#character: terrel

[midnight-and-his-melodiverse]

time for the first (of many!) team fate rambles because hooh boy they've been taking up my brainspace for the last couple months and I love them so much so first, a quick rundown of the party we're lookin' at! Farrah - a shy human knight, it sucks for her when she has to talk to people, but somehow, on the opposite hand she gains all the confidence when leading her teammates into battle. Her father, Darryon Wynvale, has recently been enlisted into the Rosehaven militia to help defend Rivershield, but this has left her feeling a little lonely. For consolation, she usually heads to the quiet and serene Dreamland Inn to either catch a night's rest slumbering in a home away from home, so to speak, or to talk out her feelings with Katia, the inn's owner. One day, after looking at her pet dog that sits atop the counter, she decides that when she turns 18 (she's 14 as of the recent Team Fate album Fablevale Forest) that she'll get a dog or cat of her own. Perhaps to keep her company, or to just satisfy her childhood want for a pet. Alluin - a headstrong elven ranger. He's cocky and arrogant as all hell now, but back when he was a budding monster hunter, training with both Farrah AND Esmond in the same school, albeit in different divisions of Rivershield's Knight Academy, he was not so confident in his skills to kill monsters. In fact, due to his hesitation, he was forced to miss out on the very prominent Graduation Monster Hunt celebration because of his fears and doubts of his abilities. However, in spite of this... one late night he snuck out to the deepest part of Wyvern Winterlands (back before there was the single benevolent wyvern resting in it's depths) and steeling his nerves, managed to slay an Avalan Aberration, the strongest of it's kind dwelling within those lands. It was then he went around flaunting his newfound monster hunting abilities to everyone. Some found the skills awe-inspiring, others, like unfortunately Team Fate, found it annoying that he kept bringing it up day after day. Terrel - a mindful human healer / cleric. All that Terrel is willing to share, is that from the day he turned ten, he wanted to assist people's wounds, out of the goodness of his heart.

Esmond - an anxious elven mage. Poor Esmond, has been afraid of the world at large for years. As Farrah acts as his sort of guardian, he's found comfort in playing around with certain types of magic which come from his comfort object, a sapphire staff. Much to Farrah's terror, however, Esmond has recently discovered that his sapphire staff is so immensely powerful that it can pull and store magic from the nearest location that Esmond points it towards. However, since it's navigation isn't so great, one night when pointing the wand up to the sky to capture the magic of the stars... it aimed right at Goblin Grove's dungeon entrance, and bottled all the dark magic from it's enemies inside the staff.

[artbatties]

Run! Run!

[magspy]

Three years of dnd character themed Halloween art

[grapecaseschoices]

what color character are you?

These are SO long. So I aint tagging no one, but if you do this please let me know!! Quiz is here: QUIZ!!

Tristan [maybe-ish; some of this perfect but some of it is completely off]

light blue character

Light Blue characters are laidback and creative, often with a good sense of humor that ranges from sarcastic to straight up puns. They are good at community building because of their chill and funny nature, and they are expert planners. They normally aren’t very uptight, but can become so when they feel there is something that needs to be done, or feels that their authority is being undermined. They have a very strong sense of responsibility, mainly for people in their care, often an older sibling figure to many of those close to them. They can get paranoid and overbearing when they are worried about those that they are caring for. They can also act childish and have fun but they like having people around who can see their maturity and treat them accordingly. They use a lot of humor to get around dealing with their internal problems, and tend to complain about surface level issues in order to ignore their more vulnerable feelings. Because of their tendency to make jokes and try to get people to laugh, they aren’t often recognized for their intelligence. Sometimes they lack common sense and it plays out in humorous ways, but when it really counts they are quite perceptive and intelligent, brilliant inventors and strategists. Their decisions may seem impulsive, but are usually quite thought out and purposeful. They aren’t the type of person who really wants to be the sole lead, but they want to have a say in the decision making, and they need their input to be taken seriously. They often feel inferior to others and can become defensive when their ideas or sense is questioned because of it. They don’t generally get things handed to them, but have to work for what they want. This can make them feel out of place in a space with others who people praise as “exceptional”, and being the “ordinary” one is a bit of a sore spot. They can tend to act cocky and confident to disguise their insecurities, again often using humor to help them along. Light blue characters need people who ask for their opinion often, give them proper recognition for their positive traits, and don’t leave them out of important decisions, but also don’t let them take on too much. They need people who will see past their witty barrier and allow them to try and figure out and come to terms with their feelings.

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Richard [ehhhhhhhhhh - I think what I saw of yellow might fit better, but I keep getting pink, SO!]

pink character

Pink characters are generally sweet and nice people who care about their friends deeply. They don’t often chose to be a part of the action, but instead get swept up in it almost against their will. They often aren’t fully equipped for the situations that are thrown at them, and can have a lot of feelings of inadequacy as a result. They don’t tend to be fighters, often preferring learning and discovery to anything else. They will go along with risky plans in order to help their group of friends or organization that they’re close to, but they’re generally terrified of whatever they’re doing. They are lighthearted and have a good sense of humor, fun to banter with but finding it hard to be genuinely mean to others. They are pretty emotional and sensitive, which turns out to be one of their greatest strengths. They have a lot of emotional maturity and are good at recognizing others’ needs. They are one of the voices of reason amongst a group of often impulsive people, which manifests itself in ways that others might dismiss as paranoia. (It is in some ways, but their fear of what might go wrong is also a crucial step to making the planning process so sound.) Even around people who care about them, they can tend to be the butt of the joke, and don’t have healthy boundaries to stop it. As they grow, they don’t necessarily become less fearful, but they do have a stronger sense of courage to get through their fears. They are compassionate friends and often do small things to show that they are thinking of the people are around them. They are dependable and trustworthy and a good ally to have. Pink characters need people around them who won’t mock them for being sensitive or having fears, but will validate their feelings and encourage them to overcome their doubts about themselves. They need their boundaries to be encouraged and respected, and for others not to pressure them into doing something they’ve said no to. [Not that he doesn't need people like that, but he isn't bad at doing it himself]

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Aleena:

orange character [maaaybe]

Orange characters are charismatic and talented. They push themselves to be the best at everything they put their mind to, and get upset when they can’t meet their own standards. They tend to be prodigies, seeming almost superhuman in their genius or abilities, but they often base their self-worth off of how well they can perform, making them feel isolated from the others around them. While most people see orange characters as cocky and self-absorbed, they are actually quite insecure in themselves. They want attention and validation from others, but because of their faux confidence and the constant (and often somewhat empty) praise from the people around them, the people that are truly closest to them often withhold it from them. This often leads them to push themselves beyond their limits to succeed and/or act out in unhealthy and self-destructive ways, in an effort to get some kind of recognition. These characters seek to impress, and have a hard time telling praise from love. They have a constant need to be the hero, in whatever context that means for them. These characters usually have a sense of humor and wit that can tend to flatter themselves (although much of what they say is rooted in truth), but it’s contrasting to some of their more self-deprecating natures. They can be serious loners, since they isolate themselves from others in an attempt to protect themselves. Although they would never admit it, they crave acceptance and belonging. Others generally don’t see this, because orange characters are loathe to admit weakness and build up defenses by making it clear that they don’t care what others think, although they do. In childhood, it is likely that their parental figures were either absent or abusive, often holding them up to high standards while not providing enough positive reinforcement. Other characters need to treat orange characters not as an annoyance, or give up on them quickly, but to make it clear that they are willing to love and support them regardless of how useful they can be, and to voice compliments where they are due.

[dizzydaisu]

silly behaviour

[thestarminstrel]

Who is your favorite Fence character and why?

golly go s h i did not mean to let this sit in my inbox for so long 😭😭😭

i have such a dumb and all-consuming adoration of eugene. i started this blog in 2020 with a silly little yellow blob icon guy, then had a seiji icon for a second, and then changed to eugene. and it's only been eugene. ever since. his color is my favorite color and he just? incredible guy, enough said. wish i could say something coherent and succinct about my love for him but tbh a lot of it is just me going

[kkdeer]

Addison doodle. She’s a bit younger here, maybe 16-ish?

[vivelegalite]

dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.

there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...

i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears

this list is by no means complete or comprehensive!

and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)

found heaven by conan gray

the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).

2. like real people do by hozier

"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?

3. flaws by bastille

not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.

4. a pearl by mitski

you know it's gonna get intense if there's a mitski song in the mix.

the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".

5. fair by the amazing devil

this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.

the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.

6. work song by hozier

if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:

when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her

HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?

verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.

in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.

7. orpheus by vincent lima

i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.

8. francesca by hozier

(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.

as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.

the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.

"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.

the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.

to wrap it all up:

jayden, what were you cooking in there? what do you know??

[ariel-s-awesome]

Terrell: You'd be hotter if you were a vampire.

Mallory: OF ALL THE UNOBTAINABLE BEAUTY STANDA- wait, are vampires real?

Terrell: I mean, we shoot lightning so why not?

Mallory: ...I'm not getting bit for you.

[artbatties]

My best crow-boy, Terry. He is friendly, infinitely curious, and always chasing the Wonders. He's also desperately lonely and may be harboring a dark secret of some kind. Best not to ask him about it, though.

[aroaceleovaldez]

comp of your favorite jason panels maybe?? or maybe an octavian doodle?? i was hit with the silly beam and now i need more blonde roman boys content. mayhaps add any other blonde romans boys you have crafted. i desperately need rick to flesh out camp jupiter the potential is insane - @argoii-official's mod erratum 🤭

MOD ERRATUM!!!!!!! i blow a little kiss to your askblog one mun to another. Tumblr decided it absolutely hated me putting images on this post so I will make a separate one for the favorite deadangelos Jason panels later. A little tiny Octavian for you though (he's grumpy):

and i will dig through my romans to see if there's any other interesting blond boys in there (i still have like two and a half cohorts to design plus messengers and medics, so there is still plenty of opportunity). let's see... oh yes I do indeed have some funky lil blond boys.

Lore for them below the cut:

okay, starting with the canon boys: Jacob i've made a son of Venus and i've decided is best friends with Terrel and Bobby. He's a shy and quiet kind of guy but he's doing his best. Also insert my hc about 5th cohort being more likely to be direct descendants versus legacies here (cause something something lack of letters of recommendation). Also because of a mistranslation about his job title my group chat has decided his demigod weapon is a gun. Julius i made a legacy of Indiges (deified Aeneas) based on his name. I haven't decided too much for him other than I think it would be interesting if Jason used to have a crush on him at some point.

VES okay Ves is fun. So first things first: scene kid my beloved. Scene kid with a bee theme. The joke is the hair stripes. His lore is that he's a legacy of Mellona (goddess of honey/bees) and he has a big ol' crush on Gerard, because Gerard is emo and they have similar music tastes.

Gerard i am going to be completely honest is 100% themed on MCR. I like listening to music when I design characters and I thought it'd be funny also i realized the name Gerard works thematically for a Mars kid. It all came together. Anyways he's emo, he's an MCR fan, no he does not know Ves has a big ol' crush on him. Ves is dying, squirtle.

Edgar is a son of Lua, a goddess to whom weapon spoils of war were sacrificed to. He's just kind of a cool edgy guy. Not pictured is his bestie, a girl named Felicity Pace, who is a legacy of Abundantia and Pax, and is also in 4th cohort. They're opposites-attract thematically (war vs peace, low energy vs high energy) but also they're both fashionistas and extremely dramatic.

Anton is my extremely self-indulgent pointing at Mars and how to the Romans he was also a god of civilization and ideal Roman life, which included him being an agricultural god, so legacy of Mars and child of Ceres. He's grumpy but he's very passionate about plants.

They're all mostly just meant to be background characters fleshing out Camp Jupiter for Deadangelos so they don't have a ton of meat to them, but I like to try and give them all at least something. At the very least a hobby, theme, interest, or relationships. Something along those lines.

[grapecaseschoices]

what form of love do you embody?

quiz here, tagging: @sustainably-du-mortain @ava-du-mortain @mt07131 @sunshineandviolets @serenpedac @queerdetectiveblue @galpal95 @writerray @icanmakewords @thee-morrigan @quinnorion

Aleena:

love as violence

[ love as bloodshed, crimson as a knife slipped between your ribs ] when ocean vuong said "to arrive at love, then, is to arrive through obliteration" and when franz kafka said "you are the knife i turn inside myself; that is love" and when ada limon said "how do you love? like a fist. like a knife" and when richard siken said "sorry about the blood in your mouth. i wish it was mine"

love as hunger [I think this is better]

[ love as ravenous desire, love as something fragrant and home-built ] when florence welch said "we all have a hunger" and when jenny slate asked "who will come into my kitchen and be hungry for me?" and when violet trefusis wrote "I want you hungrily, frenziedly. passionately. I am starving for you..." and when anne carson asked "what are we made of but hunger and rage?

---

Tristan:

love as tenderness

[ love as gentleness after a lifetime of cruelty ] when ocean vuong said "sometimes being offered tenderness feels like the very proof that you've been ruined" and when pablo neruda said "like a jar you housed the infinite tenderness and the infinite oblivion shattered you like a jar" and when anais mitchell wrote "all i've ever known is how to hold my own, and now i wanna hold you, too”

[xe also got love as being known, which as a concept does fit but the qoutes don't strike me as hard for xyr ships. But it MIGHT fit xyr friendships--- hrm..]

----

Richard:

love as being known

[ love is knowing all of someone and loving them anyway ] when tim kreider said "if we want the rewards of being loved we have to submit to the mortifying ordeal of being known" and when joe wright said "The idea that these two people know each other, knew each other when they first saw each other. That they recognized each other from their future" and when micah nemerever said "it was a relief and a horror to be known so perfectly"

love as light [this works best]

[ love as a luminous force—warm, radiant, and golden ] when mary oliver wrote "light of the world hold me” and when charles bukowski said “I look at her and light goes all through me” and when david viscott said “to love and be loved is to feel the sun from both sides”and when e. e. cummings said “lovers alone wear sunlight”

[the-hovel-of-a-nerdy-rabbit]

Muriel's playlist hints at Ineffable Juniors?

(This is all in good fun and is just my opinion. You don't have to agree, but please stay and read.)

I know a lot of people have analyzed the living crap out of Aziraphale's and Crowley's playlists, but I really just want to ask if anyone ever wondered about why Muriel received these three songs?

The creators of the playlist knew that other feel-good, peppy songs that start their songs with the letter E and L exist, but they picked three songs that deal with love? All that does to me is make me think that Ineffable Juniors (Muriel x Eric) is in the realm of possibility and not just a crack ship.

Let me just get 'Everyday' out the way. (I'll be more in depth lyrically with the other two, but EVERYONE in this fandom has Everyday practically memorized. I'm just saving time and space.) 'Everyday' is the main song of the S2. It is the clue. It is the jumpstart of Ineffable Bureaucracy's relationship. It is THEIR song of love. It wouldn't make sense for them not to have it in their playlist, but why does Muriel have it? Of all the other characters who are in love, why does Muriel have to be the one to receive this song as well? They deal with concept of love, but they don't truly understand it (if they did why would they need to 'learn' from Aziraphale and Crowley). This wouldn't make sense unless this is more of a hint at Muriel's (possible) future storyline: befriending or falling in love with a demon (likely Eric). 'Everyday' is important because it helped blossom a very unlikely relationship between an angel (Gabriel) and a demon (Beelzebub). For Muriel to have that in their playlist in that context pushes their narrative in that direction, and it doesn't help that the other two songs are just pushing it further.

'Ain't No Mountain High Enough' (shortening to ANMHE for my typing sanity) is a classic love song sung by Marvin Gaye and Tammi Terrell. It brings this idea of being invincible while traversing (or willing to traverse) through any terrain to get to the one you love. This is driven home by the first and third verses along with the repeating chorus of the song:

(First) If you need me, call me

No matter where you are

No matter how far (don't worry, baby)

Just call my name

I'll be there in a hurry

You don't have to worry

'Cause baby there

(Third verse) Oh no, darling

No wind, no rain

Or winters cold

Can't stop me baby

No, no baby

'Cause your are my goal

If you're ever in trouble

I'll be there on the double

Just send for me

Oh, baby

(Chorus) Ain't no mountain high enough

Ain't no valley low enough

Ain't no river wide enough

To keep me from getting to you, baby

What I think is interesting is second and last verse because you get to see the relationship of the two people in the song (the couple singing to each other). In the second verse, it's revealed that the two of them are loving/binding relationship by recounting a day that defined their relationship.

Remember the day

I set you free

I told you

You could always count on me darling

From that day on I made a vow

I'll be there when you want me

Someway, somehow

Then the last verse brings up the fact that two are now separated but are still in love and WILL go through anything to get back to the other if they're ever needed.

My love is alive

Way down in my heart

Although we are miles apart

If you ever need a helping hand

I'll be there on the double

Just as fast as I can

I could easily say that this could allude to Muriel having a strained or forbidden relationship with a character, yet something else was brought to my attention. ANMHE tells about a pair who is separated after making a connection/promise to one another while still having romantic feelings, but if one were to be in trouble, the other would surely come to the rescue? I don't know about you guys, but that sounds a lot like our other angel/demon couple, the Ineffable Husbands. Now, we have two songs defining both of our canon angel/demon relationships in a playlist for an angel who hasn't even experienced falling/being in love yet, but this final song clenches everything for me.

Every Summertime by Niki is the song that TRULY made me believe in the idea of Ineffable Juniors. I have played it several times and every time I do, I see Muriel and Eric. Let's begin with the first verse:

18, we were undergrads

Stayed out late, never made it to class,

Outer Richmond in a taxi cab

You were sweating bullets on the way to my dad's and oh

You said, "Baby, think we're moving too fast"

The very beginning gives an image of two students (underlings: 37th Scrivner and lesser demon) who are together (in a buddy/soft couple way), but incompetent (Muriel not understanding certain concepts thus proceeding to mess things up and Eric constantly questioning things while also being a punching bag and cowardly). It's only the first two lines and it already screams Ineffable Juniors. The last two lines give scenarios that could likely happen. Eric would be the one nervous from the idea of meeting Muriel's parental figures superior Aziraphale and his demon husband Crowely. Then comes the statement of "moving too fast." Of course the first thing that comes to mind is the 1967 scene in S1, "You go to fast for me, Crowley", yet in the eyes of our juniors, it would be in Eric's character (having more cowardice and less time to plan ahead) to say that if Muriel wanted to be closer. Then there's this imagery of how one would realize their feelings for someone is becoming more than platonic:

And I swear the magnolias flashed a smile

And that's when I caught me hoping you'd stay a while

I will say that second verse is more of "They're growing closer after a while" more than picturing scenarios like the previous verses.

25, man we're missing church

Laugh 'bout everyone we're hating at work

Dinner with your sister and the jokes kinda hurt

Cry the way home, and you're putting me first, oh

Yeah, we just always know what to say

Then we get these lines:

We're strolling down the boulevard

And dancing under streetlights

Every year we get older, and I'm still on your side

Taking a stroll? Dancing? Being on a side with your partner? This, AGAIN, creates connections to Bureaucracy and Husbands, but the couple in the song portray these actions in a setting for younger, impressionable people, hmmmm... like the Juniors? Let's just finish off with the chorus and outro.

(Chorus) Baby, I'd give up anything to travel inside your mind

Baby, I fall in love again come every summertime

My daddy taught me to choose 'em wisely, but you don't have to try

'Cause, baby, I fall in love every summertime

(Outro) Every day is summertime

Every day is summertime

Every day is summertime with you

Questions that I think about when it comes to the Juniors are "if they fell in love or became close friends, how would Aziraphale and Crowley react? Would they be happy for them, or would they try to stop them from going any further out of fear for their safety?" With what happen at the end of the season, I'm personally think it's the later, but then that brought an additional question. "If Muriel was told to stop meeting Eric, would they?" No. The third line of the chorus reminded me how Muriel knew Aziraphale and Crowley were the enemy and yet they still gave unbiased trust and compassion towards them. A low rank angel who is supposed to take every order willingly decided that the enemy is their friend that they can ask questions to. When you start to apply the first, second and last line of the chorus, along with the outro, it draws a picture of a person so smitten with their partner that every time they're with them, they fall in love all over again, so they're willing to disregard the opinions of others just to be with their other half. Muriel seeing both angel/demon couples existing in the same room in S2E6 feeds my thoughts with the image of Muriel, who may or may not know that Eric is a demon (they never met him, and they also didn't know that Crowley was a demon), proceeding to be around him even after being told not to by Aziraphale. If it was worth it for the others, it could be worth it for me.

I could be reaching with some of my claims, so I'll just continue until I reach the moon. However, it is possible for all three songs to be thrown in the playlist for fun, I mean it does have "Get Lucky" and "Everything is Awesome". I'm just a sucker for Ineffable Juniors. I don't care if they don't end up together or anything, but they have to meet at least once as another example of an angel and demon being able to get along. Stories are always played out in threes. Why can't they be the third?

Thank you for reading if you made it to the end. Here's some sketches for your troubles:

[numberonenat]

i asked chat gpt to make a playlist based on each one of the obey me characters…

>> PART 2!!! <<

here's part 1 and 3: the brothers / the side characters

diavolo:

"kings and queens" by 30 seconds to mars

"hail to the king" by avenged sevenfold

"demons" by imagine dragons

"hall of fame" by the script ft. will.i.am

"power" by kanye west

"emperor's new clothes" by panic! at the disco

"my songs know what you did in the dark (light em up)" by fall out boy

"radioactive" by imagine dragons

"glory and gore" by lorde

"god's gonna cut you down" by johnny cash

"believer" by imagine dragons

"throne" by bring me the horizon

"can't hold us" by macklemore & ryan lewis ft. ray dalton

"sail" by AWOLNATION

"the man" by taylor swift

barbatos:

"smooth operator" by sade

"uptown funk" by mark ronson ft. bruno mars

"one more time" by daft punk

"careless whisper" by george michael

"every breath you take" by the police

"superstition" by stevie wonder

"fly me to the moon" by frank sinatra

"feeling good" by michael bublé

"just the two of us" by bill withers ft. grover washington jr.

"easy" by lionel richie

"can't stop the feeling!" by justin timberlake

"i want to hold your hand" by the beatles

"smooth" by santana ft. rob thomas

"i will always love you" by whitney houston

"at last" by etta james

solomon:

"imagine" by john lennon

"bohemian rhapsody" by queen

"wish you were here" by pink floyd

"stairway to heaven" by led zeppelin

"magic" by coldplay

"karma police" by radiohead

"black magic woman" by santana

"time" by pink floyd

"riders on the storm" by the doors

"lucy in the sky with diamonds" by the beatles

"i put a spell on you" by nina simone

"paint it black" by the rolling stones

"losing my religion" by R.E.M.

"sultans of swing" by dire straits

"sympathy for the devil" by the rolling stones

simeon:

"angels" by robbie williams

"halo" by beyoncé

"you raise me up" by josh groban

"i will always love you" by whitney houston

"lean on me" by bill Withers

"un-break my heart" by toni braxton

"wind beneath my wings" by bette midler

"in the arms of an angel" by sarah mclachlan

"true colors" by cyndi lauper

"hero" by mariah carey

"i believe i can fly" by r. kelly

"heaven" by bryan adams

"a thousand years" by christina perri

"you're beautiful" by james blunt

"i can see clearly now" by johnny nash

luke:

"pocketful of sunshine" by natasha bedingfield

"here comes the sun" by the beatles

"walking on sunshine" by katrina and the waves

"happy" by pharrell williams

"rainbow connection" by kermit the frog

"ain't no mountain high enough" by marvin gaye & tammi terrell

"all star" by smash mouth

"don't worry, be happy" by bobby mcferrin

"three little birds" by bob marley & the wailers

"i just can't wait to be king" from the lion king

"best day of my life" by american authors

"count on me" by bruno mars

"i'm yours" by jason mraz

"walking on air" by katy perry

"sing" by pentatonix

barbatos with michael bublé, frank sinatra and george michael is a vibe honestly lol BUT THEN THERES THE JUSTIN TIMBERLAKE TROLLS SONG WTF LMAO

i love doing this is so funny

i'm probably doing a part 3 !!!

[90percentstudios]

What sounds did you use for the main cast of CKC's voices?

i'm just gonna post the entire voice list for (almost?) all the characters since i have it on hand!

abracadad - flim and flam from my little pony alarmy - alarm sound effect allegra - estelle/garnet from steven universe andante - thanos from marvel cinematic universe andy - andy aunt nat - grandma dillis from clarence baby g - baby crying sound effect bapawmet - the lich from adventure time blondie - perfuma from shera brownie - disgust from inside out burger queen - hedonism bot from futurama cody - sonic from sonic prime daniel - arin hanson as bird wizard from bee and puppycat david - gaston from beauty and the beast denny - denny dot - peridot from steven universe fluffy - cat meowing sound effect g-ma - cruella deville from 101 dalmations gigi - mai from avatar airbender goochi god - kim kardashian harmony - cassandra kiramman from arcane holden - bow from shera jeepsus - lightning mcqueen (engine) jessica - dog woofing sound effect juvie - raine whispers from owl house katy - kipo from age of wonderbeasts kay - jolyne cujoh from jojo's bizarre adventure mama pepper - jasper from steven universe mayor stick - bill cypher melody - wendy from south park mini - kipo from age of wonderbeasts mir - bow from shera mr. wilson - foghorn leghorn from spacejam a new legacy narrator - typing noises nori - sonic from sonic prime olive - denny papa tony - hal from malcome in the middle patches - winston from 13 reasons why peggy - pinky pie from my little pony peter - tails from sonic prime phoebe - marceline from adventure time pie - terrell ransom's darwin from gumball planet dance - glad0s from portal puppets - catbug from bravest warriors rhyme - allura from voltron sarah - marceline from adventure time stetson - big mac from my little pony steve - morgan freeman on helium the real steve - jim carrey in the mask thorn - count von count uncle bruce - gus fring wanda - tulip from infinity train

[justforbooks]

When Tina Turner, who has died aged 83, walked out on her abusive husband Ike in Dallas, Texas, she feared it would spell the end of her showbusiness career. It was 1976, and she had been performing with Ike for two decades, since she had first jumped onstage and sang with his band at the Manhattan club in East St Louis, Missouri. Yet, although she was desperate and had only 36 cents in her pocket, she was on her way to a renaissance as one of the most successful performers in popular music during the 1980s and 90s.

She had to endure several lean years, but a turning point came in 1983, when David Bowie told Capitol Records that she was his favourite singer. A version of Al Green’s Let’s Stay Together followed. Produced by the electro-poppers Martyn Ware and Ian Craig Marsh from Heaven 17, the track went to No 6 in the UK, then cracked the US Top 30 the following year.

Turner cemented the upturn in her fortunes with the album Private Dancer (1984). Driven by the huge hit What’s Love Got to Do With It? (her first American No 1), the album became a phenomenon, lodging itself in the American Top 10 for nine months and going on to sell more than 10m copies. Suddenly Turner was one of the biggest acts in an era of stadium superstars such as Michael Jackson, Dire Straits and Phil Collins.

In 1985 she was recruited to play Aunt Entity in the film Mad Max: Beyond Thunderdome, for which she recorded another international chartbuster, We Don’t Need Another Hero. A second Thunderdome single, One of the Living, won her a Grammy award, and she was an automatic choice to join the Live Aid benefit concert in that year, as well as to participate in its American theme song, We Are the World.

Her follow-up album, Break Every Rule (1986), launched Turner on a global touring campaign, during which a crowd of 184,000 watched her in Rio de Janeiro. The tour spun off a double album, Tina Live in Europe (1988).

The album Foreign Affair (1989) sold 6m copies and generated another trademark anthem, The Best, which was subsequently used to add oomph to numerous TV commercials and adopted both by the tennis ace Martina Navratilova and the racing driver Ayrton Senna. The subsequent Foreign Affair tour ended in Rotterdam in 1990, after which she duetted with Rod Stewart on the old Tammi Terrell/Marvin Gaye hit It Takes Two. Designed as the theme for a Pepsi advert, the track was a chart hit across Europe.

Turner was born Anna Mae Bullock in Nutbush, Tennessee, to Zelma Currie, a factory worker, and her husband, Floyd Bullock, a Baptist deacon. Abandoned by their father and temporarily by their mother, in 1956 Annie and her elder sister, Alline, moved to St Louis, Missouri, where they encountered Ike Turner and his band the Rhythm Kings. After Annie had talked the initially reluctant Ike into letting her sing with the band, he recruited her as one of his backing singers.

It was in 1960 that Tina – who had by then changed her name because it reminded Ike of the cartoon character Sheena, Queen of the Jungle – first sang a lead vocal with Ike’s band. A session singer failed to turn up, and Tina’s stand-in performance of A Fool in Love was a hit on both the pop and R&B charts. Ike immediately rebuilt his act around Tina, and christened it the Ike and Tina Turner Revue. They married in 1962.

Featuring nine musicians and a trio of skimpily dressed backing singers, the Ikettes, the Revue took the R&B circuit by storm. Tina rapidly developed into a mesmerising performer, radiating raw sexuality and bludgeoning audiences with the unvarnished force of her voice. They began to pepper the charts with hits, including I Idolise You, Poor Fool and Tra La La La La, and even if they only intermittently crossed over from the R&B charts to the pop mainstream, the band’s performing reputation was second to none. Evidence of their stage prowess was preserved on the 1965 album Live! The Ike and Tina Turner Show, recorded on tour in Texas.

However, the seeds of the couple’s destruction were being sown in their successful but intense lifestyle. Ike was a habitual womaniser, and also developed a destructive cocaine habit. This provoked violent outbursts against Tina, who, as she later revealed in her 1986 autobiography, I, Tina, was beaten, burned with cigarettes and scalded with hot coffee. She gained a glimpse of what life beyond Ike’s intimidating orbit might be like when she worked with the “Wall of Sound” producer Phil Spector in 1966. To Ike’s frustration, Spector refused to allow him in the studio while he worked on the single River Deep, Mountain High, which subsequently became regarded as a high point of both Spector’s and Turner’s careers.

The Turners’ work won them the admiration of many of their peers, not least the Rolling Stones, who invited them to open a UK tour for them in 1966, then to join them on their American tour in 1969. Mick Jagger was regularly spotted at the side of the stage during Tina’s performances, fascinated by her stage presence and dance routines. One of the high points of Live Aid in 1985 was Tina and Jagger performing together at JFK Stadium in Philadelphia.

Working with the Stones prompted the Turners to import a rock-orientated edge into their work, a ploy that worked most successfully when they recorded John Fogerty’s Proud Mary in 1971. It was their first million-selling single and a Top five hit on the American pop charts. In 1973 they notched up another landmark with Tina’s feisty composition Nutbush City Limits, inspired by her Tennessee origins. She took the role of the Acid Queen in Ken Russell’s film of The Who’s rock opera, Tommy (1975): her performance was one of its few critically acclaimed moments, though her spin-off solo album, The Acid Queen, made little impression on the charts.

After her split from Ike, Tina stayed with friends and was forced to survive on food stamps. When their divorce was finalised in 1978, she preferred to take no money or property from the settlement, to establish a complete break from her husband. She earned cash from TV guest appearances on the Donny & Marie and the Sonny & Cher shows, but her late-70s albums Rough and Love Explosion sold poorly.

In 1980 she signed a management deal with Roger Davies, an Australian promoter working in the US, who secured some lucrative engagements in Las Vegas. The following year the Rolling Stones galloped to the rescue once again by booking her as the opening act on their Tattoo You tour of the US, and she also appeared with Stewart in a California concert broadcast internationally by satellite.

By the time she was inducted (with Ike, though he was then in jail) into the Rock and Roll Hall of Fame in 1991, Turner had little left to prove. She was able to spend more time at the homes in Switzerland and the Cote d’Azur that she now shared with the German record executive Erwin Bach. A singles collection, Simply the Best (1991), reeled in more platinum discs as Turner entered the senior stateswoman phase of her career.

In 1993, as she launched her first US tour in six years, her film biography, What’s Love Got to Do With It, based on I, Tina, was released, starring Angela Bassett as Turner. The film brought forth a bestselling soundtrack album and another hit single with its opening track, I Don’t Wanna Fight.

A three-disc anthology, The Collected Recordings – Sixties to Nineties, appeared in 1994, and the following year came Turner’s recording of GoldenEye, the theme tune of the eponymous James Bond movie. The tour that accompanied her eighth studio album, Wildest Dreams (1996), became another record-breaker, grossing more than $100m in Europe alone. Twenty Four Seven (1999) teed up what Turner announced would be her last major arena and stadium tour. She had intended to tour with Elton John, but the idea was scrapped after she argued with him about the piano arrangement for Proud Mary during rehearsals for a TV special, Divas Live ’99. Her subsequent solo dates became the top-grossing tour of 2000.

A quiet period ensued, during which Turner confined herself to hand-picked events, such as a 2005 performance on the Oprah Winfrey Show. She contributed a version of Edith and the Kingpin to River: The Joni Letters (2007), a tribute album produced by Herbie Hancock. She performed alongside Beyoncé at the Grammy awards in 2008.

That October she went back on the road with the Tina! 50th Anniversary Tour, synchronised with the compilation album Tina: The Platinum Collection. In 2010 she became the first female artist to score top 40 hits in the UK in six consecutive decades (1960s-2010s) when The Best bounced back into the UK Top 10. Her Love Songs compilation appeared in 2014, and her remix of What’s Love Got to Do With It with the Norwegian DJ Kygo in 2020 made for a seventh decade containing UK hits.

Between 2009 and 2014 Turner appeared on four albums by Beyond, an all-woman group formed with her neighbours in Küsnacht, near Zürich. The music reflected the spiritual and religious beliefs of the participants, with Turner considering herself a Baptist-Buddhist (she was raised as a Baptist, but began practising Nichiren Buddhism in 1973).

In 2013 she married Bach and gave up her American citizenship to become a Swiss citizen. Three weeks after the marriage she suffered a stroke, and in 2016 she was diagnosed with intestinal cancer, then suffered kidney failure when “the toxins in my body had started taking over”, as she put it in her second autobiography, Tina Turner: My Love Story (2018). Her husband volunteered to give her one of his kidneys and a transplant operation was carried out successfully in 2017.

The following year, the biographical stage musical Tina opened at Aldwych theatre in London, directed by Phyllida Lloyd and starring Adrienne Warren in the title role. Turner received a Grammy lifetime achievement award, to go with her existing tally of eight Grammy awards and three Grammy Hall of Fame awards. Among her vast collection of honours, Turner also had five American Music awards, two World Music awards and three MTV Video Music awards.

In 2021 she joined the Rock and Roll Hall of Fame as an outright solo performer and sold the rights to her music catalogue to the publishing company BMG for an estimated $50m. Ready to retire fully, she bade farewell to her fans with the two-part HBO documentary Tina.

Alline died in 2010. Tina’s eldest son, Craig, from a relationship with the saxophonist Raymond Hill, took his own life in 2018. Ronnie, her son with Ike, died in 2022.

She is survived by Erwin and two sons, Ike Jr and Michael, from Ike’s first marriage.

🔔 Tina Turner (Anna Mae Bullock), singer and songwriter, born 26 November 1939; died 24 May 2023

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