. Not only does he remove Crowley from the equation but he takes Aziraphale from the place that has stood as a place of sanctuary throughout the entirety of the season. The shop is Safe and Aziraphale is leaving it and he is leaving the one person who might be able to smell the bullshit coming from the Metatron. The music notably turns absolutely dire here.

The next time we see them the Metatron tells Aziraphale that he doesn't need to answer instantly. He can take his time, if he likes. All the time he needs. And then tells him to go tell Crowley. Once again bringing Crowley in as a valid part of this while manufacturing a scenario where he can't possibly be.

Az ends up in a place where he's overwhelmed and confused and he wants so badly to believe what he's being told. It's an appealing thing from his perspective! He feels off kilter like he's made a mistake in judging the Metatron. He can't even fully articulate what happened to Crowley at first and he's had absolutely no real time to actually think it through. He's running on sheer reactive energy.

The Metatron starts their conversation by asking Aziraphale's opinion. Who should rule Heaven? This is once again playing into making Az feel validated and like he's a part of this decision making process. The Metatron corrects him, complimenting Aziraphale and making him feel capable and in control. He reassures Aziraphale's bafflement. And draws attention to some traits that, while true of Aziraphale around Crowley, are not his defining traits in the eyes of Heaven. You don't just tell people what they want to hear I find particularly notable in this regard given Aziraphale spent most of his time on earth actively lying to Heaven and doing just that. But it fits into the narrative Aziraphale has built around himself, especially post Apocalypse. The Metatron then says I need you (a phrase Az will use much more painfully here in a minute).

And even after all this Aziraphale says no. He says flat out he doesn't want to go back to Heaven. He says this!!! And then the Metatron sweetens the pot. He swaps tactics. Not once has this come up until Aziraphale pushes back against the idea. If the Metatron could've gotten him without using it I have no doubt he wouldn't have bothered with it. Come to Heaven and we can save Crowley. Aziraphale loves Crowley. Aziraphale thinks Crowley is better than any of the angels he's interacted with. Crowley is Good and Nice and Kind and always saving him and now he's being presented with a way to return that. He can Forgive Crowley - a thing Crowley has always presented to Aziraphale as something he struggles with. All of these things Aziraphale has watched Crowley react to in a way that belittles himself or distances them from one another. Of course he wouldn't consider that maybe what he was actually saying is "I'm unforgivable and I don't want that forgiveness."

The Metatron offers Aziraphale a Dream Offer for the pre Armageddon Aziraphale. You can keep your Crowley. You can heal him like you have always thought he deserved. You can have power and control the people who for your whole existence has beaten you down. It can go back to how it was but BETTER.

When Aziraphale leaves he still hasn't answered. He goes and has the conversation they have. It's intense and emotional and the Metatron comes in after the Moment all casual and asks how it goes, knowing fully well the shitstorm he had just set up to get created. And then he turns around and says "always did want to go his own way" which is not only true of Crowley but framed as a bad thing despite the fact that he has just spent twenty minutes or so telling Aziraphale that he's done his own thing and that is Good. He is playing both sides of this perspective as it suits him. And then he cuts down Crowley asking questions, pressuring Aziraphale to avoid doing the same. He then proceeds to ask Aziraphale not if he's made up his mind but if he's ready to get started. He is one by one closing off exit routes to this thing as Aziraphale starts to look more and more panicked and indecisive. He makes sure the bookshop is in good hands and asks Aziraphale if there's anything he needs to take with him. Letting Aziraphale have the illusion of choice while cutting down "I don't want to" as an option altogether.

And Az, as soon as the Metatron is out of shot, tries to express this. And then he falls back right on old coping methods. The Metatron pats him on the head. Reassures that he's the right one for this. That he is Good. That his particular skillset is needed here.

It is a masterstroke of manipulation. A very dark twist on what we see Crowley do time and time again with Aziraphale throughout the millennia. Familiar in a way that makes Aziraphale feel safe. Except this time this is being used to put him back in line. It's brilliant and painful and it fucking hurt and I need a season 3 to see the Metatron get what's coming to him stat.

[prismalmelonman]

Touching on Gale, Wyll, and Halsin's traumas being a bit undermined in parts of the fandom

So one thing I notice on Twitter is how some people act about the bg3 characters whose abuses were perpetuated by women.

Gale specifically for this reason (but I will touch on others)bbecause I see him dismissed super often as "can't get over his ex".

But Gale's case obviously be has the line of Mystra being like "she was my muse, my teacher, and then my lover" and sure to some that's a red flag in itself (when it comes to adults I don't really give a fuck about teacher/student) but if you view it from not only Gale's own words "ive been connected with the weave for as long as i can remember"

And that doesn't distract from his genuine love of magic of course. And it also doesn't mean that he's actually been in connection with mystra for an amount of time.

However, if you ascend Gale, and he becomes a god, you get a bunch of new little things. Tara reminiscing of course, but you get a letter from Elminster, detailing that Mystra had Elminster scope out Gale when he was eight!

And sure is that pretty cool that he's a prodigy that got the attention of the goddess of magic at that age? Yes. Mystra is, however, known in forgotten Realms lore to seek young young boys who are in tune with magic to make into her chosen. And from context clues, her chosen can be anything from Elminster and Volo, dedicated wizards who try to keep things in check, etc etc. or they're somewhat of playthings to her.

Minsc also has a conversation where me mentions that weave-touched boys in his homeland were hidden away to hone their craft, then suspecting that it was because of Mystra, given Gale's case.

Gale always seems so proud that he got to bed a goddess, and on the surface, hell yeah, that's cool.

Gale continued to have her attention even as he went to Blackstaff Academy, and Mystra eventually did take him on as an apprentice directly to her, later making him her chosen, and sleeping with him.

The reason it bothers me that people dismiss all of Gale's stuff to just "he can't get over his ex" is because that's is like almost textbook grooming? She was in his life from a young age, shaping and moulding him up as he grew up to be her perfect chosen, rewarding him by sleeping with him, and so on. And then of course casting him away when he has his folly with the netherese orb (and to be fair, it very well could have looked like to her that he was trying to seize the power himself and yes the orb does siphon off weave. That is a problem for the mistress of the weave yes).

But she also tells gale to KILL HIMSELF for her forgiveness.

Gale is much more than "unable to be over his ex" this woman was in his life since he was a kid. She's almost all he has ever known. If course it's going to be difficult for him to 1. Say no to her. 2. Get over the fact that he's lost someone that he spent his literal entire life dedicated to. Honestly if asked, I don't even think Gale would acknowledge or really see that what he went through was, in fact, abuse until it was spelled out in front of him. (Which does happen somewhat with the player character pleading to him that killing himself for mystra's forgiveness is actually horrific and that he should in fact be angry for how he was treated)

Similarly, and this one has been discussed a lot, Wyll and Mizora. Wyll was 17 and actively trying to help his people. 17, in a vulnerable state, willing to do anything to help and prove himself. Mizora very clearly took advantage of him, and regards him as a "pet", refers to him being "leashed", and so on. Personally, I do dislike the sexualization of their relationship, because it very much is also grooming (although a different type. Rather than manipulating and shaping his life from the ground up, she takes advantage of a vulnerable and desperate state to manipulate and contract Wyll into doing her bidding. I won't go too deep I to this one because it has been discussed to hell and back. But I did wanna touch on Wyll's situation as well.

Also, Halsin as well, though that has also been discussed in many retrospectives by a very good friend of mine. Halsin's trauma often get dismissed due to his polyamory, open sexual nature, and his own somewhat diminishing/dismissal of it, which honestly I love the representation of, cause for a while I did that with my own trauma. Halsin was a sex slave to a house of Lolth-Sworn drow, a matriarchal society, where the men are generally used as fodder or for breeding, though male Lolth-Sworn drow can be wizards and rise in the ranks if wizardry, but are limited everywhere else. (Minthara mentions that the third male, and every subsequent male child after third are killed for being"useless"). Halsin often referred to them as "hosts" rather than being captors, (though he does touch on that if the Player Character threatens to sell him back into slavery). Again, everything I'd have to say here for Halsin has entirely been discussed top to bottom by a friend, their link is below!!

Anyway, long story short, I dislike it a lot when Gale, Wyll, and Halsin's traumas and abuses get diminished, even if/when the character themself doesn't see or acknowledge the abuse in the same lens that we, the players, do.

[dyaz-stories]

casual (1) || gojo satoru x reader

chapter 1: i like the way you kiss me

synopsis: Getting recruited for a double position as a teacher for Jujutsu High in Tokyo and a strategist, tasked with assigning missions to sorcerers in the region is the perfect situation for you. It pays well, it's well regarded, and it's as safe as possible — by sorcerer standards, anyway.

There is one problem though, and his name is Gojo Satoru. The one who's supposed to collaborate with you and answer to you.

The one you can't keep your hands off...

word count: 9.5k

genre: 18+, friends with benefits to lovers, coworkers to lovers, canon divergence, smut, emotional slow burn but they fuck like rabbits

warnings/tags (chapter): fem!reader (she/her pronouns, reader is afab), takes place ~5 years before jjk0, teacher!reader, sorcerer!reader, canon-typical violence, mild angst, smut (semi-public sex, fingering [fem receiving], vaginal sex, sorta dom!gojo, corruption kink if you squint), mentioned slut shaming (not the sexy kind), gojo satoru is a little shit

A/N: This is quite the Behemoth of a first chapter, I'm sorry to say. I love really long chapters, but I can only hope you all do too and this isn't too intimidating! This is a fic I've had in mind for ages and finally got around to start an outline for and actually write it. There are actually a couple of drabbles here and there on my blog for this couple already, happening at various points of their relationship.

I really hope you will enjoy this first chapter!

‘Make use of Satoru Gojo however you see fit.’

Such are the first words spoken to you by the higher-ups, at the end of an exhausting recruitment process. You nod sharply at the instruction.

“Duly noted.”

Truth be told, you don’t see why they need to specify it. You had assumed that went without saying from the very beginning.

The job offer had, at first glance, been for a strategist who would work directly under the higher-ups for the region of Tokyo. Devising teams, advising the council, and assigning missions were supposed to be the main tasks you would have to fulfill.

‘Supposed’ because, when you were one of only three candidates left, the higher-ups had revealed that there was, in fact, a second role you would be expected to perform. One that you had not imagined would be available for decades.

A new teaching position at the Tokyo Jujutsu High School was opening up, though you couldn’t understand why for the life of you. You had no connection to the establishment yourself, having left Japan as a child and trained abroad your whole life, never returning for more than a couple of months at a time, yet you knew, as did the entirety of the sorcerer world, that Satoru Gojo had been appointed there less than a year before. Well, rumor had it that he had appointed himself, and you had to wonder if that was why they were keen to have a more… traditional teacher by his side, since firing him was an option.

In that case, your lack of ties to Satoru Gojo, Masamichi Yaga and to the Jujutsu Headquarters could explain why your name ended up being the last one on the ballot. You were the best placed to be an independent monitor.

The distorted voice keeps going, bringing you back to the present.

“Unless stated otherwise, always send him to battle first.”

You school your face so you do not let any emotion appear, though the statement surprises you. You have to assume that they don’t mean for any mission you receive, because that would be catastrophically ineffective. Then again, sending him on Grade 1 missions, if he is available, makes some sense.

“Report to us if you encounter difficulties with him,” the voice adds before falling silent without elaborating.

You understand, from the finality of their tone, that you have been dismissed, and bow your head, your movements polite and sober.

“Thank you for the trust you are placing in me. I will not disappoint you.”

“We know you won’t,” another sepulchral voice answers.

In the dark, candle-lit room, it sounds sinister enough to chill you to the bone. You wait just a second longer, in case something needs to be added, before turning on your heels and walking away. No one calls you back, and you’re more relieved about leaving the room than you would like to admit.

Outside, the summer sun is high and bright. You tilt your head backwards and close your eyes to let its rays warm your face. It will take a while before the cold instilled in you in that meeting room dissipates.

You’re expected in Jujutsu Tech by the end of August. Being a teacher there is as close to the ideal position as it gets, for a sorcerer. The pay is excellent, the risks minimal, and it commends great respect from the society at large. You have no doubt that, had the offer been for that position in the first place, numerous sorcerers far more qualified for teaching than you are would have thrown their hats in the ring. You wouldn’t have made it past the first interview.

You got lucky. Just this once, you’re going in the right direction.

You inhale deeply. For the first time in a long time, you no longer envision your life as an endless successions of missions, countries, and houses that never become homes.

For the first time in the long time, you think you have a future.

There is a spring in your step when you make your way down the stairs, away from this freezing place and the ghouls that haunt it.

Behind you, the Headquarters; ahead, Jujutsu Tech.

Masamichi Yaga is a cautious man. His handshake is warm and firm when he greets you, and though his voice is calm and steady as he guides you through the hallways of Jujutsu Tech, he remains evasive. He provides all the information you might need, answers any question you have when you ask them without missing a beat, and yet you can tell he is guarded, keeping you at arm’s length.

You cannot determine why that is with certainty, though you have a handful of hypotheses. It could just be that he isn’t used to the presence of strangers. Dealing with a total stranger is a rarity within sorcerer society, even more so in Japan. You doubt that he would know anyone who could talk about you, let alone vouch for you. You understand why that would make you a suspicious character.

Another option is that you were forced onto him as a member of his staff by the higher-ups, though you haven’t heard anything about that. With you being a complete outsider, he would not have any valid reason to outright reject your presence, not when his only teacher is frequently gone for days at a time, but that would not mean that he’d be pleased with it — or view you as trustworthy, for that matter.

The third possibility, of course, is that he just finds you off-putting.

‘Cold’, that’s how you are often described by the people around you. You don’t do it intentionally, but you also cannot pinpoint what it is that you do ‘wrong’. Something about your tone, your expressions, or lack thereof, your cold eyes, the way your mouth naturally curves downwards.

That and, of course, the trail of bad omens that you bring with you everywhere you go.

These don’t tend to be active problems when it comes to sorcerers. With normal humans, now, it’s a different story. Oh, there are exceptions, who find that this all makes you intriguing, but it typically makes it hard to build actual connections with other people. You wouldn’t normally care, but in a situation where you have to collaborate with others, you could see that becoming an issue.

You had seen that coming, of course — it wasn’t like it was new information to you. As a result, you had made sure to be on your very best behavior from the moment you’d stepped foot within Jujutsu Tech grounds. You had nodded with interest, you had reminded yourself to smile, you had asked all the right questions, and yet you could feel that you had not once managed to turn yourself into a likeable person.

Ah, well. Not being likeable would not stop you from doing your job right.

“I’ll introduce you to the rest of teaching staff,” Yaga announces, his voice deep, as he reaches a new door. His hand is hovering over the doorknob when he stills, turning to look at you. “Are you ready for this just now? They were both students here, but I assume this can all be overwhelming for a newbie.”

That is a kind sentiment.

“I’m okay.” Then, because answering in monosyllables is not what likeable people are supposed to do, you add: “I read the files available to familiarize myself with the school grounds before coming here.”

His eyebrows jump up behind his glasses, but it’s followed by a hearty chuckle.

“You’ve come prepared.” He nods, appreciative. “Good. It will be nice to have someone who takes their job seriously around here.”

You don’t have the time to question the sentence before he opens the door.

The room is small and reeks of cigarette smoke. In the middle of it, a desk, and behind it, sprawled on an elegant black chair, a white-haired man that you recognize at first glance. You let your eyes slide over him. You wouldn’t want to look too, um, curious, just yet.

The brown-haired woman with the long white coat who is perched on a window sill, doing her very best to look inconspicuous, is the one responsible for the smell. You identify her as Shoko Ieiri, school doctor and reverse cursed technique prodigy. Next to you, Yaga sighs.

“Shoko,” he protests with a paternal disapproval, “I thought you’d quit smoking?”

“I did,” she answers, staring at him, her eyes dark and tired, “and then I had to regrow a lung. Do you have any idea how much of a pain it is to regrow internal organs?”

A light laugh comes from the man in the middle of the room, and you consider that this gives you permission to look at him without coming off like you’re gawking.

He has his feet propped up on the desk, and he’s using them to push himself backwards in a precarious balance. White hair spills on the dark leather, long arms hang on both sides of the chair, and he hasn’t bothered to so much as glance in your direction so far — or at least, you don’t think he has, because white bandages are wrapped around his head, covering his eyes.

Even without being able to spot their signature blue, you know who he is. There isn’t one sorcerer in Japan, nor in the whole world, who doesn’t know his name.

Satoru Gojo, in the flesh.

“Maybe if you hadn’t cheated your way through medical school, it would be easier, don’t ya think?” he asks Ieiri with fond familiarity.

“Don’t—” Yaga takes two steps into the room, kicks the legs from underneath the chair. “—sit at my desk, Satoru.”

Effortlessly, Gojo jumps off the chair before it hits the floor and lands on his feet, facing Yaga. He is just as tall as the Principal, and from the wide grin on his face, it’s obvious that he is thrilled to have gotten a rise out of him.

“Then get me my own office already, what are you waiting for?”

“We’ll see which one of you gets an office first,” Yaga sniffs, and it doesn’t sound like Gojo is at the top of his list. “First, there is someone you need to meet.”

Ieiri has been observing you since you’ve walked into the room, not looking away when you had met her eyes. Yaga’s words have Gojo finally directing his attention to you, though, and something in the room shifts. You can’t see them, yet you know his eyes are on you, dissecting you and your cursed energy, collecting every possible bit of information on you. He walks past Yaga, burying his hands in his pockets as he approaches you. He has an easy smile placated on his lips, but you know when you’re being judged.

Behind him, both Ieiri and Yaga are still, tense. Yaga’s jaw is set, and Ieiri fiddles with a pack of cigarettes in her pocket, clearly itching for a new one. Ah, so this is the real test.

You don’t back off, staying rooted in your spot. He towers over you easily, and you have to tilt your head back just to look at him. You’d heard he was a handsome man, but you hadn’t expected it to be so obvious, even with the bandages on. He studies you, sharp jaw clenching, before the dazzling smile returns.

“Right! You’re the substitute teacher, aren’t you?”

His voice is light and airy, the previous tension completely absent from it. You blink.

“She will be teaching instead of you when you’re away on missions,” Yaga intervenes, “but that doesn’t make her a substitute. C’mon, Satoru, we’ve had this conversation already.”

On that last sentence, his voice turns into a threatening rumble.

“Sure, sure,” Gojo dismisses him without looking back, “and you’re the one who will be giving me missions as well, right?”

He keeps his tone cheerful, makes it sound like he’s just trying to have a conversation, but there is an edge in his voice, a bite. You cannot tell what he is trying to achieve with the question, though, or why he is being hostile, so you choose not to engage.

“Indeed,” you answer, bowing your head politely. “It is an honor to be meeting you all.” You make quick work of giving your name and briefly mentioning that you hadn’t grown up in Japan.

You’re met with silence, Gojo’s lips pressed together as he tries to read you. You do your very best not to give him anything to sink his teeth into.

“Your family’s known for their precognition, aren’t they?” Ieiri asks from the other side of the room.

“Foresight, yes”, you reply. Your answer is rehearsed, polished. Your family has somewhat of a reputation within the sorcerer world, but fortune tellers are a dime a dozen, even among non-sorcerers, and the results vary greatly — it’s not an ability that inspires trust, even for a legitimate sorcerer like you. You don’t wish to reveal too much of yourself just yet. “I look forward to working with you.”

A smile finally forms on her lips.

“Well, don’t take this the wrong way, but I hope I won’t be seeing too much of you. Would be a shame if I had to patch you up. If you want to go out drinking though, just let me know. I know all the best bars in the city!”

“She does, and she’s banned from half of them,” Gojo chimes in. Now that his focus is back on her, his tone is softer; teasing, still, but no longer harsh. “She could use an actual designated driver instead of exploiting her kouhais though, don’t you think, Shoko?”

She laughs at that, sincerely, her eyes creasing.

“Fuck you, Gojo,” she answers fondly.

“I apologize for these two,” Yaga says, wincing at the coarse language. “We’re very happy to have you here. I’m sure it will do the kids some good, having someone serious to take after.”

“Hurtful,” Gojo protests, pouting. “They’re good kids,” he adds, directing his attention back to you. He sounds proud now, no trace of his earlier defiance left. “They’ll be great soon. They just need a little push to get there.”

At that, you nod.

“Of course. I’ll do my very best to help them on that path.”

There is a second, between the moment when you finish speaking and the moment when a wide smile splits his face. In that second, his lips part, and you feel his eyes plunge into you, digging into the very core of your being. He doesn’t look pleased. No, he is sizing you up, and you doubt you measure up to his expectations as well as you should. You’re the only one facing him, though, and when he smiles, just a little too late, it all vanishes like it never happened.

“Good to hear! As long as that’s the case, I’m sure everything will go smoothly.”

It’s said differently, but it’s as threatening as the higher-ups’ last words to you. Still, behind Gojo, Yaga heaves a relieved sigh and exchanges a look with Ieiri that tells you just how worried he’d been about your arrival. To him, it looks like the situation is resolved.

“Why don’t we all go and get a drink together to welcome you properly, if we’re done here?” he asks, walking over and slapping Gojo in the back.

“Sounds good to me,” Ieiri hums.

“As long as we go somewhere with good desserts, I’m in,” Gojo declares, intertwining his fingers at the back  his head.

“You better be, Satoru,” Yaga grumbles, “you’re paying.”

“Not sure the Gojo clan has enough money for your appetite,” he sighs dramatically, “but I mean, I can try.” Then, eyeing you, “You coming or what?”

“Of course,” you say, swallowing around the unexpected knot in your throat. “Thank you for having me.”

You follow them cautiously, keeping quiet as the banter continues, hands held behind your back, observing. You had not expected to feel welcome here. You could have done without Gojo’s strange hostility, but with your track record, you had expected far worse.

“Let me know if Satoru makes your life harder, alright? I’ll talk some sense into him,” Ieiri tells you, placing a cigarette between her lips.

“And I’ll beat it into him if I have to,” Yaga adds, snatching it from Ieiri’s mouth and crumpling it between his fingers.

“I’d love to see you try,” Gojo grins.

“Noted,” you answer, “but I’m sure everything will be fine.”

This last part is a lie. Even as he’s joking around with everyone, you know he is still observing you, courtesy of the Six Eyes, watching your every move, waiting to find a fault somewhere so he can figure out what to do with you. You can’t blame him. You will be the one sending him into action, after all, even if the higher-ups would review missions assigned to grade 1 sorcerers and special grade sorcerers. Of course he’d need some time to figure out whether or not you’re trustworthy.

Not that his opinion on the subject matters to you. You’re not the type of person who needs other to like you. You don’t even need him to trust you. All he has to do is let you do your job.

Everything else is futile.

It is no surprise that the first few weeks at your job are slow. The end of summer and the beginning of fall are always quiet periods for sorcerers, and as a result, you don’t have many missions to hand out just yet. The few, low-level ones available in Tokyo are systematically claimed by Gojo before you can look into them, as training for his students.

“Kids gotta learn somehow, right?” he tells you with a grin the first time it happens.

He’s just waltzed into your classroom and he’s leaning over the desk, elbow conveniently resting on the mission files. You try not to think about how brazenly handsome he is right now, even when he is openly provoking you. You stare at his bandages, right where his eyes must be. He may be smiling at you, but there is no sincerity behind it, no joy, and that wasn’t really a question.

You shrug.

“Alright.”

The smile falters.

“Yeah? That’s alright with you?”

“Certainly. If you think these are good exercises for them, and if you plan on being there to supervise them, I don’t see any issue with it. Just return the files if there are any they can’t clear, and I’ll transfer them to the appropriate person.”

He tilts his head. Watching. Assessing.

“You should join us!” he exclaims cheerfully, smile back in its place, clapping his hands together. “The more, the merrier, isn’t that right?”

Oookay. He is testing you. The infuriating part of that is, you have no idea what he is testing you for, what he wants you to display — or fail to display. Trying to see if you’re good enough of a teacher? You have nothing to prove here, certainly not to someone who has been on the job for such a short time. Then again, you don’t see any harm in humoring him.

“No problem. Just let me know when you intend to take care of them, and I’ll be there.”

His smile widens, but you’re not sure if it means you’ve succeeded or failed his test.

“Good,” he hums. “I’ll be taking that, then.”

In one swift movement, he retrieves the files from your desk, and he walks away with them before you can say anything.

You roll your eyes — this whole song and dance are so unnecessary — but you don’t see any reason to stop him, so you just watch him leave. You catch him stopping in the doorway, turning back to look at you. The smile is still dancing on his face, all edge and teeth.

“You’re not what I expected.”

You stare at him just a moment longer, brow furrowing, before he vanishes and you’re left with nothing to look at.

‘Not what he expected’. You turn the sentence over in your mind a couple of times, trying to conjure up an image, a personality that would fit better for the role you’re supposed to play, but nothing comes up. You have two roles: teaching the future generation of sorcerers, and assigning missions. If doing one task can facilitate the other, there is no reason not to do it — and you find it even harder to comprehend why he wouldn’t have expected you to do just that.

You shake your head, willing his words out of your mind. You’ve never felt the need to meet anyone’s expectations, so why should you start now?

Taking kids to a cemetery for a mission seems in poor taste, but that’s not what you tell Gojo when he announces it as his first choice.

“The mission is for a number of grade four curses and a couple grade three,” you state instead, “but considering the spot, it’s likely more powerful ones went unnoticed. Are you sure that’s appropriate for first-years?”

“Well,” he answers, hands casually in his pockets, towering over you with all his height, “it will be good to see how adaptable they are and their abilities in the face of danger. Plus, they’ll have two guardian angels looking after them, won’t they?”

There’s that toothy smile again.

You still don’t know what it means.

“As long as you’re here, it will be fine, I guess” is what you end up answering him with a shrug.

This time, he doesn’t say anything as he leaves, doesn’t stop to look at you.

You suspect that you said exactly what he was expecting from you.

Contrary to popular belief, cemeteries don’t typically harbor powerful curses. The smaller ones are numerous, born out of loss and grief, but the bodies of non-sorcerers don’t take the pain they endured with them in the grave. They leave it all over their houses, leaking through the walls and ceilings, seeping through the cracks in the floor, cursing their loved ones.

Cemeteries remain clean.

The exception to that rule is a notable one. In any place where cursed energy accumulates for long enough, there is a risk for it to congregate to the point where strong curses can emerge. This slow growth means they learn to better hide themselves, and it makes them harder to spot and eliminate. In an ideal world, there would be a sorcerer expedition every other decade to ensure nothing big can develop, but sorcerer numbers being what they are, that is impossible to ensure. There is also a high likelihood that it would be useless anyway, a waste of time and resources, far too much firepower for the bunch of fly heads sorcerers would find.

Still, you keep an eye on the three, baby-faced first years, and chew on the inside of your cheek as they start to make their way through the alleys.

You don’t like this.

“Don’t tell me you’re scared,” Gojo says lightly, next to you. “You’re a grade one sorcerer, aren’t you? There’s nothing more powerful than that here. I’d know it if there was.”

“My evaluation took place in Europe. I don’t know if I would have ranked that high, had I taken it here.”

“Aw, c’mon, if even you think you’re that weak, who’s going to believe you’re strong?”

The sentence surprises a chuckle out of you. A grade two sorcerer is nothing to turn your nose at, but you can’t say you’re shocked that the Satoru Gojo would equate that status to weakness. He is so far off the scale that he would break it altogether if it wasn’t for the convenient, murky ‘special grade’ title.

You look at him, find him already turned in your direction. His lips are parted in surprise. You don’t realize it, but you have somehow managed the feat of getting Gojo’s undivided attention. The Six Eyes are focused on you, dissecting you, taking you in. This is— new. People are predictable. It’s not always a bad thing, though it gets a little boring. You— you keep catching him off guard while doing things that seem completely natural to you.

For once, you’re the one who is smiling, and he’s stunned into silence.

“It doesn’t matter to me, whether or not people think I’m strong. All I care about is—”

Teeth reflected in a pupil. Muscles like lead. A hand raised in defense. Flesh that turns into mist, there one second, gone the next. Clicks like a laugh, coming from behind. ‘Morino Iori — 1954-2010’, splattered with blood. A curse with its head thrown back, an arm coming out of its open mouth, disappearing when it swallows. Tears dripping down from the chin to the ground, barely diluting the puddle of blood that has formed there.

The rest of your sentence is lost when you turn around and take off running.

There is a string of cursed energy pulling you in the right direction, one that found its way to you, one that the cursed technique engraved in your brain knew how to decode. You’re old enough not to question it, not to struggle with the vision, and following it comes as a second nature. Just as you get there, you see Sota rounding the corner slowly, looking around, squinting, searching for something he isn’t finding. Your fingers close around the weapon at your waist, withholding your cursed energy — for now.

To a non-sorcerer, you would appear to be holding nothing but a stick. A sorcerer would know it’s a cursed weapon, though most would not be able to figure out its use.

At least, not until the curse emerges from the fog, only two steps behind Sota. In a flash, you let cursed energy irrigate your weapon, and a blade of sheer energy appears. The stick is now a scythe.

It’s in poor taste, in a cemetery, but you don’t linger on that.

You’re between the boy and the curse before he can turn around. The curse’s abilities must allow it to hide its presence, would allow it to disappear back into nothingness a mere moment after the kill, but you don’t give it the opportunity to do that. The scythe cuts through it like butter, splitting it in two. The two halves haven’t yet hit the ground that you’ve already lowered your weapon, emptying it from cursed energy as soon as you’re done.

“Are you okay?” you ask Sota, turning around to face him as you anchor it back to your waist.

“Um,” he says. He doesn’t look scared, just mildly surprised. “Yes. I’m fine.”

“What happened to seeing his abilities in the face of danger?”

You bite your lip, glancing at Gojo. He is standing atop a headstone, balancing without any struggle and watching the two of you with unmistakable amusement.

“He freezes in the face of danger,” you answer.

Sota’s eyes go wide, and he turns away from you, shaking his head. He isn’t doing it for you, though, but for Gojo.

“That’s not true! I’ve exorcised curses before, you’ve seen me do it!”

He’s desperate to prove himself to his teacher, and something sinks within you. You don’t need a vision to tell you what will happen next.

“The kid’s got a point,” Gojo lets you know. “That precognition thing of yours, how accurate is it?”

There was a time when those words would have sent you reeling back. Even now, when you’re expecting them, you feel the blood withdrawing from your face as he speaks them. But you swallow, school your features. You know better now. Fighting now will only delay the inevitable. Gojo was standing next to you anyway. With the Six Eyes, he must know for certain that you hadn’t activated any sort of cursed technique when you took off running. That alone would be enough to make him suspicious, if he didn’t already doubt you.

Cassandra’s Bargain. Tell the truth, and save only those who believe you.

Unlike others, explaining the workings of your cursed technique doesn’t make it more effective — it makes it useless. If you try to tip the scale in your favor now, you will all pay a high price for it later.

You know what Gojo is implying, about your accuracy. Most people who have foresight see a number of futures. If he suspects you saw one in which Sota died, your actions must make sense to him.

“Enough to keep me safe,” you answer, tight-lipped.

“That’s what I thought. Let’s give the kid a fighting chance from now, what d’ya say?”

That’s not how it works, but it doesn’t matter. At least Sota gets to keep his arm — until next time.

What a waste.

“Of course,” you say with a nod.

You would do it again in a heartbeat if you had to, but you no longer feel threads of cursed energy, threads of fate, pulling you in one direction or the other. Oh, they’re all around you, and you’d know much more if you activated your cursed technique, but you know how it functions. That had to be the worst that could happen. Things should be fine now.

“Start running Sota, you’ve got some catching up to do!”

“Yes, Mr. Gojo, sir!” the kid replies, all but saluting. “I won’t disappoint you.”

Gojo’s laugh at that, as the kid takes off sprinting, couldn’t be more genuine.

You lean against the pristine Morino Iori headstone — it’s disrespectful, and you formulate a silent apology, but all you can do is hope they won’t mind. You’re exhausted, and yet the tension is keeping your body in hypervigilance, refusing to go away.

Gojo approaches you, hands in his pockets. The ghost of his usual smile is dancing on his lips. For once, though, it doesn’t feel mean-spirited.

“We have to save them if they need us,” he says, voice surprisingly soft, “but it’s as least as important that we teach them how to fend for themselves.

“I don’t disagree with that.”

This kind of reasoning just isn’t worth losing an arm over.

Gojo steps closer, leaning towards you, so close his nose is almost touching yours. You suck in a quick breath through your mouth. From up close, it’s much harder to ignore how handsome he is, even without seeing his eyes. You blame your accelerating heart rate on the fact that you’re in a high-stress kind of and you’re particularly pent-up at the moment. If your skin tingles when you feel his breath against it, it’s because of the cold. Must be. Whatever it is, you don’t let it show, and you hate that you’re finding it harder to breathe.

“You’re not what I expected.”

He’s said it before, but his voice is lower now, deeper, vibrating through your body, and something that you recognize all too well twists, deep in your abdomen.

Desire.

You don’t answer. You didn’t know what to say the first time, and you sure as fuck have no clue now — don’t know what he means, don’t know what you’ve done that you weren’t supposed to, don’t know if the interest in his voice betrays the same feelings rushing through you right now. So you glare at him until he laughs, light and airy, and takes a step back.

“If you need me, I’ll be on top of the temple, watching the kids.”

You wait for him to disappear between the tombs, keeping yourself still, too still, probably, to be inconspicuous, and it’s only once you’re sure he’s gone that you let yourself exhale very, very slowly. The urge to laugh at yourself bubbles inside you, because what the fuck is wrong with you? It’s not the right time, not the right place, and not even remotely the right person.

You’re fully aware of all of that, know it in the deepest parts of your soul, and yet your eyes still trail towards the temple. You could imagine that you’re seeing Gojo’s silhouette there, if you didn’t know better.

Except you do. You do.

When you look away, you know full well you’re doing it too pointedly.

You don’t get a chance to involve yourself in the Kyoto Goodwill Event. With the beginning of fall, files are starting to accumulate. Since you’re still getting your bearings in Tokyo and familiarizing yourself with the sorcerers you can send on missions, that is what you dedicate yourself to.

Or, well, that’s what you’re told.

You know that you’re more than capable of doing several things at once without botching any of them. Masamichi Yaga and Satoru Gojo are the ones who disagree. You’re called into Yaga’s office, and Gojo is already there, leaning against the wall behind him. For once, he isn’t wearing the bandages, but rectangular sunglasses. Even from behind them, you see the faint glow of his eyes, and it takes a lot — a lot more than it should — not to stare.

“The students taking part in this year’s event will be exclusively second and third-years. Satoru knows them well.”

“Yeah, and they’ve been training for a that for a while,” Gojo says without missing a beat. Where Yaga is stern and serious, his voice is relaxed and pleasant, lightening the mood without trying to. “The third-years have already won once, so they know what they’ve got to do for a repeat.”

That’s right. Tokyo won last year, under Gojo’s guidance, for the first time since… well, since he stopped competing himself, according to what you’ve heard.

“Satoru had already started putting this year’s strategy together by the time you joined Jujutsu Tech,” Yaga adds, trying his best to sound apologetic. “So there’s no need to concern yourself with that. It’s already well-oiled.”

As far as you’re concerned, the only thing that’s well-oiled here is this routine they’re performing, all for your sake. You click your tongue, not bothering to hide your annoyance, and watch as Yaga’s fingers curl, as Gojo’s chin lifts and the blueish glow focuses on you. There’s politics in the air, you can smell it, with a role you have to play. So they think, at least. Unfortunately, you lack knowledge when it comes to Japanese society, and you cannot quite identify what that role is.

To be fair, you also don’t care for it.

“Was it really necessary to waste all of our times with this charade?”

“I beg your pardon?” Yaga asks in response. His voice thunders dangerously. He’s warning you not to cross a line.

“If you don’t want me involved, you can just say so,” you answer with a shrug. “Now, if you’ll excuse me, I have missions to assign.”

You don’t wait for him to dismiss you to stand up, rolling your eyes once you have your back turned on them. How bland. You’ve never seen the point of engaging with this kind of theatrics when there are such greater things at play. Having you help the kids come up with a strategy of their own, going over the basics of planning, now that could have been interesting and helpful. It’s not that you doubt Gojo’s abilities in that domain, you don’t, but it is your specialty, and you’ve had to learn to survive with resources that are significantly more limited than his. Instead of doing that, in the name of whatever internal conflict is going on here, the kids have been deprived of that experience.

How boring.

Once the door has closed behind you, Gojo lowers his head, shoulders shaking. Yaga turns around, frowning, only to find him quietly laughing to himself.

“Told you she was a weird one,” he says once he’s caught his breath.

“Maybe,” Yaga mumbles, “but there must be a reason why she was placed here.”

Gojo hums. Outside the office, he follows your cursed energy. It has always been diffuse, fickle, fizzling out around you until it becomes hard to tell where it ends — even for him. Must have something to do with your cursed technique, but he hasn’t seen you use that yet. You go straight to your classroom, where you sit behind your desk to work, like you do every day until it’s late in the night.

Yaga is right, of course. There must be a reason. But you’re at least making it fun for him to figure out.

The Kyoto Goodwill Event does not go over well.

Maybe you should get some petty satisfaction from it, but there is none to be found, just a bitter taste in your mouth. Next to you, Utahime, the Kyoto school teacher, does not look up at the screens provided by Grade 1 sorcerer Mei Mei. She has her eyes on her hands, and she is nervously rubbing her fingers. In fact, while a few outsiders who have come to see the game for their own enjoyment exclaim at the students’ impressive moves, there is only one member of the schools who seems to be enjoying himself, and that is Principal Gakuganji.

Kyoto is methodical in their approach. On an individual level, you suspect that Kyoto is far ahead of them, but as a team, they have come up with the perfect strategy — at least against the Tokyo team. They have done their research, know everything there is to know about their adversaries. Then again, having one member of the Zen’in and one member of the Kamo family on their side, even if neither have access to their families’ historical techniques, must have been quite the help to gather that information.

You don’t see them doing anything revolutionary — if anything, a team such as theirs could have been composed hundreds of years ago — but they have no need for it, not with how brutal they are willing to be, leaving devastation in their wake. They’re prepared, efficient, collected. They’re also quick, having adapted to this modified version of capture the flag, one that involves curses, without hesitation.

Tokyo defends to the best of their abilities. They prove themselves especially capable when it comes to improvising on the spot, which means that Gojo’s teaching works on that front is working, at least. The match ends up closer than Kyoto must have been hoping for, but it doesn’t change the end result.

It’s a resounding victory for Kyoto.

“Well,” Gakuganji is the first to speak as it ends, “that was quite the beautiful display of sportsmanship, don’t you think, Satoru?”

You glance at Gojo, who is sitting next to you. There’s real anger in the way his jaw tenses at the question, but by the time you blink, he’s already relaxed it.

“That was really impressive!” he laughs, throwing his head back and clapping enthusiastically. “They’ve progressed so much since last year, haven’t they? I never imagined they would be able to come this far.”

You press your lips together at the barely veiled insult.

“Indeed, that is what realized potential looks like,” Gakuganji replies, stroking his beard. “Such a shame to see your promising pupils crashing and burning… Although that’s not the first time you’ve seen that happen, is it?”

That is the least charitable way of looking at what happened there, but it is impossible to argue with the facts: Kyoto bested Tokyo. You can’t say you appreciate the way he’s talking about your students, but you don’t think it’s your place to say anything.

Gojo’s smile thins.

“Well, I’ll be looking forward to the individual tournament tomorrow,” Gakuganji adds, standing up. “In the meantime, Yaga, I assume you have planned for accommodations, and all this action has given me quite the appetite.”

He leaves the room with an unmistakably pleased smile, Yaga getting up after him. He gestures at Gojo to join them, and he’s not hiding his scowl when he stands up, unfolding his long limbs slowly. The other sorcerers follow suit, Utahime included, though she is sporting a somber expression too. You’re the only one to linger in the room, in no rush to suffer through more of Gojo and Gakuganji’s quips.

When you do leave, you stop by the infirmary, where you find Ieiri cursing through her teeth as she works on the students. Even though several of them are fully healed, they’re keeping themselves huddled up together, shoulders hanging low, eyes on the ground.

Defeated.

“Professor Gojo has already come by,” one of them informs you without bothering to look at you. “We’re fine. We’ll do better tomorrow.”

“Yes, you will,” you confirm, and you see flashes of hope on their faces, mistaking your confidence for a prophecy. Truth be told, you haven’t seen anything for the next day, but this is often the best way of using the aura that surrounds you. “But you did well today. They saw a weak spot, and they exploited it. As long as you learn from it, there is no shame in this defeat.”

That deflates them, and Ieiri snickers, glancing at you with a grin.

“Quite the pep talk you’re giving here.’

She’s right. You’ve never been good at this.

“You’re all excellent sorcerers, but even you can be defeated by people who are not as good as you, provided they’ve prepared adequately. That is what you need to take away from today. Conversely, you will be able to defeat much stronger adversaries than you, with the right approach.”

Some look thoughtful at your words — most still look just as dejected as they were when you walked in.

“We’ll work on that once this tournament is over. For now, all you need to do is rest. You’ll prevail tomorrow.”

Smiles finally break on their faces, and you take that as your cue to leave, before you can say something that would ruin it again.

You’re in no rush to join the other sorcerers just yet, so you wander through the hallways, intending to go back to the classroom that’s become your refuge in the school. You’re one corner away from it, when the window that leads to the outside slides open, and Satoru Gojo jumps in, right in front of you. It is the second floor, yet you can’t muster surprise.

He shoots you a smirk that knocks the air out of you, but it’s nothing compared to what he does next. He looks back towards the window, looking displeased, and that’s when you notice voices calling for him — Kyoto students and low-level sorcerers. You’re about to look down when he catches you. He wraps a hand around your wrist to pull you away, presses the other on the wall, next to your head, and you freeze. He’s close, and everything you’ve been feeling for weeks at this point comes rushing back in.

“You know what’s a great way of getting people’s attention off you?” he asks, smirk even wider, if possible.

“Wh—”

Then his lips are on yours.

He tastes sweet, you’re surprised to find.

It’s playful, the way he kisses you, a press of his mouth against yours, stolen, daring. It’s also all you need to admit to yourself how badly you’ve been wanting this. That’s why you’re the one who wraps your arms around his neck, kissing him back harder. He lets out a surprised noise into you, maybe a chuckle, but he certainly doesn’t fight it, even if he wasn’t planning on it. In fact, it’s quite the contrary.

He reaches greedily for your hips, pulling you to him and keeping you pressed against his hard chest. When you part your lips, there is not a moment of hesitation on his part before he pushes his tongue in, swirling it against yours. You crane your neck to give him better access to your mouth, all while holding on tight to his neck to lower him towards you. Your back is against the wall, your body arched a way that would be uncomfortable if you weren’t so hot all over, set ablaze by his touch.

When he pushes his thigh between your legs, flexing it so it rubs against you just right, your knees buckle under you. It doesn’t help that, in this position, his semi-hard cock is pressed against your abdomen, and that awakens a very special kind of hunger within you.

There is no softness to the kiss or to the way your bodies move together, just pure lust. Wetness is pooling between your legs already, in anticipation for more, more of him, more of his body, more of his touch. He’s so tall, it’s like he’s everywhere, his scent surrounding you, his body caging you against the wall effortlessly, his mouth demanding more and more of you. You roll your hips against his, trapping his cock between your bodies, and he hisses into you, his grip turning bruising — not that you mind.

“Tease,” he manages to mumble as he takes a quick breath.

There’s no room for any more words before he reattaches his mouth to yours, almost biting into you, and fuck it feels good. His lips are soft, but that must be the only thing that is soft about this kiss. He moves your skirt out of the way, one hand coming to grab your thigh so he can lift it up, and that is when your eyes snap open, some reason coming back to your lust-filled brain at last.

“Wait,” you mumble, “not here.” Your eyes dart around the dark hallway — empty, but far too in the open for your liking. Problem is, your body is aching with how much you want him, and, even if it would be the smart thing to do, you can’t bring yourself to stop now. “Classroom,” you conclude, pulling him with you.

He lets out a breathless laugh, but follows. The second the door is closed, he has you against the wall again, this time with his chest pressed to your back while his lips find your neck, teeth pulling at the skin mercilessly before dragging his tongue on the sensitive area to soothe it. You let out a sigh, but it comes out much louder than you’d intended, almost a moan, and you have to lift a hand up to cover your mouth. He snickers, but doesn’t waste any more time on teasing you.

Instead, he snakes his hand into your skirt, and this time, you don’t stop him. Long fingers move past the hem of your panties to brush against your clit and you jump, biting your lower lip to keep quiet. His lips stretch into a smile on your neck.

“You’re so fucking wet already,” he comments by your ear, rubbing his fingers over your pussy lips, purposefully not entering you.

You groan in frustration, and push your ass against his now rock-hard cock. The low moan he lets out in surprise is delightful to hear.

“As if you’re one to talk,” you reply.

“Is that how you want to play it?”

Before you can answer him, he easily pushes two fingers inside you. They’re long and they fill you so well, you have to focus every fiber of you that’s not lost in pleasure on keeping quiet. Gojo’s free to take his fingers out, then plunge them into you once more, and you can’t help clenching needily around them.

“See,” he says, and oh his low voice, the way it makes his chest vibrate against your back, it all goes straight to your core, making you gush around his fingers some more, “that’s expected of me, ‘cause everyone knows I’m sorcerer society’s problem child. Aren’t you supposed to be the good girl?”

It’s no easy task to think with his fingers pumping in and out of you relentlessly, but even through the haze of pleasure, the words make you frown.

“Says— Ah— Says who?”

He uses the heel of his palm to press against your clit, and you’d conclude that he is actively trying to render you speechless if pleasure wasn’t shooting through you like electricity.

“Hmm, I don’t know, I’d say you’re being pretty good right now, wouldn’t you?”

“Would you— fuck— would you stop talking and just fuck me already?” you still manage to bite out.

He laughs again, delighted and maybe a little fond, but he stills his fingers inside you. You get some time to catch your breath, and use whatever self-control you have left not to try and fuck yourself on his hand.

“You sure?”

“As long as you’re clean, I’m safe,” you say — maybe not your smartest moment, but you can’t find it in yourself to care right now.

He pulls his fingers out, and you glance at him over your shoulder. He’s still wearing the bandages over his eyes, but his jaw is uncharacteristically taut, and his movements lack their usual fluidity. You grin. Good to see you’re having an effect on him too. It becomes even more obvious when he pulls out his cock, hard and veiny. You’re not surprised by how big he is, and you find yourself licking your lips, clenching around air at the prospect of what’s to come. Shit, you cannot wait to have it inside you, stretching you out.

“I’ve been wanting to mess up that skirt for weeks,” he mumbles, mostly to himself, as he pushes it out of the way and lowers your panties.

“Then what are you waiting for?” you ask with a click of your tongue. He is still talking way more than he should.

The smirk he gives you should concern you. He presses the tip of his cock to your entrance, and then, instead of penetrating you, as you’re frozen in anticipation, slides his length against your pussy lips, sending jolts of pleasure through you, but not giving you what you need right now. You whimper pleadingly, not catching yourself fast enough to keep yourself silent. You worry that he will keep teasing, but it appears he has reached his limits too, because soon he is pushing the tip of his cock inside you, and fuck, it’s even better than you’d imagined.

You hear him grunt behind you as he starts pushing himself inside you at a devilishly slow pace. You expected him to do it all at once, so you turn around once more, ready to throw another quip at him for his relentless teasing, but the words die on your lips when you see his face. His teeth are planted in his lower lip, and his face is contorted in a pleasure that he is clearly trying to reign in, his breathing quick and shallow, his chest heaving. The sight leaves you breathless, so you stay quiet.

“So fucking tight,” he all but whines as he keeps pushing himself inside you.

He bottoms out at last, and he stills for a few seconds, all so you can adjust and not at all because he is going to come too fast if he can’t get used to how warm and welcoming you are around him first. The discreet groans he was letting out turn into a full moan when you move forward, pulling him out of you, then back, sheathing him inside you completely once more. You’d keep moving, but he grips your hips tightly, fingers digging into the flesh, to stop any movement you could make.

It doesn’t last long though, because after that, he starts moving himself, and the pace he sets it merciless. The slapping of skin on skin echoes obscenely in the empty room, but you can’t find it in yourself to care, not when you can barely think, not when your knees are failing you and his hands on hips are the only thing keeping you standing, not when tiny whimpers keep spilling past your lips, no matter how much you try to keep them in.

“Couldn’t be even just a little patient, hm?” he asks you. It’s undercut by the gasps that interrupt him, the pleasured moans that escape him too.

This time, you don’t find anything to answer. The angle, with you bent over, hands on the wall in a desperate attempt to stay on your feet, makes you feel so, so full that you can’t think straight. Pleasure is coursing through you with each time he hammers into you, and you clench around him helplessly each time he pulls out. He’s fast, relentless, but if the way his moans keep getting more-pitched is any indication, he’s close to reaching his climax. You’re not far yourself, you just— just need— just a little—

One of his hands abandons your hip, and you would stumble forward if he wasn’t holding you so firmly. His free hand finds its way to your clit, and pinches it expertly, just as he snaps his hips into you harder than he has so far, spilling himself inside you. The orgasm hits you like a thousand volts, and your hips jerk back uncontrollably, whole body shaking, as you ride the wave of it on his cock until it ends. Ah, you needed this so badly that, as it recedes, you can only feel content, the pleasure it gave you still tingling in your body.

For a while, the sounds of you and Gojo’s panting are all that fill the room. Finally, he pulls his sensitive, softening cock out a you with a hiss, and you ignore the squelching sound it makes. He tucks it back into his pants, and you finally find it in yourself to pull your panties back up, readjusting your skirt. Your hair is messy from the kissing earlier, but apart from that, you’re still rather presentable — you hope.

“Didn’t think you had that in you,” Gojo comments. He’s still catching his breath.

“At what point are you going to admit that you’ve just misjudged me?”

He laughs, but the smirk he shoots you, hands in his pockets, standing a few feet away from you, is proof that the distance between the two of you is back to what it was before. You don’t find yourself minding all that much. This is as good a way as any other to release tension, and you’re more relaxed than you have in weeks. The lightness of his voice tells you the same is true for him. Seems like you both got the same thing out of it, and that’s fine by you, even if it doesn’t bring you any closer.

“Once I know I was wrong,” he says. It sounds ominous, but, well, if he wants to keep clinging to that image he’s made of you, that is his problem. So far, you’d argue that it has rather worked in your favor.

You shrug.

“If you hadn’t felt that way, Tokyo would have won today,” you tell him matter-of-factly.

His smile widens.

“Guess we’ll have to see about that next year, hm?”

“I guess we will.”

Silence grows between the two of you. You normally wouldn’t mind. Now, you feel the need to say something.

“This should stay between us,” you finally manage to say. Sorcerer society can be— harsh, on women, to say the least. The last thing you need is for someone to know you’ve fucked your coworker. You’d be branded as a whore, and while you find this all horribly regressive, you’d still rather not have to deal with the fallout.

Gojo hums in agreement.

“I’m not really the type to want all my business out there either,” he tells you in a surprising display of sincerity. It’s ruined when he smirks and adds, “Next time, I think I should fuck you on your desk.”

You scoff, but you know you both hear your lack of denial loud and clear. You’re not opposed to there being a next time, provided this doesn’t get out. By the look of things, it would be mutually beneficial.

You don’t bother to answer him before you open the door, glancing outside. No one in sight. He would have known if that had been the case, of course, but you’re still relieved. You slip outside unceremoniously — it’s pretty clear you’re done here anyway — and he does nothing to hold you back.

Later, after you’ve taken a quick shower in the facilities available at the high school and you’re sat by Ieiri around the dinner table, Gakuganji can barely hide his smugness.

“Where you have been off to?” he asks Gojo, his tone making it clear just how pleased with himself he is. “Licking your wounds?”

“Something like that,” Gojo answers lightly, and you’re careful to keep your eyes on your food.

The conversation fades into the background. Your thoughts move to the upcoming solo tournament, the next day, to your students, to the missions you have to assign. And then, for the first time in forever, you find yourself distracted by something that isn’t work-related. You welcome the respite it gives you.

On your desk, next time, huh?

You could work with that.

thank you all for reading and getting all the way here! interactions are what keeps me writing, so please comment/reblog/send an ask to feed your author and have my eternal gratitude!

tagging people who expressed interest in the first chapter: @sapphiccloud @saccharine-nectarine @calypsothegoddess @aspiring-bookworm @aerismonia

[atamascolily]

There is a tendency I see in PMMM analyses and discussions to treat the witches simply as monsters that can be overcome with sufficient force regardless of other circumstances--and thus Homura's failure to ever win against Walpurgisnacht on her own terms is something that could be easily fixed with more firepower and different tactics. And while there's nothing wrong with this interpretation, it's not one that particularly interests me, either.

What I like about PMMM and what makes it so engaging for me, is that it can be read on multiple levels--both as a literal journey and as a symbolic one. In-universe, witches are the shadow selves of magical girls; is it really so surprising that they also serve as narrative foils to those who face them, thus making victory or defeat as much of a character issue as a tactical one?

It is not a coincidence that Mami Tomoe, a girl who was forced to grow up too fast and who could have wished to save her dying parents but didn't, meets her end at the hand of a particularly childish and immature witch, a lumpen, misshapen doll that transforms into a clown--a girl who never grew up, who could have wished to save her dying parent but didn't. Mami, an experienced veteran who wiped the floor with the Rose Witch and her familiars earlier, is completely caught off-guard and is eaten alive by a witch who embodies all of the issues she herself struggles with and has yet to overcome within herself.

Yes, Mami was careless and overconfident, which led to her doom--but she had also fulfilled her role of introducing Madoka to the world of magical girls. On a narrative level, her death was necessary--not only to free Madoka from her impulsive promise to become a magical girl too early in the story, before she'd learned all the facts and could make a fully informed decision, but also to teach Madoka one final, horrific lesson about what life as a magical girl is really like.

This is not to say that AUs where Mami survives are wrong or missing the point--I've written them myself and I love them! (It helps that Mami's survival is usually the result of someone else's interference, not something she accomplishes on her own.) Nor do I mean to suggest that Mami's death is a moral failing on her part--merely that I think that Charlotte represents Mami's own particular brand of kryptonite at that particular point in her life, one she might have been able to survive if she had been able to move beyond the psychological issues hobbling her.

Meanwhile, Homura is able to easily defeat Charlotte, because metaphorically she's moved beyond the childish worldview that Mami is still stuck in. From that same symbolic perspective, it's this relative level of maturity, as much as her time stop and pipe bombs, that allows her to win.

Likewise, it is not an accident that the next witch Madoka encounters is one that specializes in extracting the memories of its victims, trapping Madoka in a spinning carousel as she is tormented by her own grief and guilty conscience over Mami's death. She is freed by Sayaka, who has moved beyond such angst by her decision to take on Mami's role as an idealized magical girl protector. Later on, Sayaka's descent into dualistic thinking is symbolized by her fight against a witch whose world is literally black and white--whom Sayaka defeats, but only at the cost of pushing herself dangerously to her limits.

As with Mami, Sayaka's death is directly tied to her own psychological issues--in this case, by her incredibly strict rules about how magical girls should behave and her refusal to cut herself any slack whatsoever. Her metaphorical self-denial results in literal self-denial, and her death as a magical girl and rebirth as a witch.

Then we come to Walpurgisnacht, a witch made of cogs and gears--the one witch Homura cannot beat, no matter what she does. Homura is stuck in her loops, unable to imagine a future beyond them, increasingly isolated from any meaningful connections or relationships--Walpurgisnacht may be the "fool that spins in a circle", but so is Homura. The inside mirrors the outside; when we watch Homura fight against Walpurgisnacht, we are also watching Homura's struggle with herself. Unlike Mami and Sayaka, Homura's magic allows her to fight this battle over and over again--again and again she is forced to retreat and start over, unsatisfied with the results and determined to do better next time. She doesn't die, but she doesn't win, either--instead, she's locked into perpetual stalemate with no end.

Madoka, however, is able to see beyond the vicious cycle represented by Walpurgisnacht and thus easily and repeatedly defeats an enemy that Homura cannot, regardless of her relative power levels in any given timeline. It's probably too simplistic to say that hope triumphs over despair--and yet, that's exactly what happens, every single time. Homura has numbed herself through repeated exposure to where she no longer feels hope or despair, thus existing in perpetual stasis with her purpose the only thing driving her. Paradoxically, the one thing she needs to do to win is the one thing she cannot do--and the thing that Madoka can do all too easily.

(This is not to say that Madoka doesn't have her own issues--she does!--just that her issues are different from Homura's, meaning she's not tripped up by this particular obstacle in the same way that Homura is. And it's not that Homura's struggles were pointless--they were what allowed Madoka to get to point where she had both the power and the knowledge that she could save everyone, including Homura.)

Homura's final battle with Walpurgisnacht shows Homura going to insane lengths, including a wall of C-4 explosives inside a refinery, a flaming oil tanker, and a submarine with Type 88 Surface-to-Ship missiles--none of which has any lasting effect on Walpurgisnacht whatsoever. That episode goes to great lengths to show that Homura's approach to fighting Walpurgisnacht fundamentally isn't working; I don't think adding more nukes would help.

The one time Homura gets the closest to her happy ending is the one timeline where she and Madoka fight and fall together--the one timeline where they are shown as equals, and the one where they debate becoming witches together and destroying the whole world before Madoka thinks better of it. This is also not a coincidence. If there is ever to be a truly happy end to this franchise--or an end at all--Homura and Madoka must be equal and willing partners, not one protecting/sacrificing themself for the other again and again. It is also likely that they will remake the universe in the process, through the combined power of their mutual wish.

[It also wouldn't surprise me if that line foreshadowed future plot elements--after all, Madoka technically became a witch in the final episode of the TV series (she got better, thanks to the nature of her wish), and so did Homura in Rebellion--but we shall see if the series ever follows up on this.]

This is why I'm so excited that Walpurgis no Kaiten seems to be laying the groundwork for Homura creating her own enemies and her greatest enemy being herself--once again, making the metaphorical literal. I'm excited about the prospect of Homura getting a do-over with Walpurgisnacht, which would represent a chance for her to confront her narrative foil one more time, and show us how her character has changed. Though it may play out on a larger stage, the real battle will be inside Homura's mind and heart--and, I would argue, always has been. The only way the outcome will change--the only way we can move beyond what's been and into something new--is if/when she changes.

I want to be clear that there's absolutely nothing wrong with the strictly literal interpretation of witches, and I think people should write what they want to write; if that's the story you want to tell, then go for it! For me, however, I find it far more compelling--not to mention richer and truer--if the actions and words on-screen correspond to the characters' emotional and psychological journeys, and there's no question that this preference how I interpret media in general, and PMMM in particular. And it's not that I think Homura couldn't defeat Walpurgisnacht in an AU scenario--merely that any story where she achieves this victory without changing in any way or addressing her own psychological issues in some fashion removes exactly the elements that drew me to this series in the first place.

[55sturn]

✮ I WAS BLIND TO SEE

pairing: chris sturniolo × female!reader

synopsis: in which y/n spent years begging chris to let her into his heart, but he was unrelenting, so eventually she gave up. but after years of her pining helplessly, chris realizes that he grew to love her back and races against the clock to get her back.

warnings: swearing, lowkey toxic!chris, angst for like majority of the fic, oblivious!reader, oblivious!chris, mentions of alcohol, justin’s lowkey a dick, chris is a literal fucking dumbass, i love the whole “idiots in love” trope.

THIRD PERSON POV

it was no shocker to find out how deep y/n's love for chris ran, after all she had been in love with him since they were sophmores in high school. she loved every single thing there was to love about him, and the less lovable things, she understood where they stemmed from.

she had a very deep connection with him, they had been the closet out of him, his brothers, and her. he could turn to her for anything, and vice versa. however, there was one issue.

chris didn't reciprocate the love she felt. he expressed numerous times to anyone who asked, that she was his best friend, nothing more. he saw her as the female extension of him and his brothers.

the only person he couldn't tell that to though, was her. so instead of letting her down easy, he ignored it. and that caused more problems than he saw coming. because of his naturally flirty nature, it filled the girl with false hope, it led her to believe that maybe her feelings were returned.

no one was able prepare for the inevitable fallout that occurred when chris' feelings, or lack thereof, came to light.

FLASHBACK

chris was sitting at his desk when nick knocked on his door, he welcomed him into his room with a barely discernible "come in."

"chris we gotta talk." nick muttered, standing in the doorway with his arms folded and a frustrated look on his face.

"what's up?" chris sighed, rolling his eyes as he turned in his gaming chair to face the older triplet.

"you need to tell y/n about the way you feel, well the way you don't feel."

"why? it's not like i'm hurting her." chris scoffed, not really wanting to break his best friend's heart.

"chris, she literally just spent an hour talking to me on facetime about how she wants to confess her feelings to you directly because instead of being honest, you're playing into her feelings! i can't keep giving her advice and getting her hopes up knowing that you are just going to crush her."

"whatever nick, i'll talk to her later."

and so, when y/n came by later that day, she gathered the nerve to tell chris with a shaky breath and unsteady hands.

"chris can we talk?"

"yeah what's up?" chris hummed, knowing very well where this was going, and despite the fact that he was just about to break her heart, he felt some sort of twisted pride stir in his chest. he liked knowing that someone so close to him was pining for him, it made him feel powerful, and he hated that it made him feel that way. it truly disgusted him.

"i know this probably isn't a secret by any means but i've got feelings for you. like 'i'm in love with you' feelings and i don't know if i've been reading into things too much or if i've read into them correctly but it seems like you return them, or at least act like you do and if that's the case, i'm glad i told you. and if i've read them completely wrong, i'm about to feel like the biggest fool possible." y/n rambled, breathing out a nervous laugh as chris' eyes bore into hers.

"listen y/n, you're a great girl. any guy would be lucky to be loved by you the way you love me but i'm sorry, i don't see you that way. i know i've fed into your feelings and your flirting, and it makes me feel like such a jackass but i didn't know how to tell you and i really didn't want to break your heart. you're my best friend and i would give anything to return your feelings but i don't and it wouldn't be fair for me to pretend i do." chris whispered, his heart tearing in two as he watched the hurt and horror flash in her eyes as she realized that she had read everything wrong. his arms slowly slid around her shoulders, pulling in her into him, or at least in attempt to.

"no. you don't get to hug me after you just admitted that you played with my feelings. you literally just contradicted yourself, the fuck do you mean 'it wouldn't be fair to pretend to return your feelings." that's exactly what you did! god this was a mistake." she spat, turning on her heels and making her way up the stairs leading from chris' room. she grabbed her jacket off the back of one of the dining room chairs and left without so much as a word.

and that was the last that chris had heard from her until they ended up back in boston at the same time.

FLASHBACK OVER

y/n sighed as she made her up the sturniolos' driveway. her family had agreed to a huge family dinner with the triplets' family and she was dreading having to see chris. she was on perfectly fine terms with nick and matt, they had actually grown closer. y/n just refused to be an active presence and figure in chris' life. whenever she wanted to hang out, it’d be away from their house. away from chris.

knocking on the door, a small smile pulled at her lips. she missed mary-lou and jimmy, she hadn't had much time to see them since going back home, she had just been busy with other things, and the fact that she was slightly avoiding them because she had a feeling chris or one of his brothers told them about what had happened.

"y/n! my sweet girl i've missed you." mary-lou cooed as she opened the door, pulling her into a tight embrace.

"i've missed you too, i'm sorry i haven't come by yet, i've been busy." the girl pouted slightly, feelings guilty for staying away for as long as she had.

"busy ignoring a certain boy of mine?" the older woman teased gently, being fully aware of what had gone down and her heart hurt for the young girl. she knew what chris felt, she could see in his eyes when he spoke about his former best friend, a mother always knows. she also knows that chris just hasn't been made aware of the fact that he feels the same as y/n once did.

as mary-lou led y/n up the stairs and into the dining room where the sturniolos' and y/n's parents sat, y/n felt her chest grow tight as all eyes, including chris' fell on her.

"hey everyone, sorry i'm late." she laughed, returning the hug that jimmy pulled her into as he stood up.

"don't worry about it, we're just glad you showed up." jim smiled down at her as she took her place between justin and her mother, unfortunately across from chris.

chris' forced his gaze to his lap as he fiddled with his fingers, ever since the night he turned her down, a strange feeling had been stirring and beating relentlessly in the pit of his stomach, he almost felt like he had made a mistake rejecting her.

as the dinner went on, chris was determined to meet her gaze but she was just as determined to not look at him, in fear that she would crumple into a sobbing wreck. she tried to move on but it was hard when he had already held her heart for so long. she feared that she would never love someone the way she loved and still deep down, loves him.

after the dinner had finished, the adults gathered in the living room, talking about shit their kids didn't care about or had heard a million times already, so the rest of them moved to the deck, all claiming a chair as their own while justin grabbed a beer for all of them.

"so mousey, whatcha been up to, like really? seeing anybody?" justin hums, watching the twenty year old girl that he considered his baby sister shift awkwardly in her chair.

"quit calling me that." y/n groans, rolling her eyes at the nickname that justin had given her back when she was in elementary school, she was so quiet compared to his brothers that he referred to her as a mouse which led to him branding her "mousey."

"and before you ask again, i've seen a couple guys here and there but nothing really stuck.” she sighs, taking a sip of her beer as justin lods, kissing his teeth with a teasing smirk on his face.

“what about you chris?”

“justin don’t.” chris warns, glaring at his older brother as he sees through justin’s plan. justin is fully convinced that chris is in love with y/n, someone just has to spell it out for him. matt and nick both look at each other with wide eyes as they clue into what justin is trying to do.

y/n scoffs, sliding her beer across the table with a roll of her eyes before she stands up,

“you’re a dick.”

“y/n wait.” chris calls out, jogging after as she makes her away around the house to her car, shaking her head as she walks away.

“what do you want chris?” she sighs, turning to face him and look at him, really look at him for the first time that night.

“i’m sorry about justin, he’s convinced that i’m running from my feelings or some shit and he’s trying to make me see that.”

“that’s nice chris. you know, i came here tonight thinking that it’’d be easy to see you after how many months but no, it’s been just as hard as the night you broke my heart. it’s hard because i miss you, so fucking much but i can’t get over you. and i can’t get over you hurting me, whether you meant to or not.”

“i miss you too, y/n. come back please.” chris whispers, a glimmer of hope in his eyes as he stares at the girl he called his best friend.

“no. i don’t think you do. you miss the me that would follow you around like a lost puppy and feed your ego with all the attention i gave you. you miss the love i gave you because you didn’t have to search anywhere else for it. i was some sort of fall back for you. and if i stuck around after you broke my heart to hear you say that you loved me, knowing it wasn’t the same way that i love you, it would’ve killed me chris.”

“i’m sorry, i really am. i just miss my best friend.”

“i stopped being your best friend long before i confessed my feelings to you.” she whispers, the raw emotion she felt as she recounted how things changed evident in her voice, lea chris confused by what she meant.

“what?”

“you stopped seeing me as your best friend quite a while ago. you started seeing me as this your could always count on to boost your ego, to fill your head with this idea that you were a god, that you were the center of my universe. you stopped treating me like your best friend and started treating me like i was a fucking groupie, chris. you stopped remembering important things i told you about myself, you got me a copy of a book that i couldn’t stand, that you knew i couldn’t stand because when i first told you about, you laughed at how insane i sounded. and you said it was for my birthday, but my birthday was three weeks before that. you started only paying attention to things i said that made you feel good, and i thought that if i’d dismiss it and pretend that it wasn’t happening, that it’d go away. i figured you were just sorting out your feelings. but no, you were playing me.”

“that’s not tr-“

“yes it is. i excused it by convincing myself you were busy. that you were stressed. but in reality, you stopped giving a fuck about me and only gave a fuck about the attention i paid you, and now that it’s gone, you feel lost and helpless. so no, you don’t miss me.” she replies, her voice slowly becoming void of all emotion, as if she had accepted what had happened and moved to face her car, before turning back to him.

“for what it’s worth, i miss my best friend too, but when i look at you now, i don’t see him. i see a person who looks like him, but is completely different. and justin is right, you’re running from your feelings but i don’t think they’re feelings for me. i love you, always have, always will. i wish i could say that you love me too, but i don’t think you do.”

chris watches her car back out of the driveway and speed down the street with his heart in his hands, forced to grapple with just how badly he hurt her.

months had passed and chris was still completely shut out of y/n’s life, and it left a bitter and extremely hard pill for chris to swallow. he knew he fucked up and he knew asking her for forgiveness was an insane ask but he missed her.

and not the attention she gave him. he missed her. her warmth, the fuzzy feeling in his chest that she gave him when he’d crack a joke and look around to see if she found it funny. he missed the way he could non-verbally communicate with her the way he can with his brothers. all he’d have to do is send her a look and she’d know what he was thinking. he missed her hugs and the way she could comfort him in a split second. he missed the person that knew him better than he knew himself, and he missed the girl that he knew better than anyone.

everyone around chris knew what was happening, they saw it in the way he’d sulk whenever nick mentioned some guy she was trying to date. or the way his eyes would soften at the mention of her and matt hanging out before his face would fall when matt says they’re going out to some random place to hang out. in the way chris’ eyes would brighten when he saw something that reminded him of her or her favourite movie showed up on the netflix previews.

everyone around chris knew that he wasn’t just homesick for his favourite person, he was lovesick too. they could see the gears turning in his head and heart, that he was slowly starting to openly show his love for her, the same love she felt for him. chris was guarded and haunted by girls that have hurt him, they knew he closed off his heart to anything but familial and platonic love, so when genuine, deep romantic feelings started blooming in his chest like the flowers in spring, he didn’t know what they were. he always thought it was platonic love for his best friend, but everyone could see it was more.

everyone but chris. until the day he saw his feelings for what they really were.

FLASHBACK

chris walked upstairs, halting halfway up to text his friend back as he half listened to nick and matt’s shared conversation, not really care until he hears a sentence that left a sour taste in his mouth.

“y/n wants to ask brendon to be her boyfriend. she thinks it could go well.”

“is she over chris?”

“not really but she wants to try and move on.”

chris rolled his eyes and stomped up the rest of the stairs, not understanding why there was such an angry feeling building in his chest like a fire rapidly consuming everything in its wake.

throughout the day, chris let his anger consume his every action, his every response, every single reaction he has to anything. it was pissing his brothers off because they had no clue why he was angry. until nick pieced it together.

“you heard our conversation about y/n didn’t you? that’s when you started acting a like a dick to everyone and everything.”

“whatever nick it doesn’t matter.”

“you’re fucking jealous, aren’t you?”

“who gives a fuck if i am?”

“why are you jealous if you don’t see her that way?” nick pressed, a smug grin on his face as he pushed the youngest triplet, itching to get the long awaited confession out of chris.

“i’m not jealous.”

“right because if you were, that would mean you actually feel the same way y/n does. which would also mean that literally everyone else in the world was right about you from the fucking get-go.” matt snickered, finding joy in teasing chris for being a complete and utter dumbass for so long.

“oh my god, you’re right. is that what you wanna hear? that i’ve been a complete jackass to her for no reason? that i do feel the same and that everyone is right? that i have no reason to feel the way i do at the thought of her being with another guy? cause if so, there you fucking go.” chris snapped, yelling and cursing out his brothers with misplaced anger.

matt just laughed as he quickly merged into the turning lane, taking chris to y/n’s apartment.

“you know what you need to do.”

FLASHBACK OVER

chris sighs as he raises his fist to the door, his entire body vibrating. his nerves were on fire, he had absolutely no clue how to go about what he was about to do. he didn’t even know if it was a good idea.

as he drops his fist back to his side, the door opens, travelling y/n standing on the other side, her hair tucked beneath her hoodie, the one that chris had gotten her gotten the prior year for christmas because the colour looked pretty on her. chris felt his breath get stuck in his throat and his heart rate quicken as he met her eyes.

“chris what the fuck are you doing here?”

“i know you think i don’t love you.” chris starts, pushing his way into her apartment as she watches him, confused etched along her features as her brows knit together.

“okay, and?”

“and i know you think i stopped paying attention to you. but you’re wrong. you are all i think about, every second of every fucking day, you are running through my mind on a loop. i only ever think about the way you love cheesy chick flicks but will never say it out loud because you don’t want to be made fun of or the way you hate when people dog-ear the pages in their books because it ruins the quality. i only ever think about how much you miss boston in the summer because it’s the perfect temperature, but you hate it in the winter because you hate snow. or how you stop to pet every animal you see just so they know what it’s like to feel a loving touch. or how you refuse to wear anything in your favourite colour because you’re scared of attaching bad memories to it and hating the colour because it’s been your favourite since you were seven. or how feel bad when you don’t give the squishmallows on your bed equal attention because you believe they can feel things. or the fact that your favourite movie is coraline because you relate her deeply but will never your mom that in fear of breaking her heart. or the fact you never once deserved to be treated the way you were by me because i couldn’t see my feelings for what they were.” chris rambles, taking a deep breath as he looks at her, her mouth open as she prepares to speak but chris cuts her off,

“i know that you won’t be able to believe me right away, but i want to prove to you that i love you. it took me a long time to realize it because i’m a fucking idiot. i always have been but this love has been here since the moment i met you, i just confused it for something platonic when it was and is so much more than that. so please hear me out and don’t ask that guy to be your boyfriend, ask me. i want to be the one to love you for the rest of your life. i know i’ve fucked up, i will spend forever and a day trying to make up for it. i know i’m late but please, just give me one more chance.”

“okay.” she whispers, her eyes watering as she finally gets to hear everything she’s ever wanted chris to say. chris smiles, looping his fingers in the edges of hoodie pocket as he tugs her forward, pressing his lips to her so feverishly that he’s sure his lips will bruise but he’s scared to waste another moment, that when he opens his eyes this will all just be some sick and twisted dream. but when he pulls away and opens his eyes, he’s met with the reality that she’s there, her hands cradling his face as she wipes away the tears he didn’t even know existed before pressing another kiss to his lips.

“i’ve always been right in front of you chris, i’m just glad you finally opened your eyes.”

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[descendant-of-truth]

Y'know, it occurs to me - Movie!Sonic has a lot more in common Shadow than any other version of Sonic that I know of, and that creates a unique storytelling opportunity that wouldn't have been possible before.

Because originally, Shadow having a dark and traumatic backstory was what separated him from Sonic. Their similarities came out more in their confidence, their playful attitude, and even their withdrawn demeanor (though Shadow's is more extreme). Sonic's genuine ability to be carefree and optimistic was his biggest difference from Shadow.

In the movies, Sonic is... not nearly as put-together. Just like Shadow, his personality is shaped almost entirely from the result of tragedy. Both of them had to watch their closest family member get shot trying to save them from raiders (who were specifically targeting them for their powers) by sending them to Earth. The difference here is that, for Shadow, this event is fresh in his mind, while Sonic's had ten years (give or take) to accept what happened and move on.

Except, there's more, because losing Longclaw is itself not the main thing informing Sonic's character - it's the fact that he spent those next ten years in near-total isolation. Also similarly to Shadow, he took the last words his family said to him very seriously, and she told him to stay hidden no matter what. Combine that with the natural fear of what being found did to Longclaw, and the majority of Sonic's life has been spent hidden away, looking out at the world but unable to participate in it.

Remind you of anyone?

(I swear if the movie doesn't make a point about this parallel specifically I'm gonna lose it)

Normally, Sonic is a silly and upbeat character because that's just how he is by nature, and the feelings he keeps to himself are rarely detrimental to his health. In the movie universe, Sonic is silly and upbeat because he needed to be that way in order for his life to be bearable.

His constant chatter isn't quirky for the sake of it, it's a habit he developed out of necessity because there was no one else to talk to. He compulsively needs to fill the silence because not doing that would only reinforce how alone he was, and it's something he can't shake off even when he's not by himself anymore. His primary method of handling his feelings is to ignore them until they literally explode out of him with lightning firing everywhere.

All of this to say, a Shadow meant to be a foil to this Sonic is going to look very different from the Shadow we're used to. From what little about the movie's events have been described as of writing this, I'm inferring that Shadow's actually going to be a lot more open about his motivations for revenge than he was in the game, and that puts Sonic in the very interesting position of being more closed-off than Shadow.

Because sure, he might try to connect with Shadow's pain like he did with Knuckles. But because Sonic and Knuckles's history was so directly connected, they didn't really have to... talk that much about it. Sonic could acknowledge that they both lost their families a long time ago without having to go into detail about it or the aftermath. And because it had been so long since it happened, it was a lot easier for them to put it behind them and move on.

Shadow can't do that, because for him, Maria was lost very recently. He's not going to accept "you can move on and find new people to care about" as an option, and Sonic can't very well tell him to just ignore it like he did, either. Shadow isn't going to do the whole repression shtick.

For the first time, getting through to Shadow may just depend on Sonic being able to acknowledge his own pain, first. After all, how's Shadow supposed to interpret Sonic, if not as some random guy with a perfectly happy family and an obnoxiously happy attitude telling him that he needs to just, get over what happened to him? How can that come across as anything but naive and shallow without understanding how much Sonic suffered to get to this point?

(It's still a little naive and shallow even with that in mind, but the reason for that isn't because he has no perspective on what experiencing a violent tragedy is like - it's because his only known way of handling it is to leave it in the past and Not Think About It)

Though I do wonder if there's room for Sonic to initially clam up on his emotions even more after meeting Shadow for a bit? Like, he learns to some extent what happened, and is like "aw jeez if this is what could happen if I let myself be more upset about my lot in life then I REALLY need to reign it in" which is the exact opposite lesson he needs to learn but would be really interesting to watch

Point being, I think Sonic and Shadow are being set up as even more like mirrors to each other than usual, and I can't wait to see what they do with that potential

[lina-studen]

"something floral": literature student blabbering about the usage of flower symbolism in "nevermore", how it ties to the theme of insanity and a little bit (a lot) about shakespeare.

from lenore's perspective, flowers are closely associated with isolation caused by her trauma and supposed "hysteria". floral pattern wallpaper accompanied her loneliness for days, months, even years. image of the flowers signaled that lenore's position would remain unchanged, that she was stuck, that she would continue to slowly loosing the clarity of her mind.

having torn the wallpaper off the walls, lenore believes that she will never see this image again, but flowers continue to accompanying her. lenore sees them again during her first meeting with annabel lee. and during the last one, too. she may have managed to get out of her lonely room, gain more strength in her legs, find a new friend, but lenore is still trapped. she's the daughter disowned by her parents, a stain on the family reputation that must be hidden forever. the image of flowers doesn't let her forget about it.

similar symbolism is also not alien to annabel lee. episode 66 is interesting in particular, because it directly quotes ophelia's monologue. I'm a big fan of shakespeare, it was he who instilled in me an interest in floral symbolism. a year ago, for a conference on foreign literature, I wrote an article about flower language of "hamlet". it's not available in english, but I'll list down some points that I considered relevant regarding "nevermore".

• rosemary can serve as a keepsake between lovers and also between the dead and the living. it could be seen at both weddings and funerals. in the old days it was also believed to be helpful in mental illnesses treatment.

• pansies, just like violets, symbolize innocence and devotion. ophelia doesn't consider the people around her worthy of violets, since she blames them for the death of her father.

• rue is a symbol of eternal suffering; grieving over her murdered father and the loss of her beloved hamlet, ophelia leaves some of the flowers for herself.

• the image of daisies has a close connection with the concepts of innocence, fidelity and eternal love. in shakespeare's tragedy, this symbol is overshadowed by the fact that in the world around ophelia there's no place for these beautiful things. for "nevermore" the symbol is also not so positive, since the readers are already familiar with daisies. they were on that wallpaper in lenore's room.

it's impossible not to note that annabel lee recites the monologue while in the bath, in the water. ophelia decides not to resist the river flow. her life turned into a tragedy: she was left without a father, her lover has seemingly lost his mind. her own sanity is also called into question. ophelia sings cryptic songs, goes into the field to weave a wreath, gives flowers to other characters. in the eyes of those around them, hamlet and ophelia seem crazy, while being the only sane and honest people among them. there's no place for tender, innocent ophelia in a cruel, deceitful world, so she drowns.

annabel lee also reflects on how both she and lenore are considered madwomen. her meeting with "leo" is accompanied by floral pattern on the annabel's dress. their madness is contextual, they both are perfectly sane, but don't fit into the system that could be leading to real madness with time. "all madwomen die twice. at least twice".

now about the arboretum. it obviously has a lot of flowers, but in my opinion this place is interesting in a different context. lenore and annabel visited the arboretum twice to discuss upcoming plans and such, and there are many parallels, both visual and narrative. not much time has passed since last time, but their situation has changed. they seem to look on their past selves from the upper level, having their conflict more acute now. I'll make a more detailed post about it later.

and now I'll just focus on how the characters in this arboretum full of roses behave as lost and confused as in the phobia-inducing flower labyrinth from earlier episodes. “the closer you get to beautiful flowers, the closer you get to their thorns,” says duke in episode 38. the flower imagery haunting the main characters doesn't let them forget that their sanity is always on a verge of slipping. and once a flower falls from its stem, it cannot be fixed.

p.s. guess which writer’s works I chose for a new article this year?

[w2soneshots]

INside -Angry ginge

words: 0.9k+

warnings: none.

summary: you enter the inside house and quickly get along with a particularly attractive ginger boy.

notes: hello loves! I’ve had so many people asking for more angry ginge fics so here’s a one off😉. Enjoy!!💓🫶🏼

Today I'm going into a house with nine other people for a week. No connection with the outside world, no internet and with mostly strangers that I've never met. It's for the sidemen's new reality show. I haven't been told much about it so it will be quite a surprise.

The taxi dropped me off outside and I grabbed my suitcase from the boot. I pushed open the heavy door to reveal what looked like an airport security. I furrowed my brows. "The fuck is this?" I walked through the scanner then read the signs on the mirror. "Smile for the camera." I pulled a face then popped my suitcase onto the conveyor belt. Once I was finished I opened the door on the right.

The house was quiet when I made my way up the stairs. "Hello?!" I shouted out. I walked into the living room. "Hey!" Joe ran towards me. "Hi! I can't believe you're in here!" We shared a quick hug. I've known Joe for years. It was nice to know that someone I knew was in the house. Then another guy stepped forward. "Hello. I'm Morgan." He greeted me with a cute smile. I smiled back. "Hi, I'm y/n."

The next to arrive was Chloe (who I know since I was on her podcast), followed by everyone else. They all seemed nice but I could tell that there was a few people in it just for the money, which I understand but I want to make friends and just have some fun. We picked our beds. I ended up between Morgan and Manrika. We all sat down on the sofa to have a chat. After a little while Miniminter, Vik and KSI walked into the room. Everyone erupted in cheers and claps.

"Welcome to inside!" JJ started dramatically. "You will all be battling it out for a prize fund that starts out at one million pounds." Everyone clapped once again. "As you guys can see, there's not much in this house. That's because everything costs money." Vik said, putting on his best presenter voice. "No Vik no!" Joe joked. Simon began, "We're going to be opening the shop so you can buy whatever you want, but you're going to be paying for it through everyone's prize money." Vik went on to explain all about the shop, the daily challenges and food (we only get basic stuff unless we want to purchase it from the shop).

They left soon after and we continued to chat away. Until the tv screen lit up, reading 'the shop is now open'. Everyone raced downstairs. "Two grand for the pool balls?! You're taking the piss." Ginge stared at the board. "You have to pay for a shower? Are you fucking joking!" My eyes widened. I really didn't want to have cold showers every day.

After a long conversation about the shop and trying not to spend anything we all went upstairs. Then lunch arrived. It was freezing cold rice and chickpeas. I genuinely could not force myself to eat it, it was disgusting. Everyone went to eat their food then me and Ginge slipped away from the group to go downstairs. We giggled as we hurried into the shop. "I'm fucking starving." I ordered a packet of crisps and a fizzy drink. He ordered the same. We sat on the floor and ate in peace.

After the first night I slowly began to catch feelings for Morgan, and Chloe was quick to notice. "But do you find him attractive?" She asked me as we got ready. "I don't know. He's tall and he's cute." I replied, not making eye contact with her. "Oh you definitely like him!" She chuckled.

It started to become a running joke in the house. The way we looked at each other, our banter and the fact we always sat next to each other. Me and Ginge didn't talk about it directly but one day Specs was telling me about the conversation he had had with Morgan and it was very interesting. "He said that he would go on a date with you if he got the chance." "You're joking?" I was slightly surprised and I didn't want to look like a mug if Specs was just having me on. "No seriously. He likes you y/n."

Ginge left the next day and I actually missed him. It felt weird not having him around. I ended up getting into the final three before I left. I was really happy for Chloe and Manrika. I also saw Morgan again, we shared a quick hug then I gave him the rundown on what happened after he had left. We filmed tiktok's, took pictures and then said our goodbyes. I felt as though I had made some really good friends and made some interesting memories.

A few days after the final I got a call from Morgan. "Hey!" I answered in a cheerful voice. "Hi, I just wanted to ask if you were free anytime this week?" He got straight to the point and sounded slightly nervous. "Are you asking me out?" "Uh- well- yeah." He stumbled on his words. "So Specs wasn't joking." I thought out loud. "What?" "I'll explain on our date. You free Friday?" I asked. Unbeknownst to me a huge smile spread across his face. "Yeah I am." "Great see you then."

After I decided the call I quickly rang Chloe. "Babe, you'll never guess who just asked me out!" I began excitedly. "Who? Wait! Ginge?! No way!" She screeched down the phone.

[runnning-outof-time]

Hi K! I have another prompt I’d like to send in. This time with Tommy. “I believe this is yours.”

I also decided to make you something so be prepared to expect something soon!

Hi Daisy! Thanks for sending this prompt in also! I hope you like what I’ve done with it - I had the temptation to be a little devilish with it….I hope it makes sense! Sorry I got a bit carried away with it too…. Enjoy! :)

PLEASE LET ME KNOW WHAT YOU THINK!

Part of my 3.5k Celebration — find more stories here!

From Another Angle

Tommy Shelby x Reader

Warnings: some suggestive actions…nothing graphic

Word Count: 1318

Summary: (Y/N) takes a different approach to get Tommy Shelby to change the way he runs his factories.

(Y/N) walked confidently across the factory floor, making her way directly to the office where she knew she’d find the man she needed to talk to.

She didn’t bother answering the man who questioned her presence. Instead she asked a question of her own: “is this Mr. Shelby’s office?”

“Ye-yes, it is. But why are you here, ma’am?” the confused worker asked, but he was not answered.

(Y/N) simply nodded and made her way to the closed door. She knocked on it, turning the knob and opening it before the man inside could call for her to enter.

The entrance that was made had Tommy expecting to see one of his family members. Upon looking up, he was surprised to see a woman he’d never met before. “Can I help you?” he questioned, his eyebrows raising as he removed the glasses from the bridge of his nose.

“You can,” (Y/N) answered, making her way to one of the chairs that were positioned in front of his desk.

Tommy watched her all the way in, his eyebrows still raised as she took a seat, crossing one leg over the other as she then stared pointedly at him.

A staring match ensued, neither wanting to be the first to break the silence. It was like they were sizing each other up; trying to work out the others motives and weak points.

Eventually, (Y/N) spoke: “I was sent at the request of Jessie Eden. You know her, don’t you?” she asked, her one eyebrow lifted in intrigue.

“I do,” Tommy answered with a single nod of his head.

“She’s a comrade of mine. We’re in the fight together,” she then explained the connection between her and the aforementioned woman.

“Well a friend of Ms. Eden’s a friend of mine,” he played cordial with her.

“I wouldn’t be so quick to assume my friendship, Mr. Shelby,” (Y/N) warned him, her red lips curving up into a smirk as she spoke.

“What can I do for you…?” Tommy trailed off, hoping she’d fill in his blank with her name. He also took this time to run his eyes over her figure, certainly not missing the fact that she was dressed for this occasion, her blouse and skirt tailored to her frame nicely.

“(Y/N) (Y/L/N),” she happily shared with him, “I want to speak to you about the prospect of equal pay for the women who are employed in your factories.”

A scoff left Tommy’s lips upon hearing the reason for her presence. He shook his head slightly before waving his hand, “what I said to your comrade still stands, Ms. (Y/L/N). I have no time, nor care, to negotiate.”

Most would have caught the abruptness in his tone and left right there, but not (Y/N). No. She was ready for the fight…truthfully, she was hoping for it. “I know what fields of business your family and yourself are in, Mr. Shelby. I know that you are well off and that you have enough money to own the whole of Birmingham, yet you are pitting your workers against each other, cutting the men close and the women even closer to wondering how their families will eat. Something needs to be done about it.”

“If I needed help figuring out how to run my factories, I’d ask for it. Now, Ms. (Y/L/N), if you could please…”

“Mr. Shelby, your 12:30’s here,” the same man that had directed (Y/N) to the office announced as he stuck his head into the room. Tommy looked past (Y/N) for a moment, nodding to the man before he stood up from his head. (Y/N) stayed seated.

“I have a meeting,” he said in a matter of fact tone.

“I wasn’t finished,” she bluntly replied.

Tommy raised his eyebrows at her answer, his mouth opened slightly as he tried to get a read on the woman in front of him. She clocked his stare, smirking under the intensity of it. He rested his knuckles on the desk then, his eyes still focused on her as he hoped she’d crack under his gaze.

“Mr. Shelby,” the man chimed in from the door, cutting into the staring contest that was happening.

“Tell them I’ll be done in a minute,” Tommy responded to the man without removing his eyes from (Y/N). For once, the huff that came in response just before the door shut didn’t bother him…right now he had other things in mind.

“Jessie Eden told me about you, Mr. Shelby,” (Y/N) finally spoke, her smirk still present as she stood from her seat to move even closer to him.

“And what did she say?” he questioned, intrigue flashing in his eyes.

“She said you had a peculiar way of going about business…that you’re not below going down avenues that others wouldn’t dare to even think of in order to meet an end,” she elaborated, setting her palms on the desk so the she could lean forward, knowing that she’d give him a better glimpse of her cleavage as she did so. She loved that his eyes dropped to her chest almost instantly.

“Why did she send you, Ms. (Y/L/N)?” he asked, his eyes flitting across her figure again, getting stuck on her dark red lips for more than a moment before returning to her eyes.

“I thought that it’d be beneficial to try things from a another angle,” she answered, leaning even closer. At this point, they were close enough to feel each other’s breath.

“What’s your angle, eh?” he questioned, intrigue present in his tone. His fingers were itching to reach out and take hold of her chin; to hold her in his grasp and secure the upperhand in the situation they both know was coming. But he kept them on the desk, his knuckles now white from how hard he was pushing them down.

“I am also not below going down those avenues to make sure business gets done.”

A smirk was present on (Y/N)’s lips as she closed the rest of the distance to press her lips to his, hooking him into a searing kiss. Tommy allowed his hands their freewill, wasting no time in taking hold of her jaw so that he could deepen the kiss. (Y/N)’s hands were busy finding something else.

Despite his grip, she was still able to break away from him. He let her face slip from his grasp, his hands dropping down to grab the desk again.

“Not bad, Mr. Shelby,” she commented, looking at him through hooded eyes as she ran her thumb along her bottom lip to make sure the her lipstick wasn’t messed up. She took a quick glance down at her other hand before letting out a breath of a laugh. “Oh…” she trailed off as she looked back up at him, “I believe this is yours,” she stated, holding a packet of papers that had the breakdown of wages written on them. It was the same packet that she managed to grab amidst their exchange.

Tommy opened his mouth to speak, a dumbfounded look now present on his face. Seeing it made (Y/N)’s grin grow. She now had the upperhand, and he knew it.

“I’m going to be taking a look at it…to make sure that us women get our fair pay,” she said before turning from the desk and walking to the door of his office, making sure to sway her hips as she went.

(Y/N) exited the office without another word being said. The grin stayed present on her face as she walked away knowing that she’d just left one of the most powerful men in the city speechless.

“Mr. Shelby’s ready for his meeting now,” she announced to the man who interrupted her earlier, her grin growing as she saw his reaction.

Damn, she was having too much fun with this.

Tagged: @mystcldydrms @the-anxious-youth @cloudofdisney @look-at-the-soul @elenavampire21 @mrsalwayswrite @julkaamazing @evita-shelby @lilyrachelcassidy @notyour-valentine @shelbydelrey @theshelbyslimited @peakyswritings @just-a-blackhole @watercolorskyy @strayrockette @peakyduchesss @alexxavicry @captivatedbycillianmurphy @yummycastiel @dark-academia-slut @tommystargirl @emotionalcadaver @stevie75 @lyarr24 @signorellisantichrist @zablife @anotherblinder @cillmequick @dandelionprints @letal-y-poetica @gypsy-girl-08 @insanitybyanothername @depxiety @raincoffeeandfandoms @dragons-are-my-favorite @dlmlufics @forgottenpeakywriter @cljordan-imperium @brummiereader @areyenotfondofmelobster @everythingelseisextra @little-diable @thomashelbyswife @shaddixlife

MASTERLIST

[rabbitsrants]

PROOF THAT SHINRAN IS ONE OF THE MOST BRILLIANTLY WRITTEN ROMANCES OF ALL TIME - PART 4

symbolism

disclaimer: gosho's imagery is subtle and therefore often overlooked, so in order to highlight it, i'll be referencing the work of suzanne collins, an author who tends to spell out her metaphors more

sharks

chapter 882-884

how the case begins:

how it progresses:

this isn't gosho's first time exploring the theme of sharks in the manga:

chapter 311

both shinichi and haibara relate to sharks, they're self-admittedly drawn to blood and darkness. but why?

haibara was born into it, she didn't have a choice... and even though she's no longer a part of the black organization, she still carries the past with her.

shinichi on the other hand? he seeks it out. he directly confronts it, because he wants to defeat it. his unfaltering idealism is what pushes him to be a shark.

ran is very idealistic too, which i talk about here. so why doesn't she act like a shark?

"Finnick knows then what Haymitch and I know. About Peeta. Being truly, deep-down better than the rest of us." - Suzanne Collins, Catching Fire Chapter 19

the closest that gosho comes to spelling it out like this, is haibara's line about ran "i'm up against dolphin, one of the most loveable creatures in the ocean"

ran's defined by more than her virtuous nature, she's also unbelievably compassionate and sensitive. that's what makes her a dolphin.

her unmatched kindness is constantly displayed throughout the whole manga.

sometimes it irks shinichi:

chapter 787

sometimes it hurts him:

but most of the time it baffles and touches him:

chapter 258

now i'm going to say something that might be controversial: from what i've gathered, shinichi doesn't just appreciate ran's tender heart... he depends on it.

and i'm not saying that lightly, i'm aware that ran's caring nature affects a lot of dcmk characters - it's the reason why vermouth calls her an angel, why haibara refers to her as a dolphin and sees her as a sister figure, hell, it's the reason why kogoro's able to function most of the time.

but i'd still argue that nobody relies on it the way shinichi does, which brings me to the next symbol i want to analyze:

cherry blossom

flowers can represent a variety of concepts, depending on your source and in what context you use them for your writing. the same rule applies to cherry blossoms.

gosho's used it as symbol for justice in the past:

chapter 687

it's interesting to look at it through that lense, but i don't think that's what the cherry blossom represents for shinichi.

after doing some research, i came to the realization that cherry blossoms are widely believed to symbolize hope and the beginning of spring.

i think that interpretation makes a lot more sense for shinran. especially if we examine their first interaction:

chapter 924

shinichi shows ran his deduction skills to impress her... ironically he ends up impressing everyone but her. shinichi's condescension leads to a full-blown argument:

but then something completely unexpected happens... despite the fact that they don't know each other, despite the fact that shinichi insults ran, despite the fact that ran's completely put off by his arrogance, despite all of that... she offers him a cherry blossom and along with it the kindest smile he's ever seen:

and i just can't help feeling like ran's cherry blossom is symbolically very similar to suzanne's dandelion:

"I found him staring at me  from across the school yard. Our eyes met for only a second, then he turned his head away. I dropped my gaze, embarrassed, and that’s when I saw it. The first dandelion of the  year. A bell went off in my head. I thought of the hours spent  in the woods with my father and I knew how we were going to  survive.  To this day, I can never shake the connection between this  boy, Peeta Mellark, and the bread that gave me hope, and the  dandelion that reminded me that I was not doomed. And more  than once, I have turned in the school hallway and caught his  eyes trained on me, only to quickly flit away." - Suzanne Collins, The Hunger Games Chapter 3

"What I need to survive is not Gale’s fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that." Suzanne Collins, Mockingjay Chapter 27

and clearly, only ran can give that to shinichi...

let me further elaborate by revisiting the shark analogy:

the most beautiful dolphin in the sea sees a shark like him, calls him out on his bluff and instead of avoiding him, she actually welcomes him. ran shows him genuine affection, despite having so many reasons not to. how could he not fall for her?

for someone like shinichi, a cool shark who's able to recognize other predators in the sea from such a young age, seeing the innocence and warmth of a dolphin is pivotal for him, because it reminds him that there's so much more to life than constantly familiarizing himself with other sharks (in his childhood by reading and later by investigating them)... there's good too.

to summarize... shinichi sees a delicate cherry blossom, a gentle dolphin and holds on to her for dear life. he desperately clings to the promise of hope and spring, he depends on her affection and warmth. he needs ran, because without her winter would never end, he'd never escape to coldness of the sea, he'd freeze.

which explains why

a) he's so protective of her

b) ran's smile serves as a compass for shinichi throughout the whole story - while his mind is busy chasing sharks, shinichi's soul is persistently searching for the same smile that strummed his heartstrings all these years ago. which is why he immediately notices when ran's not okay (even though she's very skilled at concealing her pain) and why he always tries to make her feel better

and that's ultimately why

a) shinichi's keeping his identity a secret

b) he's so focused on getting his old body back

without ran, shinichi wouldn't have a constant inner conflict as conan, without her, he'd lack purpose and as a result, detective conan would be empty and lifeless.

ran's not just a love interest y'all...

she's the heart of the entire manga.

visit the shinran library for more

[natalyarose]

𝒜𝓅𝓅𝑒𝒶𝓇𝒶𝓃𝒸𝑒 & 𝒮𝓎𝓂𝒷𝑜𝓁𝒾𝒸 𝒜𝓈𝓉𝓇𝑜𝓁𝑜𝑔𝓎 - 𝕍𝕚𝕤𝕙𝕒𝕜𝕙𝕒 🐅🌸

using Mid-Mula Galactic Center ayanamsa ♥

Hey! So, many have fallen in love with the way Vedic astrology can be applied to understand appearance & symbolism in peoples' lives, and it constantly amazes me how much it makes sense. People have done a lot of phenomenal work analysing appearance & peoples' lives through Nakshatras, but I noticed that in a lot of these studies and compilations, there will be a couple of people included who kinda- don't fit? I've since learnt that it seems almost every time someone deviates from the patterns despite seemingly having the same placements; they are in fact a different Nakshatra when Applying Mid-Mula Galactic Center Ayanamsa. As always, I have no desire to pressure anyone else into using the same calculation, it's a personal journey- but I do aim to highlight the patterns I've seen 🩵

In this post I'm focusing on Vishakha natives- specifically Vishakha women; but you'll find a lot of these things apply to Vishakha men too anyway.

Vishakha Nakshatra is the Tiger yoni 🐅 As we know, tigers are fierce, they are known to be some of the strongest, fastest animals in the jungle & natives to Vishakha reflect that. Vishakha is known as 'the star of purpose'. Natives can feel an intense, passionate drive to fulfil a vision, or a sense of destiny. Being Jupiter ruled (the planet of expansion, fame, fortune, wisdom) & ruled by the powerful Vedic God, Indra 'King of the Gods'; Vishakha natives find themselves in a prime energetic position to have major influence . Once they find their footing in their career/goal, they can have major success and incredible power. Vishakha shines brightly in its courage, strength, power and influence.

You'll notice in the examples below, the intense focus & determined look in the eyes of Vishakha natives- like a tiger ready to pounce lol.

I've noticed Vishakha women (likely due to the Tiger yoni) often enjoy leopard or tiger print, so I've shown that in my examples. Also; I acknowledge that using examples who've had work done can be misleading so I've tried to balance it out!

Three of the women in this post are Swati Nakshatra in Lahiri- namely Priscilla, Kylie & Kendall; and I wanted to show them alongside other Vishakha ladies to demonstrate the significance of considering Mid-Mula Galactic Center ayanamsa.

𝓟𝓻𝓲𝓼𝓬𝓲𝓵𝓵𝓪 𝓟𝓻𝓮𝓼𝓵𝓮𝔂 - 𝓜𝓸𝓸𝓷 𝓲𝓷 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 (Swati in Lahiri) I've seen a strong theme of Vishakha women being known for their marriage. In fact, despite Vishakha & Jupiter's independent determined nature, Vishakha natives can intensely prioritise their marriage (Swati in contrast is loving, but not as enthused by the thought of being 'tied down'). The determination can be channelled into doing everything possible to make their marriages and other partnerships work out. Vishakha's connection to marriage is seen through its symbol being 'a triumphant archway'; directly related to the decorative archways we see in marriage celebrations & victory ceremonies.

While she of course had her own vibrant career; Priscilla was and still is especially famous for her marriage to Elvis. The most famous photos of her being her gorgeous self on their wedding day. It is said that Vishakha natives can get married young, which is true of Priscilla. Vishakha women often end up being the provider in partnerships- literally or emotionally. She is famous for her beauty also which can be a theme with Vishakha since it is mostly in sidereal Libra- associated with beauty, love, partnerships, etc.

𝓛𝓪𝓷𝓪 𝓓𝓮𝓵 𝓡𝓮𝔂 - 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 𝓐𝓼𝓬𝓮𝓷𝓭𝓪𝓷𝓽 Lana is another Vishakha woman who gives it all in relationships and we hear of this through her music. She also has that incredibly wide breadth of influence we see with Jupiter Nakshatras (especially Vishakha)- there are a lot of people who have achieved a level of fame, but having influence over the people to the point that you are worshipped is a different thing; and Lana has it. Vishakha's Shakti, meaning its power, is to achieve. The abundance this woman has in the way of creativity, wealth, power, intelligence, etc. is very Vishakha- Vishakha is directly associated with the word victory etymology-wise too.

Lana worked hard for years pursuing her goals in music; and of course that hard work came to fruition.

𝓚𝔂𝓵𝓲𝓮 𝓙𝓮𝓷𝓷𝓮𝓻 - 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 𝓜𝓸𝓸𝓷 (Swati in Lahiri). I have seen research floating around on how Vishakha natives can often have a 'glow up' of sorts where they really take charge of their image and actively choose to embody an extremely seductive energy. Achieving magnetic power through their appearance. This is seen in Kylie's famous 'reinvention'. Again, she radiates this intensity, purpose, is very business driven etc. Whilst Swati radiates this airy sweetness, Vishakha radiates Lord Indra & Jupiter's sheer sense power & easily inspires a sense of worship from people.

𝓚𝓪𝓽𝔂 𝓟𝓮𝓻𝓻𝔂 - 𝓜𝓸𝓸𝓷 𝓲𝓷 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 & 𝓢𝓽𝓮𝓵𝓵𝓲𝓾𝓶 (Swati Sun however- but notice how she has the more 'air-y' quality that the others don't due to this placement?) Katy Perry is another star who in her 'prime time' of fame was more than just another famous person; she had hugeee influence the way we see in Vishakha. Little girls everywhere were singing her songs & she was inescapable on the radio (not that that's a bad thing lol, her songs are vibes). Her song 'roar' and the video to it is incredibly Vishakha but also Swati- the song is in essence about getting back up on your feet and being determined even when someone knocks you down. I talked about in this write-up how in Swati there is a direct theme of natives being discouraged and needing to have faith in themselves and remember their gifts. In Vishakha there is a full embodiment of this power.

Aside from that, of course the song being called 'Roar' & the tiger/leopard/jungle imagery is as Vishakha as it gets!

𝓑𝓮𝔂𝓸𝓷𝓬𝓮 - 𝓜𝓸𝓸𝓷 𝓲𝓷 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 I confess, I really don't know much about Beyonce but I do know that she's got an incredible amount of influence! She is often referred to as the 'Queen'; which makes direct sense since Vishakha's ruler (Indra) is the king of the gods, so there is this theme of Vishakha energy being regarded as godly again. She is known for her incredibly powerful vocals too which we see a lot in Jupiter Nakshatras, Jupiter ruling the throat & the element of 'sound'. Beyonce and her marriage to Jay-Z is very famous, them both being artists in the public eye.

𝓚𝓮𝓷𝓭𝓪𝓵𝓵 𝓙𝓮𝓷𝓷𝓮𝓻, 𝓥𝓲𝓼𝓱𝓪𝓴𝓱𝓪 𝓢𝓾𝓷 (Swati in Lahiri) - side note that I've noticed all of the Kardashian sisters have a strong Tiger yoni Nakshatra in their chart with the exception of Kourtney. Kim with Chitra Sun & Mercury in Vishakha as her chart ruler, Kylie with Vishakha Moon, Kendall with Vishakha Sun, Khloe with Vishakha Mars ruling her Sun in Dhanishta & Moon in Mrigasira... I don't know much about the Kardashians aside from what's obvious in the media, but I found this so interesting and telling of the power and influence prominent Vishakha/tiger yoni natives can fall into. Of course, Kendall really embodies Vishakha appearance-wise too.

Something cool to think about is that while Vishakha is so intimately connected to themes of beauty, power, infIuence, achievement, success & abundance, it is interestingly a Mleccha nakshatra; meaning 'outcaste'. As one can deduct from the name, Mleccha nakshatras are associated with 'shunning' and being a social pariah, even being regarded as animalistic. Mleccha Nakshatras deviate from the crowd in some way, they make a statement. It makes sense that a Mleccha Nakshatra be strongly associated with fame & influence, since those who are truly influential must be doing something original, or 'different' to what's already been seen/done. Even if that simply means being controversial. I've seen themes of Mleccha heavy people being shamed for their more 'outside the box' nature, and then getting their 'revenge' in a sense, later gaining extreme abundance due to that very same quality they were initially outcasted for.

I'll have to do a more formal/in depth write up on Vishakha sometime, this was more of a casual post to highlight the ayanamsa discrepancy and some connections.

I hope this is enjoyed by/interesting to someone! ♡

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[starsreminisce]

It's still captivating to me how potent Elain and Lucien's bond scent remains, even though they barely interacted throughout the entire evening. Only Lucien looked at Elain with longing as she opened his present, while she avoided his gaze. The fact that it made Azriel physically sick and want to leave if it became overwhelming for him speaks volumes about the intensity of their connection.

If it affected him so strongly, one can only imagine the impact it must have on Elain and Lucien, who are directly entwined in it.

[echantedtoon]

Muichiro's Ancestors: A Thoery

This just hit me so I had to get it out there before I forgot. On my break I've been binge rewatching the series when I came back across this scene here-

But what really stood out to me was the showing of the demon slayer marks. Because there's a connection that I was not expecting to see.

There's a Mist Breathing user before Muichiro. Before this I had just assumed Muichiro made up his breathing technique in a similar way to how Inosuke made his, or maybe he deprived his technique from another like how Mitsuri made Love Breathing from Flame Breathing. However this isn't the case.

It's never stated anywhere (at least to my knowledge) about how, when, and where Mist Breathing came from other than this one flashback showing that one of the first breath users made it.

Now it's perfectly possible that there was a retired Mist Breathing user that trained Muichiro off screen that's never mentioned, or maybe Muichiro learnt it from reading it in a book. Senjuro had mentioned to Tanjiro that Shinjuro had books that had knowledge on Flame Breathing so it's perfectly reasonable that other books exist on other breathing techniques.

However at the end of the day we just don't know. The only other breathing techniques that come directly from the first breathers are the ancient ones taught through teachings which is both Flame and Water Breathing excluding Sun Breathing because Tanjiro's a different case than what I'm referring to. It's interesting because Flame Breathing has been long practiced in the Rengoku family as Kyojuro's ancestor was the first one who made it from Sun Breathing.

And you know who else is descendants of the first breath users? Muichiro and Yuichiro. However I don't think when Amane told them this, she was referring to Kokushibo or Yoriichi. While yes Muichiro is Kokushibo's great something grandson and Yoriichi's great something nephew, I don't think anyone would know about this.

Let me explain. When Michikatsu left his wife behind, he had two children. A boy who looked about 4-6 at most and an infant. One of those children are responsible for carrying on his bloodline until Muichiro's death. Whether he's related to Kokushibo and Yoriichi on his mother's or father's side is unknown. But there's also no evidence that Michikatsu's family ever knew he became a slayer or was ever informed of it. He left them yes but it's clearly unknown IF he ever told them the reasons. And it's not made clear if he ever told anyone of the knowledge of his family.

So it's not out there to say that no one knew Michikatsu had a family let alone children so the knowledge of the first ever Moon Breath user having children or the first Sun Breathing user having nephews/nieces wouldn't be known knowledge. Even Michikatsu didn't know Muichiro was related to him until he examined his body through the transparent world and saw their blood relation.

You'd think if Amane knew she would've already told Muichiro of the Tsugikuni family he's descended from but again he has no knowledge of it until Kokushibo tells him.

So I really don't think Amane was referring to Michikatsu or Yoriichi when telling the boys about their ancestors. I think she was referring to this man whomever he might be.

There's a small problem with Kokushibo not commenting on his breathing technique during the fight with Muichiro. Because you'd think that being among the first users he'd have met or at least known of Mist Breathing shown here

But the problem is we just don't know. There's many possibilities here. We don't know how long Michikatsu WAS a slayer before he turned into a demon so Mist Breathing could've been invented after he left the corps.

Or maybe he DOES know about Mist Breathing and is just referring to this one new Mist Breathing form Muichiro may have in fact made himself. In a similar way to how Zenitsu created the seventh, last, and newest form of Thunder Breathing.

How can he be descendants of two first breathers?

It's actually VERY possible. Again we don't know what happened to Michikatsu's family other than one of his children living long enough to where Muichiro exists. It's not impossible to speculate that somewhere down the line one of his descendants met a descendant of the first Mist Breathing user and together passed down the family genes to either Muichiro's mom or dad before him.

This also makes sense when you apply it to Amane's visits. It's highly unlikely she'd know of Muichiro's connection to Kokushibo or Yoriichi, but a Mist Breathing user that's been documented enough and important enough to not only be included in the demon slayer marks history but probably has family the corps knows about?

Yeah! I think that fits in pretty well!

Again we don't know HOW Muichiro learnt how to use or of Mist Breathing. Again it could've been documented down since it's one of the first Breathing techniques, or perhaps in a similar way to Tanjiro's technique it was passed down through the family? Or perhaps Muichiro naturally came to it.

Foggy memory. Mist Breathing. It's almost as if his fate was calculated in advance.

Perhaps in a similar way to Tanjiro seeing through the eyes of his ancestors, Muichiro saw his own but because of his memory fog forgot after however he retained enough of it to actually learn his Ancestors breathing form?

Unless Gotouge decides to go into a deep dive into more of Muichiro's ancestors or how he learnt his technique in another spin off books, it's all up for speculation. However I'm confident in my analysis that Muichiro is in fact a direct descendant of the first Mist Breathing user.