#they can't interact with the story with the same depth

[genericpuff]

Hi! So this is coming from a place of genuine concern, LR Persephone isn't going to have DID right? I know you probably can't reveal much but DID is already a very stigmatized disorder so I'm always worried when I see the Signs, I hope you understand lol

I understand fully your concerns, and I hope I can reassure you in my own intentions regarding Kore / Persephone that the goal is not to demonize or stigmatize DID in any way. I actually do regularly interact with a family member who's currently seeking an official diagnosis for it, and have my own firsthand experiences with my own mental health and symptoms of childhood trauma that are intersectional with that of DID. Of course, that doesn't mean that I'm immune to stigmatizing, but rest assured that I am aware of the stigmas surrounding DID and the misconceptions that a lot of people have about it, no thanks to how it's been portrayed in mainstream media.

If I can add some additional and necessary context as to why I chose to write Kore like this, much of how I'm writing her is based on how she was initially presented to us in S1 of LO, particularly through the personification of her wrath:

I really liked this concept and was subsequently disappointed when it seemed to get left behind (though considering how LO turned out, maybe that was for the better lmao) I've always enjoyed these "inner conflict" character dynamics, but I also understand from years of writing characters like this that much of these types of tropes are often intersectional with common misconceptions and stigmas surrounding personality disorders and mental illness.

Within the context of Rekindled, Kore does not specifically have DID but her experiences are clearly intersectional with it. Ultimately my goal is to empathize, not demonize. As much as "Persephone" may be currently presenting herself as a sort of snarky "alter ego" of Kore, she is not evil, no more "evil" than Kore herself, because they're ultimately of the same mind and body, flaws and all. Persephone is often speaking truths that Kore is simply not willing to admit or able to face, the worst of which we've yet to uncover, but will be necessary to overcome. There will certainly be times when Kore's actions - spurred on by the voice of Persephone in her ear - may be ugly or wrong, but I hope in the end that I'll achieve my goal in expressing that everyone - even immortal gods - can always have another chance to heal, to forgive themselves for their past, and to do right by themselves for the sake of a brighter future. This will apply to other gods in the story as well, many of whom also share Kore's struggles and experiences.

And, assuming I do my part and deliver on my promises, there will be closure for Kore/Persephone, the readers who relate to their struggles and experiences, and many of the other characters who were hung out to dry in the original comic. That's definitely one of my biggest goals with this retelling, at least! (•̀ᴗ•́)و It's definitely one of my riskier moves as the nature of the subject is very sensitive, but I'm giving it my all in the hopes that it pays off in a more nuanced and in-depth character arc for Kore/Persephone than what we got in LO that can hopefully be embraced as a message of acceptance and self-love. And y'all can hold me to that (๑•̀ㅂ•́)و✧

[veilblight]

they said not to play as the dark urge for your first campaign because literally how am i supposed to do a custom origin run after this

[torgawl]

unpopular opinion but a ship being queer coded doesn't make it compelling

[numinous-scribe]

Siblings by trial and choice

So @noir-renard posted a prompt in Haunting Heroes a little while ago that's had me in a perpetual choke hold ever since.

When the Portal ZAPS Danny, he doesn't just get turned into a half ghost; he gets catapulted halfway across the galaxy. So now he's stuck on an alien ship, trying to deal with new powers, and desperately searching for a way home.

And my immediate thought was "How can I make this about Starfire?", from which everything spiraled.

[Click the pictures for better quality!]

Having assumed that the portal wasn't even supposed to be functional, Danny had absolutely no basis for anything that was happening to him. Not his new look or powers, not for wherever he was, and certainly not for the predicament of where he landed-- A ship he would later come to know as belonging to the slavers known as the Gordanians.

For all Danny knew, he certainly wasn't human anymore, and he might not have even been in the same dimension either; while Earth had been seeing more and more interactions with aliens, he'd never seen any quiet like these, and his parents had said that the portal was designed to view a whole other world.

And that was terrifying! He was Danny Fenton, just fourteen, and so far out of his depth it wasn't even funny. If it weren't for Koriand'r then Danny didn't know how he would have kept it all together.

As it were, Kor'i had already been enslaved for four years by this point. She knew what it was like to suddenly be cut off from everything she'd ever known, and the torment that was awaiting this strange boy that had appeared in a flash of green light. So even though she had nothing to give, Kor'i stuck by Danny's side.

Together, for the next two years, they fed each other hope.

Naturally, returning to Earth was a big ordeal for Danny, and by proxy for Kor'i as well. Over the two years they spent enduring harsh labor and torture from both their Gordanian captors and the Psions, Danny had confided in all sorts of stories about his home world and vice versa Kor'i about Tamaran. After confirming that he hadn't been transported to another reality, and that this was his Earth, Danny had been so excited to return home and to introduce Kor'i to his friends and family.

But while Earth was still the same, home... was not.

His parents were in jail; not only for their unethical and code violating lab, but because they were so neglectful to the point that minors were able to get into the lab unsupervised and one of them— Danny —was able to access their faulty machine and, presumably, died.

Jazz got picked up by the state, but quickly managed to get herself emancipated and now lived in some other state attending college.

The Manson's moved. Sam was a wreck and not coping well at all; her parents were considering having her committed to an institution for a bit to help her last anyone had heard.

The Foley's couldn't afford to move, so Tucker had to carry on with life as well as he could. He's quiet now, not as verbose and shameless as before, more of a hermit than anything.

And since he's been presumed dead, and can't figure out how to disprove that, honestly, Danny doesn't know how to pick back up where he left off. He can't. Because everything, including him, has changed as well.

But, like she's always done since the moment they met, Kor'i was there for him. And now they have a new family in the Teen Titans as well.

Bonus:

Close ups of Phantom and Starfire. Danny's suit design is a mixture of some of his original concept art and @the-stove-is-on-fire's designs :)

[cabinette]

hey guys. dungeon meshi is an anime about food. it's also an anime about living. Eating and living, at the same time. But get this, it's also about love. And that love comes in all sorts of shapes, It's about platonic love. it's about passive love. obsessive love. unrequited love. rekindled love. rediscovered love. new love. love that's been there from the very beginning. please please PLEASE i beg for a world where people can understand that there's more than just a single goal. there are motivations there are contradictions there are complications there is depth and there is intrigue.

there is no "Point" to dungeon meshi, the whole ending is centered around abandoning a selfish drive for a single reward- people are more complicated than that and so is the story they live in. It has a message hidden in every single interaction and it is so full of nuance and beautiful beautiful character building

please stop sanding down characters into pretty shapes because their complexities are more nuanced than you thought. please stop getting on other peoples asses about ships or headcanons. please don't reduce dungeon meshi down to one dimensional goals and singular story focuses.

because this story is about a neurodivergent mc. a fun little party eating food. about two girls who just want to see eachother again. an obsession that became so out of hand it changed the world. it's about these and so, so much more i can't even mention in this one post. Dungeon meshi above all is a media about food and the people you eat it with, no matter how strange and twisted your circumstances are. No matter how gross some things may seem, accepting the taste on your tongue is constantly the best part of every meal. So keep an open mind <3

[freckliedan]

omgomg What hornyposting have they done - same anon :3c

check out my fuck energy tag for receipts on varying levels of overtly horny moments to things that ping for me but possibly not universally. but also, an in depth but not exhaustive list:

they have a bondage bar on their bed which dan has flippantly replied to a tweet about

sister daniel video

the april fools nude

dan probably agrees that phil is naturally ginger despite his hair color being an auburny brown at best due to pube color. sorry that i said it out loud rather than keeping it implied.

interactive introverts shock buzzers shown im witl were bought from an online sex store, dan told us on twitter

halloween pumpkin carving video has "so horny they're stupid" energy, dan's in a mesh shirt

this ii era liveshow in australia; the next video on the gaming channel was of the dumber ways to die mobile app.

ii era "getting that d vitamin" shirtless dan selfie ft clothes in the bushes behind him. photo taken on a brief break from touring when dnp + martyn and cornelia were spending a few days on vacation. "lapping up the d vitamin" comments about phil as well in a liveshow afterwards

phil's ii era side to side by ariana grande insta story

phil's mysterious white stain on his costume shirt insta story from the lead up to ii

"please be gentle with the handcuffs, i have sensitive skin" from witl/ii—sensitive skin is usually about like.. being sensitive to scented soaps and stuff. this is not an intuitive connection to make. it leads me to believe that's knowledge they have from experience

when the ii dvd was released, the bbc rated it whatever it rated it (can't remember) because of a couple engaging in erotic roleplay (amongst other reasons) which dan acknowledged on twitter and did not disagree with at all

dan's horny attitude about dentist visits

handcuffs and videogames sims moment

dan's kinky tumblr reblogs from the era when it was normal to rb softcore porn on here, including a fair amount of horny qbout blood posts

in that light: dan wrote and published the urge

phil bringing up mpreg as often as he does pings as horny for me; the hand falls into this category in a deeply bizzare manner imo

phil recognizing a delivery guy from gay emo porn

dan hogtied in christmas garland on their breakfast bar in manchester

dan's 2009 nakedbooths—nudes posted largely to flirt with phil. particularly the nakedbooth dan posted of himself in phil's bedroom where phil's holding lion in frame to censor dan's dick

phil's "milk" dailybooth

dan's "i WANT you to tie me up" dailybooth comment on phil holding up a belt

dan on formspring answering whether he swallows or spits

dan replying to someone in the comments of a phil vid pointing out hickies he had after dan visited him in 2009

uma thurman tweet

formspring answers about cherry & piña colada lube + cherry reference in the vday vid + sleuths online spotting specific lube in one of their suitcases at one point

phil used to post constant thirst traps before dan came into the picture have you SEEN ry @dnphobe's emo boy edit?? have you seen phil's check yes juliet and toxic vids????

thank you for coming to my ted talk, i know i'm missing loads.

[songbirdseung]

fatal trouble / nishimura riki

synopsis: after a year-long separation, Y/N is finally reunited with their first love, Ni-ki, at a mutual friend's wedding. everything seems the same on the surface – the setting, the people, the familiar laughter – but Ni-ki’s smile no longer holds the warmth Y/N once knew. his profound eyes, once windows to his soul, now seem guarded and distant.

pairing: ni-ki x reader, past lovers

warnings: emotional distress, separation, break ups, change, lmk if i missed anything

wc: 3.4k

Can't believe, you in front of me Everything is the same

You stand in the middle of the wedding aisle, your hands full of delicate flowers, carefully arranging them along the sides of the path. The scent of roses and lilies fills the air, mingling with the soft melodies of classical music playing in the background. You adjust the ribbon on one of the pews, making sure it is perfectly aligned.

"Need any help with that?"

The familiar voice catches you off guard. You turn, your breath hitching as you see Ni-ki standing there, holding a bundle of decorations. His eyes, deep and expressive, meet yours, and for a moment, the world seems to stand still. It has been a year since you last saw each other, but the familiarity between you is undeniable.

"Ni-ki," you breathe, a smile tugging at the corners of your lips. "I didn't know you were going to be here."

"Yeah, I didn't know either. Guess we both got assigned to decoration duty," he replies, his gaze never leaving yours. He takes a step closer, his presence both comforting and overwhelming.

You stand there, in the middle of the aisle, taking in every little detail about each other. Ni-ki's hair is a bit longer than you remember, and there is a new confidence in his stance. Yet, his smile, the way his eyes crinkle at the edges, is just as you recall.

"It's been so long," you say softly, your voice tinged with a mix of nostalgia and surprise.

"Too long," Ni-ki agrees, a hint of sadness in his tone. "I can't believe we're meeting again, right here, in front of each other."

You both look around, taking in the decorations, the flowers, the beautiful chaos of wedding preparations. Everything seems the same as it always is at such events, yet there is an unfamiliarity in the air. The distance of a year has brought subtle changes, ones that are now beginning to surface as you stand face to face.

"Everything looks the same," you remark, your eyes scanning the familiar setup.

But you have a different smile Those pro-found eyes

"But you have a different smile," Ni-ki observes, his voice gentle. "It's like… you've changed."

You look into his eyes, searching for the Ni-ki you used to know. There is a depth there, a story untold.

I look beyond them to find you It's unfamiliar, who are you? Where is the one that I love

"And you," you say, your voice barely above a whisper. "You seem different too. Where's the guy I used to know?"

Ni-ki chuckles softly, a bittersweet sound. "I guess time does that to people. But it's good to see you, really good."

You nod, feeling a mix of emotions you can't quite name. "Yeah, it's good to see you too, Ni-ki."

As you both resume your work, placing flowers and adjusting ribbons, the space between you is filled with unspoken words and lingering glances. The past year has changed you both, but in that moment, standing together in the wedding aisle, it feels like a piece of the past has found its way back into your lives.

Downfall in chaos I'm confused, baby Do I even know you?

As the wedding preparations continue, you find yourself watching Ni-ki from afar. The way he interacts with others, the confident way he carries himself—everything about him seems different, more mature, more refined. You can't help but wonder if this change is real or just a facade he's putting on for the occasion.

During the ceremony, your eyes keep drifting back to him. You notice how he smiles easily, how he engages in conversations with genuine interest. There's a new depth to his laughter, a subtle strength in his demeanor. It's almost as if the boy you once knew has grown into someone entirely new.

But beneath that polished exterior, you can't shake the feeling that there's something he's hiding. Was he putting up a persona for the sake of appearances, or had time truly transformed him? You recall the countless promises you both made to each other, one in particular standing out—the promise that no matter where life took you, you would always remain friends, always be there for each other.

As the evening progresses, you find yourself drifting through the reception, your thoughts consumed by these questions. You watch Ni-ki as he moves through the crowd, laughing and talking with ease. Each time your eyes meet, he gives you a warm smile, but you can't help but notice a flicker of something else in his eyes—something unreadable.

What has changed? Please answer me Am I wrong?

During a quiet moment, you step outside to get some fresh air. The cool night breeze feels refreshing against your skin, and you take a deep breath, trying to clear your mind. The distant sound of music and laughter from the reception hall drifts to your ears, a stark contrast to the turmoil of your thoughts.

"Hey."

You turn to see Ni-ki standing there, his hands in his pockets, his expression softer than before. He walks over to you, his presence once again comforting and overwhelming.

"Needed a break?" he asks, leaning against the railing beside you.

"Yeah," you admit, glancing at him. "Just needed a moment to clear my head."

He nods, looking out into the distance. "I get that. Weddings can be a lot."

There's a moment of silence, and then you decide to voice the question that's been gnawing at you all day. "Ni-ki, have you… changed?"

He looks at you, his eyes reflecting a myriad of emotions. "In what way?"

"I mean," you begin, choosing your words carefully, "you seem different. More grown-up, more… distant. I can't tell if it's just me or if you've really changed."

Ni-ki sighs, his gaze dropping to the ground. "A lot has happened over the past year. I've had to grow up in ways I didn't expect. But I'm still me, Y/N. I'm still the same person who made those promises to you."

"Have you forgotten them?" you ask, your voice barely above a whisper.

He shakes his head, a small smile playing on his lips. "No, I haven't forgotten. But sometimes, life gets in the way, and we end up becoming versions of ourselves that we never anticipated."

You look at him, searching his face for any signs of the boy you once knew. And then, in a quiet voice, you say, "I missed you, Ni-ki."

He reaches out, taking your hand in his. "I missed you too, Y/N. More than you know."

As you stand there, holding hands under the night sky, you realize that no matter how much time has passed or how much you've both changed, the connection you share is still there. And maybe, just maybe, that's enough to bridge the gap between the past and the present.

Fatal trouble It's getting blurry Your memory It's falling apart

You wake up with a start, the vivid memory of the wedding and your conversation with Ni-ki lingering in your mind. As your eyes adjust to the morning light filtering through your curtains, you take in the familiar surroundings of your room. Your heart still pounds from the intensity of the dream, and for a moment, you struggle to separate reality from fantasy.

Sitting up, you glance around, seeking confirmation. The dress you wore to the wedding is draped over the back of a chair, and the bouquet of flowers you caught sits in a vase on your nightstand, the petals slightly wilted from the night's festivities. It's all real—you did attend the wedding.

But the moment you shared with Ni-ki outside the venue, the heartfelt conversation under the night sky—that was all in your head. The realization leaves you feeling a mix of disappointment and relief. You hadn't had the chance to ask him those burning questions or to see if he really had changed in the way your dream suggested.

You let out a sigh, running a hand through your hair as you try to shake off the remnants of the dream. It had felt so real, the emotions so raw and tangible. You wonder if your subconscious is trying to tell you something, urging you to reach out to Ni-ki, to bridge the gap that time has created.

Deciding to get out of bed, you head to the kitchen for a glass of water. The cool liquid soothes your parched throat and helps ground you in the present. As you stand there, you can't help but replay the dream in your mind, the conversation echoing in your thoughts.

"Good morning."

You turn to see your roommate, still in her pajamas, giving you a curious look. "You were tossing and turning all night. Everything okay?"

"Yeah," you reply, forcing a smile. "Just had a weird dream, that's all."

"About the wedding?" she asks, pouring herself a cup of coffee.

You nod. "Yeah, something like that."

As you both settle into your morning routine, you decide to check your phone. There are a few messages from friends and family, but one notification stands out—a message from Ni-ki. Your heart skips a beat as you open it.

"Hey Y/N, it was really nice seeing you at the wedding yesterday. Sorry we didn't get a chance to talk much. Maybe we can catch up soon?"

A small smile forms on your lips. Maybe your dream was more than just a figment of your imagination. Maybe it was a sign that it’s time to reconnect and find out for yourself how much has really changed.

You quickly type out a reply, your fingers trembling slightly. "Hey Ni-ki, it was great seeing you too. I'd love to catch up. Let me know when you're free."

As you hit send, a sense of anticipation fills you. The dream might have been just that—a dream—but the chance to rekindle an old friendship is very much real. And this time, you're determined to make the most of it.

Fatal trouble My heart Long-held trust Thеy're coming undone

Later that afternoon, you find yourself sitting at your desk, staring out the window. The events of the previous night and the vivid dream still weigh heavily on your mind. You decide to take a trip down memory lane, hoping to reconnect with the past and recall the moments you shared with Ni-ki.

You open an old photo album, the edges worn from years of use. Flipping through the pages, you see pictures of school events, birthday parties, and casual hangouts. There you are, standing next to Ni-ki, both of you grinning widely at the camera. The images bring a rush of nostalgia, but when you try to focus on specific memories, they start to blur.

You close your eyes, attempting to visualize the past more clearly. You remember the sound of Ni-ki's laughter, the way his eyes sparkled with mischief, and the countless inside jokes you shared. But the harder you try to grasp onto a particular moment, the more it slips away, like sand through your fingers.

You remember a sunny afternoon at the park, the two of you lying on the grass and talking about your dreams for the future. You can see the vibrant green of the trees and feel the warmth of the sun on your skin, but Ni-ki’s face is hazy, his voice indistinct. It’s as if the details are just out of reach, hidden behind a veil of time.

Another memory surfaces—walking home from school together, the sky painted in hues of orange and pink. You recall the sense of companionship and the comforting silence between you, but the conversation you had remains elusive, the words lost to the years that have passed.

Frustrated, you close the album and rest your head in your hands. Why is it so hard to remember? You wonder if it’s the passage of time or the emotional distance that has created this fog over your memories. The essence of your friendship with Ni-ki is still there, but the specifics are slipping away, leaving you with a sense of loss.

Determined not to let these memories fade completely, you decide to write down what you can remember, no matter how fragmented. You grab a notebook and start jotting down snippets—Ni-ki’s smile when he beat you at video games, the way he always knew how to cheer you up, the afternoons spent at the local café talking about everything and nothing.

As you write, you realize that while the memories might be blurry, the feelings associated with them remain strong. The sense of belonging, the joy of shared experiences, and the bond you once had with Ni-ki are still clear in your heart. And maybe, just maybe, reconnecting with him now will help bring those memories back into focus, allowing you to create new ones together.

I barely managed to guard you I don't want to lose you But anxiety looms over me

Ni-ki sits on the edge of his bed, staring at the open closet in front of him. Clothes are strewn about as he tries to decide what to wear for his upcoming meeting with you. It's been a year since he last saw you, and the thought of seeing you again fills him with a mix of excitement and dread. He finally picks out a simple outfit, hoping it will make a good impression without seeming too overthought.

As he buttons his shirt, his mind drifts back to the past. He thinks about the times he could have been there for you but wasn’t. The missed calls, the unanswered messages, the moments when you needed a friend and he was too caught up in his own world to notice. Guilt gnaws at him, a constant reminder of how he failed you.

He looks at himself in the mirror, his reflection showing a man who has changed, yet is still haunted by his past mistakes. "I can't let this chance slip away," he mutters to himself, his voice echoing in the quiet room. The thought of losing you again, of repeating the same mistakes, terrifies him. But the fear of history repeating itself is just as strong, if not stronger.

Ni-ki takes a deep breath, trying to calm his racing thoughts. He knows that over the past year, he's grown and matured. He's learned to be more present, to prioritize the people who matter. But doubt still lingers. What if you can’t see the changes he’s made? What if the memories of his past failures overshadow any progress he's achieved?

It's certainly blurred I don't know what to do

He sits back down on his bed, his mind swirling with a torrent of emotions. He remembers your laughter, the way your eyes lit up when you were happy, and the countless moments you shared. Those memories are a double-edged sword—they remind him of the bond you once had, but they also highlight the times he let you down.

“I won’t mess this up again,” he whispers, a note of determination in his voice. He knows he has to prove to you—and to himself—that he's different now. He wants to show you that he can be the friend you need, the friend you deserve.

As he laces up his shoes, Ni-ki's phone buzzes with a message from you, letting him know you're on your way to the café. His heart skips a beat. This is it, the moment he's been both anticipating and dreading. He can't afford to let fear dictate his actions. He has to seize this opportunity to make things right.

With one last look in the mirror, Ni-ki straightens his shirt and grabs his jacket. "You can do this," he tells himself, steeling his resolve. "Don't let the past control your future."

He heads out the door, each step filled with a mix of hope and anxiety. He knows this meeting is his chance to start fresh, to show you the Ni-ki he has become. And as he walks towards the café, he silently vows not to let history repeat itself. He won’t fail you again. Not this time.

Surely, there's only one you So now, I'll leave everything behind I'll follow my heartbeat

As Ni-ki steps into the café, his eyes search for you among the crowd. And there you are, sitting at a table near the window, a warm smile lighting up your face as you spot him. Relief floods through him at the sight of you, dispelling some of the nervous tension that had been building inside him.

He approaches your table, a tentative smile playing on his lips. "Hey," he says softly, his voice tinged with both excitement and apprehension.

"Hey," you reply, your smile widening as he takes a seat across from you. "It's been too long."

Ni-ki nods, feeling a lump form in his throat. "Yeah, it has," he agrees, his gaze briefly dropping to the table. "I'm sorry for… for everything."

You reach across the table, placing a reassuring hand on his. "It's okay," you say gently. "We both made mistakes. What matters is that we're here now, ready to move forward."

His heart swells with gratitude at your forgiveness, and he squeezes your hand in return. "Thank you," he murmurs, meeting your gaze with sincerity. "I've missed you."

The two of you fall into easy conversation, catching up on everything that's happened since you last saw each other. Ni-ki listens intently as you share stories about your life, your successes, and your struggles. He marvels at the strength and resilience you possess, amazed by the person you've become.

As the afternoon wears on, Ni-ki finds himself opening up to you in a way he hasn't in a long time. He tells you about the changes he's made in his life, the lessons he's learned, and the person he aspires to be. And with each word, he feels a weight lifting off his shoulders, a sense of liberation washing over him.

As the conversation comes to a close, Ni-ki realizes just how much he's missed having you in his life. He's grateful for this chance to reconnect, to rebuild the bond that once held you together. And as he looks into your eyes, he knows with certainty that he never wants to lose you again.

"Thank you for today," he says, a genuine smile gracing his lips. "I needed this more than you know."

You return his smile, warmth radiating from your gaze. "Anytime," you reply, your voice filled with sincerity. "You're always welcome here."

Ni-ki feels a sense of peace settle over him as he stands to leave the café. He knows that the road ahead won't always be easy, but with you by his side, he's confident that he can face whatever challenges come his way.

As he walks away from the café, a single thought echoes in his mind, filling him with a sense of hope and possibility.

"Surely, there's only one you."

As Ni-ki walks away from the café, you watch him go, a mixture of emotions swirling inside you. Seeing him again after so long brought back a flood of memories, both good and bad. But as you sit there, reflecting on your conversation, you realize that despite everything that's happened, nothing has truly changed between you.

You remember the laughter, the late-night conversations, the moments of shared joy and sadness. Those memories are still as vivid as ever, a testament to the bond you share with Ni-ki. And as you think about the person he's become, you feel a sense of pride and admiration.

You know that Ni-ki has made mistakes in the past, just like you have. But today, sitting across from him, you saw a different side of him—a side that's grown and matured, a side that's ready to move forward. And as you watch him walk into the sunset, you can't help but feel hopeful for the future.

With a renewed sense of optimism, you stand up from the table and begin to make your way home. The weight of the past feels a little lighter now, replaced by a sense of possibility and potential. And as you walk, you know that no matter what challenges may come your way, you'll face them together.

Because deep down, you know that nothing has truly changed between you and Ni-ki. The bond you share is as strong as ever, and together, you can conquer anything that comes your way.

[kylieswift31]

Taylor Swift and the Truman show

"Well, for me, there is no difference between a private life and a public life. My life... is my life, is the Truman show."

Tied together with a smile

Taylor is currently at the peak of her career as she's now breaking her own records and reaching a level of fame only seen by the greatest such as the Beatles and Michael Jackson. Yet underneath all that success is a layer of conflict due to the discrepancies between her private and public life. With closer inspection it is clear to see that Taylor has left a trail of breadcrumbs that reveal that she has been queer since the beginning of her career. The ‘love struck and boy crazy’ version we first saw of Taylor was supposed to be a temporary step in her career during the fearless era, but through a series of unfortunate events she has spent the entirety of her career in the closet.

Now with the ending of the rerecords and eras tour in sight, Taylor has begun to reveal the cracks in the facade of her public persona so that we can see who she really is underneath. Her performance of 'delicate' on the eras tour is a visual representation of this process. Throughout the song we slowly see cracks forming in the glass, one at a time until at last there are so many cracks the entire stage shatters into a million tiny little pieces.

But what causes the cracks?

Taylor.

And it’s all inspired by the Truman show…

Daily life

In the mirror

The first time you watch the Truman show, the focus is on Truman and his journey. He lives a normal life in Seahaven with his wife Meryl, has a successful career in finance and spends his free time with his best friend Marlon. There are small cracks in the facade of his picture perfect life from the beginning, but halfway through we reach a turning point as it becomes clear that Truman is also the star of a 24 hour reality TV show that broadcasts his life to the public without his knowledge. Every move he makes is being observed by the outside. And then when you get to the end of the movie you start to realise that not everything you saw was as it seems.

Taylor has several well known Easter eggs that reference the Truman show, but with further investigation we can discover that she also relates to his story on a personal level. In the song 'mirrorball' Taylor explores the theme of wearing a mask that reflects back what the viewer wants or chooses to see. Just like an iceberg, if we stop at the surface level of what we see of Taylor’s personal life, we’ll miss the depth of what lies underneath. Many of her music videos echo Truman's story in a way that leaves her truth hiding in plain sight.

Good neighbours

Truman’s day starts with a moment of quiet reflection as he gazes at himself in the mirror before greeting his neighbours on his way to work. “Good morning! And incase I don’t see ya, good afternoon, good evening and good night!” His iconic catchphrase is repeated each day. Even though Truman’s the only person in Seahaven who isn’t a paid actor, he’s having the same scripted interactions day after day. His life is centred around acting the part, just like everyone else. The only difference is that he’s wearing a mask to hide how he really feels underneath. Truman's day is very reminiscent of the groundhog day trope to highlight how scripted and repetitive his life has become.

Taylor's life in the public is very similar to Truman's now that she can't go anywhere without being recognised. The once unfiltered teen that was vocal on myspace has become selective and restrained with what she shares online after years of having her life picked apart for all to see. The chasm between Taylor's public and private life has grown to the point where removing the pop star mask will impact her career.

Product placement

The Truman show is sustained through the revenue generated from the products advertised on the show. The first time we meet Truman's wife Meryl is when she's showing him the latest gadget she's picked up from the store on her way home from work. This feels subtle at first, but as more products are mentioned throughout the show it becomes more obvious and the advertising feels more akin to a late night shopping channel. We start to see that everything from the decor, wardrobe and food they eat is for sale. Every aspect of Truman's life has become commodified to generate revenue and to keep the show running.

All the little Easter eggs throughout Taylor's 'lover' music video seem like personalised advertisements now that we’ve seen that they advertise memorabilia on the Truman show in a similar way. However, within her career marketing is an integral facet of Taylor's career. "When you realise the rules of the game you're playing and how it will affect you, you got to look at the board and make your strategy. But at the same time, writing songs has never been a strategic element of my career. But I'm not scared to say that other things in my career, like how to market an album, are strictly strategic."

Hidden in plain sight

It's not obvious at first that Truman and Marlon have found a way to communicate with each other honestly whilst remaining undetected. Truman is often sharing his plans of going to Fiji to get away for a while. However, when he's really planning to leave Truman says "Just between you and me Marlon, I'm going away for a while." This allows the viewer to believe that it's just another wishful thought about going to Fiji, but said in a way that lets Marlon know that he is serious this time. Beer seems to be both another advertisement and a signal to indicate that he's been sent by the director. "It's all true. It's all real. Nothing here is fake. Nothing you see on the show is fake. It's merely controlled." Later on when we're shown that the director is feeding Marlon his lines, it's clear that he has always tried to be as honest as possible with Truman.

Taylor mentions wine frequently through her discography. Perhaps this is to show us that her truth has become so watered down within her lyrics that she lost sight of who she was before. Taylor has changed up pronouns and added hidden meaning to words and phrases mentioned frequently throughout her discography. Through this process she has become incredibly skilled at seamlessly adding connections to multiple muses within a song.

The first crack in the glass

Everything changed

From what we can see, Truman has known from the beginning that he's been the central character within his town to some degree. Truman appears to be fairly content with the life he had created for himself, despite the confinement he felt (he hasn't known any different). This all came to an end when Truman realises that his father is still alive. This changes everything as the first cracks in the facade of his seemingly perfect life become visible.

Intercepted

A very similar experience happens with Taylor in the 'delicate' music video. We can see that this interaction leaves Taylor more aware of those around her. "People often greatly underestimate me on how much I'll inconvenience myself to prove a point…" In her real life there are several events we could attribute to being her motive for change including the sale of her masters (ownership of her first six albums) to investors, a relationship changing or something that affected her reasons for remaining closeted.

Chance of rain

We see Truman sitting at the beach reflecting on how his father drowned when he was a child. As it starts raining he gets up to leave, only to reveal that there's just enough rain to encourage him to get up and go home. We slowly start to see how manufactured these scenarios are. Throughout Truman's week there are planned situations that are designed to test for any changes in his behaviour, like if he's still petrified of the water. These actions reveal just how much pressure they've placed on Truman to prevent him from leaving. It leaves us asking how much free will does he truly have with his choice to stay or go? At this point it feels like the choice has been made for him.

Taylor recreates this rain scene in the 'lavender haze' music video. We see her sitting at the end of the bed with a rain cloud over her head while her lover is asleep. We can infer that Taylor is showing us that she identifies with how isolated Truman was feeling in this moment. Taylor has given up a lot in her personal life for the success of her career, but how much of that was her choice to do so?

Reflecting on the past

Truman goes back home and opens up a trunk full of childhood memories. He's looking at photos of his family while trying to make sense of what he saw with his father still being alive, and the implications of that. This is the beginning of Truman questioning how far those in his life have gone to keep up this lie. If his father is still alive then what else have they lied about?

In the 'cardigan' music video we can see that Taylor is reflecting on her past in a similar way, but this time through playing her piano. Both 'the tortured poets department' album and summation reveal a similar theme of reflection, but with an honest exploration of the agony that comes along with it. "Nostalgia is a mind's trick." This album is a reflection of her career, highlighting the toll it's taken on her personal life along the way.

The one that got away

Love triangles

As Truman pulls out a red cardigan from a plastic bag, we get flashbacks of his high school years. His attention is torn between Sylvia and his current wife, Meryl. During a moment alone with Sylvia they sneak away together, but she appears anxious knowing they don't have much time alone. They share a chaste kiss before Lauren gets dragged away by a man claiming to be her father. She hastily reveals that everything Truman knows about his life is a lie, that it's all done for him and that everyone is watching him. Her father claims that she is just having an episode and reassures Truman by saying that he's taking her to Fiji to receive more help. Sylvia's interaction with Truman is the catalyst for her character being removed from the show. This reveals that even in high school Truman's love interest was planned out for him, despite his attraction to Sylvia.

Taylor wistfully talks about the fictional teenage love triangle during the 'folkmore' set. She describes how James is longing for the one that got away, which seems to contain an element of truth from her past. In 'imgonnagetyouback' she talks about how she won't stop fighting until they're back together again. I tend to lean more museless, with the queer side of Taylor being the one she's fighting for most of all (and with any other muses being secondary to that). If we consider the love triangle from that perspective we can see that the muse she lost was a cherished piece of her history, but the part of herself she lost along the way is the one worth risking everything for to be able to feel whole again.

It's all in the details

Through the development of Sylvia's character we start to see the significance of the colour red. To the viewers at home it is a symbol of heartbreak and loss, and that Truman's attachment to the cardigan is based on his feelings for her. But for Truman we can assume that it is more like a symbol of hope that he might finally be free one day. Other symbols we see her wear include a red seahorse pin (their school mascot) a green bauble bracelet and the 'how's it going to end?' badge. When he reads the badge in the library he quietly admits that he's been wondering that too. This is the earliest insight we witness of Truman not being fulfilled by the life that has been scripted for him.

Many of Taylor's Easter eggs are a reference to the Truman show. These include Sylvia's rose shirt, the eras tour poster, 'karma' door, the song 'how did it end?' and many of her music videos. In the 'lover' music video there's also the bauble earrings, her lover has a seahorse patch on his jacket and the board games are Taylor Swift themed. These all seem like amusing connections until you pick up on the deeper correlations to Truman's story.

Cardigan

After Sylvia left, all Truman is left with is her red cardigan. Sylvia begs Truman to come and find her, but as the flashback ends we find out that Truman didn't follow her to Fiji at the time because his mother got really sick. Instead he settled down and married Meryl, while living with the loss of what could've been with Sylvia. After Truman finishes reminiscing about the past, he slyly reveals that the badge is still pinned onto the cardigan. This reveals that his attachment is not so much to Sylvia now, but to the idea of leaving one day so that he can be free to live his life authentically.

Taylor's song 'cardigan' is one of her most significant references to Truman's story. In the 'cardigan' and 'willow' music video we can see that it is a symbol of the memories she carries from her past and a reminder of what she's left behind along the way. The stars on the cardigan hold a similar sense of hope, just like Truman's pin. "You drew stars around my scars, but now I'm bleedin' 'cause I knew you." This imagery evokes the pain of carving into skin to emphasise the heaviness that comes with sitting with the memory of what could have been.

The bar

After Truman's flashback scene we get a glimpse of commentary from a bar as they're watching the show. This juxtaposition reveals how watching the Truman show is an ordinary occurrence during their daily lives, just like many of us tune in to watch the eras tour on a grainy live stream. The 'delicate' music video ends with Taylor walking into a very similar bar to meet up with a secret admirer, but it remains unclear which one is sitting there waiting for her.

Cracks in the facade

The one worth fighting for

Once the nostalgic moment is over we see Truman holding a photo frame of his wife Meryl. It seems like a loving gesture at first, until he turns it around and opens it up to reveal that he's been collecting a collage of facial features in an attempt to recreate a portrait of Sylvia from memory. This contrast between the memory and Truman's reality exposes how much he has sacrificed along the way by staying in Seahaven. Holding onto the cardigan, pin and picture of Sylvia is an act of defiance when everything else in his life has been decided for him.

Taylor left everything behind when she left her old label, including the ownership of her first six albums. She was not given the option of buying them back without having to commit to producing another album for each one she earned back. Unfortunately this is something many in the industry have had to endure. With hindsight we now know that Taylor was able to rerecord her past albums with added vault tracks, but at the cost of reliving her past. Taylor's back tattoo in the 'you need to calm down' music video conveys that the memory of her life's work was the only memento from her past that she was able to take with her.

Glitches

As Truman is driving to work again, his car radio starts glitching and he ends up on a channel that contains the directions everyone else is hearing in preparation for his arrival before work. From our point of view all of these mishaps are new, but there would have been flaws like this in the system a lot longer than that. But if Truman has known he was the star of the show from the beginning, what was the point of the movie? To reveal the truth to us, and the viewers at home, slowly over time. And to give us a chance to understand his point of view as we prepare for his departure.

We have seen plenty of glitches like this occurring in Taylor's performances on the eras tour, and many of these have been intentional (such as the screens glitching and swallowing bugs). This draws our attention to the cracks in her pop star facade, revealing glimpses of the person she is underneath. And just like Truman, she's giving us the opportunity to slowly adjust to the changes she plans to make in the lead up of what's to come.

Breaking down

Truman appears to be overwhelmed as he starts to reveal just how much of the town he lives in is choreographed around him. This is the start of Truman escalating his reactions to create more cracks in the facade, in the hopes that more viewers begin to see the challenges he faces living in the spotlight.

This purposeful increase in revealing more of the inner versions of themselves is exactly what Taylor is portraying during the 'delicate'' performance on the eras tour. Slowly allowing us to see them as normal people behind the larger than life character they had become in the spotlight. The way Taylor begins creating the cracks on purpose allows us to understand that what's to come is purposely being exposed.

Life's a stage

Truman attempts to enter an elevator, only to discover that it's fake. This is a big step towards seeing what's behind the magician's curtain the first time you watch the movie. When you watch it again this is the point where you start to discover how complex the set of Seahaven has become over time to keep the show running. Many elements of the town act as rest stops and exit points for the actors away from Truman's view.

Taylor pushes down the walls of the bedroom during the 'lavender haze' music video, revealing that the relationship had always been a facade to begin with. Interestingly, this is the only music video that we see begin after the clock ticks over to midnight. Just like Cinderella returns to her original state at midnight, so too does Taylor. This correlation to Cinderella's story implies that the lavender haze we see hidden beyond the walls of the bedroom is the most honest version of Taylor underneath everything else. Lavender is heavily used as a subtle reference by queer people, especially lesbians. Koi fish can be seen in all of the 'midnights' music videos except for 'karma'. They are well known for swimming against the stream, something many neurodivergent people experience feeling. Koi fish are often associated with the yin and yang symbol and together they symbolise balance, courage and perseverance, much like the song 'you're on your own kid'.

Turn up the heat

Invisible

As he seeks out his best friend Marlon for help, we learn that Truman feels concerned that he is being followed or set up for something. Marlon appears calm until Truman mentions that his father is still alive. It appears that this detail may not have been disclosed to the public. Truman demonstrates that everyone in the store is so preoccupied with fulfilling their roles that they will ignore him at all costs. This is a very unnatural reaction and wouldn't be a new discovery for Truman.

The bodyguards in the 'delicate' music video react in a similar way, just like the guards at Buckingham palace are trained to stay focused and ignore distractions. On an emotional level, this behaviour feels like no one is interested in you unless you're wearing the mask of who they expect you to be. "The actors were hitting their marks." Many neurodivergent people experience this disparity between who they are on the inside and the curated version they present for others to see. This act of reflecting back what the viewer wants to see is often done out of necessity to remain safe, but leaves the inner and truest version of oneself feeling invisible. "I want you to know I'm a mirrorball. I'll show you every version of yourself tonight." Unfortunately, you have to participate in their performance if you want to be seen, but the version you they see isn't who you truly are on the inside.

Just for you

After an evening together, Truman is left alone when Meryl offers to take his mother home. As the TV is playing in the background we hear how the presenter is incredibly specific when describing the next episode of 'show me the way to go home'. "Where we learn that you don't have to leave home to discover what the world's all about. And that no one is poor, who has friends." This is a form of subliminal messaging telling Truman that he's better off staying home, implying that there's no point trying to leave because they will prevent him every step of the way.

In the 'lavender have' music video Taylor is watching a similar weather station, but when she gets closer she pulls the screen apart to reveal that there's nothing but space and koi fish behind it. This likeness to Truman's story presents an intriguing insight into the obstacles and road blocks Taylor has faced as a queer woman throughout her career. The koi fish behind the screen also highlight Taylor's determination to challenge the status quo and how she has been working towards much needed change within the music industry.

I do not

Truman is flipping through a photo album full of photos of his family and life with Meryl. His mother stresses her desire for grandkids while she's still alive. Truman continues to look through the album after they leave. The final straw for their relationship comes when he reveals that Meryl had her fingers crossed when they got married, implying she was never fully committed from the beginning. Looking through the photo albums seems to be a weekly routine when his mother visits, so we can assume this wasn't the first time Truman's noticed this detail, the only difference is that he's pointing it out now because it's the next step in his plan to leave Seahaven.

Many of Taylor's music videos emphasise the facade she has played into of the life society expects her to maintain. This has become more evident than ever with her current relationship with Travis Kelce. They want her to fulfil the 1950's lifestyle as a happily married wife with two children, a house with a white picket fence, to stay home each day as a housewife and to serve her husband when he gets home from a long day at the office. 'The man' music video highlights the disparity between these expectations and the lifestyle men are usually celebrated for, so that we can understand that this isn't the life she wants for herself.

Undressed

After Truman attempts to confront his wife about the photo, he follows her to work in his pyjamas. She works at the hospital and claimed to be doing a leg amputation from the elevator incident, a story they made up to explain what he saw the day before. When he locates her within the hospital the actors are forced to begin the procedure to keep up appearances.

Taylor was wearing a corset with a pattern very similar to Truman's pyjamas underneath her blue dress recently while out with Travis Kelce and his friends. Everyone in the group was wearing matching pant and shirt sets, with Brittany Mahomes in actual pyjamas. This may have been a hint that Taylor's beginning to escalate the cracks in the facade of her pop star persona.

The failed escape

Predictable

Truman is sitting in his car when Meryl gets home from working at the hospital. When she gets in, he locks her in the car and attempts to leave town. "Blocked at every turn. Beautifully synchronised, don't you agree?" This is the point where he's revealing that he knows how predictable everyone around him has been, pointing out that the same three people keep going past on schedule.

Logically if Taylor knew what the roadblocks were before she left her old record label, she would have known how her opponents would retaliate after she left. "Blood's thick but nothing like a payroll." It seems likely that they were planning to sabotage her once she left, with her first album in particular. If they were predictable enough, Taylor could've had time to plan ahead to mitigate the damage done to her career. This could include holding back on releasing certain songs, which has now lead to the rumours of 'lover' vault tracks.

Just like clockwork

Truman begins to drive around the round about over and over again to highlight that he has figured out that the townspeople move around him like clockwork, but again this isn't new information to Truman. The director's attempts to prevent him from leaving are incredibly predictable and they always have been. Truman would have been able to pick up on this pattern when he was still in high school, if not earlier. "When you're young they assume you know nothing." The benefit of them being this predictable is that Truman could foresee their reactions and blindside them when they least expected it.

Taylor uses many clocks throughout her music videos as easter eggs and to draw our attention to time and dates that might be relevant in the future. One element of interest is the concept of routine and the predictability that comes with that. The arena in 'the hunger games catching fire' seems to be inspired by the Truman show as well. Katniss figured out that there are new threats in each segment that changed on the hour, ending with a lightning strike at noon and midnight. This kind of predictability allows one to plan in advance. Three years perhaps?

Planned to fail

After driving around in circles Truman claims that they're headed to Atlantic City, only to find out that the end of their street is blocked up with traffic. He concedes to going back home after all, just to announce suddenly that he has changed his mind. As Truman doubles back and attempts to leave for the second time, he discovers that the traffic jam had magically cleared up after they left. He was accurate in predicting that his plan to leave would be counteracted by some form of intervention. Truman's actions are forcing the director to reveal his hand, only to call his bluff and get further than the director expected him to. And despite her fear, Meryl is still putting on a performance for the camera here too.

It's a possibility that Taylor set up a similar scenario to unfold with the release of her 'lover' album. The contrast between the aesthetic and themes of the 'reputation' and 'lover' albums could have been done on purpose to blur the lines between the two in an attempt to mitigate the damage done from being sabotaged. Underneath the vindictive theme of 'reputation' was the romantic songs her opponents had been anticipating from the 'lover' album.

The bridge

Truman stalls at the bridge due to his fear of water but forces Meryl to drive across while his eyes are closed, willing to do whatever it takes to leave. "We're over the bridge!" he exclaims when they make it across. As Truman continues to escape, they are still faced with roadblock after roadblock. The escape plan eventually fails when the road is blocked because of a leak at the nuclear plant. They thank the officer for his help but when the officer says "you're welcome, Truman" he runs away from the car in a panic, but is quickly captured and returned home again.

Taylor draws attention to the bridges of her songs at the very beginning of the eras tour because they are the most authentic lyrics in all of her discography. She often begins a song with a very optimistic perspective, only to end with the most brutally honest observations of her experiences in hindsight. Taylor has told us that she tells lies. In 'love story' the lie is that she's singing about being in love with Romeo. When the perspective changes during the bridge, she's being honest when she describes being in love with Juliet and wanting to marry her. In 'lavender haze' we hear how stifling it's become to continue hiding her truth. "The only girl they see is a one night or a wife. I find it dizzying, they're bringin' up my history. But you aren't even listening." If we don't listen to what Taylor is saying during the bridges, we are avoiding her truth.

The turning point

What was once lost

When they return home Truman confronts Meryl, but she calls out for help and Marlon arrives with beer. Meryl leaps into his arms crying as he comforts her, but he's looking at Truman when he says "everything's going to be okay, it's all going to be fine." The next scene cuts to Truman and Marlon sitting at the end of an unfinished bridge together as Truman begins to tell Marlon what he's been through. "Maybe I'm losing my mind, but it feels like the whole world revolves around me somehow." Marlon replies by saying "The last thing that I would ever do is lie to you. I mean, think about it Truman. If everybody is in on it... I'd have to be in on it, too." The screen cuts to the director feeding him the lines but we can also see that Marlon has been as honest as he could be within his role on the show. To placate Truman and encourage him to stay, he is reunited with his father who he hasn’t seen for 22 years. Truman seems apprehensive about the reunion, but Marlon encourages him to go along with it.

In the 'willow' music video Taylor enters a glass display case and starts performing for the crowd of an old fashioned circus. As her lover approaches for the first time they reunite through the glass pane but it feels like the glass was intentional to keep them apart, despite their intentions to be together again. This imagery is echoed over and over again throughout Taylor's music videos and the eras tour. We can interpret this as a visual representation of being closeted in plain sight or as a form of protecting something that's delicate. Judging by the way they all end up shattered in the end, they seem to be foretelling what's still to come.

Test run

Truman was never really planning on leaving the first time because he had planned to fail. There are a few benefits of acting in this way. Firstly, we know that Truman had never crossed the bridge before and his attempt forced the director to play his hand by revealing what obstacles were ahead if this was his exit route. Enacting his bigger plan before seeing what was ahead would mean that he's more likely to fail if he crosses the bridge while under prepared for what is on the other side. Secondly, if everyone has assumed that he has failed, they won't see his bigger plan coming if they believe he's feeling defeated. They placated Truman by reuniting him with his father, but that backfired on them when he escaped when they least expected it.

Taylor mentions that "Every bait and switch was a work of art" in 'mastermind'. I wasn't sure if I was using this term correctly when search results were full of business examples and psychologists were linking it with the act of gaslighting, but the type of bait and switch I was intrigued by is akin to a chess move. This type of move is often referred to as the 'queen sacrifice'. By purposely leaving the queen unguarded, your opponent is lured into the trap, only to be met with a devastating counter attack. This, and the element of a trial run before the big reveal, is what lead me to consider that the 'lover' album may have been used as bait for the sale of her masters. If she alluded to coming out straight away to entice the sale that was going to happen anyway, that obstacle wouldn't get in the way of her bigger plan. (It is not my intention to imply that this theory is true, so this is just a hypothetical option in favour of the bigger picture.) If this was a prelude for a bigger plan, it still would have been extremely devastating when it did happen.

The show must go on

This is the turning point in the movie when we begin to see Truman's life from the directors point of view. "An entire human life recorded on an intricate network of hidden cameras, and broadcast live and unedited 24 hours a day, 7 days a week to an audience around the globe." We start to find out how they had to manufacture ways to keep Truman on the island. His father dying played a big part of that, but to the viewers it's just another plot twist in the show they've been watching for entertainment. They have 5,000 cameras around Seahaven now, but started off with just one before he was born and they've been watching Truman's life unfold ever since. "We accept the reality of the world with which we are presented." This is the director's response as to why Truman has never left Seahaven or found out about the show. This contradicts everything we've seen from Truman's point of view. Just because he could leave doesn't mean he could leave freely. How much harder does he have to try before the director will let him go? He goes on to explain that with Meryl's decision to leave the show, a new love interest will be introduced and he has hopes for the first on air conception to occur. It's evident that Truman leaving would derail the directors plans for the show going forward.

Taylor has described how writing a song is like sucking the snake venom out of a bite. Expressing herself creates distance between the heaviness of what she's experienced and I believe this is why she sees herself as the narrator (or director) of her discography at times. During the 'folkmore' set on the eras tour she describes herself as the narrator of the teenage love triangle. It's also common for Taylor to be more than one character at once. At the end of 'the man' music video we discover Taylor is the director, and then it's revealed that Taylor was also the male actor that had been wearing a disguise. This implies that Taylor is James in the love triangle and based on the evolution of her speech, we can infer that as the director she chose Betty in the end. This feels like a clue that we should consider that she has been showing us her version of events from different perspectives all along.

The doll house

Everything on the show is for sale, including their wardrobe, food products and dollhouse style versions of the homes they live in. These elements are jarring after seeing the level of animosity Truman was experiencing with each road block he faced. It feels like they've overstepped a boundary by consuming every detail of Truman's life.

In the 'lover' music video, we first see the lover house is within a snow globe and our first shot of Taylor is through the peephole. The couple dancing throughout the house seem to be sharing a romantic moment, but the entire experience feels voyeuristic. No rooms are off limits as we see them in the bathroom swimming inside of a fish bowl. "Can I go where you go? Can we always be this close, forever and ever?" plays at the same time. It feels like we're asking that of her. It becomes uncomfortable to realise how much we want to have access to every detail of her life.

Back to normal

Headquarters

Not only is Seahaven contained within a dome, the director and his control centre is housed within the moon structure. From the interview with the director we can ascertain that he doesn't usually reveal this much behind the scenes, but the return of Truman's father required some damage control.

The vault in the 'I can see you' music video is reminiscent of the moon shaped structure the director worked out of. The connection between these and the overall theme of the music video reminds me of the scene in 'the hunger games mockingjay' where they rescue Peeta from the capitol, only to find out he was trained to attack Katniss. This scene has an eerily similar asylum vibe like the 'fortnight' music video as well.

The mask

The next morning we go back to Truman in the bathroom again, as if he's just started another regular day. He seems cheerful as he's using a bar of soap to draw an alien outline on the mirror, while at the same time implying that he feels alienated in real life. This facade of normalcy he is presenting after his plan had failed is on purpose to lull the director into a false sense of security. If everyone thinks he has given up and believes he is resigned to staying after all, nobody would see his final escape plan coming.

Just like Taylor showed us with the visuals of the delicate performance on the eras tour, the mask is breakable. Now that we know that Taylor is the one breaking down the facade herself, it becomes harmful to refuse to see Taylor for who she really is underneath the pop star persona. And just like with Truman leaving in the end, Taylor has shown us that she's choosing herself now, regardless of the consequences. So we can either choose to join her, or sit back in defiance until she walks away.

Back to work

As Truman returns to the office it becomes more obvious where all of the cameras have been hidden in plain sight. They're everywhere, including inside his pencil sharpener. But the least obvious camera is the one Truman is wearing, his wedding ring. This came from his father, something he purposely gave to Truman as he was supposedly drowning. He never took it off because it was a reminder of what he had lost at such a young age. Truman was able to escape in the end because he took the ring off and left it behind. They had no way of tracking him if he wasn't wearing it. In hindsight we can see that Meryl's necklace also contained a camera that was used frequently.

If all of the moon and black holes references are a codeword for cameras or surveillance in the Truman show, we can consider that Taylor has used them in her music videos in a similar way. 'The man' music video begins with a similar office scene with a man who is charming and magnetic, but the wink at the camera implies that he's also putting on a performance. At the end of a work call Truman mentions that "life is fragile" after he's introduced to his new love interest. Just like Truman's comment, Taylor has used the word delicate to to describe the fine line between the brittle nature of the facade and how easily it could all fall apart, like what occurs during the 'delicate' performance.

This place is mine

After Meryl left, Truman moved down to the basement. This is the only room in the house that contained anything that was truly personal to Truman with his padlocked chest of mementos and remnants of old hobbies. But on top of all this it was also the room with the least amount of cameras, making it the perfect place to hide.

In the 'lover' music video the only space that is personal to Taylor is the attic, and it’s just like Truman's basement as both rooms are typically used for storage. If you look closely you can see a familiar trunk to the side as she's reminiscing over old pictures on a projector. On the eras tour the only real piece of the lover house is the attic seen throughout the 'folkmore' set, the rest was burnt away on screen and ever since the setlist changed it has been falling over instead. This change reveals that it was a facade all along, similar to how we begin to see behind the scenes half way through the Truman show.

The escape route

The map

Truman's desire to travel to Fiji is heavily featured as Truman's motivation for leaving Seahaven. There's evidence of this throughout the basement, including a large map of the island. Was this really his dream destination? No. Talking about going to Fiji encouraged the director to reveal his endeavours to prevent him from leaving. If Truman was constantly being challenged with his fear of the water, he was also being exposed to potential exit routes and obstacles. Truman's desires to go to Fiji was a facade to masquerade his true intentions of plotting his escape without raising suspicions.

One of Taylor's latest songs explores wanting to escape to 'Florida!' and reflects Truman's dreams of moving to Fiji. Another map Taylor has shown us in her music videos is the man wall. It's seen as a road map for her future rerecords with the end goal of coming out as queer, similar to what Elton John did at the peak of his career. Now that we can see that Truman revealed his dreams to travel as a means of testing his opponent, we can begin to understand that Taylor may have used her attempts to come out as queer in a similar way. If Taylor had expressed her intentions to come out of the closet behind the scenes, she would have been reminded of the challenges she would face if she did so. We see a small portion of this scenario play out with political discussions during the 'Miss Americana' documentary.

Behind the curtain

The director is concerned about Truman being asleep in the basement so Marlon is sent to investigate. When he arrives he finds a decoy in the bed and a tape recorder of Truman snoring. As he searches the rest of the basement, he pulls back the map to reveal what's inside the closet. This is the moment everyone discovers that Truman has escaped and that the map of Fiji was a disguise for his master plan all along.

The man wall is the most fundamental Easter egg for many Swifties, with endless theories on how to decode it. But what if the biggest Easter egg of all is actually set up as a trap to draw our attention in, so that we become so focused on it's significance that we don't notice the bigger picture? The subway wall is made up of small square tiles, with Taylor Swift themed posters and the rerecords written with spray paint over the top to mimic graffiti. But if you look even closer still, you will see that there's also a crack down the middle of the man wall map. This suggests that there's something hidden behind it, just like with Truman's map.

The tunnel

When Marlon opens the closet in the basement, we discover that Truman had dug a hole through the ceiling and this is how he escaped. Marlon climbs up the stepladder and we see his head pop out of the hole in the garden. We could assume Truman began digging this hole after Meryl left because we can see he left behind the same multi tool that she advertised in the beginning, but he was in the middle of digging in the same spot when she came home that day. All we had seen was an awkward shot of Truman from behind as he was working in the garden bed. Truman also purposely left patches of grass unmowed so he had an excuse to be frequently working on the old lawn mower in the basement, something that was quickly replaced once Meryl left.

The ending of the 'delicate' music video is what sparked this deep dive into the Truman show. I discovered that the bar Taylor enters is called the gopher, an animal famous for digging holes underground. This unexpected connection to Truman's method of escape was unbelievable after picking up on many of Taylor's hints towards a departure.

The trap door

If Truman had been digging a tunnel in the garden from the beginning, how did he get away with it? He disguised the hole by filling it with balls and rocks in just the right size that were painted to look like garden ornaments. This is echoed in the scene where Truman is telling Marlon about how he wants to go to Fiji. Marlon asks if Fiji is near Florida, so Truman demonstrates with a golf ball to show that it's practically on the other side of the world. The way Truman is describing it implies that the tunnel is hidden on both sides in a place where the cameras can't find it, and all that's left now is to plan his escape route.

Taylor’s version of Truman’s golf ball is the painted nails aligned with the 2 and 8 on the karma coffee cup, pointing to where her journey through the tunnel starts and finishes. Other ball shaped references include the pearl coloured balls floating around Ice Spice in the 'karma' music video, the golden orbs in the 'willow' music video and the tennis balls in 'the man' music video. When Taylor attempts to leave the glass case in the 'willow' music video, she finds it has been boarded up. She tries to find a way out through the glass, only to reveal that she knew that there was a trap door underneath her feet the entire time. We hear the lyrics "I come back stronger than a 90's trend" at the exact same time Taylor goes down the tunnel. And which trend is she referencing? The Truman show, of course.

Leave everything behind

Cut transmission

Once the director had realised that Truman had really escaped, he was left with no choice but to cut transmission on the live broadcast for the first time since the show began. Panic ensues for the viewers who didn't see this coming, meanwhile we see Sylvia watching from home in anticipation. Ratings for the show are at an all time high as everyone at home waits to find out what happened to Truman.

It's interesting that Taylor drew inspiration from this loading screen for the eras tour poster considering it's a reference to the moment Truman escaped. It draws a very clear parallel to his story, implying that what we're watching on the eras tour is the Taylor version of the Truman show.

Lost at sea

It's unclear how long Truman had after he escaped before the search party started. At first it seemed possible that Marlon left the car door open when he arrived for Truman to escape, but it's more likely he was just in too much of a hurry. It' seems 's likely Truman had some time to escape on his bike undetected. His fear of water meant checking the ocean would be the last place they would think to look for him, which is exactly what happened.

This moment after Taylor entered the bar in the 'delicate' music video reveals a sense of clarity just before she opens up her eyes. The ending of Taylor's story is yet to happen, but from what she's said throughout the tour, she's not planning on slowing down anytime soon.

The note

As Truman sails off we see him pull a note out of his pocket. All he took with him was the collage picture of Sylvia. This symbol of hope for his future was the only thing he took with him. "The only thing that's left is the manuscript, one last souvenir from my trip to your shores."

When Taylor left behind her life's work and started over by herself, she carried a picture of the one that mattered most with her when she left as well. If you look close enough at the man wall, you can see a polaroid shaped outline underneath the black karma letters, as if something that was once there had been taken away. Just like Truman's collage picture, this missing piece represents the secret note from the 'delicate' music video. The one piece of evidence that meant something to them, when so much of their lives were full of half truths and lies. And what's on the polaroid picture? Proof that Taylor is queer... "Like a rainbow with all of it's colours."

It's time to go

Almost drowned

Once they locate Truman as he's escaping on the boat, the director utilises his power to create a storm to derail Truman's attempt to escape. When his first attempts to force Truman to turn back fail, he orders the workers in the control room to hit the boat with the largest wave with to intentionally capsize the boat. They object to risking Truman's life, but the director goes ahead anyway. The wave overturns the boat and Truman almost drowns. As the director escalated his attempts to make Truman stay, it became clear that he would rather let Truman die than watch him leave if he refuses to stay. This highlights how unethical the director's attachment to Truman and the show had become over the years.

In the 'cardigan' music video we see Taylor clinging to her piano in the ocean, just like Truman did with his boat. This shows her determination to fight for her future despite the cost. The trap door Taylor escaped out of in the 'willow' music video is just like the exit points under the stage of the eras tour. Taylor's most iconic exit is after the surprise songs when she dives into the stage. Her character then swims against the current just like Truman did and when she reemerges again it's for the beginning of the 'lavender haze' set.

The getaway boat

Despite the director's attempts, Truman recovers from the storm and sails far enough that his boat crashes into the side of the dome wall. Truman managed to escape Seahaven after a lot of planning, but I think he had some help along the way. If Marlon was aiding Truman's escape plans, he would have been a crucial liaison behind the scenes. Throughout the interview with the director we get a glimpse of Sylvia and find out that her home is full of anti the Truman show propaganda. These include pictures of cast members that could be open to joining their side, with Marlon listed as being their best bet. It's possible the protestors worked together to smuggle Truman's father into Seahaven to encourage Truman to leave. One of the posters shows a young Truman in what appears to be a pizza themed clown costume. Pizza is mentioned a few times by the control centre workers and by the security guards of a car garage. This could be the common factor connecting the protestors helping Truman escape, as well as providing an inconspicuous meet up place to swap information that wouldn't draw attention.

Just like Truman had help, Taylor had a team working together in the 'I can see you' music video. This depicts an alternate view of Truman's escape, with a team breaking in from the outside to rescue Taylor from the vault. Many of the guest appearances in Taylor's music videos are representing the other side of Taylor, more so than any particular muse. Many of the scenes featuring Ice Spice in the 'karma' music video also mimic the ending of the Truman show.

The stairs

Truman found the stairs that lead to the door and is so close to leaving behind the only place he's known. All of this is unfolding because Truman reached a point where his own wellbeing was more important than the character he had been portraying for the audience. Sylvia warned him in the beginning that everyone was watching him. This would have confirmed any suspicions Truman already had and lead to a life of being on high alert knowing he was being monitored at all times.

Both the public and private sides of Taylor have experienced the same restrictions over time, forced to keep a large part of her life hidden from others at all times. The scene with the moon and Saturn implies that an alternative ending to Truman's story is in store for Taylor. The moon was the home of the control centre watching over Truman day and night. Capturing the moon and Saturn in the 'karma' music video suggests that both sides of Taylor have worked together to reclaim the role of director, and are now working together to rewrite their story so that they can reunite and move forward together.

Captive

Finally in a last ditch effort to persuade Truman to stay, the director talks to Truman for the first time. It's clear the director has grown attached to Truman to the point that he doesn't see Truman beyond the character he's crafted over the years, but he only sees the public persona of Truman. The director is pleading for Truman to stay, to let the show continue as it is and claims that he knows Truman better than he knows himself. "You've never had a camera in my head!" is the only thing Truman says in defence. This sentence epitomises everything Truman has experienced living in Seahaven. After all, he was wondering when it was going to end when he was still in school. If the director truly knew what was best for Truman, he would have ended the show years ago.

When Truman told the director that you can't see inside my head, we can assume Taylor is trying to say that we can't see inside her heart. During the 'Me!' music video Brendon Urie opens a heart shaped door that reveals what's inside his heart. This implies that the music video revealed what was in Taylor's heart from the beginning. "When it's like, "me-ee-ee," it's like dancers, cats, gay pride, people in country western boots. I start riding a unicorn, like just everything that makes me me." This is how she describes the music video during the 'Miss Americana' documentary. "And for a fortnight there, we were forever." I believe this is a reference to the fourteen songs on her 'debut' album. Her first and potentially most authentic album is full of songs she wrote before she became famous. And then beginning with 'fearless', Taylor actively added in male muses to her songs to camouflage her queer identity. Unfortunately this was also the beginning of the gap between her public and private life growing apart. Looking back we can see that despite the pain this caused, she never lost hope of reuniting them again.

How did it end?

The final bow

The Truman show challenges our perception of how ethical it is to have such unobstructed access to Truman’s life. We’re left questioning if our entertainment was worth the price he was paying by spending his whole life living in the spotlight. He bows for the audience watching at home and ends with one final “Good morning! And incase I don’t see ya, good afternoon, good evening and good night!” before he turns and walks through the door. The director was left with a look of disgust as he realised Truman had been preforming for the audience all along. Those who had seen the signs watched on with anticipation and those that didn’t were left feeling shocked and confused.

At the end of a theatre performance, the cast will come back on stage one last time to give their final bow of the night as the audience applauds the performance they've just witnessed. We then have to consider that Truman and Taylor's final bow was an acknowledgement of the fact that they had been putting on a performance the entire time. Just like in 'the manuscript', "looking backwards might be the only way to move forward." Going back through Taylor's history and finding the bread crumbs she left along the way will help us understand that the queer version of Taylor had always been there, we just had to know what we were looking for to be able to see it.

The door

As he steps through the door we wait in fervent anticipation to see how Truman's story ends, only to watch as the credits start rolling without an epilogue. This feels frustrating when we had been hoping to see Truman and Sylvia reunite after many years. Instead, this kind of ending is encouraging us to go back to the beginning and reconsider the story through a new lens after learning about how it ended. Each time you rewatch it you can pick up on the deeper layers of the story, seeing more evidence of Truman's discomfort from living an inauthentic life, and how much determination it required to overcome the challenges he faced along the way. Any further explanation would have diluted the magnitude of the moment Truman felt free for the first time in his life. Just being able to walk through the door in the end was the ultimate accomplishment.

The story Taylor has been showing us was never a revelation of her muses, but a slow unravelling of her experience as a famous person who has had very little privacy throughout her life. She's giving us a peak behind the curtain and allowing us to see who she really is beyond the larger than life character we've all built her up to be. And whether we like it or not, she choosing herself now above all else.

The only difference between Taylor and Truman’s story is that Taylor’s not leaving, she’s simply just stepping out of the closet.

Meet me at midnight?

After turning a pumpkin into a carriage and creating a fancy dress to wear, the fairy godmother forewarns Cinderella before she leaves for the ball.

“You must understand, my dear. On the stroke of 12, the spell will be broken, and everything will be as it was before.” 

The same is true for Taylor.

No matter how much she accomplishes in the spotlight, she is always going to be the truest version of herself underneath the layers of her pop star persona.

"Dear reader, will you still want me when I'm nothing new?"

When the clock strikes midnight, are you still going to want Taylor when you can finally see who she really is underneath?

Who she has been all along?

"A pathological people pleaser who only wanted you to see her."

A tortured poet,

Kylie x

🧡

[estapa-edwards]

MAKE A MOVE - A. FANTILLI

paring: Adam Fantilli x reader

word count: 2.4k

requested? yes - adam meeting the physical therapist at the blue jackets and totally being in love right away, happens they are also neighbors so they become really good friends. eventually they start dating but keep it pretty private she’s the one who helps him back with his injury… gavin had his debut the other day and maybe the whole group notice adam looking in love and like tease him telling him to make a move but he alreadlt has

warnings: use of y/n.

*¨¨* ≈☆≈ *¨¨*:·..·:*¨¨* ≈☆≈ *¨¨*:·..·:*¨¨* ≈☆≈ *¨¨*:·..·:*¨¨* ≈☆≈ *¨¨*:·..·:*¨¨*

It all begins with a seemingly innocuous event – a small injury during a routine practice session. As Adam skates off the ice, wincing slightly, he's directed towards the team's physical therapist for assessment and treatment. Little does he know that this encounter will change the course of his life.

As Adam enters the treatment room, Y/N's smile widens, though she tries to maintain her professional demeanor. "Hey there, Adam," she greets him warmly, gesturing for him to take a seat on the treatment table. "What seems to be the issue today?"

Adam winces slightly as he eases himself onto the table, his eyes scanning the room curiously. "Just a little tweak in my shoulder," he replies, trying to downplay the discomfort he's feeling. "Nothing too serious, I hope."

Y/N nods, her gaze focused as she begins to assess his injury. As she palpates his shoulder, her brow furrows in concentration, and then suddenly, her eyes widen in recognition. "Wait a minute," she says, her voice tinged with surprise. "You're Adam Fantilli, aren't you?"

Adam chuckles sheepishly, nodding in confirmation. "Guilty as charged," he admits, offering her a rueful smile. "I guess my cover's blown, huh?"

Y/N laughs softly, shaking her head in disbelief. "I can't believe it," she exclaims, her eyes sparkling with excitement. "You're my neighbor! I've seen you around the building before."

Adam's eyebrows shoot up in surprise. "No way," he replies, a grin spreading across his face. "Small world, huh?"

Their conversation flows easily from there, as they trade stories about their experiences living in the same building. Adam finds himself captivated by Y/N's easygoing nature and genuine warmth, while Y/N is struck by Adam's humility and down-to-earth charm.

--

As Adam continues his therapy sessions with Y/N, their interactions extend beyond the confines of his injury. One afternoon, after a particularly grueling session, Adam finds himself lingering in the therapy room, reluctant to leave the comfort of Y/N's presence.

Y/N notices his hesitation and offers him a sympathetic smile. "You did great today, Adam," she says, her voice gentle and encouraging. "Your progress has been impressive."

Adam nods, grateful for her words of encouragement. "Thanks, Y/N," he replies, his expression softening. "I couldn't have done it without you."

Their eyes meet, and in that moment, an unspoken understanding passes between them. Without a word, Y/N gestures for Adam to take a seat on the nearby couch, and he gratefully accepts.

What begins as a casual conversation soon evolves into a heart-to-heart discussion, as Adam opens up to Y/N about the pressures of life in the NHL and the constant scrutiny he faces as a professional athlete. Y/N listens attentively, offering him words of comfort and support.

As they talk, Adam can't help but marvel at the depth of their connection. Despite the differences in their backgrounds and experiences, he feels a sense of kinship with Y/N that he's never felt with anyone else before.

Before he knows it, the therapy session has turned into an impromptu therapy of a different kind – a safe space where Adam can be vulnerable and honest without fear of judgment. And as they sit together in the quiet intimacy of the therapy room, Adam realizes that he's beginning to fall for Y/N in a way he never thought possible.

-- 

One evening, after a long day of practice and training, Adam finds himself craving the comfort of home. As he steps into the elevator of his apartment building, he's surprised to find Y/N waiting inside, a basket of groceries in her arms.

"Hey, Adam," she greets him with a warm smile. "Heading home?"

Adam nods, returning her smile. "Yeah, just finished up at the rink," he replies, shifting his gym bag on his shoulder. "What about you? Stocking up on essentials?"

Y/N chuckles, nodding in affirmation. "Something like that," she says cryptically, her eyes twinkling with mischief.

Curiosity piqued, Adam follows Y/N as she steps out of the elevator and heads towards her apartment. To his surprise, she invites him inside, gesturing for him to make himself at home while she puts away the groceries. 

As Adam steps into Y/N's apartment, he's enveloped by a sense of warmth and coziness. The soft glow of lamps illuminates the space, casting a gentle ambiance that immediately puts him at ease. He watches as Y/N bustles around the kitchen, humming softly to herself as she unpacks the groceries.

"Would you like to stay for dinner, Adam?" Y/N asks, her voice filled with genuine warmth. "I was planning on making a simple pasta dish."

Adam's stomach rumbles at the mention of food, and he can't help but smile at Y/N's offer. "That sounds amazing, Y/N," he replies, his voice tinged with gratitude. "I'd love to stay."

As Y/N sets to work preparing their meal, Adam takes a seat at the kitchen island, content to watch her work. He's struck by the ease with which she moves around the kitchen, the way she effortlessly balances multiple tasks at once.

"So, Adam," Y/N says, breaking the comfortable silence that has settled between them. "How's the season been treating you so far?"

Adam sighs, his expression momentarily clouding over with fatigue. "It's been intense, to say the least," he admits, running a hand through his hair. "But I wouldn't trade it for anything. This is what I've been working towards my whole life."

Y/N nods in understanding, her eyes filled with empathy. "I can imagine it must be tough, balancing the demands of the game with everything else," she says softly. "But just know that I'm here for you, whenever you need someone to talk to."

Adam's heart swells with gratitude at Y/N's words, and he finds himself opening up to her in a way he rarely does with others. 

--

As the weeks pass, Adam finds himself increasingly drawn to Y/N, his feelings for her growing stronger with each passing day. He can't shake the image of her warm smile and kind eyes, nor the way she makes him feel at ease with just a simple glance.

One evening, after another grueling practice session, Adam finds himself standing outside Y/N's apartment door, his heart pounding in his chest. He knows that he wants to take their relationship to the next level, but he's unsure of how to broach the subject.

Summoning up his courage, Adam knocks on the door, his hand trembling slightly with nerves. When Y/N answers, a bright smile lights up her face, and Adam feels his resolve strengthen.

"Hey, Adam," Y/N greets him warmly, stepping aside to let him in. "What brings you by?"

Adam takes a deep breath, steeling himself for what he's about to say. "I was wondering if you'd like to go out to dinner with me," he says, his voice steady despite the butterflies in his stomach. "Just the two of us."

Y/N's eyes widen in surprise, a soft blush coloring her cheeks. "I'd love to, Adam," she replies, her smile widening into a grin. "I've been hoping you'd ask."

Relief floods through Adam as he realizes that Y/N feels the same way he does. With a sense of excitement coursing through his veins, he suggests a nearby restaurant that he's been wanting to try, and Y/N eagerly agrees.

As they make plans for their dinner date, Adam can't help but feel a surge of anticipation. He knows that this could be the beginning of something truly special between them, and he can't wait to see where their newfound romance will take them.

And as he bids Y/N goodnight and heads back to his own apartment, a smile tugs at the corners of his lips.

-- 

After their first dinner date, Adam and Y/N find themselves falling into a comfortable rhythm of spending time together. They go on more dates, exploring new restaurants, taking walks in the park, and even enjoying quiet evenings at home cooking dinner together.

Despite the growing intensity of their feelings for each other, Adam and Y/N decide to keep their budding relationship private for the time being. With Adam's high-profile career in the NHL and Y/N's own professional responsibilities, they both understand the importance of maintaining a sense of privacy and discretion.

They enjoy the simplicity and intimacy of their relationship, relishing in the moments they share away from the prying eyes of the public. Whether it's stealing kisses in the elevator of their apartment building or cuddling up on the couch to watch a movie, Adam and Y/N cherish every moment they spend together.

As they navigate the ups and downs of life in the fast-paced world of professional sports, Adam and Y/N find solace in each other's arms. Their relationship becomes a sanctuary from the pressures and expectations of the outside world, a place where they can be themselves without fear of judgment or scrutiny.

-- 

As the second period of the intense matchup between the Columbus Blue Jackets and the Seattle Kraken unfolded, the tension on the ice was palpable. Adam Fantilli, known for his speed and agility, was weaving through the opposing team's defense with finesse, determined to lead his team to victory.

But fate had other plans.

In a split second, the course of the game – and Adam's life – changed dramatically. As he battled for possession of the puck along the boards, he found himself in the wrong place at the wrong time. Jared McCann, a forward for the Seattle Kraken, swung his skate blade in an attempt to dislodge the puck, but instead, it made contact with Adam's left leg.

The arena fell silent as Adam crumpled to the ice in agony, clutching his injured leg. The sight of blood staining the pristine white ice sent a shiver down the spines of everyone in attendance.

Y/N, ever vigilant on the sidelines, sprang into action. With a sense of urgency, she rushed onto the ice, her heart pounding in her chest as she assessed the extent of Adam's injury. The gravity of the situation was clear – Adam needed immediate medical attention.

With the help of the team's medical staff, Y/N carefully helped Adam to his feet, supporting him as he hobbled off the ice and down the tunnel. Every step was excruciating, but Adam gritted his teeth and soldiered on, determined not to show any sign of weakness in front of his teammates and fans.

As they reached the relative safety of the locker room, Y/N's heart ached at the sight of Adam's pain. She did her best to provide comfort and reassurance, but she knew that his road to recovery would be long and challenging.

In the aftermath of the game, as the news of Adam's injury spread like wildfire, the hockey world held its breath, praying for his swift recovery.

--

In the days following Adam's injury, Y/N's dual roles as both his physical therapist and his girlfriend became more intertwined than ever before. As Adam began his rehabilitation journey, Y/N was there every step of the way, providing not only expert medical care but also unwavering emotional support.

Their apartment became a makeshift clinic, with Y/N transforming their living room into a makeshift therapy space equipped with exercise bands, foam rollers, and other rehabilitation tools. Under Y/N's watchful eye, Adam diligently followed his prescribed exercises, determined to regain strength and mobility in his injured leg.

Despite the pain and frustration of his injury, Adam found solace in Y/N's presence. Her gentle encouragement and reassuring words helped to ease his anxieties and lift his spirits during the darkest moments of his recovery.

As the weeks passed, Adam's progress was slow but steady. With Y/N's guidance, he slowly began to regain strength and mobility in his injured leg, surpassing even the most optimistic expectations of his medical team.

But it wasn't just Adam who benefited from Y/N's care and attention. As they worked together day in and day out, their bond deepened, evolving into something even more profound and meaningful than before.

In the quiet moments between therapy sessions, Adam and Y/N found themselves falling more deeply in love with each other. Whether it was sharing a meal together, cuddling on the couch, or simply holding hands as they watched the sunset from their balcony, every moment spent together was a precious gift.

-- 

As the NHL season continued without Adam, his absence was keenly felt by both his teammates and fans alike. But amidst the disappointment of his injury, there was a glimmer of excitement in the air as another familiar face stepped onto the ice for his NHL debut – Gavin Brindley, Adam's former college teammate.

The Blue Jackets' arena buzzed with anticipation as Gavin took to the ice, his teammates cheering him on from the sidelines. Among them, a group of Adam's college teammates – Seamus Casey, Luca Fantilli, Rutger Mcgroarty, Nick Moldenhauer, Ethan Edwards, and of course, Adam himself – watched with pride and excitement, their cheers ringing out in unison.

But as the game progressed, it became clear to Adam's friends that there was something different about him. Gone was the usual intensity and focus that defined him on the ice – instead, there was a softness to his gaze, a warmth in his smile that hadn't been there before.

"Hey, Adam," Seamus whispered, nudging him playfully with his elbow. "You've been awfully distracted tonight. Got something on your mind?"

Adam's cheeks flushed pink as he glanced over at Y/N, who was sitting a few rows away, her eyes glued to the action on the ice. "Um, yeah," he admitted sheepishly. "I guess you could say that."

His friends exchanged knowing looks, grins spreading across their faces. "Ah, I see how it is," Luca teased, winking at Adam. "Looks like someone's got a crush."

Adam rolled his eyes, but couldn't suppress the smile that tugged at the corners of his lips. "Okay, okay, you caught me," he conceded, his voice tinged with amusement. "But trust me, I've already made my move."

His friends erupted into cheers and applause, their laughter filling the air as they congratulated Adam on finally taking the plunge. And as they watched Gavin Brindley's NHL debut unfold before their eyes, Adam couldn't help but feel a sense of gratitude and contentment wash over him.

For in that moment, surrounded by his closest friends and the woman he loved, Adam Fantilli knew that he was exactly where he was meant to be – both on and off the ice.

[cailins-posts]

A Day with Charles, Y/N, and Jack

Charles leclerc x reader

The streets of Monaco were bathed in the warm glow of the Mediterranean sun, casting a golden hue over the pristine yachts and bustling markets. In a charming apartment overlooking the marina, life was just as picturesque for Charles Leclerc, his wife Y/N, and their adorable three-year-old son, Jack.

Jack was a spitting image of his father, with the same tousled brown hair and, most strikingly, Charles' captivating green eyes. Y/N often found herself lost in those eyes, mesmerized by their depth and beauty. It was one of the many things she adored about her little family.

This particular morning, the scent of fresh croissants and brewing coffee filled the air. Y/N stood by the kitchen counter, slicing fruit for breakfast, while Jack clung to her leg, his small hands gripping her jeans.

"Bonjour, mon amour," Charles greeted, wrapping his arms around Y/N from behind and planting a soft kiss on her neck.

"Bonjour, Charles," she replied with a smile, turning her head to kiss him on the lips. "Have you seen how much Jack looks like you today? Especially his eyes."

Charles crouched down to Jack's level and ruffled his hair. "Oui, c'est vrai. Il a mes yeux. But he has your smile, and that makes him even more special."

Jack giggled, reaching up to be picked up by his father. "Papa!"

Charles lifted Jack effortlessly, twirling him around before settling him on his hip. "Ready for breakfast, little man?"

Jack nodded enthusiastically, pointing to the table where his favorite blue plate awaited.

As they sat down to eat, Y/N couldn't help but watch the two of them interact. Jack was undeniably a mama's boy, always seeking her out for comfort and affection, but his bond with Charles was equally heartwarming. She loved seeing how Charles' eyes would light up whenever he looked at their son.

After breakfast, they decided to spend the day exploring Monaco. The Leclerc family was well-loved by the locals, and their strolls often involved many friendly greetings and photo requests. Today was no different, and as they walked through the streets, they were frequently stopped by fans and friends alike.

At one point, they stopped by a quaint little park. Jack immediately ran to the playground, his excitement evident in his beaming smile.

"Careful, Jack," Y/N called out, watching him climb up the slide. "Ne te fais pas mal."

Charles laughed, squeezing her hand reassuringly. "He'll be fine. He's a tough little guy."

They sat on a nearby bench, watching Jack play. Charles turned to Y/N, a tender expression on his face. "You know, sometimes I still can't believe how lucky I am. I have the most beautiful wife and an amazing son."

Y/N blushed, leaning her head on his shoulder. "I feel the same way, Charles. Every day with you and Jack is a blessing."

"Do you think he knows how much we love him?" Charles asked, watching Jack interact with another child on the playground.

"I think he feels it," Y/N replied softly. "And I think he sees it in our eyes, especially yours. Those beautiful green eyes of yours that he inherited."

Charles smiled, pulling her closer. "I love you, Y/N."

"Je t'aime, Charles," she whispered back.

As the sun began to set, casting a warm glow over the park, they decided to head home. Jack, tired from all the playing, clung to Y/N as they walked back. His little head rested on her shoulder, his eyes fluttering closed.

"He's definitely a mama's boy," Charles said, chuckling as he watched them.

"And I wouldn't have it any other way," Y/N replied, kissing Jack's forehead.

Back at their apartment, they settled into their evening routine. After a bath and a bedtime story, Jack was finally asleep in his crib. Y/N stood by the crib, watching her son sleep peacefully.

Charles came up behind her, wrapping his arms around her waist. "He's perfect, isn't he?"

"Yes," Y/N said, tears of happiness in her eyes. "He has your eyes, and every time I look at him, I'm reminded of how much I love you."

Charles turned her around to face him, cupping her face in his hands. "And I love you, Y/N. Thank you for giving me this beautiful life, for being the best mother to our son."

They shared a tender kiss, a moment of pure love and connection. As they pulled away, Charles glanced down at Jack, a smile playing on his lips. "He's going to grow up knowing how much he's loved. And every time he looks in the mirror, he'll see those green eyes and remember where he came from."

Y/N nodded, her heart full. "Our little Jack, with his papa's eyes and his mama's heart. He's our everything."

They left the nursery, hand in hand, ready to face whatever the future held. Together, they knew they could handle anything. Their love was strong, and with Jack as the center of their world, their family was complete.

[deeply-unserious-fellow]

I've been seeing a lot of people talk about how Hazel is a boring protagonist(or I guess more like... people complaining about how other people are saying that? Idk I'm not on Twitter), and at first I kind of agreed with those takes because all I had seen were random clips. BUT, now that I've watched the show, I disagree. I don't think Hazel is a boring character, at least not conceptually. I think the issue is that the majority of her RELATIONSHIPS are really boring.

Hazel on her own has a lot of potential. She's caring, she's funny, she has a tendancy to overthink, her design is really good, she has realistic problems most people can relate to... she's just all around a really well built character. The problem is that almost none of the characters she interacts with consistently have any depth, and that causes her relationships with them to fall flat, which causes HER to fall flat because at the end of the day, a character is only as strong as their relationships with other characters. We're TOLD what her relationships with others are like, we're TOLD what the other characters' personality traits are, but we're never SHOWN those things. I think the episode where they deal with Jasmine's fears is probably the biggest offender. Jasmine herself acts as more of a plot device then anything else, with her fears being used as a stepping stone to teach HAZEL a lesson, rather then allowing the episode to focus on Jasmine overcoming those fears. The scene where Jasmine actually FACES those fears ends up being just thrown in at the end as a way to solve the conflict, which tbh wasn't that engaging in the first place because Hazel had no personal attatchment to any of Jasmine's fears... that's just kind of a bad episode overall tbh it's where all of the shows flaws are the most prominent but I DIGRESS-

Another really good example of the poor relationship building is her relationship with her brother, Antony, who we literally don't even get to SEE until well into the second half of the season. I haven't actually gotten to that episode yet, so I can't really judge Antony as a character, but I CAN judge how they've been setting him up so far! Which hasn't been very good! Instead of SHOWING US Hazel's relationship with him through flashbacks or something, the writers just have Hazel TELL US how she feels about her brother and things they used to do together. It just doesn't have the same impact as actually seeing their relationship play out would, y'know? They've been telling us about Hazel's relationships with other characters instead of showing us those relationships, and it's been hurting Hazel as a character.

The only relationships she has that we actually get to watch her BUILD are her relationship with Cosmo & Wanda and her relationship with Dev, which, while the ladder is genuinely really well done and interesting(aside from a couple pacing issues but honestly the show is chock full of those so whatever), the former ALSO falls really flat because Cosmo & Wanda aren't really... characters. They're iconic, sure, and they're really funny, but they're also mostly just plot devices. They're here to grant Hazel's wishes(aka cause the plot of the episode) and be funny. That's it. Which is fine, those kinds of characters obviously have their place, but when they're the only ones your main character consistently interacts with? That causes some problems. It's like if, in the movie Aladdin, instead of focusing mostly on the relationship between Aladdin and Jasmine, they focused entirely on his relationship with the Genie. The Genie is mostly just here to move the plot along and say funny things, so having him be the character Aladdin interacts with the MOST kind of breaks the movie. Having a story where almost all the interactions are between the main character and the comic relief just doesn't work.

Honestly I think the issues with Hazel's relationships are probably why people are more drawn to Dev as a character then they are to Hazel, because while Hazel almost exclusively interacts with characters who could be replaced by cardboard cutouts and nobody would tell the difference, Dev doesn't. Dev's relationships are a lot more engaging because all of the characters he interacts with are SIGNIFICANTLY more fleshed out then the ones Hazel interacts with. His relationship with Hazel is engaging because it's an emotional rollercoaster for both of them. His relationship with Peri is interesting because Peri is much newer to being a fairy godparent then Cosmo & Wanda are, meaning he's more likely to make mistakes. His relationship with his dad is interesting because it's literally the main motivation for his character, and we actually get to SEE WHY THEIR RELATIONSHIP IS THE WAY IT IS. His relationship with Irep is more interesting because Irep is a weird little shit who's mostly just using Dev to take over fairyworld, and he also has an interesting dynamic with Peri! Dev's relationships are all WAY better executed then Hazel's, and honestly I think a lot of that has to do with the fact that Dev is an antagonist who mostly interacts with other antagonists. He's at the center of almost every single ongoing conflict in the show, which is often times what makes a character and their relationships interesting: conflict. I also think he benefits from getting expanded on LATER in the show, since by that point all of the writers would've had a much better feel for all of the characters, making it easier for them to actually show what his relationships are like instead of outright telling us skgnvkdmfkekfndn

Now, was the point of all this to say that I think Dev would be a better protagonist then Hazel? No. Absolutely not no- he has a more interesting, better executed story then Hazel does so far, sure, but he just. Wouldn't be able to carry an episodic show like FOP on his own I'm sorry- we've seen the kind of wishes he makes, they're not particularly interesting. Because he's a rich kid who can do basically whatever he wants. Plus, his conflict with Peri just isn't really built to be stretched out over an entire season, which it would HAVE to be if Dev was the protagonist of a Fairly Oddparents, because the entire premise of the show is "this kid gets a Fairy Godparent, what kind of wacky hijinks will they get up to now?" Plus there's the fact that the narrative has been treating his parental neglect with a lot more gravity then Timmy's ever was, meaning if the show was from his perspective they'd have to tone down the things that make him interesting to keep the show from getting outright miserable- Dev is not a good character to make carry that kind of show. Dev should not be the main character. HOWEVER! Do I think the show would be more interesting if we got more episodes featuring him and Hazel hanging out together? Yes absolutely. They bounce off of eachother incredibly well, and once Peri is introduced we also get to see Peri's relationship with his parents and how THEY interact, and it's just. So much more interesting then seeing just Hazel and CosWan. Or Hazel's cardboard cutout friends. Honestly I'd go as far as to say he should've been Hazel's dueteragonist instead of just a recurring character, kinda like a(hopefully) better executed Chloe. It'd give Hazel a more interesting character to bounce off of then Cosmo & Wanda. Either that or I think Peri should've been Hazel's fairy godparent instead of Cosmo & Wanda, because he has more room to grow and develope as a character then they do, making his potential dynamic with Hazel a lot more interesting. Idk just in general I think having Hazel interact almost exclusively with Cosmo & Wanda was a mistake-

Also should be noted; I am saying this as someone who has never seen the original Fairly Oddparents. I don't know if the original show had these issues aswell or not, everything I know about the original comes from random YouTube videos I watched out of curiousity/boredom. Either way if the original DID have issues with Timmy's relationships being really boring then uh. That's not an excuse for A New Wish to do the same, I guess. Idk where I'm going with this... also sorry if this essay is incoherent! I have a lot of thoughts about how Hazel's relationships are really poorly executed and I just needed to get them out skfnvdkdjfndn- if you want me to elaborate on anything feel free to leave a comment or send me an ask :)

[genericpuff]

So what I'm gathering is that in LR Persephone loses all memory when her eyes go red/ powers activate, hence her talking about lapses in memory to Hestia and not knowing why Minthe is mad at her. Is that right?

Saw you left two asks so I'm gonna respond to them both at the same time here if that's okay!!!

You're in the right ballpark, though I will give a little hint - she isn't really losing memory so much as she's not able to access those memories. There's a mental block happening there that we're going to get to the root of later.

That said, Hades does not know why Kore got the name Persephone. When he refers to the lapses in memory he's directly observed, he's referring to 1.) her lack of remembering how she wound up in his car the first time they met (she genuinely does not remember and chalks it up to blacking out from drinking too much), and 2.) her lack of remembering how she was able to subdue the shades in Tower 4 (and the specifics of why she waltzed in there to begin with). Though, I will say the latter is mixed between "she can't remember" and "she doesn't want to say" but the stuff she's omitting she still doesn't fully understand directly because of those lapses in memory that she's experiencing more frequently since moving to Olympus.

Even if she could recall following Withy into Tower 4 of her own volition, she doesn't know why Withy was there or why she felt inclined to walk into a restricted area against her better judgment. She's missing a chunk of time between when she entered and when Hades rescued her.

So when Hades says it's "just like last time" when she couldn't remember, he's specifically referring to the incident in which she wound up in his car and couldn't even remember the full details of what happened the night before:

(this is also why he's so offended and confused when she calls him "smelly" because the night before she had been talking to him as if she was genuinely interested in him and his unique brand of stink LOL)

Their chance interaction at the Panathenea was genuinely the first time they ever met and so the only information he has to go off of about her is what he's experienced first-hand since meeting her (and whatever assumptions he can make about a goddess who is the creation of Demeter).

There's not much else I can divulge at this moment for the sake of not spoiling what I have planned, but considering it's been fun to go more in-depth on this topic, I'll leave y'all with some final food for thought:

Kore and Hades are both written to parallel each other but in different ways throughout the story - one of those things is the fact that they're both unreliable narrators with skewed perceptions of their own pasts and their current realities, for different but similar-ish reasons that will become apparent in due time. Part of Kore's skewed perceptions are largely due to her lapses in memory that she will eventually piece together as her character arc progresses.

That's as much as I'll say for now though as I don't wanna spoil anything else for y'all, but I hope this clears up any confusion and gives you something fun to think about! Thanks so much for reading! <3

[jerreeeeeee]

actually its kind of crazy how little we actually see the starblaster crew interact with each other. like other than tres horny boys and each of the pairs in that trio, and like, arguably lucretia and thb, barry and lup, and lup and taako, most of the relationships between the crew are only a few lines, if anything? like obviously in-universe they're all really close and griffin says that (time enough to grow indescribably close), but there's a lot we don't see. like, taako & barry, for example, have a handful of moments, lines we can point to that show they are really close (you're my family, taako, can i speak frankly?), but as far as actual screentime, there's really very little.

and even those i mentioned before, like, lup has more screentime with barry and taako than with anyone else, there's the whole little legato monologue about her and barry's relationship and she has (comparatively) a lot of scenes with taako, but also, as a character, she's only around for maybe a sixth of the show, so there's just not a lot of time to work with?

and that's not to mention the relationships we can figure were probably present in-universe, but literally never see, like lup & davenport. and on that note, i actually can't think of any other pairs who don't interact at least once, but still, very rarely. like now i'm considering davenport & barry. who we hardly see but there is the fact that barry cast command on him to drink the ichor. it's one line in the show and the implications are never really mentioned but there's a lot of significance to be wrung out of this one tiny interaction. barry condemns lucretia's methods of stealing agency from their family in the service of the greater good, but when he thinks it's best for davenport, does the same on a smaller scale? barry doesn't have the time to try to convince him to drink, he needs davenport back to himself now, because davenport is someone dependable, a leader, someone who barry knows will be capable and decisive and relieve him of the responsibility he's been shouldering by himself? that barry knows davenport won't begrudge his use of the spell, because he'll see it as pragmatic, necessary, assistance, and forgive him for it? none of that is necessarily supported in canon but it can be extrapolated from, again, kind of a throwaway line.

the non-thb crew have presence and are important to the narrative, but most of that comes from thematic significance rather than them as individuals, you know? we hardly see lup and barry and davenport (maybe arguably lucretia too, though we see more of her than them), but we see the echoes of their decisions and their goals and their love for the rest of their family and the way they shape the story.

but actually, even that's not entirely accurate, because as significant as they are in that way, their presence isn't only due to that, they're full characters too. they have personalities and depth and connection, they're not only plot devices. like, maybe griffin needed to explain why lup was missing, and that's why she became a lich, and her needing to be a lich is why she and barry had their romance, but also, if that were all there was to it, the legato monologue wouldn't exist, the best day ever wouldn't exist. those are scenes designed to build lup as a character through her connections to other characters and to the central themes of balance, not to fix plot holes. it's just that all of that character building takes place in a pretty small fraction of the show compared to tres horny boys, who have the entire thing. idk its interesting and impressive how some of the deepest characters and most profound relationships were developed in a very short amount of time

[dustymeadows-if]

Dust particles flow in the air, shimmering with golden light of the sun. They rise to the sky, equally golden and hazy. Your mind is empty. There is no single memory in your head. Only one thought is ringing in your brain.

You must walk forward. Walk until your feet begin to bleed. Walk until your shoes fall apart.

And for some reason you can't oppose this thought.

This is your road to Damascus.

Dusty Meadows is a short interactive story set in post-WW1 world. It's a small psychological adventure that will take you through the scarred European fields. Wander the abandoned trenches, scorched forests, poisonous valleys and silent, deadly no man's land.

You don't remember anything. The feelings, however, still linger. Feelings like pain, grief and bitter longing. Your body is mutilated, but you feel no physical pain. It's your soul that aches. It's as if an important piece of it was heartlessly ripped off. This pain urges you to go forward. The answers might lie just behind the next hill or river. Your life depends on returning. Returning your soul. Returning your memories. Returning your life. Returning home.

That is, if there's anything left for you to return to at all.

Customizable MC: choose your gender, appearance, personality and name (if you can remember it, of course).

Meet the cast of various charachters: you're not the only one wandering and seeking these desolate lands. Talk to other wayfaring souls, listen to their stories. Maybe even share the same road and experience strangely deep bond with some of them...

Return your memories: remove the shroud from your past. Remember how you got here. Remember what hides behind the scars on your body. But be wary: some memories are forgotten for a reason.

Explore different locations: travel through the remains of war, learn what happened there and remember what binds you to these places.

Maintain your sanity: nobody said that battlefields are safe even after the war. Your mind is as scarred as your body, and sometimes memories crash like tidal waves. Whether you'll hold the line or succumb to the dark depths - is up to you and you only.

Tired Infantryman - Basile (M)

This man could be a definition of word "apathy". Everything about him is grey: both literally and figuratively. Dressed in grey-bluish trenchcoat, covered in grey dust, he looks at you with dull grey eyes. Even in his dark brown hair you can see grey strands, although he's still pretty young. He doesn't seem to be interested in anything around him, except for his cigarettes. His left arm is missing, and you can't help but wonder what's the story behind this.

Frozen Operator - Johann (M)

He is... a weird man. Tall and muscular like someone working in the fields all day long. But at the same time his skin is the palest and the coldest you've ever seen, and his eyes are sunken as if he was spending many sleepless nights doing paperwork. He's also the only one without any visible wounds, which is very unusual to see in this place. Johann seems like a kind and outgoing man, but he hides something deep in his heart.

Blind Journalist - Gelsomina (F)

Upper half of her face is covered with bandages, but even so you can tell she's a very beautiful woman. Dark blood stains over the place where her eyes were never seem to fully dry. She is much alike that blood: restless almost to despair. This woman will either find peace or die, and the least seems to be most likely. Losing her eyes was a hard hit: she can't see, she can't write, she can't do her job which had always meant life for her. She lost every reason to live, but the fire of her stubbornness is blazing hard, keeping her alive and eating her from inside at the same time.

Wayward Nun - Jolan (F)

She is a strange sight. Dressed in nun robes which covers her whole body, she also wears a gas mask which she refuses to ever take off. This woman is like a walking fortress of her own, cutting off every direct contact with the outer world. She barely speaks, preferring simple gestures, or rather, not communicating at all. You don't know what she looks like, what she sounds like, but here's one thing you know for sure: guilt is seeping through every crack of her thick defense.

Demo - TBA

[broomsick]

any tips for starting out when working with deities?

Hi, friend! Thank you for the ask, and sorry for the late reply. I've posted tips for beginners many times in the past, most of which you can find via links in this post. But now, since we're talking about working with deities more specifically, I'll list a few quick tips in a point form!

The golden rule to deity work, in my opinion, is respect. Everyone interacts with their deities with varying amounts of familiarity, but one quality always remains no matter the worshipper, and that is respect. But that goes without saying, right? 'Treat others how you want to be treated' makes no exceptions, even with non-human entities.

To me, the first step to respecting a deity is acknowledging their depth and multi-faceted nature. Mythological sources may describe this or that deity as the 'God of this or that', but in the context of religion, they are much more. The believer views the God as more than a mythological figure, but as a complex existing being.

For this reason, another tip I'll give is to get to know them. Learn as much as you can about them, and never stop learning. Not only about the deity/deities themselves, but also (and I think it's crucial not to neglect this!) about the cultural context in which they were first worshipped. I can't stress enough how big of a difference this makes when it comes to understanding a God. If you're interested, I've linked here a few of my favorite sources pertaining to nordic cultures, religions and history!

To me, offerings are not transactional. That is just my own belief, of course, but I don't adhere to the idea that 'one must give to the Gods in order to earn blessings and vice versa'. Paganism is not a trade market, but rather a way to experience spirituality. I believe in making offerings when you can, if you can, as a gesture of gratitude and not as a way to somehow 'earn blessings'. As a pagan, you do not "owe" anything to the Gods they do not "owe" you anything either.

Do not be afraid to simply spend time with them. While we may not always feel their presence, you can have faith in the fact that they watch over you. And for this reason, it's perfectly okay for you to sit down at your altar, or in the outdoors, to simply talk to them, symbolically sharing a drink/meal, telling them of your troubles or of how they inspire you. Developing this habit can help make you feel connected to a deity, even on a tight schedule, or during times when you feel disconnected from your spirituality.

In the same vein, it can be fulfilling and fun for you to dedicate certain activities to a deity of your choice! For example, practicing your instrument in honor of Bragi, or hiking in honor of Jörð, etc... What's more, whenever you dedicate an activity to a deity, you can invite them to partake in it, as I've described in this previous post!

Start to notice what things in your life reminds you of them. Maybe a certain smell? Or a song? What animals, meals, stories of else bring this deity to mind? Either because of the similar feeling they instill in you, or because you think this or that deity might enjoy them.

As a beginner, you needn't feel bad about how many deities you work with, or which deities you reach out to (so long as they are not part of a closed practice). I've always thought it weird how in some books centered around witchcraft, they'll rank deities in order of 'how experienced you need to be to reach out to them'. If you want my own honest opinion, anyone is free to reach out to any deity. No God is more difficult to work with than others. It all comes down to the individual, their values and the way they choose to work with the deity in question. I'm also not a big fan of such sources encouraging calling out to a deity during a ritual/spell like they're a tool for a magical working, if the practionner doesn't plan to really get to know them. But that's a topic for another day.

It can be greatly fulfilling as well to simply ponder a deity from time to time. What do they teach you? What can you learn from their example? What do they represent in your life? I listed in this post a few ideas of questions to ask yourself in order to better understand a deity and their presence in your life.

Take it step by step, day by day, and don't feel bad if you think you've made a mistake. We are all constantly learning. The Gods know we are human, and they reflect us in that way: they themselves have their strengths and weaknesses.

I hope this helps, but please do keep in mind that these are all my personal views on paganism, and that not every practionner will resonate with them. In any case, don't hesitate to ask if you have any other question(s) regarding practice or belief in the nordic path. Have a good day, my friend.

[celaenaeiln]

Nothing in Batman comics is canon because it’s literally 90% fanfiction written after the actual creators stopped writing the characters.

anon it doesn't work that way.

By that logic, practically noone exists because the original writer of Batman, Bob Kane and Bill Finger, only created Bruce, Dick, Alfred, and the villains gallery. That's it.

No Barbara, no Jason, no Tim, no Damian, Steph, Cass, Duke, Lucius, Tim Fox, Kate, Talia - there's no one then.

But suppose we go back on that statement and say 'well actually, the creators of new characters', which still doesn't make sense but let's go with that. Then major plots wouldn't happen. Because Max Allan Collins and Chris Warner created Jason Todd but Judd Winick is the one who brought him back to life. Marv Wolfman and Pat Broderick created Tim Drake but Alan Grant wrote a lot of the Robin comic and Batman comic characterization for him.

It's physically impossible to say that just because other people continued the series, the comics can't be taken seriously.

Comics are the source material. Of which fanfics are based on.

The Star Trek and Star Wars book series are written by multiple different authors but that doesn't mean that what's written doesn't happen or isn't true or is wrong. The 39 Clues and Doctor Who series are the same deal.

Batman comics are canon. Because if only the works of the original authors of Batman were to be considered canon, then practically everyone in the Batman universe doesn't exist/doesn't matter. Because they're just fanfic then.

But this idea doesn't just stop at the Batman fandom anymore because every comic was written this way. The people in Superfam? Gone. Flashfam? Gone. Arrowfam? Gone. Like this logic doesn't just apply to Batman, it applies to virutally every character in the existence of DC.

The beauty of comics is seeing how the next writer will continue the story. Sometimes they're right, sometimes they need tweaking, and sometimes they're wrong although that's usually very rare.

The problem with fandom's view on comic writing is the belief that whatever the authors create must match our perspective of the characters. That's wrong. Their characterization is what we should be adding on/building on to our perspective of the characters. Unless there is something so wrong, something so illogical, that it must be noted because that character has never acted that way before, then we must discard or critisize a comic.

Comics develop. Characters develop. Each writer brings something new and adds a layer of depth to each character they write about. That's how we get new interactions, new relationships, new sides that make each character interesting.

Take the original Dick Grayson comic and his intro to Robin

Detective Comics (1937) Issue #38

Dick originally wanted to go to the police. He had no intention of going after Tony Zucco but Bruce is the one who demands they go after him together by themselves!

I love this version created by Bob Kane and Bill Finger, but I also love the version created by a completely different author where Dick decides to stake out Zucco on his own. Both versions show different sides of him and authors sometimes even choose which one they want to include. Some have gone with this version where Dick tries to go to the police before being interrupted by Bruce and others have gone with the second, more famous version. But neither of them are bad and you can't say that the one where Dick goes after Tony Zucco is fanfiction. It's canon. If it's written in comics, it happened unless there's some disastrous, glaring contradiction.

You have to understand, these comics - especially Dick and Bruce's - are nearly 100 years old. Dick, and it's wild to think about this, existed before even the Justice League did. Wonder Woman, Green Arrow, and Aquaman were all created after him. If the orginial writers stopped writing, and noone picked it up, there would be no Justice League and that's a problem because the Justice League is one of the foundations of the DC comics.

So much has changed in a century and new writers constantly come in to show that change. That's why comics after the original writers finish writing are still canon and important. The original characterizations of all these major players were all super peppy and cheerful before new writers added angst and drama to their backstories. Bruce and Dick used to laugh and grin when they went crime fighting with no sadness or anger or other emotions. It wasn't until a couple decades later where writers started writing that in which is how we get the grim avenger Batman today.

Here's the third point to why they're relevant even though they're written by new authors: the passage of time in real life, is included in canon comics characterizations.

One comic talks about Dick discussing the Joker and he says, "at the beginning, it was just all fun and games. He would cause problems but at the end of the day it was a game. But one day, things went too far. People got shot. That day, the Joker changed. He was darker and evil. It wasn't games anymore."

This comic panel talks about the Golden Age to now, the progression and development of characters.

The comics and reality are inseparable because reality is literally written in. The works of writers after the orignal ones aren't arbitrary or some whimsical thing.

It's very different from fanfiction because fanfiction has no need to stick to the truth or canon characterization but these comic writers do because they have an obligation to do so. The only problem they might have is accidentally focusing too much on one aspect of a character and neglecting the other parts but almost none of them are way off the mark.

So no, for the sake of characterization, personality development, plot events, and new interactions, all comics are extremely important and definitely canon. Us readers might have different opinions and thoughts on them but it's irrelevant in the face of the fact that the comics are the only truth to which we can base our interpretations on.