#this is above all else a story about love

[envy-of-the-apple]

Fun Sized

Dark!Fairy!Gojo Satoru x reader

Word Count: 2k

Synopsis: You save a tiny fairy. Gojo Satoru decides that you and him belong together, regardless of how little he is and how little you think of him. 

(Warnings: Yandere, not many warnings in this one ngl)

The fae are a dangerous bunch. You've heard more than enough stories to be spooked. Sirens will sing beautiful songs before dragging you into the depths. Dragons will burn you to a crisp before a second's thought. Nagas would make sure you were alive until the very end as they feast on your organs. Centaurs would use their powerful legs to stomp yours to mere twigs. Driders would suck your blood until there's nothing left but a husk of your body. 

You've never heard anything about fairies. They didn't live in your region. Their lands were high in the mountains, where humans rarely traveled. Also, they were so tiny, according to the books. The biggest seemed to be barely the size of your hand. They were harmless, you concluded. Harmless to humans. Harmless to you. 

He had been harmless. At first, you thought it was a cluster of leaves in the stream, but as the current drew it closer, you noticed tiny arms and a tiny face. He was unconscious; you didn't even know if the poor thing was alive. 

The Fae are a dangerous bunch, but saving one tiny fairy couldn't hurt, right? 

Your guest quickly proved to be a bigger hassle than you initially thought. 

When you brought him to your cottage, he laid in a basket of warm linen, asleep for hours near the warm fireplace. The blueberry pie was still hot when you turned around and caught him staring at you. 

It was silent for a while, and then you said: 

"Do you like sweets?" 

That's how your tentative friendship with the other kind started. Gojo Satoru (you later learned his name) was a boisterous thing. He did in fact like sweets, which helped bribe his friendship. You're surprised that he ate so much despite his stature. Did all faires have black holes for stomachs? 

He healed up rather quickly. At first, you were afraid that his wings had crumbled due to the prolonged exposure to water. But after stuffing himself full of the blueberry syrup, he smiled widely before flitting out your window. 

You thought that would be the end of it, but then he just came coming back. 

Apparently, your baking skills left an impact on the small creature. He didn't visit often, but when he did, you would always make sure you had something. Whether it be cookies, brownies, or that blueberry pie he was so fond of. Anything was good enough for Gojo's taste palette. 

"In the fae lands," Gojo said when you prodded, "sweets are too sweet. Yours is just enough."  You weren't too sure what he meant by that, but you took it as a compliment. You were sure the fae wasn't something who'd give praises so easily. 

It's not like you were upset at providing food for your tiny friend. Quite the contrary. You loved it when Gojo visited. You found him fascinating, the way he could fly miles and miles above your head. How tiny he was. The amount of times you had to hold yourself back from squishing him between your fingers because of how cute he was scared you. 

And you hoped you were fascinating enough to entertain Gojo. You had to be; you don't know why else he'd keep coming back. Even after gobbling down your cooking, he'd lounge around your home, entertaining you with his stories. You learned of the other magical creatures he was in contact with, the students he taught, and how fond he was of them. You don't know why he was so open about sharing his personal life with you, in the stories fae hated humanity, but you would never complain. 

It doesn't click as to why Gojo's so invested in you until he comes out and says it himself. 

"Instead of me coming back and forth like this, why don't you just come live with me?" He says, "I would cut down my flying time by a lot." 

You stare at him in amusement, sure he's joking. "I'm not sure how I'd fit in your house." You tease. "I'd probably crush all your furniture." 

"I can make my house bigger." He announces. "Don't worry 'bout it, just say yes." 

You stare at him, slowly realizing that he isn't as amused. He's still smiling, but there's no joke. 

"No," you finally say, "I'm not doing that." 

He cocks his head surprised as though he's never had someone reject him before. 

"What?" He asks, "Why not?"

"Well." You clear your throat. "For one, I'm human, and you're a fairie. I don't think Fae would appreciate a human wandering around in their lands." 

"Who cares about all that?" Gojo waves his hands around. "You'll be with me, anyways. It'd be fine." 

"I don't get why you're so fixated on the human realm." His mouth turns into a sneer. "It's all so boring. Nothing ever happens. And our magic is much more advanced than yours." It's true. You can't disagree with that. Satoru didn't wear clothes made out of leaves or vines, unlike the common fairy stereotype. His clothing looked much more advanced compared to your loose cotton dresses. A black shirt with intricate buttons and long sleeves. Along with black trousers. You wonder what material could make his suit so shiny. 

You laugh at his disgust. At that time, you saw Gojo as a tiny child clutching their mother's skirts, a cute puppy. You hadn't yet taken Gojo Satoru as the threat he was. 

"It's because I am human." You say, not offended by his remarks. "So I like being near other humans." 

He groans as though your logic makes no sense. "Yuji and the others ask about you all the time, though. They've been dying to meet you." 

"You talk to your students about the giant that cooks for you? I'm flattered." 

"You're dodging," he warns. You roll your eyes. 

"Satoru, I'm not coming to live with you. It'd be too much of a hassle." You finally say. "Besides, you're not my type." 

"I'm everyone's type." He argues. 

"Not mine." You smile, and then you make your first blunder. 

"I like my men a little taller." 

He stiffens, and you know you said the wrong thing. Your smile fades as does the cheery energy in your cottage. He says nothing, but he's zipping out your window before you can apologize. 

He doesn't return for the longest time. You count the weeks. Guilt weighs on your shoulders, heavy and burdensome. Every day you bake something even tastier than the day before. Not even that is enough to coax him back. 

You think you've lost him forever, when he returns on one sweltering summer evening. 

"Hi." You blink. He's watching you, sitting idly on the window, kicking his tiny feet. 

"Hi." He smiles. 

You're happy enough to grab him with one fist and hugging him to your chest, but as always, you stop yourself. Instead, a shy smile rests on your face. 

"I'm sorry," you say, "I really am...will you accept an apology pie?" 

He grins wider, and you relax. 

He eats, and you're grateful. Something you once cherished in your life has finally come back to you. You might not return Gojo's feelings, but you still care for him. You'd rather die than ever hurt him again. 

"No, you're right." Gojo surprisingly concedes when you apologize for the third time. "We're too different. It'd never work out. Not as the way you are, right now." 

You nod, grateful he's so understanding. "Exactly." 

He's finishing up when he announces he brought you a gift. 

"I've been working on it for the past few weeks," he cheerily says. "It took a while, but it's finally safe for human consumption." 

He takes out a tiny glass bottle filled with something swirling and blue. When he asks you to bring a glass of water, you acquiesce. To your astonishment, when the elixer is poured, the entire water becomes a swirling mass of a color comparable to none other than galaxies. You're so mesmerized by the color, it's enough to stump your voice. 

"For you!" He declares. "You've always been cooking for me; thought I might return the favor, just this once." 

"What is it?" You ask, amazed by the color. You admire the glance, unaware of the glint in Gojo's eye. 

"It's kinda like the wine you have in the mortal realms, but a little less poignant." He gives when you glance at him. "Go on, tell me what you think?" 

You're too trusting, and so you make your second blunder. 

Once you start, you can't seem to stop. The taste is otherworldly, addicting. You drink and drink, not wasting a single drop. You're breathing heavily once the cup detaches from your lips. 

"Amazing." You say before looking at him. His eyes are too wide, but you're too distracted by the taste still on your tongue. "Seriously, what was that? Can I make it here?" 

He scratches the back of his head. "Not really, the ingredients are pretty hard to find." He shrugs. "Besides, it's supposed to be a one-time use." 

Your eyebrows twist, and then the world sinks. 

You're falling. You think you are. You don't really know. Everything feels like it's stretching. The walls of your tiny little cottage get higher and higher and higher. The floor gets more and more warped. You're sinking, sinking through the air. When you scream, nothing comes out. You feel like you're choking because you can't breathe, and then your vision grows black. 

The next time you open your eyes. It's still dark, and to your horror, you realize you're buried underneath something. 

You panic, clawing and tearing your way out. The material gives away easily. It's fabric. Cotton. But there was so much, an undying ocean of fabric. You lift yourself up from the pile and that's when you realize you're completely naked. 

The mountain of cotton you just climbed to the top of was your old dress. 

Everything was gigantic—the table, the chairs. The windows seemed endless. The ceiling looked miles above you, and you know what happened, but your brain can't formulate it because it can't be—it just can't be.

There's a flutter of wings. You always thought he was so quiet before. Now, he's all you can hear. Immediately, you wrap your body with the cloth. It's hard to keep still; your body is buzzing with nerves and you still can't understand. You have to force yourself to look at him.

You don't know why you expected shock, guilt, something other than the pure manic glee on his face. Satoru towers above you, head tilted. He bends down, cupping your trembling face in his hand because he's big enough to do that now. 

"Just when I thought you couldn't get any more adorable." He coos. 

You can see him now. His skin isn't pale, it's borderline translucent. His canines are sharp and pointy. And his eyes. Oh God you've never seen eyes so terrifying before—an endless mass of blue, threatening to swallow you whole. 

He wasn't a cute little fairy. He was anything but that. 

"Gojo..." You start, heart squeezing. "What did you do.." 

You know. He knows. That's why he ignores your question entirely. 

"I'm surprised it worked." He says, mainly talking to himself. "Shoko said it might be a dud, and she was so sure of it, that I mostly believed her." 

"But now look at you!" He roughly pinches your cheek. "You're the perfect size now." 

"Stop." You blubber, pushing his hand off of you. "Don't touch me. Change me back. Change me back." 

He frowns. "Why would I do that? You being human-sized was always such a hassle. Lumbering around. Way too loud. Don't get me wrong, I adore you either way." He proclaims like it's something benevolent. "But this has its charm."

He leans forward, and you scuddle backward in fear. His grin widens. 

"So, am I tall enough for you, now?" 

[godmadeaterribleerror]

As Much As I Do - No Love Lost One Shot

Series Masterlist

Author's Note: One-shot request from my love lordofthunderthr! Extra thanks because I've been waiting for the genuine smallest reason to use this gif because it's in no way going to fit into the actual story. Title from Bob Dylan by Fall Out Boy (you guys can pry my Fall Out Boy song titles from my cold, dead hands)

Word Count: 1.8k

Summary/Warnings: Takes place after Chapter 14 and around Chapter 15. It's fluff. Horny fluff.

Ben felt like a fucking cat. She was touching him casually while he “slept” and he was pretty sure he was fucking purring. The Thing was definitely making some sort of goddamn low sound, and Ben couldn’t blame it. She was touching him like it was simple, his head was buried in Her neck, and one arm wrapped was between her body and the mattress while one splayed out across the bed because it goddamn could. He was in their fucking bed and Ben could do whatever the hell he wanted on it. 

Except fuck Her. 

Ben wasn’t allowed to fuck Her. 

He wasn’t allowed to make Her moan and scream and feel fucking good. Fuck Her until she said his name and smiled at him and looked so fucking perfect, undone below him. Or above him. Or against him or in front of him or clinging to his body. He didn’t give a single shit, as long as it was Her. Wanting Ben, touching him, letting him touch her. Like this—where Ben’s breath was in time with her heartbeat and her perfect hands were running through his hair—but until She’d been ruined. Until her beautiful face was flushed and her hands were clawing at his back and her pretty eyes were blown out and lustful and all of it was for Ben. For how he was making Her feel, how she was gasping and begging for him to do it again and again until the only words She knew were Ben and please and everything else was just moans and whines. Until she felt half as damn good as Ben did now, resting on top of Her as she fucking pet him and he had to fight the Thing’s urge to just stay here for the rest of goddamn time. 

“I know you’re awake, Benjamin.” Her voice was so perfect, humming everywhere around him and soothing the Thing, that Ben almost missed her actual fucking words. “I can feel you.” 

He didn’t answer. Maybe She’d just give up, and keep him right fucking here—where they both belonged—forever. 

He should’ve known better. Ben knew Her too fucking well to think she’d ever just let anything go. 

“You’re heavy,” She said, and one hand dropped to the base of Ben’s neck. “And you smell like shit.” 

“Shut the fuck up. I smell fucking fantastic.” Ben didn’t move as he grunted the words against Her skin. He wouldn’t move, not until she damn made him. 

“I knew it.” 

Clever, impossible, perfect fucking woman. With Her happy giggle when Ben squeezed her closer and her gasp when he nipped the skin of her neck.

“That’s a goddamn underhanded move, Sunshine.” He muttered, and when he looked up at Her it was like he’d been struck by lightning. She was smiling at him so gently, eyes still heavy with sleep, and so fucking beautiful. Just looking at him, watching Ben like she’d never want to look anywhere else. 

“I don’t know what you’re talking about, Pretty Boy.” She kept smiling at him, voice smug. “I didn’t do anything.” 

Ben rolled his eyes. “You didn’t know I was awake,” he said Her name, and her smile widened. “You fucking baited me.” 

She shrugged, body shifting under Ben’s and making a small sound that sent a rush of pure fucking hunger through him. “Prove it.” 

Ben had a lot of favorite sounds She made. The small squeak when he flipped her body over his—sitting up with his back against the headboard and sliding her down his chest—was certainly on the damn list. 

“You’re a fucking menace, beautiful.” Ben pulled Her forward slightly, leaning down to growl in her ear. “I don’t think I’ll have to prove it. I think I’ll ask you again and you’ll just tell me.”

When Ben moved back, meeting Her eyes, he could feel her heartbeat under his hands. Resting right at the line of her shirt, never higher. Holding her right where he fucking wanted her. Against him, so when she squirmed he’d feel it. 

“Fuck yo-“ 

He didn’t wait to make a teasing remark or dirty joke. Ben just leaned forwards and touched Her. Kissed her pretty mouth until she opened for him, pushing his tongue in—almost down her throat—and just trying to get closer. As close as he was allowed to be, while still touching her more, making her feel good. Make Her hands pull at his hair, make her whimper a fucking perfect sound from her throat that Ben got to devour. He’d lost sight of his original plan, but he didn’t really fucking care. Not when he bit her lower lip and could revere in the way she leaned further into him, or when he had to try not to lose his fucking mind when she started to grind down on him. Started to practically fucking climb up his body. 

When Ben sucked on her tongue and she made maybe the best sound he’d ever heard in his life—unintelligible and breathless—he had to wrap his arms around Her and pull her into his chest. Hold Her there until he could get goddamn control of himself and not have to explain why he’d fucking cum in his pants. 

“Ben,” She whispered, head in his chest. “You really do smell terrible.”

He chuckled. “Brat.”

“Cunt. Can you please shower so we can train?” 

“I told you last night, we’re not fucking training-“ 

“And I told you, Benjamin, that I do not care what you told me.” She glared up at him, so fucking beautiful, and now Ben had to goddamn pretend he hadn’t already given in. “I am training, with or without you.” 

“You’re a pain in my fucking ass.” 

She smiled at him. “But…?”

Ben rolled his eyes, leaning his head back, forcing himself to stop staring at Her perfect face. “Fine.” 

“Fine?” 

“We’ll train.” 

“Thank you,” She kissed his neck, near his jaw, and hummed against his skin. “Now go shower. You smell like balls.” 

The only thing that kept Ben from taking a year in the shower—letting the Thing grab him and show him all the ways he could’ve just fucked her on the bed, buried himself in her and made her scream—was that sometimes, when they trained her singing, his doppelgänger would appear. It would make Her face flush, make her eyes wide and heartbeat quicken, and Ben would get to taunt her until one of them moved and he was kissing the air out of her lungs. It was something to look forward to. Something that made Ben fucking haul ass, getting in and out of the shower in four minutes flat. 

Ben hadn’t left the room when he realized that She was already singing. She’d gotten more comfortable with it, the longer they practiced, and sometimes would hum softly during movies or while doing normal things. Normal, easy things like laundry or dishes or cooking, simple fucking things that Ben got to share with Her. Got to watch how Her humming would send the world into a spiral of her, all the perfect fucking parts of her cast across the room for Ben to exist in. Colors and lights that he got to watch her sway in. 

This wasn’t that. This was singing. 

With words and instruments and a beat that ran through Ben’s body and bones. With the room turned into a dark club, with lights that flashed and changed in time with the bass. 

And She was dancing. She was singing and dancing and moving with the music like it had been made for Her. Like the rhythm had been designed to follow her legs, and the guitar had been made to move her hips. Like the whole fucking song had been perfectly tailored to her voice and how she moved through it. How she didn’t stop for even a second, never losing a breath, performing for no one like her life depended on it. 

It didn’t, but Ben’s life might. Everything in the world might hinge on letting her just dance like that forever. The Thing wanted all of this. All of Her, forever, like this, or it would fucking explode. Ben had no will to push against it. Not when She was dropping down and twisting and turning her body and so lost in it that she didn’t even see Ben. Falling to her knees and leaning back while her hands gestured with the lyrics. Trailed down her body and up again. Wrapping around her throat before falling to the side. Her whole fucking voice saying every word like it had been written for her, the whole face twisting with the emotions of the song, smiling and dropping into a pout and so fucking perfect. 

She only saw Ben when the song ended. When the club disappeared and they were back in the apartment, leaving Ben no longer hidden in the shadows of her illusion. He should probably feel like a goddamn creep, but Her mouth fell open and her heart picked up, so he couldn’t really bring himself to give a fuck.

“Hi,” She whispered, and Ben grinned at Her.

“Hello.”

“How long-“ 

“About three minutes,” he crossed the room until he was standing above Her. “Almost the whole fucking show.” 

“You, um, you showered fast.” 

Ben winked at Her. “I’d have showered faster if I’d known I was missing something. You do dance like a fucking slut.” 

She scoffed, wrinkling her nose at him. “That’s pretty high and mighty for the manwhore to say.” 

“It was fucking hot,” he lowered himself down until his nose was bumping hers. “I think I prefer your slut dancing, Sunshine. It’s more you.” 

“More me?” She gave him a flat look. “Fucking rude.” 

“How the hell is that-“ 

“You just called me a slut, Benjamin. That’s not very nice.” She whacked his chest, and Ben caught her hand. Held it there. 

“It’s more you because it’s fucking loud. Because it’s fucking captivating and hot. So fucking beautiful and good.”

Because it’s fucking perfect, the Thing rumbled. Because you’re fucking perfect. 

She was watching Ben with wide eyes. Opening and closing her mouth like she was going to say something. 

Instead, she fucking tackled him. Rammed Her body forward, crashed her mouth against his, and let Ben pick her up and carry to the couch. Training could fucking wait. Everything could fucking wait. She was making that same perfect sound from before, and her hands in his hair were making him groan, and when his hand started to kneed at her skin she made such a happy fucking sigh and Ben knew everything could wait. This was just Her. Making the Thing content and goddamn purr in his chest. Making Ben grin against Her neck when he sucked that one spot and she moaned his name. 

The whole world could go fuck itself. This was Her.

End Note: Let's all say thank you to @lordofthunderthr for some easy fluff in these dark times (Chapter 16 to a secret chapter number I cannot yet say).

I'm going to start a separate tag list for one-shots, so lemme know if you want to be added!

If you like this story, reblog, share, or leave a comment! <3

[cyanorhis]

In terms of “canon-compliant” zutara, I think often about how Zuko’s development is both his redemption and his doom.

Because how come the obsessive go-getter of the show does not fight harder against fate (bryke’s annoying ass) to save his beloved from putting herself into a rewardless martyr-like situation in the form of a marriage that serves as repopulation program? (Which I always thought was ridiculous).

He learns bit by bit to acknowledge and make up for his mistakes. He respects Katara above all else. He fights fair. He does not guilt-trip her nor treat her like a reward. He loves her. He gave his life for her. He would not have survived had she not been the exceptional person she is. He supports her decisions no matter what. He listens to her.

So when she tells him about her ridiculously good and selfish intentions of pandering (once again) to a non-celibate Monk who wishes to have her mother his children for the sake of airbending and his supposed affection that was born out of the self-insert of narrators who give way too much importance to childhood crushes for one’s babysitter, he might argue but he can’t help but love her and respect her decision, both horrified by the cruelty of fate (aka bryke) and filled with admiration for the person she has always been.

If Orpheus loved Eurydice too much not to turn back when she tripped behind him, then Zuko loved Katara way too much not to validate and support her terribly selfless decisions. Because how dare him be selfish and want her for himself. And how dare him tell her what to do after years of war.

It is terribly tragic because on the other side, a part of her wishes he had fought harder.

A “villain” turned “hero” sometimes can mean the upholding of ideals made by two men who enjoy shaming young girls for their choice of love interest. Sometimes, the lack of a “villain” to whisk away the princess from the “hero’s” hands means said princess will remain unacknowledged and forgotten in a narrative that turns it into something of her own volition, a narrative that ignores everything a beloved female character represented for the people she was made to represent (by their own words, must I say). It leaves the realm of picking the love interest (which honestly could simply not ever happened in any form and would still be better than this) and enters the realm of once again giving a poor treatment to a female main character who quite literally Drives the story from its beginning.

And just like Orpheus and Eurydice are doomed by fate, Katara and Zuko are doomed by Bryke. And surprisingly, Katara gets the worse of it.

[qsmpmiraheze]

I managed to find this book and quill set tucked away underneath some dirt in my room. It needed some cleaning, but it’s useable. I’m writing this in hopes that someone will find this, that someone will hear my story, that someone will know, that I was here. I was alive. I’ve been inside this “egg adoption center” for what I can only describe as a long time. I say “a long time” because I’ve long since lost track of the days, they’ve lost any sort of meaning. I was put in here since, at least from what I was told, that my mom, a great dragon, flew away. I don’t have any memories before that point. Ever since then, I’ve been waiting in here, in this room, waiting to be adopted. I was told that a “person” would adopt me. Am I not a person? What does a person look like? This small room is the only home I’ve ever known. I was told that if I ever left on my own, I would never be adopted. So I stayed here. There’s nothing in here. A singular light, which never shuts off, some fences, the walls, the ground, and me. I survived off of whatever bugs managed to scurry in, and the slow dripping of water from above. I hated it, but I could survive off of it. I wanted to be adopted. I wanted to live. I’ve always dreamed of being adopted. Seeing the outside, having a nicer home, not worrying about thirst or hunger, being able to be somebody, meaning something to somebody. It sounds nice. I dream about it in my sleep and daydream about it when I’m awake. Maybe someone will adopt me. I heard a bunch of commotion, seemingly from below me, but then, it disappeared. As if a fire was lit, and then extinguished. I heard something again, then nothing. It’s been a long time since then. Will anyone else ever come? It’s been so long. I’ve tried to keep hope, that’s all I’ve had, hope, but it’s running out. I don’t have much left. This is where I’ve stayed, this is where I survived, but I’ve wanted to get a chance to live. I don’t know if I’ll have that chance. I hope that this isn’t where I die. I want to survive. I want to live. I don’t want to die here. I want to live. If I’m gone by the time that you read this, please know: Please don’t be sad. It’s not your fault. Maybe you just couldn’t see me. Maybe it’s my fault. I would’ve loved to meet you. I would’ve loved to live alongside you. I would’ve loved to mean something to you. Perhaps I won’t get that in this life, but maybe I’ll see you in another? Please know I was here. I was alive. I was somebody. I had hopes, I had ambitions, I had love that I was ready to give. I’ve accepted my fate. But I’m scared of being forgotten. This book gives me a chance to be remembered. Please don’t forget me.

— from Memories, a book found by Cellbit in an abandoned adoption area

[the-way-astray]

keefe has never gaslit or extorted anyone ever . manipulate MAYBE and i ONLY say that because katie knows all but i draw a line at extortion you arae wrong

hi, anon! those are some opinions you got there! obviously, it seems you've made up your mind, so my goal isn't to change your opinion, but rather to defend my side. i believe gaslighting is actually a form of manipulation, and you've already acknowledged that keefe could be manipulative, so i'm not really going to talk about that. however, it seems you feel very strongly about the extortion thing, so let's chat.

keefe's threats don't tend to come off as threats, because he's usually camouflaging them as something else, but the force (his use of empathy) is blatantly obvious. here are some examples (copy-pasting from my rant, only the stuff in the [brackets] is new):

(note: these are all out of order and i'm tired so i'm not citing shit. i may or may not change that later. point is, there is evidence in the text that proves that keefe is an extortive little shit, which is what i'm trying to prove.)

“Keefe nudged Dex’s arm, then grinned at Sophie. ‘Interesting.’ ‘What?’ Dex asked. ‘Which one’s your gift, Dex?’ Sophie interrupted. She didn’t have to be a mind reader to know what Keefe was going to tease Dex about.” Here we mark the start of Keefe using his empathy to learn people’s secrets without their consent. He feels not a hint of remorse for it, and instead uses it as a way to breach people’s boundaries and embarrass them. As a lot of people have already said, Keefe is the primary reason empathy should have similar restrictions on it to telepathy. [He obtained something (Dex's feelings, without permission, for no other reason than he wanted to) through force (his use of empathy).]

“He reached out and brushed Grady’s arm. ‘Whoa—that is some serious tension radiating off of you. Is it that bad?’” Again, here we see an example of Keefe breaching boundaries and using his ability to get people to tell him things they aren’t comfortable telling him. If Keefe was a Telepath, this would be breaking the law. In case you care. [Same thing as above.]

“Keefe grabbed Fitz’s wrist and pressed his fingers against the exposed skin. ‘Hate to break it to you, but I can tell you’re hiding something.’” (26) Another example of Keefe breaching personal boundaries and using his empathy to extort secrets out of people to get him to tell things they wouldn’t ordinarily tell him. This happens a lot starting in this book, and yes, I am going to point them all out. By the way, what Fitz was hiding was not at all important to their mission. It’s a secret of Sophie’s that Fitz accidentally saw and was forced to tell because of Keefe. And Keefe tries to make fun of Sophie for it, but is cut off. [Same as above.]

“Keefe spotted the crush cuffs about ten seconds after he got to Havenfield the next morning—despite the long-sleeved tunic Sophie had worn to keep them covered. And he dragged out the rest of the story with a relentless bombardment of questions.” Can Keefe keep his nose out of Sophie’s personal business for even a minute??? The “dragged” here is very telling: Sophie would not have chosen to tell Keefe all this of her own free will. He bombards her with questions, and so she tells him, not because she wants to, but because she knows that he won’t shut up until he has the full story. This is Sophie’s secret. Sophie’s business (and Dex’s). Keefe has no right to ask about the cuffs at all. The fact that he “retelentless[ly]” asked her questions until she was forced to tell him the entire story is not a good thing. It does not demonstrate trust, but quite the opposite: a breach of personal boundaries. Keefe is so toxic, I honestly find it impressive how Shannon has twisted him into a seemingly perfect-angel love interest. [He obtains something (what happened between Sophie and Dex) through force (his questions, which are specifically described using the words "dragged" and "relentless", as I stated).]

“She could feel him reaching for her glove—and yanked her hand away.” Keefe tries to breach Sophie’s boundaries. But what else is new. [Once again, he tries to extort, yes, extort, Sophie's feelings out of her. He isn't successful, but hopefully this proves that Sophie is not a willing participant here.]

“He traced his thumb over the sliver of skin between her glove and the edge of her beaded sleeve. ‘There’s something you’re not saying right now. I can feel it.’” (12) Keefe once again breaches boundaries because he can’t keep his nose out of other people’s personal feelings. He has no right to just help himself to Sophie’s emotions like that. It’s a massive breach of boundaries, and then using that to try to pry the secret out of her is nothing short of repulsive behavior. [He obtains something (Sophie's feelings, specifically the feeling of "she's not saying something", which he states) through force (his empathy).]

“Keefe snatched Fitz’s wrist. ‘I knew it!’ ‘Knew what?’ Fitz shouted, trying to wrench his arm away. Keefe tightened his grip. ‘Shhhhh, let the Empath work.’” (367) Oh, boy. Keefe really is such a manipulative asshole. He grabs Fitz’s hand to read his emotions because he wants to know why Fitz is offering to search his dad’s memories. He really can’t respect his supposed best friend’s privacy, can he? He can’t control himself; when he wants to know something he needs to have it right away. He breaches people’s trust and boundaries. Fitz tries to “wrench his arm away”, meaning that he’s uncomfortable and clearly doesn’t want this. But Keefe instead tightens his grip and forcibly extricates what he wants out of Fitz, even having the audacity to say “let the Empath work”. What an asshole. Honestly. He’s such a piece of shit. He’s a terrible person and the fact that Shannon is romanticizing this behavior is revolting. [He once again obtains something (Fitz's feelings, and from that the fact that he's trying to go after Alvar) through force (very literal here, he uses not only his empathy, but also his physical strength to keep Fitz from wrenching away).]

“‘Okay, two choices,’ Keefe told her, standing up and tilting her chin toward him. ‘You can tell me what’s wrong. Or I can put my Empath powers to work—but keep in mind, Option B will likely pick up on all kinds of other feelings.’ Sophie gave him her surliest scowl, but he didn’t back down.” First of all, here’s another example of Keefe touching Sophie’s face creepily. Secondly, Keefe just extorted Sophie’s personal feelings out of her. He just threatened to use his empathy on her if she didn’t tell him what was going on. He then said that if she didn’t tell him the thing she obviously doesn’t want to tell him, he’d not only use his power on her and figure it out, but would also probably pick up on other things she doesn’t want him knowing about. Sophie then makes it very obvious that she doesn’t want to do it, but he “didn’t back down”, by which Shannon of course means “didn’t respect Sophie’s feelings and her right to keep them to herself”. That is so. That is just. I don’t understand how Shannon somehow managed to twist this into Keefe caring about Sophie. He threatened, coerced, manipulated, and extorted her into telling him, sure, but caring about her??? Don’t make me laugh. Keefe is possibly the most toxic character in this entire series, and it is disgusting how Shannon gives the impression that this is caring behavior, or correct in any capacity at all. When someone wants to be left alone, you leave them alone. Keefe needs to go back to seventh grade health class, where they teach you that no means no. [My personal favorite example, because this is the one that most makes me think Shannon actively does not realize what a shitty character she's created in Keefe. He threatens Sophie (by telling her that if she didn't tell him, he'd forcefully take it from her, with some possible extra secrets, thrown in for funsies) into getting something he wants (her telling him what she's feeling). Yes, this is still shitty if you mask it as "caring". If Sophie doesn't want to talk, he needs to respect that, not pretend he knows her wishes better than she knows them herself. That is gaslighting. And taking away someone's agency to make their own decisions regarding their own feelings is bad and not good!]

[block limits are fun!!!]

“‘[ . . . ] forced herself to meet Keefe’s ice blue eyes. ‘I’m fine.’ When he raised one eyebrow, she added, ‘I’m just frustrated [ . . . ]’” (7) That’s right, the page numbers return. And I have physical copies of the rest of the series, so they’re here to stay. It may seem like Keefe is just trying to check on Sophie and make sure she’s okay, which is a noble cause, but when someone says they don’t want to talk about something, that means they don’t want to talk about it. That does not mean you prod and prod until they spill. So many things Sophie tells Keefe get twisted and people think she tells him because she trusts him, but more often than not she doesn’t and he just prods her or extorts them out of her. [It may not seem like Keefe "prod[s] and prod[s]", as my past self put it. But this is Flashback, so you do have to take into account the fact that Sophie has been putting up with Keefe's shitty behavior for six books, so she succumbs quicker. She knows that he will just take it from her if she doesn't give him what she wants. There is a quote later down that proves this, actually (it'll be in red).]

“‘Yup! But I can’t stop her, so I might as well let her take you down with me.’” (97) This is Keefe talking about Ro using him as a lie detector to extort Sophie’s secret out of her, by the way. Which Keefe agrees to do. Which he wouldn’t do if he really was a good friend. Just like Sophie wouldn’t have to make this deal with Ro if Keefe would just listen to good advice for once and do the smart thing. But he doesn’t care about Sophie’s mental health, and he doesn't care about Sophie’s feelings, because or else he would respect them by agreeing to stay out of the Neverseen’s way and not using his empathy to extort secrets Sophie clearly doesn't want to share out of her. And Ro. Honestly, she’s even worse than Keefe, partly because of her personality, but mostly because of the wasted potential. Keefe was always going to be the “bad boy angsty prankster with daddy issues that causes trouble” trope that we've seen a million times. But Ro could’ve been so much more. She’s the ogre princess, and the most Shannon could do with her is make her a Sokeefe fangirl. [Again, Keefe uses his empathy (force) to keep Sophie honest as Ro forces her to tell her and Keefe the secret that she desperately doesn't want to tell to the both of them (obtaining something he wants). And this is somehow spun around and sold to the audience as caring.]

“‘But do you really think you’re going to be able to leave here without telling me what happened with the Forklenator? If you do, you’re going to be sorely, sorely disappointed—and covered in biscuit crumbs.’” (351) Again, Keefe as good as admits that he’d force Sophie to spill if she didn’t tell him what happened with Mr. Forkle. His extortive ways need to stop being glorified and start being treated like the horrific manipulation it is. [This may seem like a joke, but it got Sophie to spill, so I mean. And yes, Sophie came there with the intention of telling Keefe. But that doesn't change the fact that telling someone they have to tell you something they may not want to is shitty. Especially considering how Keefe has acted for the past seven books (this is in Legacy).]

“She wasn’t sure if they were allowed to tell him—but it was so much easier than arguing.” (336) Keefe has literally annoyed Sophie so much that she doesn’t even think it’s worth the fight to keep a secret. That’s not good. It means that Sophie just succumbs to whatever he wants without a thought. That’s pretty much the highest sign of a toxic relationship. [And the reason she succumbed? Because he consistently shows her he has the power to take what he wants from her, over and over and over, and consistently has threatened/forced her, so now she doesn't even think it's worth the fight to try to keep stuff secret anymore. I don't know what else to say. This is not good. It is not caring. It is extortive and shows a clear lack of trust in Sophie and Keefe's relationship.]

and just as a comparison point, here's what keefe using his empathy in a healthy, not extortive way looks like:

so yeah, i'd say keefe consistently and constantly extorts sophie (and others) when he decides it's convenient for him.

[herefortheships]

Why would you say people ship Beetlejuice and Lydia? I’ve been a fan for so long I’m just like “huh…why do we ship it?”

Suddenly remembered I hadn’t answered this, and since I can’t sleep right now I’ll answer it! I meant to earlier and forgot.

I personally ship it because I love the concept of monster x human relationships, and especially when one character (usually the male part of the ship when it’s m/f) in this case this character is Betelgeuse, is dark, powerful, often immortal and even terrifying, (in Betelgeuse’s case also unhinged and absolutely crazy lol), and definitely the least you would expect to EVER fall in love, and yet he does fall in love with this other character who happens to be human, mortal, often quiet and also unlikely to fall in love. These two are the least likely to fall for each other, but they do! Then he starts to show a softer, completely unexpectedly romantic side to him that is reserved only for this woman he loves and no one else. She is both his strength and his weakness all at the same time. He is willing to do everything and anything for her.

Often these two characters are complete opposites and at odds with each other (or even enemies!) and yet they find each other in the middle. There is something they find in the other which cannot be replaced or found in anyone else in the world, and as unexpected and unusual and crazy at it is, before they even know it, their connection is forged in a way where they cannot and will not ever belong or fit in with anyone else. They’ve become a part of each other, even when the odds were against them or might be against them forever because they are intrinsically worlds apart. But love just finds them, and they meet in the middle.

I also love this kind of couple a lot when one of the two realizes their connection before the other, like Beetlejuice just knowing Lydia is *the one*, even if he can’t explain to her how he knows or why. This same scenario happens with Spike in Buffy the Vampire Slayer. At some point he realized she was the one, and she just got under his skin and became an inseparable part of his being.

Although not always, I believe this type of couple also follows the female gaze, since the male character (as I mentioned above it’s often the male character) shows an interest in the emotions of the female part. This is true in Beetlebabes. He isn’t interested only in her body, but also in honoring her emotions and desires (like Betelgeuse honoring Lydia’s wishes to have a more private wedding and respecting her boundaries by not forcing her to kiss him or something like that, plus making an effort at being romantic by serenading her and giving her an absolutely romantic wedding with a magical dance in the air). These interactions that are more romantic than sexual speak to the female gaze.

I think also that Beetlejuice Beetlejuice had several “Universal fantasies” entwined in the Betelgeuse x Lydia relationship that are just irresistible for many romance lovers and when those are present, our minds just inevitably grab on to those fantasies and identity them whether we are aware of them or not. Our mind just goes yep this is a romance and oh boy what a romance this is and before you know it you are obsessed. If you haven’t read about Universal Fantasies in writing, these are basically just more specific tropes that really speak to audiences in a way that hooks them powerfully to a story, and more specifically to romantic stories. This concept is introduced by Theodora Taylor in her book 7 Figure Fiction (which I’m sure many writers know about since it’s pretty popular but I mention it just in case it’s new to someone reading this).

Another reason lots of people love this ship is just aesthetics as well which is also valid. For me this for sure became one of my top three Burton couples.

[pygmi-says-hi]

how to write romantic tension

we all love enemies to lovers but some of you get to the lovers part so fast you don't even finish typing 'enemies'. enemthey'refuckingnow to lovers. which is ok if that's what you wanna read but personally, my favorite part is the tension.

So...

Off we go!

What makes a good enemies to lovers story?

Believable tension, likeably irritating themes, and potential. Among other things, but this is what I want to talk about with the 'tension' perspective. There needs to be a good reason, obstacle, and rapport. If they're mad at each other just because, idgaf.

I want to write this but I dunno how to frame the tension?

It's kind of a tricky trope, to be honest. Enemies/rivals/foes however you wanna pitch it, takes an interesting twist on seductive emotions.

pride. a feeling of self-sufficiency, power over somebody else, or superiority. How would this play into a relationship type deal? Well:

Pride in a relationship or in regards to another person can involve a feeling of equivalence. "Do I feel unworthy of them?" "Are they out of my league?" "will the way people perceive me change if I go for it?" Social insecurity is a big aspect, and so the frustration that comes with that leads to friction because of the character's insistence on keeping their dignity. which leads me to the next point...

vulnerability. Attraction to another person is accompanied by a feeling of vulnerability and openness. This is always a hard position to be in, especially if extenuating circumstances make honesty impossible (power imbalance, politics, etc). If a character feels too vulnerable and exposed, they might shield themself with aloofness and sharp words.

desperation/yearning. They have to want each other. the only thing stopping themselves is each other. It's overcoming the above emotions to reach the point where they have no choice but to accept it. Throughout the whole deal, there should be an undercurrent of desire.

When all of those come together, it creates an emotional battle. This battle has several war tactics (hittin with the allegories today dayum)

banter. a favorite of all. wonderfully tense and combative conversation that highlights the reason for disagreement and the romantic tension. 10/10

self-sabotage. like, ohthey'resoclosetheirhandsaretouchingoooohnope. someone chickened out, heard something from someone that made them reconsider, plans changed, they felt angry and ruined the whole deal. back to square one. it's like edging your readers. (ew but you know what i mean. bring em up to bring em down)

miscommunication. "I thought you hated me." "only because I thought you did too..." love it. beautiful. or, there was miscommunication years ago that led to a deep rift when actually, it was entirely unfounded.

and many more...

Another important point:

There needs to be progress. Slow and steady wins the race, but even slow means going forward. If you throw too much tension and obstacles in the way, it gets old really fast. Give them baby steps to take. It'll keep people interested.

Internal turmoil:

Oh, that wonderful period when they know it's inevitable but they're so terrified of it happening....pick an emotional direction.

Are they scared? Hiding from their attraction? Are they angry? Frustrated that they can't have them/became attracted? Are they desperate? So in love that they act out of pure lust?

What is the character's opinion of what is going on? Pick reactions and convo that corresponds with that. Enemies to lovers doesn't always mean sass-battles and hate sex. It can also be someone cold and cut off slowly warming up. Or somebody shy and critical becoming relaxed and open-minded. there are sooooo many opportunities for good emotional depth, spice it up a little!

Things to improve on:

Working on banter/bickering. This is really funny, but the banter should have some kind of meat to it. random back-and-forths are a nice palate cleanser, but so often it just sounds petty. Incorporate plot and past disagreements with it. it'll add depth to the relationship without needing to do a prologue or exposition paragraph.

Not just making them hate fuck and then be head over heels. (I mean if you wanna write/read that, go ahead, but if you're frustrated with the transition stage, I gotchu.) It is a weird moment of going from 'fuck you' to 'fuck me' to 'ilysm'. AWKWARD STAGES ARE OKAY!!!!! It's gonna be a bit of a new thing, esp for the characters. Great opportunity for wholesomeness; if they're trying really hard to get better but don't know how?? UGHH I EATTT IT.

hopefully this provides some pointers?

xox keep writing, comment/message any questions or requests!

[recoord]

Why Good Omens season 1 has already fulfilled Sir Terry Pratchett's wish

Neil Gaiman said he wouldn't make a sequel to Good Omens

Neil Gaiman at SXSW in Austin, Texas in 2019:

[Gaiman also confirmed the series will only be six episodes, with no intention of trying to go for another season if successful. "The lovely thing about Good Omens is it has a beginning, it has a middle, and it has an end," he said to appreciative applause. "Season 1 of Good Omens is Good Omens. It's brilliant. It finishes. You have six episodes and we're done. We won't try to build in all these things to try to let it continue indefinitely."]

Source: Entertainment Weekly (2019)

2018 - Neil Gaiman on X- Twitter

Tweet link here

Also Neil Gaiman in 2023:

["It won't be confirmed unless enough people watch Season 2 to make Amazon happy...

...But obviously Season 3 is all planned and plotted and, if I get to make it, will take the story and the people in it we care about to a satisfying end."]

What happened?

Were the profits and ratings high enough to create two more seasons out of thin air? At this point, seasons 2 and 3 seem more like a greedy stretching of a beloved story already told in its entirety in the first season.

Has the first season already fulfilled Sir Terry Pratchett's wish?

As read above, Neil Gaiman himself said: "Season 1 of Good Omens is Good Omens."

Gaiman was very opened about how pleased he was with Season 1 and how he made it having Sir Terry Pratchett's wish in mind.

Interview for The Verge (May 30, 2019)

Link : Neil Gaiman had one rule for the Good Omens adaptation: making Terry Pratchett happy

Interviewer: Do you feel pressure from knowing this has to be the definitive best adaptation it could be?

Gaiman: No. All I wanted to do was to make something Terry would have liked. It wasn’t like, “Make the best thing.”...

...Gaiman: The lovely thing about Good Omens [the miniseries] is that it’s still Good Omens. If you loved the book, this is that thing that you loved. And I will make you fall in love even more with Sergeant Shadwell. I will make you fall even more in love with Newt than you thought you could, I hope. It does demonstrate that I do kind of know what I’m talking about, which is a nice thing to know.

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman on an interview for The Guardian in 2019.

Link: Neil Gaiman: ‘Good Omens feels more apt now than it did 30 years ago’

There are times, he insists, when “you make something you like so much that you don’t really care what anyone else thinks of it.” There’s a clue to this, perhaps, in the show’s final frame, which reads “For Terry”. “He didn’t believe in heaven or hell or anything like that,” Gaiman says, “so there wasn’t even a hope that there was a ghostly Terry around to watch it. He would have been grumpy if there was. But I made it for him.”

Why was Good Omens season 1 so good and you could really feel Sir Terry Pratchett's contributions?

Gaiman himself has already told us the answer:

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman for The Verge (2019).

There was original material to work with (Good Omens, published in 1990), on which we certainly know that Sir Terry Pratchett himself actively worked from start to finish.

Is there a proper sequel to Good Omens the book on which to base 2 more seasons of the series?

Neil Gaiman says the following on an interview for GQ in 2019.

Link: Neil Gaiman Says No to Adapting His Own Books—Except This Time

...But with this, it was like: Okay. Terry is gone. He wanted me to do this. He wanted me to do it for him. And that gave me a kind of weird impetus. And it meant that I felt very much at liberty to take every conversation that Terry and I had ever had about Good Omens. Not just the book, as written, but everything beyond it. We planned a sequel, never written, so I got to steal the angels from the sequel. I got to steal from every conversation Terry and I had about how we would do this. It felt very personal, and I guess kind of… holy. If that doesn’t sound too ridiculous. But it was a mission.

Two conclusions can be drawn:

1) Informal conversations about the plot of a sequel do not equate to an officially written sequel.

2) Neil Gaiman has already used many of the ideas he and Terry Pratchett had planned for a never-written sequel to Good Omens and those ideas were largely added to and executed in the TV adaptation of Good Omens (2019).

Why keep stretching those ideas if the co-writer is no longer able to actively contribute and help to create a proper sequel?

If Gaiman were the sole creator of Good Omens we'd have a different conversation, but that's not the case. The first season of Good Omens was already a beautiful homage to Good Omens and Sir Terry Pratchett's work on the book.

Did Terry Pratchett write around 75% of Good Omens?

Link for the post here.

Link for the post talking about the video and sharing the video here.

Edit: I wanted to bring this point up to point out Terry Pratchett's important contribution to the making of the book, not to highlight it as an excuse to distance Gaiman from the novel. We will have to accept that he also contributed to the creation of the book.

Sir Terry Pratchett's last wish

2017 - Rob Wilkins on Twitter (X)

Terry Pratchett’s Unpublished Work Crushed by Steamroller

By Sophie Haigney - The New York Times

Terry Pratchett, the well-known British fantasy author, had a wish fulfilled two years after his death: A hard drive containing his unpublished work was destroyed by steamroller.

Mr. Pratchett, a wildly popular fantasy novelist who wrote more than 70 books, including the “Discworld” series, died at 66 in 2015. That year his friend, the writer Neil Gaiman, told The Times of London that Mr. Pratchett had wanted “whatever he was working on at the time of his death to be taken out along with his computers, to be put in the middle of a road and for a steamroller to steamroll over them all.” Mr. Gaiman added at the time that he was glad this hadn’t happened.

Now, though, it has. Mr. Pratchett’s estate manager and close friend, Rob Wilkins, posted a picture of a hard drive and a steamroller on Aug. 25 on an official Twitter account they shared.

Shortly thereafter, Mr. Wilkins wrote that the deed was done.

I have not been able to find the exact reasons why Sir Terry Pratchet wanted his unfinished and unpublished works destroyed, but we can respect his last wish as a way for him to have control over what he felt he was ready to share with the world and what he was not.

Is Good Omens the exception?

With all that has been presented so far, I can only conjecture, but not be sure. I can believe that there was Terry Pratchett's permission and desire to make an adaptation of Good Omens, the original book published in 1990, but to my mind, creating two more seasons of a never-written sequel doesn't fit as part of Terry Pratchett's desire.

He is not among us to actively participate in a sequel and if his last wish was to destroy his unfinished works, I can believe that he would have wanted to give his approval to something new before it was published under his name.

Sir Terry Pratchett talking about a never-written sequel to Good Omens

“Neil and I thought about a sequel an awful lot initially. We talked about it on tour. And I think it was a big relief to both of us, when one day we looked one another in the eye and said, 'I thought you wanted to do a sequel.'..

Interview for the Magazine Locus. Locusmag archive page

This is me speculating, but I don't think there was real enthusiasm for creating a sequel until Gaiman alone saw profitable potential in the TV adaptation....

Good Omens also belongs to the those who love the story

I think it's okay to still love the story of Good Omens. Personally, I will always be grateful with the story and the characters for giving me confort in troubling times, but I find seasons 2 and 3 as some kind of excuse from Gaiman to keep profiting and benefiting from the story (more now than ever due to the SA allegations*).

Aziraphale and Crowley will always live happily in a lovely cottage as long as we want to. Even before season 2 was announced, many of us had already accepted that. Many artists have imagined lovely endings for our innefable husbands and in my eyes their works won't be any less valuable than whatever Gaiman had planned.

Note:

I don't like talking about Season 3 of GO without mentioning the current 5 SA allegations against Neil Gaiman (Main writer of seasons 2 and 3 and showrunner), so in case you want to know more about the allegations against Neil Gaiman. Here there's a great Round Up link (Podcasts links, transcripts, etc.)

Credits for the Round Up link to Muccamukk. Thanks a lot!

*more thoughts on supporting season 3

[samwwise]

there are so many different kinds of love, and literally every single one of them can be found in lord of the rings. good night

[hellinglasses]

Hello!!! I am infinitely curious about all of these, but will restrain myself to two:

holiday shenanigans for polycules and mamas

that lilo and stitch au that grew out of my control

Thank you so much or playing!!!

@blackberrywars​ thank you so much for sending this and here is the holiday shenanigans part and also be welcome to that lilo and stitch au that grew out of my control!! we have found family and also regular family that is also quite close and a complete disregard from what tolkien would think of this!! it's fun!!

also it's important to say that this is heavily influenced by beloved fandom tropes in the silmarillion fandom i could not find to link the origin of, including that caranthir knits, the pointing out the implications of naming your son something that means third finwë (after you and your dad) when you got two younger brothers, realization that findekáno e kanafinwë are pretty much the same name, this particular take in caranthir's affinity for business

so we have melkor!! the story starts when he gets arrested for illegal scientific experimentation. he gets caught creating this creature, carcharoth, which in tolkien works is descibed as a werewolf but tragically involves very little were-ing. so of course, by all intents and purposes, we're treating it as a very large alien doggo with the sharpest teeth. said shap-toothed doggo has, in fact, escaped

melkor gets cut a deal, though: he can get a reduced sentence in a not-so-horrible intergalactic prison if he helps in the capture of his creation, which, as the tracking of the escape pod used is appointing, is headed to arda (which by all intents and purposes, we're treating like modern day earth)

are they sending melkor alone to arda to retrieve carcharoth? hell the fuck no, much like lilo and stitch, we're getting a pleakley to this jumba and it's going to be just as queer as it should!! meet mairon, he works for the galactic federation's office of singular affairs and he's responsible for seeing to it, quietly navigating arda's society in search for carcharoth and making sure melkor doesn’t escape

they share close quarters while working the case!! they have to share an apartment!! they will bicker constantly!! they will also flirt!!

which brings us to the finwëan family (and holy shit that's a lot of people)

for context, here's a simplified family tree!! (these are all elves and the ages are, for all intents and purposes, absolutely for the sake of this)

also, for further context!! fëanor is the son of finwë and miriel, fingolfin and finarfin are the sons of finwë and indis

this is a story about love before everything else

fëanor and nerdanel, his wife, died in a car accident. he was a welder and an artisan and she was a sculpture artist who worked from home. they sold their artistic work on the main street fair on sundays. she went pick him from his late friday shift as they got dinner on the way back

fëanor and his brother fingolfin had their disagreements but loved each other. sometimes they had energetic discussions at family gatherings, then laugh and hug it out. fëanor named maedhros nelyafinwë as a jab on his brother, fingolfin would forever accuse fëanor of stealing the name kanafinwë from him. they would needle each other in a warm, affectionate way and that would be a running joke in the family. they only fought seriously once, eight years ago, when finwë was dying and fëanor refused to sign the DNR order and fingolfin said he and finarfin remained loyal sons; fëanor punched his face in the waiting room. the fight lasted a year. finwë used to be the president of the neighborhood association, fingolfin filling in when his condition worsened. fëanor never had any interest in the association. they ran against each other that next election and it got increasingly ridiculous until they snapped, had a huge argument and made peace during a debate for the election. finarfin was getting increasingly frustrated since he was one of the major people to complain about the other for both of them

maedhros was 18 when his parents died and quits the local college so he can work full time to support his brothers. the expenses of keeping the seven of them fed and the bills paid are piling up and he is holding out so they don't have to sell the house

fingolfin is an english teacher and anairë, his wife, is a nurse. neither of them makes too much, but it’s enough to keep them afloat and have some savings. they have more than once asked maedhros for the fëanorions to move in with them. he doesn’t accept since he feels he can’t neither impose nor make his brothers go through selling the house where their parents lived

finarfin is a counselor at a nonprofit and eärwen is the swim team instructor. not wealthy by any means, but will pick up the kids after school and bring weekly casseroles for dinner with extra groceries

fëanor once joked finarfin and eärwen could have another kid so they would both be ahead on the total of kids count. fingolfin would then say that fëanor could have more kids, but he clearly had the brightest of the bunch. fëanor would reply that fingon has broken his arm at least three times in the last couple years. fingon would remind uncle fëanor that it was "four times in five years” and to “make sure to give him all the credit he deserves.” finrod would say, wisely, that “the year only really starts after finno breaks his arm.”

fingon is three months younger than maglor. has graduated high school and takes classes at the community college, studying to be a social worker. former president of the gsa. runs track competitions. works down the street from maedhros. will bring him coffee on his breaks and talk nonsense to him after a bad day

he also brings the fëanorions movies on sundays as maglor makes his godless sweet/salted popcorn. brings hard liquor in the middle of the night so the grown-ups drink it in the garden. will cheer louder than anyone at maglor's shows and they're also very close friends. does Sports™ with celegorm.

maglor has flunked his last year high school after the death of his parents, so he's still a senior and works when he can on afterschool or summer jobs, but maedhros won't let him neglect his studies to help him. sometimes has barely paying music gigs, which he loves

celegorm is a wholesome, chaotic himbo. is closest to aredhel and curufin. will help old ladies to carry their groceries and teach them slang. plays pranks on deserving teachers at school with aredhel. will punch assholes in the face while laughing. volunteers at a shelter. has had his enormous dog huan since he was 5. when he gets into college will study to be a vet

caranthir is an angry teenager picking fights at school and pushing people away. knits and embroiders and talked back to a teacher who wouldn’t let him bring needles to class since that’s the only way he can concentrate anyway. gets detention. is walking back home alone after and this weird looking, scary dog starts walking behind him. manages to befriend said scary dog and bring him home. maedhros figures he does seem happier than in months, and one more dog isn’t going to strain finances too much. is that a small rottweiler? an overtly angry doberman? maedhros has no idea

curufin adores science and maths. fëanor used to tutor him in those interests, and after his death his brothers teach themselves things so they can keep on teaching him but he's quickly surpassing them. will end older kids bothering him. skipped a grade and is in the same class as galadriel. they're best friends, she is the only person who can play chess with him and those two could probably take over the world together

turgon is the sweetest, awkwardest, most considerate person. wants to be a lawyer. writes articles on the students’ newspaper about the unequal funding of state schools and the drama club budget cuts while crushing heavily on editor in chief elenwë

aredhel is in the roller derby team and the women’s student union with haleth, morwen and lúthien. crushes on Morwen hopelessly and pretty much dies every time she does something really cool. helped organizing a protest against double standards on dress codes and sexualization of teenage girls where everyone came to school wearing shorts. celegrom wore shorts in support

argon is a theater kid

finrod is both that competent and popular to be president of the student council, with glorfindel as vice-president. total overachiever. doesn’t really know what he’s going to be doing with his life yet so collects interests like people collect shells on the beach. has literally joined all the clubs in school at some points and knows Everyone. turgon is exasperated every time they walk the halls together since a five minute corridor cross takes at least ten, as finrod will stop to talk to everyone that greets him. turgon reminds him he has class to attend. finrod will get in class late, smile angelically and not get in trouble for it. in college will be a undeclared major for awhile

angrod in swim team with his friend ecthelion

aegnor is a rebel against all authority except his mom. has no idea what he's doing and that seems to be his plan. fine if finrod wants to be the family overachiever, he wants to have fun. has a lot more in common with him than he realizes. he and caranthir run a forbidden snacks underground ring during school recess

galadriel is 12 and will win arguments with just about anybody. very perceptive

[kanansdume]

I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.

The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.

Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.

But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.

So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.

[levitatingbiscuits]

ok but superman as a livestock guardian. lives among his flock, loves them as his own, would die for them without thought, but can't quite be one of them because of his inherent drive to protect them.

and the flock looks at this predator who could rip them apart with ease and loves him. lambs sleeping with the sheepdog while their mothers watch contentedly, even after witnessing him rip the wolves apart. starstruck parents offering up their infants for superman to hold after watching him shatter concrete and rend steel with the same hands he uses to cradle their children.

superman held in place more effectively by his devotion than any collar. always predictable to his enemies, because they always know what he's going to do: save people, no matter what cost to himself.

[gingermintpepper]

I'm actually so frustrated that I'm so tired and incoherent tonight because not only have I seen a great many fantastic Apollo posts I'd love to contribute to, I also got a mythical, super rare Achilles/Troilus post that directly names Achilles' crimes against Apollo and I can't!! Respond!! Or Add!!! To it!!! in any meaningful way!!!!

AGONIES!! TORMENT!!! A THOUSAND PAINS!!!

[dirtytransmasc]

maybe it's because I'm in the "I'm so obsessed and hyperfocused on my little guys I will make any song seem like it's about them even if it couldn't be any father from actually relating to them at all" stage of my Theon and Asha hyperfixation but like...

I feel like 'I bet on losing dogs' by Mitski is about them.

it's about Asha and her relationship with Theon.

he's her baby brother. the baby brother who looked up at her smiled when she had gone in his room, intent on strangling him to stop his cries. he's her losing dog. the dog she keeps fighting for when no one else will. she never gives up on him, not truly, even when he is so clearly doomed, because she loves him, she won't give up on him.

and Theon is, in so many senses, a dog. he's been passed around from owner to owner, home to home, trained and beaten and domesticated, made to behave how his owner at the time sees fit. he's a good dog, a good beaten dog.

and now, in a way, he's Asha's dog. she doesn't want him to be her dog, she wants him to be her brother, and Theon's trying, he really is trying, she knows he's trying, but part of him will always be doomed to be a dog waiting to be hit, waiting for a command, waiting to be trained.

he's her losing dog, she knows it, knows he's doomed, deep down, there's little hope, he'll die a damned dog, but fuck it she doesn't care, he's her blood, her baby, he will be by her side no matter what. she'll always go back for him, she'll always fight for him, she'll always tell him to stay, she'll always give him a chance, she'll always try.

~~~~

[averagemartian]

I love blue beetle and its message and I wish more people had watched it and I understand that the lack of promotion both because of the strikes and because the studios don't give a shit has affected it negatively and the role that racism/xenophobia play in people's disinterest towards the characters in general BUT PLEASE let's also not forget about superhero fatigue

[katierosefun]

i’ll always have a weird relationship with religion and specifically christianity but the way i’ll always be at least a little glad that my parents brought me to church, solely because lil’ old me heard the pastor talk about how each and every story is about how humans long to go back to a home that they can never reach while they’re alive on this earth and maybe that did something to my brain. anyways humans are meant to tell stories and we all want to go home and we never know where that home is. if you even care