#which could be just a development of the character

[chefkids]

Claire was the Cold Prep.

The Ice Chips episode will be the when he talks to her again because she is the last chip of getting stuck in the freezer he has left over to deal with. They are always connected to cold and fridges. He reconnected with her in the freezer aisle at the grocery store.

They made out in the garde manger which is the cold prep station in kitchens.

And of course they broke up by the walk in fridge.

Claire was a Cold Reading for Carmy. A rehearsal. A practice girlfriend before the real thing. Molly and Jeremy did not even do a chemistry read before they were on set running lines together, and that was not due to poor planning. It was very intentional just like Claire's entire character. Her lack of development, he costuming, their interactions, are all tied up with being a cold prep. Their entire relationship was written as practice for Carmy wanting to be with Syd, which is why he mirrors everything about Sydney into that relationship.

Fak is going to tell Claire that Carmy told him he’s still in love with her to try and get them to fix things. She will probably try to reconcile and tell Carmy that Fak told her he does love her, but I think Carmy is going to tell her he never told him that and that he’s not actually in love with her and can't be with her.

*Season 3 Spoiler Skip this paragraph* That is what is going to cause the fight that we heard, because Fak/Claire will accuse Carmy of lying about it and Carmy will insist he didn’t lie about saying he loved her.

Technically Carmy didn’t say he was in love with her. Fak asked Carmy how much he love Claire and he said he loved her a lot. Carmy does love Claire. But he’s not in love with her. 

He loves Claire same way he loves Fak or Tina or even Mikey. He loves her as an old friend and someone in his life he cares about and doesn’t want to hurt her feelings, which why he tried to gently reject her with a fake number but couldn't say no to her face.

He asked Tina how much she loved Mikey and she said a lot. Which is the same thing he told Fak about Claire, because he doesn't love her romantically.

Carmy tried to be in love with her. But he never told her I love you and he was bothered when she said it to him in the voicemail because he realized love and being in love are two very different things.

Claire loves Carmy romantically but he doesn't love her in that way.

In his panic attack he figured out the difference between the two. He loves Mikey and his family and even his mom and Claire. But he’s not in love with them. Sydney was a completely separate type of love and peace for him because he doesn’t just love her, he is in love with her.

Claire was there Christmas after Donna crashed her car. He saw that she saw the mess behind his life. He didn’t want to stay there so he left to New York. She has always been tied to horrible memories for him and it's not her fault, but he can't separate the two.

But honestly, the fact that Claire saw what his life was like that night and the full extent of his family trauma around alcohol makes me even more angry that she took him to that party and the told him that “she knows” about him having to take care of sad drunk people.

She might have said she wants to understand, not fix people. But it seems to me like she thought she could fix Carmy’s shyness and trauma around parties and alcohol by forcing him to be around it, but really she was just bringing up all the past trauma he had and bad memories tied to her.

They both tried to use that relationship for bad reasons, he tried to teach himself how to be a boyfriend and she tried to teach him how to be "normal" because she wanted a boyfriend, but the type of guy she wanted is not who Carmy really is, which is why he was pretending to be Logan at that party and why she loved seeing him act like that, even when it's not him. Carmy wanted to see Syd in Claire, and Claire wanted to see "Logan" in Carmy.

[missjadesfics]

Are you jealous, Sanji?

Sanji x Reader request: Yes gif credits: @goodsirs divider credits: @rookthornesartistry @cafekitsune Summary: Sanji decides to make his feelings for Y/n known after Zoro openly flirts with her in front of him. Unknown to him, Y/n has feelings for him too. Warnings: None, just Sanji being a jelly man, make-out session, heartwarming stuff; Sanji, I guess, is a warning in himself. Word Count: 1,5k Disclaimer: I don't own One Piece or its characters, nor do I claim them as my own. Comments, likes and reblogs are always adored and appreciated xx

Y/n sat with the children, listening to Usopp tell them how he helped defeat the fishmen with his slingshot. Making gestures with his body as he spoke word for word. Y/n put a hand to her mouth to stop herself from laughing when he fell backwards, as she ran over to help him up. Sanji poured everyone a bowl of his stew, and each villager thanked him gratefully. Sanji smiled and nodded as he looked at Y/n, his eyes meeting hers. With a locked gaze, she waved at him as she danced with the children, making Snaji chuckle lightly; he saw Zoro come up with his empty bowl as he raised a brow. “Enjoyed it that much, did you? Not too bad for a waiter, eh?” he laughed, pouring some more stew into his bowl. Zoro made a slight smile. “I’m just hungry, and this is the only available food. Doesn’t mean anything,” he nodded to Sanji as the cook grinned, watching Zoro walk away. “Whatever you say,” Sanji said to himself as he grabbed a bowl for himself and Y/n; making his way over, Y/n fell to the ground in a heap, the children climbing on top of her and burying her underneath them. “Hey, kids, do you mind if I give the pretty lady something to eat? I promise she can play with you later.” 

Sanji asked the kids, and they gradually revealed that Y/n was lying on the ground, laughing lightly as they all ran to join Usopp and Luffy in playing with them. Y/n sighed, sitting beside Sanji “ I forgot just how much energy children have”, she said, out of breath. Sanji handed her one of the bowls with a chuckle. “You kept up well with them, darling. However, I think Usopp and Luffy could possibly overthrow you quite easily,” Y/n smiled. “And I wouldn’t have a problem with that; they are both big children at heart.” She ate Sanji’s stew, closed her eyes, and moaned in delight. “This is amazing, Sanji. If only Zeff were here to try this. You’ve come a long way as a chef,” she complimented. Sanji blushed lightly at her compliment. “Yeah, if the old man ever develops quality taste buds, that is”, he made the joke Y/n gasped, shoving Sanji playfully. “Sanji! You are terrible,” she laughed at her friend’s joke. 

While Sanji was cleaning the dishes from the festivities, he saw Y/n come over to help him. “Darling, you don’t have to help; I can handle this” he looked over his shoulder Y/n put her hands on her hips. Sanji laughed, resuming cleaning the dishes and shaking his head. “The day I find out how to get you to listen to me-” he began when Y/n cut him off. “Which will be never”, she finished while helping him clean the bowls, handling the work in a comfortable silence. “You know I don’t mind helping you, Sanji. I’ve gotten used to it after all our time working for Zeff together. Besides, I like you, and you were the only cook I could stand. A plus, too, you are handsome and having a handsome cook and friend is a good thing,” she giggled. Sanji raised a brow, and a smug look appeared on his face. “Oh, you think I’m handsome, love. Tell me, is there anything else about me that’s, let’s say, a benefit?” he questioned, his eyes sparkling with amusement. Y/n hummed in response as she cleaned the last bowl and wiped her hands with a cloth. Sanji mirrored her as he waited for her response. “Depends on what you count as benefits, really”, she teased, tapping his shoulder and kissing his cheek. Looking over her shoulder at him while she walked away, Sanji’s heart raced, smiling. ‘She thinks I’m handsome,’ he thought as he stacked the bowls neatly.

Y/n stood with Nami, watching Luffy stretch his body and make the children laugh; the girls smiled at their friend having fun. “So, am I wrong to assume something is happening between you and Sanji?” Nami wriggled her brows with a cheeky grin Y/n blushed, shaking her head. “Oh, Sanji doesn’t see me that way; we’ve known each other since we were kids. Besides, I don’t want to ruin our friendship; it’s too special to me,” Y/n explained to Nami, who frowned. “I don’t know; you both seem too oblivious to each other’s looks or little compliments. I mean, he calls you darling, love, sweetheart, or any kind of affectionate nickname, and you don’t think he means something behind it?” Nami asked Y/n; her eyes drifted over to Sanji, taking in a breath. “He’s always been charming like that; he’s a romantic and loves making women feel special and adored. Even if it’s only for a day,” she smiled while watching Sanji sip his drink and talk to Zoro as they walked over to Y/n and Nami. “Oh my god, he’s coming over” Y/n hid in Nami’s shoulder; the orange-haired girl laughed. “Oh, you have feelings for him; it’s adorable”, she hugged her friend as Y/n’s muffled voice said, “I hate you.” 

“Well, ladies, you look pretty this evening, Y/n; green suits you. I think it’s your new colour,” Zoro winked Y/n blushed, giggling. “Thank you, Zoro. Are you subtly suggesting something?” She asked him, sipping her water. Zoro tilted his head. “Well, normally, I wouldn’t allow it, but I can make an expectation just for you, honey. We’d look good together.” He smirked Y/n’s eyes and gazed at Sanji, his hand clenched tightly, and his eyes burned as he stared at Zoro. “I think it’s getting late. Maybe we should all get some sleep. It’s been a long day” Y/n and Nami nodded in agreement. “Yeah, good idea, see you in the morning”, Nami shouted as she walked away. Zoro sighed. “Yeah, sleep sounds good right about now. Good night, Y/n; sleep well, honey. If you need a bunk buddy, you know where I am.” he winked. Sanji’s jaw clenched, wrapping an arm around Y/n’s shoulders. “Yeah, whatever” he pulled Y/n away, his other hand tucked in his pocket, and they walked back to their sleeping huts. 

“Sanji, is everything okay? You seem different,” Y/n asked softly, her hand on his shoulder. Sanji laid his head on the door of his hut, opened it and pulled her inside. “Sanji”, Y/n gasped lightly before she was pushed to the wall, caged between Sanji’s hands on either side of her head. Breathing heavily, Sanji stared into her eyes. “Can I tell you something?” He whispered as he leaned in slightly Y/n nodded her head wordlessly. “I have held back for so long with my feelings. The thought of rejection always plagued my mind, but I would regret it if I didn’t say something. I love everything about you: the way you smile, your blush, your eyes shine, your laugh and how you always have been there beside me. You have given me so much to admire and appreciate. I never realised how much one person can make you feel inspired and loved, my darling. I was told once that I should find someone who isn’t afraid of the word forever. And I am willing to spend forever with you if it means I share every moment with you, awake or in our dreams while we sleep. You have been the only girl I’ve loved and thought about since I understood what it means to cherish someone special. Y/n, I love you.” Sanji cupped her face, his head pressed to hers gently. Y/n’s eyes closed, and she had a smile on her lips. “You have no idea how much I’ve dreamed about hearing you say those last four words to me”, she admitted, looking into his eyes. “I love you too, Sanji. I’ve been too afraid to ruin our friendship at the risk of losing you. There is no one else but you; it’s always been you” She pressed her lips to his.

Both held on to each other like they were their only life source. Sanji’s arms wrapped around Y/n’s waist, securely pulling her close, carrying her over to the table, and sitting her on top gently. “How could I not see it? You were practically telling me,” Sanji murmured, making Y/n laugh lightly. “Oh, sweet Sanji, I forgive you” Y/n threaded her fingers through his hair, brushing her nose with his. “Also, we should probably thank Zoro for this.” She motioned between them. Sanji narrowed his eyes. “Don’t say his name”, he breathed, kissing her again, this time with a little more force; a moan escaped her lips. Sanji kissed her neck, and Y/n laughed. “Are you jealous, Sanji?” she moaned, feeling Sanji bite her neck softly. “Well, can you blame me?” His voice mumbled Y/n held onto his shoulders for support. “Well, two things; one, you don't have to be jealous of any man. And two, I’m tired. Can we just go to sleep?” she whined softly. Sanji chuckled, pulling her into his arms and carrying her to his bed. “Of course, darling, I’ll make up for lost time tomorrow” he kissed her lips gently before laying beside her, pulling a blanket over them Y/n tucked her head in Sanji’s chest, falling asleep instantly. 

Sanji kissed Y/n’s head lightly, whispering, “Good night, darling.”

[magussanctorium-if]

The Magus Sanctorium. Pentagiim's elite and esteemed school for mages across the continent. Hard to get into with an advanced curriculum and hands-on experience, many would kill to be accepted into the fray. But behind shiny spells and gilded bookcases belies a lit powder keg of pent up tensions and small slights that threaten the whole continent with all out war. A single slip up will light the fuse, so be careful. And don't forget your 7 page essay is due next week!

The Magus Sanctorium is a highly ambitious WIP and new interactive CYOA novel. The focus is heavily on romance, relationships, and fantasy adventure with high-replayability value. It is inspired by JRPGs, romance visual novels, any media with a magical boarding school, and Dungeons and Dragons, among others. It will lean more towards a story-based focus, but will have stat-based mechanics.

You play as a new transfer student, having transferred to The Magus Sanctorium after moving continents. Being homeschooled to suddenly thrust into an elite boarding school is a culture shock. As you go about going to classes and making friends, your schooling is abruptly upheaved as war breaks out across the continent. Which house you decided to join determines how the war will affect you and how you can help or hinder your former classmates or lovers.

Note: Because this is still a WIP, some names of characters or places may change during development.

Genre: Fantasy, Romance, Adventure

Rating: 18+

Tracked Tag: #the magus sanctorium

Demo || Romance Options || Side Characters || FAQ || Ask Guidelines || Tag Navigation ||

Create and customize your character. Select their gender, pronouns, appearance, their proficiencies and deficits, and personality among others.

Choose between 5 different houses each with their own cast of characters. Each student is divided into houses by which nation they come from, not by arbitrary traits.

Decide how to build your stats by choosing which classes to attend and which skills to train in. Influence your house members to train or attend certain classes to boost group skills.

Romance any of the 15 romance options (5 male, 5 female, 5 nonbinary), or select any of the 10 poly routes instead. Choose for a softer romance by picking one of your house members or go for an angsty romance by romancing someone outside of your house.

Build your relationships with your classmates before you're turned against each other and get to know what makes them tick. It pays to have friends across house lines.

Explore and learn about a high fantasy world steeped in magic and years and years of conflict. Perhaps it takes an outsider's perspective to bring about peace...

Participate in a war and potentially reveal long kept secrets that could change the fate of Pentagiim.

Thalen Oakdane (they/them) - The proud and rigid Leader of the Fern Bears, the house from the Rasuaides Empire. They are strict with their rules.

Sumiel Tidewood (she/her) - The graceful and shy Leader of the Cobalt Snakes, the house from the Espersland Republic. She just wants the best for everyone.

Casithar Seedcloud (he/him) - The young but earnest Leader of the Maroon Rams, the house from the Iseadesh Alliance. He's trying his best.

Ariela Wyvernhair (she/her) - The prickly but well-meaning Leader of the Violet Foxes, the house from the Lupuv Caelait Territory. A rose wrapped in thorns.

Zanis Ironforce (he/him) - The charismatic and cunning Leader of the Sun Eagles, the house from the Quailax Kingdom. He is always 5 steps ahead.

Drelyth Hollymoon (she/her) - The vice-leader of the Fern Bears. She is kind and confident, always pushing herself to aim higher and higher.

Afthel Scalesun (they/them) - A member of the Cobalt Snakes. Quiet and introverted, they prefer the comfort of their books than that of their house members.

Anwyn Greenspear (he/him) - A member of the Maroon Rams. He is a known flirt and playboy, often earning him the ire of his house members.

Lamatri Glowillow (they/them) - The enigmatic and mysterious vice-leader of the Violet Foxes. You barely see them, but they seem to know everything about you.

Traki Goldreaver (they/them) - A member of the Sun Eagles. It's also their first year enrolling. Enthusiastic and energetic, but a work-in-progress.

Azaha Elmbasher (he/him) - A member of the Fern Bears. An idealistic and daydreamer artist who enjoys making life hard for his house leader.

Rumik Gullcaller (he/him) - A member of the Cobalt Snakes. Sumiel's childhood friend, he is protective and intimidating often scaring away most classmates.

Daeri Silkdream (she/her) - A member of the Maroon Rams. A bit ditzy and arrogant, her exaggerated personality belies her true strength.

Saevain Sageblossom (she/her) - A member of the Violet Foxes. Stuck-up and arrogant, she has a family legacy to fulfill as a Prime Magus. But is that what she wants?

Cyian Stonepelt (they/them) - The vice-leader of the Sun Eagles. Gloomy and apathetic, they'd much rather be doing anything else but this.

Poly Romance Options: Thalen & Azaha, Sumiel & Rumik, Casithar & Daeri, Ariela & Saevain, Zanis & Cyian, Drelyth & Saevain, Afthel & Traki, Daeri & Afthel, Ariela & Casithar, Traki & Daeri

[nogoodsheepstealing-greatgrandma]

Consequences of Driftmark for Alicent and Rhaenyra

*In F&B, the events at Driftmark take place during Laenor's funeral, not Laena's, and Harwin is still alive, and Lyonel Strong is still Hand.

In bold are the consequences that are depicted in House of the Dragon - the rest are cut.

Consequences of Driftmark for Alicent in F&B:

Aemond (10) accidentally loses an eye, scarring him for life

Viserys publicly forbids any questioning of Rhaenyra's sons' parentage

Consequences of Driftmark for Rhaenyra in F&B:

Jace (6) is 'savagely pummelled' by Aemond and Luke (5) has his nose broken

Viserys orders Rhaenyra to move to Dragonstone to put an end to the fighting, therefore distancing her from court

Viserys orders her lover Ser Harwin Strong away to Harrenhall to dispel the rumours (resulting in his and Lyonel's deaths by fire)

Viserys considers but passes over Rhaenyra as his new Hand and reinstates Otto instead.

Meanwhile in House of the Dragon:

Harwin is already dead after being sent away for beating up Ser Criston Cole defending the honor of the Crown Princess against the Kingsguard knight who is apparently allowed to publicly shit-talk her?

Rhaenyra has already chosen to exile herself to Dragonstone because something something wise sailor steers to avoid the storm??

Rhaenyra is never even considered in the running to serve as her own father's Hand despite being the Crown Princess. Viserys even mentions that his own father Baelon had served as Hand for his father King Jaehaerys... but nope he just gives that pin straight back to Otto.

And then there's Rhaenyra immediately marrying Daemon after faking Laenor's death...

Again, Laenor is already dead at this point in the book. It is his funeral, and that is why we're having the first public confrontation over the boys parentage now, when Laenor is no longer around to refute it. Yes, Laenor is an unfortunate example of an LGBT character getting killed off, but the attempts by the show to avoid burying their gays creates a new host of problems. Laenor is now ok with murdering an innocent bystander, and then traumatising his parents and children with a body burnt beyond recognition. Rhaenyra is now also ok with this. This is now a part of their characterisation, but not one the show actually addresses or acknowledges - because it was only ever a temporary characterisation for the purposes of finding a way to get rid of Laenor without repeating a harmful trope. Similar to how it is now apparently a part of Rhaenys' characterisation that she will slaughter hundreds of smallfolk (and keeps a nifty change of armour in her purse for emergencies). This was purely for the Doylist purpose of having a big shocking Game of Thrones Episode 9 Moment, as evidenced by the weak Watsonian reason for why Rhaenys didn't end the war there and then ("she wouldn't do that to another mother" "it wasn't my war to start"). Not to mention that by episode 10 both Rhaenyra and Rhaenys seem to espouse the ideals of the Geneva Convention.

The change makes Laenor a suddenly very shitty person - particularly considering he left his kids with a burnt corpse so soon after their biological father actually died in a fire (it's not as though the show even makes the most of this trauma to actually develop Jace as a character). If Laenor is to exit the show anyway, at least have him exit with integrity. Then instead of spending his final episodes setting up Laenor faking his own death we could have explored his relationship with his children. What if instead of Harwin defending the boys in the training yard we had Laenor facing off against Criston Cole? The man who murdered his lover and now bullies his children? This would also establish Laenor as a father figure whose presence would actually be missed - as it is he is treated as a political nuisance to be bumped off so Rhaenyra can finally marry Daemon.

Which is also a consequence of changing the order of deaths around - Harwin is still alive during Laenor's funeral in the book. If Harwin were still alive in the show, Rhaenyra would not be looking to marry Daemon - as GRRM said in an interview, he could write at least a novella about Rhaenyra's romance with Harwin. Rhaenyra certainly would not have been plotting to get rid of Laenor. Again, it is as soon as Laenor dies that there is a public confrontation over about their sons' parentage; losing Laenor only hurts Rhaenyra.

On that note, while Daemon is rumoured to have paid Qarl Correy to get rid of Laenor, he is not the only one who stood to benefit from Laenor's death. It is much easier for the Greens or for Vaemond to challenge the legitimacy of Rhaenyra's children with Laenor no longer alive to claim them as his own. Especially if you kill him off before the now-betrothed Luke and Rhaena can grow old enough to marry and seal the alliance (in the book, it is Laena who arranges to betroth the children - perhaps she knew her cousin Vaemond would have no qualms usurping her daughters). And especially if Harwin is still alive and looking very suspicious as Rhaenyra's sworn shield. Imagine Harwin at Laenor's funeral, unable to comfort his grieving children without raising suspicion now that Laenor's absence leaves them exposed.

Providing an alternative suspect for Laenor's death would allow Daemon to be a more mysterious and grey character. I think one of the best moments of the show was when it cut away from Daemon's 'Heir for a day' toast to Otto reporting it to Viserys. Matt Smith apparently delivered the line with more sincerity than Otto makes out - a creative choice which is very in keeping with the spirit of F&B, filled as it is with biased narrators. I think it's a shame the show dropped this approach - imagine if the audience only ever heard rumours of Daemon murdering Rhea Royce, or murdering Laenor? Imagine if we had to balance for ourselves the light and dark in the character, analysing for ourselves how much truth was in the rumours. Imagine if Rhaenyra knew as much as we did, and had to decide what story she believed (what story could she live with?). This is the approach Game of Thrones should have taken with Ned Stark and Littlefinger - instead of Littlefinger monologing his evil plans like a pantomime villain it could have placed the audience in Ned's point of view (like in the book), forced to make decisions on who to trust based on limited information.

It would also make it more believable for Rhaenys to back Rhaenyra. True, Show Rhaenys doesn't leap to ally with Rhaenyra because she suspects she had a hand in her son's supposed death. But she also gets over that a little too easily. There is the Watsonian explanation that Rhaenys decides she can live with backing her son's potential murderer out of political pragmatism. But since by the finale she is fiercely defending Rhaenyra and singing her praises I'm going to assume that she's just in tune with the Doylist explanation that Laenor isn't actually dead. They could have at least have Rhaenys only suspect Daemon, and have the source of the rift be that Rhaenyra does not share her suspicions. That way Rhaenys can reconcile backing Rhaenyra without insulting her son's memory.

In addition to insulting Laenor, these changes remove sympathy and context for Rhaenyra's character.

Now Rhaenyra does marry Daemon within half a year of Laenor and Laena's death, and this is considered scandalous in the book. But the show makes it out to be immediately after his death, and it removes everything that happens within those 6 months. And a lot happens. Again, Rhaenyra is exiled away from court to Dragonstone.

To prevent further conflict, and put an end to these “vile rumors and base calumnies,” King Viserys further decreed that Queen Alicent and her sons would return with him to court, whilst Princess Rhaenyra confined herself to Dragonstone with her sons.

Yes, Rhaenyra 'took possession of Dragonstone' as her seat when she was 16, and she spent a lot of time there. We know she visited Laena at Driftmark from Dragonstone, and we know she gave birth to Joffrey on Dragonstone. But Dragonstone is close enough that Rhaenyra at 14 was racing Syrax between Dragonstone and King's Landing daily. And we know that until the events at Driftmark her sons were being raised and educated alongside Alicent's:

Though all six boys attended the same feasts, balls, and revels, and sometimes trained together in the yard under the same master-at-arms and studied under the same maesters, this enforced closeness only served to feed their mutual mislike, rather than binding them together as brothers.

Aemond losing his eye at Driftmark was what caused the final split of the royal family - not Rhaenyra getting embarrassed by her breastmilk leaking during a council meeting. Rhaenyra did not willingly leave King's Landing, because that would be a bad move, and the show knows it's a bad move, which is why they had to come up with that dumb line about the wise sailor steering to avoid the storm.

Next, Harwin is sent away, resulting in his and Lyonel's deaths.

Henceforth Ser Erryk Cargyll of the Kingsguard would serve as her sworn shield, whilst Breakbones returned to Harrenhal.

Lyonel Strong, Lord of Harrenhal and Hand of the King, accompanied his son and heir Ser Harwin on his return to the great, half-ruined castle on the lakeshore. Shortly after their arrival, a fire broke out in the tower where they were sleeping, and both father and son were killed, along with three of their retainers and a dozen servants.

So after being effectively exiled by her father and being forcibly separated from her lover, Rhaenyra suffers another huge personal loss. And so soon after losing her best friend Laena, and her husband and friend Laenor. Most importantly, by placing the fire at Harrenhal before Driftmark, rather than in the aftermath of Driftmark, the show erases another huge blow to Rhaenyra:

Rhaenyra is passed over as Hand.

Lord Strong had been the King’s Hand, and Viserys had come to rely upon his strength and counsel. His Grace had reached the age of three-and-forty, and had grown quite stout. He no longer had a young man’s vigor, and was afflicted by gout, aching joints, back pain, and a tightness in the chest that came and went and oft left him red-faced and short of breath. The governance of the realm was a daunting task; the king needed a strong, capable Hand to shoulder some of his burdens. Briefly he considered sending for Princess Rhaenyra. Who better to rule with him than the daughter he meant to succeed him on the Iron Throne? But that would have meant bringing the princess and her sons back to King’s Landing, where more conflict with the queen and her own brood would have been inevitable.

Viserys needed a new Hand after Lyonel's death, and he almost called Rhaenyra home. Her exile to Dragonstone was almost temporary, and serving as her father's Hand would have done wonders to smooth her transition to power. But Viserys prioritised avoiding conflict between Rhaenyra and Alicent and clearly decided 'happy wife, happy life' - and gave Otto the pin instead. Which positioned Otto perfectly to arrange a coup.

For all TG complain that Rhaenyra faced zero consequences for Aemond's eye - she sure got royally fucked over in the aftermath of Driftmark. For all TG complain that Viserys played favourites and let Rhaenyra get away with everything, his desire to avoid conflict and placate his wife seriously sabotaged Rhaenyra. He may have backed the legitimacy of her sons, but overall Driftmark was a political win for the Greens... and for Daemon.

These rulings pleased no one, Septon Eustace writes. Mushroom demurs: one man at least was thrilled by the decrees, for Dragonstone and Driftmark lay quite close to one another, and this proximity would allow Daemon Targaryen ample opportunity to comfort his niece, Princess Rhaenyra, unbeknownst to the king.

However you feel about Daemon, the timing and context of Rhaenyra's marriage to him is important.

Yet hardly had Ser Otto arrived at the Red Keep to take up the Handship than word reached court that Princess Rhaenyra had remarried, taking to husband her uncle, Daemon Targaryen. The princess was twenty-three, Prince Daemon thirty-nine.

Otto arrives in King's Landing to take the position that is rightfully Rhaenyra's, and Rhaenyra marries Daemon (upstaging Otto in the process). That's the context of their marriage. Daemon (however you interpret him and his motives) comforts Rhaenyra at a time in her life when she is losing everything, one after the other - her best friend, her husband, her lover, her influence at court, her position, the security of her succession. Rhaenyra marries Daemon to feel stronger again, at a time where much of her strength is being stripped away. Daemon was there at an extremely vulnerable time for her - he may even have related to her how he was also exiled by Viserys, how he was also passed over as Hand.

Based on the timing, Rhaenyra was also probably already pregnant.

Septon Eustace claims that Rhaenyra knew her father would never approve of the match, so she wed in haste to make certain he could not prevent the marriage. Mushroom puts forward a different reason: the princess was once again with child and did not wish to birth a bastard. And thus that dreadful year 120 AC ended as it begun, with a woman laboring in childbirth. Princess Rhaenyra’s pregnancy had a happier outcome than Lady Laena’s had. As the year waned, she brought forth a small but robust son, a pale princeling with dark purple eyes and pale silvery hair. She named him Aegon.

Even accounting for the possibility that Aegon was born early - which is likely since he is noted as being small - it is possible Rhaenyra conceived him before her marriage to Daemon. The year after all began with Laena's death and ended with Aegon's birth, and as I've detailed Rhaenyra goes through a lot between Driftmark and her wedding to Daemon. So while he is comforting Rhaenyra for her many losses, Daemon gets her pregnant.

The show does at least keep the context of a grieving Rhaenyra having recently lost Harwin when she finally sleeps with Daemon. But by changing the order of events they remove much of the context that made this such a low and vulnerable time in Rhaenyra's life. She doesn't lose a best friend. Her children don't lose a protector in Laenor. She leaves King's Landing voluntarily. She was never in the running to be Hand. Her exile is erased from the show.

In the show, it's "hee hee we'll get rid of Laenor and then we'll be an unstoppable power couple and RULE THE WORLD - from Dragonstone though, 100% voluntarily, because something something wise sailor avoids the storm..." And this is apparently the more interesting and complex improvement on F&B?

At this point the show had already changed Rhaenyra's childhood so she is no longer bullied by her stepmother and groomed by her sworn shield. These instances of adversity in Rhaenyra's life are exchanged for a version of Alicent and Criston that are more sympathetic and that many find more interesting. I may personally disagree, but I can understand it, and I can understand why some fans like these changes. However I do not understand why it was necessary to keep taking away even more instances of adversity faced by Rhaenyra - why erase her exile, why erase her being passed over as Hand? it does not make the story more interesting, and it makes Rhaenyra's story less compelling.

How much more heart-breaking would it have been to see Rhaenyra begging her dying father to wake up and defend her, if the show had stuck closer to the book version of events? After forcing his daughter into an unwanted marriage with a homosexual man, after exiling her while she was grieving, after passing over her as Hand, after hurting her transition to power, after failing to to bring her home... how much more emotionally satisfying would it then have been to finally see Viserys drag his corpse out of bed to defend Rhaenyra and her sons?

The book version of events would also open up a more interesting relationship dynamic between Rhaenyra and Daemon than "lets fake my husband's death so we can be an unstoppable power couple and rule the world!" If I were adapting it, I would have kept Daemon's possible involvement in Laenor's death ambiguous - uncertain to both the audience and to Rhaenyra. Again, suggest the possibility that it could have been the Greens. Have Rhaenyra, at her lowest and most vulnerable moment, convince herself that she can live with the doubt. Because at this point, with Laena dead, Laenor dead, Harwin dead, and with her father exiling her, Daemon is one of the few allies she has left. A Rhaenyra who chooses to kill an innocent bystander to fake her husband's death is cartoonishly evil. A Rhaenyra who chooses to live with the possibility that her new husband murdered her old husband is interesting.

Meanwhile Alicent goes from victor to victim at Driftmark...

Yes, of course in both book and show her child is the most seriously injured and, again, scarred for life (though in the book it is the result of violently bullying little kids half his age so 🤷‍♀️). But politically, Alicent comes out on top after Driftmark.

See Book Viserys doesn't give Rhaenyra an honour without also giving Alicent one, and vice versa.

King Viserys loved both his wife and daughter, and hated conflict and contention. He strove all his days to keep the peace between his women, and to please both with gifts and gold and honors.

And because Alicent champions the patriarchal status quo (and in the book is an adult battling a child) this 'neutrality' is to Rhaenyra's detriment. So yes, Driftmark sees Viserys publicly forbid anyone from discussing Rhaenyra's sons' parentage - that is a loss for Alicent and a win for Rhaenyra. But Alicent's victories at Driftmark are much more significant - Rhaenys is effectively exiled from court, her rival's influence at court is severely diminished, Otto is brought back as Hand and gets to stack the council with Green supporters. Viserys' weak efforts to stop the fighting and placate everyone ends up favouring Alicent significantly.

In the show, its all 'poor Alicent can't even get her mean husband to cut a 6-year-old's eye out for her and its making her big beautiful brown eyes sad'. The show removes all the consequences Rhaenyra faces at Driftmark, and replaces it with Alicent snapping because 'that spoilt Rhaenyra gets away with everything'. All of Alicent's victories from Driftmark have already happened before Driftmark, and they don't even count because Alicent's big beautiful brown eyes are sad. Rhaenyra has already committed political suicide by voluntarily leaving King's Landing, and Otto is already Hand because Rhaenyra was never in the running.

This is worsened by the fact that the show feels very inconsistent in how it depicts Alicent's position as queen consort. In the book, as stated, Viserys strives to please his wife with gifts and gold and honors, and Alicent is surrounded by a 'Queen's party' of 'lickspittles, fawning over Queen Alicent and her children'. Alicent's worth is apparent in the fact that Viserys throws a huge tourney to celebrate their 5-year-anniversary - Alicent is the centre of attention and celebration. Because this is the 'benevolent' form of misogyny Westeros takes in the books - one that celebrates and reveres wives and mothers like Alicent (while of course not permitting them bodily autonomy) and demonises non-conforming women like Rhaenyra.

In the absence of Alicent's special tourney in the show, we don't get Rhaenyra's iconic dress entrance - instead it is given to Alicent during Rhaenyra's wedding to Laenor. Because this is such an iconic moment for Rhaenyra, the show tries to compensate in episode 3 by having a bloodied Rhaenyra upstage Aegon during his birthday celebrations. Since this is no longer the culmination of years of being bullied by her stepmother, the moment loses quite a bit of its impact (at least the soundtrack is gorgeous). This version also replaces Alicent's special day with Aegon's special day - which depicts a very different world of misogyny. The more complicated benevolent misogyny of the book is replaced with a more basic misogyny in which Alicent is simply ignored and unappreciated.

Which feels like overkill. I don't think this change was necessary to understand Show Alicent as a victim. Personally, if I was pimped out to my friend's dad and suffered through marital rape and unwanted pregnancies with zero bodily autonomy, I wouldn't consider a tourney to be adequate compensation. Alicent can be appreciated and celebrated and still suffer. If anything it could further feed into her self-identification as a martyr.

So the show depicts an underappreciated victim Alicent with her big beautiful sad brown eyes. But episode 6 depicts Alicent as having accumulated a significant amount of power as Queen. The episode establishes that Alicent is powerful enough that she can demand that the Crown Princesses' newborn be taken away from his mother and brought straight to her (in a world of high newborn mortality rates) - and the Crown Princess has to comply. It's implied that this kind of behaviour isn't new, and either Viserys isn't intervening or Rhaenyra is just not telling him for some reason. Meanwhile Alicent can shut down a proposal by the Crown Princess that the King is in favour of, overturn the Crown Princess at council meetings, and seems to be the final voice at the council meeting. Not to mention she has made Criston Cole so untouchable that he can murder vassals of House Velaryon, publicly bully Prince Jacaerys, and openly speculate on the sex life of the Crown Princess (and it is Harwin who gets punished???).

But one episode later and Alicent is snapping in despair because Viserys won't cut out a 6-year-old's eye for her. And the subtext of the scene is that it isn't really about the eye, it's about a marriage where she has gone underappreciated and unrecognised, and Viserys always chooses Rhaenyra over her and his other children, and big brown eyes are sad... All ignoring of course everything that she gets away with in the previous episode. Really, it feels like Driftmark is a last straw for Viserys - he's been essentially letting her run things so far but he draws the line at cutting his grandson's eye out.

And I would be willing to accept this inconsistency as purposeful - people are inconsistent and hypocritical, and Alicent self-righteously views herself as a martyr. And there is a tendency for critics to mistake in-character inconsistency for inconsistent characterisation and bad writing, and I do see this tendency a fair bit in discussions of Alicent (some instances being more valid than others). However I get the impression that this is not a purposeful in-character inconsistency, or at the very least there were competing visions behind the scenes. And this is because of the victimised way Alicent and her big beautiful sad brown eyes are framed - and because of the way the events at Driftmark are also shifted around.

Firstly the dynamics are changed between the children to make Aemond more sympathetic. The age gap between him and Jace is narrowed and Baela and Rhaena are added to the fight - making it a fight of 1 against 4 kids who are close in age. Meanwhile in the book, Aemond is 10 and starts the fight by hitting a 3-year-old Joffrey for making noise. A 6 and 5-year-old Jace and Luke then come running to defend their little brother against a much older and bigger bully - who easily beats them up.

Joffrey had run to get his brothers when Aemond took to the sky, and both Jace and Luke had come to his call. The Velaryon princelings were younger than Aemond—Jace was six, Luke five, Joff only three—but there were three of them, and they had armed themselves with wooden swords from the training yard. Now they fell on him with a fury. Aemond fought back, breaking Luke’s nose with a punch, then wrenching the sword from Joff’s hands and cracking it across the back of Jace’s head, driving him to his knees. As the younger boys scrambled back away from him, bloody and bruised, the prince began to mock them, laughing and calling them “the Strongs.” Jace at least was old enough to grasp the insult. He flew at Aemond once again, but the older boy began pummeling him savagely…until Luke, coming to the rescue of his brother, drew his dagger and slashed Aemond across the face, taking out his right eye.

Jace's injuries are much much worse in the book, and he is much much younger and braver. I mean, it takes balls for a 6-year-old to go up against a 10-year-old - and a 10-year-old with a giant fucking dragon at that.

And then there is 'questioned sharply':

Afterward, King Viserys tried to make a peace, requiring each of the boys to tender an apology to his rivals on the other side, but these courtesies did not appease their vengeful mothers. Queen Alicent demanded that one of Lucerys Velaryon’s eyes should be put out, for the eye he had cost Aemond. Princess Rhaenyra would have none of that, but insisted that Prince Aemond should be questioned “sharply” until he revealed where he had heard her sons called “Strongs.” To so name them was tantamount to saying they were bastards, with no rights of succession…and that she herself was guilty of high treason. When pressed by the king, Prince Aemond said it was his brother Aegon who had told him they were Strongs, and Prince Aegon said only, “Everyone knows. Just look at them.”

The order is reversed. In the book Alicent is the first to demand violence against a child - in the show it is Rhaenyra. Now I argue that Rhaenyra's demand was more toothless - in both book and show it was more about backing Alicent into a corner to get her to admit to plotting a coup. But In the book, both mothers at least had an understandable context behind their shitty demands - Alicent's son had just lost an eye, and Rhaenyra was responding to a violent threat to her son (plus, Aemond had just savagely pummelled Jace). Since Alicent is publicly demanding violence against a 5-year-old, now is a good time for Rhaenyra to ask 'hey, I wonder who taught Aemond my sons are bastards, hmm Alicent?'

But in the show, Rhaenyra is the one made into the aggressor, and Alicent is now the victim reacting defensively. Rhaenyra just opens with wanting to question Aemond sharply, right while Aemond is in the middle of getting his eye stitched up. In the book, the argument between the mothers comes after the boys have been made to apologise to each other, which implies that at this point Aemond has at least already received medical attention. But in the show, Viserys immediately goes along with Rhaenyra making her sons' parentage the more pressing priority - all so the scene can escalate towards Alicent losing it and demanding Luke's eye. The scene is more dramatic and nonsensical as a result - it is bewildering that this is the order of priority and this primes the audience to sympathise with Alicent here. Viserys is shouting at his injured son and Alicent's big brown eyes are sad. And Rhaenyra is temporarily characterised as the sort of person to demand her brother be tortured - as the aggressor rather than in a reaction to a threat - for the Doylist purpose of a more dramatic escalation towards Alicent picking up the knife.

Now Viserys making the question of his grandson's legitimacy a priority could make sense in the show's version of events - if there is a potential coup it does have to be shut down immediately. The consequences for his children and grandchildren are after all life-threatening. And to be fair to him, his first impulse (while Aemond is receiving medical attention) is to ask the children how the fight started, which is reasonable enough, and the episode has already established that he's not in complete control of his mental faculties.

But emotionally, we the viewer are watching an injured kid get yelled at by his dad while Alicent's big beautiful brown eyes are sad. And not only are the events around Driftmark changed to remove the adversity Rhaenyra faces, but the events at Driftmark are changed to add to Alicent's victimhood. She is no longer the aggressor, she is depicted as undervalued, and her victories at Driftmark are erased.

And by episode 9 it seems Alicent is so powerless as Queen Consort that she has to let Larys masturbate over her feet. And episode 8 makes out that she's been acting as nurse maid to Viserys, instead of Viserys having servants to look after him (though we did see Alicent voluntarily sending these servants away back in episode 3 - did she send them away permanently? Were there spending cutbacks on staff to make way for the redecorating?)

But in episode 8 Alicent also appears to be running the kingdom, and has the power to decide on the succession of Driftmark. Alicent even tells Rhaenyra that she will be the one sitting in judgement while Viserys is ill - not Otto, the King's Hand, but Alicent. How is this consistent with Alicent being undervalued and underappreciated, if she is given this power and responsibility? How is she so powerless that Larys gets to masturbate over her feet?

From these inconsistencies, TG draws the following picture: underappreciated Alicent is busy running the kingdom, while spoiled Rhaenyra is off 'playing house' with Daemon and avoiding her responsibilities. Poor Alicent is depicted as doing all the work while Rhaenyra is off having fun, instead of Rhaenyra being effectively exiled against her wishes to placate Alicent. It's almost as insulting as the change to Rhaenyra and Criston - instead of Criston (who is exactly the same age as Rhaenyra's mother, by the way) grooming Rhaenyra from the age of 7, he is the one presented as Rhaenyra's victim by TG (like poor friendzoned Jorah).

Alicent's victories are presented as unappreciated sacrifices and burdens, and Rhaenyra's losses and adversities are presented as her idiotically skiving to live in domestic bliss.

And the problem to me isn't simply that there were changes made, or that I wish Alicent was a more one-note antagonist etc. Though I would have preferred a more book-accurate adaption, I was initially cautiously on board for the changes in the first half of the season. They at least seemed interesting, and I was intrigued to see where this high-budget fanfiction would go. But the show goes too far in taking sympathy and depth away from Rhaenyra to shower it on Alicent - the accumulation of changes tips it over the edge. There had to be a better balance than what the show gave us, one where we could root for Rhaenyra as she struggles in the face of adversity (making the eventual dark path she goes down all the more tragic). The sympathetic version of Alicent that the show gives us simply does not demand taking so much away from Rhaenyra.

The one scene in the second half of the show where we get to see how adult Rhaenyra deals with adversity is her introductory scene. She responds to Alicent's demands by walking bleeding up a flight of stairs rather than let go of her newborn. And this is where my frustration lies with the show, because it has so much potential and yet it is so inconsistent. On the one hand, it's ridiculous that Rhaenyra doesn't just ignore Alicent. But on the other, it's a decent way to compensate for the change to Rhaenyra's childhood. Since we no longer have young Rhaenyra getting bullied by her stepmother, we needed this big moment of cruelty. And it shows just how much Rhaenyra will fight for her children.

And yet the same episode will have her voluntarily abandon King's Landing (and far far too early - there is a point in F&B where a considerably more broken Rhaenyra faces a similar choice, and we are nowhere near that point yet). Rhaenyra ditches because she's been, in her words, humiliated. This would be salvageable if this was simply a case of Rhaenyra deciding not to put up with Alicent's shit and establishing herself from a seat of strength at Dragonstone. But staying away? Being absent from court for years? Episode 8 even establishes that Dragonstone is so close that they don't even need to stay the night when they visit King's Landing! This woman walked bleeding up a flight of stairs rather than let go of her newborn baby, and now she's just relinquishing all influence at court to the greens? This isn't consistent or accurate characterisation.

Rhaenyra already has plenty of canon flaws, without adding that she voluntarily leaves and stays away from King's Landing and her dying father. Even when ordered to move her family to Dragonstone, Rhaenyra in the book always tried to come home. She brought Maester Gerardys to save her father's life. She at least tried to influence the council by nominating her choice of Archmaester. She doesn't just roll over and let the Greens tilt the council in their favour without a fight.

Though Grand Maester Mellos washed the cut out with boiled wine and bound up the hand with strips of linen soaked in healing ointments, fever soon followed, and many feared the king might die. Only the arrival of Princess Rhaenyra from Dragonstone turned the tide, for with her came her own healer, Maester Gerardys, who acted swiftly to remove two fingers from His Grace’s hand to save his life.

Princess Rhaenyra wanted Maester Gerardys, who had long served her on Dragonstone, elevated to replace Mellos; it was only his healing skills that had saved the king’s life when Viserys cut his hand on the throne, she claimed. Queen Alicent, however, insisted that the princess and her maester had mutilated His Grace unnecessarily. Had they not “meddled,” she claimed, Grand Maester Mellos would surely have saved the king’s fingers as well as his life. She urged the appointment of one Maester Alfador, presently in service at the Hightower. Viserys, beset from both sides, chose neither, reminding both the princess and the queen that the choice was not his to make. The Citadel of Oldtown* chose the Grand Maester, not the Crown. In due time, the Conclave bestowed the chain of office upon Archmaester Orwyle, one of their own.

*the seat of the Hightowers - great attempt at neutrality there Vizzy

With King's Landing so close to Dragonstone, there is no way Rhaenyra didn't do what she could to mitigate the damage of her absence. The fact that she is noted as being in the confinement stages of her pregnancy during the coup, and that this is considered serendipitous, suggests to me that Rhaenyra otherwise would have tried to attend court as much as possible:

With the princess in confinement on Dragonstone, about to give birth, Queen Alicent’s greens enjoyed an advantage; the longer Rhaenyra remained ignorant of the king’s death, the slower she would be to move. “Mayhaps the whore will die in childbirth,” Queen Alicent is reported to have said (according to Mushroom).

If the draft script leak is true, the show initially had Rhaenyra explicitly say that she abandoned King's Landing to strengthen her claim, which is both nonsensical and adds to my belief that the show didn't fully understand that they were taking the fight out of Rhaenyra by having her voluntarily leave and stay away. Or maybe they did understand it, seeing as they replaced this statement with the more vague 'wise sailor' line, with Rhaenyra's theme music playing triumphantly to trick us into thinking they weren't assassinating her character.

I've seen essays by fans of the show that have tried to argue that Rhaenyra leaving and staying away is actually a compelling character flaw, spinning it as either the inadvertent self-sabotaging actions of an overprotective mother, or an entitled antagonist who wants the throne without working for it. The latter is character assassination and inconsistent with the rest of her characterisation. The former is also inconsistent, and for it to work it would necessitate that the show spend more time actually fleshing out her children and her relationships with them. These inconsistencies, and the half-hearted way the show tries to rationalise her decision, leads me to the unfortunate conclusion that the show is simply less clever and more inconsistent in quality than it had the potential to be. Which is all the more infuriating in a show that has potential - it can be very capable of writing compelling characters when it wants to, it just rarely does when it comes to Rhaenyra and her children.

Ultimately, a character who fights as much as they can is always going to be more compelling than one who rolls over. Is anyone honestly looking at, say, Sansa in the early seasons of Game of Thrones and thinking "hmm yes I'm glad they got rid of Sansa sneaking out to the Godswood to plot her escape, tricking Tyrion into thinking she was just praying, refusing to kneel during her forced marriage and learning valuable lessons from being used as a political pawn by the Tyrells. It's so much more compelling watching Sansa spend her time getting petted by Shae, Margaery and Tyrion, not knowing what sheep shit is, and getting passively whisked off by Dontos in a surprise rescue".

Rhaenyra has had to fight ever since she was named heir aged 8, ever since her stepmother started bullying her as a child. That fight is an indispensable part of her character - whatever other changes you may make, taking away her fight is not on the table. And above all, taking away the adversity she faces removes opportunities for her to be interesting.

[miyazakira623]

CAN WE ALSO PLEASE TALK ABOUT THIS SCENE?!?!?!

IT WAS NOT A KISS SCENE BUT IT WAS AS POWERFUL AS ONE!!!

Their THE KISS scene on season 3 episode 5 (yes i remember exactly dont ask why) it was REALLY powerful because it literally showed us the development between the two characters from them trying to kill one another (mostly Rayla) to saving each other and Callum expressing it such a beautiful way by his speech with "Because she's Rayla" Playing in the background was just TO DIE FOR!!!! it was emotional, romantic, strong! It was everything! It wasnt forced it was just there in the perfect time. I can never stop praising the shows writers enough istg. Even rn im listening to that ost in the background.

I cant lie bc it was adorable seeing these two being all lovey dovey with each other by kissing and hugging etc. But when season 4 begins, their relationship is just not there anymore. Yes there are bits and pieces but they're scattered everywhere. Callum reminiscing about her and their time together gives us half of the answer. Something happened that pulled them apart but what is it?

When he was looking out in the balcony to the sky, their theme was also playing at the background but so soft and so weak that you felt Callums' pain. It was a sad track, it was a tragic track. Raylas' memories were still there but not herself. And it made him so sad that the dude said it was NOT his BIRTHDAY but the ANNIVERSARY OF RAYLAS' LEAVING!!!! THIS BOY CARES ABOUT RAYLA MORE THAN HE CARES ABOUT HIMSELF!!!

From then on the relationship starts to have a second build up. Its like strangers to friends to lovers to strangers to ??? . The only difference of this build up compared to first three seasons is that there is already an established relationship, its just broken. So in a way they start again. Going on adventures, being there for each other in case either of them needs help. Callum doesnt let his feelings for her suppress his hurt which was also caused by her but little by little it starts to heal. It starts to fix.

Here we see Rayla admit to her mistake of going after revenge and leaving the most important thing she has behind (aka Callum obv) . Her admitting this out loud is so great to hear. Because she know she made a mistake and that mistake hurt Callum and she intends to FIX that mistake. She gives him the space he needs while also staying close enough in case he would need her. Just like Soren said "sometimes you need time to work through the weird, and then it'll work out or dont. The heart do what it do or dont what it dont"

And thats exactly what happens! With time the awkwardness becomes less and less and their hearts do the job. Their feelings for each other were never gone in the first place, and when they both finally realise that it just keeps getting better. In the form of saving friends (Zym and Soren) they remember how it felt working together which helps them get closer.

But even tho they act close their words are still apart. They dont admit it. They dont talk about it. They just go along with it. But then Rayla gets caught sneaking Runaans' bow. When Callum orders them to release her even without knowing the reason why, Rayla picks up what he's putting down. He trusts her, he doesnt push her to explain him anything because he knows that she will when she is ready. She sees that there is still a chance to make things just like before maybe even better.

(Also in this scene when they're going to the grand bookery and they cross this path, she says "its an old wound that's healing" I cant help but feel like its a parallel to their relationship. The wound of leaving for two years but now finally working through it. Its just perfect)

So yep after everything she admits it, which is also perfect because she was the one that made a mistake so she does fix it and she does it right.

"Im glad we could be here together, looking at the stars..." She says.

And Callum feeling the same way rests his head on hers. ITS JUST PERFECT AAAAAAAAAAAAA!!!!!! THE WAY THAT THEY STILL KEEP TALKING ABOUT STARS AND THIS WHOLE SCENE HAVING AS MUCH POWER AS THEIR KISS SCENE AND DARE I SAY EVEN MORE (i dont know which wins bc i was jumping around screaming when they kissed after Callums' poetic speech LOL it was ROMANTIC ALRIGHT?! 😭😭😭😭 SAME GOES FOR THIS ONE)

And the thing is that it'ss so easy to mess up. They could've gone for a route like "hey im back after two years of absence" "Oh hi its great to see you again" And its not just the characters and their relationships but also the world that you're telling to the audience. It is so easy to get it wrong ESPECIALLY if you are writing Fantasy. With so many kingdoms, dragons, elves and other species with also magic its very very simple to mess up. Im glad that they went this way with the story telling. Its more natural, more enjoyable and it just works perfectly.

ANYWAY IVE BEEN WRITING THIS FOR WAY TOO LONG BUT IF YOU MANAGED TO FINISH READING IT TILL THE END OMG YOU'RE A FUCKING ROCKSTAR IDK I LOVE YOU THANK YOU!!! 😫😫😫💕💕💕💕

[beastabyss666]

The Season 2 Episode 8 of Helluva Boss recently was published quite spontaneously, so I'm writing the review while being very sleepy. First of all... It was weird to start the episode with some cheap musical. Blitzo's solo was especially... fair to middling. I'm sorry, but I think Brandon Rogers can't sing, his voice isn't actually made for singing(that's just my opinion tho). And also hey, they remembered the cherubs! Wow. Though they made them some utter idiots, much like the other characters, I mean.. So the plot is about Blitzo going shopping for a sex toy which(in his opinion) will really rejoice Stolas. Meanwhile, the cherubs are seen living on Earth and robbing humans to "redeem themselves and return to heaven"(I won't ask how it's supposed to work). They get caught by the D.H.O.R.K.S. folk(wow, you also remembered them too, nice work Vivzie), where the agents tell the cherubs that they built a portal to Hell and made high-tech robotic suits imitating the main IMP gang. The cherubs wear them and enter the portal, ending up in the Lust Ring, where Blitzo goes shopping. The main gang attacks them(though it wasn't shown that they even were there), and OF COURSE defeats the cherubs, throwing them through the portal. The episode ends with Blitzo finally visiting Stolas and talking to him. But I'll mention it later. So... I found this episode quite weird, nothing much to say about the visuals, though some frames look like they're from another show. How some characters(especially humans) are drawn looks like they're also from another show. But I guess they don't really organise anything normally, so it just is. I also find the tone of the episode too chaotic, but the whole show switches rapidly from "Edgy black comedy" to "Unserious absurd trash comedy" to "Drama/whining/'we care about characters and their development'" stuff. Another weird thing I found about visuals is that the creators put many overly cartoonish expressions to characters, to the point that it look just ridiculous, not even saying it's out of the general style.

Some of these expressions look kinda crooked, and the other are cartoonly, but not in a way that fits the whole show. It's not a slapstick comedy, and I don't understand why the writers pretend it is. Most of the time(and it's seen in this episode) it's just lazy and poor attempts at satire on our stupid and hypocritical society, but it just doesn't work mainly because the protagonists don't seem to have more brain cells than usual humans in this universe. Earth here, although, really seem to be a thing to relieve Vivzie's malice at... everything, I guess. There is no exact satire/mocking of someone or something, so I guess Vivzie just hates every living thing in general(especially kids, for some reason). That's why the humour in this episode also seems odd in a bad way. I don't like that HB sometimes pretends to be South Park, or Family Guy, or... a typical CN show, perhaps? It just doesn't look right, it's like the writers try to copy other better works instead of making their own vibes/special tone.

Also they could use some more imagination

And about the ending... Stolas doesn't seem satisfied by Blitzo's behaviour(who acts overly sexual towards him which seems OOC), and starts... basically complaining about him being too sexual and not sensual. Guys... do you remember how it all started? Does Vivzie remember it? Literally in the 1 episode of 1 season it's shown that Stolas only uses Blitzo for his sexual pleasure, not caring about his comfort etc. He even calls him while he's on a dangerous mission. And there are lots of other moments where Stolas practically h*rasses Blitzo and makes him uncomfortable with his comments. And even since pilot doesn't seem to be canon(so Stolas didn't threaten Blitzo with r*pe), there are enough red flags about this mf. Yet in this episode he literally complains about receiving not so much love and care? That's... idk, that's shitty to say the least, and I don't know how the writers even managed. A literal abuser complaining about their partner being "not affectionate enough", that's fuckin' hilarious(sarcasm), and I say it as someone who had few abusers in my life. I still remember the previous episodes so I kinda don't buy it, but many people do, and that's sad. After that Blitzo [rightfully] angers at Stolas for complaining about lack of love while disrespecting him for being a lower class and using him as some object. Stolas only answers with "I think so very highly of you, I didn't realise you think so low of me", and kicks Blitzo out of his palace.

So... that's the episode. I have nothing much to say about it more, but I'm genuinely wondering does Vivzie even understand what she's doing and where she'll push the whole Stolas x Blitzo pairing(not that I fucking care, lol). These two are obviously in an abusive relationship, and the more they try to understand what even happened between them, the more confused they become. I personally think there's nothing to talk about with a guy like Stolas(though Blitzo too is a huge red flag), but idk, maybe Vivzie thinks that r*pists and abusers are changeable and are good deep down. Anyways, it was surely an odd episode, and I didn't really like it.

[todomemolesta18]

Okay guys, I finally watched the Full Moon ep and I have lots to say *rubs her hands*

OK, il start with the stuff I do like. Everything with the cherubs and D.O.R.K.S was actually really fun and didnt mind. It should have been its own ep, and not... here.

Also, just happy to see my man Moxxie again. I love you, Moxxie, nothing can make me hate you.

AND FIZZ WAS HERE TOO, YES.

OK, thats everything I liked, lets go to the part you want to actually hear, shall we?

The Blitzo and Stolas argument..... First, im gonna say, BLITZO WAS RIGHT THE WHOLE TIME. YOU ALWAYS LOOKED DOWN AT BLITZO CAUSE HE IS AN IMP, AND I HAVE PROOF.

*sigh* Second, omg, the way Stolas reacted when Blitzo screamed and told him how he feels and Stolas makes him feel... This his were his true self shows.

He could have admited that Blitzo was right. That he did wrong. Apologize and try to make it up to Blitzo. Im not saying it would have made me like him more, BUT, at least he would admit it finally, which would make it a bit more bareable.

But what does he do? HE STARTS VICTIMIZING HIMSELF "Oh I would have never expected you think so low of me". WTF BITCH???

DIDNT YOU WANT TO, SUPOSEDLY, "MAKE AMENDS"? CAUSE THAT MEANS YOU REALIZE WHAT ARE YOU DOING IS WRONG AND FUCKED UP. BUT NO, YOU GET OFFENDED. WTF? VIV, DO YOU EVEN LOOK AT WHAT ARE YOU WRITING?

This contradictions make Stolas look like a manipulative asshole. Like someone who didnt want to make amends cause he realizes he did something wrong, but because he wanted to date Blitzo. But when that didnt work, he inmediately got offended and acted like Blitzo was the bad guy. WTF?!

The way I see this is that the writers (Viv) wanted to act like Stolas realized his wrong doings and had character development. But at the same time, they didnt want to actually admit that so they made it like Blitzo is the bad guy. Which creates this mess of a writing.

*sigh* Anyway, thats all I have to say. Bye.

[writingquestionsanswered]

How can I go from the protagonist being crazy in love with one woman at the beginning (and the object of desire - protagonist's want/desire) then gradually falling in love with a new love (mentor woman) - 1. Without looking like a jerk? 2 - While getting the reader to fall in love with and cheer for the new woman? Thank you in advance.

Moving Affection from One Love Interest to Another

There are a few things you can do to help pull this off seamlessly:

1 - Show the "Cracks" Immediately - Problems in relationships--and even infatuations--start like fine cracks in a tea cup that spread out and get bigger over time until the tea cup breaks. Even when people are "crazy in love," those fine cracks can be there, completely unnoticed or noticed and ignored. What qualifies as a "fine crack" versus a bigger one depends on the characters and situation, but think of them as small red flags or obstacles that aren't immediately important. For example, maybe the love interest is bad about respecting your character's boundaries, which at the beginning is just things like your character wanting to stay home rather than go out, and the love interest saying, "Nope, you're not staying home. I'm coming to get you!" That may seem unimportant at first, but it can blow up into a bigger problem if it happens consistently or happens in relation to bigger boundaries. By starting the relationship off in the story with some small cracks already in place, you give the reader permission to invest in the relationship cautiously. They'll be on board if things develop in a positive direction, but if they develop in a negative direction, they're prepared for it.

2 - Make a "Slow Introduction" to the New Love Interest - If you've ever brought home a new pet when you already have one at home, you probably know the importance of gradual introductions. This lets the animals get used to each other in a non-threatening way. If you drop a new character into the story and immediately make them a love interest--or even if you have an existing character who suddenly becomes the new love interest--the reader is automatically not going to like them. Even if they're somewhat on the fence with the existing relationship, they don't want the whiplash of a sudden transfer of interest and affection. That said, you want to introduce this character in a somewhat mundane way. Don't go for a "meet cute," or at least not an obvious one. Then, gradually ramp up the interactions, and along with them, gradually ramp up their mutual interest.

3 - Ramp Down the Other Relationship at the Same Time - At the same time as things are * very subtly * ramping up with the new potential love interest, have them * very obviously * ramping down with the current love interest. This is where you can blow those fine line cracks up into bigger ones, have more red flags or bigger red flags, and create more obstacles to the characters' romantic happiness/compatibility.

4 - Create a "Deal Breaker" Obstacle - Finally, create an obstacle for the couple that can't be overcome. It could be a major red flag that your character isn't willing to ignore, or something like the characters wanting two completely different things that are non-negotiable. For example, maybe the love interest gets a job transfer to another country and wants your character to go, but since your character can see things are falling apart and they don't want to go anyway, this is a deal breaker obstacle. They have no choice but go their separate ways.

5 - Give the Reader Permission to Let Go - It's a good idea to give the reader permission to let go of the old love interest by either making them fully onboard with the split (for example, if the prior love interest did something bad, there's an insurmountable obstacle, or it's abundantly clear they're not compatible) or by making it clear it's what's best and that the other character will be fine (for example, making the prior love interest the one who breaks things off... because it's what's best for them, or hinting that the other love interest may have their own new potential love interest waiting in the wings.)

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[bingeeaterblog]

// small warning big re touken hate it's a post on why I hate it and how I think it could've been done better BUT I encourage you to keep reading if you do like them and to give me your thoughts whether to tell me why you like them or why you think im wrong in some regards i love a good debate its why i joined Tumblr

I'm gonna start this off by talking about why I loved the original mangas touken.

They start off as strangers, them only having a REAL meeting when she saves his ass from nishio. Initially she was cold and rude, for every reason he was very disrespectful(also for good reason he was scared and all he knew about ghouls is that they are monsters who hurt people, one literally just had him in a choke hold) but I digress. Kaneki starts working at anteiku and he's shadowing touka much to her dismay she feels he can't do anything right and is just a know it all human.

Right off the bat they have a very interesting dynamic, touka learning to care for kaneki him starting to see her(and ghouls as a whole) as a person and not something he should be afraid of.

As time goes on, touka falls for him, it's what makes everything so hard when he abandons her. She feels betrayed he left just like ayato and her dad did no one ever stays for her? How could they? She makes herself so hard to love shutting everyone out. She blames herself partly, not being able to protect him from whatever happened at the aoigiri base.

When she does see him again she's angry! How dare he come back after all this! Why can't he just make up his mind! So she lashes out, she misses him so dearly but she can't tell him that? Let him know she cares? She hits him and tells him to never come back to anteiku (to her).

You can see why it's so appealing!! The angst!! The drama!!! They have it all! Toukas longing and kanekis isolation are what makes them so GOOD.

To explain why I don't like re touken we have to talk about why I don't like re touka.

Touka before was a very well rounded character, she was brash and a little impulsive, she loves the people around her even if its hard for her to show it in a healthy way. She'll do whatever it takes even if it means risking her own life.

Re touka, doesn't really have that. She's very... Water downed. I like to call it house house wife-ification. She's lost any semblance of her old personality. While I do like the idea of touka calming down and becoming more docile it's not done right, we meet her again and she's just... Like that? There's no character development of her changing it just happens! She's shaved down so she can be the perfect love interest for kaneki, it's even shown in her design! Her eyes are softer and she doesn't hold any of the same energy as old touka(this happens with a lot of female characters ishida just ended up giving them all the same face besides eto).

Kaneki is? Fine? I loved haise as a character and him and touka were sorta cute if u kinda ignore that fact touka isn't touka. Kaneki was fine and re and that's it, he's just okay. His Savior complex is removed and it's just "I wanna save people!!" The whole reason his savior complex is important is BECAUSE it ends up hurting more people he should've been developed to learn how to manage that and be the hero he could be.

Now for their actual relationship.

It's very.... Rushed? There's no tension no build up just "are you a virgin?" Which in my opinion is something touka would never say she'd stumble around it. they made her bold at the wrong times she's an awkward lil freak. And then boom! Sex yeah! And it's? Okay? It's not my favorite I felt like a sex scene between them should've been more desperate!! That's when the marriage bite should've happened! It should've bites and messy kisses and promises to never leave again! There was no passion! There was the "why are you crying" but that didn't really do anything for me!!

I do like the end scene where she was petting his hair that was very soft which is what he needs.

Then toukas pregnant!(Which is something I'll get into good another time) And it kinda feels like they only rush into the marriage because she is... Like I feel like they should've atleast had a dating stage y'know!! Everything just felt so fast with them and nothing like the original:(

The end credits scene feels nothing like touka, she looks dead that's not the character I used to know :( kaneki too only the scene with hide felt real

And yeah! I like ichika! But how cool would it have been if touka got pregnant AFTER re and in the end credit thing she was revealed! Another natural born one eyed ghoul!! Idk...

This is very messy sorry I had to get this out. if you like them? That's fine!! That's super duper cool its just not my favorite. Tell me why you think I'm wrong! Id love to hear your opinions

[forestdivinity]

Blitz & the Full Moon Episode & autism

I am once again talking about autistic blitz and just the Full Moon episode and this is a ramble but hh stick with itt?? I have so many thoughttssss but there are Spoilers so don't read if you havent watched the episode yet!

I'm thinking of how Stolas like walks out when he thinks Blitz is rejecting him and how Blitz takes that as a rejection and blows up in return. Like if they'd both just taken a minute to breathe it wouldn't have ended in such a disaster

From what I've seen, Blitz is someone who needs time to process especially in interpersonal relationships, and he's so sensitive to rejection & blames himself as soon as it happens but will self protect by externalising and projecting those feelings onto the person who's hurt him. Not saying this is a healthy mechanism btw!

I feel like if he had time to think past his initial gut reactions he would have been able to at least talk without screaming because we see he can be emotionally vulnerable like when he talks to Fizz in Oops! but rejection and feeling unworthy hit him haaaard, (like Fizz's birthday), and he reacts with anger first to hide how upset he is He's quick to cover up but I don't think he's someone who's that great at reading social situations as he projects himself to be, even with the candle shopkeeper he struggles to describe the mood and vibe hes going for. Blitz projects himself as outwardly confident because it's easier for him to have this facade than admit when he has difficulties in certain situations. In 'Oops' he totally misses Fizz's sarcasm when he's talking about Stolas and their relationship while denying that Stolas could like him. I think this comes from both a place of self-loathing & denial but also him missing that Fizz isn't actually agreeing with him. Emotions & words relating to them dont come easy to Blitz because he's autistic but also he rarely got the kind of support and emotional teaching in childhood he needed from the people around him. Like im sure Tilla tried but we know she was ill and that Cash is a dick who uses this to exploit Blitz (such as forcing him to steal from Stolas as a child) and I think that man has the parenting ability of a teaspoon. He's manipulative and even from a young age teaches Blitz that relationships are transactional (selling Blitz in the first place) which I think was ten times more impactful and traumatising for Blitz as a child seeing how he approaches relationships as an adult and that's even not getting into his self worth issues surround Fizz and the fire and Barbie. And like with Verosika happening… I want to know how old he was when they dated, how long it lasted. She has his name tattooed on her there must have been some emotional connection, but what happened between them to lead to Blitz blowing up again. What was their relationship like. It's said (implied? I don't remember exact words) that Blitz was her bodyguard first so that's another relationship that started out transactional! I think Blitz is emotionally a very immature character and he clings to structured relationships that he can push the boundaries of. Loona is his adopted daughter. Millie and Moxxie are his employees. There's structure and expectations to those relationships and he's the one who pushes for more and tries to develop them. It freaks him out when someone turns the tables because he doesn't have the rules and scripts in his head I think?? Stolas is changing the structure of their relationship and Blitz panics and tries to retreat to what he knows works (sex) which isn't what Stolas wants and we see the aftermath of this! But if what the 'you royals always do this' line implies is true he's been thru at least something similar before and is maybe falling back into old patterns and hurts when he perceives Stolas as rejecting him & his advances (putting his hat on, disparaging the roleplay, and leaving the room). Beyond the class issue and fear of losing his business when Stolas asks for the book back permanently the first spot where things go wrong for their personal relationship is when Blitz goes 'oh this is a roleplay' and I can just see the gears turning of him like just trying to fit this new information into the established framework of their relationship. Sex is comfortable for Blitz, the transactional nature of their relationship is comfortable and scripted and easy (he says this at the start of the episode!) and when pushed out of that comfort zone he panics. We see him panic!

I think part of him probably liked that there were certain expectations and structure to the contract before even if he complained about stolas being horny and like Stolas baby, I know things changed in you but the very start of your relationship is you calling him while he's being shot to like talk about how you want his cock. I love Stolas too don't get me wrong but your whole relationship is based around sex. Blitz has said to you in the past that he feels like he's only used for sex (Ozzie's!) and that's the expectation he has of the relationship. And like we know Stolas has tried to gently reach out especially since Ozzie's but Blitz is autistic doesnt do subtlety, like we can see that in how he treats people around him. He's brash and open and doesn't know how to read a room (like the first CHERUB episode he texts the client that they fucked up because he thinks people can't get angry over texts??) IDK people go on about how Stolas is autistic and yeah I can see that but to me Blitz is the epitome of the 'bad autistic' who is too open, too rough, too liable to blow up and meltdown and react with anger and violence. (MOOD BABYGIRL)

Blitz is terrified of change unless he initiates it and even then he struggles (see him trying to confess to Fizz). And like there's just so much about him that screams autistic to me. Like his meeting with moxxie when they're in jail and moxxie is crying and blitz is like :D HI WANNA BREAK OUT! Blitz doesn't get the social code and I think he's worked so hard to come off as this blasé 'idgaf' person when in reality he doesn't know how he should act in certain situations but it's better if it seems intentional because then people just think he's an asshole instead of a freak. The like 'haha we are laughing together' instead of 'you are laughing at me' (in a bad way). Like just, the whole scene with him trying to tell Jokes in The Circus episode and it falling flat and falling back on his special interest (horse facts!) but the audience finding him just strange vs how they react to Fizz. He decides to adopt Loona but he still struggles with connecting to her and respecting her boundaries as a neglected young adult and treats her more like a younger child in a lot of ways because that's his idea of like the perfect father-daughter bond and he doesn't know how to course correct. Even in Full Moon we see how he like goes overboard in telling Moxxie how he's horny and wants to fuck Stolas and Moxxie is like TMI don't tell me that.

JUST for me Blitz is just so relatable in a lot of ways. He is a person who craves connection but struggles with how to make that meaningfully so he has dropped himself into certain molds to try and fit what people expect of him but even then he does it in the wrong way. He tries to be what he thinks Stolas wants (based on their OG deal and past interactions) by saying oh this a roleplay and its a sex thing but fucks it up because Stolas is asking for change and he doesn't know how to do that especially in a sudden and unexpected situation. And he's someone who is highly competent but struggles so severely with emotional regulation and timing and social contracts and just idk. So so many of my meltdowns ended in screaming because I neeed space and time to emotionally process when something is Happening and if I don't get that (like Stolas assuming things are over and leaving when Blitz is realising Oh This Is Something I Need to Process) my first defense mechanism is to reflect my struggle outwards in anger and Blitz is exactly the same!! And again this isn't healthy but we know Blitz isn't healthy right now (in the trailer he legit says he doesn't want to be like this forever)! And don't get me wrong I know why Stolas threw him out when he started yelling (Stolas has his own PTSD triggers from Stella) but goddd boys you need to sit down and work this out calmly with processing time!! Like sooo many people see Stolas as autistic because he's quiet and socially awkward and nerdy about the things he loves which is a valid interpretation but Blitz is just my CPTSD undiagnosed autistic who has learnt the worst coping mechanisms because he was never allowed anything else and always expects things to turn out badly. Isn't it easier if you're the one to ruin things? At least he knows what to expect!!

Ughghg I have so many more thoughts but this post is already a mile longgg so if you want to yell more about blitz just come into my asks lmaoo

(Btw I love Stolas too and this is not anti stolitz, they are gonna work this out but Blitz is just my scrunklyyy)

[myheartsaghostlimb]

Hi! I saw that a little bit ago you said you might write an essay on jondami and if that's something you're still interested in doing I'd love to see your thoughts compiled in that way. No pressure though, I know it's a lot of work!

Okay, took me a bit but here it is: the long awaited essay on Damijon, get a snack and something nice to drink because this is going to be unapologetically long.

Misconceptions. Firstly, I don't know how else to explain that I personally don't exactly see Damian and Jon as children. I mean that they are older to me, and I feel this because with comic books when a character is a child that is their time for development and growing. With Robins they always have this inability to be allowed to grow up due to DC personally wanting Batman to always have a Robin in his arsenal. The thing with Damian and Jon is that they are made to reach a finish line. That finish line being Superman and Batman, which they cannot be before developing and growing into those mantles (if the writer is good and has common sense of course) first. We see that in DCeased, WW23 and other Damian books in the past that becoming Batman and Superman is an important topic for these characters, they have a long way to go. Admittedly, I do enjoy content as to where they are younger because that is where their dynamic peaked to me, I also think it's a very simple serotonin boost and if it's innocent then I really have no issue with indulging. But to me... that's not Damijon. Damijon is about friendship, Damijon is about always being able to seek and find in a certain person and I don't particularly care if this is platonic or romantic. It's important to remember that in canon, they are nothing but friends and I enjoy that all the same, but I also find it interesting to explore their dynamic if it was in a romantic context and that is what Damijon is all about to me. It's just "what would these two characters would do if they developed a different kind of affection towards the other." In my head, with as Damian is now, I doubt he'd be able to hold an intimate relationship without training wheels first and a very understanding partner. He's emotionally distant and he has this great fear of being abandoned which I think would suffocate the relationship. Children are confused and lost people who haven't found themselves yet and while Damian and Jon are both children... I don't exactly think there will be enough room for Jon's problems and Damian's problems as well. I also kind of struggle with wanted to rid them of their age gap, their age gap is just big enough to make it as if Damian has some authority over Jon. It makes it so eventually as Damian and Jon grew that Damian would be somewhat out of reach for Jon and perhaps, he could feel like he'd have to chase after Damian a bit when it comes to milestones and development. It makes them just a little bit more interesting and as I said, I don't exactly want to erase that.

A lot of people bring up the topic of maturity between these two but that would mean that Damian is more mature than Jon and you would know that this is not the case in the comics. The person who slings around insults is Damian, the person who acts brashly is Damian, the person or initiates fights is Damian. The immature one is Damian, he may act like he knows everything but he is a child, he’s incredibly immature and we should remember that.

Damian. It's particularly hard to describe both Jon and Damian separately for me at this point. To me they are something that should had never been separated. Something that comes as a set. Like one of them is missing the other when alone. The thing about Damian Wayne is that he spent his childhood years training to be a natural born winner. He never had a moment in Robin or Damian Al Ghul that let his life be truly his own. The thing about his relationship with both Talia and Bruce is that he feels as though he needs to earn affection and love, similar to how some children may feel this too after going through psychological abuse and neglect - this coming from both Bruce and Talia at times.

It should be noted that the comic that contains this panel is not a good representation of Talia and Damian's relationship but overall, this line is somewhat accurate and holds weight to their dynamic. Damian is someone who feels the need to earn his keep, it's instilled in his brain that basic things that others may get will not be given to him without him having to earn it first. Damian feels like he doesn't belong, like he's stuck between two worlds. He's burdened by constantly having a destiny, a path already carved into the ground for him. Jon. Jon is quite simple. His whole narrative revolves around similar themes as Damian to where Jon feels like he's not truly like his father but also not entirely like his mother. He wants to live up to being like his dad, but a lot of his own individualism gets lost in the process. He has this need to prove himself and make others proud. His upbring was simple and homey. Lois Lane and Clark thought that it'd be best to hide the fact that Clark is Superman and Jon is half kryptonian in order to provide him a mundane foundation as a person. There's not much to say about Jon alone because unfortunately his characterization was cut quite short. Let me talk about the age-up situation. Some people don't understand why this is such a bad thing for Jon's character, but I strongly believe that people of this opinion simply do not care about the character since this is character assassination in the most basic form. Jon's childhood was a very important part of his character as it is for literally all characters. That's where all his personality quirks and traits come in, that's where he can resonate with the audience the most, that's where his bonds with other characters are established. As Jon is now, he's being thrown into the finish line with no prior characterization. Jon's personality is going to be lost when writers pick him up, at times he even seems emotionless and purposeless. He is entirely unrecognizable to me. The only thing that has been established for him is his sexuality and his boyfriend and his solo revolved entirely around said boyfriend. The least they could do is make them good representation, but they aren't even that, sorry, it's jarringly obvious. And it's not just that its "getting in the way of my ship" because I don't want Jon and Damian to be canon, not really, not when this is how they treat a canonically queer character... look at what happened to Jon. I imagine that if they were to be canon then I'd find myself complaining about how DC can't do Jon and Damian's dynamic properly constantly. I don't have that much faith in them. It's disheartening that as a fan of him that I don't have as many good things of him that I do bad. The ship also suffers from this because it's literally about growing up beside someone and that childhood friends to lovers appeal.

Damian & Jon. A lot of time in Damian's stories because of his abrasiveness and offputting/distant personality, he finds it hard to make friends and sometimes it's not entirely the other person's fault. The thing about when he met Jon is that became a past time for him, he was someone who just wanted to be around - who actually went out of his way to be around him as well as they have a wholesome foundation for a friendship. Jon feels deeply for Damian as Damian feels deeply for him. Over and over again, Jon's life is threatened in some way which forces Damian to pull down his emotional walls and show that he does care for Jon.

It's established repeatably that Damian cares a lot for Jon because when he's in danger, he visually starts to panic. Even going as far as calling Jon by his first name which is rare for him because Damian calls everyone by their last name because he speaks very formally but when Jon gets hurt, Damian slips up to suddenly call him by his first name.

Damian was so shaken up that he accidentally calls Jon his friend afterwards, which is important to note because he has always refused to acknowledge their friendship for stubborn reasons. Also to note Damian's stubbornness I'd also like to mention the time where Damian refused to acknowledge Jon could join the teen titans, every time Jon proposed the idea, Damian shut him down till it came the time to vote on whether or not Jon does join the titans and Damian was literally the only person who raised his hand.

This was one of the moments I was most frustrated with Damian because all that arguing with Jon was truly just to annoy him and nothing more, he secretly believed Jon could join the titans the entire time but when it came down to it-

He only made himself and Jon look stupid and proceeds to brush off their friendship once again. I have to admit it is slightly interesting even when frustrating. As for Jon, yes, they bumped heads at first and Jon found himself getting extremely frustrated with Damian's attitude, but it was mostly because Damian is someone, he knows he's going to have to spend a lot of time working besides and he only wanted to be his friend while Damian seemed uninterested.

The thing about these two is that whether they like it or not, they will have to spend their entire lives beside each other. This is something no other dynamic in DC can really replicate. We know Jon feels deeply for Damian, it wasn't able to be verbalized often unfortunately but he has mentioned how highly he thinks of Damian, calling him "the strongest person I know" - stronger than him by far. He's one of the few characters that want to see Damian as he is and doesn't want anything from him, he just likes being around Damian.

And for Damian one of the few ways he knows to provide to Jon is taking him away and going on missions with him, it's kind of sad to think about how this is one of the few ways he knows how to express that he wants to be around Jon. He's gotten up in the middle of the night, went across the city and met up with Jon to hang out with him.

It's sad, yes, but also really sweet. A lot of characters assume the worst for Damian and think that he's bound to end up being the worst version of himself or think he's like a ticking time bomb ready to explode at any moment.

But instead, Jon refuses to acknowledge that Damian can be evil at all, denying entire alternate realities where Damian is slowly becoming the worst version of himself because he deeply believes that in Damian's heart, he could never be anything less than great. Their mantles. Not to talk about DCeased but yes, I will be talking about DCeased because that is the perfect example of how these characters function to me.

This comic showed his the long, excruciating, and lonely years these two would have to face in disaster. The trauma of losing everything, your family and your world and moving mantles to stop it but it being something they had to do together. Like a grave already buried in the ground for them but they laid in it together as kids and adults. If you truly want to understand this ship I deeply think you should turn on your brain and read DCeased.

How they contrast. Jon and Damian's are distinctly different, their personalities are different, their upbringing is different, and what they deeply identify with is different. This is why at times they may argue but at the end of the day, they have to share their life with the other.

How they compare.

At times where they may think they are alone or have no one to talk to then they will always have each other, they're supposed to, that's what their relationship is built on. Understand that in the most basic sense that these two are platonic soulmates. They will be there for each other at the beginning.

And at the end.

They share this great burden together, they share similar paths, fears, worries and goals. They will always be together even when one of them might not want to be because the worst thing you can be when all of these things are happening to you; is alone. Their lives tell the same story just in different places and perspectives, sometimes their most defining moments directly mirror each other.

They both feel like they don’t belong and like they’re stuck between two worlds as well. For Jon, it’s Krypton and Earth, for Damian, its Batman and Al Ghul.

Their mantles supply this destiny they share. It’s what will bring them together and pull them apart.

I feel the need to mention that Jon is one of two characters that sees Damian beyond the son of batman, Damian has said “Well, If I am almost Batman.” and Jon said “You’re so much more than that.”

Damian said “Do you have a better offer?” and Jon said “Well, I have you.”

… I have to love them.

Their relationship with one another platonically. They have the friendship to end all friendships. It quite literally transcends space and time. Regardless of if you like Jon and Damian being friends in the first place or not, you cannot deny that what Jon has done for Damian is not important.

Like I said with Damian, he feels as though the love that he receives has to be earned but when he met Jon, he was introduced to the idea that someone wanted to simply be around him, that someone wanted to be his friend and love him unconditionally. You cannot deny that this friendship helped develop these two in very good directions, not only are these two entertaining but they help each other progress by simply being around the other.

They give to each other what other people can’t. Dick Grayson even admits that Jon sees something in Damian that other people like to ignore. This is very important. Now Jon’s relationship to Damian could help him as well, knowing Damian could grant him an extra layer of empathy and understanding, it already does and he can use what he’s learned from Damian in the future.

Damian teaches Jon what it means to be a hero, Jon teaches Damian what it means to be a kid. Damian shows Jon what love has been and Jon shows Damian what love can be. It’s very compelling. These are two lost people who make each other feel accepted and normal.

The potential of their relationship romantically.

Imagining what it would be like if DC was capable of allowing these two to engage in a romantic relationship with the other is compelling. Firstly, I highly doubt that DC will ever properly portray these two’s relationship with the other if they did pull the trigger.

But in the fantasy world where everything is perfect, I think it’d be nice for these characters to have a relationship free of their narratives. To be allowed to be confused about their feelings and even reject them; to have us as an audience be able to watch these two slowly navigate it over time and especially with them both being same sex, I feel like DC just showing that they’re not afraid to portray that type of relationship between character directly under one of their biggest names is certainly heartwarming.

Jon coming to terms with liking boys and having a crush on someone the same gender as him while also struggling to have that perfect american life that his father’s narrative values so much and that confusing him.

Damian struggling with his feelings and allowing himself to not feel like he’s doing something wrong by falling in love with another person.

And perhaps this love being catalyst for them to want to grow up to be distinctly different from their fathers, to carve a path for themselves because they realize that they are their own person and can’t be entirely perfect for everyone else but just perfect enough for each other.

The wasted potential of the characters overall. Super Sons was a very important comic book, it supplied things for Damian fans that was starved of us. If you look at the internet before Super Sons you will see people complaining about how Damian's stories do not contain a certain element to it which was entirely fixed by Super Sons being created, Super Sons left much to be desired. I still think that series was meant to go on for way longer than it did and contain a lot of meaningful stories for the both of them so it's a real shame that it was cut short.

Unfortunately, even though some writers want to separate Jon and Damian, they’ll never fully be able to because of how engraved Damian is into Jon’s character. Damian is one of Jon’s core personality traits because overall, he is greatly lacking so they’ll never be able to be truly separated. It’s safe to say that his character is ruined and the only way for you to like it is to have bad taste in media.

Why I personally think it’s so good. All of these things I mentioned are not really given to you with other ships like Timkon, Superbat, etc. Nothing speaks to me like this and if you really understood it then you'd know that all of these things are entirely different. Damijon in canon is literally what people think Superbat is, the way that people want Clark to provide release and catharsis to Bruce is literally done for Damijon in canon. Between Superbat, Timkon and Damijon, Damijon evidently has the strongest bond/is allowed to have the strongest bond, these characters distinctly have an effect on the other that cannot be replicated with the others. Not to put these two ships down but it's evident, I've always been against the idea that Timkon and Superbat are similar to Damijon because they just aren't literally at all.

I truly believe that if Jon and Damian weren’t Superman and Batman’s sons then I’d still ship them anyway, I also think with unfortunately the way that DC is dealing with Jon’s character that if Damian was allowed to have a relationship akin to his with Jon’s something almost exactly mirroring Jon and Damian then I’d drop Damijon instantly… but… till that day.

Damian and Jon make each other happy in the purest way possible and till that stops I think I’m shipping that.

What to check out if you’re interested in it. I made a reading list for these two a while back.

[sjsmith56]

The Rules

Summary: One shot AU. A mobster’s daughter meets the love of her life but The Rules get in the way of it developing into something more.

Length: 6.5 K

Characters: James “Bucky” Barnes (at age 21, then 25), OFC (named), OFC’s parents (named), Brock Rumlow, John Walker, Loki Laufeyson.

Warnings: some cursing, rude behaviour and reference to mob life. Otherwise fluffy.

Author notes: This is my first attempt at writing a mob-themed story. Bucky is actually a sweetheart.

〰️ 〰️ 〰️

The first time Tia fell in love was when she was almost 18.  His name was James, 21, and he was one of newest men on her father's staff.  The first time Tia fell out of love was two weeks later when she saw James kissing a woman staff member and allowing himself to be pulled into her room at the mansion where they all lived.  This is their story.

Almost Eighteen

There were rules growing up in the house of a mob boss, particularly the man known as the Boss of Brooklyn, Jerome Brancato.  Rule #1, If the door to his office was open, anyone could come in.  If the door was closed, everyone had to stay out.  Rule #2, Daughters of the boss were off-limits.  Period.  No exceptions, unless the boss approved of the relationship which sometimes happened if he was approached correctly and with respect.  Rule #3, No meant no.  Other rules came up but the big three were supposed to be obeyed by everyone, staff and family.

Tia, seeing the door to her father's office was open approached it, hearing him speaking with another man.  The man, who said a lot of "Yes sirs" and "No sirs" seemed to be interviewing for a position with her father's "business," a business he took over from his father, and his father before him.  But Tia's father, Jerome, had no sons to leave the business to and daughters weren't supposed to be in that position, at least not in his narrow world view.

She pushed the door open, catching the attention of her father and the man, who rose to his feet and turned towards her.  He was tall, with short dark hair, and handsome, with eyes as blue as the sky.  Tearing her eyes away from him she looked at her father.

"I'm sorry, but your door was open," she said.  "I can come back."

"It was open," agreed her father.  "Tia, this is James Barnes.  He's here to join the security team.  Barnes, this is my youngest daughter, Tia.  She just graduated from high school."

He offered his hand, his white dress shirt peaking out from under his dark suit's sleeve.

"Pleasure," he said, in a voice that made a warmth pool deep inside her, his even white teeth showing in the smile he gave her.

Her voice squeaked a little when she answered.  "Thank you." 

Inside she groaned.  What kind of response was that?  James grinned a little.

"You're welcome."

"Why don't you give us half an hour to finish up," suggested her father.  "I still have to make James aware of the rules."

She smiled at her father but inside she felt her stomach drop.  The rules.  The fucking rules.  Rule #2, she was off-limits.  Apologetically, she returned to the door, risking one more look at the man she had just fallen in love with, then closed it and ran upstairs to her room to fall face first into her bed and cry over the rules.

It was a week before she saw James again.  James, Jimmy, Jamie, Jim ... all the variations of his name were written out on paper by her, as she signed her name with his.  Mr. and Mrs. James Barnes.  Jim and Tia Barnes.  Then she tore the pages up into tiny pieces and flushed them down the toilet because if there was one thing her already married older sisters warned her about was to not leave any trace of having a crush on any of their father's "staff," for that could cause all sorts of problems, not just for her but also for him.  In their father's line of work, that could result in serious issues for the male staff member but could also see her summarily married off to some business associate, which she didn't want.  Not at 17 years, 10 months and 2 weeks of age.  Besides, she was going off to college in a few months and the last thing she needed was a chaperone to make sure that Portia Isabel Brancato, nicknamed Tia, behaved herself.  So, she kept her face and attitude as neutral as possible, and tried to make it seem like she wasn't looking for James on the estate.  Which ended up being easy when she found out quickly that he was sent out to one of the satellite "offices," a warehouse at the docks to learn that aspect of the work. 

Resigned to not seeing him again for the foreseeable future, Tia came downstairs the one day to be driven to the salon for her usual mani / pedi appointment, only to see James waiting at the bottom of the stairs.  As she came down, he looked up and his smile lit her up inside once more.

"Good morning," he said, cheerily.  "I've been instructed to drive you to the Bronze Goddess salon.  Are you all ready?"

"I am, thank you," she replied politely, reaching the bottom step and looking up at him.  God, how could anyone be so good looking?  "Could we stop at a Starbucks for something?"

"I'm yours to command," he replied, then opened the front door for her, while somehow reaching the armoured Audi sedan first.

After making sure her seatbelt was in place, James closed the door and got behind the steering wheel.  Tia could see the coiled wire of the earpiece reaching down into his suit collar.  He checked in with his supervisor, likely Clint, then smoothly pulled out from the driveway towards the gate to the estate.

"I haven't seen you for a while," said Tia, tentatively.

"No, I've been elsewhere," he replied, pausing at the road and looking both ways before turning left, following the map on his dash display.

Five minutes later he pulled into the line at Starbucks, then looked at Tia in the rearview mirror.

"A white chocolate mocha Frappuccino, please," said Tia, handing him a Starbucks card.  "Get something for yourself while you're waiting for me."

"Thank you, I will," he said. 

He ordered a Caffé Americano, then offered them the card when they handed him the cups.  Turning around he smiled as he gave her the Frappuccino, then the card.  Ten minutes later he pulled up at the salon, then got out to open her door.

"I'm going to park then I'll be inside," he said.  "Your father was very specific that someone be in view of you at all times."

"Is there trouble?" she asked, as it wasn't a usual thing for a salon visit.

"Nothing I can't handle," he said, giving her that lop-sided smile again.  "You let me do the worrying."

He came inside, carrying his coffee, walking in like he belonged, and settled himself on an empty chair near the pedicure station, but in a position where he could see the front door.  He picked up one of the gossip magazines and flipped slowly through it.  Every person who walked into the salon underwent his scrutiny.  Everyone who came close to Tia, received even more attention.  When she was finished, he waited behind her while she paid, then took her gently by the elbow, leading her to where the car was parked, seemingly staying acutely aware of their environment.  On the drive back home, he looked at her several times in the rearview mirror.

"You planning to go to college?" he asked.

"Yeah, I've been accepted to Stanford, UCLA and Arizona State.  I wanted to apply to something in the east, but Dad thought it was safer for me to be further away."

She didn't add the qualifier "from his business interests."  There was kind of an unwritten rule that daughters were off-limits to action from his competitors but being on the other side of the country made that easier to follow.

"Did you go to college?"

He shook his head.  "I joined the army right out of high school.  Did one tour and realized I wasn't cut out for it.  My dad knew your dad from some construction work he did for him and put in a word for me."

The gate opened and James drove up the circular driveway to the front of the house.  Then he opened the door and offered Tia his hand to get out of the back.  At that moment, her father came out and called to her.  She smiled at James, then hurried to her father.  That was the last she saw of him until the next week when she went out to the opera with her father and mother.  Clint and Thor drove them.  After they entered the house, Tia started up the stairs to the bedrooms.  Hearing a sound, she looked up towards the third floor, where the staff bedrooms were and saw James kissing Sharon, her mother's social secretary.  Then Sharon pulled him into her bedroom, and the door closed behind them, the sound of the latch coinciding with the feeling of Tia's heart breaking.  Her mother, Liliana, who had also seen it, patted her daughter on the back.

"He asked for permission to take you out but your father said no, that you were too young," she offered.  "He told James to keep his attention elsewhere.  I'm sorry."

Rule #2 and 3, a double whammy.  With a sigh, Tia went to her bedroom and cried for an hour.  It would be four years before she saw James again.

〰️ 〰️ 〰️

Almost Twenty-Two

Rule #4, If your father arranged your marriage the correct response was "Yes sir, thank you sir, for finding me a good husband," even if the last part wasn't always true.

There were several gatherings at the Brancato estate that May, after Tia graduated from college.  Several different families who were in the same type of business as her father were invited to attend.  More specifically, if the families had an unmarried son, anywhere between the ages of 21 and 40, they were invited.  Gradually, over the month, the list of prospects was whittled down, until her parents hosted a dinner with the final four.  

Tia was officially on the market, being dangled like a carrot in order to accomplish any one of the following objectives:  settle a feud with a rival family, cement a business relationship between two families, provide a son-in-law able to take over the business from her father (because a woman couldn't do the job), satisfy a desire for grandchildren, specifically grandsons, just because that's what was expected of the daughters of a mob boss without a male heir, or a combination of several or all of the above.  What Tia wanted in a husband was supposedly considered but its importance was so far down that she knew the decision was likely already made before the dinner even started.

Did it rankle Tia?  Yes, but she had grown up as the privileged child of a wealthy and influential man.  Now was the time where she had to satisfy the needs of his business empire, more than the needs of her heart.  There was always a possibility that whoever won the "lottery" and satisfied her father's demands prior to approving the engagement would be a decent guy, one that she could grow to respect, if not love with all of her heart.  Her two sisters had done alright.  There was no reason to expect that she would end up with a creep, or someone who took the concept of marriage at its most basic, regarding her as property.  Then she met the final prospects.

Prospect #1 (not arranged in order of preference) – Brock Rumlow, an almost 40 something, twice-divorced, son of a boorish man who ran the docks.  Swarthy in appearance, with atrocious manners, and an almost permanent sneer.  No thank you.  Prospect #2 – John Walker, corrupt lawyer.  Certainly, he was handsome enough, if you liked that blonde, all-American quarterback look.  Smug, arrogant, and totally unaware that he rubbed people the wrong way.  Nope.  Prospect #3 – Loki Laufeyson.  Charming on the surface and although attractive in a European kind of way, Tia wasn't sure that he wasn't bisexual which could mean he wouldn't be demanding on her.  Certainly, he seemed to watch attractive men as much as he watched attractive women.  A supposed financial wizard, she got the feeling that her father would have to settle a significant amount on him to generate an engagement offer.  Prospect #4 – She blinked her eyes twice when she saw James enter with his father, George.  He was a prospective husband?  Yes, he had been at the other gatherings, but she assumed he was there as security.  He was staff and there hadn't been a marriage between a daughter and a staff member since... well, years.  Plus, he had broken her heart when she was 17 by going to bed with Sharon, the social secretary.  She left the job while Tia was in college, her replacement, an older woman who wore sensible shoes.

Dinner was called and Tia's father offered her his arm, escorting her to the table, where she sat to his left, while her mother sat to his right.  The prospects fathers were placed next, two on each side of the table, then their sons furthest away so that Jerome Brancato could observe them from a distance and see how they responded being grouped together.  At the foot of the table was her grandmother, the family matriarch, Maria Brancato.  She would be assessing the prospects up close, engaging them directly.

Right away the fathers, except for George Barnes, talked over each other about their sons, extolling their strengths, although only one of them said anything about how their progeny would be good for Tia.  That was George, when he did speak, who brought up the fact that James had several sisters and had always looked upon himself as their unofficial bodyguard, even though he was younger than them.

"No one even stepped up to the door to take one of my daughters out unless Bucky (he had a nickname?) approved of them first," said George.  "He kept the boys in line and made sure they were respectful of the girls and their mother; God rest her soul."

Tia's mother smiled.  "Winnie was a good woman.  She would be proud of the man James became."

Jerome gave Liliana a look, that saw her smile at her daughter, then keep eating. 

"Well, Brock would have done the same," said his father.  "Anyone who stepped out of line would see the business end of his fist.  He doesn't put up with any opposition from anyone."

That raised her father's eyebrows a little as he rarely used physical force against any of his men, and often welcomed an opposing view if it was presented properly, with respect.  Brock's father just kept rambling on about how no one intimidated his son.  Then John Walker, Sr. cleared his throat and told a story of how his son completed a complex business deal by finding dirt on one of the principals.  After setting up a honey pot situation, he managed to present the man with compromising pictures in order to sway him to their terms. 

"Made his client an extra $10 million."  He chewed with his mouth open.  "That alone was enough for his boss to offer him a partnership in the law firm.  Jumped right over several others who had been there longer.  Johnny will do what is needed to increase profits and productivity."

Her father said nothing, but Tia could tell he didn't like hearing the other man brag about it.  Yes, there were times when he employed similar tactics in dealing with certain people, but he kept his involvement in it to a minimum, as it was tempting fate to have the acts traceable back to him.  That was just asking for trouble and a careful leader kept things looking legal. 

At that moment, Tia noticed her mother looking down at the other end of the table, where her grandmother was.  There was a look between the two women that seemed to be sending an invisible message between them.  She just wished she knew what that look meant.

"Well, Loki has certainly done his share of cooking the books to improve profits and productivity," said Mr. Odinson, his stepfather.  "The magic he can perform on the balance sheet would make your head swim.  Every investigation against him has turned up nothing that can be pinned on him.  Takes a genius to do that."

"Hmmm," was all her father said to that.

"One of these days his luck will run out," she thought, wondering if her father was thinking the same thing.

The rest of the meal progressed in a similar manner until dessert was served.  Then Jerome finished his cake and coffee before he stood up, prompting the fathers then their sons to do the same.

"Gentlemen, let's go for brandy and cigars out by the pool, while my mother, wife and daughter confer," he stated. 

All of them pulled away, then James offered his hand to Tia's grandmother.

"I have enjoyed our talk this evening, Mrs. Brancato," he said, warmly.  "You've given me much to think about."

She smiled at him, then looked at her daughter, knowingly.  George Barnes saw the look then faced Liliana, offering his hand to her.

"My compliments to your cook.  That was a very enjoyable meal."

The three of them were left alone as the men filed out, and the two older women both looked at Tia.

"If it was us choosing, it would be James," said her mother, "but your father has other considerations, and his word is binding.  You will be able to go on a date with each of them in turn then provide your opinion to your father but I'm guessing he already made his mind up."

An hour later the evening was over, and they said good night to everyone.  James left with his father, being assigned to work in the warehouses that week.  He was staying at his parent's house during that time. 

〰️ 〰️ 〰️

The Dates

Rule #5, No sex on the first date.  Once an engagement was announced the couple could go at it but until that moment, any prospective husband of the boss's daughter who presumed to touch her in an intimate manner would deserve what happened to him later.

Two days later Loki Laufeyson arrived to take Tia to dinner.  He pulled up driving a Maserati, wearing an expensive silk suit.  He was polite, solicitous, and the perfect gentleman.  The restaurant was perfect also, a two-star Michelin restaurant, whose portions were so precious that Tia almost asked if they could stop at a drive thru for some burgers.  During the meal an older blond man stopped by the table to say hello, looking at Tia nervously.

"Mobius, this is Tia," said Loki.  "She's ... um ... my date."

"Oh."  The other man smiled slightly.  "Pleasure to meet you."  He looked back at Loki.  "I missed you at the club on Friday night."

"Yes, there was a dinner party at Tia's parent's house.  I was obligated to be there."

Both men looked very uncomfortable, so Tia did something kind to both of them and excused herself to go to the ladies' room.  Loki stood up as she left.  When she looked back, she could see both men speaking in whispers to each other and sighed.  Definitely bisexual with a preference for men.  Scratch Loki, which was too bad because he seemed quite nice.  In fact, later, after she returned to the table, he announced that he would be withdrawing his courtship of her but wished her the best.  They parted with a handshake.

Date #2 happened two days later when John Walker picked her up, driving a Mercedes SUV.  His suit, also silk, didn't look as good on him as Loki's did.  She attributed it to the fact that Walker was not used to working in a jacket.  It always seemed to ride up and crowd his neck.  They went to a restaurant, a steak house type, where he ordered a larger cut for him with all the trimmings and for her, a small cut, with a salad and minimal dressing.

"I'm sure you're always watching your weight," he said, eyeing her body.  "You seem to keep quite trim, and I wouldn't want you to think I don't support that."

As she guessed, he played football in college, at the quarterback position, and proceeded to regale her with his exploits on the field.  He didn't ask one question about her.  When he kissed her goodnight, he attempted to give her tongue, but she successfully pulled away, waggling her finger at him, as if he should know better.  Since a servant was already on the step, he took it with a smile, but she saw a darkness in his eyes that bothered her.

Date #3 was with James.  He picked her up in a 1994 Mustang GT, wearing a sports coat over an open necked blue shirt and jeans.  Somehow, he had told her mother his plans, so Tia also wore jeans and brought a sweater.  They talked as he drove to Coney Island. 

"This is your car?" she asked.

"Yup, restored her myself," he said.  "Found her up on some blocks in an abandoned lot.  No tires, stripped of parts but the body was good, and it kept me out of trouble when I was in high school and after the army.  It was time spent with my dad.  I've been offered good money for her, but I like driving her.  Sorry, to talk about her as if she's real but I know every inch of her."

"I like her, too," smiled Tia.  "Does she have a name?"

"Yes, but I can't tell you."  He blushed.  "It would kind of be inappropriate for our first date."

They drove a bit further then Tia looked at him again.

"Can I ask you something personal?"

"Go ahead, I have no secrets," he answered.

"My mother told me when I was 17 that you asked for permission to take me out, but my father said no."  She looked out her window.  "I saw you a week later kissing Sharon, then going into her bedroom."

He nodded his head, his mouth set in a grim line.  "Yeah.  Your father told me that you were too young and to set my sights lower.  She flirted with me, and we did kiss.  I didn't stay.  She wanted more from me that night than I was prepared to give.  I'm no saint and I have been with several women since then, but nothing serious."  He took a deep breath.  "I always liked you more.  It's why I asked to be considered as a suitor.  This time, your father agreed to let me have a chance."

"Oh." Tia swallowed and took a deep breath, trying to calm the pounding of her heart.  "What are your chances?"

He smiled a little sadly.  "Not as good as the other three," he admitted.  "My father is a construction foreman who did some work for your father, and they got along well, considering each other a friend.  But he's not well off like the other fathers, nor is he in any position of influence.  My only assets are my loyalty to your father, I'm a hard worker and like to think I do the job without letting my emotions get the better of me.  Most of all, I pledged to be faithful to you always and to treat you with kindness and respect.  I have sisters and expected the same from the men they all married."

Tia watched the beams of the streetlights come through the windows alternating between illuminating his face and leaving it in darkness.  His strong facial features had matured in the few years since she went away to college, as had his physique.  There was also a depth to him that the others didn't have.  The fact that he didn't talk much about himself impressed her.  This was a man looking for a serious relationship, not a business deal sealed with the acquisition of a wife. 

The date was fun as they went on the rides, ate hot dogs and drank beer.  He won her a large stuffed giraffe at the shooting gallery, christening it together as Walter.  When they walked back to where the car was parked and deposited Walter in the back seat, James looked at her in the dimly lit area.  Gently, he took one of her hands in his, then raised it to his lips, kissing the knuckles then turning it to kiss her wrist.

"I expect someone to be watching when I drop you off so if you don't mind a kiss here."

He didn't finish what he was saying as Tia raised herself up to kiss him, wrapping her arms around his neck.  He enclosed her in his arms, and she felt the firmness of his body pressed against hers.  His soft lips were perfect, applying just the right amount of pressure against hers, then she opened hers to allow their tongues to mingle.  It was every bit as good as she imagined when she was 17, going on 18.  When they finally pulled apart, he looked at her in a way that no man had ever looked at her before. 

"You don't know how long I've wanted to kiss you," he murmured, his eyes taking in every part of her face.  "You don't remember the first time we saw each other, do you?"

"I thought it was in my dad's office."

He shook his head, smiling.  "My dad built your pool house.  I was 16 and worked as a helper on the site.  You were still a girl, just turned 13 but I thought that you would be beautiful when you grew up a little.  I knew then that I didn't really want to look at anyone else.  Sounds a little creepy but I was willing to wait until we were both ready."

"It's not creepy," said Tia.  "We were both kids.  I'm glad you waited."  She looked down for a moment.  "Are you sure this is the life you want?  I know what my father is and the things that you've likely already done for him."

"I went into a combat zone when I was 18 so I have killed before," he said.  "So far, your dad has kept me out of that part of it.  I think he's looking to scale back that side of his business, be more legitimate.  If it means that you and I can be together, it will be worth it."

"Okay.  One more question.  Your nickname is Bucky?"

He laughed, giving her that lop-sided smile.  "Yeah, it's from my middle name, Buchanan.  That was my mother's surname."  He shrugged.  "James sounds more grownup and mature.  You can call me anything you want."

"Just the best date I've ever had," she smiled back.

They kissed again, then James opened the passenger door for her and drove her back to the estate.  Before they got out, he gave her his cell phone number, entered it as Jane so her father wouldn't know it was his, then told her to call him anytime if she needed help.  In front of the mansion, he was aware they were being watched so he gave Tia a respectful hug, handed Walter to her, then waited as she entered the house, before getting back into his car and driving to his father's house.  Although he hoped it would be enough for her father to choose him, he knew his chances weren't good.

The final date, with Brock Rumlow, was everything that Tia feared.  He showed up in a heavily customized truck that Tia needed a ladder to enter.  Although dressed in a suit he didn't wear a tie until forced to at the restaurant he took her to, after verbally haranguing the maître d’ for the indignity of his money not being good enough for the place.  His table manners were as atrocious as his regular manners, talking while chewing, burping at the table, and referring to his bathroom habits in crude terms.  Excusing herself to the ladies' room, Tia texted James.

Tia: Help! I'm stuck with a Cro-Magnon man who's unbearable.

Jane: Brock?  Yeah, he's a bit full of himself, isn't he?  Do you need rescuing?

Tia: Possibly.  I'll keep you posted.

She returned to the table where Brock was sprawled in his chair.  Tia's plate was gone as was his. 

"Good, you're back," he said.  "I've paid the bill.  Let's go to a club."

"I wasn't finished."  He looked up at her surprised.

"Oh, I assumed you went to the bathroom to uh ... you know, bring it all up.  That's what you chicks do to keep slim, right?  My exes did that all the time."

She would have answered but he stood up and headed for the door, turning around to wait impatiently for her.  With a sigh, she joined him, waiting as he tossed the valet his token.  The truck appeared and he didn't help her in, although the valet did, giving her a sympathetic eye roll.  The club, with a pounding bass that bled out onto the street was full of friends of his, whose method of communication seemed to be either a jut of their chin or a pound hug.  He requested bottle service in the VIP area, then flopped down on the couch, pulling her down with him, and draping his arm over her shoulder.  Sitting there like the king of his own kingdom, Tia had a vision of her life with Brock Rumlow and decided to end the date there.  Of course, he didn't want to and kept trying to keep her sitting on the couch with him.  Finally, she convinced him that she needed to throw up and he let her go.  Exiting out of an emergency door she went to the nearest coffee shop that was open and called James, who told her to stay there and wait for him.  He arrived twenty minutes later, entering the coffee shop with a worried look on his face.  As they hugged, he stroked her hair and vowed that no matter what, Brock Rumlow wouldn't do this to Tia ever again.

At the mansion, when he pulled up, Brock was there, waiting angrily for Tia, as was her father and mother.  He went to open the door for Tia, then growled when he found it locked.  James came out of the driver's side door and placed himself in front of Brock, staring at him in a way that showed he had absolutely no fear of him.

"Move," said the jilted date.

"No, move yourself," replied James.  "She called me to get her out of a bad date and I obliged.  Now, I'm going to finish the job and make sure she gets inside the house safely."

"Are you saying I abused her?"

"I'm saying you wouldn't let her leave until she thought she was going to be sick.  She told me you acted like a pig the entire time."

"She's lying.  The little bitch is lying."

Jerome pulled Brock away at that moment.  "What did you call my daughter?"

Liliana slapped Brock in the face.  "How dare you.  Jerome, if you even consider him suitable for Tia, I'll leave you.  I swear, I will divorce your ass and take everything you own.  It's all in my name anyway."

"No one's divorcing anyone," said Jerome, then he looked at Brock.  "You have 10 seconds to get your ass in your monstrosity of a truck and get the hell off our property.  You tell your father that if he even tries to retaliate it will be war between us.  Now get."

Rule #6, Even a mob boss with only daughters does not take kindly to his daughters being referred to as bitches.  Especially by a twice-divorced asshole like Brock Rumlow.

〰️〰️〰️

The Wedding, six months later

Rule #7, When marrying into the mob, let her family have their way.  It's easier and lulls them into thinking you'll be a pushover. 

This was it.  Her father made the decision and now Tia had to live with it.  She looked at herself in the mirror as her mother fastened the veil to her head.  A knock on the door was opened by her oldest sister, acting as matron of honour.  Her father walked in; his bow tie undone.

"Lil, can you fix this?" he asked.  Then he stopped, seeing Tia's reflection in the mirror.  "All my girls looked so beautiful on their wedding day."

"Men always have trouble with a bow tie," she smiled, turning towards him.  "Come to the window so I have better light."

While her mother did her father's tie, Tia's phone, deep inside the pocket of her wedding dress (that she insisted on having) vibrated and she went to the bathroom to answer it, telling everyone she needed some water.

Jane:  You sure you're going to do this?

Tia:  Yes, it's what my dad wants.  I'm a good mob daughter, you know.

Jane:  Yeah, now you'll be a good mob wife.

Tia:  If you mean pregnant on the wedding night, chances are good.

Jane:  LOL.  I hope you'll be happy.

Tia:  Thanks to you, I know I will be.  You'll be there, right?

Jane:  Wouldn't miss it.  I'll always have your back.

She smiled at that and put the phone away, then poured herself some water.  When she came out, her dad's tie was perfect, and her mother was standing there with the bouquet of flowers.  Grandma Maria beamed at her.  The wedding planner fussed over her while the photographer took some photos of them all, including her six bridesmaids, well matrons as most of them were married.  On the limousine over she thought of all her worries about the man her father would finally approve of.  It was easier after Loki willingly took himself out of contention, then Brock showed himself to be a total asshole in front of her parents.  She could live with the man who was chosen and make it work.

At the church, there were all sorts of photographers, some of them likely FBI plants as her father was still a person of interest, as were many of the guests.  But he did promise Tia that he intended to bow out of that type of work and build up the legitimate areas, without even using laundered money.  After all, he wanted his youngest daughter to be happy. 

The walk up the steps of the church was interrupted by calls of the photographers to pose but she only slowed down, anxious to get this part of her life over with and begin her life as a wife, then mother.  At the top of the stone steps, she looked back towards the street and saw James' Mustang, smiling that it was there.  She stepped inside and the wedding planner took over, positioning the flower girls (a niece from each side), then the bridesmaids / matrons, a combination of one girlfriend, her sisters and his sisters, sending them down the aisle.  One of her brothers-in-law escorted her mother to her pew.  She had wanted them both to walk her down the aisle, but her father put his foot down; traditionally only the father could give the bride away.  Then everyone stood up and she knew her moment had come. 

Her groom came out from the vestry, but she couldn't see him over the number of people who blocked her view.  Then Tia took her father's arm and began the walk towards the altar.  It wasn't until she was three quarters of the way down that she finally saw James, in his black tuxedo, white shirt, and black tie, with a boutonnière in his lapel.  He gazed at her with glassy eyes, then offered his hand to her when she was close.  Her father kissed her cheek, then kissed James' before lightly slapping him on the cheek to get his attention.

"You do right by her," he murmured.

"Yes sir, that's my plan."

Finally, it was just them, in front of the priest, and he began the service asking if there was anyone who objected to this couple marrying.  You could have heard a pin drop in the silence, then he smiled at them and began the service.

Rule #8, No excessive tongue in a Catholic wedding ceremony.  It's not classy and even though the people in the church for a mob wedding might be considered criminals they aren't animals.

The kiss before they walked down the aisle as husband and wife was just as good as the kiss at Coney Island.  They could both hear the sighs of delight from the women who were present thrilled at the absolutely perfect husband that Tia Brancato, now Tia Barnes had.  When they exited the church, having rice thrown at them, because that was traditional, James opened the front door of his 1994 Mustang GT and tucked Tia's dress into the front seat around her legs.  Then he went around to the driver's side, got in, and started it up, revving it a few times before he peeled away, with the sounds of tin cans rattling behind him.  On the back window the Just Married that was drawn on with washable paint soon faded away from view.  The limousine driver opened the door for the parents and the bridal party.  They would meet James and Tia at Prospect Park for the photos. 

In the Mustang, Tia looked at her handsome husband, James.

"You came," she said.  "You brought Portia."  She gestured to the car.

"I promised," he replied.  "Said I would always have your back."  He drove for another minute.  "Did you mean it, about getting pregnant?"

"I'm off the pill and I might be ovulating," she said.  "If it happens, it happens.  I'll be happy either way."

"Are you okay that we're waiting until tonight?" 

He glanced at her.  It was something he suggested once her father announced that James could propose to Tia.

"If it's anything like our first kiss I won't be disappointed."  She placed her hand on his.  "Besides, there's always Rules #9 and 10."  He laughed, having been briefed on the other rules already, especially the ones that were her rules.  "Rule #9, No matter what, we'll make it work."

"And Rule #10?"

"Whatever will be will be.  You knew when you first saw me when I was a kid that you liked me.  I knew when I first saw you in my dad's office that I wanted you.  It was meant to be."

"I love the Rules."  He raised her hand to his lips and kissed the knuckle.  "I love you."

That evening, their first dance was to Que Sera Sera, otherwise known as Whatever Will Be, Will Be.  It always was Tia's favourite rule.

Please support the author by reblogging.

One Shots Masterlist

[cherllyio]

Macaque will be trapped in The Underworld - A season 5 theory

Now, why would this make sense? Because it would fit perfectly with his characther devolpemt so far.

So, lets look at the evidence for that.

Macaque has through these 4 seasons gone from someone who does everything for his own sake, because of his own personal trauma, to someone who is starting to develop direct friendships with our main cast. (which this person talks more about in depth)

Therefore, it would make sense, if we start going into the most mysterious part of this monkey’s past: His time in the Underworld.

This would make sense for two reasons:

We could get answers on how he ended up in The Underworld in the first place (aka Shadowpeach lore)

We could get answers on WHY all our mystic monkeys are getting accused of breaking the sky, but we would also get some more answers about this guy, The Traitor.

The Shadowpeach part makes sense, therefore I want to go into more details with the whole “Macaque meeting The Traitor” - part of this theory, because they are actual scenes that indicates this in the trailer.

As this person mentioned in a breakdown of the trailer, it looks a lot like here that Macaque is getting sucked into Li Jing's Pagoda (because of that flashing light that looks awfully similar),

and after I made a timeline of the trailer, I realized that Macaque doesn’t really show up in the following scenes after he supposetly gets trapped in the Pagoda.

So, from a story perspective, it looks like Macaque stayed behind to fight off Li Jing, while the others got away in the car, while he himself got captured. This would then lead to Macaque again getting trapped in The Underworld, so they could keep an eye (pun intended) on him.

This would then result in Macaque getting (PTSD) flashbacks to his time in The Underworld, where there is a pretty realistic chance, in that time, he MET the Traitor.

Think about it. The Traitors whole goal is “chaos”, and our mystic monkeys are nothing but CHAOS. (talked more about this here)

There is also the fact that a theory (you can find it here) going around that The Traitor was the one who released Azure Lion from his prison, but erased his memory so he didn’t remember how he even got out:

(Season 4, ep 10)

Wukong: Wait, how are you here?

Azure: What, what kind of question is that?! You know exactly how-

Wukong: No, here and now. I put you in The Underworld myself. How did you get out? How did you get the scroll? I know for sure you didn’t steal it, you couldn’t have.

Azure Lion: I- I don’t know… I was…

Wukong: Azure! Who gave you that scroll? Because whoever it was, they must have known this would happen. WANTED this to happen, and they used you to do it.

Azure: I just wanted to make the world a better place.

There is then a good chance that he did something similar to Macaques memory, where one of thoughs memories could be his final fight with Wukong.

The Traitor could have made it so that Macaque remembers it as Wukong DIRECTLY killing him, but as David Breen mentioned, that’s just how Macaque views it.

Therefore, that’s what is going to be Macaque next character development in this season:

What happened in the past? More specifically what ACTUALLY between him and Wukong. Because we, the fandom, don’t know, but maybe MACAQUE doesn’t even know himself.

We can also, with this new information, figure out another important of his next arc: The theme of understanding.

We also know that a lot of the reasons for Wukong and Macaques fallout, is because they MISUNDERSTOOD a lot what the other actually intended.

We also know that Macaque is starting to realize that too, in the way he reacted when he saw his and Wukongs fight again: He realized HE MISUNDERSTOOD what Wukong had meant.

The seeds have been planted everyone, and we are know going to see what they are turning into. And that is a story of Understanding, growth, and friendship (or whatever the hell their realtionship is at this point).

[prettyboysdontlookatexplosions]

medialog april 2k24

ok. sick day catch up part two

watched

monkey man - this was gnarly and fun and dev patel, quite simply the hottest man ever to live, is upsettingly hot in this film, like SO hot oh my fucking god

white room - this was a VERY weird movie that (as per the filmmaker q & a) totally flopped at a film festival and never received distribution... you can kinda see why but i more or less liked it. it's about a weird sheltered repressed dude who accidentally sees the murder of a mysterious pop star and then accidentally befriends and falls in love with the woman who was actually the reclusive songwriter and voice of the act... the filmmaker described it as a "journey through genres" and it was very artistically ambitious in a way that maybe didn't totally work but it had some really good stuff about art/consumption/fame/women (my jam) and it frequently looked gorgeous and also all of the mysterious/reclusive pop singer's songs were big late 80s/early 90s style upbeat synth-bombast numbers with lyrics taken from emily dickinson poems which is soooooo funny and a great idea

alien - this is like die hard in that if i'd seen it ten years ago i would not really have understood the hype but seeing after i had a backwards education in film by watching all of the mcu movies and developing curiosity about the question of why they were bad and ugly in such distinct ways and from there developing a nascent and unsophisticated appreciation of the filmic qualities of film i'm like, wow what an incredibly fucking well made movie!!!!!! some things in particular i liked were (1) no substantive backstory for anyone, no dark secrets except the one that really counted, no traumatic pasts, no explanation for how this world works or why anyone was here except needing a job, just giving us the bare minimum to understand the situation the characters find themselves in and trusting the story to do the rest (2) very good spaceshippy spaceship (another way it's like die hard is lots of great Texture, another thing that the MCU lacks which like many other MCU traits was actually a totally fitting design choice for tech bro billionaire tony stark in iron man but simply did not need to expand to Everything...) (3) sigourney weaver so good! ian holmes also very good (4) lots of suspense through silence which is one of the most lost of lost arts in the realm of big expensive Cool Shit Happens cinema!

roy cohn/jack smith - this was a filmed recording of two monologues performed by ron vawter, a gay actor who died of AIDS, each in the character of another gay man who had AIDS - the notorious roy cohn & the experimental cinema icon jack smith. i don't really have much to say about it but i feel very lucky to have seen it and vawter was incredible - i'm glad also that he happened to come to our attention a few months ago because he played the therapist in sex lies & videotape.

mad max: fury road - ok i kept putting this off because the way people talked about it on the internet frankly emphasized to an off-putting degree the ideas in this movie and did not adequately convey to me personally the most important thing about it which is that it Fucking Owns Lmao Wow. we happened to pause it for some reason like 50 minutes in and i swear to you i would have guessed 15, maybe 20 minutes had passed, that's how much it flies by... the coolest shit ever, i wanted to live there forever! also lottie yellowjackets is one of the wives????

mission: impossible 3 - the worst movie in the entire world. we only revisited this one as part of our ongoing marathon with some friends and we spent the whole time complaining about jj abrams' totally inept camera work... seriously watch this movie and look out for (1) every time an already fast sequence is torn up with a zillion stupid little cuts some of which actively prevent us from seeing something that could have been cool (2) every time we get to a new location and the camera starts aimlessly drifting to the side literally immediately because he's afraid we'll get bored if we sit in a location for one whole second (3) every time 3 people are having a conversation and the camera spends the whole time just purposelessly wafting back and forth side to side for, i cannot emphasize this enough, no reason at all. literally nothing in this, an installment of the Stuff Looking Cool franchise, looks even a little bit cool even one time. people hate on 2 for the male gaze of it all re: thandie newton but her character has more personality and agency than ethan's sexy lamp wife in this. the closest to a redeeming value this movie has is that it really feels like part of the goal was to remind everyone of how even though tom cruise jumped on that couch one time he's actually a very normal american heterosexual man (he passes out at one point and flashes back to his wife in her underwear sdksoeroser it's SO dumb) but because he's tom cruise (a total insane freak) he can't convincingly portray that at all and just comes across as insane and maybe a sociopath. "what about philip seymour hoffman" i'm not going to give abrams credit for knowing PSH was a good actor, that's like saying defending a doctor accused of malpractice by saying he knows that feet generally have toes. be serious. i will give a shout out to simon pegg, who is in this less than i remembered but who comes across as the MVP (across what should be a deep bench of a cast!) of making abrams' horrible comic-book-bro-patter come across as something a human might say, mostly so i can also share my friend's insight when i said that which is that it makes sense pegg is suited to the task given that he cut his teeth largely on movies that are parodies of shitty action movies.

mission: impossible - ghost protocol - a wonderful and perfect treat :) i've gone on at length about this one before and really have nothing left to say but it's so good and so specifically good at all the things 3 sucks ass at... my friend was physically squirming next to me on the couch during the burj khalifa sequence, as is right and proper :)

read

beautiful losers - this is a novel leonard cohen wrote in the 60s that is very weird and experimental and i'll be real with you and say i did not get it. it's about a guy whose wife and best friend he had a weird sexual relationship with are both dead and now he's kind of obsessed with an iroquois saint... i am not sure how to describe it but i guess i would say if you think the music of leonard cohen is too optimistic and insufficiently horny for you maybe you would like this. it is probably the most aggressively sexual book i've ever read but not in an erotic way... it's very like about the nastiness of sex and bodies... which i admire ideologically on a certain level but it's really quite unrelenting with it... occasionally there are snatches of deeply beautiful writing though.

listened

sourpatch, stagger & fade - nick put on the vinyl of this and i was like oh that sounds nice and i wound up listening to it a bit... fuzzy indie rock (i'm not educated enough to parse genres more finely than that) that makes for very pleasant background listening

ariana grande, eternal sunshine - i've never kept up with ariana because i just find her voice kind of annoying and i had never heard a song to challenge that UNTIL we reviewed "we can't be friends" at singles jukebox and ariana teaming up with max martin to do kidz bop body talk era robyn turned out to be everything i wanted from her... unfortunately the rest of the album was incredibly boring lol. love that song tho!

maggie rogers, don't forget me - i don't know that i find this one as interesting as her last album or quite as likable as her first (although that might be me somewhat overrating her first because i love "light on" sooooo much) but she's such a capital-M Musician she's always a pleasure to listen to. "drunk" was an early fave but recently i found myself returning a lot to "the kill"

girl in red, i'm doing it again baby! - girl in red comes a lot when other people are talking about the g*yl*rs as one of the actual queer artists they should support but first of all they actually love her and second of all i listened to this album twice straight through and have let some of the songs play on shuffle since and i could not hum you one single line :/

taylor swift, the tortured poets department - speak of the devil! i mean i've talked about this. i like this album a lot - at this point i'm ready to call it easily her best work except for maybe folklore, and honestly i find it hard to assess folklore out of what a special lockdown treat it felt like at the time. i don't expect a world insistent on calling 1989 pop perfection to eventually agree with me but i think people will mellow out about it in time and forget that it was so divisive on release much as has happened with reputation (an album far worthier of scorn if not without its occasional merits) and at the VERY least i think in like 5 years it will be more or less consensus that it's better than midnights.

the starting line, say it like you mean it - i listened to this album mostly to fact-check claims i was making about emo in the taylor swift piece but then i kept listening to it cuz it was kinda full of bops!

fall out boy, take this to your grave - @voidofcourse recommended this as a stepping stone from the starting line for loud guys offering bops and indeed it too was full of bops!

other

an enemy of the people - i saw this on broadway, yes, 1000% literally just because my boy my king my number one guy jeremy strong was in it. the production was interesting and good if not flawless, and although i think some of the younger cast members got a little lost in the old-fashioned theatrical language (even in a new translation) and could have used some direction towards really pulling out the meaning of individual sentences they were saying, the more seasoned actors all did a great job, including, of course, jeremy strong, who got to be shoved into a pit and have pretend ice thrown at him, i'm so happy for him. also the play was incredible? like as a play? i said as much here after seeing it but basically it's about this doctor who discovers that the town baths that are about to open have a contaminated water supply that is definitely going to result in people getting sick and some of them dying, especially since they are being advertised partly for their health-restoring properties for people who are already not doing well, and he's like, wow, good thing i caught this thanks to the help of science so we can change plans, and then everyone else in town is like, but have you considered that would be expensive? why do you hate poor people? (there's a thread specifically about the editor of the radical leftist newspaper going from being the doctor's number one champion to being totally coopted out of both politics and self-interest that was particularly brutal to watch...) like it was truly SO incredibly specifically relevant to some Extremely Contemporary Issues that i was just agog and also it was incredibly fucking upsetting to watch! really really great playwriting, such a clean example of how a work can best encompass & comment on ideas by developing them through character and dramatic action rooted in wants, needs, choices, conflict, etc., a lesson many people could stand to learn. i kept thinking it had burrowed as deeply into the core issues as it could and then it found another layer. this ibsen guy... he really knew some stuff about stuff....

[al-the-remix]

I know nothing about 911 but seeing all the bucktommy posts makes me really interested, if you don’t mind could you give a short introduction of the ship/which episode(s) to watch for them? Thanks!!

Hi! So the ship is a very new one and they don't have a lot of screen time yet, so their relationship only appears in season seven, episodes: 7x3 to 7x6 and then 7x9 and 7x10. Tommy Kinard as a side character also shows up in episodes 2x9, 2x12, 2x14 (in an off-screen capacity) and 2x16.

As for the introduction, the lore with this show runs sort of deep, but as condensed and simplified as I can give it to you: the decision to introduce bi!Buck and Tommy and his love interest was made very last minute (like as the first few episodes of season seven were coming out kind of last minute...) as the tv show switched networks from FOX to ABC and was working with a protected season, (10 episodes in stead if 18), so this first season you see them together in has a very "let's see how well this works and if the general audience approves of it" kind of vibe.

Obviously, it worked for me! And the general reception has been good. Personally, I find their dynamic fun and genuine; the show runner was aiming for a non-heavy coming out story with a romcom twist, which a think they succeeded at. Buck (or "Evan" as Tommy calls him) is sort of the obvious favourite of the show in the audience and the writer's eyes, he's gotten a lot of development over the years, but has stagnanted recently on the romance side of things and also in his professional development, (which is partly the fault of the writers and partly just bad luck with maintaining actors). So I think a lot of fans are excited to see him "off the hamster wheel", as they say, in the love department. This opens up the possibility to explore other plot lines with him as a character in his professional life and personal life now that hes in a steady relationship.

Tommy we don't know much about yet, other than he was deeply in the closet when we first see him in the season 2 flash-back episodes. He's not initially a very warm, welcoming, and accepting person, but it's implied that a lot of that behavior was influenced by his environment and poor upbringing and he is quick to make amends and befriend the main characters when he's shown to be in the wrong. He used to be in the army, and is a fan of cars, martial arts, and rom coms. The way he talks in the season seven episodes makes it clear that he's done a lot of self reflection since we've last seen him (and since he's come out). He's shown to be an open and honest person who does his best to show up for the people he cares for, and once Buck is in his line of sight, all that attention is turned his way.

I think with this ship what people are most excited about is the potential it demonstrates: Buck as a character is someone who's been on an aggressive misson of self discovery and understanding, he's been actively looking for a romantic partner to have a committed, mature relationship with, he's someone who's willing to give a lot of himself away to his partner and is desperately hoping to have that attention and affection mirrored back at him.

What little we know about Tommy so far makes it clear that he's mature and willing enough to be that person for Buck: if it works out and the writers allow him to be. I just really enjoy what little I've seen so far, and with the show being back to its regular 18 episodes next season and Tommy pretty much confirmed to return, I'm interested and invested and hopefully in where they may take this relationship next.

Also I feel like I need to add if you're going to engage with the fandom specifically for this ship, do it through the #bucktommy tag on tumblr, because it's a real mine field out there right now, lol.

[totem-but-shark]

On the fourth day of Rust kingdoms I tuned into hJune's stream for the last hour or so and as he was ending he climbed up to the highest point in Rusty Bones and simply sat, looking over the kingdom listening to music. And whilst there's something to be said about it being the perfect representation of his character with r!june almost being some kind of guardian angel for Rusty Bones watching over and guiding them, in that moment I was hit with the strongest sense of nostalgia. Which is crazy considering at that point the server wasn't even ending, still had multiple days left and the server had only existed for a few days prior and yet I found myself moved.

Maybe it was a shared understanding with june, he wasn't saying much but I got the sense he might've been feeling something similar. Just sitting back and appreciating the moment, reflecting on the days past, and this special little server. I think there's something beautiful to the love we hold for media, or more precisely the stories told within it and the feeling of experiencing and loving something. Following a narrative with all of its twists and turns finding yourself wholly invested and endeared by its world and characters, to me this is made especially potent in real time improvised RP as you watch this whole world develop one step at a time before your very eyes. Getting to know characters as they get to know themselves, going on their journey right beside them. Following along within community, on twitter, in chats, just listening to the players discuss how much of a good time they're having, shared love and passion for something. It might just be me but that kinda thing always makes me emotional.

The medium of improvised live RP really is unique in this sense, it's hardly been a week but my heart has been stolen by the Rusty Bones cast regardless. Becoming so invested so quickly. Every character interaction building upon the last, every random throwaway line of backstory and lore slowly painting a clearer and clearer picture. Theorising and chatting with peers online and hopping between streams to see every pov. It's been beyond fun and I have to give my thanks to every single Rusty bones player for the atmosphere and community they created, they're the heart of these streams and each one played their part to perfection whether that be through in character roleplay, putting hours of time and care into contributing to the kingdom allowing everyone to play the game and enjoy it as they have or just being a good sport and bringing good vibes for a good time! Extra special thanks to Tina, Foolish, Trausi, hJune, Enevun and Dakkin who really made my pov of this event what it was.

June looking over the castle i've come to be so familiar with and hold so dear in such a short period of time it almost feels like home, for this week Rusty Bones has been my home. Somewhere comforting I could come back to reliably at the end of every day and be greeted by the kingdoms familiar faces. And though we're saying goodbye soon, even if it's a little silly I can't help but feel thankful this little week was part of my life and the joy it brought whilst it lasted.

The song June was listening to: