#i just . What Happened. i have a few guesses he is so traumatized it tracks but . WELL!

[bravevolunteer]

sometimes i just. remember that scene in the movie where mike is beating some guy up in a fountain..... whatcha doing there bud

[saintship]

humbly would like to request konig seeing s/h scars on his s/o for the first time :’)

fun fact i got dumped one time over em one time, my ex saw em on my thigh and was like “yeah no”

First of all I’m hunting this fucker down, what the hell??

People who get stranger’s IP’s do your shit

I’m so sorry that happened to you, that little boy did not deserve you, I hope you enjoy<3

SIDE NOTE I saw a headcanon on tiktok saying “König is NOT shy” And I kinda loved that so I tried to explore it a bit

Warnings: S/H scars, revealing of traumatic events

König x Reader

Outer Patrol

Of all the assignment you cycled through, outer patrol was the easiest on the eyes. The forest surrounding the base consisted of thin birch trees packed together, so that slivers of sunlight would reach through and grace the east grounds. Your favorite was the early morning outer patrol with König—he shared your fascination with the forest, and slung a loose arm around you when it had been truly freezing last winter.

Now, in the warmth of July, the sun casted its light aggressively through the gaps of branches and leaves, the humid air clouding your thoughts.

The sticks and leaves crumpled under both of your boots, König bringing up the rear on the narrow path.

“Do you think there are bears out here?” You murmur, looking carefully through the gaps of the trees.

“Nein. We make too much noise..” König pointed out. The camp certainly made itself known during artillery drills.

You hum, letting the air settle in silence again. Suddenly, you stopped in your tracks, causing König to nearly topple you over.

“Hey!”

“Sh!” You hold up a gloved hand, staying as still as possible. Slowly, you lifted the other to point ahead of you, where a fox pawed at the ground, investigating the lush grass.

“That’s not a bear.” König’s whisper nearly made you laugh, but you swatted his shoulder instead, smiling.

“He’s so cute..” you whisper. The fox lifted its head, spotting the two of you and bounding away quickly.

“I guess it’s not too loud for him.” You turn around and walk backwards to face your partner as the path widens ahead.

“Maybe we’ll see kits in the spring.” König said softly.

“Aw..” You cooed at the thought, smiling.

The path continued, but there was a faint fork that led off to the right.

“Have you seen this?”

König shook his head.

You pushed back a branch, stepping through the threshold. The path was littered with overgrown ferns, bushes, and a few fallen logs you had to vault over. Finally, the path opened to a clearing, where a small stream expanded into a large pond nestled underneath a trickling waterfall. The rocky ledge slanted down, the falling water sparkling beneath the late morning sunshine.

“Oh..my god..” you breathed. You turned to see König’s reaction; he was transfixed on the water, his eyes shining under the dark paint and hood.

“This is insane..” you knelt by the water, removing a glove to feel the temperature. “Not bad. I bet people used to swim here.”

Suddenly, König’s pager buzzed, and he was broken from his trance to retrieve the device from his hip.

“König, outer patrol..” He greeted.

“Price is tellin’ me to inform everyone off base to not come back until the afternoon; apparently we’ve got more people than we’re supposed to have on the property, and the hounds are here earlier than he thought.”

Simon’s voice rang gruffly through the transmitter, sounding irritated.

“So just don’t come back for a few hours, yeah?”

“Ja.” König replied.

“Thanks, Ghost!” You called from where you knelt at the water.

“Whatever.” The line clicked, leaving them alone with the sound of running water again.

“Well, we couldn’t have been in a luckier spot to stay put.” You stated, pulling off your backpack. You set down your gun next to it and hugged your knees, watching the water.

“That is true.” König conceded. He shed the bulk of his gear, along with his weapon, but remained standing, wandering along the shoreline. He knelt for a moment, seemingly inspecting something, before standing again and tossing a stone sideways, the rock skidding a total of four times before plunging into the water.

“Woah!” You got to your feet, walking over to him. “You could go Olympic..” You found a stone that seemed thin enough, turning it over in your ungloved hand.

“Just turn your hips. Put your soul into it.” König instructed, enacting his ridiculous stone-skipping stance. You laughed a bit, but followed his direction, skipping the rock twice.

“Ha!” You threw your arms up, connecting your hands with König’s for a double high five.

“Not bad..” He chided.

The sun rose in the sky over the next hour, you and König perfectly content with skipping rocks, wrestling, and splashing each other. All the movement combined with the beating sun made for a layer of sweat underneath your uniform.

“Wish we could swim; I’m melting..” you laid on your back dramatically, feeling the warm stones through your shirt.

“Why not?”

“Because, we have work, and someone might- hey!” You sat up, gaping as König lifted his shirt. He was careful to keep his hood on, but dared to strip of his pants, boots and socks.

“What are you doing?” You couldn’t help but smile at his tenacity.

“Just to my waist!” König gestured to his bare torso, his black briefs and hood being the only fabric left on him. You watched as he waded in, the muscles of his back enough to have a warmth climb your neck. You look away, feeling uncertain about ogling your coworker.

“It’s so nice!”

You turned back to see him hip-deep, running his hands back and forth along the surface. The definition of his chest and shoulders was criminal, accentuated by the patterns of light reflecting off the water’s surface.

“Come on!”

“No way!” You grinned, trying to hide the sense of dread the idea brought onto your mind.

“I am willing to use force!”

“Oh, god..” you sighed, removing your boots and socks. You waded to your shins, rolling up your pants so they didn’t get wet. The water was cool, washing away the sweat prickling on your legs. “Happy?”

“I don’t think so..” He sang, wading back to the shore. The water cascaded down his lower stomach, along his thighs. You found yourself furiously studying the pebbles at your feet, rendering you unaware of König’s attack.

He lifted you from the water with damp hands, ready to drop you in the further depths. You yelped, laughing but terrified of coming back with a soaked uniform.

“Alright! Alright!” You shouted. “I’ll get in, crazy!”

A gentle laugh rumbled from his chest, which sounded right by your ear as he set you down. You had felt the muscle of his chest through just a layer of fabric; the thought enough for you to avoid his eyes.

With all the laughter, you almost forgot the reason you didn’t want to undress in the first place. While König returned into the water, you pulled off your shirt, your sports bra being the only covering for your chest. The high-waisted underwear that you wore so your belt didn’t dig dents into your skin acted as bottoms, but you were hesitant to remove your pants. König noticed your labored breathing, returning to your side again.

“You don’t have to..if you really don’t want to.” He said gently, holding out a surrendering hand.

“No, it’s not..I just..” you sighed, irritated, and sat down in the sand.

“Is there something bothering you?” König’s gentle question shouldn’t have made you shrink the way it did.

“I’m sorry I pressured you, I didn’t-"

“König, it’s not your fault.” Your words escaped a bit snappier than usual, your shame building into frustration. “It’s..there are parts of myself you haven’t seen. Things that might upset you.”

König continued to look in your eyes, his concern drifting to confusion.

“There is nothing I would hold against you..” he assured. “If you want to do this, you shouldn’t hold yourself back, it’s alright.”

His words grounded you. He was right; a bodily feature is not grounds for hiding yourself away for the rest of your life when you don’t want to.

You nod, finding it easier to just get to it. Your belt came off first, the sound of the sliding leather deafening in the air of trickling water and chittering birds. Sliding your pants down your legs, the scars stretching over your thighs seemed especially defined under the sunlight. You discarded your pants, resisting the urge to cover yourself. You heard an intake of breath from König; a noise of realization.

“That is why you didn’t want to?” He asked gently.

“Scars like these don’t sit well with most people.” You murmur. Standing, you wade fully into the water, letting the water come up to your shoulders. König followed quietly, the same depth with his height letting the water only reach his sternum.

“I don’t think of you differently.” He admitted softly. “I’m honored you trust me to share something like that..I believe you have nothing to be ashamed of.”

You study his eyes for a moment, the water around you soothing your worries. “Really?”

König nodded, then let the silence stretch its legs between the two of you for a moment.

“Do you wanna go under the waterfall?” König asked.

You smiled. “Your hood will get wet..”

He hummed in realization. “I suppose you’ll have to go under for two?”

You laugh gently, swimming toward the waterfall with a splash at his chest. The water fell gently, soaking your hair and cooling your scalp.

“That’s nice..” you murmured, your eyes closed. “They’re totally going to know..”

Opening your eyes, you spot König already looking your way. The water is deep enough here that the edge seams of his hood are dipping into the water.

“I think it was worth it..”

You know he doesn’t mean it was worth it to escape the heat. Or threaten to dunk you underwater, or watch you tilt your head back under a glittering waterfall. You’d admitted something raw—deeply personal. There was a tie that bound you now, separate from that military based trust that everyone shared. With the others, you’d devoted the sacrifice of your body; your role in the fight. But to one Colonel, you had devoted your mind.

[dancingtotuyo]

6. play my bloody part

Woman | Joel Miller x Female Reader

Rating: Mature/Explicit

Chapter Summary: You take another step forward. Maria goes into Labor.

Tags: Joel Miller X Female Reader. Age Gap (Reader is 42, Joel is 56). HBO Characters. Mostly cannon compliant for show & game. Timeline is changed.

Chapter Warnings: angst, needles, blood, discussions of selfworth, grief (loss of a spouse), childbirth, graphic descriptions of childbirth, traumatic child birth, hemorrhage, likely very bad medical practices (don't try this at home folks, I am not a medical professional), shock, trauma, anxiety

This chapter is intense!

Notes: Thank you to @janaispunkand @ramblers-lets-get-ramblin for beta reading this! I appreciate all your comments and feedback, and I love you both so much!

Words: 5507

Series Masterlist | Author Masterlist | Playlist

Ellie stops by the clinic a few days later. She stays relatively quiet as you gather supplies. Her eyes track your movements as she swings her legs back and forth from her place on the exam table. You’re not used to her being so quiet.

“Hold out your arm for me?” You give her a reassuring smile.

She listens but seems half a world away. You find a vein with quick precision, letting the blood drip into a glass vial. Your eyes flicker from the collecting blood to her face. “Penny for your thoughts?”

“Oh…” she says. “I guess- why did you agree to do this?”

You cock your head to the side, twisting the top on the vial before you press a cotton ball to the inside of Ellie’s elbow. “You asked. I could at least look at it.”

You press her arm up to hold the cotton there. “Even though you think there’s no point.”

“I never said that.”

Ellie looks you dead in the eye, expression flat. “You thought it. Joel thinks-”

“What does Joel know?” You twist your face, winking at her. A faint smile flashes over her face. “I’m the medical professional here.”

“He talked to Marlene.”

“And Marlene was a doctor? A nurse?”

“No… at least I don’t think so.”

“See, what does she know?” You smile. This time, Ellie actually smiles back. “Now, can I ask you something?”

“Sure.”

“Why did you ask me to do this?”

Ellie bites her lip. “I mean if there’s any chance, I have to try right? People could stop dying from this.”

“It’s not your responsibility, you know.”

“What?”

“To save the world.” You say. “It’s not your responsibility.”

“But I’m immune.”

“It’s okay to want to help.” You place the vial in a holder on the counter. The crimson red stands at stark contrast to the sterile-looking clinic. 

“I have to help. I have to do something.” Ellie can’t meet your eyes. “It can’t be for nothing.”

“What can’t be?” You tilt your head to the side. 

Ellie clenches her fist. Her typically assured demeanor is gone, making her look more like the 15-year-old she is. “Ellie?”

She takes a deep, shaky breath, lip quivering slightly. She doesn’t cry, waiting until she’s more assured to answer. “A lot of people died for me. It can’t be in vain.”

“Do you want to talk about it?”

“No.” She’s quick to answer, looking away.

“That’s okay.” You nod slowly. “But Ellie?”

There’s a pause. She sighs deeply. You can see the tears glistening in her eyes now. She’s fighting so hard to keep it all together. “Yeah?”

“Those people, they made a choice to do that. From what Joel’s told me, it sounds like they did that without even asking you first.” 

“What do you mean?”

You hold out a hand in front of her arm, the one with the bites on it. She’s hesitant at first but eventually lets it rest in your palm. You look over the raised skin where the tendrils of fungus are or were. You’re not sure if they’re still there, or if her body just stopped the progression of them. “You get to decide what happens to you, Ellie. Just because you’re immune doesn’t mean doctors or scientists or whatever form of power gets to make decisions for you.” She meets your eyes. You squeeze her hand. “You don’t owe the world anything for just existing.”

She chews on her lip, making you worry that she might draw blood. Her voice is quiet like she’s scared to say the words. “What good am I if there’s no cure?”

“Ellie.” Your heart breaks for her. You want to gather her in your arms and push all the bad thoughts away. You settle for squeezing her hand again “Your value isn’t tied to your immunity. You’re worth something simply because you exist.”

She tries to brush you off, pull away, and not look at you, but you keep a grip on her hand. “Look at me.” You’re stern. She hesitates but listens. You take a deep breath. “I don’t know if it means much coming from me, but you belong here. Here in Jackson, here in the world. You’re not a bother or an inconvenience, and yes, it sucks that we can’t do anything with your immunity, but that’s not your weight to bear. You understand?”

Her chest quivers. She manages a nod as a couple of tears fall from her eyes. You wipe them away. “And you will always, always, always, have a place in my home. Just waltz right in and I’ll set a plate.”

A small laugh falls from her lips. 

“Okay?”

“Okay.” She agrees, a small smile beginning to take over her face. “Thank you.”

“Of course.” You smile back. “Now, what do you want to do?”

“What do you mean?”

“Do you still want me to look at it?” You tilt your head toward the vial of blood sitting on the counter. 

She stares at it for a minute, contemplating the answers. “Maybe another day? I’ll let you know.”

“Sounds like a plan.”

You move away, disposing of the vial. You’re not sure how much weight your words hold, but you feel a little proud of her decision. 

“Are you going to the dance tonight?”

“I guess.” She shrugs. “Dina and Jesse say I have to.”

“Good. You should.”

“Are you and Joel going?”

“Adam beat Joel in Texas Hold ‘Em last night and is making him go.” You laugh a little at the begrudging attitude Joel met you with last night, but a bet is a bet.

“I bet you could get him to dance.”

You laugh a little, images you’d conjured up in your childhood bedroom spring into your mind. They were the daydreams of teenage delusions, but there’s still a little dip of excitement in your stomach at the thought. 

And then you sober up. “I’m not going.”

“If Joel and I are going, you have to come.”

You force a smile. “I don’t go to them anymore.”

“Oh, come on. I bet you’re a great dancer.”

“It’s not about the dancing.” 

“What is it about then?” Ellie wears that goofy little prying grin that’s nothing no short of pure curiosity. If Joel were here. You imagine he’d say her name sternly and give her a look. 

You sigh, keeping a tight smile on your face. “It was something my husband really enjoyed. I haven’t gone since he died.”

“Oh,” Ellie says as the energy shifts. 

“It’s okay, Ellie.” You brush it off. It’s not her fault, and you didn’t have to answer. 

She hesitates, and then she knocks into you, arms flying around your torso, knocking the wind from your abdomen. It takes you by surprise, but it’s a good one. “Thank you.”

“Of course.”

And then she’s across the room, grabbing her backpack off the exam table. You can’t help but laugh, wondering how she’s managed to hold onto all that wonder and spunk.  

“You should still come tonight!” Ellie calls before the clinic door slams shut, leaving you with only your thoughts. 

You drop Carter off with Tommy while you walk that night. Maria is on strict bed rest with her due date fast approaching, making them two of only four people not crowded into the Tipsy Bison. You expect to cry on your walk, expect to feel all the emotions that keep you away from the dances, but it doesn’t come even as you round the corner, passing the building that’s overflowing with energy. 

Light flickers across the dimly lit street from moving bodies. The doors and windows are open to let the breeze filter through. A few people congregate outside on the patio with boisterous laughter and animated movements. A couple of folks stumble about, already intoxicated. You stop in your tracks, taking it all in. In the past, you’ve doubled back to forgo passing the festivities, but things are different now. Maybe… maybe you’re a little bit different now too. 

Then you feel it, almost physically, like someone is pressing on your back, leading you toward the door. The people outside don’t pay you much mind, too caught up in their own worlds. The noise grows louder until you’re inside the Tipsy Bison’s doors.

You pass through the room slowly, almost invisible at first. Then you find him, laughing at the bar with Adam. He’s relaxed. An empty whiskey glass sits in front of him and a full one in his hand. He makes a comment to Adam that earns a playful roll of his eyes. He chuckles, shaking his head as he pulls the glass to his lips. His head cocks to the side. Before his lips make contact with the glass, his eyes lock with yours. He stills, a smile crossing his face. He tips the glass toward you and finishes it off. Then, he’s walking toward you with a determination that makes your insides melt and your toes curl in your boots.

His lips dip to your ear. His voice is low and smooth. “I thought you weren’t comin, Darlin.” His Texas drawl is stronger tonight, not helping the heat that grows in your belly. it sends wicked thoughts through your mind. 

You shrug, almost careless about it, but he sees the heat in your eyes. It burns in his too. “Plans change.”

His hand slides around your waist, landing just above your hips. “I like it when your plans change.”

You bite your lip, fighting the urge to pull him out of here and into your bed. “Dance with me?”

A grin spreads across his face. “I thought you’d never ask.”

He pulls you toward the dance floor. The crowd of bodies seems to part like the Red Sea before you, not that your mind can focus on anyone but Joel. He tugs you close as the band starts their rendition of My Girl. Your arms slide around his shoulders, body flush against him. He smiles at you. It’s like something out of a high school movie. “I’m really glad you’re here.”

“Me too.” 

He kisses your forehead, and then your head falls to his chest, eyes blinking closed. It feels like such a sacred moment, it’s hard to believe you’re in a room full of people. Joel sways on beat to the music, humming along. It reminds you of the faint singing that used to drift through your bedroom window at night when he would sit out on his front porch with his guitar and the stars. You spent countless hours sitting under an open window listening to him when you fostered that crush, imagining him singing to you. 

You never imagined you’d be in his arms at the end of the world, in front of the whole town no less, as you fight your growing feelings for him. It sends a kick-start to your system. Not enough to raise a panic attack, or for onlookers to notice, but Joel feels it in the way your muscles tense and your body straightens in his arms. Your eyes pop open and you catch it- the rumor mill turning. Whispers pass behind shielded hands between pairs throughout the room. Some of them are audacious enough to make contact with you or send a wink your way.

Joel’s breath hits your ear again. “Wanna give them something to really talk about, Sweetheart?”

You look up at him, brows furrowed. He stops swaying, both hands cupping your cheeks. Your breath catches. It feels like the whole room’s does, and then his lips are on you, hot and searing and nowhere near chaste. Joel Miller never struck you as the PDA type, but this feels like more. He’s staking his claim on you, telling them all to shove it. Everyone is here. Everyone can see what’s happening for themselves. For all intents and purposes, this is the night Joel Miller becomes yours in the eyes of the community. You’re off limits, and so is he, and it feels good. There are no words, no spoken acknowledgment of anything, just his actions. 

He pulls away, leaving you slightly stunned and hazy. He chuckles. Spinning you around and then pulling you in as the song ends. People clap around you, for the band of course, but you can only look at Joel with a smile that shines like crystal. 

Another song starts back up. Another wave of people join the dance floor. People seem disinterested in the very thing that held them captive moments ago. Joel looks like he is two seconds away from dragging you out of the bar as you stare at each other, unmoving. 

Tommy runs in, breath ragged and hair a mess. His eyes dart around until they land on you. He calls your name, running toward you. “Tommy, what’s wrong?”

“Maria’s in labor.”

Whatever trance Joel put you under is gone as years of experience snap into place. You turn to him. “Will you grab my clinic key and get the green bag?”

“Of course.” Joel nods and then Tommy grabs your hand, dragging you to the house. Ellie and Joel are not far behind. 

Maria is pacing the guest room when you get there, letting out small groans. Like everything else, Maria handles childbirth with grace and dignity- something you wish you could’ve done. 

You shake the memories from Carter’s birth from your mind. It’s mostly a blur- what you remember from that day haunts you. You were a mess- inconsolable. There was no grace or dignity in it. 

“How far apart are your contractions?”

“Hello to you too.” She pops a smile. Your tight lips don’t budge. She sighs. “About three minutes.”

“Three minutes? Maria!”

She waves you off. “You were never more than two minutes away.”

“We agreed on five.”

“I changed my mind.”

You roll your eyes. “You’re a shit patient.”

“I’ve been on bed rest for two weeks, have I not?”

You quirk an eyebrow. She may not have left the house, but you’re not convinced she was following the rest of your instructions. 

She waves you off like it’s nothing. “I heard you were at the Tipsy Bison.”

You shoot her a glare. “You are literally on the verge of having a baby, Maria. My social life is unimportant.”

“I can still talk in labor.”

“Not about this.”

“Oh come on, I’m going to be here all night. Might as well entertain me.” She grins. 

“No. Now let me check your cervix.”

Maria sighs, sitting on the bed. “I think we’re too close as friends.”

Maria’s labor moves quickly. Before midnight, the baby is crowning. You’re coaching Maria through it as Tommy stays by her side, offering what support he can. Maria lets out low moans as she works through contractions, bearing down when you say. Sweat dampens her brow. She’s tired but determined. “How much longer?”

You meet her eyes, giving her an encouraging smile. “You’re almost there. One or two more, Okay?”

She nods, and then another contraction hits. You feel them in your hands, guiding the newest member of Jackson, Wyoming into the world. There’s a long pause, there always is, you never get used to it, you’re quick to clear airways, and then he takes a deep breath, and tiny little wails fill the room.

Relief fills Maria’s eyes and looks of awe and wonder fill the couple’s faces. You can’t help but let out a joyful little laugh. “It’s a boy.”

You place him on Maria’s chest. The proud parents crowd around him, their voices softening, pitching up as they soak in their first moments of a family of three. 

“Tommy, you wanna cut the cord?”

He nods. You show him where to do it, and then he’s right back at Maria’s side, caressing his son’s head. 

“He’s got so much hair,” Tommy says. Tears gather in the new parents’ eyes. 

You’re quiet as you tidy up. Before you slip out, Maria grabs your hand. “Thank you.”

You smile at your best friend. “Of course. Anything for y’all.” She squeezes your hand and you return the gesture. “I’ll give you a few minutes and then be back in to finish up.”

She nods. You wash your hands in the hall bathroom, shedding the soiled apron you wear. Joel greets you when you come out. He raises his eyebrows. “I heard crying, and it sure as hell wasn’t Tommy.”

You laugh. “It’s a boy.”

You see Joel’s happiness for his brother on his face before the big smile ever crosses it. He wraps his arms around you. You lean in, laying your head on his chest. His heart beats beneath your ear steady as a drum. The stress you’ve been carrying for months over this day starts to dissipate from your body. It’s here. He’s here. It happened. You made it through. 

Tommy peaks his head out. “Maria says she’s ready for you.”

You nod. Joel kisses your head and you pull away, warm energy thrumming in your veins. Maria looks almost annoyed when she sees you, knowing what’s coming. 

“He have a name yet?”

“No,” Tommy looks pointedly at his wife. “She swore we were having a girl. Wouldn’t even discuss boys’ names.”

Maria rolls her eyes, making you laugh. “Tommy, go make yourself useful and get me some water.” 

“Yes, Ma’am.” Tommy chuckles, the grin unwipable from his face. His hand runs over his son’s head before he leaves. 

Maria shifts slightly, careful not to disturb the sleeping infant at her side. She lets out a soft hiss.”

“You good?”

“Yeah, you know how it is. Pretty sure the placenta is already out.”

You nod, kneeling at the end of the bed. You’re relieved to see the placenta delivered, fully intact. There’s some bleeding, but no more than what you’d expect. Another relief. “We should get Tommy in here to move you back to your room. How do fresh sheets sound?”

“Like a slice of heaven.” She smiles. 

You move Maria to their room, Tommy sweeping her into his arms like a groom would carry his wife on their wedding night. They throw baby names back and forth as they cross the hall. You carry the baby, swaddled and sleeping. Once he’s tucked into his mother’s arms, you set to work cleaning up. It’s always the hardest part as the adrenaline fades from your bones. Tommy and Maria’s bickering floats across the hallways as you do, making you laugh. This baby may never get named at the rate they’re going. 

The first time Tommy calls out your name. It doesn’t register. The second time is much more urgent and he’s in the doorway of the guest room. He’s gone pale, breathing heavily. 

Your stomach drops. “What’s wrong?”

“She’s bleedin. It’s soaked through the towel.”

“Shit.” You drop what’s in your hand, grabbing your bag of supplies. 

Tommy is at Maria’s side. You lift the blanket and your heart drops. You glance back up at Maria. She looks tired. You’d expect it, but this feels different. “How do you feel?”

“Like I just had a baby.” She tries to joke, but it falls flat. She knows this is bad too. “A little lightheaded.”

There’s another gush of blood. A clot that’s bigger than it should be. “Fuck, Fuck, fuck.” Your breathing turns ragged. There’s too much blood and more appears bringing another large clot with it. She’s hemorrhaging. 

“What should I do?” Tommy asks. He’s panicking. 

“Go get Joel.” Tommy tries to protest. You cut him off. “Get Joel back in here.” You leave no room for debate, but he still hesitates. “Now!” 

He finally listens. Maria locks eyes with you. She knows. You see the fear in her eyes, and it knocks the breath out of you. You’ve never seen Maria scared. She’s always so sure and sturdy, but not now. Her skin has gone dull, losing its typical vibrance, like the life is slowly draining from her.  You want to sit on the floor and weep, but you have to push through. “Deep breaths, Maria. I need you to stay as calm as possible.”

You dig through your bag, pulling out everything you need. 

Joel is barely across the threshold when you direct him to the chair next to the bed. He doesn’t have time to ask questions. He knows it’s best not to. “You promise you’re O negative?”

“Yes, why?” He hardly gets the words out before you clean his arm with high-proof moonshine and insert the needle in his vein. He winces. You’re efficient, ensuring there’s no air in the tube before inserting the other end into Mari’s arm. You glance down at your watch, noting the time. 

“Keep your arm elevated. If you start to get dizzy, you tell me.” You’re stern. You leave no room for argument. Joel watches as his blood flows through the short plastic tube connected to Maria. 

You have no idea if this will work. She’s probably losing blood too fast and the risk of complications looms in your mind, but you’ve never had someone survive a hemorrhage like this before. It’s your only hope and you will do everything within your power to keep Maria on this earth. 

Maria stays as quiet as she can. She’s focused on her son, memorizing everything about him, so you focus on saving her life. 

“What’s happening?” Tommy stays in the doorway. You don’t turn around. You can’t stop what you’re doing. You have to stop the bleeding. It’s the only thing on your mind now. “Tell me what’s happening to my wife!”

“She’s trying to save your wife’s life!” Joel snaps. “Let her do her job.”Joel keeps his eyes pinned to you. 

“Tommy,” Maria says. “Come here.” Her voice is weak and raspy. You have to push it out of your mind. If you don’t, you’ll break. You can’t break right now. 

Tommy kneels next to Maria and his son. He’s caressing both their heads. You’re sure he’s crying. You’re not convinced you’re not crying too, but you’re too preoccupied to take stock of it. 

You know when she goes unconscious, but you don’t hear anything from Tommy. The room is so silent as you rotate between massaging Maria’s uterus and packing it. You’re running out of semi-sterile material. Has the bleeding slowed down? How long has this been going on? It feels like a lifetime. You can’t spare a second to look at your watch. 

Joel’s arm drops a little. It’s getting tired. “Keep your arm higher than her head.” You spare a look at Joel only because it pertains to Maria’s health. “Stand if you have to, but slowly.” 

The blood loss appears to be slowing down, but you don’t. You keep going and going and going, until you’re sure it’s stopped. Then, you just sit there and wait. Tommy wants to demand answers, but Joel glares him into silence. 

You dare you to step back. You’re on autopilot, the adrenaline wearing off long ago. You check her heartbeat and her blood pressure. Neither is great, but it could be worse. You dare to hope you’ve seen the worst of it. 

Joel stumbles forward a little bit, catching himself on the bed frame. 

“Shit.” You rush over to his side, guiding him back into the chair. 

“I'm fine, I’m fine.” He brushes you off, making sure his arm is still raised. You see the shake of it. 

You check your watch. It takes you longer than it should to do the math. “Fuck, you’ve been hooked up for too long.” 

Joel stops your hand before it can pull. “No, no. I’m fine.”

“No, you’re not. You’re done.” 

“No, Maria… she’s not awake yet… she-” Tommy stands up.

“She’s not waking up.” You face him.

 He loses any color he has left, panic-stricken across his face. “What?”

“Fuck,” you cringe. “I mean tonight, Tommy. She’s not waking up tonight. She needs to rest.”

“So she’s going to be okay?” 

You want to assure him. You look at their newborn baby sleeping in the bassinet in the corner. You don’t know when he was moved and it doesn’t matter. You want to promise Tommy that he’s not going to be a widower, that their son won’t be motherless, but you can’t. 

“I don’t think she’s going to die from blood loss anymore.”

It’s a small assurance, but it’s all you have to give. When you attempt to remove the needle from Joel’s arm this time, he lets you. The bandage feels so delicate and small compared to the trauma you just dealt with. You struggle with it. Joel takes over for you. 

“You need food, something to drink,” you say. 

“I’ll get it,” Joel says. 

You push him back into the chair. “You’re in no condition to walk downstairs.”

“Neither are you.” He says, eyes traveling over your frame. 

You furrow your brow. You don’t understand. You don’t see or feel the blood that dresses you, not yet 

“Ellie!” Joel yells. 

It’s a stark contrast to the quiet encapsulating the room. You hear her footsteps up the stairs. She enters, eyes going wide. She surmised something wasn’t right, but the copious amounts of blood are startling. “Holy shit.”

“Will you bring up some food? Water?” Joel looks to you to confirm. 

“Fruit.” 

Joel nods. “And then take Carter home?”

“I should-” you go to say. 

“No.” Joel cuts you off. He takes your hand, thumb running over your knuckles. “Not tonight.” 

Ellie nods. She knows now is not the time for the many questions running through her mind. “Yeah, of course.” 

Tommy clears his throat, still searching for answers. You sigh. “I can’t promise anything, Tommy. There’s still so much that could happen, but she’s strong.” 

“I know how strong my wife is. I need to know that she’ll be okay.” He’s still pushy and you don’t blame him. You’re all on edge. 

“I don’t know!” The world blurs before you. “The risk of infection is high, she- she could have complications from-” Your chest rattles. Joel’s hand settles on your back. Tommy can’t look at you. “She’s my best friend, Tommy. I’m doing everything I can.”

Tommy nods. He knows it’s true, but he’s scared. This is Maria. She keeps Jackson going. She keeps you going. 

Ellie brings up the food. She wants to do more, you can see it in her eyes. You can’t pull the words out anymore. 

“Thank you, kiddo,” Joel says. 

Ellie makes a face at the name. She shoves a strawberry in Joel’s face. “Eat this, you look like a ghost.” 

“Carter?” You ask.

“Passed out on the couch,” Ellie smiles proudly. You need the relief, you just hate that the 15-year-old bears that responsibility. “Glad he’s potty trained.” 

“Thank you, Ellie.” 

She nods at you. There’s some hesitation like she might wrap her arms around you for a second time that day. Was that really only hours ago? But she ducks out of the room instead. 

You make sure Tommy and Joel eat. You’re amazed that the newborn still sleeps. His chest rises and falls and from your check-up, he seems to be healthy. You check Maria’s blood pressure and heart rate again. It hasn’t gotten worse. 

You clean up as best you can without jostling Maria too much. Tommy joins in, working silently alongside you. Much to his displeasure, you make Joel stay seated. It’s another long silence before you’re finished. 

“Sweetheart, you need to go home.”

You’re dead on your feet. Your arms feel like lead at your sides. It’s so apparent in all of your movements, but you don’t feel like you can leave her side. Fear flares up in Tommy’s eyes and then he takes in your appearance. 

“He’s right,” Tommy says. 

You intend to put up a fight, but it doesn’t happen. You feel the exhaustion in every fiber of your being. You’re not sure you won’t collapse at any minute. 

You pull out a bottle of antibiotics. Maria would hitch a fit you know, but you don’t care. You’ll do anything you can to make sure she recovers, and you can’t keep the medicine forever. It’s going to be fancy water eventually if it isn’t already. You hand the bottle to Tommy with careful instructions. “If her breathing changes, or she starts bleeding, come get me immediately.” 

He nods. “Of course.”

“We’ll stop at Paul and Lindsey’s, she’s still breastfeeding. Little man is going to want to eat any minute.” 

Tommy nods. Joel’s arms come around you, supporting you from behind. Your legs attempt to fold but you regain your balance with his help. Glancing between Tommy and Maria, the urge to stay inflames again, but Joel is leading you out of their home before you have time to comprehend it. 

He leaves you on the front steps, approaching Paul and Linsey’s on his own. You’re worried about him, sure he gave too much of his blood tonight, but he comes back a few minutes later.

Joel leads you through your house. You want to collapse into bed at first sight, but he tugs you back. “Shower first.”

The small protest dies on your lips the moment you catch sight of yourself in the mirror. You look like you have stepped out of a horror film. You don’t even recognize yourself. Blood, Maria’s blood, coats your shirt and arms. Smudges streak your cheeks. Some of it’s in your hair. It’s endless. Your body begins to shake. You don’t think it’ll ever stop. You lean against the vanity for a semblance of stability. It’s useless. You stare at it all, taking it in, but it doesn’t look like you. It’s like you’re in some faraway space floating around, not connected to your body.

Joel tears your shirt down the back. He’s quick and gentle about it. Your bra is next. He slips off your shoes and then your pants until you’re completely naked. Steam fills the room. Blood soaked through your clothes in some places, painting your skin like modern art. Joel backs you into the shower with ease. You’re pliable, muscles turned to liquid. 

Hot water cascades over your body, flooding your eyes. It’s suffocating until Joel pushes your hair out of your face, redirecting the water with his hands. His fingers massage at your scalp over and over. He adds soap to your hair, pulling it through until the grime and blood are gone. 

There are no noises, no tears, but you can’t stop the shaking. You must look pitiful standing under the water like a limp doll as you lose control of your body. 

Joel scrubs your body clean, and then he does it a second time for good measure. When he finishes, his fingers trail up your arms and neck until he cups your cheeks firmly. Your eyes finally focus on his, pulling you back into yourself with a thud. You feel it all at once, his hands on you, the rawness on your skin, the hot water pounding down on you. Joel sees it happen, his hands slide under your arms as your knees give way. The tears fall. Your back hits the cool tiles. Joel presses against your front, keeping you up. 

Finally, tears wet your cheeks. Sobs leave your chest, and your brain spirals through it all: Maria okay one minute and bleeding out the next. The fact that it stopped was little comfort now. So much could still go wrong, and you can’t lose Maria. She’s your rock, probably the only reason you’re alive today. Losing her would be harder than losing Gabe. 

If she dies, it’s your fault because you couldn’t save her.

Your chest constricts with a tight, wheezing inhale. The tears stop as you struggle to breathe. Joel takes your hand, laying it over his chest. “Breathe, I’ve got you, Sweetheart.” 

He models it. You see and feel the slow rise and fall of his chest. His hand stays over yours until the ache in your chest eases and the water runs cold. 

Joel picks you up, tugs a soft shirt over your head, and crawls into bed behind you. He’s solid and warm against your back. You’re locked against him. His fingers dance across your stomach, lips brush against your ear. You lean into him. In such a short time, he’s come to know you so well. Maria is your rock, but Joel is your support. He tore down your walls like cheap construction and built a fucking shelter to keep you warm. You let your brain take you away before the rest of it can sink in because loving Joel Miller would be wonderful, but losing him would kill you.  

He whispers in your ear. “What do you want?” 

Your eyes won’t stay open anymore between the exhaustion and Joel clouding your senses. 

“Stay,” you fumble out. You don’t know if it’s decipherable but it works. 

For the first time, Joel stays the night in your bed. 

[sleeplesslionheart]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Implications of Idealizing Self-Sacrifice as True Love

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Why are you doing this to me?”

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

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

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

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

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

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

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

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

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

But then…

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

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

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

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

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

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

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

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

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

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

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

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

Okay, sure, yeah. True. Not wrong.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bless.

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

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

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

Bly Manor Could Have Ended Differently

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alternative Ending 1: Progressive Memory Loss

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alternative Ending 2: Living with the Trauma

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

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

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

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

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

It could be for Dani, too.

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

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

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

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

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

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

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

Conclusion

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

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

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

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

Representation matters, y’all.

The end.

[drplantboss]

On Shadow working for G.U.N. and “Never Turn Back”

I’ve seen a lot of people criticizing the fact that Shadow works for G.U.N. at the time of Sonic ‘06. Most people have the argument that “G.U.N. is the organization that killed Maria!” Their logic is that he shouldn’t be willing to work for the organization that killed his best friend. I have a few problems with that take. 

The first is that it fundamentally isn’t the same organization. It’s been 50+ years since that happened, and the current head honcho of G.U.N. is someone who was also personally traumatized by Maria’s death. While the Commander and Shadow had their differences in Shadow the Hedgehog, that was mostly over a misunderstanding and those events aren’t even solidly canon. I personally perceive the first 10 endings of ShTH05 and the events that lead to them as all hypotheticals; only the final “true” ending actually happened. In that case, they may have never actually confronted each other initially. 

The other reason is because of what the entire arc Shadow underwent in his titular game achieved. Shadow learns not to dwell on the past. He learns that he needs to keep moving forward, and never turn back. This is not a covert theme, either; the ending theme of ShTH05 is literally the track “Never Turn Back” by Crush 40. It happens to be my favorite Sonic vocal track because this song just fits Shadow’s ending so perfectly here (plus it’s a banger). I recommend you listen to it yourself, but I’ll mention the relevant lyrics here. Let’s go through the first verses.

It's been a long, rough road

And I'm finally here

I move an inch forward

Feels like a year

Everything I feel seems so unreal

Is it true?

Is it true?

I take one step forward

And two steps back

Got a hundred thousand pounds

Sitting on my back

Up, down, all around

Don't know quite what to do

To get through

Shadow is burdened not just by the title of “Ultimate Lifeform” but also by his promise to Maria. All of this, combined with the fact that he only just rediscovered who and what he is, and the sledgehammer to the head that would be finding out you are a biological weapon and a tool that has been used to nefarious ends on multiple occasions would certainly feel like a hundred thousand pounds sitting on your back. This section signifies Shadow struggling with that responsibility — but he’s taking it on. He will help people, he will keep his promise to Maria, he will be the Ultimate Lifeform.

I guess I'm moving all right and I'm on my way

Facing every moment day by day

Take a chance, slip on by, got no time to answer why

Head straight, head straight

What will I become if I don't look back

Give myself a reason for this and that

I can learn, no U-turns, I will stay right here where I'm at, where I'm at

Shadow is starting to overcome some of that pressure. There’s still doubts as he makes the decision to keep moving forward without looking back — he asks, “What will I become if I don’t look back; give myself a reason for this and that.” He very quickly reaffirms the commitment in the next line, but it does show some doubt. At the end of the day, his past still defines who he is. His promise to Maria, his responsibility as a forceful individual still drive him forward and compel him to do the right thing. But the other aspects of his past he is choosing to leave behind.

Well I'm on my way

On my way

On my way

On my way

Here I am,

Made it to the end of you

Never had a chance while I'm around

No! No!

No, no, no, no!

Well, now I'll never turn back,

I'll never turn that way

No matter how life tries to face me

I'll turn the other way

Now and then,

My head starts to spin,

But I'll never turn back again

No! No!

From this moment on,

I am moving on,

And I'll never turn back

Again

The chorus is Shadow’s promise: a promise to himself, to Maria, and to the world. He will never turn back to the weaponized hatred that Gerald programmed into him. He will never turn back to the alien domination of a doomed species. He will never return to thinking he could be an android subservient to Dr. Eggman. From this moment on, he’s moving on. 

Shadow’s entire character in Sonic ‘06 is an affirmation of the development he underwent in his own game. Shadow has a static arc in ‘06; he doesn’t really change at all over the course of the game. However, in that iconic scene you’ve probably heard everyone and their mother talk about, he puts forward the exact attitude I’m talking about here.

“If the world chooses to become my enemy, I will fight like I always have.” Keep moving forward, never turn back.

Shadow views G.U.N. as a viable method of carrying out his goals — helping people — at the time of ‘06. 

I think this makes sense. If the organization has been reformed since the days of the raid on the ARK, then it’s probably one of the best resources for Shadow to use. Additionally, from within the organization he is far more aware of what they are doing, giving him advance warning if something nefarious is going on within such a powerful paramilitary establishment. 

By letting go of his hatred, he can work for the organization that killed Maria. After all, he saved the whole world when he was originally intent on wiping out humanity. If he can do that, I think he can probably work with an organization that only recently changed its mind about him. 

[lostcauses-noregrets]

SnK Final Episode thoughts

A few thoughts about the final episode of SnK now the dust has started to settle.  Although it was the anime that first got me into the series, I’m really a manga first kinda fan, I enjoy the anime, but it’s always been a nice addition for me.  Also, while I was very ambivalent about the ending of the manga and had a LOT of things to say about it at the time, I’ve more or less made my peace with it.  All of which is to say that I went into the final episode without any particular expectations. I was excited to see the series draw to a close, hoped they wouldn’t mess up Levi’s ending, and was curious to see the much touted changes. 

I have to say, I really enjoyed it. The action sequences around the Attack Titan were breathtaking and the rumbling was genuinely horrifying. The pacing was good and it felt a lot shorter than the 90 minute running time. The voice acting was fabulous; Yuki Kaji, Yui Ishikawa, Marina Inoue and Hiroshi Kamiya really knocked it out of the park. 

Jean and Connie were really touching.  I loved the way that they kept harking back to what it meant to be a Scout.  Reiner was fabulous too. I had a lot more sympathy for him by the end of the episode than I’ve had throughout the series.  The expression on his face when Jean said they were all Scouts was really moving. Pieck is my best girl, as always, but I’m afraid I still haven’t warmed to Annie, I guess I never will.  Gabi seemed to be a lot less prominent than I remembered from the manga, but her scenes with Falco and Levi were great.  It’s no secret that I’ve never been fond of Armin, however I thought he came across really well in the episode.  His conversation with Zeke in paths made a lot more sense and was actually really touching,  Kudos to Marina Inoue for her amazing voice acting. 

Levi was perfect in every single frame.  You really got the impression that he was fighting with every last fibre of his being, despite his catastrophic injuries, and of course he never forgot his vow to Erwin.  The moment when he finally killed Zeke was *chef’s kiss*.

Levi’s final salute was absolutely devastating. I completely choked up watching the subbed episode on CR, even though I’d already seen the raw and had been capping the scene all day.  The final image of Erwin and the Wings of Freedom fading into the mist had me in pieces.  The choice of theDOGS as the soundtrack for this scene just added to the pathos as Erwin’s character song, Hope of Mankind, is an arrangement of this track.  

The change to Levi’s ending was very unexpected, but I really liked it.  I’d always wondered how that city at the end of the manga survived unscathed.  It seemed more realistic to see Levi, Onyankopon, Gabi and Falco in the refugee encampment.  It’s also fully in keeping with Levi’s compassionate character for him to be contributing to the reconstruction efforts, and of course it all ties in with what we’ve seen of Bad Boy. (It’s also pretty much exactly how I imagined Levi’s post war life in The Permanence of the Young Men.)  Seeing Levi handing out sweets to children who bear such a close resemblance to Ramzi and Halil was really touching.  I’ve seen some people complaining that the lollipop scene was a jarring note of humour that seemed out of place, but I didn’t see it like that.  I interpreted it as Levi remembering children like Ramzi, and perhaps even recalling the trauma of his own childhood.  I’ve seen some interesting discussion on twitter linking Levi’s reaction to the clown in Marley to the few sketchy panels of Bad Boy and suggesting that rather than being pissed at being mistaken for a child, Levi was triggered by something traumatic that happened in his own childhood. Isayama rarely draws anything unintentionally, so we’ll have to wait and see. 

Having said all that...much as I enjoyed the episode, it didn’t change my opinion of the ending (which you can read here if you’re a real glutton for punishment).  I really appreciated the change to Armin’s dialogue when he confronted Eren in Paths.  The scene in the manga where he thanks Eren for becoming a mass murderer for their sakes still leaves a bad taste, so that change was greatly appreciated. I also liked the fact that Armin said they wouldn’t be the heroes Eren wanted them to be, though in actual fact this is the role they take on. The fact that Armin and the others were so quick to forgive Eren still really sticks in my craw, if anything, it was even more jarring in the anime after seeing how hard they had fought to stop him.  The same goes for Armin telling Mikasa to find a good place for Eren to rest quietly.  I’m sorry, but I’m not sure Eren deserves to rest in peace. 

Eren himself was pathetic in every sense of the word, just as he is in the manga, but I think he explains his fucked up rationale a bit more clearly in the anime.  I have seen some criticism that Eren is a poor villain because he lacks any coherent ideology, other than some vague nonsensical notion of “freedom”, but that’s the whole point. Eren isn’t a tragic villain or an evil genius with a masterplan, he really is just a kid who had too much power and didn’t know what to do with it.  

There’s nothing I can really say about Mikasa, she was as dignified and tragic as she is in the manga.  However I thought the connection between the Founder Ymir and Mikasa was, if anything, even more obscure in the anime.  I can’t help wondering what anime only fans make of it. I’m also not sure I liked the way the anime handled the extra scenes at the end. It was quite clever to include them as the credits rolled, but it did rather lessen their impact. I think I’d have preferred to see them full screen. 

I know there’s been a lot of criticism with the way MAPPA animated the characters, particularly in comparison to JJK, but tbh I have little patience with that.  With the notable exception of Levi, SnK has never been a pretty boy anime so the comparison to JJK seems misplaced.  Although I will always prefer WIT’s style, I think MAPPA did a good job of incorporating some of Isayama’s art style in the animation, particularly the exaggerated facial expressions he sometimes draws. 

And finally on to that scene with Erwin.  The level of outrage at the way Erwin was drawn in the scene where Levi recalls his vow was quite something.  I have several Anons in my inbox claiming that MAPPA have a deliberate anti-Erwin bias, which is nonsense.  Admittedly MAPPA’s Erwin does suffer in comparison with WIT’s season 3 Erwin who was magnificent, however even WIT didn’t manage to draw Erwin consistently.  I think some fans have been quick to forget just how wonky Erwin sometimes looked in earlier seasons of the anime.  Also as I said in this post, it’s important to remember that Levi is in the depths of despair when he remembers Erwin at this point, as he has convinced himself that he has failed him.  Erwin always looks beautiful and serene when Levi remembers him; this is the one exception. The bleak expression on Erwin’s face is a reflection of Levi’s state of mind, not some hidden agenda on MAPPA’s part.  If we’d had soft shoujo Erwin in this scene, it wouldn’t really have conveyed Levi’s despair. The fact that we did get a close-up of the most beautiful soft shoujo Erwin at the end is hopefully enough to appease the critics. 

So thems my thoughts. If you’ve had the patience to read to the end of this ramble, thank you.  However you look at it, it's been a wild ride and I'm very grateful to have been along for the trip. One last word for people who are concerned the fandom will die now the season has ended. Don't worry, it won't. It will change, but change is inevitable in fandoms. However the characters and story that Isayama has created are easily compelling enough to capture fans for years to come.

[newvegasceo]

Hello! I just completed the 5some scene witb Halsin and Astarion and I dont really have anyone to comment this with I hope you dont mind me dropping here real quick to say [SPOILERS]

So... he just dissociates no matter what? I completed Astarion's quest and I could swear that meant he wouldnt dissociate in the scene. But I think what bothers me the most isnt even the dissociating itself but the lack of response from the Player Character. I just LET him?? I dont comfort him, I dont stop the whole thing in its tracks??

And its the only way to get Halsin's backstory?? Am I doing something wrong? I feel so conflicted about the whole thing. Opinions? Thanks for reading this far if you have, sorry for any inconvenience!

I don't claim to be the best source on Astarion lore or on his storyline consistencies/inconsistencies since we're like a bitter divorced couple, I can't talk about him without getting slightly annoyed. But,

I got that exact same scene (5some) after Astarion's story conclusion. To me it makes sense that he's still distant - we fixed his Cazador situation but we didnt fix his sexual abuse issue because he never brought up the trauma. I'm assuming you didnt romance Astarion ang got this scene? For me, a non-Astarionmancer it made sense, since he never told me about his intimacy issues in the first place. But if that happened to you, and you romanced him, then I can still understand him being distant in that moment. He's not that into sex with other people and you just asked him to perform in front of 4 others. I can see how he would default to an auto-pilot. But that's assuming you did romance him. If you didn't then there's not much to be surprised about. He's tired of performing seduction.

To me, it's not that big of a deal that the PlayerCharacter doesn't respond to catching Astarion drift away. Without romancing him and learning about his baggage PC at best can only assume that Astarion is not into sex due to his past of sleeping with his victims and that possibly bringing up bad memories. Since the narraror line about him being distant during the encounter was only a brief mention (narrator mentions PC and Astarion catching eyes for a moment, any further descriptions of his performative behaviour are a general description of the scene since nothing is visible, not necessarly describing what the PC is seeing).

What! I! Fully! Agree! With! You! Is how Halsin's mega traumatic backstory is only ever accessible through a hidden option (i wouldn't even call it a mission, just a random NPC conversation) in Act 3. That conversation could have been naturally implemented into the (currently bare-bone) Halsin romance route. This is why I'm still screaming about letting the players have access to Halsin as a companion in Act 1 already, so that he can go with the PC to the Underdark. That could lead to him having some flashbacks to his time there, and perhaps slipping in some titbits during idk the exploration of the wizard tower in the underdark and him seeing the chain mounted to a wall and that bringing up some nasty memories?? Like the story writes itself, it's all there but I'm guessing the devs had better things to do then flesh out their fanservice and fan demands. Like adding Halsin as a romance options SHOULD HAVE BEEN a post release thing !!!

My opinions are more or less summed up here. It's ass that an abuse victim such as Astarion gets all the special treatment and a catharsis while Halsin, who also went through a traumatic experience doesn't. He actually laughs it off. But that's okay, people cope differently. So why not have us explore his backstory more? Well, it's crunch of course. The devs had no time to put love and care into Halsin even tho him being a romance option/companion (so those conversations about his past wouldn't come up) wasn't even on their initial goal list, just something a few discord people suggested.

I feel like the writers had too much on their plates and too little time to make sure inconsistencies in character motivations/ reactions, backstories don't occur. But we should all be happy Astarion got all the attention he deserved. Oh, you're saying there are other companions in this game too? Since when?

[chounaifu]

I’m really glad that those asks I sent out are being well-received. There’s still a few more that I need to write up, but, I’m pacing myself. :’)

Thoughts about my own current state beneath the cut, since my therapist always encourages me to open up to the people in my space. Some of it can be potentially triggering, so, please do not open if the discussion of trauma, stalking and abuse is harmful to you:

I’ve been vocal about the horrifying, traumatic stuff that caused me to leave the RPC in 2017, to a few of you before. Without going into deep detail, between the years of 2017-2021, I was trapped in an extremely, extremely abusive relationship with a member of the RPC who is no longer here, thank fuck. Because of my poor coping skills and extremely fragile mental health at the time, he managed to keep me in a social isolation until I finally left him in 2021. And I mean true social isolation; I wasn’t allowed to talk to anybody but him. (I literally had to lie and pretend like I was having internet troubles if I even wanted to open up another chat box on Discord to talk to somebody, because he would literally point out the amount of minutes it took for me to respond to him.) He tracked my location in real time with GPS. He controlled what I ate when we spent time together irl. He forced me to quit one of my jobs before, because he wasn’t pleased with how busy I was. Any free time I had, had to be given to him. I had no identity, no autonomy, no sense of self.

Since I left him in 2021, I’ve been in a long process of learning how to be a human being again, how to exist around multiple people, and how to monitor my energy levels. It’s been hard, and, there’s a lot of times where I have to learn that I am adapting to an entirely new way of life. I used to be able to write a lot of thread replies, ask replies, and drabbles in a short period of time, but, my brain just does not do that anymore. And it makes me sad, but, I know that my RP partners understand my situation.

I cannot emphasis how much going from *one* person to— well, a lot of good friends has been good for me, but also a difficult experience in itself, because I’m still fighting with my own hypersensitivity and paranoia.

Choosing to come back here was one of the scariest decisions I have ever made. And, even though I don’t vocalize it, I actively fight trauma responses every single time I open Tumblr— not because anybody is doing anything to me, but because the experience I went through was so deep.

That’s why I’ve been trying to take a minute to sit down, and send some nice words to everybody. You never know what somebody is going through. *Nobody* knew what I was going through, because I hid it so well— because I was forced to. We’re all human beings, on this rock, and we all chose to sit here and write, whether because it is a coping mechanism, something we’re passionate about, or because it’s simply fun. And I think that’s really, really beautiful.

I don’t think I’m ever going to be the same, energetic Rex that I once was. And I wish I could be. But that is okay.

So, for the people who welcomed me back, and remembered me: thank you for accepting my return, and accepting my apology.

And for the people who didn’t know me, who have become my friend lately: thank you for giving me a chance.

I’ve lost a lot of people, both friends and family, in the past decade or so. Nobody can fill those gaps, but, you guys make me feel a lot less lonely. Believe it or not, I don’t have many friends irl, and I really don’t know what I would be doing with myself right now if I hadn’t chosen to come back to Tumblr.

I wish there was more I could do to help uplift everybody who has been having a difficult time lately, I really, really do. But, at the end of the day, I cannot; what I can do, is point out that there’s at least *one* person out there who wants to see the best happen for you.

I guess what I’m trying to say is, I just want to be a good person, despite of the horrible things I was called by my abuser, and I hope I am doing that.

[tolkien-feels]

You know, I’ve always thought that this sentence was slightly weird: “Then Felagund gave the crown of Nargothrond to Orodreth his brother to govern in his stead; and Celegorm and Curufin said nothing, but they smiled and went from the halls.“

Fandom consensus seems to be that Orodreth is just Bad at ruling, which... I guess he doesn’t have a good track record in canon, but I doubt he’s that bad, because Finrod could very easily have given Minas Tirith’s rule to somebody else.

But more than that... What bothers me about C&C’s reaction is that when Feanor is pitching the Flight of the Noldor, Orodreth is one of the very, very few elves who not only isn’t persuaded, but who actually speaks up against Feanor. If Feanor at his most persuasive can’t manipulate Orodreth, I don’t see why C&C would be so excited about him ruling Nargothrond. There’s a non-zero chance they’ll never be able to manipulate him.

I mean, to be fair, the political situation is unstable and any change in the power balance can be an advantage if they play their cards right, but the impression I get from the scene is that they find Orodreth getting the crown a better outcome than Nargothrond being left without a leader - it’s like they think through Orodreth, they will be able to rule, while if there had been no leader, they’d have to first establish their right to rule.

Anyway, I have a theory that might explain how Orodreth goes from “impossible to be persuaded” to “perfect pawn.”

Sauron. Sauron is the theory.

Remember how the Silm tells us that Sauron’s dominion is torment and fear? That checks out - everybody in LotR who has close encounters with either him or his high-ranking minions is not just momentarily rattled, but is usually left permanently traumatized. This is true even when there’s no physical damage associated with it - Sauron doesn’t have to physically harm you to horrify you for good. Hell, 90% of his strategy in the siege of Gondor is to terrify everybody ahead of time with horror and despair.

Anyway, we are told (or a different Minas Tirith) that Sauron “took Minas Tirith by assault, for a dark cloud of fear fell upon those that defended it; and Orodreth was driven out, and fled to Nargothrond.“ Which, again, checks out.

And I have to assume Sauron would have targeted Orodreth specifically during this assault, right? Scare the leader and the followers will be afraid too.

Anyway, I’m not 100% sure whether Orodreth is the sole survivor who makes it to Nargothrond (which I think unlikely) or if he takes some others with him, but either way: however many Minas Tirith refugees there were, they must have had a very strong reaction when this happened:

And after Celegorm Curufin spoke, more softly but with no less power, conjuring in the minds of the Elves a vision of war and the ruin of Nargothrond. So great a fear did he set in their hearts that never after until the time of Túrin would any Elf of that realm go into open battle 

All elves canonically freak out, but those who already have the Sauron-induced magic PTSD were probably hit harder. So I don’t think it’s unreasonable to imagine Orodreth was visibly shaken by Curufin’s words, not because he’s a coward, but because of what Sauron has done to him in the past.

It’d be awesome if Celegorm’s Feanor-like words have no effect on Orodreth, but Curufin’s scare tactics get to him more than they get to anyone. And if C&C notice it (which I’m sure they would), then yeah, of course Orodreth is the perfect target. Sauron basically primed him to be bullied by anyone cruel enough to use fear as a weapon. Remember the mysterious “Spell of Bottomless Dread“ that Melkor uses on his thralls in some versions? I’m imagining something similar to that

[bonefall]

Seriously the only good cannon couple I can think of is Fire/Sand. That's it. And Maybe Crooked and his cannon mate I forgot her name x_x lol

I'd say that Oak/Blue is pretty cute too (though Crooked/Blue would have been massively superior) and yeah, Crooked/Willow is excellent.

I guess Crookedstar is 100% boyfriend material, lmao

waIT WAIT CLOUDTAIL X BRIGHTHEART IS SOLID... Cloudbright is very good.

Firesand

Honestly though I'm not a fan of canon Firesand. It's easy to forget how much they fight in TPB and I don't think their personalities mesh super well... See, people forget how much agency Fireheart has in TPB, constantly sneaking around, breaking rules, trying to find the truth and feeling immense pressure from the general horrors

But Sandstorm's equally fiesty. There's no need for her to be around to push him to do things, he already is doing them. So there's situations where Fireheart could obviously use the backup, but Sandstorm is actually acting as a "traditionalist" or yelling at him in already stressful situations.

The example that always comes to mind is Cloudtail's abduction. It's traumatic! Cloudtail gets crated, he's screaming for Fireheart to save him, he races down the road chasing after his nephew, tears his paws open, until he loses track of the car.

So Sandy comes up to lick him and she says, "It'll be fine maybe he wanted to be with twolegs" and Fire SNAPS, like, "IM ALONE IN THIS CLAN NOW, CLOUDPAW IS ALL I HAVE!" And Sandy gets MAD, "Ohhh he's all you have ay? WHAT ABOUT MEEE". Cold shoulders him for a few chapters until HE apologizes to HER, while his nephew is kidnapped!!

Sandstorm in general

I wish Sandstorm developing as a person was more on-screen, instead of just slowly happening over time. I wish they both apologized to each other.

This is not a Sandstorm hate post though, I really do love her. I think she's a great balance of being supportive of Firestar and being someone who stands against him. I like her fire in the clan. I like that she's generally a dependable ally of his, and I like her being the mother of his kits (though I prefer them as QPR; Aro Firestar my beloved)

I'm just not fond of their scenes when they're supposed to be romantic. I strongly feel like they work best as allies and close friends.

[aidenlyons]

Another beautiful morning in Sulani. Even though it's been a day or two since Wyatt has seen Chase, he's not worried. They've been texting. Chase is just taking care of some business. When Wyatt's phone rings, he's disappointed it's not Chase, but still an important person...

W: Papa, this is a surprise. How are you?

Zion Calderon does not often call his only son, but they haven't talked in quite some time..

Z: I'm well. More importantly, how are you? We haven't talked since you moved to Sulani.

W: I've been busy. Renovating my house, and settling in. It's so beautiful here. I'll have to send you pictures.

Wyatt is a little concerned, in truth. He can feel his magic crackling.

Z: You didn't answer the question, Wyatt.

W: I'm.. ok. I think I just need to discharge. I must have overdone it with the spell work last night.

He didn't.

Z: Be careful. You know what happens when you don't watch your charge.

W: I know, papa. I'm being careful. I'm mostly focusing on my potions.

Z: Good.

Z: I hope you've done something besides work.

W: I've gone out a few times. I came here to focus on my studies, Papa.

Z: That doesn't mean you can't make friends.

W: I have.. recently. One, at least.

Zion hums in a way that tells Wyatt he's waiting for details.

W: I'm an adult now, living on my own. I don't have to tell you everything.

Z: Excuse me?

W: Papa. I love you, I'm grateful for your guidance and protection. But you have to let me live my life.

Zion sighs, but the edge leaves his voice.

Z: You've always been wise, Wyatt. Alright.

After a minute of idle conversation, Wyatt hangs up and sighs in relief. He's not sure how his father would react if he knew his new friend was a Werewolf. Or that they were dating.

Not that his father's opinion would matter in this case. Chase is too good to pass up.

The phone call has Wyatt thinking about Chase, so he walks down to the beach to see if he's home. Turns out he is.

W: Hey, so this is where you've been staying.

Chase is watching TV even though he called for Wyatt to come in. He knows who was there.

C: Hey, moonbeam.

W: Moonbeam?

C: Yeah, after your story the other day.. seems fitting. What do you think?

W: I could get used to it.

C: Good. What brought you over today?

W: Just wanted to visit.

C: Well I certainly don't mind.

W: I talked to my father earlier and I guess it just made me lonely.

C: You're in the right place. You never said, do you get along with your dad well?

W: Ehhh.. for the most part. He means well but he's overprotective.

C: I can understand, after what you went through.

W: It was strange, but it wasn't traumatic, Chase. You don't have to worry.

C: Can't seem to help it. There's something about you... pulls me in.

W: Animal magnetism?

Wyatt jokes and Chase laughs, but it's crossed his mind.

Chase reaches over to pull Wyatt into a half hug/snuggle.

C: I don't know how I'm ever going to leave.

W: Then don't. Stay, Chase.

C: What, move in with you?

W: Why not? You can do any research you want to do, here.

C: You're insane. You barely know me.

W: I know enough.

C: I'm a werewolf, I could destroy your home.

W: I'm a Spellcaster, I can fix it.

C: Your place is small, for two people.

W: If we live together we can save more quickly to afford a bigger place. Next.

Chase sighs, he's out of excuses. He wants to stay with this beautiful young man.

C: Okay. I have things to take care of, things to pack up, property to sell.

W: You better come back. I'll track you down if I have to.

C: I will. I promise, moonbeam. I'll come back to you.

[gay-cryptidz]

The Comfort Between Your Scars

Chapter 11

TW: referenced past character death

Without the board games and the movie to distract him, Noah became increasingly aware of the disconnect between him and the brothers, or, more specifically, Tommy. Him and Joel were already chatting away and bickering and so very comfortable with each other again the moment the girls had left.

Talking to strangers who knew nothing about Noah was easy, at least that way he could pretend to be someone he wasn't, hide behind a facade, show them exactly what he wanted them to see. Talking to Mari and Alex was even easier, he didn't need to worry about how to present himself or what to say around them at all.

It was the gray area in between that scared him.

He'd excused himself to go check on Jamie, who was sleeping soundly in Joel's bed, after zoning out and losing track of the conversation. After pausing to take another deep breath and placing a kiss on his little brother's forehead, he made his way back to the living room.

Joel and Tommy were on the sofa, filling three wine glasses. Maybe he'd feel a little less out of place with some liquid courage.

"How come I always end up being the one to sponsor our drinks? Seems to be a bit of a pattern by now", he joked.

"It's 'cause you're such a gentleman!", Joel grinned.

"Yeah, yeah. You owe me"

He sat down next to Joel, grabbing a glass and taking a big sip.

"Damn, it's not even that good. Should have taken the cheaper one, what a waste of, like, ten bucks", he chuckled.

"I see how it is, I'm not even worth the extra ten bucks to you"

Joel laughed when Noah gave him a light shove. They all sat in silence for a moment, assessing the taste of the not-worth-the-extra-ten-bucks wine, before agreeing it really wasn't that good, but it would do.

"So, Noah", Tommy started, "Tell me about yourself"

"Tell you what?", Noah snorted.

"Well, anything. I've heard bits and pieces from Joel and Mari but I haven't really had the chance to actually talk to you"

"Y'know, at least Joel worked hard for this information! He didn't know shit about me until after he heroically burst through a door to save me from a drunk guy I'd already beaten the shit out of. I mean, there was nothing more for him to do, but 'A' for effort!"

"Well, if the opportunity arises, I'll gladly try to save you by doing nothing", Tommy laughed.

"In all seriousness though, you know just about as much as you need to. Dad's gone, mom's out of the picture, when it got really bad, I took Jamie and Mari and left." It was almost the same shrugged-off recap Noah had given Joel a few weeks earlier. It was far from the full truth, of course, but he didn't exactly feel like recapping every traumatic memory of his life.

"Oh god, right, your dad... actually, sorry, you probably don't wanna talk about it. Mari told me earlier that he- well, she told me what happened"

'It's your fault'

Noah just shrugged and repeated his sentiment of 'not much to talk about'. Thankfully, Joel didn't ask and Tommy didn't push the topic.

'Are you happy now?'

Noah took another sip of wine, attempting to push the resurfacing images and sounds away. Joel and Tommy were miles away now.

'Even if you didn't mean to, you're the reason this happened'

Just calm down. Breathe.

'You're the reason I'm even in this situation'

Just say something, anything.

"I mean, I hardly remember him, really. Certainly didn't waste a second missing that asshole"

Tap, tap, tap on cold, hard tiles.

"Noah, we don't need to-"

"Messed up my mom pretty good, though. Well, I guess she was messed up already. Hates my guts, always did"

'It's your fault. Look at it, look what you did!'

"Hated his guts too, actually. So did I, for a while. I mean, things weren't exactly perfect but if he didn't- just, y'know, I was fine until-"

Stop talking. Just shut up. Say something about the weather or ask about work or-

Tap, tap, tap, never stopping. Glass of blood in his hands. Tap, tap, tap. Blood on his hands.

Tap, tap, tap on his shoulder and he snapped out of it.

"Hey, you alright?", Joel asked softly.

"Sorry, I really didn't mean to upset you or anything. Won't bring it up again." Tommy looked very lost all of a sudden.

Noah downed about half of his wine at once before saying anything.

"It's fine, just... been a long day"

Their faces were wrong. They didn't seem real. Just that little bit off.

"I'm just gonna go get some fresh air"

He didn't leave them time to respond, already halfway out the door. He should just go to bed. Everything, every activity, every conversation, seemed to eventually turn bitter today. Instead, he sat down on the steps and lit a cigarette.

This was a mistake. This whole thing. He never should have befriended Joel, never should have invited him to hang out in the break room, never should have agreed to go to this god damn birthday party.

It didn't take long for Joel to quietly sit down next to him, of course.

"I'm fine, just needed some fresh air"

He stared at his cigarette burning down ever so slowly as the seconds ticked away in his head.

"Well, it's just that you practically ran out of the room right after coming back so i felt like I should probably check and make sure"

Tap, tap, tap.

The soft glow seemed ever so welcoming. Deep breath, everything's fine. He rubbed his face, sighing.

"Sorry, just... a lot going on today. My brain gets a little weird. I guess it's always weird but you know"

"Anything I can do?"

"No, I don't think so"

After a few moments of silence, Noah could feel Joel's hand softly grazing his own on the cold stone between them. The gesture was careful, almost shy. He hesitated for just a second before offering his hand to Joel, who gently took it in his, entwining their fingers. Noah internally cursed at himself for the tingle it sent down his spine.

Do not fall for him. You don't do relationships. Stop being an idiot.

"The stars are nice today."

"Yeah."

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[it-me-butts]

Clearly we can see that Butts the mighty is into FS, and I admit most of my FS fics are a direct result of that, but the question I have is what got you into them in the first place, and your favorite thing about the ship!

Thank you for asking, my friend. I hope I can give you a good enough answer and I won’t be boring you with the long version.

Why I love Frosen Steel… I mean, solely because it’s Frosen Steel. They are best girls and they deserve to be happy.

I’d say the vol7 finale got me into Frosen Steel. I already shipped the components of FS separately. The finale was the last push to help my brain combine Whiterose and Nuts and Dolts into one ship. In short, my over active imagination got me into shipping it I guess.

If you’d like to see the long version, you can see it below. It is my own opinion and it’s totally okay if you don’t agree with it. Be warned, it is mostly unedited word-vomit. (That being said, please don’t come after my ass. I’m dumb, ok?)

On one hand, it’s wholesome af. I just think the moody(traumatized) one having a soft spot for the sunshine(equally traumatized) one trope is pretty neat.

There are three girls who all are under intense pressure from society and/or family. Speaking of family, have you ever imagined them, all coming from families that are limping in some way. And their intense desire to have a full, functioning and happy family? Even if it’s you, your two wives and an approx. of 10000 pet fish and every stray animal your wife sees on the street?

But back on track here: They share a mutual sense of this specific kind of alienation/loneliness (in my opinion, but yours is just as valid as mine).  Just think about it, Penny is an outsider from society, because she is synthetic. Weiss have been alienated from people through wealth and upbringing (I mean, she has a massive case of better-than-youitis in the early volumes). It’s not hard to see Ruby being the weirdo of the class with her hyper specific interests and tendency to chose staying in her comfort zone when it’s about people (at least in the early volumes I think she still has that tendency, but she got better at masking it). And she was moved ahead 2 years to attend Beacon! Tell me about feeling out of place in a new environment.

Also, you could also say all three of their values are hard based on the deeds and things they can offer and the use they can be for others. Penny is commanded by Ironwood, Weiss has her father to terrorize her and Ruby could have been one of Ozpin’s ace up the sleeve (you can’t tell me he didn’t intend to brainwash her into throwing herself in harm’s way so Oz would have a few extra years trying to figure out a plan against Salem). It clenches my heart to think all three of them had to grow up prematurely.

On the other hand, I’m not known for creating angst, but just think about the angst opportunity. (I’m not talking about vol8 finale. I don’t acknowledge it happened until I get further explanation from canon).

I have a whole alternate timeline in my head for them. Let’s venture into shippy head cannon territory, shall we?

Imagine early volumes Ruby with her high energy, must impress Weiss vibes. Of course Weiss has none of it, she’s too classy and prissy for that. I’d like to think Weiss would like to have honest and kind reactions for Ruby’s friendship and awkwardness. (At least after her conversation with professor Port.)

But coming from an abusing/neglecting household, I think she doesn’t know how not to react to most of Ruby’s antics other than rudeness sprouting from panic/not knowing how to manage her reactions. She’s doing her best to warm up to Ruby but if you’ve been there, you know how damn hard it is to change a kneejerk reaction at that scale. And I think she resents herself for that? Or at least for my own angsty enjoyment, I think so.

And in comes Penny. She’s someone who matches and even over achieves Ruby’s awkward energies. Of course they’d get along flawlessly. When you’re an outsider and find someone vaguely similar to yourself, it’s like finding the place on earth you belong to. Would Weiss see this and recognize this? Heck yeah.

Of all the heartaches, the cruelest is the one that makes you feel like you could have been the one, but in the end, you are not enough. So Weiss decides it was silly of her to think anything of it and lets it slide. After all, she promised to be the best teammate and not the best friend/girlfriend, did she? So she sticks to what she promised. Would this help Weiss come free of her unhealthy habits? Not likely.

Let’s jump to after the fall of Beacon. Just imagine how Ruby and Weiss found solace in each other during their grieving and dealing with survivor’s guilt. How it could have been no flashy, lovesick, grandiose gesture like in romantic movies. But it was a gradual process, a relationship built on mutual understanding. I can imagine how tender and sweet it could be. But make no mistake; it most certainly is not a fragile thing. (Rivals to friends to lovers trope, my beloved <3)

And now. Think how Weiss could have felt arriving to Atlas and learning about Penny, how confused Ruby could have been about her feelings. I don’t want to pull the Penny got amnesia because of her rebuild and acts like Ruby and she are a couple, thus hurting Weiss. (I’m not on board with the amnesia trope, but whatever floats your boat, you do you.)

So here we are: we have a massive catastrophe brewing.

Ruby, already burdened with so much bullshit because of all that’s happened in the last few years, is now stressed out about not knowing what to do. Remember, she is still an asocial dork with a love for weapons and a tight circle for comfort zone.

Weiss would be prematurely nursing her broken heart, her insecurities already plaguing her. I’ll die on the hill of Weiss having a whole baggage of them. I doubt she ever had any meaningful relationships aside of her sister, who was most likely always away because of military stuff. Her parents are not a good example how to resolve relationship conflicts either.

And Penny… Sweet Penny. Time stopped for her for about 2 years? We don’t know for sure how much time passes from the fall of Beacon and her actual rebuild, but boy…. Imagine how awkward it would be for you to see your (only) friends again. (The only people who actually see you as a person and not some dictator general’s robot.) And instead of enjoying each other’s company, there’s this constant underlying stress and tension.

Until they magically resolve the situation. (Whether it’s a peaceful and levelheaded conversation or a heated argument that turns deep real fast is up to you, reader.) We’ve seen Weiss and Ruby yell and fight with each other. The same amount of energy, but put into open and honest communication could do wonders with a relationship.

Imagine how it could be Weiss’ time to shine and do her homework on how to manage a healthy poly relationship, how she’d work her hardest to be her best self and how she’d bust her ass trying to be the support Ruby bottling-up-my-trauma Rose would need.

 I’m dying with the cuteness thinking about how Weiss and Penny would start tentatively, then discover how much they have in common. I really think they could work amazingly despite being so different in their personalities.

And that’s what I love. I can imagine them starting rocky and then slowly working their way through it, doing their best to make sense of it all.

I love how much potential they have together. You can just look at them and go “oh, they look so neat together”. These characters are whole on their own and they are even better together. You can also make up the wildest, most alternative timeline shit for them and have so much fun and heartache doing so. I just love that.

My most guiltiest pleasure is thinking how FS would form quietly in the background, while BY steals the spotlight. The idea of BY being cute and lovey-dovey and you just see PWR in the background, obviously going on a date and you just wonder “when the fu-“

[candy-fae]

Back to Carlie sort of watches supernatural hour!!!

I tried I Tried I TRIED to give dean a chance bc y'all kept saying "no he gets better Carlie!!" And "pay attention Carlie!! " and "WATCH THE WHOLE EPISODE INSTEAD OF JUST SKIMMING WHILE U DRAW CARLIE" and I said fine!!

Fuck it!!! Lemme watch the next episode.

So I put on Season 7, episode 3.

I hate him I hate him I hate him lolololol

The whole episode I just felt horrible for Amy Pond.

I've never been a huge anime fan, but one of the few I HAVE watched has been Tokyo Ghoul. For those who haven't seen it, the premise is that ghouls need human meat to survive, and must hide amongst humanity so as not to get absolutely murdered by ghoul hunters who have learned how to hunt and kill them.

Ghouls have found alternative ways of getting flesh, much like Amy Pond, whom spoiler, works at a morgue. Throughout the series, we see ghouls struggles to hold onto humanity, and try to exist and hold normal bonds and lives. One such perspective is from a mother and small daughter who comes to our main cast for help. Just remember that.

Now, due to our monster, Amy's son getting sick, in a panic, she kills some ppl to feed him. Oopsie, but like, slay momma bear.

Sam also happens to know her personally, and when he finds out she was just doing this one bad thing this ONE time, he leaves her be. Says that's what most people would do in that situation. Dean lies, and tells Sam he trusts his judgment, and then promptly what does he do??

He tracks her down.

And kills her in front of her son, telling her it is her nature that makes her a monster and eventually she will kill again.

And in my head all I saw was the scene in Tokyo Ghoul, where we get the perspective of said monsters. A mother fights to save her baby, and loses her life, just for the baby to be traumatized, and GRIEVE and hate herself for just being born. The question arises, do we as monsters, deserve to even live just because of what we need to survive? If it is sourced ethically, and they aren't actively hurting anyone, do they still deserve the death penalty? I meant hey, sure, maybe they would have killed people in the future. Junior catches the flu and now mommy needs to go Merc an old dying person.

Maybe! But he just simply doesn't believe in hope, and change, or seperating yourself from the cards you were delt, and it's shitty.

He's a shitty, shitty guy, and I think everyone gives him a pass because of the trauma he's been through, and the fact that he's pretty but like noooooo??

Ps. I hope the son, who's just an orphan now I GUESS, does in fact come back, and I hope he Hurts him bad. Nobody chose to be born the way they are, and I guarantee his kill count was higher than hers lmao I just really am not loving this guy like everyone made me think I would. Consider me a meanie little hater who doesn't know what she's talking about bc again!! I'm maybe only watching the parts where he's the WORST, but I was still mad about the werewolf girl, and I'm noticing a pattern with the women here.

[jalebi-weds-bluetooth]

Hi Jalebi! Had a question for you about the remarriage track. Do you think that there was any possibility for Arnav to actually leave Khushi at the altar because of the Garima reveal? I feel like if IPK was a regular Hindi serial they definitely would have done that to extend the drama a bit. I'm SO thankful they didn't because I feel Arnav working through (some of) his trauma and realizing his love for Khushi beats everything else was the perfect resolution for his previous mistrust of her/their love. But still every time I watch those episodes I notice so many hints that seem to "foreshadow" Arnav leaving Khushi like the "if I leave your hand once I'll never hold it again" and "I'll slip through your fingers like sand" which feels odd considering none of that happened....do you think that was just misdirection to keep viewers guessing what will happen or more like a last minute changed track similar to Arnav dying? I personally feel this type of misdirection is kind of bad writing because those dialogues felt very forced and cheap - as opposed to, for example, the foreshadowing of the misunderstanding and contract marriage which was quite obvious but beautifully done. Would love to hear your thoughts on this! Thanks :)

Hello anon 👋

I was very happy Arnav turned up for the wedding. That was the Arnav I believed in.

f he didn’t I would’ve stopped watching because I was at the edge of how much trauma Khushi can face.

And Arnav returning was the closest we got to see him dealing with his trauma and making the decision to choose Khushi and essentially grow and close the loop and stop the mistake he made 7-8 months ago when they eloped.

I’d very much really something dramatic that ends happy than the other way around.

Definitely it felt like the PH was in two minds of the arshi reunion and really played it till the last minute. Perhaps there was separation of some kind planned out and I’m glad it didn’t happen because I don’t trust it going well. And I genuinely wanted the pair to be happy.

The time to create separation was done. It should’ve been related to redemption. Ainvayi ka drama is not my cup of tea and very few shows have convinced me otherwise.

Tbh, a lot of IPK’s stronghold in writing, direction, cinematography and production really was lost by that time. The remarriage scenes shine for the great cast but don’t hold a candle to Payal and Akash’s wedding.

Otherwise simply compare the temple wedding to this one, you can see which one was better produced!

Also your feelings on misdirection - I agree! I remember the way in the beginning they showed Khushi with a shocked face at the teej temple and ended the episode to make us feel she discovered Shyam and then no it’s her bumping into Akash and I’m like… why did she have the shocked face. That was just a shot, coming back to a larger misdirection I feel it could’ve been worse during the wedding but thankfully it wasn’t.

A lot of it was can we trust Arnav after everything? He’s made painful decisions for smaller things.

And because Barun is a great actor, his face is truly unreadable and he convinced us that Arnav is coming from great pain even in choosing Khushi.

And Sanaya held the the whole wedding on her shoulders. Khushi’s fears were palpable only because Sanaya played her.

I wish we got more payoff to the whole traumatizing wedding. But were also slipping away from that age of television where feelings were simmered and payoff was played until every bit was assessed. I feel it feels unbalanced because of the large amount spent on the drama and little spent on healing.

Hope that answered your ask!

Best,

Jalebi

[traumasurvivorshelpingsurvivors]

content warning for grooming and incest

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i think my older brother was grooming me when i was younger

i apparently am not knowledgable about what grooming is, because ive described traumatic situations regarding other toxic/abusive people in my life without thinking they were groomers but the people ive been talking to about it told me that it was all grooming behavior, like showing me porn (sometimes literal csem) when they knew how young i was and telling me that i was special or something along those lines.

so about my older brother, there was definitely emotional incest happening but i dont know if thats the same thing as grooming. i remember him being really attached to me in a way that made me incredibly uncomfortable. my family in general has a codependency issue and i grew up thinking that feeling suffocated by them was symptomatic of my selfishness so i dismissed my feelings as just me being selfish.

my older brother dumped his emotional problems on me (we have a 5 yr age gap jsyk) and told me that i was the only person in the family that he could trust. i dont want to say "i took care of him" but i always protected him from my abusive father and i was afraid of making my brother upset in some way. not necessarily because i was "afraid" of him but because he pressured me to, with all the trauma dumping and stuff he was doing and telling me i was the only person he could rely on. so like id do his chores for him when he slept in or id cover his tracks whenever he did something stupid. all of this had my father call us twins and he compared our relationship to a married couple on tv.... it made me feel sick to say the least.

skip forward a few years and my brother started to fucking stalk me. i entered high school by the time he graduated and i guess because he couldnt watch me in person he resorted to texting people from my school on instagram and he asked them about me. btw he was creepy with them too, one of them was a friend of mine and you can guess what happened to our friendship. not only did he do this but he randomly accused me of whoring around and texting boys instead of texting *him* like i was cheating or something. and when he did that i was furious but i was like "omg i would never ignore you i promise im not talking to boys..." just so he could shut up. he continued accusing me of this btw and it made me feel disgusting.

i also have these other memories... theres the times he asked me to move in with him (keeping in mind his obsessive behavior towards me) and theres this other time he showed me a song he wrote with his friend that mentioned how good of a sister i was or whatever. i also have this random memory of him getting mad at me because i didnt want to sit on his lap.

writing all of this was triggering but its been on my mind. if youre curious about our relationship now i practically cut him off. i committed the crime of calling out his toxic behavior and ever since then hes been aggressive towards me and talking constant shit about me to his equally as disgusting wife. hes always been obsessed with me and behaving in strange ways but i wonder if it was more than emotional incest... like grooming. what he'd groom me for i dont know but its like he wanted to be the only boy in my life, like he wanted to be my boyfriend. for a very long time i thought i was being selfish for finding him uncomfortable but now that im a little older and able to articulate my feelings better he was and still is a clearly abusive person. btw if any of this sounds familiar its because i sent anons to agirldying before, im just summarizing all of this again and adding new info so i can give valid reasons for why i believe he might have been grooming me since i was 10 to age 16.

Hi 💔,

I'm (again) so sorry about what you've been going through.

I'm honestly not too sure where the line is between grooming and emotional incest but I can definitely see how there could be some overlap, or how emotional incest could be a foot in the door to grooming, or vice versa. I know a lot of people tend to think that grooming can only be done by adults, I know even just by experience that kids can do it too, though unfortunately there's very little out there explaining it in that context.

Although it's about adult relationships, I still found this article that April wrote helpful in context of my COCSA, so I'm wondering if this could be helpful for you as well. It essentially spells out each step of grooming: targeting the victim, gaining trust, filling a need, isolation, abuse, and maintaining the relationship. You may be able to identify how your experience aligns with that structure.

I also just want to say, you don't have to explain yourself, you know? This string of traumatic experiences are distressing for you, and while it's perfectly okay to talk about it as much as you want, I think it's also important to acknowledge how much space you're allowing your trauma to take up. You don't have to prove anything to anyone. We believe you, no matter how much or how little you explain what happened.

I hope I could help. Please let us know if you need anything.

-Bun