#save me from this analysis hell

[bungobble-my-balls]

OK correct me if I'm wrong, but I feel like the main 'yin/yang' parallel with Atsushi and Akutagawa is not something like 'this one is bad but secretly has a good side and this one is good but secretly has a bad side'.

I feel like it's more about 'who they are at their core vs who they choose to be'.

At his core Akutagawa is kind and at his core Atsushi is not. But despite this Atsushi tries every day to make the kinder choices and I love him so much for it. He has to work so hard to be good.

He wants to be a bitch SO bad I know he does but he tries his best to help people and be nice (sometimes he fails but that's OK <3)

Atsushi doesn't always WANT to help people, a lot of the time he's selfish and scared, but he does help people anyway. He keeps helping people over and over again. There's still some selfish motivation to it, and his initial motivation for helping people was because the headmaster told him that's all he was worth, but overall he does care about the people he helps and it weighs on him if he fails to save them. And of course, as the series goes on he starts helping people more because he can rather than because he feels like he needs to.

In Akutagawa's case, he's still capable of being kind but his environment led him into being someone who chooses to hurt people. But he's always been a protector at heart. In the start he was bad compared to Atsushi because he was choosing to hurt people and keep the cycle of abuse going. Just like how Atsushi developed in why he saved people, Akutagawa starts to get redeemed when he chooses to not just act on his rage. Not only does he start to spare people, but he speaks more kindly to them (apologising to Higuchi and telling Kyouka he's proud of her). It all culminates into the moment he chooses to help Atsushi and sacrifice himself for him, going back to his core value of being a protector. Even when he's finally revived, he keeps this role in his new position as Aya's Knight.

I kind of see the streaks of white in Akutagawa and the streaks of black in Atsushi not as their 'hidden sides' but as their fundamental selfs. That's who they are at their core, and their main colours (black for Akutagawa and white for Atsushi) are how they're presented to everyone else and how they try to have people see them as.

[a-little-ray-of-fantasy]

An analysis on how Sir Pentious' character design represents his personality and development perfectly (beware of Hazbin Hotel spoilers)

Let's get this out of the way: Sir Pentious is a snake, an animal mostly known for generally believed negative traits such as poison, deceit and betrayal. We don't know WHY he's in Hell, maybe he was a "snake oil salesman" considering he comes from the Victorian times and he's into hyping up what he does, or maybe he was into war. Thing is, he's a Sinner whose design just scream "Evil".

(BTW, a snake could also represent "fertility": looking at you, Egg Boiz!)

He always had eyes all around him not just because of a stylistic choice.

Sir Pentious always felt like he was watched, and had to watch out for any danger.

"Everyone here is too nice: obviously it must be a lie! I can sense they are planning to kill me, but when?! HOW?! I must be PREPARED!"

Sadly, he's been constantly berated by other demons, far more effective in destruction, status, cruelty and charisma. Alastor won't ever bother to remember him, Cherri always ones up him, and the Vs, the ones he admires to most, won't care less about him.

To the point that Vox sent him as a spy without the intention to save him if things were going to fail. Heck, he even openly tells him to die while calling him a failure.

So of course he's got reasons to have trust issues, or taking everything so seriously, being constantly reminded of what he can't accomplish. So he puts an air of grandure that may be very flamboyant, but is VERY frail.

But, if we have to be frank here, his biggest source of insecurities... is himself.

He has eyes on his tail (his softer, more vulnerable side, which is ironically made even MORE lieable to getting hurt because of how sensitive those organs are), and inside his hood, so he could look out better for danger when on alert mode.

Heck, even the mark on his hood kinda resembles one eye.

Problem is, when you see his hood folded, when he's at ease, neutral or sad, those are not looking at outside sources.

They're looking at him, at his back. A constant stare that happens everytime he lets his guard down and shows how vulnerable he is. A gaze that can sense all of his weakness, his struggles, his insecurities.

And it's all him.

Pentious constantly believes that his inferiority complex will fade away once he'll accomplish something grand that will make others accept him. But he is his biggest critic, his worst enemy: HE is the one who believes he's a failure, that he'll never gain approval from others.

This show takes place in Hell, but this is Sir Pentious' personal Hell: insecurity born out of self hatred. Doomed to feel everyone's gaze upon him, including his own. Believing the danger to his self esteem is from others, when it's really from him.

But then he's accepted at the Hazbin Hotel: Charlie forgives him, he bonds with Angel, Husk and Niffty who don't care a bit about what he's accomplished or not, or what he's done in the past.

He feels more comfortable in showing his vulnerable side, and no one judges him for how easy it is for him to get emotional.

Of course he's still very insecure, considering how he struggles to confess to Cherri, but notice how he stops building machines or planning to attack others as soon as he starts bonding with the others: he doesn't have a reason to destroy or attack, now that he knows he's loved.

And his final design, when he goes to Heaven, shows how much he's changed, yet stayed the same. He may have died a hero, but he's still the same awkward snake we've come to love.

Speaking of love, let's talk about that!

No more eyes on his tail, now it's just on his chest (showing he's opened his heart), his glasses are now heart shaped, and even the markings inside his hood resemble kiss marks more than anything else.

And look: the mark on his hood is now heart shaped!

Why all these hearts? Why did all the eyes disappeared from his body? Even his eyes that were looking at his back?

Simple: love. Love defeated his insecurities and self hatred. He died for love.

He died protecting his friends, his new family, his new home.

He confessed and kissed Cherri knowing full well he wouldn't have made it, and yet he went anyway.

The usually cowardly and timid Pentious actually faced a great danger with courage and determination: he acted selflessly by putting himself in harm's way, he didn't steal (naturally) and by going against Adam he did indeed "stick it to the man"!

He used his weaponry knowhow and battle experience not to conquer, but to save his loved ones.

His only thought up until his demise was: "I'll go down protecting them".

And he's been rewarded not only by becoming an angel, but also being spawned directly in front of Emily and Sera, two Seraphim, the highest rank for an angel to have, who have also been depicted as snakes of fire throughout history! Sir Pentious, the lowly demon considered a failure by everyone, actually has been noticed by the Seraphim! He's come so far!

He's now come to represent the REAL symbolism of a snake: the duality of death and rebirth, transformation and immortality (ironically a reference to the fact he's been around since 1888 without ever dying from any Extermination or blessed weapons).

And isn't so poetic that a snake, the "source of the original evil", was the first sinner to ascend to Heaven? Or that this episode was released on February 1st, or National Serpent Day?

And of course, as the Bible itself says:

"Greater love has no one than this: to lay down one’s life for one’s friends."

(John 15:13)

And knowing him, I'm confident in saying he'll keep helping his friends even in his new position, like the soft hearted noodle he's always been, but was to afraid to show it up until now.

[weirdmageddon]

i love these tags this person is so right

actually, can you imagine if dave was raised by B1 roxy?

i wanna get into this actually

(ok i had to spend a few hours rewriting this because IT DIDNT FUCKING SAVE AFTER FIVE HOURS OF WRITING WHEN MY COMPUTER UPDATED WHILE I WAS AFK so it would mean a lot to show this post some appreciation. i LOVEEE hearing what other people have to say)

even though these things mom does are presented in an extravagant, kitsch, jokey way, her intentions always came from a place of sincerity. she is simply Funnie

but rose reads too far into it and assumes things that aren't there, that her mother is passive-aggressively feigning interest in rose's interests simply because the things she does are so extra. "why do all of this if not to mock me"

im telling you right now if dave lived in this household he wouldn't assume antagonism, he'd go,

don’t forget who LITERALLY patented tangible jpeg artifacts as their post-scratch adult self and scattered shitty scummed up statue of liberties all over the planet. theres no way some of that overboard artful shit wasnt post-ironic / circling back around to genuine funny sincerity

dave's natural state is funny sincerity like roxy. he's had the natural capacity for this type of humor from the start and this is the direction he goes towards when he grows out of his brother's shadow by the end of the comic. dave and roxy share an earnest “so bad its good” type of humor

(lots more under the cut; the length of this meta analysis just got unwieldly with all the pictures and whatnot)

despite the alcoholism, roxy is a supportive mother. she's not the ideal guardian but hells of a lot more supportive of her kid than bro is. if she knew dave's interests she would totally indulge in them with some over the top silly goofy haha shit as a genuine gesture simply because she loves him

rose isn't too keen on it though. but she is more similar to dirk in her natural state of thinking of overthinking shit and assuming the worst, like the tags said

and yes dave got the sweet cuddly yet sometimes backhanded ouppy gene from roxy, probably even moreso lol

roxy's even said rose "sounds like girl dirk"

side tangent here, but this is something i wanna talk about.

i dont think bro should ever be in custody of children ever but if theres anyone who would be up to the task it's rose probably. i know she'd be able to keep up with him. not only does she have a defined personality (dave is more malleable and absorbs his environment like a sponge), if anyone can pick apart B1 dirk's batshit brain and probably be right on the money it's her. lil cal has been pumping patriarchal nonsense into bro's head and rose would be able to bring the fucking facts to the table without losing her own and being a living example of a badass little girl. i also don't think bro would try to force masculine roles onto rose like he did with dave, seeing as she is a girl, so she would actually have more of a leg up and get some passes that dave was never afforded. and rose wouldn't stand idly and accept any bullshit; she is no doormat. and i think this would earn bro's respect

but anyway, from this, couldn't we conclude roxy "sounds like girl dave"?

yeah okay. we havent even gotten into their penchant for funny typos or misspeaks, deliberate or otherwise

so, dave's environment

the sentiment "god you hope you can be as good as your bro at this some day" might have been genuine at the time when he idolized bro but of course he's not able to express that in any sort of sincere fashion because he's in dirk's fucking household. and this level 10 irony shit isnt doing dave any favors

his role models were the Internet and a vague idea of what Bro was like. So he built up his facade based on irony–not the literary definition of irony, as Rose might be quick to point out, but a popular concept of irony based on the idea that things that didn’t make sense actually made sense in some roundabout way. As a master of irony, Dave probably reasoned, he could see in a way other people couldn’t why a world that was scary and didn’t make sense really did make sense, and could therefore convince those people that he was superior to them. And he would wield his knowledge to maintain the appearance of superiority by calling everything ironic and pretending he didn’t care about things that didn’t make sense, and he would use walls of vaguely rhyming words to keep everyone at arm’s length so they wouldn’t discover his insecurities (source)

roxy's style is the embodiment of post-irony. being raised by mom lalonde would be like being raised by joel vinesauce ok

what can i say ….. (getting meta about this actually, hussie got these jpeg wizard wallpapers from a spyware website. link takes some time to load because internet archive)

rose is quick to read post-irony as actually being a joke/insincere, which in bro's case would be true. but i believe dave's natural instinct, outside of the influence of bro, is to read post-irony as genuine, which is exactly how mom serves it. we see this as early as act 3 from him; he understands her motives better than rose does herself:

and in act 6 intermission 2 i think it's pretty clear

but the thing is, it's always genuine from her. dave wouldn't have to second guess it because he's not one to naturally second guess someone's sincerity; that was learned due to his bro being virtually unassailable

there two types of ironies at play here:

seems like a joke, is actually genuine (roxy)

doesnt seem like a joke, is actually a joke (dirk)

you can make the argument that the second is is more psychologically destructive because it makes you question the reality of what is genuine sentiment and what isn't. dave never knew what was genuine and what was irony so he just sort of existed in this sincerity-ironic limbo and always did the opposite of what he genuinely felt on principle even if it always did originate from a genuine place.

"it just a joke bro i was just being ironic i dont actually x" is so much more trust-breaking and psychologically damaging than "wait are you being serious" / "i am being so fucking fr rn davy gravy" / "ok thats actually pretty fucking awesome. giant ass wizard statue" / "RIGHT"

how much about dave would change do you think? his character arc would be completely different for one thing, i think he'd have it good aside from mom's alcohol issues. he'd be left with the sweet and funny parts of him that we see at the end of the comic. the fake coolguy stuff is out, but this remains. this is dave in his element and we see it as early as act 1

he'd probably have no shades growing up in the lalonde residence* either cause those were given to him by bro straight out of the crater as an extension of his own cool image. and john gave dave ben stiller’s aviators for his 13th birthday to replace them so he could “spread his wings”

dave said he was wearing them for the ironies but i kind of doubt it. maybe post-irony but there was some reacharound to it being genuine because dave never put those pointy anime shades on his face again.

*though... it’s kind of hard to imagine him without his shades at all? B2 dave still got stiller’s shades from stiller himself so maybe getting them is a universal constant. i can imagine mom getting him them as a birthday gift cause shes pretty wealthy and probably could buy it out in an auction. but also itd be cool if john still gave him it as a gift

dave is actually a lot more genuine and easy to read than he lets on even when grappling with his upbringing with B1 dirk (again, see this post). this can be seen all throughout he comic but a good example is the evolution of thoughts about his interest in the preserved dead things in his room:

if B1 roxy was dave's guardian he probably WOULD have pursued paleontology because she wouldve indulged him in it and probably find it cool and worthwhile to pursue, instead of allowing dave to flounder under ironic detachment, being poisoned by irony to the point of gaslighting himself into believing he doesnt actually believe he thinks this shit is cool. even if it was indulged in this such a way; a superficially kitsch and ironic appearing presentation, it comes from a genuine place and inspires genuine interest. just read the comments.

basically, i think if B1 roxy raised dave, their relationship would have a surface level appearance of being bizarre or over-the-top but they’d have an unsaid mutual understanding that it’s completely in earnest and just build on each other's funny and absurd gestures of affection. rather than seeing it as one-upping each other, it'd more like collaboration of some silly bullshit that you take a step back and look at full and just say, "fucking incredible"

speaking of paleontology, mom had the proto-ectobiology lab. maybe they'd be able to use the equipment to appearify paradox ghost imprints of the dead shit to create paradox clones of things from the cambrian era??? sounds like a fun mother son bonding activity. and theyd actually put the sciencey shit in the household to use

oh god i know exactly the kinds of music shed listen too also growing up as a teen in the 80s. she on that (post)-punk/art rock/new wave/new romantic mtv stuff. XTC shit fr. this is a B-52S HOUSEHOLD. maybe the associates for the campy melodramatic flair. so he gets to keep the record on his shirt cause he is an enjoyer of the shit in her vinyl collection. dave would still gravitate towards musical expression and music itself but of more variety outside of just rap, with an 80s-90s, even 70s flavor due to mom’s influence. see this for perhaps a glimpse. ​she probably visited new york city a lot for business trips and because the music scene was cool as hell around that time, imports came straight from jfk airport, she probably got in on that a bit and have remnants in the form of vinyls and cassettes. in this way she could be distributing void to dave (influencing him with forgotten / presently irrelevant music). now he can REALLY rave about bands none of his friends have heard of. “hey davy grvay watcha listenin to” (he holds up vinyl cover) “omg snakefinger”

btw dave lalonde would look like this to me

[thepersonperson]

Why the hell is JJK 270 called Dream's End?

JJK 270 being titled Dream’s End is so fudging ominous. That’s some Umineko type beat. I’m not sure if I should even judge this chapter as presented because of this. In fact, I'm holding off on posting the other analysis I had for today since I no longer am certain of what JJK 268–270 are.

There's two lines of thought I have:

1) Gege suffering from burnout and bad working conditions plus rushing has caused the writing to decline.

2) Gege still has a hidden ace saved for the final chapter and the weird writing is deliberate.

I'm going to humor Option 2, but only because the title of this chapter is called Dream's End.

(The most 'hear me out' discussion under the cut. Using TCB scans and leaks. Click images for captions/citations.)

Preface

"Without love it cannot be seen."

This is a phrase and philosophy I have borrowed from Umineko since I've started these JJK yapfests. It essentially boils down to 'discard your negative biases and try to examine things in good faith.'

JJK 268 & 269 have fudging tested that for me. I've been giving Gege and the characters a pretty hard time with the caveat of knowing how exploitative the manga industry is. I initially rejected the idea that these chapters were to be taken at anything other than face-value because of this. In fact, I cited the JJK 268 chapter title of Finale as a reason I've accepted things as is.

And with that same logic, I'm now doing the opposite... So hear me out! I've got some pretty good reasons to be doing this.

What's wrong with JJK 268–270?

There's a lot of things in these chapters that are fundamentally inconsistent with what's been established in throughout the manga. If we use Option 1 to explain these contradictions, these are last second retcons because Gege forgor.

Option 2? We're about to have the rug pulled the hell out from under us because the last 3 chapters have been delusions.

What first tipped me off to something possibly being wrong on purpose was the fate of the incarnated culling game players in JJK 270. Not too long ago it was established that the souls of non-sorcerers in vessels were unsavable.

The souls are suppressed in a way that distorts them permanently or their consciousness is outright destroyed. They were gambling on Megumi's survival due to him being a sorcerer and Sukuna's incarnation method being unique. 99% of them will die and those who survive will likely be vegetables, so why is there a sudden gamble on their survival in JJK 270?

It's such a neat and fine bow to tie this mess up that goes directly against existing lore. It's so ideal that it has me suspicious.

Brain damage from sorcery on non-sorcerers has been established as extremely taxing. I think about Gojo's Unlimited Void (UV) the most when it comes to this. Non-sorcerers were hit by it for 0.2 seconds and required medical intervention for 2 months to fully heal from it. Sukuna, the absolute strongest, tanked some of it and it affected him for the rest of the battle. ...And then we have Megumi who was under it for about 6 minutes and seems to have very little problems from it.

This is bizarre. Someone who underwent the month long bath and UV without Reverse Curse Technique (RCT) should be struggling to even stand after waking up. Sukuna had RCT and the Gojo brain damage still took him out. This screams of inconsistent writing unless...this is a deliberate hint that something is amiss.

I want to draw attention to the panel Megumi's UV damage is addressed. Just about everyone has been seemingly waiting around in the same spot for him to wake up. It's a bit weird given that sorcerers don't usually do that. They usually get a move on asap. And after the destruction of Shinjuku and the Culling Game Players still running about, why would they take a breather to discuss their plans that worked?

But that's not what started bothering me about that panel after reading JJK 270. It's that characters who aren't in the room, start appearing without warning. Look who is behind Maki and to the left. It's Kusakabe. And to her and Yuta's right? Inumaki. So why is it that Hakari, Kiara, and Ino are in Kusakabe's place while Todo spawns where Inumaki is? (And Yuta is facing the wrong direction too.)

That's pretty fudging weird right? You can chalk it up to Gege forgor but it doesn't stop there. Higuruma enters the discussion in a way that causes Yuji to pause.

Why is Yuji surprised to see him? (And where the fudge did he come from?) Shouldn't he know of his survival by now? And why is he in a cast? Higuruma had learned RCT and fully restored his arms before leaving the battlefield. If he's conscious, then he should be able to heal himself fully no problems.

And that got me thinking... Why is Yuji still missing his fingers?

It was established that he kept his fingers unhealed to help with Yuta's plan. This means that if he won, he has no need to keep them missing. Yuji has fully regenerated missing chunks of his face, including his eye, and stomach. He has RCT just like Higuruma. But it doesn't end there either. Yuji's number of fingers on his left hand keeps changing.

4 fingers, 3 fingers, dubious amount of fingers, 5 fingers. Once again, you can chalk it up to Gege forgor, but JJK 270 came out and the same problem started happening with Megumi's scars.

The same mistake is made within the same set of panels and very big page. That's weird.

ONCE AGAIN, you can chalk it up to Gege forgor, but when these errors occur, like with Yuta mistakenly having his ring on in JJK 251, Gege will note the mistake outright. Gege has made no such comments for Yuji's fingers or the scars. This many “errors” in row when Gege has otherwise been careful with these features could indicate it really is on purpose. (Kind of like Sukuna's everchanging mask. The thing was just moving around and pulsing. That was deliberate not inconsistency.)

What does this mean?

I think it means what we are seeing isn't reality. After all, the most common way to tell if you're dreaming is being unable to count the number of fingers on your hands. Another way to tell is the distortion of faces.

Readers have noticed that something is wrong. The weird timeskips, the lack of lasting consequences, design inconsistencies, characters behaving like similes of themselves, death and pain being glossed over like it's nothing. It all feels so off. But it's still close enough to the original to be somewhat believable. ...Is that not what it's like to dream and not know you are dreaming?

Why is it that the chapter titled Dream's End ends with the hunt for a curse user whose ability is to distort the perception of reality?

Dreams and Delusions in JJK

We already know Gege weaves Buddhist symbolism and ideas heavily into JJK. I'm not an expert in Buddhism at all, so there's a lot of it that goes over my head. I decided to look into if dreams are significant in Buddhism and boy howdy are they. Quoted directly from the source:

"Dreams can be a message from a Bodhisattva, an ancestor, or a god, The intent of the dream may be to test the dreamer’s resolve: is he non-retreating (avaivartika) from Bodhi (enlightenment) even when sleeping? The purpose of the dream visit may be to communicate information vital to the dreamer’s well-being. The Buddha himself had five dreams of catastrophes, falling stars and worlds in collision just before his enlightenment. The dreams were sent to him not by a benevolent Dharma-protector, but by an malevolent sorcerer, intent on disrupting the Buddha’s samadhi and preventing his awakening."

In summary, (correct me if I'm wrong) dreams appear to be seen as another state of being just as valuable and impermanent as reality.

There's also this other bit I'll quote directly.

"The most common use of dreams in the literature of the Mahayana, or “Northern School” of Buddhism in China, Tibet, Japan, Korea, and Vietnam is to see dreams as a simile for sunyata, (emptiness) the hollow core at the heart of all component dharmas (things). For example, in the well-known Vajra (Diamond) Sutra, the Buddha taught that:

“All conditioned dharmas, are like a dream, like an illusion, like a bubble, like a shadow, like a dewdrop, like a lightening flash; you should contemplate them thus.”"

That's starting to sound like what Yuji's Domain does, right? He projects memories that did happen and mixes them with delusions and dreams. Sukuna and Megumi both experience this in full.

It's incredibly suspicious that it hasn't been named yet. Yuji is the son of Kenjaku who has a domain based on the Womb Sutra/Realm...which is paired with the aforementioned Diamond Realm to encompass the entire Dharma. It's very likely this is what Yuji's domain is—a realm of dreams and reality combined as one.

Unreality Runs in the Family

When Sasaki Setsuko "wakes up" as the Culling Games begin, Kenjaku explains her situation with this:

What follows is a sequence that cannot be described as a dream. It seems to be a blend of reality and hallucinations. But that's not anything strange, Sukuna does it too with Kashimo in reverse.

As you can see, both the positions of the characters and even the backgrounds change suddenly from reality to ??? and from sequence to sequence. It's all incredibly dream like.

Another strange thing about this space is Kenjaku creating it as a part of an escape route Binding Vow. You know, the kind Sukuna uses for Malevolent Shrine.

What I want to draw attention to here is this reality-dream state somewhat requires consent (in the loosest possible definition) to appear. The person entering this state has to desire it themself. We see this with Jogo and Gojo who are mutually interested in having a relationship of somekind with Sukuna. (Same with Kashimo.)

(It's also very hard to tell if they are dead or still in the process of dying during this.)

This is where the delusions Yuji projects differ. They are forced onto others when he is near death or severely injured, seemingly as a defense mechanism.

And would you look at that...the syntax is identical for Todo and Choso's Brother Yuji Delusions. "At that moment, a memory was born inside X's brain...of a past event that never happened." It's kind of like how Yuji replaces Gojo in Megumi's memory to reach him. It's also very strange that Sukuna, Choso, and Jogo go "What is this?" to this in-between space.

My point here is that Yuji having access to this space has been hinted at since the start of this manga and that it was inherited it by blood. (Totally Not Kenjaku showing up with Takaba Mr. Reality Warping CT in JJK 270 supports my case too I think.)

What does this mean for JJK 268–270?

The battle ended in JJK 268. Of that I'm certain. What I no longer know is if anyone survived.

A common complaint about Sukuna's death is his lack of an afterlife scene. Everything ended so abruptly. And then Megumi wakes up.

It's so jarring in out of place. ...But that's how all scenes involving the space between dreams and reality begin. Sasaki Setsuko "wakes up" once and then again. Most of us have experienced those kind of dreams right? (They made a whole movie about it called Inception which is based on the movie Paprika.)

There's one other thing I need to draw attention to. Yuji's Domain shattered after Sukuna cast Domain Expansion (DE).

When a sorcerer withdraws their domain voluntarily, it does not shatter. Gojo has demonstrated this for us in quite clearly.

When a domain is broken by force, it will shatter and shards will scatter. When a domain is withdrawn, no shards are left behind. Yuta uses these facts as a part of his plan. In JJK 252, it's revealed by Kusakabe that Yuta shatters his own domain on purpose to trick Sukuna into thinking he won.

What this means is that some kind of violent action needs to be taken to shatter a domain. Yuji's domain is massive and his attacks only targeted Sukuna. What could've shattered his domain all at once? He's not had the time to practice shattering parts of it like Yuta.

Gojo has shown us what a uniform domain shattering looks like—it happens when Malevolent Shrine activates. (Please note that the sfx used for Sukuna breaking Gojo's domain is カシャア. It's the same one used for Yuji's domain shattering.)

I'm proposing that we've been in unreality since the end of JJK 266. Sukuna and Yuji are both severely injured, on the verge of death, and have a connection with each other. These are all conditions that trigger the space between dreams and reality.

And I must remind you that Yuji first triggers this event with Todo after a severe head injury. Right before Sukuna casts his domain, they do this to each other.

Everything that has come after has been perfect for Yuji to a unbelievable degree. Everyone whose death was uncertain is alive and the living are getting exactly what they wanted. The effort behind it and the logistics are all missing. And yes a rushed ending can explain that, but that too can be part of the ruse.

Another massive complaint is that mourning has not occurred. Not for Gojo or Choso despite how much Yuji cherished them. It's like they're being willfully forgotten by the cast despite being crucial to their success in Shinjuku. It feels out of character, especially since Yuji is of the few that showed concern for them no matter what.

But if this is a delusion on the brink of death designed to bring happiness, why would Yuji think of the dead? He's always been so avoidant with it. When his grandpa is dying and trying to talk about his parents, Yuji tells him to shut up. When Nanami dies, he thinks of him then and then never again directly leading up to his talk with Sukuna. When Megumi tries to discuss Nobara's fate, Yuji ends the conversation as quickly as possible.

The only people in this world are the ones who may or may not be dead. He saw Yuta in Gojo's corpse. The only way that can happen is if Gojo is dead. Yuji has no choice but to believe it. Choso burned away before his eyes. Yuji has no choice but to believe it. He went through some of Megumi's memories and saw Tsumiki's corpse. Yuji has no choice but to believe it.

And since Tsumiki is the only person Yuji wasn't close with, she's the only death that has been outright acknowledged. But not for too long! That would make Megumi sad.

Another complaint is that Sukuna really didn't kill anyone in the final battle outside of those two and Kashimo. The dudebros call it Disney Kaisen. But the fairytale-like idea that everyone is ok? Todo was the one who put that idea in Yuji's head.

And Yuji has always been one to fall to story-like logic when things look like they're finally wrapping up.

"And then everything will be just fine." (Yuji before the worst possible outcome for both him and Megumi happens.)

This is similar to the line Gakuganji uses in JJK 270. "Everything is fine." This line is the whole reason I sat down and wrote this all out without stopping. I know Gakuganji. He'd never say that. This man has been in a state of worry over Jujutsu Society since his first appearance. He doesn't even fully believe in Gojo's cause as someone who values tradition. He's a stickler for details and will do everything in his power to ensure stability. For him to toss Sukuna and Tengen's remains in a shrine and call it a day? Who is that? He's changed but not that much.

And so I compared the raws.

It is very much the same 大丈夫 (Daijoubu). These are Yuji's words.

What I'm proposing is that JJK 267–270 are Yuji's delusions of the happiest possible ending. It's a picture perfect little end where all the trauma and death has no effect on the living and people move on like nothing happened. I don't know if this means he's dead or if Megumi's dead or if they're all dead. But what I'm seeing now? I don't think it's real.

Reexamining JJK 269

CW: Brief discussion of suicide.

Even if this turns out to be a part of the smokescreen, I'm always going to hate JJK 269. But I do want to give it some grace under the assumption this chapter titled Examination (which can also be translated as Reflection) is about Yuji's guilt. Both him and Megumi's tbh. I think their feelings for each other and their situations are driving these delusions. That's one thing about this space that's real—the feelings behind them.

Yuji has a lot of guilt surrounding his existence after ingesting Sukuna, Megumi does too. Straight up Yuji has been seeking death over it since JJK 9.

He struggles to forgive himself for being the centerpiece to violence he had little to no control over. The only thing that upsets him more than that is knowing that his death will break Megumi's heart. He doesn't want Megumi to feel any guilt for it whatsoever.

The kicker is, Megumi already knows Yuji is planning to die. And he wants to do everything to rid him of that guilt. Up until they connect inside of Yuji's domain, they were unaware they shared the same goal for each other.

And that's what JJK 269 is. It's a very cold and harsh breakdown that allows them to forgive themselves. Blame is passed around and ultimately pinned on a combination of Gojo and Kenjaku. (It's really weird Sukuna isn't blamed either, but that's not the point of this for now.)

Kusakabe's comment is especially harsh. Telling Yuji point blank he should've died and that both sides on the issue were valid? He may have believed that to an extent, but he made a point of not telling it to his face. Why have a whole chapter discussing how kind he is only to turn around and do this?

If this is all a delusion, a manifestation of Yuji's guilt and trying to absolve himself of it for Megumi's sake, that makes sense. This version of Kusakabe is what Yuji feels guilt over the most—Everyone's lives being better if he died.

In the same breath Kusakabe tells them to solely blame the adults. It's very reminiscent of Nanami telling Yuji that being a child is not a sin.

It should also be noted that every single time Megumi tries to apologize for being possessed, he's stopped. Maki tears into Yuta without checking in on him, but she asks if Megumi is ok and tells him to not blame himself. JJK 270 is full of this too. He tries to apologize to Tsumiki at her grave and Shoko tells him not to sweat it. He tries to apologize to Hana and she hits on him instead.

This delusion is crafted out of love. It allows Megumi to live in a world where he can move on from the guilt surrounding his possession and saving Yuji. It's all Yuji has ever wanted for him. And now that Yuji knows Megumi wants him to forgive himself, he has no choice but to do that too.

It's a perfect ending for Megumi that's too good to be true.

It must be a dream...

There's another thing I can't reconcile about JJK 269 unless it's a delusion—Todo's explanation for Yuta's plan. It's another one of those glaring contradictions.

In JJK 269 Todo claims Boogie Woogie can't target Maki. But in JJK 259? Todo makes plans with Mei Mei knowing that it works with her.

Either Todo lied...or Yuji never fully knew the plan and that Boogie Woogie could target Maki. Otherwise she would be dead. Her surviving Sukuna's flames would be impossible.

I've already talked about how Yuji believing those who may or may not be dead are alive is Todo's doing. He's always been the one to save Yuji from his breakdowns. But let's talk about his speech in Shibuya.

"Looking for meaning or logic in death...can at times defile the memories of those we've lost!"

Everyone who has read these past 3 chapters has really felt the defiling of Gojo's memory. And it was all in service to a strange logic that helped them cope with all this death. Acknowledging how massive Gojo's sacrifice was would riddle both Yuji and Megumi with immense guilt, so it's best to ignore it for Megumi's sake. (And perhaps that's why Yuji replaces Gojo in that memory.)

"What have you been entrusted with? You don't need to answer right now. However... Until you find your answer, never stop moving."

In a way, JJK 269 is an answer to the question Todo proposed. Yuji was entrusted with saving Megumi. Saving Megumi requires Megumi and Yuji forgiving themselves. And Yuji won't stop moving until it's done. All these time jumps and rushed developments are Yuji moving Megumi forward. He's getting that happy ending even if it's to the detriment of everything else.

What about Sukuna?

When Sukuna respects his opponents and they have a connection, he gives others these dreams before they pass. He's been very impressed by Megumi since JJK 9. It's not out of the ballpark for him to allow Megumi to die satisfied in the way Gojo did. Yuji also seems to understand that Sukuna was manipulated by others just as much as he was. I think that's why Sukuna is spared of the blame for the most part.

I don't think Sukuna won. He's probably dead. But he did warn Yuji not to underestimate him. I think the worst absolute last fudge you to Yuji he could give is this happy ending dream before ripping it all away as he dies.

In Conclusion...

I'm not sure that we're going to get that happy ending. Reggie Star warned us not too long ago.

"...it all comes down to a sorcerer's lies."

Reggie is a lot like Sukuna here, outwitted by modern sorcerers and dying to someone he loathes. Sukuna is good at tricking people. He let Gojo think he won before tearing it all away. Yuta did the exact same thing to him. Or did he?

"Can you do me a favor? After all, you've killed me. Let fate toy with you, become a clown, then die."

If the last 3 chapters are delusions...Megumi will be playing the part of a clown.

Gege said the manga would end with either 1/4 or 3/4 of Yuji, Megumi, Nobara, and Gojo surviving. This of course, could be changed throughout its development, but Gege said the manga is ending in its original vision. There's a real chance that it's only Yuji or Nobara surviving.

Remember, Gege is a troll first and foremost. Somehow Gojo was revived, but in the worst way possible (Yujo). Somehow Gojo did tell Megumi about Toji, but in the worst way possible (dead man's final letter).

Gege also said this about the final chapter:

"I am working hard to create a final chapter that will (hopefully) satisfy as many people as possible who have supported Jujutsu Kaisen. So everyone, please bear with me!"

I can't think of a better way to appease everyone than by making the last 3 chapters nothing more than dream.

[forineffablereasons]

Oh, Crowley. Nothing lasts forever.

I think the entirely of Crowley and Aziraphale's interactions in the Final Fifteen™️can be summed up by the idea that they are talking past one another, failing to fully understand each other, but I want to talk about this line in particular. This isn't a full analysis of the scene - just this isolated bit.

Crowley: ...If Gabriel and Beelzebub can do it, go off together, then we can. We don't need Heaven, we don't need Hell, they're toxic. We need to get away from them, just be an us. You and me, what do you say? Aziraphale: Come with me. To Heaven. I'll run it, you can be my second-in-command. We can make a difference. Crowley: You can't leave this bookshop. Aziraphale: Oh, Crowley. Nothing lasts forever. Crowley: No. No, don't suppose it does.

As methods of occult/ethereal communications go, the metaphor is quite versatile.

Crowley is saying: stay here with me. We have this enclave. We can be together properly now - stay here with me. Never mind that they have not actually made any progress on this in the last four-ish years since the end of the world. Never mind that Crowley is so stagnant that four years after the end of the world he's still living in his car.

Keep in mind that Aziraphale didn't have the benefit of Nina and Maggie's intervention - Aziraphale doesn't see this as a confession under Crowley's own initiative, he sees it as a response to what Aziraphale is saying. Aziraphale says, let's go make a difference, and Crowley is sort of forced into taking this position as an alternative offer - to Aziraphale, it looks almost like a temptation. Nothing changed in the last four years, but now that Heaven needs you (and we must give Aziraphale the benefit of his belief that Heaven truly does need him, even though this is clearly a manipulation), I'm ready to move forward, don't you want to stay, don't you want to deny Heaven and exist with our heads in the sand?

"Oh, Crowley," Aziraphale says. "Nothing lasts forever."

To Crowley, who is offering himself and this enclave, this bit of existence that can just be theirs - nothing lasts forever is an obvious smackdown: not even us.

That's not what Aziraphale is saying, though. What Aziraphale is saying is, we can't live like this forever. If we want to protect it, we have to change. Nothing lasts forever isn't a betrayal or a resignation - it's a sacrifice. Aziraphale cares so much about Earth, about fixing Heaven, and about Crowley himself that he's willing to give up the bookshop and their enclave on Earth in order to save it.

They cannot just maintain the status quo. It's been four years since Armageddon and nothing has changed, and keeping on ignoring Heaven and Hell didn't work! It didn't work! They were on their own and here's Heaven and Hell again, in their business, dragging Crowley back to Hell, dragging Aziraphale back into Heaven's politics. Four years was all they got. Four years, and they were under threat, risking each other, risking their very existences. They can't sit in their enclave and pretend it won't happen again because it absolutely will.

Aziraphale spends a lot of this series burying his head in the sand. If he can just hide Gabriel, everything will be fine! (It won't - he'll still have Gabriel.) If he can just make Maggie and Nina fall in love, everything will be fine! (It won't - he'll still have Heaven and Hell waiting in the wings for the next suspicious event.) If he can just get everyone at the Jane Austen Ball, if he can just keep the demons out, if he can just ignore it, it will go away! If he can make the participants know the steps to the dance and if he can control the lingo, he can create a new fantasy world for them all to live in and everything will be fine!

It won't. Aziraphale isn't in control. Aziraphale can't stop this. Aziraphale can't protect himself, and he can't protect Crowley to the point where he has to let Crowley leave him and work a plan on his own. He's a principality, and he can't protect the things and the people he loves.

Then the Metatron walks in, makes a point of validating all the things Aziraphale loves - coffee (food/drink), Crowley (your demon can recognize me even when these angels can't), the shop (do you need to take anything with you? I've made sure the shop will be safe), separates Crowley from Aziraphale - Crowley, Aziraphale's guiding light in all those minisodes, Crowley, the one being Aziraphale trusts - and then.

And the Metatron offers Aziraphale the control he's been missing all season.

Nothing lasts forever. We can't survive in this enclave forever. If we stay here, it will all end. If we stay here, I can't protect you, or humanity, or any of it. I have to try, we have to try, because no one else will, and I'm willing to give up my freedom and my bookshop if it means I can save everything. I want to save it with you, I want you to be with me, I need you, I need us, but--

If I can save you, even if it costs me us, at least you'll have survived.

If that's the price, well. Nothing lasts forever.

[kiss-inthekitchen]

bonus! i said i wasn't posting anything new til this weekend but i just got up to s5 e2 and spencer reid with that lollipop has made me insane, here's a drabble i just wrote in like 30 mins. barely edited, hot off the presses, hope u like

sucker

~500 words

Who the hell let this man have a lollipop in the workplace?

You could kill Garcia. 

You’re trying to act normal– trying so hard– but he looks so good. His hair is longer than it's ever been, so beautifully curly at the ends and you just know it’s soft. You need to test the theory but you can’t and it kills you on even a regular day. 

But today is a thousand times worse. There’s something about Spencer since he got shot, he just seems to give less of a shit. It definitely shouldn’t be as attractive as it is. 

It doesn’t help that you’d come in to tell him that you all had to be on the jet in thirty, and then he and Garcia had started asking questions, so Spencer’s been looking up at you from his chair for the past few minutes and something about it is getting to you. 

So yeah, you’re trying not to get so immediately caught for staring at Spencer as he wraps his lips around the lollipop again, but you’re also not about to miss a single second of it. You’re not about to do yourself that disservice. 

You clear your throat as the news broadcast about your unsub ends. “Right. So we’re going to Louisville.” 

Spencer moves to get up, finally. Popping the candy in his mouth, he waves one– large, long-fingered– hand at Garcia and reaches for his crutches. 

What is wrong with you?? You need to get it together before you’re stuck on the jet with pretty boy and all of the most astute people-readers in the Western hemisphere. 

God, you hate your life. If the universe was kind and loving it wouldn’t have had you meet Spencer in the behavioral analysis unit. If the universe was kind and loving, Spencer would be yours already. 

This was some kind of cosmic joke. 

“You good?” he asks. He took the lollipop out of his mouth to speak to you, his eyebrows raised in the most annoyingly attractive way. 

“Yeah?” you scoff, as if he’s the one being weird. 

“Okay. Cause you told me we have to leave and now somehow you can’t keep up with the guy on crutches,” he muses from the doorway, while you haven’t moved an inch. 

This man. If he wasn’t injured you would hurt him. You might just do it anyway. 

You shoot him a sarcastic smile. “I was being polite.” 

“How chivalrous of you,” he says, putting the candy back in his mouth and crutching his way down the hall without a second glance. 

You look at Garcia, and it’s a mistake. You can read her like a book. “Don’t,” you warn, pointing at her, and she presses her lips together but is clearly smiling behind them. “And I am so mad at you for that,” you add, gesturing after him. 

“Wh– he just took one, it’s not like I–” 

“Save it!” you call, already halfway out the room. You hear her laugh behind you, and shake your head. You love that girl, but she was not doing you any favors. 

Fuck it. 

You breeze past Spencer in the hallway. “Keep up, pretty boy.” 

You hear his indignant, playful scoff behind you, and you can’t help the smirk that creeps onto your face.

[omgthatdress]

An Analysis of the Ubiquity of Mall Brands in the late 1990s to early 2000s, or

I Fucking Hate These Guys

by OMG!thatdress

If you were a tween to teenager from roughly 1997 to 2004, chances are, you were left with profound life-long trauma caused by someone wearing Tommy Hilfiger, Abercrombie & Fitch, Ralph Lauren, Nautica, American Eagle, The Gap, Old Navy, or, if you were came along a little later, Hollister or Aeropoastale.

I cannot overstate to my young followers how over-saturated these brand names were in teen culture at the turn of the millennium, the extend to which EVERYONE was wearing them, and yet, in a weird way, how light the imprint they actually left on fashion history was.

Watching iconic teen shows of the era, you don't see any of them because a.) TV teenagers tend to be way cooler and more stylish than awkward and desperate real teenagers actually are, and b.) these brands were all copyright protected, which kept their names and logos off the airwaves.

Look in a middle school yearbook, however, you'll see it. Look at your aunt and uncle's high school photo albums, you'll see it. Ask any late Gen X or early Millennial. It was real and it was fucking awful.

The big question is why? Why? WHY, GOD WHY?! There's a lot of answers to that question.

First of all, I'm going to cite this absolutely wonderful article from Collector's Weekly about why everyone's grandma had a hideous orange couch in the 70s, and give the most simple and straightforward answer: it's what was available.

This is when the concept of online shopping is still very much in its infancy, and the hub of American consumer culture was still your local mall. If you needed new clothes, you went to the mall. And guess what stores were at every local mall? You guessed it.

For the second answer, I'm going to dig up this utter relic from the early days of internet meme-ing, that has nonetheless stuck with me and had a profound impact of my understanding of how popular fashion works:

I'm pretty sure that the reason Abercrombie & Fitch manages to survive as a brand today rests solely increasingly middle-aged Millennial men whose sense of style has refused to evolve past the shit their mom bought them in high school.

And why the hell would they? Nobody wore Abercrombie because it made them stand out or feel special. I'm still pretty convinced that nobody actually *liked* the aesthetic or thought the clothes actually looked good. You need not look past the basic color palette to understand these were not brands meant for uniqueness or self-expression.

While Britney Spears pranced around stage in her iconic neon colors and body glitter, American teenagers existed in a never-ending hellscape of washed-out neutrals, faded denim, and American flag primary colors.

All of which served its exact purpose: it was safety. It was a way to appear cool if you didn't want to go through the ordeal of actually having a personality or a sense of style. Which, of course, goes back to point number one: it was just shit you bought at the mall because you needed clothes.

It wasn't enough to save you once the school bully caught that whiff of autism and/or queerness on you, but it was enough that you could blend into the herd and pray no one ever noticed you.

Underneath it all was a very subtle undercurrent of class and classism: to wear mall brands was to declare to the world that you could indeed afford to shop at the mall. It meant you weren't, god forbid, poor.

Status symbol clothing goes back to the invention of clothing itself. The concept of brands as status symbols is still very much alive and well, its just more limited to actual luxury brands nowadays. One need look no further than your favorite high-end children's clothing website to see that rich parents still very much think it important that you know their five-year-old is wiping its boogers on Versace.

None of these brands were actual high-end luxury brands, but they still advertised and presented themselves as such. Their ads featured signifiers of "all-american" (read: White) wealth: yachts, skiing, horses, beaches, shirtless dudes with chiseled abs playing verious sportsballs.

The color palettes and cuts mimicked the preppy "Ivy" style of the New England old-money elite, along with their hobbies and lifestyle. You may not actually own a horse, but you can wear a polo shirt. You may not be able to run without breaking your ankle, but you wear the same shirt as the dude holding a football in the ad.

It was an elitist, White and skinny image that didn't age well into the diversity and body-positivity of the 2010s.

In 2003, a lawsuit was filed against Abercrombie & Fitch alleging systematic racial discrimination. People of color were rarely hired, and if they were, they were given jobs in the back, away from customer view. In 2005, the U.S. district court approved a settlement of $50,000. A few years ago, Netflix released the documentary White Hot: The Rise and Fall of Abercrombie & Fitch which admittedly I haven't watched yet because my hatred runs too deep to remind myself of its existence.

It was a hatred of Abercrombie & the (white, thin, neurotypical, heterosexual) conformity that it represented that drove me screaming into the loving arms of Hot Topic and Linkin Park. Jordan Calhoun wrote an excellent article for the Atlantic about his experience growing up poor and Black and not fitting in to the Abercrombie aesthetic.

I would be very remiss if I didn't bring up the "urban" mall brands of the early 2000s: Fubu, Sean Jean, Ecko, Baby Phat, among others. They were favored by Black teenagers and White teenagers who wanted to be Black. I know there's a lot to be said about these brands, but I'm too Caucasian to really be able to talk about them with nuance. Maybe someone else will, and I will be very happy to listen.

As much as I hate Tommy Hilfiger, I really do have to give him credit for recognizing the incredibly lucrative "street wear" market and selling power of hip-hop. While most of these mall brands kept their image sparkling White, Tommy made Aaliyah his brand ambassador and regularly appeared in the wardrobes of popular rap and R&B artists of the time.

It'd be very easy and very reductive to say that the changing ideology of the 2010s was the downfall of preppy mall brands, but really, the thing that truly killed them was the downfall of the mall itself. Shopping habits changed, and logos and brand names no longer held the power they once had.

The moral of the story is that being a teenager is fucking hell, and these popular brands both offered the safety of conformity and a status symbol to hold over the heads of the poor and uncool. The irony is that everyone who hated them as teenagers (read: ME) and the freaks who grew up to truly love the power of self-expression through personal style (read: ME) became the truly cool people. If you wore Abercrombie you grew up to vote for Donald Trump.

GO GOTH. PREPS SUCK. THE END.

[fruitsofhell]

My other fun addition to the Hbomberguy video stuff is not just that you need to start checking everyone's sources just to make sure you aren't being duped, but to not use them as a stand in for media consumption/experiences either. Like I'm not gonna lecture you on reading sources cause I am the first one to not and that's my laziness, but like sometimes more important than checking the original analysis of something is just to... see tge thing being analyzed yourself. That's not even about misinformation or lying, sometimes people's opinions just SUCK ASS.

Like there are youtube video essayists I overall kinda respect but they have dogshit opinions on things. I used to love Jack Saint's bad faith overly critical analyses of throwaway kids films, until I realized he also saw films that in my opinion had a lot of merit, and it turned me off from him. Big Joel is cool as hell, but anytime he gives his opinion on animation save like a few points, I completely glaze over and find him annoying. The other day I watched a video essay about the "Magical Negro" trope, and the first movie sourced interested me, so I watched it and I hardly understand why they put that in, it framed the movie as something it wasn't.

Just in general, it's good practice to make sure your opinions on media are your own and experience it yourself. MY biggest takeaway from the Hbomn video wasn't to throw rocks at Somerton or start obsessively fact-checking every essayist I watch, but to make sure I have a baseline of what they talking about myself and not letting anyone throw around media examples without reckless abandon. The Celluloid Closet and Tinkerbelles and Evil Queens is on my watxh/read list now, but the first thing I did from the words he stole from Celluoid Closet was watch Rebels Without A Cause out of curiosity of this gay subtext in a 50s blockbuster. And it was a super interesting experience that has given me my own unrelated opinions. Not to discount whatever important queer reading and historical importance the film has, but I'm happy I also have more than just that cause I Watched It Myself, not someone's specific and unavoidably biased reading of it.

The video isn't about cultivating suspicion but cultivating appreciation for the skills of analytical/informative/opinion writing. So even when people aren't being lying grifters, it's just good to be your own critic and media analyst. Maybe you'll even contribute to that world yourself, or maybe you'll keep all your cool opinions in your heart and die, who cares. The point is that unlike some people, your opinions and words are your own. It's a beautiful thing to have your own creative voice.

[cobragardens]

My Favorite Good Omens Moment:

An Essay on Why It Is Cool and Rad (Part 1)

There's this moment in Good Omens that makes me cackle every time I see it and leaves me full of warmth, so here's an essay on its context and meaning, because explication and analysis are how I show love. I will try to keep my thoughts as tight as possible, but they do have a tendency to spiral outwards, and I am very stoned. Come, sistren, and get nerdy with me.

My favorite moment in the series so far occurs in 1601. To approach it we will first need an assload of context. There's a TL;DR in bold at the end of the Context if you don't fancy reading the whole assload. Key arguments are in italics and bold throughout.

David Tennant gives Crowley a very consistent facial expression every time Aziraphale says something so outlandish Crowley can't quite believe he's hearing it. It's this one:

Chronologically, we see the Eyebrows of Disbelief twice before my fave moment in 1601: once (above left) in that scene on the Garden Wall that familiarizes the audience with Crowley's face before adding the dark glasses, when Aziraphale admits he's given away his sword; once when Aziraphale tells Bildad the Shuhite that he, Aziraphale, has Fallen because he lied to the angels to save Job's children.

The Eyebows of Disbelief always signal surprise and amusement with something Aziraphale has said or done. This amusement is sometimes at Aziraphale's expense and sometimes not.

In the gifs above, Crowley is laughing because what Aziraphale has just admitted to doing is fantastic and unexpected and frankly pretty gd punk rock. He's not laughing at Aziraphale, he's laughing because he is delighted with him. The only record we have thus far of Crowley laughing at Aziraphale is this one:

Crowley laughs when Aziraphale informs him--him, a demon who has personally been through the process of Falling--that Aziraphale is Fallen and must be a demon now. As though of the two of them Aziraphale is the expert on how and under what circumstances this occurs.

And yet when Crowley sees Aziraphale's distress--not his fear of being taken to Hell, but his heartbreak and lostness over the fact that his conscience has diverged from God's stated will--Crowley stops laughing, and instead he acts very kindly towards Aziraphale. He validates the gravity of what Aziraphale has done and assures him he won't turn him in. He sits with him so Aziraphale isn't totally alone (like Crowley probably was) as he goes through the loneliest moments of his existence to that point and picks himself up newly weighted with the secret he must now bear.

And after this scene (in canon as it stands thus far), we don't see Crowley laugh at anything Aziraphale says or does again.

And he really has to work for it sometimes. We talk a lot about the things Michael Sheen is able to convey with his face in Good Omens, and absolutely rightly so; David Tennant earns a chunk of his paycheck in this regard as well. If you haven't given yourself the treat yet, rewatch the scene in Will Goldstone's magic shop in 1941 and focus on Crowley's reactions:

Tennant takes great care to show, with precision, that Crowley is expending effort not to react to Aziraphale's nervous chaos Muppetry and lack of self-awareness. Crowley is self- and socially and contextually aware enough that he knows (better than Aziraphale, at least, which is not a high bar to clear) what's cringe, what's funny, what's ridiculous, how to behave. But whenever Aziraphale crosses a boundary of normalcy, or even sanity, and there is opportunity to laugh at him, Crowley very carefully doesn't react. He doesn't interrupt him, he doesn't try to correct him, he doesn't make fun of him, he doesn't even smirk; he just watches him, as stone-faced as he can manage, no matter how bizarre Aziraphale becomes.

We should be reading this lack of reaction to Aziraphale's social and rational transgressions as powerful positive action. Go watch the Doctor Who episode "Human Nature," or literally any episode of The Inbetweeners, or read or watch Regeneration, and reflect on what it shows you about English masculinity; then consider again the depth of significance in how English- and male-coded character Crowley treats English- and male-coded character Aziraphale in an England created by an English and male-codedpresenting author based off a book written by himself and another male-presenting author. Within its context of English masculinity, Crowley's lack of reaction is not a neutral stance; it is a very fucking loud show of support.

This is not even an inference; it's stated outright in the show. Crowley himself puts it into words 422 years after my favorite moment:

You know how Crowley calls Aziraphale "angel" because the factuality of the descriptor offers him plausible deniability to any Heavenly or Infernal agents who might be listening? Remember how Crowley is a great equivocator? Crowley is equivocating here, too: he's using the cover of what Maggie and Nina will take as a disparaging joke at Aziraphale's expense in order to make a perfectly sincere statement. This is his genuine perception of one of the relationship dynamics he has with Aziraphale and how he feels about that dynamic. Crowley thinks he himself is quite witty (an accurate assessment), Crowley thinks Aziraphale isn't sufficiently self- or contextually aware to hide how strange he is and therefore frequently says and does mad things (also an accurate assessment), and Crowley is Into. That. Shit.

Okay. Now let's look at 1601.

Chronologically it's been almost 1,000 years since we last saw Aziraphale and Crowley. In 537, Aziraphale isn't willing even to consider a labor-saving working arrangement with Crowley of fucking off home out of the damp of Arthurian Wessex; but by 1601, he's worked (and met, and Arranged) with Crowley "dozens of times now," Crowley says, and Azirapahle does not correct him.

In that millienium, Aziraphale has grown to care deeply about Crowley:

In fact he may be somewhat smitten with him:

Seriously, go back and watch Aziraphale here as Crowley approaches and starts speaking to him: he doesn't start smiling until he recognizes that the person speaking to him is Crowley (but he only smiles at Crowley while Crowley's not looking at him).

And Crowley is definitely become smitten with Aziraphale:

Our man(-shaped entity) is so allergic to work he sets up a meeting to weasel, cajole, or (as it happens) cheat a coin toss to get Aziraphale to do an easy temptation for him in Edinburgh, and then in the same conversation agrees to miracle a play into success because Aziraphale gives him a single hopeful look. Crowley's got it bad.

TL;DR: The Eyebrows of Disbelief happen when Crowley is surprised and amused by something Aziraphale has said or done. Sometimes that amusement is delight with Aziraphale; sometimes it is at Aziraphale's expense. Crowley is aware of this distinction, and when his amusement is at Aziraphale's expense, he suppresses it, even when it takes some effort on his own part, and remains stocially composed. This is equivocation on his part: to Celestial/Infernal operatives lacking knowledge of the intricacies of human behavior, this non-reaction would seem like neutrality; to Aziraphale, who shares with Crowley and the audience the contextual knowledge of English masculinity's utter viciousness, this non-reaction is a profound show of support; and in the safety of support from Crowley, Aziraphale lets his weirdness blossom.

As another meta points out [link if I find it again], we also see in Aziraphale's wordless request about Hamlet and Crowley's immediate understanding of it that by 1601 Aziraphale and Crowley have developed an unspoken, coded method of communication with each other.

Now that we have all of that in mind, here's my favorite moment in Good Omens:

Ixi of Fuck Yeah Good Omens has even kindly archived a closeup of the aftermath, for Crowley, of "Buck up!" In gif 4, above, you can see that the tiny smile is an involuntary reaction that happens as Crowley's eyes widen: for a fraction of a second, he's caught off-guard. In the closeup it's easier to see that he suppresses the smile and gives a tiny shake of his head, Eyebrows of Disbelief heading for his hairline.

There are a number of things Crowley's reaction could mean and what messages it could communicate (we'll get to that in a sec), but regardless, his reaction is, unquestionably, one of surprise and suppressed amusement. This is an aspect of Crowley and Aziraphale's relationship and characters that I like very much, viz., that one of the reasons Crowley likes Aziraphale (though Aziraphale is judgy and occasionally, unintentionally, horrifyingly cruel) is that in addition to being one of the kindest and most courageous beings in existence, Aziraphale is mad as a bag of frogs. Crowley does not know what is going to come out of Aziraphale's lovely mouth next, but Crowley does know there's a good chance he will struggle to believe he's hearing it, and Crowley likes that.

That's what makes this my favorite moment. What makes this moment so cool and rad, though, is its ineffability. We know from the Eyebrows of Disbelief that Crowley is surprised and amused, but any of several things could be read in that almost imperceptible headshake. Like:

What are you doing? or

Why are you like this? or

How can you be aware that you say these things out loud and yet still say them out loud? or

How has my existence come to this? this moment of listening to such insanity?

each of which is a fair and just feeling to have/message to communicate to a man(-shaped entity) who is yelling "Buck up!" at Hamlet.

But that's only if we read Crowley's amusement as being at Aziraphale's expense. And I don't think we should. Because watch Aziraphale here:

He's doing it on purpose. He is shouting a hilariously inappropriate, 100% authentic Aziraphale-brand thing over arguably the gloomiest passage of Shakespeare's famously gloomy play--right after Crowley complains about its gloominess--and he is watching Crowley as he does it. Look at his smile! He knows he's being Deeply Uncool, and he is doing it literally right into Crowley's face.

Remember that we just talked about how by this point in the chronology Crowley and Aziraphale have learned to communicate with each other nonverbally through facial expression? So what does it mean when Aziraphale responds to Crowley's grumbling about Hamlet's gloominess by smiling his minxious Mona Lisa Aziraphale smile, looking right into Crowley's face, and yelling at Hamlet to buck up? Aziraphale, in a carefully coded, carefully Aziraphale way, is joking with Crowley. His silliness in this moment is for Crowley.

So with aaaaaaallllll of this essay in mind, what does it mean that Crowley's reaction to "Come on, Hamlet! Buck up!" is widening eyes, an involuntary twitch of his mouth toward a smile, and then, his eyebrows still showing surprise and amusement, a tiny shake of his head?

Once more, with inferences:

I do propose, y'all, on the basis of this web of evidence I submit for consideration, that what we are seeing here in my favorite moment of Good Omens is the ineffable equivalent of Aziraphale and Crowley sharing a laugh.

Crowley's amusement here isn't at Aziraphale, because Aziraphale is eliciting that amusement consciously and deliberately. Aziraphale, in good spirits and happy to see Crowley, uses his Aziraphaleness to offers Crowley not only an opportunity for amusement, but the opportunity to be in agreement with him about what in this situation is funny. They're on the same side of this joke.

And his humor lands just as he wants it to: Crowley, just for a moment, is caught off-guard, and tickled--

But remember, Crowley is worried in this scene about being surveilled ("I thought you said we'd be inconspicuous here"), and he worries about audio surveillance a lot ("Walls have ears"; "Don't say that. If my lot hear [etc.]," etc.), so he's very limited in what reactions he can show or voice. Aziraphale knows Crowley must be perceived by anyone watching or listening to disapprove of his, Aziraphale's, behavior (just as he must be perceived to disapprove vociferously of Crowley's). Both of them know this.

--so Crowley suppresses the smile almost successfully, and shakes his head at Aziraphale, minutely, to say Stop. What you're doing is working, you're close to making me laugh, and if I show how much you have just delighted me, it will blow our cover of "just an Arrangement."

I offer three final data points in advancing my argument that what we see in my favorite Good Omens moment is Aziraphale successfully attempting to joke with Crowley and Crowley recognizing that overture from Aziraphale and being momentarily surprised into a reaction of genuine delight before pulling his face back under control and indicating to Aziraphale that he must stop:

Datum 1. Nothing going on with Crowley's face in this moment is accidental. We know for sure we're not seeing David Tennant react to Michael Sheen here not only because of literally every other point of Tennant's and Sheen's performances in the show, but because Tennant is wearing opaque contacts and sunglasses under film lighting and therefore cannot be reacting to anything more compelling than a level-10-lift blur because Tennant cannot see shit. Crowley's reaction is a deliberate and careful performance choice on Tennant's part, and it's underscored by director Douglas Mackinnon's choice to film Tennant in 1/2 profile to keep Crowley's eyes visible and face readable to the audience. This reaction is supposed to be there and supposed to be meaningful.

Datum 2. The husbands in 1601 is not the only moment in Good Omens when we may be seeing an angel and a demon communicate the message Stop doing that, it makes us look too familiar between themselves with a little headshake:

Datum 3: There is another moment in Good Omens when Aziraphale offers Crowley the opportunity to enjoy a joke with him. There, too, his humor lands just as he intends, so we can use this other moment as a comparison to our 1601 moment. I don't have gifs for it, but go back and watch it, S1E6 49:27-42. Snips below.

Aziraphale says something that surprises and amuses Crowley (he asked Hell for a rubber duck while he was sloshing around in the holy water)--

--but what Aziraphale says makes Crowley smile long before it makes him laugh.

In fact, his laugh, though a genuine cackle, is quite delayed, and he laughs only after Aziraphale starts laughing too.

In other words, Crowley's reaction to Aziraphale offering him amusement they're both on the same side of is exactly the same as his reaction to "Come on, Hamlet! Buck up!" right up until he laughs instead of shaking his head. Here, after Armageddidn't, Crowley doesn't have to suppress his reaction, so he can let the smile bloom; he doesn't have to control his response, so, although it takes him a few extra seconds, he lets the smile turn into a laugh.

But in 1601, it's not safe to laugh at Aziraphale's humor. It's not safe even to smile at him. A single piece of evidence or eye/earwitness testimony that he and Crowley have anything more friendly than the most passing and acrimonious of professional relationships could mean death to either or both of them, and depending on what Falling is like, maybe something worse than death for Aziraphale.

But Aziraphale is so funny, so effervescent for Crowley, at Crowley, that it catches Crowley just for a moment. Crowley's eyes widen and the corner of his mouth twitches toward a smile.

And that's dangerous. If Aziraphale keeps acting so charmingly mad, Crowley is going to laugh, and they can't afford that risk, so he shakes his head at Aziraphale. Stop, or I won't be able to keep a straight face around you.

And Aziraphale apparently receives that message, because he immediately eases off. Less than 60 seconds later we learn that he's deeply concerned for Crowley's safety--and that it's not so much that Aziraphale has Crowley wrapped around his little finger as it is that Crowley has wrapped himself around Aziraphale's little finger like a snake arranging itself on the tree branch it calls home.

UPDATE 14/10/23: HOLY SHIT Y'ALL IT GETS EVEN BETTER! THERE IS A SEQUEL!

[reiderwriter]

hi!!! omg i’ve been following you for a bit now and i saw that it’s not only your 1k celebration(AHHHHHH OMG CONGRATS GIRL!!!) but also your birthday soon!!! So happy birthday and i hope you’re having a fantabulous day!!

If it’s not too much trouble, could i request #4 on your 1k celeb list for Spencer Reid? maybe like imagine they’re undercover in a club or at a party and reader has to dance on him for some odd reason and boy is already mad in love and now he’s got a hard on while his crush dances on him for a case and reader maybe takes mercy on him and drags him to a private place tooooooo😋😋

it’s totally okay if this isn’t to your fancy so don’t feel pressured at all!! i love your writing so much and i just know anything you write, even if you don’t write this ask or if you change it up, will be amazing!!! enjoy your birthday b and take loads of a care of yourself!💕💕

A/N: Thank you for the request, and I AM SO SORRY it took me nearly four months to get to 😭 I actually loved writing this one, so I hope you enjoy reading it! Thank you for the birthday wishes 💖

Warnings: public sex, sex in an alleyway, talks of oral (m receiving), fingering, penetrative sex, dirty talk, creampie, coworkers to lovers, spoilers for upto season 7 of Criminal Minds.

“Cover? Right now? I'm wading through three caseloads of paperwork right now, I don't have time to go gallivanting across the country for another unit.” You stressed to your Unit Chief as she smiled sympathetically at you.

“Temporary reassignment means your desk will be cleared of work when you return, I'll personally complete it myself. That is if you decide to come back.”

“It would take one hell of an offer to get me to join another team, ma'am, and you know it.” 

Working under your boss Andi Swann at the Domestic Trafficking Task Force was something you took a lot of pride in. The work you did saved hundreds of women across the country, and you found justice for the ones you were too late for. It had been your second choice after you'd left the academy and a particularly ambitious one, all things considered. 

“Y/N, the Behavioural Analysis Unit needs you. Now, I remember your resume as well as you do, most likely, so don't try to convince me all of the profiling credits and courses you took at the academy were solely to be used for trafficking work.” 

You flushed as the woman caught you off guard. It was true that you hoped to someday be able to transfer to the aforementioned unit, but you truly still respected the woman in front of you. 

Deciding that your respect trumped your human need to placate her worries about you suddenly skipping out on her, you simply cleared your throat and spoke as calmly as possible. 

“What is it exactly that the BAU needs me for?” 

The older woman smiled back at you and shook her head slightly before opening her mouth again. 

“It seems that one of their team members needs a date.” 

–X– 

Having recovered from the shock of your reassignment and its details, you'd found yourself packing a few things from your desk, grabbing your go-bag, climbing into the elevator and arriving at the doors of the BAU.

You then struggled for a few minutes to open with all the things crowding your hands. 

“Here let me,” a voice said from behind you, as you suddenly saw an arm come up around your side to push the door open. You followed your gaze up the arm until your back was against the door, moving backwards even as he pushed it open as your throat went dry.

The man in front of you was hot. It was as if some deity had plucked your ideal type out of your mind, moulded him with clay, and kiln fired him before placing him right back in front of you as temptation.

You were sure that minutes had passed since he'd spoken with you just staring up at him like this, but alas, you really couldn't help yourself. 

“Oh! Thank you,” you smiled, hoping it would diffuse the sudden awkward atmosphere that your staring had bought on. “I'm sorry, can you tell me where Unit Chief Aaron Hotchner's office is?” You mumbled out, trying to clear your throat silently as you lost yourself in the strangers' gaze. 

His eyes were locked on yours, and as he broke eye contact, your heart jumped as you noticed his ears were stained red, embarrassment apparently not lost on him. 

“Up the stairs, first office, his name is on the door. You must be SSA Y/N.” Shocked to hear your name drop from his mouth  you felt a Rusholme mortification as you studied the man once again. 

Slightly messy hair, pile of books in his hand, dressed like he'd fallen into a closet at a retirement home, tall wiry frame. 

Ashley Seaver's description of Doctor Spencer Reid had been spot on. Apart from the part where she had failed to mention, he was quite possibly the most attractive man on earth. 

“Doctor Reid?” You asked, voice a squeak, almost scared that you were wrong despite there being no suggestion that you might be.

“How did you…?” His eyes widened with a smile as he looked back to you again, searching for answers with his head cocked slightly to the side.

“I work in Domestic Trafficking. Agent Seaver and my unit chief both gave me brief descriptions of your team so I wouldn't get bogged down with introductions when I got here.” You explained quickly for fear that he'd think you slightly stalkerish for knowing his name, even though he obviously knew yours as well.

He smiled slightly awkwardly again  and gestured further inside the office, sending you off to your temporary new Unit Chief's office with a small whisper.

“I look forward to working with you.”

--X–

The debrief with Aaron Hotchner was swift  and you appreciated the man's ability to cut straight to the point. 

There was a killer targeting women in New York City, just like there were killers targeting women everywhere. But this one had taken specific issue with women who were social climbers, who attended events with high profile and successful men on their arms. 

So far, the NYPD could link 7 homicides to the killer and were under pressure to catch the guy before Lucky Number eight. 

The FBI had stepped in and suggested you be Lucky Number eight.

They'd been sent the case as a consult and provided the profile, to which the NYPD had asked for full cooperation. 

Which is how you found yourself on a jet heading to New York City two hours after Andi Swann had called you into her office. Productive day.

“What does your budget look like after a year of private jet travel?” You wondered out loud as you followed Hotchner onto the plane. SSA David had followed you onto the plane as well, having tried to introduce himself earlier. You'd allowed him the moment of humility before telling him you knew exactly who he was, and he'd be surprised if anyone in the entire bureau didn't. 

“Well they haven't put me on display yet, so I don't think I'm quite a fossil. Pleasure to be working with you.” 

His words were kind enough, but they were a reminder of the other man you'd met earlier. 

The man who had since climbed into the seat next to you, ready for the on the go case briefing.

“We've established identities for the two of you, ready for you to go in tonight to establish yourselves as bait,” Hotch explained, handing you each a personnel folder. 

“Spencer, you'll be Charles Buchanan, local businessman with alleged ties to several socialite families in the Upper East Side.” That seemed to earn a few chuckles from Agent Morgan from his perch at the other end of the plane desk, but he cleverly kept his mouth shut. 

“Y/N, you'll be Daisy Smith, you're a student putting herself through a graduate degree, who has turned to sugaring to cover course fees.” 

“Sugaring?” Rossi asked from Hotch's side, waiting for someone to clarify. 

“It's a term used to describe the act of being a sugar baby or sugar daddy. A usually non-sexual consensual relationship involving cash or other materialistic gifts.” Spencer filled in the gaps easily, without looking up from the file he was scanning ridiculously fast.

Okay, speed-reading and super intelligence check, and you were two for two on descriptions of Spencer Reid. Swann's description had also left a lot to be desired. 

“We've got Garcia establishing some online profiles for the both of you currently using the images you sent us earlier. Hopefully, we were correct in our estimation of his hunting grounds, but he'll need to stalk you for a night or two before he strikes.” 

You cleared your throat carefully as you finally decided to ask the question that had been bugging you the entire time.

“I'm sorry if this is forward, but is there a reason I was chosen for this assignment? I don't have much undercover experience, and I was told there were two women on your team. Was I misinformed?” 

“That's correct. Unfortunately, last week, Agent Prentiss decided to take a job with Interpol in London. Agent Jareau was also recently married, so she put in leave to enjoy her honeymoon. None of the candidates we have lined up fit our Unsub's type. You do.”

“As good as I would look in a dress, you're going to be much more effective at catching this guy,” Morgan joked from the side, just as Hotch accepted a video call through to the jet. 

“Morgan in a dress, sounds like one of my dreams come true.” 

“Calm it, baby girl, what have you got for us?”

“Invitations to a charity ball being held in Manhattan tonight, and around 1000 hits across five sugaring platforms for Miss Y/N. If the FBI turns out to be a letdown, you have a lot of serious offers here, sweetie.” You laughed out loud at how she blasted through and diffused all the tension in your team, without even thinking to introduce herself first. 

“You must be Penelope Garcia. It's nice to meet you.” 

“Not as nice as it is to meet you, I promise.” 

The remainder of the jet ride had been quiet if not restful, the presence of Spencer Reid a disturbingly pretty thorn in your side. 

You'd sneaked glances at him multiple times, not an easy feat on a jet filled with profilers. His fingers had grazed yours as he passed you his file earlier as well, letting you read up on his new character. 

What you found most distracting, though, was the now bare stretch of skin peaking out from his shirt collar. 

He'd decided to take a nap at some point earlier, and now you silently cursed him for it as you looked at the splash of skin distractedly. 

You could press your lips there and work your way up to his lips. Or you could go in the opposite direction and have more fun, you reminded yourself. 

It seemed that image had you waking up, jerking upright so that you would not let that go any further.

This was your job. You were a professional, an FBI agent. 

You weren't allowed to imagine giving this man a blow job on government time. You'd have to save that thought for after the case was closed, and you could go your separate ways, you thought.

Landing was easy  and you moved straight into dress fittings and practising your story for the party later that night. 

Which meant a blissful few hours without the distraction of Spencer Reid. 

Luckily for you, the first dress they'd given you to wear had turned out to be a good fit, showcasing some of your more prominent assets. 

It hugged your body tight, but it wasn't uncomfortable, showing off a generous amount of cleavage and leg as well. It wasn't quite scandalous, but you knew it was definitely the kind of outfit that would stick out like a sore thumb at a socialite dinner. 

Which meant it was perfect for baiting the unsub.

By 7pm, you'd been outfitted, prepped, and deposited in the back of a limousine with Spencer Reid, and you were right back at square one trying not to climb him then and there. 

His outfit choice had been slightly harder, apparently, given his taller frame, but the three piece suit they'd given him was do perfect it was hard to tell it wasn't tailored to his measurements. 

“Are you nervous?” He asked, whispering the words in your ear as he stroked your hand. Although the limousine driver was an undercover NYPD detective, you'd both been told to get into character as quickly as possible. 

There were a series of other undercover agents being placed throughout the party tonight - Hotch was going in as a representative of the District Attorney's office, a few NYPD detectives were serving guests drinks and food, and Rossi had managed to get an invite as himself. 

Morgan was left running surveillance in the van outside. 

Because of your outfit and the nature of the unsubs attacks, there had been no point in trying to put a wire on you at this point in time. It'd take him a week of surveillance to pick you up anyway. Tonight would just be the start of his hunt. 

So you let Spencer stroke your hand, fingers locked in his as you gave him a smile, and tried not to imagine them wrapped around his cock. 

“Just a little. I think it's the dress  shows off a bit more than I'm used to.” He took a second to glance down your body, as if he'd been waiting for your permission until now, and you watched his eyes pause over your chest and at where the hem sat at the top of your thighs, dangerously close to bearing everything.

“You look… beautiful. I think our unsub will like it, at least.” 

You tried to hide your disappointment as he pulled his hand away, ready to open the door as the car pulled up to your destination. 

You surveyed the room as you walked in, trying to memorise every particularly leering smile from men as you made your way to your seat. 

After half an hour, though, it seemed like catching your guy was going to be like finding a needle in a haystack. Or a creep in a room full of creeps. 

It seemed like every man who talked to Spencer only glanced at you to stare down your dress, a few even attempting to pat your back and let their hands drift south.

If it weren't for the sake of the job, you'd have sucker punched some of the richest men in New York City by now. And you'd have enjoyed it. 

Politely detaching himself from conversation, Spencer guided you away to the dance floor for a second. You'd planned it this way for when you needed some time privately to discuss potential suspects. 

A few other couples glided around the floor as you stood chest to chest with Spencer, surprised how confidently he was handling the caseload. 

His hands took their places, one on your hip, the other gripping your own as you both began to sway side to side. 

“Any ideas?” He whispered in your ear as you moved delicately. 

“Your 10 o’clock. Younger son of the Johnson family. He’s been sat glaring at me for 10 minutes despite his mother's attempts to network for him.” 

“It fits the profile, absent father, overbearing mother. He has obvious disdain for you. Is there anyone else?” His words were hot against your skin as you looked up at him, finding your lips surprisingly close as your bodies continued swaying together. 

“Half of the men in this room have undressed me with their eyes, the other half actually tried to put their hands on me when they were talking to you.” He stiffened at that, breaking eye contact as his eyes flashed with sudden emotion. 

His hand slid from your waist further down to stroke your ass slightly as he watched the crowd to see anyone taking offence at his sudden bold display of affection. 

At least that was what you assumed he was doing  as you too began to glance around, watching for anyone watching you, confident that Hotch, Rossi, and the others would do the same. 

When his hand on your ass pulled you closer into him, though, you weren't so sure. 

“Spencer, what are you-” You started in confusion, noticing that his gaze had returned to you. More specifically, that it had returned to your chest, as he stared down at how your breasts looked, pushed up against his chest as they were. 

He encouraged your other hand to wrap around his shoulder, freeing his other hand to land on your ass again as he pulled you closer still. 

You'd almost stopped moving, certain that having his body pressed against yours in every place hardly counted as dancing. You opened your mouth to say as much when you felt something twitch against your thigh. A low groan slipped from Spencer's lips as he adjusted your positions slightly as you felt something hard shift against your leg. 

“Do you seriously have a boner right now?” You whispered, as much in exasperation as in excitement. 

Spencer Reid was grinding his boner into you in front of a room full of people, and you felt like you'd just won the lottery. 

“I'm sorry, natural reaction. You look so hot tonight, and then your hands were all over me.” He rambled slightly in his explanations, mortification clear on his face as he tried to apologise. 

“It's okay.” You whispered in his ear, pulling yourself up on your toes softly to press a chaste kiss to his lips. 

If you just so happened to rub up against him going up and down, eliciting another deep groan for the man, then so be it. 

“Y/N…” He whispered you name like a prayer and it almost convinced you that there was no one else in the room. 

“Spencer, there's no way our unsub is going to approach us if you have that thing tenting your pants.” You kept your voice low as your hands trailed down his chest. Pushing one further, you gently rubbed over his clothed member as if accentuating your point. 

“We need to solve this problem, don't you think?” 

His jaw clenched as he contemplated your words, trying not to let any other sounds out. His nod was barely perceptible, but within seconds you were glancing around the room for a quick exit, and in another minute, you'd slipped through a service entrance  and out through some corridors into a dimly lit alleyway. 

As soon as you were cloaked in darkness, Spencer was on you. 

Whirling you around, he backed you into the wall until your back was pressed into it, and his lips were on yours. 

You moaned helplessly into the kiss, hands finding his chest again and moving south even as he began exploring your body. 

“This is an important case, and we're about to blow it because I can't keep my hands off you,” he whispered between kisses, lips trailing down your neck. 

“Do you know how crazy we both must be?” 

“I know exactly how crazy for you I am, Reid. Now, please let me suck your dick.” You moaned the words as his fingers found their way into your panties, stroking your clit. 

“Y/N, I'm trying to talk sense into us here.” He groaned as your fingers fumbled with his pant buttons, hand sliding into the material to wrap around his cock.

“How much sense are you talking with your fingers inside me?” You panted, willing him to just fully let go and let you both enjoy yourselves. 

“While we're out here, Hotch and Rossi are inside, noting down anyone who takes particular offence to our exit. We can enjoy ourselves and catch a better lead.” You started slowly pumping him then, as he pushed closer into you, allowing you to reach more of him at this different angle.

His head dropped to your shoulder as he breathed out a laugh. 

“Right, this will help.” He tried to convince yourself, and you grinned in victory, rocking your hips against his hand to find your release sooner. 

Until he withdrew his hand and used it to grasp your own, halting your movements. 

“Spencer?” You pouted slightly, but he pressed another kiss to your lips  this time forceful and demanding, to guess begging permission to enter and dominate you. 

You gladly accepted him into your mouth, even as you felt him pushing up your skirt, letting the material ride higher as it had been trying to do all night. 

Making sure you were steady against the brick wall, he pulled your hips up and around his, pushing your panties to the side as he pushed inside of you. 

The stretch was maddening. Everywhere he touched became hot against the cool night breeze as he began his frenzied strokes into you. 

You lost all capability for speech, which was probably for the best, as you were sure you'd only ask for him to do more disgusting things to you eventually. 

His mouth slid to the top of your breasts as they bounced with each thrust, waiting to claim a nipple in his mouth when one eventually came free of the offending material. 

“Such a little slut, begging to suck my dick. Maybe next time, princess.” You screamed and arched your back as he finally bit down around your nipple, soothing the skin with his tongue as he licked and suckled there. 

His other hand fell to your clit again, pushing you to the edge as you finally came on his cock. 

He didn't stop though, powering through as you tightened around him, moaning wantonly as his thrusts hit deeper still.

“Let's see what our unsub thinks when he sees my cum dripping out of you,” he whispered again, as he too let himself go, releasing spurt after spurt of cum inside of you. 

Making sure you were strong enough, he set you back down on the ground, keeping an arm wrapped around you protectively as you smoothed your clothes back into place. 

You helped him button his pants as he smoothed your hair, tucking a stray piece behind your ear before ducking in for one more sweet kiss. 

“I'm sorry that I couldn't let you, uh, perform orally,” he blushed again, his ears that same shade of red you noticed earlier as he guided you back inside. “I think someone would have noticed if I'd ruined your makeup that much.”

You practically choked on your own spit as you finally slipped back into the dance hall.

“Next time,” you said, making sure to finish the conversation you'd started. “We’ll have more privacy.” 

[velvetm00light]

Drunken Confessions

gif: pinterest dividers: @benkeibear, @mariariley, @haerinism

Word Count: 2.3k

Pairing: drunk&dom!Spencer Reid x sub!Female Reader

Summary: After a night out at the bar, Spencer drunkenly tells his coworker, Y/n, how he feels about her. She's shown the side of him no one knows as they go to his apartment together and show each other exactly how they feel.

Warnings: Alcohol, PinV, fluff, coworkers, domxsub, smut.

A/N: First attempt at a one-shot. This honestly went in a different direction than I actually planned for and I'm not mad about it. I hope ya'll enjoy. ;)

GLASSES CLINK NOISLY AS the Behavioral Analysis Unit team of the Federal Bureau of Investigation cheers each other over the too small wooden table inside their favored bar for after-work drinks. They had just gotten back from a particularly gruesome case and all agreed to try and let loose for the night. They even managed to get their innocent boy wonder, Dr. Spencer Reid, to tag along.

Music thundered around the bar, y/n's feet feeling the vibrations through the hardwood floor beneath her. It was almost impossible to hear each other over the music, so they all had to result to either yelling or not using their words at all.

JJ basically jumps from her seat and yells across the table, "time to dance!" Y/n, Emily, and Penelope wasted no time rising from their seats and rushing onto the dance floor, the boys decidedly choosing to stay at the table.

Emily has made the point multiple times before that they reason they all choose not to dance is most likely because they're embarrassed of their dancing skills and it might just kill them to make a fool of themselves in front of strangers. Even though Morgan swears he actually dances like a "sex god" per his own words, he is perfectly fine sitting his married ass down and sipping on a nice cocktail.

The girls waste no time getting down to business on the dance floor as the boys at the table talk, well, more like yell, amongst themselves. Despite only having a single drink, in which he is currently still nursing, Spencer finds his eyes gluing themselves to y/n. The way she gracefully moves her body to the rhythm of the music, the flow of her hair behind her, stray pieces already beginning to stick to the nape of her neck and shoulders.

"Earth to Reid."

Spencer's attention snaps away from y/n's mesmerizing moves and stares at Morgan. A heat creeps up his neck and into his cheeks, feeling like a kid caught red-handed.

"Go dance with her. You're oogling her and I won't be surprised if you started to drool had I not said anything." Morgan was reveling in the fact that Spencer finally couldn't deny what the entire team pretty much already knew, a smirk on his face as he tilted his head in y/n's direction.

"Absolutely not!" Spencer cried, already feeling the second hand embarrassment. His too long limbs cause a great deal of trouble every time he's ever attempted to dance. He can't imagine making that big of a fool of himself in front of the girl he's been developing a crush on ever since she joined the Bureau.

"You've got to take life by the balls, kid. How do you expect her to know you're pretty much in love with her, if you tell her?"

"What? I'm not in love with her," Spencer argues, knowing damn well his actions rat him out as a total liar.

"Fine, have a few more drinks and then let me know how you feel." Morgan gets another round of drinks and pushes two new, full rum and cokes in front of Spencer. "Try not to take an hour to drink these, kid."

Deciding he could actually do with some liquid courage, he downs the first drink. The instant burn of the heavy handed pour sliding down his throat causes a war within his stomach and he instantly regrets it. He's not used to alcohol and alcohol definitely does not tend to agree with him. But hell, who is he kidding? He might be better off getting so drunk he finally tells her how he feels and doesn't remember doing it to save him from the embarrassment likely to follow.

Y/n and the girls are in the middle of a pretty heated dance battle together when Spencer stumbles onto the dance floor.

"Do my eyes deceive me or is wonder boy coming to dance with us?"

The women immediately stop their dancing and turn towards where the man himself is carefully weaving through the crowd towards them. "I thought I might join you guys,"

"Please do!" Y/n shouts over the music. The women instantly resuming their dancing and Spencer immediately feels at ease. He's unsure if it's the multiple rum and cokes he downed just a few minutes ago or if it's because the women begin dancing like lunatics without a care in the world. He joins in without hesitation.

They all dance the night away together, y/n and Spencer laughing with each other as they sing and dance together, him spinning her across the dance floor, and on occasion them getting so close he almost took the risk to kiss her.

As the night gets darker, the bar gets emptier, and swear pours down their entire bodies, they finally make their way back to the table.

"You looked great out there, kid." Morgan chuckled, sipping the last of his drink.

"I think this was the best night of my life," Spencer smiled. For a brief moment, y/n and Spencer's gazes caught each other and they shared wide, toothy smiles. The tension between them so palpable you could cut it with a knife. As if realizing it, the rest of the team says their goodnights and leave y/n and Spencer to their own devices at their littered table.

"I'll drive you home," y/n suggests, fishing into her purse for her keys as they make their ways toward the parking lot. "Before you ask, no I'm not drunk. I haven't even been able to touch a drink most of the night because I was obviously too busy getting down and dirty."

Spencer smiled down at her, "Thank you, I would appreciate that very much."

They climb into her car together, and Spencer instantly heats up at the proximity and the fact that they're alone. As she starts up her car and focuses on pulling out of the bar parking lot without hitting drunk pedestrians, Spencer is compelled by the very essence of her. His eyes greedily roam over her from her lush, lip glossed lips to her sweat slick hair sticking to her neck, to her perfectly formed nose. He drinks in each and every one of her features, truly unable to find a single flaw on her.

The short, red dress she's dressed in hugs her curves perfectly, her long legs teasing him as they move back and forth from gas pedal to brake and back again. Desire courses through his blood and feels as if it might boil him from the inside out if he doesn't act upon it.

"You know what's crazy?"

"What, Spence?"

"I've had a crush on your for years and I've been way too scared to tell you." He bursts into a laugh and y/n's breath catches in her throat. She doesn't even consider allowing herself to believe he's telling the truth, because out of all people, why her?

"You're drunk, Spence."

"You know what they say, drunk words are sober thoughts."

Her whole body tingles as her grip tightens on the steering wheel. Her core feels molten at the desire pooling at the bottom of her stomach as it has been all night. Even when he was dancing like an absolute goof, he was still the hottest man she's ever seen in her life. The entire night, all she could do was wish the moment would last forever, Spencer spinning her across the dance floor, their faces being inches away from each other. She almost gave in and kissed him every single time she could feel his panting breath on her face.

"I mean it, you know. Ever since you joined the Bureau, I've just had this...pull to you. You're seriously the most mesmerizing, brilliant, generous, exquisite woman I've ever met in my life. I ache to be near you every single time you leave. I ache to kiss those beautiful lips every single time you talk, or when you bite your bottom lip when you're nervous, or when we'll sometimes accidentally get so close to each other it almost just makes sense to grab you by the chin and kiss you."

Y/n is dazed after his revelation. Her heart begins to beat so rapidly in her chest she swears it might just burst through her ribs and out of her body completely. "I-Are you sure you're not just drunk, Spence?"

"Oh, I'm drunk. But I'm just saying the things sober me would have never said in a million years," he smiles at her. She catches his gaze for a moment, wide-eyed and absolutely dumbfounded, before quickly returning her gaze to the road in front of her. "I was always afraid you would never feel the same, and I guess the suffering of never telling you how I felt was a better option than telling you how I felt, you not feeling the same, and then our entire friendship is ruined. I don't think I could bear losing you."

"Spence.." Y/n chokes out. "Let's talk about this inside."

She swiftly pulls into a parking spot outside Spencer's apartment and they both rush inside. As y/n shuts the door softly behind her, she whirls around and almost slams into Spencer.

Before she can do anything, she's backed up against his apartment door, his hands above each side of her head, trapping her. "This doesn't make you uncomfortable, does it?" He asks softly.

"No," y/n manages to breathe out.

"Good, then hopefully this doesn't either."

Before she can ask what he means, he greedily crashes his lips into hers. A small moan escapes her lips as he takes her bottom lip between his teeth and tugs roughly. The opening of her lips gives Spencer the chance he was hoping for and she readily accepts his tongue as hers dances along. The kiss between them is greedy and hungry, the built up tension between them finally snapping.

She's pushed completely into the wall by Spencer's towering body. He bends down slightly, reaching for the back of her legs. He pulls her off the floor, and wraps her legs around his waist without breaking the ensuing passionate kiss.

She feels his body move beneath her as he grinds up into her. A whimper escapes from her and passes into Spencer's mouth which only causes him to grind against her center again, his arousal evident.

She removes her arms from around his neck and fumbles for his belt. She swiftly unbuckles him and pulls out his hardening length. She slides her hands slowly up and down, teasing small moans from his lips.

Before she can even react, he's pushed the hem of her dress up to her waist. He finally breaks the kiss and says, "How wet do you think you'll be for me?"

"Why don't you check for yourself," she purrs, attacking his lips, their tongues once again battling for dominance.

He groans at the pleasure and the desire in her reply, wasting no time pulling her panties to the side and sliding a finger between her lips. "God, you're so wet for me," he breathes in her mouth before tugging on her bottom lip once again.

He removes her hands from him and slams her hands above her head, his hands on her wrists to keep her from budging. "Are you going to take it like a good girl?" He murmurs.

"Yes," y/n manages to get out.

"Yes, sir," he scolds.

"Yes, sir."

"Good girl."

Without another word, he lines up underneath her and gently pushes into her core. He can feel her throbbing against him as he eases into his movements. "Oh my god," she whimpers. Spencer releases her swollen lips and trails kisses down her jaw and neck as he thrusts hungrily into her, his hands solid against her wrists.

He releases one hand from her wrist and commands, "Do not lower your arm."

"Yes, sir."

He lowers the neckline of her dress, exposing her breasts taut from the desire coursing through her. He sucks on the skin of her breasts, leaving his marks along her chest. He takes her nipple into his mouth, using his tongue and teeth to play with it, perfectly mixing the right amount of pain with her pleasure.

He pounds into her harder as he works her nipples. Her rising climax becoming almost unbearable.

"Don't cum unless I give you permission."

"But-"

"You heard me."

"Yes, sir."

Y/n's body moves in tandem with his as if their bodies unconsciously know this dance together between their sweating bodies. His thrusting doesn't cease or stutter, the euphoric feeling of him perfectly hitting her aching spot sends her eyes rolling.

"Please," she chokes out. Her head pushed back against the door, her back arched off the door as if instinctively reaching out for Spencer's body. Spencer releases the nipple in his mouth and returns his ravenous gaze to hers.

"Come for me, baby."

Their lips join together again as he pumps harder, the both of them chasing their releases. She can't help but cry out at the ecstasy that overtakes her as she falls over the edge, Spencer following with his own.

Y/n's entire body trembles against the door, both of their breaths heavy and mixing with each others.

He lets her down gently from the door. "How about we take a bath and wash up," he suggests, need written all over his face. Y/n nods, her legs threatening to give out beneath her.

Spencer helps her into the bathroom, smiling at himself for being the reason she can barely walk. He wastes no time getting a bath started and they lower themselves into the tub without waiting for it to completely fill up.

She moans as the hot water soothes her muscles.

"Relax all you want right now because I'm not done with you yet."

[its-your-mind]

Some Thoughts on the importance of physical touch and connection for the Hells: A reflection on the new animated intro.

In general, I think the Hells are a really strange and special group, especially for a dnd party. They pretty much laid all their baggage on the table within the first week of meeting each other (What the Fuck is Up With That?) almost as a litmus test: "hey, here's all the shit that comes with being me, last chance to run away if that's too much."

and none of them did. and they all kept choosing to stay, even as shit got even weirder and more and more disturbing answers came to light. I think that continued choice from all of them - to stay - is what makes the bonds between the Hells so deep and so special.

okay trauma analysis and party dynamics is a DIFFERENT POST but it was all RELEVANT INTRODUCTION bc the CHOOSING TO STAY and the KNOWING EACH OTHERS' SHIT are like. key components to understanding why I am so feral about this. okay hopefully you will understand. the body of my essay is below. it has pictures. it got... too long. so. it went under a read more. yw. anyway click below if you want a very detailed analysis of an animated intro that is literally only one minute and thirty seconds long

For the first bit, character intros for Fearne, Orym, Imogen, Ashton, there’s no physical contact.

BUT. First intro of hells as a team. Ashton Trauma Flashback interrupted by laudna approaching slowly from beside him with her hand gently in front of him to signal her presence without startling him, and THEN just talking at them. Bringing him out of those flashbacks. Reminding him where he is and who he’s with.

And tbh? For Ashton? Touch is always iffy, so this is almost a more understanding and kind way to bring them out of the flashback. Just physical presence is good! UNLESS. (unless) first actual touch. Fearne stealing their coin purse, so gently that they don’t even notice it (FLIRTING THROUGH THEFT callowmoore my beloved)

(also grabbed the cap that shows her with his coinpurse these fucking ANIMATORS)

okay pt 2 FLYING OFF THE AIRSHIP

Ashton's first instinct and priority is grab laudna’s hand bc he KNOWS she is made of paper mache and he is ALWAYS watching out for her out of the corner of his eye bc she is breakable and he’s not gonna let her break bc he KNOWS what it’s like to be breakable and need someone to catch you when you’re falling but ANYWAY. he grabs her he uses his hammer as a fulcrum to throw her at Imogen

because OF COURSE he knows that the safest and most comfortable space for laudna is in imogen’s arms. and the two of them wrap their arms around each other and hold tight Superman style bc ofc they do and once laudna is in imogen’s arms she’s absolutely delighted by this whole situation bc OFC SHE IS

(tf do you mean I can’t add more than ten images on mobile UGH fine I’ll finish writing then draft and move to PC the images are IMPORTANT TO MY POINT anyway insert lesbians here) (note from future mind: I have decided that these pic descriptions i left for myself to grab the right images are fucking hilarious so they’re staying in yw)

Then fearne (who had been on her way in that direction already) swoops under Ashton to catch him as he flips over from the momentum so he can land on her giant bird back and she can fly him away.

(Pics: It’s fine to touch Ash if you’re saving their life)

(also not pictured: chet staying on the ship but losing his hat, orym grabbing it out of the air, imogen casting fly on fcg right before she catches laudna, fcg flying over to grab orym) All of this happens in six seconds by the way. One round of combat. These animators are fucking incredible.

BACK TO CHARACTER INTROS laudna who is ofc alone and in the dark at the bottom of the Sun tree, reliving her past…

(Pic: sad lonely laudna)

right up until Imogen puts her head on her shoulder, and the darkness burns away into light. She doesn’t say anything, or talk with laudna - all it takes is that physical reminder that she’s not alone anymore, that there is warmth, that she is surrounded by a family who loves her so much they chose to turn down comfortable beds in a lord’s manor so that they could join her in sleeping at the bottom of the Sun Tree. (Fav lil detail - fearne wrapped around Orym like he’s a teddy bear, and holding tight to laudna’s blanket to make sure she can’t go anywhere.)

(Pics: THE POWER OF LESBIANS AND FOUND FAMILY)

fcg. Fuck. Starts with their flashback, with their red eyes and their buzzsaw, but almost immediately we see Ashton reach out to grab their shoulder and Orym whip out a vine to tie up their saw.

(pics: reaching out even if it might hurt youuuuu)

Imogen goes on her knees and wraps her arms around FCG’s other side, and the rest of them all gather around him, holding him to keep him and each other safe, but mostly just grounding him in the present by surrounding him physically until the flashback fades and he’s once more aware of his surroundings.

(Pics: what the fuck they just need to be held)

(once shit has calmed down fearne uses this opportunity to pick Ashton’s pocket again. Flirting through theft).

(Pic: fearne is a menace to society)

final fight scene. fuck yes.

(Pic: IT’S THURSDAY NIIIIIIIIIIIGHT)

This is mostly just giving all of them room to be badasses (as they deserve) - but there are some things!! First!!

(pics: THESE WITCHES BE BITCHES minus fearne sry fearne we miss u but you are on fire and laudna is made of wood currently)

Imogen and laudna casting spells back to back, trusting each other to take care of what’s on their side. Inseparable, even in a battle where their party has scattered to fight other enemies.

BUT. The BIG thing though in this sequence. Maybe my favorite part? Idk I don’t have a favorite. But!! Orym. taking out four of Otohan’s shadow knights. then facing off against her personally!! And it’s one-on-one, because this was Orym’s task alone - to find the person who attacked his leader and killed his family. He’s angry, but mostly he’s honed-in and focused and determined. This is his mission.

(Pics: WHO’S JUST A LIL GUY NOW HUH)

But then, when Otohan pushes him back…

(Pic: fuck. shit. fuck. im. fine. anYway. them.)

FCG and Ashton are there right behind him, and they put their arms out and catch him so he doesn’t fly back any farther. And there’s this look of surprise on his face, because once he lost Will, he never expected there to be anyone else standing behind him, ready to catch him. And yet, here they are.

(Pics: fuck yes fuck yes fuck yes GOOOO ORYM!!!)

They give Orym a push forward and follow behind him, and he walks back towards Otohan with confidence. Lil grin on his face, brisk walking pace - he even does a little fancy sword swoosh! Because maybe he’s not strong enough to take out Otohan on his own. But the thing is, he’s not alone anymore.

(Pic: THEY.)

None of them are alone. And whenever any of them forget, or slip into old habits and memories, the rest are right there to reach out a hand to remind them.

Building a family out of broken pieces is difficult even without an apocalypse. But the Hells have shown each other, over and over and over, often with their actions even more than their words, that they really are dedicated to this family that they've built together. This intro fucking slaps so hard and the animators deserve so much praise for how incredible this intro is

[criticallyacclaimedstranger]

August Rain [Frankie x reader]

My Frankie Morales masterlist

Read on Ao3

Fandom: Triple Frontier

Ship: Francisco “Catfish” Morales x you (f!reader in that Frankie calls them ma'am, but otherwise no descriptors)

Warnings: Sugary cuteness, kissing, allusions to sex. Frankie mentions getting fat.

Summary: You and Frankie have tea and cake and cuddles on the porch swing. That's it, that's the plot.

Words: 1,200

A/N: @rambling-in-purple sent me a bunch of gifs (see below) to inspire me to write something starring Frankie. It took me a couple of days, but here's my lil cutesy comfort piece. I hope you like it, Lila!

It starts to rain as you’re finishing up dinner. You glance out the kichen window, sigh deeply, and grimace across the table at Frankie.

”There goes my gardening time.”

”Good,” he replies sternly. ”You’re sniffling, you should be taking it easy.”

He’s right, of course, but gardening after a long, rough day at work soothes and grounds you. You had hoped that the forecast had been wrong, that the late summer weather would be unpredictable enough to evade meteorologist analysis, but no such luck. Then again, you’ve been feeling under the weather for two days now, sniffling in the morning and beat at night. You really should be relaxing to avoid a full blown cold, or worse.

”Whatever,” you mutter, putting down the cutlery. ”Thanks for dinner.”

Frankie had been home before you, and prepared the food, for which you were grateful. To have to think about dinner on top of everything at work was a little too much for you at the moment.

”You’re welcome,” he replies softly. ”I’ll clean up, you go lay down for a bit.”

”I’m too wired.”

”You’re exhausted.”

”That, too. I’ll clean up, it’s okay.”

You end up doing it together, Frankie accepting your help only because you know that he likes doing everyday chores with you. When the kitchen is spotless and the dishwasher humming, he grabs the tea kettle.

”Cup of tea?”

”Please.”

”You wanna thaw those pieces of chocolate cake we’ve been saving?” he suggests as he fills the kettle. The mention of chocolate sends a small starter rush of dopamine to your brain.

”Hell to the yeah.”

You take out the box containing two pieces of cake from the freezer, and put it out on the counter to thaw.

”That’s gonna take a while,” Frankie points out. ”Come on, let’s go sit down.”

”Can we go out?” you suggest. ”We haven’t used the porch swing much this summer.”

Frankie accepts, and that’s how you end up on the porch swing, your head on Frankie’s shoulder, his arm slung around your shoulders, a blanket over your laps. The rain is soothing, and even if it’s not cold, there’s a melancholic hint of fall in the air. You look at your overgrown garden where everything seems to be in a hurry to grow and bloom before the season is over, and there’s something both sad and beautiful in it.

”This is nice,” Frankie murmurs, his low voice sending a warm, titillating vibration through you. ”Why haven’t we done this more often?”

”Too hot,” you remind him, and he hums as he remembers how hot indeed the porch gets in the summer afternoons and evenings.

”We still have time in the fall,” you add. ”Just have to bundle up properly.”

”I like that.”

”Me too.”

He kisses your forehead and pulls you in snugly against him.

”It’s even nicer when it rains.”

”Cosy.”

He kisses your head again.

“You think those cake pieces are good to eat now?”

“Oh, right. Yeah, they should be.”

“You sit here, I’ll them them, and the tea.”

You sit up straight and hold onto him to prevent him from rising.

“Love you,” you tell him with a grateful smile, and kiss him.

“Love you,” he hums against your lips, kissing you back until you’re done. You give him a little shove.

“I want cake.”

He chuckles, and gets up with a Yes ma’am before disappearing into the house. You pull up the blanket and redirect your gaze to the garden, looking at the sunflowers, brilliantly yellow and dramatically red in the rain. There’s still crops to be picked, the corn stands straight and proud in their patch, and you remind yourself that there is still time. Summer will linger during the days, even if the evenings and nights are getting cooler and darker.

Frankie returns carrying a tray with two steaming mugs of tea, and the cake slices on two plates. You pull up the sidetable to the swing, and soon you’re enjoying tea and a perfectly moist and soft chocolate cake.

“God, this is good,” Frankie sighs. “Why don’t you bake chocolate cake?”

“Because the bakery does it so much better,” you shake your head. “You know I can barely bake cookies. Why don’t you bake?”

“Because I’d do it constantly, and get really fat.”

“It doesn’t matter, I’d still love you.”

He looks at you with those soft brown eyes that still make you weak at the knees, even after all these years.

“That’s a relief. Maybe I will learn to bake.”

You grin, then see the smudge of chocolate on his lower lip.

“You got some chocolate there.”

“Here?” He points at his lips, and you shake your head.

“A little to the right, no, not there, hold on…”

You lean forward and kiss the spot on his lip, suck it into your mouth gently, tasting the chocolate on him, his scent surrounding you in the best way possible. Frankie’s arm comes around you and he pulls you in close, his lips claim your with that slow security that he possesses and that is so familiar and safe to you, and you kiss and kiss, unhurriedly, lovingly, comfortably.

When you finally have to stop and take a breather, your cheeks feel warm.

“Anywhere else you wanna check for chocolate?” Frankie jokes in a low hum, making you laugh.

“Not before I’ve finished my piece.”

“Oh, that’s right, we still got cake left…” He sounds almost disappointed, but accepts your final little kiss, and sits facing forward with you, both of you eating the rest of your cake. Mug in hand, you cuddle up to him after, sipping the hot beverage.

“We really should do this more often. Light candles and stuff.”

“We’ll see to it that we do,” Frankie promises.

The subsequent silence between you is comfortable, the only sounds the rain and the faraway din of a car passing by on the road further away. Your mind is calm even if your body still feels like it might be fighting a budding infection, yet you still feel better than you have in days.

“Frankie?” you speak quietly.

“M-hm?” he hums in the middle of a sip of tea.

“You think we could fuck on the swing?”

He coughs, then swallows the tea audibly before looking at you. You look back innocently.

“You need to be careful, I could’ve choked to death.”

“You’re fine.”

“I’m an old man who could die from anything.”

“That doesn’t answer my question,” you remind him sweetly. He purses his lips and furrows his forehead, and you can practically see the cogs moving.

“Not right now we can’t,” he eventually tells you.

“Why not?”

“Because you’re not getting undressed outside in this weather, you’ll catch your death.”

“It’s not even cold!” you protest with a smile, and now he’s grinning back.

“I’m not taking any chances. If you wanna have sex, we’re going in.”

“Fine.” You stand up, the blanket gliding off your lap on onto the floor. “Then let’s go in.”

You pick up the tray with the now empty plates, and walk ahead. Frankie stands up as well, folds the blanket, and grabs the mugs.

“Yes, ma’am…”

[somehow-a-human]

Whose POV is it Anyway?

A Companion to Owls.

DO NOT ASK NEIL ABOUT FAN THEORY

Job 30:29-31 I am a brother to dragons, and a companion to owls. My skin is black upon me and my bones are burned with heat. My harp also is turned to mourning, and my organ into the voice of them that weep.

Continuing my analysis of the narrator/POV perspective of Good Omens season two with a look at the episode 2 minisode set in 2500 BC, Uz. God, I love this minisode.

For reference & context, I recommend reading these posts:

Whose POV is it Anyway? - Introduction

Lens Filters

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

We open our journey into the land of Uz with Crowley giving Job's goats a speech that sounds awfully similar to his own troubled relationship with The Almighty. Crowley is alone here. The episode cold-opens and we've had no lead up to suggest otherwise, so this is Crowley's POV. His hair is short and more vibrant, I'd say this is likely the Black Diffusion FX filter.

Yes for the sake of this post I am doubling down on the fact that there are TWO SEPARATE WIGS. See more here.

Aziraphale arrives, he looks cute and silly, the permit is long, the goats are "destroyed" and they part ways.

The next scene we get is Aziraphale in heaven checking with Muriel and the Archangels that the permit Crowley has is in fact legitimate. This time, we are seeing Aziraphale's POV. Heaven is a stark white office building but the golden hue is almost overwhelming in this flashback. The Bronze Glimmer Glass filter is clearly being used here.

Aziraphale decides he's going to confront Crowley about saving the children, little does he know Crowley wouldn't harm them to begin with but regardless...

When we re-enter the minisode, we do so via a subtle zoom in on Crowley's face in modern day. We then enter the scene through Aziraphale's illustrated Bible and see Crowley asking Job where his kids are. We've again lost the golden glow of the BGG filter, moved back to the BDFX filter and into Crowley's POV. Crowley's hair is still short, Aziraphale isn't present here, he's alone, so these are his memories.

When we see Crowley walking up to the house to find the kids we have switched back to Aziraphale's POV. The scene is extremely warmly lit, it's soft and yellow, and Crowley is now in a different wig. His hair is much longer, softer and more attractive looking. In one of the X-Ray behind the Scenes videos I even caught a screenshot of the film slate from this scene and you can clearly that they've written in BGG as the filter used, so we have confirmation.

We continue through the Job minisode in Aziraphale's POV. The reveal of the goats, saving the kids, the ox rib temptation, the first conversation about loneliness, it's all from Aziraphale's POV. until after he "comes to" in the bookshop in present day.

When we revisit the minisode, and for the remainder of it we are seeing it from Crowley's POV which was an interesting thing to realize. We see Crowley and Aziraphale witness Job speaking with God, saving Jobs children, deceiving the Archangels, and having their emotionally revealing conversation overlooking the beautiful sea all from Crowley's POV. His hair remains short and more vibrant red throughout all of it, we don't see the return of his long long gingery waves. The lighting when the angels are present for the children's "resurrection" is very warm but I'm going to chalk that up to the Heavenly Hosts presence.

It makes sense that this reaction is Crowley's POV. Silly silly angel, did a good deed and thinks he's a demon?! But then he realizes how upset Aziraphale is, how scared and he comforts him. He tells him he isn't going to do anything that would hurt him, that would get him in trouble. Then, something about the fact that what follows is also from Crowley's memories, his perspective...

"That sounds..."

"Lonely? Yeah."

"But you said it wasn't."

"I'm a demon. I lied."

NEXT POV The Dirty Donkey & I think I Found a *Clue*!

[joeys-babe]

Joey B Blurbs: Baby, It’s Cold Outside

————————————————————————-

Summary: Joe is yet again on the receiving end of your mischief. This time you prank him by randomly leaving without saying a word.

Warnings: None, fluff, unserious/funny, pranks!

Pairing: Joe Burrow x reader

Imagine universe: Into The Mystic

————————————————————————-

*20 weeks pregnant*

The house was warm but quiet.

Tyson and Miles were asleep upstairs since it was late, and the only sounds were of the crackling fireplace.

Joe was lying down, taking up the entire couch and reading a book, while I sat a couple of feet away on the loveseat.

I was on my notes app brainstorming ideas for stocking stuffers for the boys since Christmas was right around the corner.

Once my list was done, I found myself getting increasingly bored sitting there doing nothing.

The presents for Joe, Tyson, and Miles were already wrapped and Christmas dinner was already planned. There was nothing left for me to do.

I knew better than to disturb Joe while he was reading. After a quick analysis of his body language, his eyebrows furrowing in concentration told me that he was very deep into whatever odd topic he was reading about.

Giggling to myself at his face, I pulled Tiktok up, and almost like muscle memory went to my ‘Joe Pranks’ collection.

There was one video that I had saved that stood out to me because I wouldn't have to interact with Joe to do it. Perfect.

I quickly stood up and walked over to the TV stand, acting like I was moving around decorations, but I was actually setting my phone up to record.

After it was set and recording, I walked to the front door and slipped a pair of shoes on before grabbing my keys out of the dish.

I unlocked the deadbolt and opened the door, by now I had Joe’s attention.

“Where are you going?” - Joe

Ignoring him, I walked out of the door and dramatically slammed it behind me.

Now, I had no idea what he was doing, but I just stood in the driveway. Hopefully, he would come out here.

Not even a minute later, the door opened and Joe stuck his head out. He hadn't seen me yet, and his eyes looked panicked.

“y/n?” - Joe whisper yelled

“Hi.” - you

Joe’s gaze snapped over into the direction my voice came from, and he immediately looked equal parts annoyed and confused.

“What the hell are you doing?” - Joe

I shrugged and he stepped out onto the porch.

“Get in the house. It's like freezing.” - Joe

Now I couldn't contain my laughter as he continuously got more flustered.

“Baby, it's cold outside. Come back in the house.” - Joe

“You just said a song title.” - you laughed

“Yup. C’mon, Mama.” - Joe

I didn't move or even budge so Joe heaved a sigh and walked off of the porch.

A loud squeal escaped my lips when he strode up to me and gently picked me up bridal style. He did so extra carefully due to the baby.

“Joey!” - you giggled

“You weren't gonna move so Imma move you myself.” - Joe

He hurriedly got me into the house and sat me down on the couch before walking back to the front door and shutting it.

Joe made his way back to the couch and found his spot sitting behind me. My back to his chest, his arms around my waist, and his hands on my bump.

“Babe, your cheeks are red.” - Joe

“I'm fine. I was outside for like two minutes, and it was just a little prank” - you laughed

“Shit, the last time you walked out without saying was when we were in high school. Remember you were at my house and I was playing video games? You got mad because I wasn't talking to you and you just left. I remember being scared you were going to break up with me.” - Joe

“Well, I didn't.” - you

“Obvs.” - Joe chuckled

“Do you ever wonder what our high school selves would say if they saw who we were today?” - you

“Oh, all the time. High school Joe would pass out if I told him all of the accomplishments he's made… with his favorite girl by his side.” - Joe

“I love you, Joe.” - you grinned

“I love you too, sweetheart. Now where's your phone hidden? I wanna watch this prank footage.” - Joe

The rest of the night was spent watching the various recordings I have of pranking Joe. He found most of them amusing, but after we finished watching all of them, Joe said something that made me slightly nervous.

“One day, Imma get you back. When you least expect it.” - Joe smirked

“Oh no.” - you

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Authors note: these Joe pranks are my fav thing ever to write 💀🫶

Request for this fic;

Hope you enjoyed! 💕

[pieground]

Obey Me! NIGHTBRINGER Opening Video Analysis <informal>

Lucifer and his Brothers

Lucifer had his hands against the window, looking at the sky with his face painted with what I can only guess as nostalgia. It may seem as if he's longing for something but it is more of what happened after the Great Celestial War; that he and his brothers can no longer reach for their father, that the realm was no longer home, and that they lost Lilith along with their other brothers.

The scene tells us what it was like after their fall. Cast away from the place they once called their home, and now, it is a place they can only look upon from a distance. Locked out of Heaven (literally).

The Angels

Luke holds onto Simeon who acts as his guardian, both looking up to the sky through the window.

Now, I think this relates more to the brother's fall from the Celestial Realm and how it was never been the same ever since. They found fault in a place where it was supposed to be "perfect". It has affected everybody and it left a scar that cannot be hidden. I believe there are anger and frustrations in the angels, but that came from love— for Lucifer and his brothers. I believe there are parts in the Obey Me dating game that divulges angels, specifically Michael and Simeon, still feeling mournful about what happened. Luke has said he felt anger towards the brothers because he thinks they do not care about Michael after falling, but he acknowledged that he loves them still. Him holding onto Simeon is just as we all know, him seeking guidance, like asking if what he was feeling was alright, to the seraph who serves as his guardian.

I think Raphael walking here like it's just like the other days tells about him just continuing what he does even after the loss. He's got responsibilities that probably doubled after Lucifer was banished.

Solomon

Here we have Solomon standing in the middle of the rain, palms catching raindrops that only slipped through his fingers.

Now, Lucifer and his brothers (demons) are inside the House of Lamentation, and Simeon, Luke, and Raphael (angels) are in a place that I think was RAD(?). They are sheltered. Limited to where they stand but are sheltered.

Then there is Solomon, a human, who stands with no restrictions around him but has nothing to hold onto. Water just slips right through his hands, it seems to be related to his immortality. He's doomed to lose many things and along with those are people he loved; the curse of eternal life is loneliness.

This scene possibly shows us where humans stand, between heaven and hell.

A dove inside the cage

I thought it was a crow at first but it is actually a dove.

A dove is a symbol of spirituality, hope, and renewal. The scene showed us that the cage was opened and the dove—let us say the divinity, flew away. It tells that Lucifer and his brothers are no longer divine beings and are now not only tainted by their sins but became the very embodiment of them

The scene that followed strengthens the story for we can see Lucifer as a seraph, his hands out to catch the feather (supposedly from the dove), in what seems like an attempt to save the grace that is falling but it was too late for it's already broken. This shows how fragile divinity is especially for an angel.

Barbatos and his ability.

Barbatos most likely knew what was about to happen before the Great Celestial War, he and Diavolo anticipated the fall. If you think about it, it's beneficial for them to have the brothers working along with them as during that time, Devildom was rebuilding itself under Diavolo’s rule. Being an idealist, Diavolo wants to make the three realms acknowledge coexistence in peace. It's been said many times that to achieve his goals, he's willing to sacrifice anything.

PT.2 Here