#driving force and the heart of the show. in universe and for the audience. like it’s his story plendhejeidu am i stupid

[loverslakes]

it shouldn’t even need to be said that it’s not “either” mike “or” will that are going to have crucial parts in the plot in st5 and meaningful personal storylines to match. everything is clearly leading up for it to center both of them with respect for the rest of the ensemble. like…… at least to me that’s why it’s such a compelling ship

[burst-of-iridescent]

No, Shipping Zutara Is Not Supporting Amatonormativity (Please Use Some Fucking Braincells For Once)

- a treatise by a severely pissed off aroace zutara shipper

since words don’t mean anything anymore (if they ever did on the esteemed piss-on-the-poor website), let’s start with a definition.

amatonormativity: the set of social assumptions that everyone prospers with a romantic relationship, thereby positioning marriage as a universal goal of adult life. amatonormativity forms the basis of several institutional structures that are built to cater to romantic bonds over all others, also manifesting in social pressure on individuals to find a romantic partner by pushing the false narrative that those who do not experience romance are automatically lonely, unhappy and unfulfilled. it is usually characterized by the prioritization of romantic love over other forms of love, particularly platonic.

the anti-zutara argument based on this is as follows: wanting zutara to happen is amatonormative because it a) devalues zuko and katara’s platonic bond b) pushes the idea that men and women can’t be friends and c) doesn’t align with the themes of the show, as romantic love was never the point of atla.

i would like to take the time today to tell you that this is some fucking bullshit, for the following reasons:

one, this may come as a shock to some of you, but zutara shippers did not invent the concept of romantic love in avatar: the last airbender. you are more than welcome to criticize the pairings of suki/sokka, katara/aang, mai/zuko, yue/sokka, jin/zuko, jet/katara, and even kanna/pakku for perpetuating amatonormativity through their unnecessary romantic subplots. and if you don’t have anything to say about any of those pairings, then here’s a word for you: hypocrite.

zk shippers are not introducing the taint of romantic love into some kind of wholesome platonic utopia where it never existed. when we say zutara should have been canon, it is a statement that ends with the implicit instead of kat.aang and mai.ko tacked on at the back because if we were going to get a romantic relationship anyway, it might as well have been one that was well-developed, narratively impactful, and thematically relevant.

two, saying zutara is amatonormative is fucking rich when the main “romance” of atla is a three season long struggle to get out of the friendzone. aang’s desire to be in a romantic relationship with katara is one of his primary motivations throughout the show, and not once does either he or the narrative ever entertain the thought that just being katara’s friend might be enough. to the contrary, aang’s crush and the potential of its reciprocation is a fundamental part of how the story gets its audience to invest in both his character and the kat.aang relationship. they want you to want him to get the girl, and that’s the driving force of the ship’s development from start to finish.

you can see the influence of this in the way people defend why kat.aang had to happen: “aang would be crushed!” “it would break aang’s heart!” “aang deserves to be happy!” and that in and of itself is more amatonormative than any version of romantic zutara, as if this idea that aang is somehow doomed to a life of misery and loneliness just because he can’t be with the girl he likes isn’t inherently based on the assumption that platonic love can’t be as meaningful and satisfying as romantic love.

three, let’s be so fucking fr: a show written by cishet men in the early 2000s was not “subverting amatonormativity” by not making zutara happen, especially not when they went for the fucking olympic gold of romantic cliches — the hero gets the girl trope — instead. otherwise, why did the entire show end with an uncomfortably long liplock? if romance would’ve devalued zuko and katara’s platonic bond, then what the everloving fuck happened to their friendship in the comics and the legend of korra?

it is blatantly false to say that zutara shippers are the ones devaluing their platonic bond when the creators did it first. they evidently don’t view zutara’s platonic bond as equal to kat.aang’s romantic one, judging by their treatment of both relationships in the comics and LOK and the fact that they talked about kat.aang “winning” the ship war in the first place. because if the two relationships were of equivalent standing, why would there be a winner and a loser at all?

amatonormativity is baked into the DNA of atla, and while some people choose to reject this framework entirely (zk friendship >>> ka romance anyday), it is also not wrong for zk shippers to be annoyed at the treatment zutara received within the context of said framework. since the creators clearly thought a romantic relationship was better than a platonic one, they could at least have picked the couple that actually made sense instead of adding insult to injury by making that romance kat.aang. it is not amatonormative to acknowledge that zutara was not afforded the distinction it should have been in the eyes of those who wrote it, because it’s obvious that the decision to keep zuko and katara’s relationship platonic wasn’t to respect their friendship, but to position them as inferior to kat.aang.

four, detractors of romantic zutara often argue that their platonic relationship is inherently better & i’ve discussed before why that isn’t the case, but i also hate this argument because it’s perpetuating the very thing that aromantic people are trying to get rid of in the first place: the hierarchization of love. it is not the “gotcha!” you think it is to genuinely state that platonic love is better than romantic love, because it’s still buying into the idea that there’s some kind of order to categorizing human relationships. the solution to amatonormativity isn’t changing what form of love gets to be at the top of the list — it’s doing away with the hierarchy entirely.

i ship zuko and katara because canon already gave me their friendship. i already know what their platonic relationship looks like and that gives me more room for imagination in developing their romantic one because it’s a place canon didn’t go.

at the end of the day, friendship and romance are just different avenues of exploring intimacy. neither is inherently more valuable than the other, and neither is inherently more problematic. and if you truly believe in dismantling amatonormative beliefs, you would recognize that making a distinction between the two is only perpetuating the problem, not challenging it.

[milksnake-tea]

Can I request a yandre Nanook and yaoshi and god /aeon reader the reader is like that unknown god in genshin impact that can control time and destiny

What if Nanook had a fascination about this aeon and slowly developing an obsession with them and yaoshi being the same and would bless their devoting followers

to chase destiny.

characters: nanook, yaoshi

contains: YANDERE CHARAS, obsessive behavior, stalking, manipulation, brainwashing(?), unhealthy relationships, power dynamics(?), vaguely religious language (nothing heavy, it comes with the aeons stuff lol)

a/n: mmmmm yandere aeons <333 love that for them. ngl i kinda forgot about the time part so this is primarily focused on the destiny part so yahoo!

...follows you like an incessant plague. Wherever you go, wherever you may run, they and their Antimatter Legion follow, bringing destruction and devastation with them.

Nanook first met you in the early days of their existence as an Aeon. Back then, they were but a young one, still weak in the eyes of the others. Back then, they saw you as another obstacle in their Path, another nuisance.

But then, in a clash between you two, Nanook witnessed your abilities for the first time. In the midst of a Legion invasion, a battle that was sure to end in the destruction of another planet, you managed to turn the tide. Your hands weaved a different path, a path that destroyed Nanook's forces and forced them to retreat.

Just one word from you, and fate was reversed. Just one sweep of your pen, and a losing battle was won.

The image of you that day is forever etched into Nanook's mind, burned into their memory. You, powerful, beautiful, and the cold glare of your eyes as you met their gaze. You, the weaver of fate itself.

You were the key to purifying the world of the cancer of civilization. You were the missing piece they never knew they needed. With your power, Nanook could create a perfect, clean world.

They would like nothing more other than to take you away for themself, to lock you away in a separate realm from the rest. But alas, you are older, stronger than they were.

But Nanook wasn't one to give up. As the Aeon of Destruction, they have many other Aeons as enemies, such as Xipe or Yaoshi. They knew how to get their way, even if they would have to fight tooth and claw for it.

And so they follow you. They stalk you throughout the galaxies, chasing you much like the Hunt would. Any planet that has the misfortune to garner even the slightest glance from you is reduced to rubble, for Nanook despises the mere idea of your attention being on anything other than them.

The person they hate the most is Elio, the seer that you've seemingly blessed with your favor. If it weren't for your protection, Nanook would've killed him - blessing him with a long, torturous, drawn-out death with you as their audience.

But it's fine in the end. In the end, Nanook will have their way. They will take you, no matter what it takes. And when they finally do, only then can an untainted world be made.

You may claim to change destiny, but Nanook knows that the future can be changed by those with enough ambition, enough drive.

They isolate you, crushing both the people and the worlds you love. They whisper in your mind of how the greed and hubris of civilization weren't worth saving, and show you only the ugliest parts of humanity. Their words cloud and befuddle your mind with distrust, fear, and abhorrence towards the sentient species.

Soon, your loom of fate becomes tangled in their hands, and Nanook is the one who pulls the strings. They are the only one you can trust, clean from ugliness and impurity. They are all you need. And in return for your power, they offer a faux love.

You watch from within their embrace as the universe crumbles into nothing, watch as countries and planets collapse.

This is how things should be, they whisper, feeling nothing in their heart as they hold you. This is the right way of the world.

And you believe them.

...is an insufferable thorn in your side. Yaoshi yearns for a paradise free from suffering and despair, a paradise that wouldn't be complete without you.

Ever since the day they saw you, they've known. Their heart that loved each and every being in the universe, bloomed for you, longed for you.

They weren't sure just what had attracted them to you so badly, but Yaoshi didn't think they needed to. There was never a need for a reason to love, was there?

Every day, every hour, without fail, Yaoshi clings to your side. You could try to foresee their movements, forcing them away from you, but even you were not free from the cruelty of fate. Yaoshi would always find you, arms open for an embrace as they fill your space with promises and sweet words.

Let us make a paradise together, they'd propose, taking you into their arms as they coo into your ear, caressing your arms with their fingers. Think of what we could do, what we could bring to the galaxies.

Yaoshi is convinced that you were meant to be theirs, the gateway to a world ridden of death and disease. With your power alongside theirs, no one would have to suffer any longer.

The only problem was that you were a little stubborn. No matter, for Yaoshi was patient. They knew you wanted to bring salvation to the universe alongside them, you were just a bit scared of venturing outside your script.

Yaoshi wears you down bit by bit. First, they guilt trip you. They lament over the pitiful mortals, succumbing to disease and war. Perhaps if you had taken them up on their offer, those mortals would be alive and happy right now. They remind you about the lives you could've saved. Yaoshi never outright says it, but you know that subtly, they call you selfish for ignoring the plight of the weak.

Then, they gain the favor of your followers. They bless your devotees with immortality, curing them of any disease or injury they may come across. They coddle and care for them, so that even when Yaoshi isn't physically by your side, your followers who sing them praises constantly remind you of them.

It's even worse when Yaoshi is present. As your followers gush about your so-called love, a love you don't ever recall partaking in, Yaoshi preens at your side, holding onto your arm as a noble lady would her lover.

And as they do, they whisper into your ears, crooning like a venomous snake.

Play along, they murmur, playing with your hair as they kiss your temple. You don't want to disappoint them, do you?

And so you do. You play the role of lover to Yaoshi, forced to give up your pen and your being to the Abundance.

Even though you know of the despair that would eventually come of immortality, you are powerless to stop it, lest you face the scorn of your people.

[neveragainfools]

It’s fascinating to me how real-play shows easily slot into the metamodern movement so effortlessly, and without sacrificing the sincerity or quality of the story. By my understanding, metamodern stories are ones that are aware that they are stories, acknowledge the viewer and the absurdity of narrative itself (like Everything Everywhere All At Once, Into the Spiderverse, etc).

Personally, metamodernity meets the audience where we are now. When there is SO MUCH literature and film to build on, and nearly everyone knows the hero’s journey, it feels like something’s missing unless the story is exceptional, different, or more self-aware. Metamodern works can be great, but I think a lot of films that fit into the metamodern style lack heart. The style breeds a lot of “we’ll make fun of ourselves before you do, because we know you will. We’d rather disrespect our own story than let you feel smugly better than us if we’re sincere.” This is accelerated and compounded by the fact that many major releases these days capitalize on the nostalgia that drives sales for familiar IPs in reboot, rework, spin-off or the dreaded “cinematic universe” (the marvelization of it all).

But the difference with real-play shows is that the winking, fourth-wall breaking, the acknowledgement of tropes, the audience and absurdity of the universe lives on a separate layer of reality from the story being told. The characters aren’t joking about the worlds, their players are. The players (including the GM) are audience, writer and performer all at the same time. Instead of the edifice of narrative being an invisible force pointed out by its cracks, separate from the audience reaction, it is made explicit and woven into audience instead of narrative. Real play shows declare “these are people playing characters. Some plot and character choices are based on what was written beforehand, but most are made by dice and improvised in the moment. The reactions to those choices are made by both the player and the character. Of course these tropes exist, we’ve chosen a setting that supports them.”

Real-play shows are almost as if every film always had the director’s commentary on in the theatre, but the director's commentary shaped the plot, and made space for audience reaction to shape it too. We the audience understand that the commentary isn’t part of the story. What’s left untouched then, is the narrative itself. By acknowledging the edifice, the mechanisms of storytelling on the “commentary” layer, the in-story moments become totally sincere and embrace the story, unworried by the way in which it’s shaped.

[biteofcherry]

To find the light, we must first touch the darkness

Please also check out @bluepinkangel​’s amazing hot moodboard for this universe 🖤

dark!mafia Steve Rogers x female reader

summary: When you unexpectedly are appointed to run a health center, you foresee many struggles along the way, but not one in the form of a merciless mob boss. Steve Rogers’ core aim is to own and he won’t take no for an answer. To any of his demands.

warnings: dark!Steve Rogers; manipulation; threats; power imbalance;

word count: 4.4k

Touch the Darkness Masterlist

Chapter 2. Lava in the snow

~ * ~ 

Always a professional, you decided on setting hard boundaries with Mr Rogers, but in the privacy of your office. 

It was never a good idea to have an audience for a type of a scolding, especially if a person considered themselves in a position of power compared to the people witnessing the scene. That escalated reactions, while meeting eye to eye gave the opportunity for both parties to still hold respect.

Taking a step back from Rogers’ towering posture, you stiffly motioned for him to walk inside your office. 

You cast a pointed glare Natalie’s way as you closed the door. She was swift in her work against the unexpected circumstances, but you wanted to drive in the point of not doing favors for anyone.

The only favors you accepted in the center were those for the patients. For them you’d make things as flexible as needed.

You took a calming breath, fingers still resting on the door handle, before you pulled back your shoulders and turned around to face your guest. 

He watched you curiously. At least you preferred to assess it as merely curiosity, as something told you it was best not to read the intensity in his eyes as actual, deeper interest. 

The way his gaze slid up from your feet, taking in every inch of your body until it settled on your face, was bordering on inappropriate. 

You met his gaze evenly, trying not to show that the vivid contrast between you two made you feel uneasy.  

You were wearing a simple, pale blue pantsuit (the jacket currently hanging over the back of your office chair) and a white blouse; your heels not too high, a few jewelry pieces not overbearing your looks. 

Appealing light tones to underline your professional approach. 

He was an unpolished chunk of darkness. Clean, but heavy boots; jeans on which you tried not to focus, since they seemed so tight around his thighs and ass; a dark henley and a black leather jacket to match. 

Each piece was basic, but pristine; and heavy compared to yours. 

Light versus dark, to put it simply. 

But there was more to the difference between the two of you. And you weren’t certain - not with the way he carried himself - that you’d easily maintain an upper hand even in your own office.

Rogers was like a nugget of volcanic rock that landed among the bright snow of your world, and the black heart of it sizzled with so much destroying force the innocent wintery landscape would have to melt for him.

“Please sit, Mr Rogers.” You tilted your chin up, adamant on not yielding. 

You walked around him, noticing that he moved to sit down only as you took a seat in your own chair. He probably waited to assess your intentions. Or it could be a gentleman’s habit, though you wouldn’t assume he possessed such traits. 

Not with the way he strolled into the center, like there was no risk of him being denied anything he demanded. 

He was probably leading some old-money, family company, where the great grandsons of a slaver were so used to their wealth and spoiled with attention, they didn’t even bother to show simplest acts of courtesy. 

“I’m sure you’re a busy man Mr Rogers,” you forced your jaw to relax, not to grit the words through your teeth. “So I assume your need to see me goes beyond simply wanting to meet the new director of the center.”

You knew there have been phone calls with invitations to lunches, or brunches, or other unches, with bored philanthropists and benefactors. Which Natalie skilfully dodged, placating the hungry for novelty elites with promises of you joining them for a meal in the future.

You didn’t suspect Rogers of that, but one could never be sure. 

“It does, but you are a curiosity.” He leaned back in his chair. 

“How so?” You raised an eyebrow.

Was it because your name hasn’t been on the list of celebrity doctors, with whom Stark-level elites were mingling with? To have an actual commoner become the head of a prospering health center could shake the boring world of snobs. 

Then again, it didn’t seem that the center was interesting to any of them, since Howard made sure to not profit from it. Its main goal was to serve people, not his name. 

“A pretty, shiny fish being dropped into a tank full of sharks and swimming through it all calm and confident.” 

His voice carried hints of amusement and disbelief; and also a drop of fascination, which alerted your senses as something bad. 

Still, you weren’t about to reveal uneasiness, nor uncertainty. That’s how people of his caliber learned they get to poke at weaker ones. You wouldn’t be weaker. So you crossed your palms in your lap, holding your back ramrod straight. 

“If you mean dealing with health care system moguls, I assure you I have experience in that. Managing donations for a privately based center won’t be much different than wrapping pharmaceutical companies around a finger.” You shrugged, quite confident in your abilities. 

Rogers, in turn, grinned darkly.

“That’s not what I mean at all.” He replied, entertained with your attempts to cover a shiver which clearly shook your body. 

Becoming even more annoyed, you huffed and placed your hands on your desk.

“What is it that you mean, then?” You asked, your patience thinning. 

“You have no idea who I am, do you?” Rogers tilted his head to the side, previously shown amusement dimming down. 

The air around him seemed to hum with power as his features settled into sharp seriousness. You were starting to suspect it wasn’t a usual business meeting. Nothing about this man was usual. Not in your standards, anyway.  

“One of Howard’s benefactors?” You swallowed nervously, while still trying to remain calm on the outside. 

You wanted to believe that initial assumption, even though you now suspected it to be a lie. Not only from the course of the conversation, but also the way Steve Rogers sat in a basic office chair as if it was a throne.

His ringed fingers resting loosely over the armrests added to that aura. 

Thick, dark silver bands; some simple, some twisted in more intricate shape, a few even had colorful stones submerged into heavy metal. 

Vines of black ink stretched over one of his hands, a shape of bare roots that twisted into a thicker pattern over his wrists, but the tattoo disappeared under the sleeve of his jacket and you were unable to decipher it. 

You should’ve noticed earlier that he wasn’t a spoiled heir to an old fortune, but someone who probably reaped his riches with brute force.

“Of sort.” Rogers quirked his eyebrows, the corner of his mouth tilting in a smirk for a brief second. It was all gone in a blink of an eye. 

“I’m someone who has all of those benefactors under my thumb.” He stated simply. “As well as other people.”

He wasn’t boasting. Rather laying down the law he expected you to take into consideration and abide by. 

“What do you want exactly?” Earlier you were careful not to irritate (too much) a potential donor, now you needed to stay cautious of danger that lurked beneath the surface of Rogers’ handsome face.   

“A lot of things,” his grin was sharp and threatening, “but now, from you? I want this place.”

That actually surprised you. Having watched too many movies, you half expected to hear something about paying for protection, or else your place will accidentally burn down to the ground. 

Instead, Steve Rogers wanted to own the whole place. For what reason? It made absolutely no sense. It wasn’t a company that gained money, you weren’t producing, or selling anything worthy. It was a health center founded on charities, basic contracts with the ministry, taking care of people who couldn’t afford private help. 

“You want to run a health center?” You asked slowly, still not comprehending his words. 

“Not at all.” Steve shook his head, his grin not disappearing. “The grounds it stands on are of value to me.”

At that you felt a surge of anger. Justified, in your opinion. 

A cocky bastard, who potentially could kill you with his bare hands, was attempting to deprive dozens of people in need of medical and mental help they needed, just because he wanted to own some valuable land. 

“There are plenty of available plots all over the city and outside of it.” You rose to your feet in a rush, ready to throw him out of your office (though you weren’t sure how exactly you would manage to do that).

“I am not going to hand over this place, robbing people in need of the help they only recently received, just because you wish to broaden your show-off territory.” You circled your desk in swift steps, standing in front of Rogers with your hands on your hips. 

“I won’t ever sell it. Or hand it over. No!”

As you nearly screamed the last word, it dawned on you what you’ve done. How reckless was your outburst, considering the man you were speaking to. 

You still had no idea who he was exactly, how deep under the ground he buried his enemies - or maybe, quite the contrary, he displayed them for all to see, so no one else would go against him. But you sensed it was stupid to go for his throat so boldly. 

“You haven’t yet heard my offer.” Rogers remained seated, though you noticed his fingers clenching on the armrests of his chair. 

His rings scraped against the metal and you almost felt the cold pressure of them against your own throat. He’d undoubtedly leave red dents in your skin if he clenched his large hand around your neck. 

“I’m not interested in it.” This time your reply came out softer; as if his fingers were already circling the front of your neck, threatening to squeeze. 

You weren’t going to change your decision, but you had enough working brain left to control yourself to not antagonize Rogers further. 

“You should be.” Steve slowly stood up. 

As he did, you instinctively took a step back, bumping into your own desk. Which was a bad move, you knew. Not only you sort of blocked your own way of escape, but showed a sign of fear, which the predator before you undoubtedly noticed. 

“See, I’m not the only one who will show interest in this place.” Rogers rolled his shoulders back, in a move similar to fighters readying to throw a punch. 

With how big he was, how strong his fingers alone looked, you suspected that if he punched you, your teeth wouldn’t only rattle in your mouth, but fall out. 

Though maybe he wouldn’t hit you, just break your neck in one quick snap. 

“Word goes around, especially in this city. Others will reach out to you, too, when they find out I’ve shown interest.” He took a step forward. “Sooner or later. For your sake, I hope it’s too late for them.”

When his gaze slid up the length of your body, it felt like a scrape of a blade against your skin. 

His eyes were so cold, irises a shade of rising sunlight caught in mountain ice, that running a sharp knife along your skin might feel a warmer caress than standing his gaze. 

A chill crept up your spine. 

A different kind of zing surged downward at the unexpected image of Rogers' blue eyes studying your responses as he runs an actual blade over your body. 

Still, you tilted your chin up defiantly, arms crossing over your chest. 

"If it's so desired by many, as you claim, why should I take your offer instead of others?" You asked, stubbornly refusing to bend to Steve Rogers' will. 

Not that you planned on taking anyone’s offer, but perhaps you could play a sneaky game and lead them all in circles with false declarations of selling to the others. Though you doubted they’d believe it for long. Rogers sure didn’t look stupid enough to fall for it.  

He cocked his head to the side, a glimmer of curiosity reigniting in his eyes; like a glint at the tip of an ice pick about to pierce right through you. 

"Because-" his voice was so deceivingly warm and deep- "I can protect you from them. But no one can protect you from me, Princess." 

First obvious threat striked you, forcing the air out of your lungs in a gasp. Your arms fell to your sides, fingers slightly trembling. 

You wanted to accuse him of a big ego, laugh that any petty criminal would say how dangerous they are and no one else could protect you from them. But somehow you believed Rogers. You believed he’s as scary and untouchable as he painted himself to be. 

“There’s no need for condescending names,” you blurted out instead, needing to direct your shaken feelings at something. 

“Condescending?” Steve inched even closer, his feet bracketing yours as his hands slipped between your arms and your body to rest on the edge of the desk. 

He had you truly trapped. Caged between the desk and his powerful body, which radiated warmth that was so tempting to lean into. 

Further temptation was his perfume. A warm spicy scent, notes of cedar and cardamom, with a splash of something awakening, something tart and fresh to pull you from the lulling haze of the first notes. 

His perfume was just like him - a lethal slice of acid hidden beneath a warm, comforting veneer.

“A Princess is a title of a royal family’s member,” Rogers’ eyes bore into yours, “You may not be connected by blood, but you are now an heiress to Stark, who has been treated like royalty for decades.”

“A Princess-” one of his hands brushed your hip- “is also a girl deserving to be spoiled.”

You couldn’t help glancing at his lips when he licked them. Or maybe you wanted any excuse not to be looking into his ice cold eyes. 

“Seize the opportunity while I still consider you deserving of it.” He pulled back; the comforting softness of his voice transformed into coarse bidding. 

“You can keep your center, I don’t need it locked down. But you will sign the property over to my name.” There was finality to his tone which you didn’t dare object at this very moment. “You have twenty four hours to consider. This time tomorrow, I’ll come to hear you say yes to me, Princess.”

Don’t hold your breath, itched to roll out on your tongue. 

You kept silent, however. Twenty four hours wasn’t long enough to wage your options, but perhaps it’ll be enough to contact law enforcement or other institutions and gain yourself help. 

You watched Rogers leave your office, your fingers clenching on the edge of the desk as you allowed tremors to shake you now that he wasn’t watching. 

A few heartbeats, three deep breaths, and you were straightening. 

You walked to the door with purpose, telling yourself you wouldn't shake if Rogers was still behind them. Yet you sighed in relief when you saw his shadow disappearing far around the corner. 

Your gaze shifted from the end of the corridor to the two people still standing nearby. Natalie was typing away on her phone, seemingly unperturbed by what just occurred. Felix wasn’t shaking as much as before, but his forehead was still dewy with sweat. 

“In my office, n o w.” You ordered, though your anger didn’t scare them as much as Rogers calmth did. 

Maybe you needed to start wearing darker clothes? 

You shook your head to rid away the idiotic thought, reminding yourself that you did not want to be anything like Steve Rogers. Your goal wasn’t to terrify people, it was to provide help and safety. 

Something Rogers was probably unfamiliar with as a concept. 

Felix closed the door when both of them entered your office, choosing to stay behind and sit on a small chaise that served more decoration than a used seat. Natalie took the chair which Rogers not so long vacated, spreading her calendar open in her lap and looking at you with her usual readiness to follow the day’s agenda. 

“Who. The. Fuck. Is Steve Rogers?” You paced the floor, needing to get rid of the last remnants of adrenaline his visit evoked. 

“I swear, if one of you says influential-” you leveled them with a pointed glare- “I will throw a stapler at you.”

“He’s a mob boss.” Felix gulped, rubbing his hands against his thighs. “A very, very bad man.” 

“Well, he’s good at running his branch.” Natalie rolled her eyes. “There are three major mafias in the region. Rogers is the head of one of them. Over the past few years, his power has grown enough to push back the other two families, leaving them only scraps.” 

“A mob boss.” You said to yourself, nearly breathless. 

You suspected it, but some naive, helpless side of you didn’t want to fully believe it.

Things like that happened in movies and books. Sure, you were aware the likes of him truly existed, but they never crossed paths with people like you. Hell, the only crime you ever committed was a speeding ticket half a year after passing your driver’s license exam. 

“More like a king, to be fair.” Natalie looked at you seriously, a first flash of her taking the situation as heavy as it was. “He really has ties all over the city and far beyond that.”

“I’ve heard he has at least four senators in his pocket.” Felix piped in, calmer now that Rogers nor his men were anywhere near. “And quite a few big fishes on other continents, too.” 

Rumors tended to be overblown. Those serving to cement someone’s big, scary reputations were probably deliberately maintained, so people wouldn’t fight him out of fear of consequences. As there were - to some - repercussions worse than death. 

“I should assume he has sway over the police, then.” You nearly deflated as realization dawned on you.

If Rogers had even one third of the influence they said, it meant you wouldn’t do well going with this case to the police. He’d know about it right away, which could result in retaliation worse than what awaited you if you just stubbornly said no. 

“I-” Felix opened his mouth, closed it, then opened it again. “He was seen having dinner with the chief of police and some FBI person. Chatty and cozy, like old friends.” 

Your eyebrows rose nearly to your hairline. Natalie turned her head, glancing at Felix over her shoulder with a genuinely surprised expression, too.

“And how do you know that?” She asked; perhaps a little offended that Felix knew more than her. Natalie liked to be the best at everything.

“You know me, I can’t help but live for the gossip columns and blogs.” He admitted, with an embarrassed sigh. “Even if that’s only gossip, I’m pretty sure it’s close to the truth.”

You suspected he was right. If some of the information about Rogers’ connections was exaggerated, still it was safe to assume it had basis in truth. There was no safe way to ensure your actions weren’t reported back to him. 

“Fucking fantastic.” You muttered, closing your eyes and pressing your fingers against your temples. 

If the whole ordeal resulted only in one big headache, you’d take it. Unfortunately for you, there were more problematic consequences awaiting, regardless of your choice. 

“Can’t you just give him what he wants?” Natalie asked cautiously.

“No!” Felix’s protest sounded more vehement than yours.

His suddenly discovered moral spine surprised you. In a good way. 

Natalie was calculating, you couldn’t blame her for that. If saying yes meant little trouble, you probably would choose it as the logical option. But Rogers owning the place meant he could decide its fate at any time. Promises of letting you run it could be revoked within months. Not to mention the reputation of the center would shatter, if the public learned who truly owns it.  

“If Mr Rogers simply wanted me to admit someone into our program, cutting the waiting list, I’d give him that.” You’d still be pissed that some rich fucker wanted to screw over poor people who were also waiting, but it was something at least someone in need could actually gain from. 

“What he wants isn't that simple.” To him it was; a simple yes or no. To you it could change your entire life. 

Moreover, his insinuation suggested others would be coming with similar propositions. Perhaps worse propositions, leaving you no false hope of even running the health center as it was. 

His wrath, if you took someone else’s offer, would probably be a very painful one, too.

Why did it all have to fall on your head? Couldn’t Rogers discover the worth of these grounds a few months ago, when it would have been Howard’s problem, not yours? 

The rest of the day ticked away like mad. Meetings and smaller problems, with which you’d deal easily any other day, now seemed to gain in size and difficulty. Your head wasn’t clear; images of Rogers’ face flashed back before your eyes. The sound of his voice saying twenty four hours resounded with each strike of the clock.  

Before you knew it, the sun was setting. Meaning you stayed at work longer than you first assumed you would. 

It was dedication to what you did, but at this very moment also fear of having to fully face the truth of what was coming in the morning. Who was coming.

And you still had no idea what to do. 

Felix and Natalie were long gone when you left the building, as were the rest of the employees. Only the night shift security guards remained. They escorted you to the parking entrance and locked the door behind you. 

You nervously swayed your car keys in your hand as you walked toward your car, briefly entertaining the idea of driving far far away. 

An escape would postpone making any decisions. But it wouldn’t solve the problem. 

Quite the opposite, it could multiply it. 

Plus, it wasn’t in your nature to just run. You always fought back against whatever life threw at you. Granted, often you fussed and whined, pitied yourself when you had to struggle with something, but you never ran. 

You were a few steps away from your car when you heard a sound from somewhere behind you. Clutching your keys in your hand, you turned around.

There was no one. 

Before you were able to let out a sigh of relief, a dark cloth was thrown over your head. 

Arms wrapped around you, trapping your own arms to your sides. Your scream was muffled by the hood that covered your whole face and a hand pressing over your mouth. 

You squirmed with all your might, trying to jerk your head backwards to maybe break the assailant’s nose. You managed to kick them, your pointy heel cutting into their leg. 

He cursed, but his hold on you didn’t falter much. It was a man, judging by his voice. He called you a bitch when you began kicking back with all your effort, striking his legs a few more times.  

Then another set of hands were grabbing your ankles, depriving you of this form of defense. They hoisted you up, despite you thrashing like a fish out of water.  

Suddenly, your legs were dropped down. You didn’t know why, only heard a grunt and the sound of something heavy falling.

Your other captor cursed, pushing you down so hard your head hit the asphalt. Above you, something metallic clicked, then grunts and sounds of something crushing followed. You rolled on the ground, hoping to blindly get yourself from whatever was happening.

Buzzing noise filled your head as you propped yourself on your hands and knees. You really hoped you didn’t have a concussion. 

With jerky moves, you ripped the hood off your head. Your vision was slightly foggy. It took you a long moment to realize it wasn’t dark because you had a severe head injury, but because it was very late in the evening. 

You glanced toward the commotion. Someone was lying on the ground, unmoving. Perhaps it was the man who was holding your legs. The other one was fighting with someone. Futily. Despite his muscles and physical strength, he couldn’t block any of the fast punches from his much smaller opponent.

You weren’t interested in staying to see who would win. Your savior would have to do with self-pride, because you weren’t going to stay to say thank you. Oh no, you were going to drive the hell away from here.

As soon as you located your car keys, which had to fall out of your hand when you were tossed to the ground. 

You were searching for them in panic, squinting your eyes to see better in the shadows, when a screeching sound of tires pierced the night. 

A black car burst into the parking lot. It raced past you, smoothly wedging itself between you and your assailants, and halting. 

Two pairs of heavy boots jumped out of the car, landing with a thud on the asphalt. One pair ran around the car toward the fighting strangers, the other pair turned your way. 

“Get rid of them,” came someone’s cold, angry voice. 

“Then find that fucking little rat.” 

You almost crawled back on all fours when those boots stopped inches from you and a familiar face came into your line of vision when he crouched down. 

Steve Rogers was here again. 

And it hasn’t been twenty four hours yet. 

You stared at him, both in fear and awe. He appeared to be your savior, but his eyes didn’t hold an ounce of pity or sympathy. A stormy ocean was locked in his irises. You couldn’t be sure if you weren’t also a part of the source of wrath shining in his eyes.  

Steve reached his hand out, picking up your keys, which suddenly materialized so close to you. He tossed them up and caught them again, but didn’t offer them back to you. 

“Come, Princess. Before midnight strikes and more trouble comes your way.” 

“Worse trouble than you?” You huffed, wincing as you tried to stand up.

You weren’t that badly battered, but it still hurt to move. Dizziness took over your head as you clumsily stood up.

Rogers’ hand wrapped around your elbow, supporting you as you swayed a little. There was that smile again - half amusement, half threat - but the shadows distorted it into a wicked grin. 

“Give us a chance,” he teased, not letting you go, but forcing you to walk along him toward his car, “you may like the kind of trouble I am.”

[miraculouslbcnreactions]

Since Miraculous Ladybug is becoming for more mature audiences it should split povs between Marinette and Adrien. Its upsetting how Adrien has such a main character backstory yet he's not apart of it or a major character in the show even though he feels like it. It feels like he should be Marinette's costar but he's treated as some guy most of the time. I get that Marinette's the main character but still Adrien feels so wasted on. Honestly he kinda reminds me of Steven Universe. Dead mom, complex with not being entirely human, well meaning but absent dad(Gabriel's hearts was in the right place but just went down hill). Like when Adrien finds out about the whole sentimonster thing imagine the identity crisis he's gonna have. I also wonder what they're gonna do with Emilie. She's not dead anymore and she was the driving force for why Gabriel did what he did. I wonder if she's gonna be a good mom or if the fan theories are right and she's just as bad if not worse then Gabriel. Rose haunted the narrative because she was so important if it wasn't for her and her actions we probably wouldn't even have Steven Universe or the many momswap aus. But after Gabriel got all the Miraculouses Emilie felt kinda of forgotten and last minute when she was talked about.

Are there any other shows that you sometimes compare Miraculous too?

I don't think that Miraculous is aiming at more mature audiences now unless there was some announcement that I missed? If anything, I'm expecting season six to tone things back down because I'm guessing that it's going to be a soft reboot. New main villain, new animation style, new school, the signs are all there.

Shows rarely ever change their target audience like that. It's just too risky a move. You have to redo the marketing and somehow convey to parents that the show is no longer safe for their child as it's aimed at teens now. But anyone who wants a more serious show for teens isn't going to want to sit through the first five seasons which were not written like a serious show for teens, so the audience for this would be the small subsection of viewers who want to watch their childhood favorite get more serious.

While that's certainly a demographic, it's not the massive one you get when you stick to anyone ages five-and-up. Since five-and-up is also where the toy sales are and Miraculous has a lot of tie-in toys, it would be pretty wild if they abandoned that demographic at this point. I dug up an old tweet that I remembered seeing to give my warning some extra backing. For full context, this was in reply to a tweet asking if the writers consider the teen audience when writing the show:

[Image description: a tweet from the show's head writer reading "they are not the primary audience. The main target is kids 5 to 12 max. It doesn't mean we don't consider older audiences. But it means that whatever we write must not leave the kids behind."]

This tweet is admittedly over two years old and anything is technically possible, but I would strongly caution you against having expectations for more serious content unless you know something that I don't. The show was originally sold as to investors, distributors, and so on as a kids show and, unless they were able to renegotiate those agreements, it's going to stay a kids show.

I'd also caution you against assuming that Emilie is alive. I thought that was where the show went, too, but statements from the writers have made it pretty clear that Emilie is well and truly dead, which further supports my soft reboot theory. Bringing her back means a stronger tie to the previous seasons and you don't want that for a soft reboot.

Please don't read this as me praising that writing choice! I think it was stupid as hell to magically bring back Nathalie while killing off Emilie. They were both dying and only one of them is a domestic terrorist who actively chose death by knowingly using the broken Miraculous. The other is a Good And Pure Soul Who Was Too Perfect For This Cruel World (or, at least, that's what the show seems to want us to think). Plus, if you're going to use the wish, do something big! Change the status quo! But that's not how formula shows work so they probably couldn't do that.

Quick side note: this is my best guess as to why the leaked scripts indicated that Emilie was going to come back when season five ended the show. Series finales are usually allowed include elements that would ruin the formula if the show continued because the show isn't continuing. Season finales are not allowed to do that because the next season needs to stick to the same formula. When season five went from end-of-show to a mere end-of-season, that probably signed Emilie's death warrant. Sorry Adrien, no happy ending for you! Hope you like being an orphan!

Moving on!

In my opinion, it feels like they only used the wish to let Gabriel die and get rid of Emilie without it being too traumatic for the indented audience, but it's still basically a murder suicide being treated as a happy ending which is wild! At least it was a pretty one where the murderer and his victim ascended into the light?

We admittedly might see larger impacts from the wish next season as we don't explicitly know what the wish was, but have they ever let a season finale lead to something interesting? Not really, so I don't see why that would change now. I'm not even sure if Adrien's sentistatus is going to come up again. It should, but it may also just fizzle out because the writers don't know how to deal with it. The sentimonster thing is not the kind of plot point that you can handle in 20 minutes, especially when you have to include some sort of akuma fight, too. Bringing up the sentistuff would also complicate a soft reboot so, yeah, I have no idea if they're ever going to touch it again.

As far as recs for shows like Miraculous go, I'm afraid that you'll have to be a little more specific about what you're looking for because Miraculous is trying and failing to be a lot of things. If you want a duo show with a lot of banter, a badass female lead, and a goofy-but-narratively-important male lead, then I'd point to Kim Possible. If you want a team show with romantic undertones, then Teen Titans is a good pick. If you want identity shenanigans, magic, and romance, then American Dragon Jake Long might be worth checking out in spite of the very dated slang, though fair warning that one is enemies to lovers. It's done in a very fun way, but it's not a partner show like Miraculous kind of is and the romance is also not the main focus.

Part of the reason I was drawn to Miraculous is that shows about superheroes don't tend to have a strong romance element to them, so there aren't a ton of options for me to give you when it come to shows that fill a similar niche. However, if you're willing to go into the realms of fanfic, then you've got a wealth of options. Pretty much any property with secret identities will have fics about identity shenanigan romances. Love squares are nothing new. I've been reading them for years! I basically watched Twelfth Night when I was about eight and never looked back. Identity shenanigans or bust!

People will even bring them into fandoms that don't have any secret identities because identity shenanigans are really fun to play with! They make for some of the best romances. I'm sure that you can also find them in novels, but it's not something I've seen a lot of, so I mostly stick to fanfic for my identity shenanigan needs. That's where almost all my recs are from.

Should I do a fanfic plug to demonstrate what I mean? Yeah, why not. This baby deserves more readers and, if you like Miraculous, then you'll probably love this. (Seriously, if you read it, feel free to come talk to me about it. It's so good and also proof that I really am drawn to very specific tropes. What can I say other than I know what I like?)

We Didn't Start The Fire by ohhgingersnaps

Ava is all burned out, literally— she’s an exhausted JojaCo employee by daylight, and pyrokinetic superhero The Phoenix by moonlight, until she accidentally starts a fire at work and has to blame it on her superpowered alter-ego to avoid being discovered. The Phoenix is forced into early retirement, and with nothing else to lose, Ava moves to her grandfather’s old farm for a new start. Between restoring the farm, resolutely bottling all of her feelings, and trying to keep her powers under wraps, Ava has a lot on her plate. She’ll figure it out. Eventually. She hopes. Meanwhile, the hacker Memento, Phoenix’s good friend and confidant, is left to pick up the pieces alone after her sudden disappearance. He’s fully convinced that she didn’t start the fire, and he’s determined to discover the truth and clear her name... As long as he doesn’t fall for the pretty new farmer down the road, first. Part superhero AU, part mental health recovery arc, and part rom-com, topped with a generous serving of secret identity love square shenanigans, hurt/comfort, shameless flirting and banter, and dramatic irony.

I've mentioned before that I don't like OC main characters. Video games are the one exception to that rule. I'm really not big on reader inserts (no judgement, just personal preference), so when I read fanfic for a video game with a self-insert type main character, I'm looking to read about people's fully developed OCs, but I also want a good deal of the focus to be on the game's characters as they're the only reason I'm looking for stuff to read. That's what this fic is and I love it!

I also wouldn't normally rec fanfic for properties outside of Miraculous since this is specifically a Miraculous blog, but this is Stardew Valley fanfic, which is why I picked it over fic from other, more complex properties. If you don't know that game, it's a farming sim whose cast is developed enough for you to get attached to them, but who don't have a ton of depth, so you can read this sucker without having touched the game because there's no deep lore here. The game dev is apparently pretty open about the fact that he kept lots of things about the characters ambiguous so you could read things like their relationships and ages in whatever way makes you happy. Only prep work I might recommend is reading the character summaries from the game's wiki and you'd only need to do that for the named characters.

As I said above, fics like this are where I get my more-serious-story-with-identity-shenanigan-included itch scratched and are what I'd recommend looking for in either fanfic or original fiction form if that's what you like as TV shows just don't seem to have this kind of content, probably because TV shows often draw plot lines out to maximize views while novel-style stories generally have a clear end goal, which is why it can be hard for TV romances to feel satisfying. However, there are certainly a ton of TV shows that I haven't watched, so if anyone has recs for anon, then feel free to drop a comment or give this a reblog with your rec list.

[dramadramallama]

Love Supremacy - brain rot part 1

So I have a problem. I enjoyed the first half of Love for Love's Sake without knowing I would get absolutely bowled over by the second half. I have so much to say holy fuck, I'm all over the place.

Unfortunately for everyone, my brain has been love supremacied, and I'm unable to move on. The show has a high rewatch value. It’s full of details; big, important ones, and small, insignificant ones, but they all add a lot of weight to the story. I need to exorcise my thoughts for my own sake. I guess if I have to intellectualize it somewhat, I really liked the show cause it’s perfectly balanced in terms of structure, and its themes. Judging from the amount of notes I have made on this show on my second watch, it’s safe to say it’s got some substance. It cleverly uses a mise en abyme, “a story within a story (within a story)” to really stack all those layers, and answer an age-old, quite difficult question: “what’s crucial to a happy life?” Dialogues, scenes, characters, and motifs all echo, mirror, and circle back to one another, giving the story enough dimension to avoid banalities.

Simply put, the thesis of the show is surprisingly philosophical, with universal themes. It posits that life is neither fate nor chance, and the answers are in mundane details of life. "Happiness is hidden somewhere in each of our days."

It’s obviously about love; a double love story even. Myung-ha learns to love someone else, and himself too. It's about life, and it's about death, new beginnings, and everything in between. The show made me feel like this, and like this, and like this, and...

▶️1. Mirrors/Symmetry

2. Fate, Free Will, and Happiness

3. Game/Reality

The story structure is very symmetrical. Circular almost. I LOVE IT, I EAT IT UP LIKE A HUNGRY, GRUBBY GOBLIN. Things begin where they end, elements keep repeating themselves like a series of mirrors.

By going through the game, Myung-ha finds himself on the other side of the mirror: he is supposed to find his own happiness, and will to live.

Yeo-woon is introduced to the audience as a sad side character in someone else’s story, victim of his “fate.” He almost perfectly mirrors Myung-ha: his background is eerily similar to his. He was raised by his (recently deceased) grandma, with an absent mother and a dead-beat dad. He’s lonely, unhappy.

When Myung-ha first meets him, Yeo-woon is resolutely standing on top of a building, about to fall or jump, which directly parallels Myung-ha's own suicide. In this new iteration of life, in this “game,” he saves Yeo-woon from hurting himself, which is the start of his own salvation. Saving Yeo-woon, the poor guy who didn’t get his happy ending, is saving himself. Yeo-woon is like a version of him right before he lost control of his life, after his grandma died, and he felt abandoned by all. It’s the core of the game, and the core of the drama, but Myung-ha (and we, the audience) can’t understand it right away.

Several details, in retrospect, show that he is the driving force behind this "game", and that it’s, by lack of a better term, both a test (as in, an exercise, a learning mechanism) and a Test (as in, an exam you don't wanna fail.) Myung-ha’s main, most important mission is to “make Yeo-woon happy.” Which he happily and enthusiastically tackles. He does what we all do: he takes a liking to the character most relatable to him. Time and time again, the way he reacts when presented with someone who struggles the same way he did is very telling.

He provides comfort. The comfort he lacked in his own life. (distant sounds of my heart shattering.)

But Yeo-woon isn’t the only one mirroring elements of Myung-ha’s life. Sang-won is a careless, tough-looking student, who seems slightly directionless. He picks fights easily and has a reputation at school for being “crazy.” He also smokes and rides a motorcycle (both illegal lol). His mom having abandoned Myung-ha, it’s also relevant to note Sang-won doesn’t seem to have a very good relationship with his own mother, and craves her attention. Although, he is your typical badboy, he is overall nice, sensitive, and has good intentions.

Myung-ha himelf appears to have been quite the turbulent student, with his own “mad dog” nickname. He, just like Sang-won, knows a thing or two about school fights, also drives a bike (lmao 100% sure he didn’t wait to have a license to drive though). Although he berates Sang-won for his rebellious side, with the patronizing tone of someone who’s done it all before, he shows genuine care.

Finally, Kyung-hoon. To me, he’s like another facet of Myung-ha’s personality. An absolute sweetheart, without friends, but always ready to help, and open to be befriended. While Myung-ha seems nonchalant about speaking badly of himself, he cannot stand it from others. He makes him his friend on the spot.

Once again, he provides like-minded friends the safe space he probably would have liked as a troubled, most certainly depressed teenager. Of course, it turns out Yeo-woon hates himself the most too (and by extension, dislikes everyone else.) It's the first clue for Myung-ha to realize some self-love might be the answer.

As it will become increasingly clear, Myung-ha has no issues protecting, providing for, and loving others, but fails to realize he should do the same for himself to achieve balance, and maybe, a little bit of happiness. The journey to get there makes him care for someone else the way he should care for himself, love someone else, like he should love himself. 

The last episode does a wonderful job of confirming what seemed to be threaded through the whole show, and explaining very clearly, in no uncertain terms, what it was all about.

However, the interesting aspect of this “mirror world," is that all of them, and Yeo-woon in particular, flip the script, in more ways than one. They all are a reflection of Myung-ha's life, but transcend their condition of “fictional character.” They’re not virtual. Yeo-woon is not made of something unreal, and he’s not a messed up copy of someone else. He has his own needs, desires, and quirks.

I don't think I can name them all here, but one of my favorite circular storytelling moment happens when Yeo-woon parallels Myung-ha by running to "find his fave." That moment in ep 8 counterbalances the one in ep 1.

Nothing is written in stone, and both of them set off to build their own happiness, against fate.

[llliiinnnaaa]

Reprisal | Chapter Eighteen

coriolanus snow x gaul oc

Summary: Ten years after the Tenth Hunger Games, Coriolanus Snow is under Dr. Volumnia Gaul’s wing as a Gamemaker alongside her niece. Unbeknownst to either of them, they’re both being prepared for a much greater task.

Warning: This story will contain explicit violence against adults and children alike (I mean, it’s Dr. Gaul AND Snow) as well as explicit language, and sexual situations.

***This fic is in no way, shape, or form, me endorsing or co-signing the horrific shit Snow does, nor am I trying to romanticize it. Also, apathy and will be the main driving force of any remnants of a relationship between my OC and Snow’s character. So if you’re interested in something very romantic and fluffy…it’s not gonna be this.

Thank you for reading, I hope you like it!

     “. . .Dr. Pinnacle is right. I haven’t seen any combat. Nor have I had to drag any of my fellow soldiers’ bodies to safety while they bleed out from their war wounds . . .” He trails off, vivid images of Livia’s father chopping into the frozen carcass of his dead maid in the street re-entering his mind. 

His dead mother. 

His murdered father. 

“. . . Most of us didn’t.” He adds, raising his brows. “However, I wouldn’t go as far to say I can’t comprehend the cost of war. I know the cost of war — much like every citizen of the Capitol who was old enough to be affected by the three years of confusion, pain, and suffering each of us endured. My grandmother, my cousin, and myself starved – we all starved. . .” Coriolanus adds, furrowing his brows as he glances at Pias and sees him roll his jaw, already knowing where this is going, but Coriolanus only throws salt in the wound when he briskly adds, “Not even accounting for the lives lost due to lack of resources, like my mother and baby sister who passed in childbirth. Or those who fell in battle like my father, and left their families riddled with grief and the harsh readjustment of no longer having them present once the war was done with, or those who did return but were mutilated from war wounds, visible and invisible, and were no longer the same people they had been when they had been drafted, and had to readjust accordingly.” He continues, raising his brows. “So, you all might understand my concern and disappointment that Dr. Pinnacle equates comprehending the hardships of war with whether one was in the thick of combat, or not. My disgust with his backwards way of thinking is only amplified by the fact that his very own fiancee lost all four of her brothers during the war. And more recently, lost her four year old daughter at the hands of rebels!”

There’s a shift in the audience and Tawny is standing to her feet, chest heaving as her heart hammers, and Snow looks at Pias directly.

“ – Yet you have the audacity to stand here and say that she, myself, and all the Citizens of the Capitol know nothing of the cost of war –”

“Mr. Snow, you cannot address Dr. Pinnacle direct –” 

“ ��� When we all have scars that prove that we , and the people we loved, paid for it!” Snow ignores Lucky’s attempt to get him back in line with debate regulations.

A pin could be heard dropping if someone decided to do so, the packed out University Auditorium collectively holding their breaths awaiting Pias’ reaction of his own love being weaponized against him. 

It’s even more effective being as Tawny hadn’t even spoken of Tullia with him. 

In fact, he had completely forgotten she had a child at all, as he never paid attention to her truly until after she became a Gamescientist. 

Then, something more sinister begins to settle in his mind upon this realization. 

His concocted plot with Dr. Gaul, to bomb the arena to change the terrain in hopes of a better show, ultimately murdered his fiancee’s child.

And she has no inkling of an idea it truly hadn’t been rebels. 

He can see it in Coriolanus’ eyes, the blue hues looking at him in resentment, disgust, horror, rage, fury . . . he knows the truth. It’s why Snow sharply added it, his venom spewing.

But how does he know, is Dr. Pinnacle’s question.

Philo Marius nervously watches the screen as the two men stare one another down, Coriolanus’ chest rising and falling with each deep breath. 

He can feel the fury rolling off of him in waves. 

To anyone else it probably appears that he’s glaring at his competition, as opponents do, but Philo, Tawny, Livia, and Tigris know very well that he’s seething.

Only Philo, and now Pias himself, know it’s not just because of Dr. Pinnacle’s statement. 

Not another word is spoken between the two men as Pias rips his microphone from himself, Lucky pipes, “Dr. Pinnacle, if you leave the stage, it may reflect poorly –” He shuts up when Pias tosses the microphone that had been pinned to him onto the floor and leaves the stage despite Lucky’s advice not to. 

Tawny doesn’t wait to see how Lucky wraps it up as professionally as he can, abruptly shoving herself past Philo and Cyrus to exit the room and find Pias. 

He’s storming toward her, and she’s immediately stating, “It’s okay,” grasping at his hand only for him to snatch away from her, her touch making him nauseated as embarrassment shutters through him as he grits out, “It’s not okay.”

“Pias.” She speaks gently, taking his hand once more, her other gloved hand caressing his cheek to get him to look at her, “It’s okay –”

“ – It’s not!” He barks yanking away from her before harshly demanding, “Why didn’t you tell me?!” 

She knows he’s referring to Tullia, and she struggles to find an answer. 

She assumed everyone she worked with knew at one point or another. 

With prompted applause from the crowd, Snow exits the stage, Pias’ eyes flickering in that direction, his steps following his own gaze. 

“Pias, no!” Tawny hisses, grabbing his wrist.

Her tugs don’t slow him down as he tears his way toward Coriolanus who is kissing his wife’s cheek.

“Pias!” She shouts it to give Snow a warning, and he’s turning to see Dr. Pinnacle barreling toward him. 

Albus Shoemake, who had decided to watch the debate on one of the monitors closer to the stage, intercepts them upon seeing Pias’ line of sight.

“Dr. Pinnacle,” He starts, in his way.

“Move, Albus.” 

“Your career , Pias. Presidency or not. Your career . All you have worked for.” Albus states quietly. “It will all be gone.” 

Pias calms, taking in a breath, swallowing thickly, before slowly nodding, giving Tawny and Albus both the impression that he’s gotten his wits about him. 

Perhaps he had for a moment, until the horror show that was Coriolanus ripping him to shreds, weaponizing his own fiancee against him, confirming to him he knows what Dr. Gaul and Pias had done to Tawny’s daughter . . . 

Pias charges past Albus, fist balling up as he shouts, “Snow, you son of a bitch!”

“Pinnacle!” Albus tries to grab at him. 

He blindly swings, seeing red, only hearing the blood curdling scream after his fist knocks into teeth. 

His vision clears to see Livia Snow on the ground, a shower of red pouring from her as she silently cries like an overwhelmed child, paralyzed by pain from several of her teeth being shattered.

All he recalls next is Snow abruptly lunging at him, unable to seek his retribution due to the Peacekeepers peeling the two men away from one another.

      Mortified was an understatement. 

Utterly embarrassed, humiliated, so much so that she was tempted to lay across the train tracks and go to that place of eternal sleep. 

The Justice Building is freezing despite the frigid air outside, the sickly clean, crisp air burning Tawny’s nostrils as she waits in the uncomfortable steel chair in the lobby. 

“He’s in the process of being booked. I’ll let you know when, or if , he can be released tonight,” The clerk had informed her upon inquiring about Pias’ whereabouts

He’d been arrested quickly after his fight with Snow had been interrupted. 

The two men had both been brought here. 

Once they release Pias, they may have to get her next for getting him as soon as they get into the parking lot. 

Eventually, the metal doors click open, Tawny coming to her feet expecting to see someone willing to speak with her about her fiancé. 

Instead, she’s met with Snow’s sharp gaze as he flatly states, “He’s still being questioned.”

He hopes she’ll leave him be and stay so he can focus on finding Livia and going to her, but Tawny can’t miss her opportunity to rip into him until she’s able to rip into Pias, following him out of the building. 

“You should have kept your mouth shut about me, my brothers, and my daughter.” She says when the freezing air hits them. “I appreciate you defending me but you had no right to use us for your political gain.”

“It had nothing to do with me defending you or my policial gain. I was insulted, and you should have been, too.” He snaps back to her, the two of them stepping down the marble steps. “My point was made either way, and he pitched a tantrum because he knew he was wrong.” 

“You had no valid grounds to bring me or them into this,” She grabs his wrist to pull him to a halt, causing him to huff out a breath. 

“No, he had no valid grounds to turn his nose up and get on his soap box to minimize everything and everyone we have all lost. All on a technicality that most of us weren’t shooting rebels left and right out in the districts.” He grits out to her through his teeth, finger pointing at her. “And if you want to defend him so valiantly then go ahead, but I’ve always thought more highly of you than aligning yourself with someone so asinine .” He hisses. “Though you did spend fourteen years with Dyess Crane so I shouldn’t be perplexed by your unwavering loyalty to his equally moronic successor—”

“ — Oh, please, Snow, give me a fucking break — ”

“ — You truly know how to pick them, Tawny.” It’s ranted out, seeing the hurt in her face as the words spill from him. 

“You gave me no other choice!” She raises her voice, bitterly. “You’re with her . You chose her . You stayed with her . You’re about to have a baby with her !” 

“Keep your voice down!” He scolds her quietly, yanking her closer to him. “We are not having this conversation.” He adds harshly. 

“Of course we’re not. It would make too much sense for someone so insistent on getting me to abandon every relationship I find myself in, to want to have a conversation about why that is.” She cuts out at him, taking deep breaths to soothe her hounding heart. 

It’s on the tip of his tongue, his recent finding, the plethora of redacted information Dr. Gaul held so close. 

The arena bombing that took place a decade ago, the precious Capitol lives it took with it. 

Felix Ravinstill. 

Tullia Gaul. 

How it had been Pias’ idea to bomb it in the first place. 

Just like Dyess Crane, Tawny’s oblivious to his lies and deception. 

It seems Coriolanus is the only lover she’s had that hadn’t kept such secrets from her. 

But now he has to. 

With Pinnacle unofficially — but officially — out of running for President due to his acquired criminal charge, Coriolanus is the last man standing. 

Which means protecting the institution of the Capitol over his own personal relationships has never been more imperative. 

He stares at Tawny, those words still on the tip of his tongue, but instead, he says to her, “I’d like to know why it is you’re so desperate to be underneath someone that you can’t see who they truly are until they do something horrendous like sabotaging your career, or assaulting a pregnant woman.” 

He gets his desired effect, her full lips sealing shut as she thinks of what to respond with, what to cut him back deeper with.

But she can’t. 

“If you’ll excuse me, I have to get to the hospital — you know, a busted up wife with a stressed out fetus by the hand of your fiance, and whatnot.” 

She closes her eyes and lets out a shuddered breath with his words, and he’s walking away when she opens them back up again, guilt eating her alive. 

      Coriolanus arrives at Capitol General with a swiftness in each step as soon as he exits his car, tapping impatiently on the resting rail in the elevator, irritated with each passing second until he approaches reception and asks, “Livia Snow?”

“Just over there, Mr. Snow,” she points to a row of beds all encircled with privacy curtains. “Third one from the left.”

He sees Philo standing outside of the curtain, and pipes, “Thank you,” before heading toward him. 

His chest tightens at the sight of Livia’s bruised face, her chin black and purple, swollen with her lips. 

She’s asleep, as at ease as she can be. 

“Several of her teeth are gone, they suggest implants when the baby is born. Her jaw is fractured — they said when you got here they would come and explain things better in depth. They’re giving her mild painkillers that are safe for pregnancy — they were vague as to what those were exactly, but she eased off about an hour ago. She was hysterical when we first got here.” He explains to Snow. “The nurse came in and said the baby’s fine. Tigris left after that and took Cyrus home.” 

“I should have kept my mouth shut.” Coriolanus admits, hating the fact he agrees with Tawny. 

“Mr. Snow, the debate was a success. You won. Pias is going to be out of the running.” Philo tells him, reassuringly.

“My opponent assaulted my wife.” He scoffs, rubbing his forehead.

“Because you made a rather outstanding point. How can a President undermine his people and discount their sacrifices? He’s too out of touch. Too arrogant. I wouldn’t have felt comfortable with him running the country.” Philo continues, seeing Snow’s apprehension still evident on this face. 

He moves closer so not a soul more can hear what he says, next, “I wouldn’t have felt comfortable with having a President who knowingly put the lives of Capitol children at risk all in the name of better entertainment.” He whispers, honestly. 

Accident or not, Dr. Pinnacle knew Capitol citizens and their children toured around outside the arena each year the Hunger Games had been held there. 

He knew the risk, he merely didn’t care. 

Snow thinks for a moment, rolling his jaw, looking at his bruised wife. 

She’s going to need dental implants for ruined teeth. 

On the bright side, perhaps they’ll wire her jaw shut. 

He then thinks of their daughter, still trying to grow and absorb all the nutrients she can. 

Will she get fed enough if her mother can’t eat normal food? 

Wincing at the thought, he’s interrupted with a tug at the curtain, revealing Dr. Gaul.

He bristles at her presence, rolling his jaw, and she holds the same expression, unamused with his performance tonight during the debate. 

“Mr. Snow, a word.” She says to him, to which he quips, “I’m waiting for her doctor.” 

“A word. Mr. Snow.” It’s repeated intensely, different colored eyes glaring at him flatly. 

He feels as if he’s back to a teenager under her guidance once more. 

After their success as somewhat of a team in his last few weeks at the Academy, when she had fully taken him under her wing at the University, he did everything with her approval of it in mid. 

They thought so alike that anything that would make her proud – any law, bill, new idea to be implemented into the Games – he could think of, he would jump at the opportunity to do so, and he hadn’t been steered wrong, yet.

But knowing what he now knows about that bombing, how she covered it up, allowed it to continue to be blamed on non-existent Capitol rebels, allowed her great-niece to be blown to bits. . .allowed Pias to go unpunished for such stupidity. . . 

He sees her differently. 

Truly a loose canon in her complacency. 

He frees himself of the confines of the small space of Livia’s makeshift room, searching for any place with large enough space to withstand near Dr. Gaul without showing his repulsion. 

She doesn’t know he knows the truth. 

He doesn’t want her to know that he knows. 

“That was uncalled for tonight.” She states, her eye twitching. “A petty attack of a personal life that has no business in politics.”

“Much like him belittling me due to my age, correct?” He furrows his brows, earning a small sigh from her. “He’s an infant in an adult's body, pitching a hissy fit because a twenty-eight year old has already made a mockery of his career, and is now gunning for his Presidential run, as well. A Presidential run that I also put to rest, so he’s more than likely planning my assassination  as we speak.” 

She doesn’t speak for a moment, looking at him for a few minutes before stating, “There are some who believe it would be best for you to get some time away from the Capitol for a little while.” 

Coriolanus rolls his jaw, feeling his nostrils flare with irritation at his words. 

“What exactly is that supposed to mean?”

“It means only a select few know of what Dr. Pinnacle did to Mrs. Snow, so he still has loyal supporters in the Capitol that are not very fond of you. Once he announces he’s exiting the race, he will endorse you. All while you travel to a few select districts to address whispers of rebellion, and ease their. . . concerns .”

“Excuse me?” He feels sick at the thought of stepping foot anywhere surrounded by District mongrels, let alone mongrels that itch for another uprising. “Throwing me out into districts that want me dead?”

“You won’t be by yourself.” She informs him. “Mr. Marius is going with you, as well as Dr. Gaul.” 

Dr. Gaul.

It’s a sick sense of humor she has. 

A mad woman entertained with the idea of watching Tawny and him both squirm with the uncomfortable ghost of their previous affair, added on to the already uncomfortable atmosphere of any and every District they’ll be sent to. 

Then he remembers every step she gives him to take is merely a test. 

“Another test?” He asks her, accusatory, watching her smile truly, unaware of her reasoning behind it.

“Consider it your last one.” She assures him.

“What about my wife?” He demands, next.

“Mrs. Snow will remain here in the Capitol at her mother’s estate where we will fund personal doctors and nurses to give her the utmost care and attention while she prepares to birth your child.” She says next. 

He looks at the ground, asking, “And Dr. Pinnacle?” 

“No need to worry your mind with such matters.” 

[tanthamoretober]

A round up of all the fics hitting the horror prompts for the first week of Tanthamoretober (though some might be hitting future prompts, they were still posted this week so they count. Time is an illusion!) Don't forget to leave a comment if you liked a fic! We've got a lot of the month left to go and our amazing authors need to feed on your love and attention (and sometimes, your fear.)

Day 1: Stalking

Keeper of the Woods by Silver85 Rating: Mature Summary: Jade finds herself hunted through the woods. Part 1 of Loving Me Loving You, (AWOOOO)

One Night in October by TheLateNightStoryTeller Chapter 1: The Man in the Road Rating: Teen and up Summary: On their way back from a family visit, a turn of events leaves Kit and Jade stranded in the wild. As night falls and the weather grows colder, the pair soon realize that someone in the woods is hunting them.

Day 2: Lights out

lights out, candles out by Geek_and_Nina Rating: Mature Summary: Kit is left frustrated, high and dry when Jade hears a noise and has to go check it out... right at the good part (also appears for the prompts ‘season garments’ and ‘dry humping’) Part 3 of Show Don't Tell

Day 4: Bugs

Such Bravery Deserves Devotion by Silver85 Rating: Explicit Summary: Sometimes there are better ways to help your werewolf work off excess energy. (also appears for the prompts ‘pumpkin spice’ and ‘face sitting’) Part 4 of Loving Me Loving You, (AWOOOO)

Budding Nightmares by Geek_and_Nina Rating: Explicit (also appears for the prompts ‘pumpkin spice’ and ‘face sitting’ Part 4 of Show Don't Tell

Day 5: Monsters

Longing for the Perfect Kiss by sofys37 Rating: Explicit Summary: Kit has been searching for centuries, without ever giving up hope that one day she would find the one worthy to be by her side. Jade is just having a regular night out until she meets Kit. (also appears under the prompt 'dry humping')

Silver Bites by Silver85 Rating: Teen and up Summary: Jade knows to not chase sounds in the dark, but she braves forward ever deeper and discovers the woods hold monsters. Part 5 of Loving Me Loving You, (AWOOOO)

Autumn Drive-In by Geek_and_Nina Rating: General audiences Summary: The gang goes to the movies in matching outfits (also appears under the prompt ‘Autumn Breeze’ Part 5 of Show Don't Tell

Day 6: Possession/Exorcism

Let's take a knife and cut the world in two by spybrarian Rating: Mature Summary: Exorcist Jade and Possessed Kit in a world growing darker and more infected by the year, but love is the most powerful force in the universe... right?

Day 7: Injury

Nightwalk by Cailean Rating: Mature Summary: In the forest at night on her way home Jade has an unexpected encounter with a fabled creature. Will she help it? What you don't know, can't hurt you by Haruka81 Rating: Explicit Summary: Kit had always wondered why Jade was constantly wearing high necked clothes and now that her relationship with Jade had finally shifted from a platonic friendship to a physical romance, with a lot of kisses and make-outs, Kit really wanted to move things further.. And having Jade constantly stopping her from undressing her, was making Kit quite frustrated. (also appears under the prompt 'first time')

Hunters Beware by Silver85 Rating: Mature Summary: Jade get hurts and Kit handles it appropriately. Part 7 of Loving Me Loving You, (AWOOOO)

heart in hand by Geek_and_Nina Rating: Explicit Summary: Kit and Jade go to the community trunk or treat everything is fine and awesome and that's all that happens also the stuff in the tags happens (also appears under the prompts ‘bondage’ and ‘apple bobbing’) Part 7 of Show Don't Tell

Day 18: Haunted house

Whispers of Nockmaar by KitsKat18 Rating: Explicit Summary: Boorman takes the crew to a mansion which might or might not be haunted.

Want to get involved? Here's the list of all the horror prompts for the rest of October!

[justforbooks]

The career of the actor Andre Braugher, who has died of lung cancer aged 61, was benchmarked by two performances in police dramas a generation apart. In the groundbreaking drama Homicide: Life on the Street, from 1993 until 1999, he played Detective Frank Pembleton, whose drive immediately made him the anchor of an impressive ensemble cast led by Yaphet Kotto and Ned Beatty. He drew a younger audience with the comedy Brooklyn Nine-Nine (2013-21) as Captain Ray Holt, who takes over a chaotic homicide squad and whose intensity again makes him the heart of the show.

Braugher’s deep, resonant voice and seemingly effortless control drew the respect of all he worked with. David Simon, creator of Homicide and The Wire, said: “I’ve worked with a lot of wonderful actors. I’ll never work with one better.” His classical training, at the Juilliard School in New York, made him a regular at the Public Theater’s Shakespeare in the Park, and indeed his portrayal of Henry V in 1996 won him an Obie (the off-Broadway equivalent of the Tony awards).

He brought the projection of the stage to the small screen. Pembleton was the master of “the Box”, or the interrogation room. He explained to his rookie partner in Homicide (played by Kyle Secor), it was “salesmanship … as silver tongued and thieving as ever moved used cars, Florida swamp land or Bibles. But what I am selling is a long prison sentence.” He dominated those small scenes, but the episode Subway, with Vincent D’Onofrio as a character pushed between subway trains, who will die once the trains are separated, was a two-hander whose intensity might have come from the stage of Beckett, Pinter or Mamet.

In Brooklyn Nine-Nine, as Holt, he played it straight in two senses. The adage of comedy being funniest when played straight gained resonance from Braugher’s ability to show the audience with a gesture or line-reading that he, like you, got the joke. But Holt is also gay. His gayness is never an issue, except as motivation for his progress within the police. It was as if Pembleton were stepping into Kotto’s “Gee” Giardello, a black man with an Italian father who was determined to rise in a white-dominated department.

This drive reflected Braugher’s own background. In the tough neighbourhood of Austin, on Chicago’s West Side, both his parents worked for the government; his father, Floyd, was a heavy equipment operator for the state of Illinois, and his mother, Sally, worked for the US Postal Service. He recalled he might have “pretended I was hard and tough and not square”, but he won scholarships to the Jesuit St Ignatius College prep and then to study mathematics at Stanford University, California. After walking into a student production of Hamlet, and playing Claudius, he decided he wanted to act.

Another scholarship took him to Juilliard. He graduated in 1988 and almost immediately was cast in a TV revival of Kojak, as his assistant. His first film role came in Glory (1989); he was so impressive as the educated Thomas Searles, forced to serve as a private soldier in the all-black regiment commanded by his white friend, that Hollywood came calling, but the parts were standard stereotyical roles. His father had questioned how a black actor would make a living, and Braugher later explained: “I’d rather not work than do a part I’m ashamed of.”

He played the lead in a TV movie, The Court-Martial of Jackie Robinson (1990), playing Robinson, the first African-American player in major league baseball, who earlier in the 1940s, as a US army lieutenant, had refused to ride in the back of a segregated bus; and appeared in another TV film, The Tuskegee Airmen (1995). He was an egotistical actor in Spike Lee’s Get On the Bus (1996), about the Million Man March on Washington DC the year before. In 1998 he won his first Emmy award for playing Pembleton; he was nominated 11 times, and won his second in 2006 for his role in the miniseries Thief.

After Homicide, he starred as a doctor in Gideon’s Crossing (2000-01), as a cop in Hack (2002-04), as a car dealer in the comedy-drama Men of a Certain Age (2009-11) and as the captain of a submarine which goes on the run after he refuses to obey orders to fire nuclear missiles in Last Resort (2012-13). He had another series of remarkable two-handers in a recurring role as Hugh Laurie’s psychiatrist in House, was a defense attorney in episodes of Law and Order: Special Victims Unit, and voiced Governor Woodchuck Coodchuck-Berkowitz in the animated comedy BoJack Horseman.

He made the most of supporting roles in films such as Primal Fear (as Richard Gere’s investigator), Poseidon (captain of the sinking liner), Salt (as the US secretary of defense) and most notably as a New York Times editor in She Said (2022), covering the Harvey Weinstein scandal. He also starred in 10,000 Black Men Named George (2002), the story of the unionisation of Pullman railway porters, who were always called “George” by passengers.

Braugher admitted that his career “could have been larger, but it would have been at the expense of my own life”. He lived in suburban New Jersey with his wife, the actor Ami Brabson (who played Pembleton’s wife in Homicide). He said he wanted his three sons, Michael, Isaiah and John Wesley, raised in a “true context”, away from being a movie star’s offspring in Hollywood.

He is survived by his wife and sons, his brother, Charles, and his mother.

🔔 Andre Keith Braugher, actor, born 1 July 1962; died 11 December 2023

Daily inspiration. Discover more photos at Just for Books…?

[randomwriteronline]

THE YESTERDAY QUEST (band) LINE-UP LETS GOOO

ever since i described the hellish possibility of a lesovikk-varian-chiara-zariah-orde-krakua (+ gelu) toa team as an emo band the thought "ok but what if they WERE a band" has plagued my thoughts and hands, so here they are!! in human form bc ive just discovered anatomy and i cant do proper bionicles yet. i dont trust myself

i also have like. Lore about them. sort of. also pls help i need to figure out their clothes

Lesovikk (guitar) looks like he crawled out of a dumpster at all times but he does actually have a place to stay, he's just Not Doing Good. He can shred the angriest riffs you've ever heard but at heart he's a melancholy boy forced (by himself) to be Fucking Mad. Leader on the sole basis that the others would be worse. Usually cranky but turns into a bashful sunshine the second his friends Idris and Sarda show up, and it's super weird for everybody else to see him like that

Chiara (bass) is an old school punk who has bitten at least three people this month and fistfights Orde daily. They met at a concert while she was trying to swoon his sister and he kicked her in the knee. Fixes up the instruments constantly because their hq is a humid basement that messes the wires and stuff all the time. Most competent musically but hellish at human relations

Orde (keyboard/keytar/guitar) swears he had a psychic experience at a rave because the music was just So Good. The only ones backing him up are a bunch of guys who claim he brain blasted them during it and hate him. Cyberpunk guy. The band is named after a 26-books-long mystery-horror-sci-fi-psychological series he failed to write and Chiara will tell EVERYBODY about it much to his hatred

Zariah (drummer) hit a growth spurt at 13 and the rest of his body is still trying to catch up to it. Heavy metal goth who funds the band via his job as an ironmonger and metallurgist. No clue what he or the others are doing, he's just here to beat the shit out of the drums. Despite looking Not Approachable when people want to talk to the band they go to him because he's the least off the shits

Gelu is technically part of the band in that he drives them to places because none of them have a license or a car. His own car is a mad max death trap he built himself in his old days as a member of a fairly peaceful motor gang. Sometimes he still dresses up in "uniform". Universally beloved by the members of the band. Actually likes hanging out at their gigs to watch them perform. Also helps Lesovikk via therapeutic make out sessions (they're not together)

Krakua (vocalist) can fit so much volume in him. He needs to stand six feet away from the mic or he'll blow it up. Every single time he pulls out the heavy metal growl the audience is Blown Away. Scene kiddo, youngest here. His hair is Like That because it used to be shaved and he's growing it out. MIGHT have been in a cult but nobody is sure, it remains that he lives with Zariah for now

Varian sings with them sometimes but isn't a stable member of the band. She and Orde are siblings and he loves her very much but is too angry to express it normally. Goth who hangs with a bunch of normal people and her friend Norik who might have a crush on her which is why the rest get roped into going to concerts of her older loser brother's screamo cover band

[seouldramaspot]

Parallel Worlds and Timeless Love: A Dive into 'The King: Eternal Monarch

Korean dramas, known for their unique storytelling and captivating characters, have taken the world by storm, and "The King: Eternal Monarch" is no exception. This fantasy romance series, starring the charismatic Lee Min-ho and the talented Kim Go-eun, has garnered a massive following and left a lasting impression on viewers.

"The King: Eternal Monarch" weaves an intricate tale that spans parallel universes. The story begins with Emperor Lee Gon (Lee Min-ho), who rules the Kingdom of Corea. He discovers a mysterious portal that connects his world to a parallel universe resembling modern-day South Korea. In this alternate reality, he meets detective Jung Tae-eul (Kim Go-eun), a strong-willed and resourceful officer. Together, they embark on a journey to protect their worlds from an evil force threatening to disrupt the balance between them.

The Cast

Lee Min-ho: Lee Min-ho, a household name in the world of Korean dramas, delivers a powerful performance as Emperor Lee Gon. Known for his roles in hit series like "Boys Over Flowers" and "The Heirs," Lee Min-ho brings depth and charisma to his character, captivating audiences with his portrayal of a noble and determined ruler. His on-screen presence and chemistry with co-star Kim Go-eun are undeniable, making their love story one of the highlights of the show.

Kim Go-eun: Kim Go-eun shines as Jung Tae-eul, a detective who becomes entangled in the mysteries of the parallel universes. Kim Go-eun, acclaimed for her roles in dramas like "Goblin" and films like "Coin Locker Girl," portrays Tae-eul with a perfect blend of strength and vulnerability. Her character's unwavering resolve and emotional journey add depth to the series, creating a compelling contrast to Lee Gon's regal demeanor.

Supporting Cast

Woo Do-hwan as Jo Young and Jo Eun-seob: Woo Do-Hwan takes on the dual role of Jo Young, Lee Gon's loyal bodyguard in the Kingdom of Corea, and Jo Eun-Seob, his counterpart in modern-day South Korea. Woo Do-Hwan's versatility shines through as he masterfully portrays the stoic and disciplined Jo Young, while also bringing humor and warmth to the character of Jo Eun-seob. His performance adds a dynamic layer to the series, highlighting the differences and similarities between the two worlds.

Kim Kyung-nam as Kang Shin-jae: Kim Kyung-nam plays Kang Shin-jae, a detective in South Korea who harbors feelings for Jung Tae-eul. His character adds complexity to the narrative as he grapples with his own secrets and loyalties. Kim Kyung-nam's portrayal of Shin-jae's inner turmoil and his eventual growth provides a poignant subplot that complements the main storyline.

Jung Eun-chae as Goo Seo-ryung: Jung Eun-chae stars as Goo Seo-ryung, the ambitious and cunning Prime Minister of the Kingdom of Corea. Her character is driven by power and ambition, often clashing with Lee Gon. Jung Eun-chae's performance captures the essence of a strong, determined woman who will stop at nothing to achieve her goals, adding an element of political intrigue to the series.

Lee Jung-jin as Lee Lim: Lee Jung-jin portrays the primary antagonist, Lee Lim, the half-brother of Lee Gon's father who seeks to overthrow the throne and rule both universes. His character's malevolent intentions and ruthless actions drive much of the conflict in the series. Lee Jung-jin's chilling performance as the villain creates a formidable adversary for the protagonists, heightening the stakes and tension throughout the show.

The Themes

Parallel Universes: At the heart of "The King: Eternal Monarch" lies the concept of parallel universes. The series explores the idea of two coexisting realities, each with its own set of rules and dynamics. This theme adds a layer of complexity to the narrative, as characters navigate the challenges of moving between worlds and confronting their doppelgängers.

Destiny and Fate: The drama delves into themes of destiny and fate, questioning whether our lives are predetermined or shaped by our choices. Lee Gon and Jung Tae-eul's relationship exemplifies this, as their paths seem intertwined by forces beyond their control. Their journey is a testament to the power of love and destiny in overcoming obstacles.

Power and Responsibility: Emperor Lee Gon embodies the theme of power and responsibility. As a ruler, he must balance his duties to his kingdom with his personal desires. The series examines the sacrifices and challenges that come with leadership, highlighting the weight of making decisions that impact entire worlds.

Love and Sacrifice: At its core, "The King: Eternal Monarch" is a love story. The romance between Lee Gon and Jung Tae-eul transcends time and space, showcasing the lengths to which they will go to protect each other and their worlds. Their love is marked by sacrifices, as they navigate the dangers and uncertainties of their intertwined destinies.

The Genre

"The King: Eternal Monarch" is a unique blend of several genres, making it a multifaceted viewing experience:

Fantasy: The series' fantasy elements are evident in its exploration of parallel universes, mythical creatures, and magical objects. The fantasy genre allows for creative storytelling, bringing to life a world where anything is possible.

Romance: The romance between Lee Gon and Jung Tae-eul is central to the series. Their love story, filled with heartfelt moments and emotional depth, appeals to fans of romance dramas. The chemistry between the leads adds authenticity and charm to their relationship.

Drama: The drama genre is present in the intense and emotional conflicts faced by the characters. From political intrigue to personal dilemmas, the series keeps viewers engaged with its dramatic twists and turns.

Mystery and Thriller: The mystery and thriller aspects of the series are woven into its plot, as characters unravel the secrets of the parallel universes and confront the malevolent forces at play. The suspense keeps viewers on the edge of their seats, eagerly anticipating the next revelation.

The Magic of the Series

What sets "The King: Eternal Monarch" apart is its seamless blend of fantasy, romance, and political intrigue. The series, written by Kim Eun-sook, a renowned screenwriter known for works like "Descendants of the Sun" and "Mr. Sunshine," delivers a captivating narrative that keeps viewers on the edge of their seats. The stunning cinematography and visual effects enhance the fantastical elements, creating a visually mesmerizing experience.

Soundtrack and Music

The series boasts a remarkable soundtrack that complements its emotional and dramatic moments. Songs like "Gravity" by Kim Jong-wan of Nell and "Orbit" by Hwasa of Mamamoo add depth to the storytelling, enhancing the viewers' emotional connection to the characters and their journeys. The music, combined with the show's visual splendor, creates an immersive atmosphere that draws audiences into the enchanting world of "The King: Eternal Monarch."

"The King: Eternal Monarch" is a must-watch for fans of fantasy romance dramas. With its stellar cast, gripping storyline, and breathtaking visuals, it offers a unique viewing experience that lingers long after the final episode. Lee Min-ho and Kim Go-eun's performances elevate the series, making it a memorable addition to the pantheon of Korean dramas.

So, if you're looking for a drama that combines love, mystery, and adventure across parallel universes, "The King: Eternal Monarch" should be at the top of your watchlist.

Honest Comment : This series was aired during the Covid-19 Pandemic and most people use Netflix that day up until now when I first heard that the leading man is Lee Min Ho I literally waited for it with my mom and when the first episode was aired we are like confuse about the story of how that happen but when the other episode was aired little by little we understand and we totally love it the chemistry they have is different the feeling of watching it for the first time there is a scene that we literally waited when Lee Min Ho protected Kim Go Eun is nostalgia I feel every emotions like wishing that it was me hahaha overall plot and story is a masterpiece and I will always recommend this you will feel in love.

[bookshop]

ted lasso (really just way too many thoughts on season 2 of ted lasso)

me, in the middle of wrestling with yet another unwieldy twitter thread that no one will read: fuck it, what if i just made this a tumblr post? i hear tumblr is hot these days

so anyway, i am the last person in the universe to watch ted lasso.

i put off watching it for a very long time because i really hate obnoxious levels of twee in television — at least twee when it's not tempered by cynicism. this is why i barely made it through 2 minutes of OFMD, and why i really hate parks and rec and spent most of the 2010s telling anyone who would listen that it was a bad cheap white liberal political fantasy, only for everyone to eventually arrive at that conclusion themselves, much later.

the first season of ted lasso almost had me, though, because it was just cynical enough to make ted's methodical whimsy feel like a battering ram against pessimism. the whole of season one was very strongly and obviously, dare i say it, hopepunk. and that was just surprising enough to be a hook.

the second season is a lot trickier. maybe it's because i'm bingeing it, but it seems to me like everyone who argued the second season didn't have a point/central theme missed the glaringly obvious explorations of toxic masculinity in every episode. i read a lot at the time it was airing about how the show revealed itself midway through the season as being unexpectedly about depression? but even more than depression i think this season was about toxic masculinity — and especially about nate's struggle with toxic masculinity. when i went looking for reviews for season two, few of the reviews i found even mentioned nate even though it seemed abundantly clear his growing turn towards the dark side was the motivating issue of season 2 — and then, of course, it turned out to be the driving force behind the events of the season finale.

i think a lot of this was underwritten but it was always present; every episode of season two was focused on the ways the men of richmond — especially nate, who also had to deal with his imposter syndrome and everyday acts of racism, alongside his growing ambition and his justifiable sense of feeling sidelined and minimized by the white men around him — grappling with the ways they're socially allowed to express and experience their emotions.

perhaps that theme got muddled because of the show's obnoxiously twee trappings, which became so much more obnoxious this season once all of richmond adopted ted lasso's guide to whimsy (the funeral scene was the most atrocious example, as was the gratuitous way they kept shoehorning in excuses for hannah waddingham to sing, like are you kidding me? I HATED IT and hated it long before we arrived at rebecca 'my best friend's wedding'-ing her dad's eulogy, are you serious, who let this show out of the house). but it's very clear when you marathon.

(when i was discussing this with @earlgreytea68 she suggested that perhaps the show has a tone problem, and that the audience expectation built up by all this wholesome whimsey is for a doubling-down of the "ted vs the vague abstract evil nihilism of the capitalist sporting industry" of the first season. thus, viewers just aren't prepared for a show whose second season is like, "sure, exhausting amounts of wholesome fun, yes, but also in the corner is this character who finds all of this whimsy exhausting, and whose position as a marginalized brown man facing daily microaggressions makes all this performative bullshit a form of petty torture and a way of further alienating him."

I find that show absolutely fascinating, but i think EGT is right and that's maaaaybe not quite the show that season two became, because it was also sabotaging itself by idk implying that santa was real and having hannah waddingham gratuitously sing yet again, and idk that surrealist episode with beard and the pants, and having them stop to reverently touch the "believe" sign yet again. like, we get it, clear eyes, full hearts, etc, but this is not friday night lights, and the pathos that seemed built into 'ted vs the sports industrial complex' feels unearned when the show suddenly does a pivot towards plumbing the psyches of its characters while also still trying to be the king of twee tv.)

speaking of shows that were abundantly twee but never ever obnoxiously twee, i also keep thinking about how ted lasso is probably the closest cultural heir to the gilmore girls we've gotten? irresistibly charming small town meets perky chatterbox main character who distracts everyone from their insecurity with non-stop banter and pop culture references! i am not alone as it turns out because someone made a ted lasso/gilmore girls fusion. (edit: me trying to figure out how New Tumblr works: you mean i can embed this tweet but not interact with any part of it?! YOU MEAN I CAN'T DO CONTROL-K TO HYPERLINK TEXT ANYMORE?! wow wordpress, wow.)

all that said, i do think ted lasso is a show that is far more traditional than progressive. it glibly missteps too often to really age well, even aside from all the obnoxiously twee moments. like, this is a show that wants to confront toxic masculinity, but for plot points it can't think of anything better than drumming up random sexual tension between various straight characters. (and EVERYONE is straight, why is everyone so straight?) it's forced and lazy and so boring, and imo totally unrealistic. the other day i attended a lecture given by a trans woman who casually discussed living with her wife, her other wife, and their husband. these relationships exist, they are real and valid, and by now you'd think media would at least be better about being able to, idk, comprehend them instead of still being stuck decades back, tripping over concepts like cheating and divorce. honestly, catch up, just catch up to what real relationships are like in the 2020s! if murderbot can do it, so can you!

so anyway, I honestly feel really strongly that a resistance to queerness and even the idea of fluid relationships is a canary in the coal mine for forms of regressive patriarchal storytelling. if, in the modern era, a TV show or piece of media can't conceive anything beyond a 1:1 cisgender heterosexual monogamy as its outer limit for what relationships should be/are allowed to be, then i have come to see that as a bit of a red flag that this work is more than likely to be regressive rather than progressive, even if it's masking itself in idk progressive aesthetics or something.

to me, ted lasso exhibits that all over the place. there's the random forced pairings. there's its ambivalence about whether beard/jane is a toxic relationship or a quirky form of chaotic idiosyncratic good. there's the way everyone is straight because, again, really?????? two seasons into an all-male locker room and you can't find a gay character anywhere? (there have been multiple references to juno temple being flattered by the idea of lesbianism without ever actually making her ID as queer, and there was a baffling one-off joke in s1 about a character using grindr, which.... what is the punchline supposed to be???? these things are frankly pretty offensive.)

then there's the age difference combined with the power dynamic between rebecca and sam. both of these are far too great for the show to handwave so easily, let alone treat like some revelatory joyous thing for both of them, without any amount of self-reflection or serious consideration for how it might make sam vulnerable.

there's also the quite frankly absolutely unacceptable number of harry potter references in the second season of the show. we had absolute proof that JKR was an outright transphobe by June 2020, two months before the show was even renewed for a second season — so well before it was being written and produced. so what the hell were these writers thinking? seriously, what the hell?

(there's also me punching the wall over how glibly the show makes TRENT CRIMM, THE INDEPENDENT, just casually toss away his journalistic integrity by giving up the identity of an anonymous source like what the hell do writers think journalists are? a real journalist would never ever ever in a million years think of doing this, just to be clear!!!!!!! if this is meant however to shade the independent for its subpar editorial standards, well then, i have to admit they have a point, sob, but at least the fictional independent quite rightly fired the reporter who did this unethical thing, sob, trent crimm i trusted you, why did you let down the team like this)

even the stuff that does feel genuinely healthy about season two, like all of the therapy and dudes learning to be emotionally expressive often comes off as really gender essentialist. take the two conversations about "girl talk" and "guy talk" that bookend the season. ted's revelation, which he then passes on to the diamond dogs, that sometimes conversations can just be about venting (without needing to lead to an action-item list of things to change) might feel more interesting if it weren't framed as a girls/guys dichotomy. again, this feels so regressive. this show's gender stuff overall feels very idk late 90s to me. or like it exists in a universe where cultural views on relationships are primarily dictated by reality tv; such a show might feel clever and smartly forward-looking in such a universe! but not in the real world of the 2020s where your trans university lecturer casually talks about their three spouses and meanwhile you're quoting jk fucking rowling like it's 2007.

i wish i had something smarter to end this on than "so yeah that's what i think about ted lasso" and also "o hai tumblr it's been a minute"

but it's my day off so i don't have to come up with a snappy kicker. so yeah, i guess that's what i think about ted lasso! hi, tumblr! it's been a minute.

[meherchanganiasmediastudies]

elements of story telling 

Storytelling in media involves a complex interplay of various elements that work together to create engaging and impactful narratives. These elements are fundamental to the success of any story, whether it's in a book, film, TV show, or other forms of media. Let's delve into these elements in more detail:

Characters: Characters are the heart and soul of any story. They are the individuals or entities through which the audience connects with the narrative. Each character has their own unique characteristics, motivations, and development arcs. They are responsible for driving the plot forward through their actions, decisions, and interactions. Well-developed characters help the audience invest emotionally in the story and its outcomes.

Plot: The plot is the sequence of events that form the backbone of the story. It encompasses the setup, inciting incident, rising action, complications, climax, and resolution. The plot drives the narrative, offering a structured framework for the story's progression. It provides the "what happens" in the story and serves as a crucial element in keeping the audience engaged.

Theme: The theme is the central idea or message that the story conveys. It is what the story is fundamentally about, beyond the surface events and character interactions. The theme is often expressed subtly, allowing the audience to discern the underlying message. It may deal with universal themes like love, justice, freedom, or personal growth. Themes add depth and meaning to the story, inviting viewers or readers to reflect on its broader implications.

Conflict: Conflict is the driving force of storytelling. Without conflict, there is no tension, and the narrative lacks urgency and engagement. Conflict can take various forms, including external conflicts between characters or forces, internal conflicts within characters' minds and hearts, and moral dilemmas. Well-crafted conflicts provide challenges, obstacles, and opportunities for character growth.

Setting: The setting refers to the time and place where the story unfolds. It is the backdrop against which the action takes place. Setting can have a profound impact on the narrative, influencing the characters' choices and behaviors. It can create a sense of atmosphere, cultural context, or symbolism. The setting can also serve to limit or enhance the characters' options, contributing to the overall storytelling experience.

Symbolism: Symbolism involves the use of objects, places, colors, and other elements to convey deeper meanings within the story. These symbols can represent abstract concepts or themes. Symbolism adds layers of interpretation to the narrative, allowing the audience to engage with the story on multiple levels.

Tone and Atmosphere: The tone and atmosphere of a story set the mood and emotional tone for the audience. It can be lighthearted, dark, suspenseful, or hopeful. The way the story is presented, including the use of language, pacing, and imagery, contributes to the audience's emotional response.

Narrative Structure: The structure of the narrative determines how the story is organized and presented. Different structures, such as linear, nonlinear, or fragmented timelines, can impact the audience's understanding and engagement with the story.

Point of View (POV): The choice of the narrator or point of view character can shape the audience's perspective and understanding of the story. First-person, third-person, and omniscient narrators each provide a different lens through which the story is told.

Foreshadowing and Suspense: Foreshadowing is a technique used to hint at future events or outcomes in the story. It creates suspense and anticipation in the audience, making them eager to see how events unfold

[naveymoon]

𖤐 With You (Austin!Elvis x Reader)

Austin!Elvis x Fem!Reader Word Count: 2788 Summary: When the Colonel suggests that Elvis tell his audience that he is single, Elvis is forced to make a decision about his relationship that forces him to separate his heart from his head. Note(s): Well, hi! This is my first ever fanfic/story for Austin/Elvis, so I appreciate you stopping by. This is quite angsty, but fluffy and comforting in some parts also, but I hope you enjoy it nonetheless. I hope it's not too out of character for him, but please let me know if it is. All feedback is appreciated, but please be nice! Thank you , El ᵕ̈

*.☽ .* :☆ﾟ. ───

"What's got you so glum, pumpkin?"

"He's late tonight, Daddy," you sigh as you turn away from the rain-spattered window and face your father, who is sitting in a rocking chair with a cigar hanging loosely from his mouth. "It's date night."

"Elvis?" After you nod in agreement that that is who you were referring to, he continues, "Well, honey, he's certainly busy these days - what with all this attention he's getting. Don't worry; he must be running late in a meeting or something. He'll show up."

You softly sigh and nod, "I know, Daddy. I just have a bad feeling tonight."

Picking at the loose thread on the garment that clings your body, you feel closed in as you return to looking out the window like a neglected puppy, hoping for the one you love to fill your vision and soothe your concerns. You try to imagine where Elvis might take you tonight to distract yourself from your nervousness; perhaps the two of you would go to a nice late-night cafe, a restaurant, or a drive-in.

"Elvis is here!" Your sister, Olivia, to your surprise, calls from the front door. You blush, you'd been so preoccupied with getting rid of your anxiousness that you hadn't even noticed your lover arriving at the door.

"Coming!"

As you step up from the couch, taking your time when you hear your sister chatting to your lover, you pass by your father, who takes your wrist and looks up at you with a serious expression, "Be safe tonight, honey. If that boy does anything to harm you, he'll have to deal with me. Capeesh?"

"Capeesh, Daddy," you giggle.

Kissing his cheek, you make your way into the home's hallway, subtly checking yourself in the mirror to make sure you look acceptable, before approaching the front door, where Elvis and Olivia appear to be enjoying a light-hearted chat, grins on their cheeks and chuckles flowing from their lips.

"There she is!" Elvis smiles at you, whistling softly before clapping his hands together in a theatrical style. "My, my, my. What a beauty."

The uneasy sensation in your gut fades, and you feel ridiculous for ever considering that anything between you might be wrong.

"Hi baby," you say as you put your arms around him, sincerely relieved.

"Hey pretty lady." He leans in, planting a delicate yet eager kiss to your lips before drawing you completely into his arms, hands resting on your back as he inhales your lavender aroma. "Mm, you smell so good."

Being in Elvis' embrace causes the universe to come to a halt on its axis. There is no time, no wind, no rain, and your thoughts are filled with nothing but serenity. The weight of your boyfriend's affection is evident in the hug; pure, generous, undemanding, unrestrained love pouring down upon you. You can feel his body pressing in, soft and warm; this is your home.

"Have a good time tonight, you two." Olivia giggles as she guides the two of you, still hugging, through the front door. "Have her back by nine o'clock; she has work tomorrow."

"Yes ma'am," Elvis says, coming out of the embrace just enough to put his arm around you and face your sister. "She won't be a minute late."

Hearing the door close behind you both, Elvis continues to guide you toward the black automobile parked in the driveway, much more silent and anxious now that the two of you are alone. You can sense the cogs in his mind spinning as he mulls over his thoughts, his lips slightly bared as if the words are sitting on the tip of his tongue, waiting to be unleashed.

"Did you have a good day?" You choose easy talk, smiling as Elvis opens your door for you, like he usually does. He dips two fingers under your chin before leaning in and planting a long, delicate kiss to the corner of your mouth, "'s much better now that I'm with you, baby."

You sigh contently and take a seat in his vehicle, watching as Elvis closes your door and circles to his side of the car. Once inside, he turns to gaze at you, his lovely blue eyes just adoring you. You notice little flecks of eye makeup trailing over his cheeks, as though forced down by streams of tears, now that you can see him in a clearer light.

Your smile fades, and a feeling of unease returns to your gut.

"Elvis, I feel like something's wrong," you reach over and lay a palm on the side of his face, thumb grazing his warm cheek.

"What'ddya mean, darlin'?" he swallows.

"You've been crying, I can tell. Is it the Colonel? Did he blow you off?" You make a delicate offer, believing that with just a gentle push, he would feel at ease enough to tell you what's going on. You shift in your seat, seeing how his expression changes to one you are unable to easily read. "Or your mother? Did you get into a fight? I'm worried about you, sweetie."

He glances down at his lap before looking ahead to your home and then back at you "You have nothing to be concerned about, baby. Now, I want to take you somewhere. Do you trust me?"

"Elvis."

He cocks his head to the side, grinning slightly and repeating in the same tone, "Y/N."

"If I say yes, will you talk to me?" You inquire, clearly still concerned about his behaviour. "Please?"

Elvis laughs, his cheeks blazing pink in the dusk light, and bends in for a gentle kiss, "I could never say no to that gorgeous face."

☽ .* :☆ﾟ. ───

"Just a little further, doll…almost…almost there, and-"

The final word he says, "there," brings you both to a halt.

He removes his warm hands from in front of your eyes, and there you meet his smiling face, excitement sparkling in his eyes as he stares down at you, shielding you from the lit-up scene behind him.

You try to see past his broader form, but he lays his hands on your cheeks, quickly stopping you.

"Look at me for a second, baby."

You raise your eyebrows playfully, "You brought me all the way out here just so we could look at each other?"

"No, I-I just.." He trails off, laughing softly, "I just like looking at you. All the time. You're just..beautiful. So beautiful. Most beautiful woman I've ever seen."

"Bet you say that to all your girlfriends, Mr Presley," you hum before dropping your gaze to the floor and fluttering your eyelashes up to look at him again.

"No, just this one."

You pout as you observe his eyes flitting around the floor, becoming glossy. You lift onto your tippy-toes, purse your lips, and plant a kiss to his cheek, "I love you, EP."

"I love you as well, sweetheart." Elvis whispers, cupping your cheeks and resting his forehead against yours. He clears his throat, "Now, are you ready for your surprise?"

You grin and nod happily.

Elvis chuckles, slipping out of your line of sight and landing by your side, placing an arm around your waist as you take in the spectacle before you.

He has led you to a remote part of the park near the river, where he has spread out a huge picnic blanket and decorated the surrounding trees with Christmas lights and tea lights that surround the blanket itself. A huge picnic basket sits on the blanket, and the half-opened lid indicates that it is full of tasty snacks and delights. A enormous bouquet of yellow daffodils rests on top of the blanket, propped up by a boombox radio, and rose petals are spread across the grass leading to it.

"Elvis..this is so beautiful," you exhale, turning to face him in awe.

He smiles right back at you, "You like it? Mama helped me decorate this afternoon."

You rush toward the scene with excitement, "It's perfect. It's incredible, I.." Trailing off, you kick your shoes off and step onto the picnic blanket, leaning over to the boombox and clicking play. Frank Sinatra's smooth voice echoes out into the night, and you turn to look at your lover, beckoning him over with a grin. "I can't believe you did all of this for me, you and your Mama."

"Mama loves you, Y/N, sometimes I think more than she loves me." Elvis jokes, kicking his own shoes off and sitting beside you, close in proximity as he watches you take in his work. "And you deserve this, all of this. I'm gonna work hard and make it big with the Colonel, and when I do, I'mma give you even more than this, you and Mama for that matter. You both deserve so much more."

You shift in your position, resting against him as you begin to unpack the picnic basket, "Don't overwork yourself for us, baby. We love you for who you are, right now. Only do what makes you happy, not anyone else, 'specially not the Colonel. You're talented, Elvis, so talented but don't burn yourself out. Your Mama and I are gonna be by your side for the whole time, and we are gonna be proud of you always."

Elvis smiles at the sincerity of your words, hiding his grimace as his gut twists at the mention of the Colonel. He blinks out of his thoughts as you reach up to pop a grape into his mouth, softly chewing as he watches you in complete adoration, heart fluttering.

"New beginnings," you reach for the daffodils, holding the bouquet in your hands as you turn to gaze at Elvis again, who appears distracted behind his eyes.

"Hm? What's that, darlin'?"

You brush your fingers across the golden blossoms, "Daffodils represent new beginnings, or rebirth. A new chapter of our lives is coming, Elvis, what with you getting all famous on me. I truly can't believe it, it's all happening so fast."

"Mm, I know."

Feeling defeated by your choice of the topic of discussion, you shift to appropriately rest against his chest, enabling his arms to wrap snugly around your waist. His head swiftly dips to your shoulder, and wisps of his hair touch the back of your neck uncomfortably, but you stay still - simply enjoying his embrace.

"You know, I assumed you weren't coming tonight." You confess softly, staring up at the moon and stars above you. "You had me in a panic, Daddy too. I believe he was about to dispatch a search team for you."

"Is that so?" Elvis asks, raising his head.

"Mm, I thought the Colonel had taken you away from me for good. I had this weird impression you were going to break up with me." Elvis stiffens behind you as you become quiet. "But then you brought me here, and it's perfect, so I was just thinking crazy stuff."

The weight around your waist vanishes, and you look down to discover his hands have withdrawn, leaving you feeling uncomfortably light.

"Baby?" You turn to look at him and feel unwell as you notice how emotional he has gotten. "Elvis?"

"Have you talked to the Colonel?" Elvis inquires, his face tense. "Did he say something to you?"

You are stunned at his desperation and find yourself speechless for a few seconds.

"Y/N!"

In disbelief, you sputter an answer, "What? No! I was just overthinking it. I was joking about the Colonel and meant nothing by it."

Elvis looks at you, a bit out of breath from his panic. "God damnit!" he exclaims, raising his hands to run through his hair.

"What's the matter?" You inquire, approaching him with concern. "You promised to talk to me, so talk to me, honey. I want to understand why you are so jittery tonight."

He looks up at you through wet eyelashes, immensely disappointed in himself for loosing his cool in front of you, "God, baby, I'm so sorry."

"You-you haven't done anything wrong, honey."

He takes a shuddery breath, "I'm just going to say it."

"Okay," You smile reassuringly.

He stares at you, as if expecting you to stop him and prevent the words from leaving his lips, but you don't because you care about him and want to hear what he has to say. He wishes you didn't right now; he doesn't want to see your heart break as a result of his words.

"The Colonel thinks that with all the publicity that's gonna be coming', he might have to put it out there that..that I..I don't have a girl."

Elvis pauses for a minute, then another, then another while he observes the realisation sink in on your face. He is waiting for you to yell at him, cuss him out, or even rise up and storm away. Instead, you remain silent and expressionless, looking back at him.

"And you?"

"What's that, baby?" he automatically draws closer as you murmur slowly.

You swallow, looking down, and when you glance up, your eyes are brimming with tears, "What are your thoughts on that? Do you agree with him?"

"He-he said we all have to make sacrifices, baby, believe me I-" he chews his lower lip.

"I don't care what that man says, Elvis!" You exclaim, pushing away his hand as it elevates to wipe the tear from your eye. "I care what you think. I care if I've been wasting my time with you since you were always going to chose that toad over me!"

Elvis is speechless.

"So what, you're going to be alone the entire time while he's making you famous?"

He stutters out his response, "It'll only be for the start, Y/N; we can come back to each other and figure it all out later. We can find each other again, and everything will be okay. Just believe me on this, baby."

"Believe you?" You chuckle harshly, rise to your feet, and stare down at him, disgusted. "You brought me here, did all this hard work with your Mama, and made me feel safe only to sever ties with me for an old man you've known for five minutes?! You said that you loved me!"

Elvis stands too, "I do! I do love you! I did all this to show you how much I love you, baby!"

"You love me enough to just leave me like this?" You ask fiercely. "If the positions were reversed, I would never consider doing this to you, Elvis!"

"Well, they aren't!" Elvis yells back, his despair morphing into rage. "It's not you! It's me! This is what I've always wanted, what I've always dreamt of, and you're upset at me for doing everything I can to obtain it?"

You look at him with disappointment and start to turn before he grabs your wrist, "I'm sorry, okay? Don't leave it like this. We need to talk about this, please, doll."

"Elvis, I love you." You release your arm from his grasp, move back, and reach down to get your shoes. "But I don't love you enough to let you treat me this way."

"Please, Y/N, at least let me drive you home," he exhales desperately.

You hesitate, ready to refuse him, but you realise that your agitated condition will only put you in danger if you run into the wrong type of person heading home.

"Fine."

*.☽ .* :☆ﾟ. ───

The car trip home is silent and tense, with the moon high in the sky and all stars hidden from you. Staring out into the blackness, tears stream down your cheeks as you attempt to keep your whimpers as quiet as possible.

You just don't get it.

You want to see reason, you want to be the bigger person and see there is a reason for your sadness, but you don't comprehend any of it just yet. It's all too new, too awful, and too unreal for your aching heart to bear.

You remember your shared enthusiasm on the way to the park, and it irritates you that he appeared so content knowing he was about to shatter your heart tonight.

"Did your Mama know?"

Elvis flinches, not expecting you to speak out and disrupt his deep thoughts. When he has gathered himself, he sighs, "Mama wouldn't understand."

You scoff to yourself, for there are two of you in the same boat.

"Listen, I'm leaving town with the Colonel for a few weeks, and-and I don't want to go on bad terms." After a few seconds, Elvis speaks up again, peering over to your slumped figure which is pressed against the window, as far away from him as you can go. "Please just tell me you understand why I'm doing this, Y/N."

Clasping your palm over your mouth, you hold back a sob.

"Hey," Elvis breathes, removing one hand from the steering wheel and reaching across to rub your shoulder. Despite your better judgement, you do not dismiss him, allowing him to console you. "I hate seeing you in this state. You are and always will be my girl. Everything will be okay, baby. Just have faith in me for the first few months, and we'll be back to normal before you know it."

You maintain your gaze out the window, but reach back your shaking hand to grasp his, closing your eyes and praying his words are true.

[homemade-ghosts]

Literally no one asked, but I watched Vacation with Derek for the first time in years and oh do I have some Thoughts™ so here we go.

Dancing is featured pretty prominently in the movie, at least when it comes to Casey’s arc. It’s presented as her dream career, the source of her biggest dilemma (go to university or pursue dance -- because, for whatever reason, the two can’t coexist, I guess) and it’s the main (and arguably only) driving force for her relationship with Jesse, every moment of romantic tension between those two happens while they’re dancing. Casey even tells Jesse that she can’t look into his eyes while they’re dancing because that’s “too personal” and he says, “dancing is supposed to be personal.” 

So, if dancing with someone is this intensely personal (and often romantic) thing, why exactly is Derek the only other person, outside of her designated love interest, that Casey partner dances with? Derek pulls Casey into a dance at the beginning of the movie, before she even interacts with Jesse (in fact, Jesse only asks Casey to dance with him after Felicia forces a reluctant Derek to leave) and, near the end of the movie, Derek pulls Casey into a dance again, this time while she is literally in the middle of kissing Jesse (!!!). Not only that, but moments before he steals Casey away, Derek is dancing with Roxy, so the audience could get the impression that Derek left his actual love interest on the dance floor because he saw Casey & Jesse kissing and wanted to put a stop to it. Either way, dancing with Casey was more important than dancing with the girl Derek is actually supposed to like. The same goes for Casey because, when Derek pulls her away, she makes one half-hearted attempt at being mad (the classic “der-EK!”) but the second she looks at him she can’t help but smile. Even when Derek lets go, Casey keeps dancing with him, making no attempt to even so much as look at Jesse after that. 

The last couple shots of the movie are kind of hilarious because while Jesse, Casey’s actual love interest, is left dancing kind of awkwardly behind Derek and beside Edwin, Casey & Derek are dancing together, only looking at each other, beaming. The movie doesn’t try to hide this either because, excluding the extra end credits scene, Casey & Derek are the last characters to be seen on screen. I don’t mean Casey & Derek with the rest of the family, or Casey & Derek with their respective love interests. I mean just Casey & Derek. The camera changes angles and zooms in to show just the two of them dancing, then an establishing shot of the outside of the lodge. Fade to black, roll credits.

There’s an inherent intimacy to dancing, the writers knew that when they made Casey & Jesse dance partners, so it stands to reason that they had at least some idea what they were doing when they made Casey & Derek dance partners, too.