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milktei · 1 year

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When you write angst/fluff one shots, I love how you indulge more with your character's feelings and not just straight up jumping to the good part where everything's alright. Specifically during "Again" and "Fine". Would you mind writing the same stuff but with a bit of hostile management of actions whilst in a disagreement with the reader? Will writing for Kuroo or Ushijima okay? ( I think you've taken a liking to Sakusa so I'm not sure if you want the first two captains.) Anyhow, I'm frankly talking about a bit of viol3nce. In this view, how would they speak up their mind and resolve the matter maturely?

Of course when you're available, thank you for your time:3

Love Sealed in Gold

Ushijima Wakatoshi x gn!Reader

Genre: Angst, tiny bit of hurt/comfort

Warnings: Violence (not towards reader), Possible oocness again. Not edited :P

The pace that i managed to get this out is surprising even to me :o But i had an idea the moment i read the ask!! Isn’t that crazy???

the fact that it’s obvious that sakusa is my fav is kinda embarrassing ngl HAHA BUT i just enjoy writing for haikyuu so don’t worry about requesting people i haven’t written on!

hope you enjoyed this anon! i couldn’t in good conscious add anymore “violence” than i did. what i wrote is really tiptoeing the line for me.

That being said anyone who reads this please don’t take this as me saying to forgive everyone who acts like Ushijima does in this, of course every situation is different but i don’t want it to seem like this is acceptable behaviour and something a person should have to deal with and accept. Violence is a scary and serious thing especially in a relationship so stay safe!

Anyways the idea of using Kintsugi as a metaphor in writing isn’t exactly new but i hope you guys enjoy my take on it and how i wrote it :)

The Japanese art of Kintsugi is a method of fixing broken pottery that has been popularized all over the world, romanticized even. Something about using the precious material that gold is (among other materials), to put something back together seems to tear into the hearts of people all over the world. So much so that companies even sell their own Kintsugi kits where you can break the provided pottery and put it back together yourself.

How ironic, to buy something only to break it and go through the tedious task of connecting all the broken pieces back together again.

Many hold the belief that kintsugi hold its own deeper meanings. Some say it shows that something breaking and being repaired shouldn’t be covered up, but instead embraced, as it is a part of that objects history.

A more pessimistic view on the subject could be the fact that no matter how beautiful the broken pottery looks, it will never be the same again.

As you stand looking at your boyfriend with only horror filling your body, you could only think about the same could be said for your relationship.

You knew from the get go that getting into a relationship with the Ushijima Wakatoshi was going to be a tough mountain to climb. Anyone from family, friends, colleagues, and even complete strangers had warned you of that fact.

From his personality, to his schedule and the demands that came with being a professional athlete; it seemed that everything was put against the two of you.

But he was the one to ask you out, to court you, the one who crossed the line from friends to potential lovers. That was something that no one could deny being surprised about.

Yes your boyfriend was intimidating, seemingly expressionless and emotionally constipated. But you loved him, and he loved you.

You could work around schedules, you understood why he works as hard as he does, and learning who he really was something that came with time.

As your relationship progressed you could really begin to see what kind of person he was, and how the most subtle changes in his demeanour could signal a change in mood.

But this behaviour was not subtle, it was pronounced, loud, it filled the entire room and made it difficult to breathe properly.

You could barely remember what you two were arguing about this time. Perhaps how you acted during a charity event? How he was running late to a date and didn’t text or call to let you know? it seemed to be a trend for you two in the last couple of weeks. Pick at every little thing one found less than pleasing and then getting mad when the other tried to defend themselves.

This cycle had been going on for far too long and both of you were tired of it, but at the same time too stubborn, too proud to admit defeat.

It was late, far too late for the both of you to be awake, it was far from an appropriate time for you two to be arguing at the volume you were, but whatever exhaustion either of you felt was smothered by a whirlwind of emotions and stubbornness.

Ushijima wiped a hand down his face in frustration from where he sat at the dinner table. Across the room you paced, ranting about your point in the argument that had only been going in circles at this point.

“I-it’s like you can’t even bring yourself to care anymore!” you exclaimed frantically.

A piercing glare was sent your way and it took everything in you to not shrink away from it.

He stood up, with his size, the action in itself felt extremely intimidating, but you felt the way he talked down on you much more severely.

To further articulate his words, a palm would slam down on the surface of the table, so hard that you could feel the vibration in the floor. Each slam was louder and each time you flinched.

His words grew harsher, louder, and more pointed with each sentence. The look of pure, searing anger and hatred on his face kept you frozen in your place.

The man in front of you was unrecognizable, the man in front of you was not the gentle giant you loved. If anything, he was exactly like how many people would describe him upon meeting him. If not worse.

His words, which had now become shouts swirled in your mind, your eyes began to sting as tears began to well in your eyes. All you could think about was how you wanted this to stop, how if only your body would listen to you and move so that you could begin to ask for forgiveness. How you would give anything right in that moment for him to stop yelling and to stop looking at you like you were dirt on his shoe.

Your prayers were soon answered by the sound of shattering ceramic.

The gasp you let out was visceral, uncontrollable, you couldn’t hold it back if you tried.

The fire in his eyes seemed to die out all at once, his gaze moved to his outstretched arm and he look at it as if it had a mind of its own.

His arms were his prized possession even if he never said it out loud, some would go as far to say that they were something to be celebrated. His arms that can hit a volleyball with the utmost precision, arms that brought him to victory and through loss. Strong arms that held you at night and provided you with a great amount of comfort some could only dream of.

Arms that now only served to fill your body with dread.

A vase, along with all its contents was shattered on the hardwood floor.

It had chipped the paint on the wall beside him where the impact initially happened, water that splattered the surface had begun dripping to the ground.

You both recognized the vase, how could you not?You had gone out together to buy it when he had brought you flowers for the first time and you had realized you had nothing to put them in. After moving in together, you used it as a center piece for your dining table.

How sad that an item so fragile and small could hold so much meaning, and that it now lay broken, it was almost as if it were mocking you.

The room was silent as the both of you stared at the scene before you. Minds reeling as you both tried to process the events that had just unfolded.

Ushijima had thrown the vase at the wall in a fit of anger.

“y/n-“

“Don’t”

You looked up at him and wondered if the conflicted emotions that flickered across his face mirrored your own.

You looked away and took a shaky breath. “An apology won’t fix it. You can’t throw and break something, especially not that, and just expect me to be able to hear and accept an apology, not now, not for this.”

His mouth snapped shut and the tension that filled the room was suffocating. Every time you glanced at the broken ceramic the urge to cry grew and grew.

You wrapped your arms around yourself and took a step back, “I’m…” You swallowed roughly as your voice cracked, “I’m going to the bedroom, you need to clean that up and it’s obvious that we need time to cool down.”

With one last glance at the scene, you turned on your heel and made your way towards your shared room, not seeing the look of anguish that Ushijima held on his face as the watched you leave his sight.

You softly closed the door behind you and as it clicked shut, the realization of what had just transpired fell upon you like waves during a storm.

Despite popular belief, Ushijima had never been an intentionally violent man. The only harm he had caused was on the court, where it wasn’t uncommon for athletes to get injured no matter how good or bad they played.

But tonight, he had no reason to do what he did, there was no excuse even if it was the nth argument of the week. The Ushijima you knew was emotionally intelligent enough to know that he did not have to go through the actions of picking up the vase and throwing it at the wall in order to let his anger be known. He did not need to do that to show you how angry you made him.

His anger had been shown all throughout the night. It was practically palpable.

Your legs shook underneath you as you tried to make it to your bed but your efforts were in vain, you crumpled to the cold hard floor, feeling like you were in pieces, much like the ceramic on the floor of your dining room.

You desperately tried to hold yourself together as you replayed the what had just unfolded again and again in your mind. Not understanding why you felt so conflicted.

Fear. You realized.

Fear is what you felt, refused to believe. How could you fear the one you loved?

And yet every part of your body rejected the idea of your boyfriend and urged you to be afraid of him. Afraid of the only man who could make you as happy as he did.

The man who was supposed to make you feel loved, protected, and safe was the same man that made you feel the complete opposite.

Your chest ached and you breathing quickened, now fully aware of the situation you found yourself in. You were afraid of your boyfriend and didn’t know what that meant for the future of you relationship.

He was- is all you ever want, you couldn’t imagine spending your life with anyone but him, but how were you supposed to move on from this? You now knew how he could react in times of great anger, what if it only got worse from here?

It was then that you finally allowed yourself to cry. After all that had happened you didn’t know where your relationship stood.

It was only after a couple minutes that the door to the bedroom began to open ever so slightly, at a pace so slow you couldn’t even see or hear it through your sobs.

“y/n?” His voice managed to spit out. He was quiet, uncertain, he feared for what your reaction may be at him being there at that moment.

You didn’t respond to him but he knew that you knew he was there, even as sobs racked your body and you pressed a hand to your mouth in a feeble attempt to quiet them.

Slowly, as if not to startle a deer in the forest, Ushijima sank to the floor from where he stood. Keeping an eye on you as he sat down, angling himself so that he was looking at the far wall and you wouldn’t be forced to make eye contact if you could find it in yourself yourself to look up at him.

This was far from ideal to him. He wanted nothing more than to scoop you into his arms and bring you to bed, quiet your cries as he held you tight and told you that it would pass and by the morning it would be a thing of the past.

But he knew better. He knew that he was the reason for your tears and the last thing that you needed was for him to wrap his arms around you.

He was aware of your fear before you were. The horrified look you gave him would be something that would stay engrained in his mind for years to come.

He was only used to you looking at him with love and happiness in your eyes and he had managed to ruin that in one night.

“I know that you don’t want an apology right now.” Ushijima started, he looked down at his hands and clenched them together to prevent them from trembling. “But I just wanted to let you know that… I am fully aware of how unacceptable my actions were tonight, that was no way to take out my anger and I should know better than to display my anger in the way that I did.”

Your cries had stopped at this point but you still trembled, still it brought him the smallest amount of comfort knowing that you were likely listening to him now.

“You deserve better than my misplaced anger, and you have every right to be angry with me, to not want to even be in this room, in this house with me right now. If you wanted to leave-“

His breath hitched and he found himself looking down at the hands in his lap with disgust and sadness.

“If you wanted to leave right now I would understand, but that doesn’t mean I’m giving up on us, I’ll do whatever it takes to earn your trust again.”

Your head lifted ever so slightly and it gave him the confidence to keep going,

“I’ll get help, I’ll find other ways to channel my emotions. Along with that I’ll ask you for your feedback on how you think I’m doing, if what I’m doing makes me worthy of being with someone like you. It won’t start more fights I promise.”

He smiled at himself sadly “You seem to know me better than I know myself at times and that’s one of the reasons I fell in love you. I don’t think I could forgive myself for losing you if I didn’t put as much effort into trying as I could.”

The room was filled with silence once again as Ushijima finished talking. He sighed to himself. He hated this, he hated what he had done to you two, he hated that he was the reason for your tears and he hated that he was feeling completely helpless at the moment, and that you were well within your right to end everything, and there would be nothing he could do.

Your hand grazes his shoulder and he has to do a double take to ensure that you were there. Right at his side like you always had been for the years you had been dating.

Your smiled was coupled with sadness and exhaustion, and he couldn’t hold back the sound of surprise that left him as you wrapped your arms around him and let yourself press your weight into him.

He let out a shaky breath he didn’t know he was holding and allowed his arms to finally reach for you, the next thing you knew, you were being pulled into his lap and he held your head close to his chest, you could hear his heart pounding and could feel his entire body tremble. He kissed the top of your head and let his head rest on top of yours. When he realized how instinctively he was acting, he froze.

“I’m sorry I didn’t mean to act so suddenly I-“

You shushed the man and ran your stroked his arm soothingly in an attempt to calm him.

“I understand.”

Quiet filled the bedroom and for the first time in a long time, it didn’t feel oppressive, or hot with anger. It felt comfortable as it always should have.

Ushijima was the first to break the silence. “We’ll be okay y/n, right?”

The question was almost childish, naive, and ignorant of how many more questions would be raised answering it.

But it was purely Ushijima. Something that only Ushijima would ask in a time like this, he knew about the complexities, knew it would be hard to answer, but he asks anyways.

You ponder for a moment, knowing that no matter how you answered, there was still always the chance that everything could still turn out very differently that whatever you two could imagine.

“We’ll have to work towards it Toshi, and it might be a slow process, but from the bottom of my heart. I believe in us.”

Strong arms hug you tighter, filling you with that familiar warmth

“Thank you.”

Kintsugi is the art of repairing what was once broken by adding something precious to the mix. When used as a philosophy it encourages the acceptance of fragility, coming back from hardship stronger than before, and being proud of something imperfect.

Something that is repaired using this method will never look the same, but that doesn’t take away from the fact that it still holds a unique beauty to it and will continue to function, as long as it is done properly and handled with care.

#haikyuu!!#haikyuu imagines #haikyuu x reader #haikyuu angst #haikyuu fanfiction #ushijima #ushijima x you #ushijima imagine #ushijima wakatoshi #ushijima x reader

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directdogman · 9 months

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how involved was callum with nasa? he was president during the space race and personally sent norm on his mission but something that stook out to me was norm mentioning intell nasa info about man on the moon - neil armstrong - which happened 3 years AFTER he left earth. was history shuffled for callums sake, if it was important at all?

Disclaimer before I answer this: This is a nerdy DT lore question that is absolutely not essential to understanding DT lore and it's teeechnically slightly removed from the scope of the current canon (since it mainly relates to the actions of a character who Gingi has never met in-game), but it's a smart question so I feel compelled to answer it.

Answer: Your guess that the moon landing happened earlier in DT's universe than in ours, during Crown's presidency, is correct. It's funny, but I've got this rough draft of a joke post written that I never posted (involves DT characters having to pick their favourite Muppets. Yeah.) where Gingi (out of spite) informs Norm about the NASA Challenger explosion (a very specific malfunction/televised rocket explosion that occurred in the 80's in both universes, though the Bird Big Puppeteer died in DT's version of the event, unlike in ours, where that only almost (but didn't) happen.) ...which implies that, yes, with him not knowing about this event, Norm's intel obviously DOES cut out post-warp, meaning the moon landing itself was pre-warp by virtue of Norm having secret intel about it.

There are other big clues to an early moon-landing in other dialogue, but I figured I'd at least confirm your method of reasoning was also correct.

On the question of whether Crown really altered history: Yeah, history was shuffled to a large degree, certainly during Crown's term. while most events match up in timelines, Crown invested WAY heavier in certain technologies (mainly nuclear weapons + space flight), causing the US to hit certain milestones early (and even a few that we never did, when you consider the full extent of what Crown got done as President and then Honorary Leader of the UN!)

While I guess Crown's rigorous strides towards vast technological advancement was never outright stated in-game, I definitely implied it through Crown selecting Norm for the mission himself (which means Crown evidently had direct oversight on NASA projects.) There's also the very obvious (but easy to forget) point that of course NASA would not have gotten Norm to a wormhole before they reached the rock in earth's orbit! We're obviously far closer to our moon than any wormholes, and that also goes for the small sci-fi wormhole Norm traveled through which is not far from DT's version of earth (yet doesn't exist in ours.) If it was closer to earth than the moon, it'd definitely swallow satellites sent up by companies into space, which is funny and the kind of thing that would happen in DT's shitty world, come to think of it. But, yeah.

But yes, your question is entirely right for the reasons mentioned above. this might seem unnecessarily convoluted but there IS a reason why I constructed things this way (I know how it all connects in my head), but yeah, it's a little bit complicated to wrap your head around if you don't have surrounding context, and this kind of nitty gritty detail only really matters if you actually want to map a concrete timeline, or God forbid, deconstruct certain actions Crown took in office (some of which have never been directly referenced in canon DT material, but likely one day will be!)

#dialtown #norm dialtown #callum crown

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sherl-grey · 6 months

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dangerous words I fear but I’m craving some OFMD critical but civil discourse… s2 finale spoilers included below the cut. this is incredibly long FYI bc I’m truly desperate to get all my thoughts out

I want to preface by saying I loved S2. I think I loved it more than s1, I think there were some absolute GENIUS moments this season (the entire Calypso episode was *chef’s kiss* my favorite), and I think the cast, crew, and DJ deserve a lot of love and, of course, a renewal for another season.

I know there’s been a lot of anti-finale-critiquing posts out there (and yeah, I also don’t want to see baseless hate or, god forbid, people trying to interact with the cast/crew with anything less than love and respect) but personally, I think the biggest sign that I love a show is me wanting to pick it apart. I think digging into the writing and decision-making and characters of a show means you really appreciate the choices that were made even if you don’t agree with them, because you’re working to understand the story on a level most people only dive to if they’re forced to in an English class. No story is going to be perfect. No story is going to be written specifically for me unless it’s literally by me. But sometimes I still want to study it like a bug under a microscope, you know?

So here we go: I didn’t like the finale, and I didn’t think it fit very well with the rest of the season/show. Weirdly enough I didn’t feel a need to discuss online until I started reading the interviews DJ has been giving about the finale (specifically the choice to kill Izzy and Ed/Stede’s ending) and I’m so curious as to whether others interpreted things the same way. (Yes, they’re DJ’s characters. No, I don’t think all viewers are obligated to interpret things the same way as writers did—that’s half the beauty of storytelling and media consumption.)

Izzy’s Death

Let’s unpack the big one first. I think a lot of what DJ/finale defenders (if I may respectfully call fans who enjoyed s2e8 that) have mentioned is that Izzy’s arc was over and he’d served his narrative purpose. I’ve got a few different issues with this:

1. Part of what I love(d?) about this show is that I did not think this was a show that kills characters once they’ve served their narrative purpose, or a show that kills characters as punishment/retribution for mistakes/earlier actions. To me, OFMD symbolizes the idea that everyone is deserving of love, forgiveness, and second chances. I truly trusted that no one on the Revenge crew would die in this show, and to be proven wrong was a bit disheartening, to say the least. Will talk more on the suicide notion in the next bit because I think it was symbolic, but Izzy also now represents a suicidal character who finds the will to live again. I’d argue that a “full arc” for a character like that should be ending in happiness, not death (and especially not with a line like “I want to go” or whatever the specific words were).

2. DJ seems to describe Izzy’s role as being a mentor to Blackbeard, which I personally struggle to see at all. Despite the Captain/First Mate status difference, I think most signs have pointed towards them being roughly equals—the unrequited love Izzy feels for Ed, the way the two of them stand right up to each other when everyone else would be afraid to, the clear shared history and longevity of their friendship/companionship. (If anything, I’d argue Izzy takes on the mentor mantle for Stede in s2, though it’s a bit glossed over because of how crunched for time everything was.) I certainly have trouble seeing the “father figure” relationship that DJ mentions in interviews, because I think Izzy is the one crew member that puts himself on even ground with his captains.

But even humoring that, Ed’s story has been about shedding Blackbeard. And DJ has a great quote in the Entertainment Weekly interview where he says that Izzy and Ed are both Blackbeard, that the two of them together are what makes Blackbeard “happen.” So in theory, if we’re killing Izzy off to further Ed’s storyline, it’s to ultimately kill Blackbeard, right? Especially since his line at the end is to “just be Ed.”

Except we already have metaphorically killed Blackbeard, several times. I think S2E3 is a really interesting episode because in season 1, it can be argued (and is, by Chauncey Badminton) that Stede kills Blackbeard in his own pirate-y way—with kindness. The crew is also somewhat a part of this, as they all accept and love Ed for who he is and not only because he’s Blackbeard; the crew follows the example of their captain and it changes who Ed is as a person. S2E3 is a crew under Blackbeard, and they also kill Blackbeard following the method of their current captain—violence. And this “death” is, in my mind, the death of Blackbeard while Stede symbolically saves the part of him that is just Ed. (Bonus: we also get Ed trying to sink his leathers, and while it might just be because he’s on a damn boat, it’s interesting that Blackbeard’s clothes are drowned/sunk while Ed’s metaphorical comeback was being saved from drowning by Mer!Stede.)

So Ed’s half of Blackbeard is dead. If we stand by DJ’s idea that Blackbeard is half Izzy, we’ve still got half of Blackbeard left, right? Well, that would’ve been right immediately post-S1, but then they gave Izzy a beautiful arc that seems to be a shadow of Ed’s S1 track. Ed and Izzy are very similar characters, but in S1 Ed is on the receiving end of love, acceptance, and admiration—namely from Stede, but also from the crew. Meanwhile, Izzy is subject to contempt and hostility… once again, namely from Stede, and also from the crew. Ed blossoms under the love during S1 until that’s taken away; Izzy simply moves in the reverse direction. He continues to be an antagonist while being treated like one, but once others start treating him with kindness (Fang hugging him, Jim and Archie amputating his leg while Frenchie lies for him, the whole crew making him the unicorn leg), he too becomes a part of the family. And wouldn’t you know it—Izzy has a near death scene as well, a suicide no less. Izzy is the one who is responsible in S1 for “bringing back Blackbeard,” so the symbolism of him pulling the trigger on himself is huge. This is Izzy killing his half of Blackbeard! Because Izzy Hands continues to live, even if it takes him some time to remember how to live without Blackbeard at first, and his relationship with Ed effectively dies here.

(As a side note, this growth arc and the way Izzy fully transforms into a member of the Revenge crew afterwards—whittling Lucius a shark and talking to him about forgiveness, dressing up in drag and singing to the crew, cracking silly jokes about Ed and Stede’s relationship—are also why I find the “Izzy Hands is the symbol of traditional piracy and his death is symbolic of traditional piracy dying” argument to be weak. In season 1, he was that definition, but we’ve literally watched him grow out of it. He’s no longer symbolic of something stagnant that will remain the same or be destroyed—he’s symbolic of something that grows and adapts to the new situations, that survives when all of the rules change on him.)

And then we have the return of Blackbeard: Pop-Pop pushing Ed to go back to doing “what he’s good at,” Ed fishing his leathers out of the ocean, Ed killing a ton of people because he thinks Stede is likely dead or at minimum in captivity/grave danger. This bit seems to go against everything the season was building towards; Blackbeard was almost entirely gone, but Ed is now the one who brings him back because he thinks Blackbeard is the one who can save Stede. And that’s fair, but what does that have to do with Izzy at this point? Why does he need to die for Ed to put that part of him away again? While we’re not owed a main character having a death that serves a narrative purpose, I’d hope for that to be the case, and I struggle to interpret what happens to Izzy as beneficial to either plot or character.

3. I think the actual core arcs of the show are character arcs and not plots. I get that they might’ve been trying to wrap plots with Zheng and the British in case they aren’t renewed, but I don’t think it was necessary—the pirating has always been secondary to the rom com and the found family, IMO. In S1, we had two main characters, but I’d argue Izzy got enough focus and attention to be a third this season. Which left us with a great character-driven story: we’re watching all 3 of them come into their own and discover who they are individually, while also discovering that the changes in themselves are causing friction between them now that they’re growing into new people. Which is an amazing story to tell, if you ask me, but the fulfillment of that story requires all three characters to be there. The conflict to be resolved is how these characters can become the people they want to be and still coexist together, because on some level they’re family now. Notably each pair combination of these characters grows together or apart (or in Stede/Ed’s case, both) during this season. Ed and Izzy are growing apart because they hold each other back from becoming the person they want/need to be; to complete this narratively, I would’ve expected the next challenge to be finding a way to become friends again as their new selves while letting go of the fact that they used to have a toxic relationship when they used to be different people.

Ed and Stede’s S2 Ending

So Izzy’s death is the big talking point, but I also think DJ’s take on Ed and Stede was interesting. He said that they deserved a happy ending for the work they put in this season. I agree with him in theory, but I’m curious as to whether others agree that they put in a lot of work. I think Stede followed through with his goal to come back and tell Ed how he feels, and to stay instead of running away from his problems. I think Ed followed through with trying to understand who he is and what his needs are while also trying to find the courage to open himself up to love again. But critically, they never talk. E7 makes a point to highlight the miscommunication/lack of communication between them, and then in E8 they still aren’t shown talking.

(I realize part of the issue is the limited amount of time and the amount of plot shoved into episode 8. I get it; personally, I think the plot should’ve been sacrificed for the characters. At this point, we were 7 episodes into a very character/relationship-heavy season. Plot could’ve waited for a potential S3.)

What’s more—there’s a huge, glaring gap between where they left off and where they end up. Ed left in S2E7 after he begins panicking and realizing Stede is becoming deeper entrenched in pirate life just as he’s finally finding his way out of it. Not once do they talk about this, but suddenly they’re retiring together? And right after Ed says Izzy was his only family and Izzy calls the crew his family (which… is also an unearned line, as Ed and the crew have almost no bonding or forgiveness this season, since we focused mainly on Izzy with the crew and Ed with Stede), they leave the crew to do their own thing? They’re all relatively minor things that could be fairly easily addressed by dialogue, but they fact that they’re not only serves to underscore the way that Ed and Stede really aren’t on the same page.

I want them to get their happy ending. They deserve it. I’m just not sure that I agree that they earned it to the degree that it was received, with retirement alone together without their crew, if that makes sense.

Positivity Tax: Calypso Love 😊

I’ve probably got more to say but those were the big ones on my mind after reading the Vanity Fair and Entertainment Weekly interviews. Just to counterbalance some of the more critical things I’ve said, I wanted to share some loving analysis of the Calypso episode:

1. It’s a minor thing, but the way this episode shows that Ed’s actions as Blackbeard had consequences is amazing. Despite him arguably committing the more grievous wrongs in S1, he’s the one we get the least redemption for in this season (his apology to the crew wasn’t great, and most of his screen time is spent repairing his relationship with Stede), so for him to have to face something that happened because of his past actions is cool, especially because it was done in a way that doesn’t further damage his standing with the crew.

2. The way Stede saves the day is incredible. Competent Stede this season has been an absolute joy to watch, and his success in this episode is twofold: first he wins his way, with signature Gentleman Pirate flair. He listens to Ned’s crew, helps facilitate communication between them, and encourages them to stand up for themselves and demand better treatment. That’s a very classic Stede win. But then he wins in the traditional pirate way, and it’s absolutely glorious; he’s been working towards becoming a better pirate, both in terms of stomaching violence and building up the necessary skills. Ned’s crew can be taken down with kindness, but Ned himself is a pirate and will only be matched by another. I genuinely cannot think of a more perfect way to show that Stede is still himself while also showcasing the newer side of him that he’s been working towards this whole time.

3. Speaking of that newer side of him, the way this episode starts to open up Ed’s insecurities? The combination of seeing his least favorite parts of himself reflected in Stede as well as watching Stede grow into the career that he’s trying to leave? Amazing conflict development.

4. I’ve already talked so much about Izzy but the way this truly caps off the crew’s acceptance of him as part of the family is gorgeous. He’s an entirely new man at this point and there’s no jokes made, no friendly ribbing… just love and acceptance. It highlights both his newfound comfort and familiarity with the others as well as the extent to which they care about him.

5. Less analytical, but it’s also just a really pretty episode.

Considering the fact that I have zero OFMD mutuals and this was a whole essay (I’m on mobile and can’t see how long this is but I’m honestly scared), I would be shocked if someone made it down this far, but if somehow people are here and open to civil discussion… I’d love to know how you felt about this, if you thought DJ was right, if you were a little more on my wavelength and thinking things weren’t adding up, etc. Realistically I’m not sure if anything could change my mind as I’ve done a lot of stewing, particularly about Izzy arc, but new perspectives are always refreshing. Much love to the fandom and of course the creators, who hopefully never see this and get their s3 renewal 🤞🏼

#ofmd spoilers #our flag means death spoilers #our flag means death #sherlgrey.txtea #i am SO going to regret posting this aren’t i #i guess worst case scenario i delete #but I suspect most likely scenario is no one reads this lol

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ladamedusoif · 11 months

Text

Visiting - Overview and Masterlist

(moodboard by the wonderful @cutesyscreenname)

*cross-posted on AO3*

*Series In Progress*

Pairing: Professor!Ben (College AU) x OFC Lydia/fem!Reader (reader POV/2nd POV)

Summary: Seeking a change of scenery after her life falls apart, Lydia crosses the Atlantic and arrives in a small New England town, to spend a year expanding her intellectual horizons as a visiting professor of art history at a small liberal arts college. Her growing friendship with Ben Morales, professor of Hispanic literature, forces Lydia to confront the fallout from her past - and raises unexpected questions about the future.

About Lydia: A couple of years ago she'd have told you her life was over. Now, at 41, Lydia has realised the future is hers to make - even if that means never opening her heart up again.

She's an art historian and European - though this should not be taken to imply a specific appearance or ethnicity! Her family and other aspects of her background are established.

You'll notice that the physical descriptors for Lydia are deliberately loose, other than: her age, that she's fem/AFAB, her hair is starting to grey, and she's got stretch marks and a whole metric ton of issues with her own body. In other words: she can look whatever way you want her to look in your own imagination, bearing these aspects in mind, and be from wherever you want her to come from.

Rating: Explicit (18+) - individual chapters will have their own ratings (there's a lot of fluff and angst ahead) but smut will be very clearly signalled. Expect bad language throughout. If you read beyond the warnings on each chapter, you are agreeing you're 18 years or older.

Content: Professor Ben College AU; smaller-than-usual-for-this-fandom age gap (she is 41 and Ben 47 when the story begins); canon is not a thing here; slow burn; explicit smut (eventually); discussion of infidelity and emotional abuse; discussion of self-esteem issues; references to body issues; strong language; alcohol; I'll update if I need to as the fic continues

A/N: My love for Mr Ben is well-known but I couldn't stop thinking about him as a literature professor and, well, here we are. This is my first fic, and it's written as an AU with nary a sprinkling of canon about a character who existed for five minutes in a sketch. Make it make sense, Rose.

This is going to be a multi-chapter series (I have a plan and an outline document and everything). I plan to add some headcanons for Professor Benjamin at some point, and will pop some little drabbles in amongst the full chapters.

There will be smut - but this is a slow-burner. You have been warned.

Main Series:

Chapter 1 - The Visitor

Chapter 2 - Bright in the Sea

Chapter 3 - Ghosts

Chapter 4 - Save Me

Chapter 5 - This Must Be The Place

Chapter 6 - If You'd Accept Surrender

Chapter 7 - Forget Who We Are

Chapter 8 - Sister Winter

Chapter 9 - Open Your Eyes

Chapter 10 - Something About You

Chapter 11 - My Favourite Work of Art

Chapter 12 - If I Must Have A Future

Chapter 13 - Coming Soon!

One-Shots and Drabbles:

An Inspecteur Calls: A Pedrotober One-Shot

Please let me know if you'd like to be added to a taglist!

Thanks: to the people who made me feel less bonkers for developing an entire world around Ben and Lydia - @cutesyscreenname, headcanon collaborator, moodboard creator, and Prof Benjamin E. Morales enabler supreme; the incredibly encouraging, kind, and heroic fic writers whose understanding of how to embrace the sensitive and emotional hidden side of 'canonical' characters is an inspiration - @lunapascal, @imaswellkid, @julesonrecord

(bookshelf divider by @animatedglittergraphics-n-more)

#visiting fic #visiting masterlist #mr ben snl #professor ben x OFC #mr ben #pedro pascal character fanfic #mr ben x ofc #pedro pascal fanfiction #new fic announcement

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punch-love · 9 months

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Could you give us some of your fic recs as well? 🙏🏼

I've been waiting for this ask. * is for all time favorites.

Classics/Required Reading:

Between Apollo and Arachne. / He is Soundless From Afar. / Blood Sickness. by elastic honey (infernoconcealed)

I got into this fandom specifically because of this author. I think all of their work is incredible but, these three are my favorites and also the first bookmarks I ever made. I like the ways they explore their dynamic, and they often explore darker scenarios between the two of them with a lot of heart and nuance.

How To Get Physical by Wilt

I like their writing as much as I like their art, but this one in particular is a consistent re-read for me. It's a trans Peter written by a clearly trans writer, and it's soft and kind and good-hearted in a way that really, really sells the history between them.

Up to the Sun (Full Speed Ahead, Mr. Parker) by SleepsWithCoyotes

The first AU I really enjoyed and also one of the best. Eldritch horror Wade that goes from a massive tentacle creature to an off-putting mercenary that gets attached to Spider-Man. It's great. The whole verse is great.

for the wrong reasons by orphan_account

This is one of my favorite Wade character studies of all time. He gets hit with a truth serum and ends up at Peter's apartment. It's sad and complicated and perfect, and I've read it more than a few times.

gunpowder and firewood / steel and flint * by periodically_puzzled

This is forever one of my favorites. It's the best first-person POV in the fandom hands down and is just so fucking good. It's got everything, idenity porn, grindr, complicated explorations of emotional manipulation, bromance, and it's so very funny.

Snake Oil by BunsofHoney

This was so good that my writing group chat temporarily re-named our chat after it. Peter is a preacher and Wade is a possessed snake oil salesman. It's very good, and also you will learn something about the 20s as it is immensely well researched.

Blazed (Smoking Weed is Gay) * by GreendaleHumanBeing

This is one of my all-time favorites. Peter is coping with his midlife crisis by being a huge stoner, and Wade has mellowed out and joins him for long smoke sessions. It's very slice of life, intimate, slow burn friends to lovers. It's one of those reads that just feels really, really good and relatable.

Paradise (spread out with a butter knife) by Sarah_Sandwich

A soulmate/slice of life work that really will make you feel something profound by the end of it. I read this one at four in the morning and didn't sleep until I was finished with it. It made me feel something big.

Dog Years by androgynousdouche

This is the only unfinished work on this list but man, is it a hidden treasure. They really build a foundation for the relationship and the intimacy between these two is so....it's really good. I wish it was finished, but even though it's not, I still think it's worth the read.

Porn:

Tip of the Tongue * by TimidTurnip

I think this is probably the work I go back and re-read the most. It's got everything. Peter Parker's insane oral fixation, his inability to come to terms with his own bi-sexuality, homies who are mean to each other dynamics, and worship based blow jobs. It's great. You should read it.

i could show you and stop (don't stop) by jilliancares

I think this is probably two of the most infamous smut works in the fandom but they both really, really deserve the hype. The first is the eating out fic of all time specifically for me but also for a lot of other people and the second is my favorite situational porn.

Meeting Minutes */ Pitter Patter by WhoopsOK

These are hands down the best watersports fics in the entire fandom. I've read the entire tag, I would know. The first has Peter being hit by a truth serum and telling his fantasies to Wade who intentionally does not sleep with him, and it's hot and good dynamic wise. The second is just a very hot scenario where Peter pisses in Wade's mouth while he works behind the counter. Great stuff.

a luxury few can afford by three-fingered (calciseptine)

I love the way this author writes them so much. It's fun and fresh and so good at building up some good old-fashioned tension. It also has some great character study moments inbetween blow jobs (my beloved)

Fucked Up Shit:

she's not going to die today / Songs for the Zombie Apocalypse / Need You Like A Gun To The Head * by (zerospoons_onlyknives)oprime

I also consider these classics/required reading but they are all very dark and go places that fans of the classic dynamic might be surprised by. SNGTDT is the best and darkest soulmate AU you'll ever read. SftZA is not only an incredible zombie AU but also one of my personal favorite pieces of zombie fiction period. NYLaGttH is one of my favorite smut fics of all time and one I often re-read (the title should be taken literally)

twisted, baby by jilliancares

The Peter "adrenaline kink" Parker work. It's dubious and intimate and exhilarating in a way that never gets old.

tap out whenever by periodically_puzzled

also known as "the fic that triggers me so bad that I've never commented on it despite reading it eight times" this is like. One of the darkest works in the fandom, hands down and if you can relate at all with the content, will put you in some sort of headspace. It's excellent. It's horrifying.

Because You're Mine *- WaterMe

I absolutely love this one. It's a sex-pollen turned non-con work that is very dark (mind the tags) but if you want to go there, this is the place to go. I always come back to it and find something new to appreciate. Also the only second person work I've ever enjoyed/felt affected by in the way I think second person is supposed to do. (honorary mention by this author: their Arbor day fic)

Sinking by coveryourheads

This one is hard to describe, but if you're interested in some really nuanced work on sexuality, this one will sit with you for a while. Peter and Wade are in an intense D/s relationship that is both abstract and personal in ways I've never really read about before.

#mailbox #spideypool #long post #listen I don't care that this is long I have a lot of love in my heart #rec list #making a pinned post soon and this will probably be on t #fic rec

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percheduphere · 4 months

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people saying, oh it wasn't intended from the beginning so it wasn't intentional thus has to stay fanfiction bug me. like, shows can develop organically based on chemistry. they can surprise you and take you in a direction that wasn't planned but now just works. like, fucking, chandler and monica wasn't planned from the beginning! but the actors had chemistry and the writers tried it out and it became iconic. you don't throw something away just because it surprised you instead of being pre-planned; you cultivate whatever gold you find!

With Hollywood entertainment in particular, I think there is a lot of ignorance regarding how the creative process, production process, post-production process, and business all work. It is readily apparent that in Hollywood, there are many hands in the kitchen when it comes to creating a movie, documentary, or show. The "Original Intent" argument is weakest when it comes to Hollywood art, and in fact fails to be a viable argument in multiple areas. I will discuss how the "Original Intent" argument fails in Hollywood in more depth under the read more, using what I know from having worked in the industry myself as a writer. And to be honest, the fact I have to pull my private professional history out online, just to prove I'm not being delulu when it comes to the importance of queer subtext in film, pisses me the fuck off.

To be clear, since this whole discourse mess on my Tumblr is likely the result of someone thinking I'm an anti-sylki: I AM NOT AN ANTI. I have an extensive analysis on Sylvie as an integral character to the Loki series, Sylki in canon, and her relationship with Mobius here.

I agree with you: a lot of amazing art deviates from the original intention, especially writing. If deviating from original intent in the writing process did not exist, we would not have DRAFT REVISIONS, we would not have IMPROV, we would not have EDITORS (whose entire job hinges on giving the writer not only grammar corrections, but feedback on how to IMPROVE character, plot, and pacing, which inherently means making changes from the original intent!). This is to say nothing of the thousands, if not tens or hundreds of thousands, of media scholars--with actual PhDs--who spend years of their lives performing meta-analysis to write academic papers on subject matters like this. Papers that become formal publications and contribute to how queer history is taught in universities! This is no different than academic scholars analyzing women and race representation and resistance in film. Why should analyzing queer representation and resistance in film be treated any less?

LET'S TALK ABOUT ORIGINAL CREATIVE INTENT VS POWER HIEARCHY & POLITICS IN HOLLYWOOD

For context with respect to this ask, a different Tumblr user critiqued against queer subtext in one of my posts using the "original intent" argument for the Loki series and Lokius specifically. By this logic, if original intent is always honored, then the original script for Loki's S2E5 (written by Eric Martin) would not have been NUKED by the executive powers that be at Marvel. [source] But no, the original intent was not honored, it was rejected. So how does one square the primacy of original intent with original intent being rejected by people who are not the artist but the people who manage Disney's finances?

In television, "Executive Producer" (i.e. Tom Hiddleston, Michael Waldron, Eric Martin, etc.) is a title that can be given to a writer or actor who has more creative say in the execution of a story than a regular staff writer or actor on crew. It also indicates that the writer or actor is in a much higher salary range compared to their professional peers. It does NOT mean the same thing as a CORPORATE "Producer" of Kevin Feige's level, who ultimately has the FINAL SAY on what does NOT end up on the cutting room floor. The corporate Producer must take into account the wishes of corporate's shareholders and board of directors, who are often multi-million if not multi-billion global investors who need the distribution of the product to succeed internationally in countries like China, which is very anti-LGBTQAI+. This is how a script like Eric Martin's S2E5 can be nuked and the writer can be contractually gagged from talking about its specific contents by Disney, lest they be SUED TO HELL for breaking their non-disclosure agreements (NDAs).

This doesn't even take into account politics.

In 2020, Ike Perlmutter, Chair of Marvel, "gave $575,000 to Trump For Victory, $35,500 to the Republican National Committee in April, $5600 for Texans For Ronny Jackson in February. 2019 saw him donate $248,000 to the Republican National Committee, $466,100 to Trump For Victory, $5,600 to Donald Trump For President." His wife, Laura, mirrored those donations. "In late 2016, he also gave $5,000,000 to the Great America PAC." [source] Ike was only recently laid off from his position in March 2023 [source]. Perlmutter was in a power-struggle at Marvel with Kevin Feige for years. Feige was promoted to Chief Creative Officer in 2019, which brought the power struggle to a head, ultimately contributing to Perlmutter's departure.

There is also Bob Iger, CEO of Disney, who was famously quoted during the Writers Guild of America strike for saying, “It’s very disturbing to me. We’ve talked about disruptive forces on this business and all the challenges we’re facing, the recovery from COVID which is ongoing, it’s not completely back. This is the worst time in the world to add to that disruption”

This is the worst time in the world to negotiate to pay your writers, YOUR CREATIVE LABOR FORCE, who entertained millions of people while they were stuck in their homes for 2 years, fairly?

And these are just two men in executive power at Marvel and Disney. We're not even talking about all the other board members and shareholders. You think Tom Hiddleston, Michael Waldron, and Eric Martin have any real power compared to these guys? They do not. They are peons by comparison. And these artists (despite their "Executive Producer" title) are always at odds with the Alliance of Motion Picture and Television Producers (AMPTP), who are ultimately not artists but FINANCIERS.

Here's another quote from a studio executive that occurred during the writer's strike:

"Receiving positive feedback from Wall Street since the WGA went on strike May 2, Warner Bros Discovery, Apple, Netflix, Amazon, Disney, Paramount and others have become determined to “break the WGA,” as one studio exec blatantly put it.

To do so, the studios and the AMPTP believe that by October most writers will be running out of money after five months on the picket lines and no work.

“The endgame is to allow things to drag on until union members start losing their apartments and losing their houses,” a studio executive told Deadline. Acknowledging the cold-as-ice approach, several other sources reiterated the statement. One insider called it “a cruel but necessary evil.”" [source 1] [source 2]

Fortunately, this negative press and the WGA members' solidarity led to the WGA getting everything they demanded. I still have friends in the industry, specifically in the WGA and MPEG. A lot of them were indeed starved out. My friend who's a film editor is still unemployed because pre-production has only recently started to ramp up again and her profession is all in post. She has to wait for production to catch-up and finish in order to get work.

If the AMPTP is willing to use clearly unethical tactics to underpay their writers and actors (don't forget the SAG-AFTRA strike that joined later), do we really think members of the AMPTP (the studio execs) are willing to honor artists' original intent if the original intent may be "offensive to some viewers" and therefore can potentially cut into their financial bottom line?

We're not naive. We know the answer to this.

OUR FLAG MEANS DEATH, KILLING EVE, AND GOOD OMENS

But what about OFMD, KE, and GO? These shows are on MAX, BBC, and Amazon Prime respectively. These corporations have a different branding image than Disney. Disney touts itself as "family friendly"; (read: on-screen LGBTQAI+ affection between two lead characters is "not family friendly"). MAX and BBC's branding type also affords them the luxury of creating content for niche audiences. Disney, on the other hand, makes additional revenue through using their plethora of licenses to make toys, additions to their theme parks, and other merch. If a parent is offended that a canonically queer character like Loki has romantic love not just for Sylvie but also for Mobius (a same-sex relationship), what are the odds of parents like them not buying Disney's merchandise? We can apply this same question to Star Wars, Pixar, and any of Disney-branded animation or live action movies. How deeply can audience offense potentially cut into Disney's bottom line? If there were no discrimination taking place, we would have LGBTQAI+ representation through a lead character in any one of their licenses already. We do not, and that is a huge red flag.

In addition, these entertainment corporations (who do not tout themselves as "family friendly") generate other sources of revenue elsewhere. Netflix generates international revenue through the production of international programming like "Squid Game" and other K-dramas such as "The Glory" or Mexican shows including, "The Surrogacy" and "Haunted: Latin America". MAX is struggling. They were bought out for that reason. With AppleTV and Hulu, their target audiences are more diverse, they offer a variety of media product, and their business strategy is ultimately different from Disney. All of this grants them more freedom in what kind of characters they choose to represent, including LGBTQAI+ characters.

Remember House and Wilson from House M.D.? That show was on FOX. We know the political alignment of FOX. Dean and Castiel from Supernatural? WB Television. Both shows came out before streaming became dominant, and thus, these shows had to cater to anyone who might happen to land on their channels. When the market demands that you cater to the widest possible audience in order to generate the largest revenue, the creatives are forced to create relatively conservative artistic product. Hence, creative censorship and our long history of queer subtext.

At Nickelodeon, the artists actually had the support of corporate to move forward with Korrasami because the final season Legend of Korra was only available online. It did not air on their channel. If that had not been the case, corporate would not have approved Korrasami. However, that approval was contingent upon the artists being subtle subtle about Korra and Asami's relationship. Even in this canon ship, the animators relied on subtext for queer romance.

Not helping Disney's case is the cancellation of "The Owl House". Why was "The Owl House" canceled? It didn't fit Disney's "brand". [source]

THE FAILURES OF THE "ORIGINAL INTENT" ARGUMENT IN HOLLYWOOD

The "Original Intent" argument fails when it comes to art in Hollywood because:

Original Intent can change, and often does change, during the creative process. This applies to all forms of art, not just Hollywood.

Multiple artists are involved in pre-production, production, and post-production. At any point in this 3-part process of filmmaking, original intent can be changed for a variety of reasons.

Studio Executives, Boards of Directors, and Corporate Shareholders have more power than the artists in Hollywood. If they think a product will not make money, they will order changes accordingly.

Disney specifically touts itself as "family friendly". Its lack of a lead character (in ANY of its live-action licenses) being in an openly queer relationship with someone who presents as the same sex, is the direct result of not wanting to lose conservative audiences.

Non-Disclosure Agreements (NDAs) are common in Hollywood and prevent artists from providing specifics regarding original intent. This is done not only to safeguard corporate's intellectual property (IP), but to also safeguard their public relations image.

THE ORIGINAL INTENT ARGUMENT WEAPONIZED

The "original intent" mindset can be either very naive or very cynical, depending on the thinker's motives for choosing this belief. Naive, in that thinking creative purity actually exists (it does not) or that oppression does not still occur in Hollywood (it does). Cynical, in that either the thinker doesn't believe in artists intentionally finding ways around mass produced arts' media censorship, which has in turn created our rich history of queer subtext in film, OR the thinker wants the "original intent" argument to invalidate a change they do not like.

The last motive is the same strategy used by fans who reject Miles Morales as being a real Spider-Man. The same strategy fans use to deny that Shuri is indeed the new Black Panther. Both are tactics used to mask racism and sexism beneath the veneer of "creative purity". Fans who have internalized racism, sexism, or queer-phobia may also use this tactic at a subconscious level to protect themselves emotionally from disappointment. Finally, there are fans who use this argument to invalidate another ship, usually a queer ship that cannot be formally canonized because of corporate studio power.

Regardless of the reasoning, using this argument is frequently insidious because it perpetuates straight white male dominance in media representation.

PERSONAL LIVED EXPERIENCE

I'm an old poc queer and have worked in Hollywood long enough to know that the writers' original vision rarely ever--IF EVER--pans out as originally intended. If you ever sit through a movie and wonder why the story feels so weird in certain parts, I can guarantee you that about 2/5ths of the time, a corporate producer stepped in and messed with the original story in post-production (usually in an poor, over-worked editor's dark editing bay) and ordered reshoots the director may not have agreed with.

I've also worked in the industry long enough to know that it is an absolutely toxic work environment in which women, people of color, and queer people still struggle to get a creative foothold anywhere. My first experience pitching a script to a prospective agent involved being asked to meet at a hotel for drinks. We didn't talk about my writing at all. What I thought would be a pitch meeting was actually the writer's version of the "Hollywood casting couch". Yes, I was propositioned. No, nothing happened to me. I walked out. This happened to me in June 2008. It was not my last experience. The "Me Too" movement that came years later in 2017 was in response to situations I have encountered like this.

Those of us who succeed are very rare, and 97% of the time, the executive staff is very, very white and male. There is absolutely oppression and exploitation of all sorts still happening in Hollywood. I fucking lived it and continue to have nightmares about it.

QUEER SUBTEXT STILL EXISTS

Thus, to deny queer subtext's validity as an art form and to only accept the words of those who are either in power or limited in what they can say because of those in power, undermines not only the artists' efforts to tell the story they want to tell but cannot tell explicitly, it also undermines queer joy and queer resistance in cinema. And yes, sometimes those artists are cis straight white male allies who want to tell these stories because they simply make sense for the characters. These people are the artists, not the financiers.

It's more mature to embrace, or at least leave alone, the loud joy others experience from shipping and performing meta-analysis instead of publicly pissing on them with the profoundly weak and ignorant argument of "original intent". Don't mess with me on this. The number of scripts I have worked on that completely warped from what I wanted, and then to have my writing credit removed or stolen, still makes me sick. Yes, I'm bitter, but I'm also glad I left.

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soullessjack · 8 months

Note

listen i get your frustration about how people treat jack, i hate when people reducd him down to just a destiel baby too. but as an autistic person myself, i really disagree with you calling people that like baby jack ableist. he's canonically 4 years old and had to have his childhood basically stripped away from him due to how dangerous it was. i don't think people enjoying the thought of him getting to have that chance at a happy childhood is as cruel and evil as you seem to think.

hi, I’m actually going to answer this differently than I did at first, because I feel like I missed the point and spent way too much time on the canon logistics of “giving Jack a childhood that he chose to skip and is never shown to want,” or that he’s actually pretty obviously portrayed as a teenager in the show, or that his character fundamentally revolves around autonomy & the struggle to have it, and not enough on the actual ableism. I’m also going to be a lot meaner this time, sorry.

honestly, you don’t get my frustrations. you don’t get that this isn’t some petty fandom drama about “muh fav being misunderstood” or “grr this content bad.” you don’t get my frustration if you think that’s all there is to any of this. this is something with an actual bearing on reality and the entire topic of representation in general, which you’d get if you took your head out of your ass and looked around for once. autistic people are still immensely underrepresented and misrepresented in most mainstream media. we are still seen and treated as circus animals, as punchlines, as lesser humans if not subhumans, and we have to face that alongside navigating a world that is wholly and systemically unnavigable to us. fiction and fandoms are an escape for many people, but especially marginalized people who long for community and representation.

the autistic community has a pretty long history of resonating with nonhuman characters in fiction over time, from robots to aliens to monsters in horror movies. because whether it’s their mannerisms or specific struggles or even narrative experiences, they resonate with us. jack resonates with us. he’s important to us as autistic people—and namely, as autistic adults who very rarely see ourselves represented in ways that don’t depict us as gross man-children, infantilized precious beans or emotionless geniuses. in fact, the very notion that autistic people are inherently childlike or mentally children directly leads into our sole representation being children, and even more into the treatment of us as “precious small beans.” does that ring any fucking bells to you yet?

jack might not have been intentionally written with autism or representation on mind, but this fandom literally builds itself up on coding and unintentional implications. he was also confirmed to be autistic anyways, so anyone still whining should just grow the fuck up about it. also, ironically, most accidentally autistic characters end up being the best kind lmao. but these discussions? these analyses by autistic fans —and even just fans who actually care about his complexities — only exist within our own little circles, and the idea of baby!jack is very much the fandom’s steadfastly going mainstream version of him—so much so that people are convinced it’s actually canon, they die on that hill like it’s some obligation to uphold. and any viewing of his canon character with nuance or complexity, or even his basic personality, is left to gather dust. it stops becoming people having fun when it’s over-saturating and supersedes actual canon. it stops becoming people having fun when it’s actually fucking harmful.

it’s frustrating as a general fan, but downright upsetting as an autistic fan who sees themself in him and has to witness every fucking day — in a community that prides itself on being a big found family no less — the infantilization of traits I and other autistic people express, and the stubborn justification of him being “actually a toddler” with even more autistic traits. There are literal scraps of canon adult Jack content to engage with; of any semi-intelligent thoughts on him to indulge in.

what you don’t get (or you refuse to get) that there is a direct correlation between all of this, the way jack is treated (ie ‘reduced to a destiel baby’) and the ableist infantilization surrounding his character. as in, this content directly feeds into his treatment, which then feeds back into the content made of him, which then feeds back again into his treatment in a horrible and exhausting cycle.

what you don’t get is that constantly regurgitating content where the baseline is jack being actively stripped of his identity and autonomy for the sake of becoming an accessory to Destiel/Sastiel/the Domestic Winchester Family is inherently rooted in layers of deep ableist rhetoric, and you can perpetuate all of that even without any intent for it. I’m not a fucking moron, and I’m not the big bad guy you’re talking to me like. I don’t think anyone who enjoys baby!jack is inherently “cruel” or “evil,” or turning jack into a baby while thinking “this’ll stick one to those retards,” and twirling their moustache, okay? and it’s really so funny to me that you’re trying to point the finger back at me. at least you tried.

what you don’t get is that whenever autistic fans voice our perspective on baby!jack, we’re fucking ignored. we’re fed the same rotten slop over and over and over again. “But we want him to be happy!” “But it’s an AU, it’s not canon!” “But he actually is a baby because XYZ!” “But, but!” Buts are not an argument, they’re the thing you still haven’t found a way to pull your heads out of. maybe the lack of oxygen from so many people in one small dark space is why you’re so fucking stubborn to understand this.

you wanna know what is cruel? being told that you are doing something hurtful, something harmful and something that painfully reflects real life struggles a real community goes through, and shrugging it off. being aware of the value something brings to someone else, and stripping it away simply because it doesn’t matter to you personally. finding another But or a corner-cut to excuse yourself from blame. you didn’t have the decency to listen when general fans said “hey this is kind of annoying can we treat him like an actual person,” and you don’t even have the decency to concede when autistic people are saying this is a deeply wrong thing to do.

if you have to ignore an entire community’s voice to feel better about the content you’re making that directly hurts them, if you don’t personally think it’s harmful or even real because autistic struggles are never real, then I am well within reason to assume you’re not a good person. it’s one thing to do something wrong because you’re uninformed, and it’s another thing entirely to continue to do that when you’ve been informed, and simply decided that it wasn’t worth changing or stopping.

believe me, as an autistic person I am well used to being isolated, to not being anyone’s priority in this capitalistic circle of hell. I am ready to expect my struggles and existence to be tokenized for somebody else to feel good, or squeeze money from. Im used to seeing movies portray my experience as some Manic Pixie Star-seed or creepy overgrown child. I know the world doesn’t care about me. But I don’t think I’m asking too much for this, the big found family fandom that’s been shown to care so much about every other problem, to care about me. To listen when it’s hurting me, or uplift something I care about.

I don’t think I’m asking for anything less than this family to actually treat me like I am part of it. But can you even do that?

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pedroscurls · 1 year

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All We Are

Character(s): Javier Peña, Reader (female, second person POV) Summary: You and Javier have history and have been in this endless cycle for years, always trying to “one-up” each other, but what happens after a night of steamy, dirty sex that the truth finally comes out? Word Count: 4,324 Author's Note: This is my first time writing Javier Peña, so apologies in advanced if I don’t get the characterization down from the get-go. I hope you all enjoy this story. This one-shot has been on my mind for a while now. (disclaimer: i'm also not fluent in Spanish, so if there are any incorrect words or anything, please let me know!) Warning: smut incoming🥵 (oh, and angst too)

Javier was sitting at the bar, visibly stressed with his tie loosened around his neck and his blazer draped over the back of his seat. Being part of the DEA whose sole focus was on capturing Pablo Escobar was tiring; it felt like no matter what he and his team did, Pablo was always ten steps ahead of them.

By now, he would have probably been with some other woman whose name he wouldn’t bother learning, but when he heard that you were in Bogotá to cover a story for the ongoing drug war, Javier knew he couldn’t resist.

He needed you.

As much as you needed him.

You and Javier met long before he was sent to Colombia. There was so much history between the both of you; meeting when he was first starting out in the Drug Enforcement Administration and you, an aspiring journalist focused on foreign affairs.

While you two shared plenty of secrets and plenty of vulnerable moments, there were way more endless nights filled with an insane amount of sex. It had become a routine, a cycle, that you both would be at each other’s disposal. When the job would get too stressful, you would call each other to alleviate the stress, to be a distraction from reality.

Neither you or Javier minded. It was a mutual, unspoken agreement that you both had come to terms with. It worked. For a long time, it worked. However, as you both became more successful, you realized just how similar you both were. Always trying to be better than the other, thinking that this was all some sort of game.

If you had written a successful story, Javier would be right there to tell you of the accomplishments he achieved so far.

If Javier scored a big bust after many late nights, you would be right there to tell him that you were working on something that would be even bigger.

Neither of you knew when the dynamic shifted, but it always kept you both on each other’s toes. It was almost as if you were both pushing each other to be better, to be more successful, in a way where it seemed like it was a competition.

And sex? Well, that was a different game entirely. After having sex with each other, you both would take note of the marks, the scratches, the bruises that you both had left each other.

And tonight, you were going to meet Javier at a bar. You knew exactly how tonight was going to go and you were excited. Smug, even, to talk to him and tell him how excited you were to be covering the Pablo Escobar drug war that he was a part of.

At the corner of his eye, Javier noticed the door to the bar swinging open. He looked up and noticed you immediately. It had been too long and he let a smirk line his lips as his eyes obviously raked your entire frame, taking note of the tight, black dress that stopped just right above your knee. He had to wonder if you wore this specifically for him.

When your eyes met his, Javier watched as you smiled so big that for a moment, he forgot where he was and what was bothering him. He hadn’t ever thought of settling down after his most recent failed relationship where he left another woman at the altar. Part of him would blame it on the snowstorm that prevented him from getting to his wedding, but another part of him — a part that he wouldn’t admit — knew that that woman wasn’t the one he wanted, wasn’t the one he loved.

“Agent Peña,” you grinned, draping your coat over the back of the vacant chair next to him.

“Mm, siempre hermosa,” he winked, making it completely obvious that he was checking you out. Javier stood from his seat, wrapping a single arm around your waist. You leaned into him instantly, inhaling his scent and letting out a quiet sigh. God it had been too long. When he kissed your temple, you leaned into him further, biting your lower lip.

“Already starting with that, huh?” you teased, pulling away from him slowly.

“What?” Javier smiled innocently, his head tilting as he stared directly into your eyes.

“Oh, stop,” you rolled your eyes. “You know what that does to me.”

“What does it do to you, cariño?” Javier whispered.

Biting your lower lip, you gently pushed him away and shook your head. “Oh no. You’re not gonna get me squirming first.”

“Hm, you sure about that?”

“Positive. Now, you’re buying me a drink.”

Javier chuckled, pulling away from you and raising a hand in the air to get the bartender’s attention. You ordered your drink and sat down next to him, turning to face him as he leaned against the counter of the bar.

“So, Bogotá, huh?” Javier asked, bringing his drink to his lips.

“What can I say? Pablo Escobar is definitely gaining a lot of attention and you know me,” you smiled. “I like to follow the chaos.”

“Or you like to follow me,” Javier quipped.

“Damn,” you chuckled. “You must not be getting laid if you’re already flirting with me,” you teased.

Javier rolled his eyes. “I get plenty.”

“Hm, doesn’t seem like it.” You winked.

The bartender set your drink down in front of you and you smiled, “Gracias.”

Javier looked over at you, arching a brow. “Look at you, already speaking Spanish.”

“I’m trying,” you replied. “You never were a good teacher.”

“You were hard to teach.”

“You didn’t have the patience.”

Javier smirked, “You were a distraction.”

You rolled your eyes. “You couldn’t keep your hands off of me.”

“And you didn’t do anything about it,” he replied quickly. Javier downed his drink and set it down on the counter, leaning forward so that his lips were resting near your ear. In this space, Javier could smell your perfume; it was intoxicating and brought him back so many wonderful memories.

You could feel his breath hot against your ear and when he whispered, quietly with a husky tone, you felt yourself slowly breaking.

“Te extrañé,” Javier whispered.

You pulled back enough to look up at him. Big, brown eyes were staring back at you and in that moment, everyone else disappeared. All that mattered was the man in front of you, the man you had been in love with for so many years.

Javier ran his tongue across his lower lip, looking into your eyes. Mere inches separated from your lips touching his and quietly, you asked, “What’s that mean?”

Javier smiled. “Means I missed you.”

For a brief second, you faltered. You felt your stomach do flips, a pink-colored hue slowly appearing on your cheeks. You looked at him with soft eyes and gently pulled on his tie, bringing him closer to you.

“Been a while since you had sex, huh?” You whispered, gently brushing your lips against his. For a moment, he thought he had seen something different in your eyes, in your features, that maybe you loved him as much as he loved you too.

Instead, Javier growled. A switch flipped in his mind and he cupped your neck, pulling you closer. He took this chance to gently nip at your lower lip, hearing you quietly whimper.

“After all this time and yet you still don’t listen?” Javier asked.

You looked up at him, trying to feign innocence with your eyes. “Maybe I need a reminder.”

Javier grinned, “Ay, chica mala.”

Javier speaking Spanish would always do things to you that you had no control over. It was like you melted into a puddle, a sudden willingness to do whatever he wanted. Gently, you pecked his lips, missing the way his lips felt as it brought you back to the sleepless nights you shared with each other.

Javier pulled back enough to look at you, his hand dropping from your neck and back to his side. While he had plenty of sex since he had been here in Bogotá, it just never compared to you. No other woman had ever compared to you.

“We should slow down,” you teased. “I barely touched my drink.”

“Catch up then,” Javier smirked, ordering himself another drink.

Three drinks and two hours later, you and Javier were laughing, touching each other whenever either of you had the chance, and truthfully, it felt like no time had passed. It was like picking up where you both left off.

“So, Pablo Escobar… Seems like he’s giving you guys trouble.”

Javier sighed. “I don’t want to talk about work.”

You nodded in understanding. “Are you taking care of yourself though?”

He bit the inside of his cheek. Only you would know how much this would take a toll on him. “I’m managing.”

“Hm,” you replied. “I’m taking that as a no.”

“I’ll be fine, cariño.”

“Well, I’m here for about two months,” you said.

“Oh?” Javier asked, sipping his drink.

“Yes,” you answered. “Don’t look so excited,” you teased.

Javier chuckled. “I am excited. I like being with you.”

Again, you felt your stomach do flips. You felt a blush creep up along your neck to your cheeks. “Me too. I did miss you, you know.”

“Really?” Javier asked. “Could’ve fooled me.”

“Oh please, you were busy too.”

“Phone works both ways, baby.”

You sighed. He was right. There were so many missed calls from him and you just never had the chance to give him a call back and even when you did, he was never available and you never bothered to leave a message. You just assumed he had his mind elsewhere.

You didn’t respond. Instead, you downed your drink and stood from your chair. You looked over at the dance floor, wanting to quickly change the subject. Javier followed your eyes and tightened his jaw; it hurt him when you never returned his calls since it made him wonder if the feelings he had for you were only one-sided.

“Wanna dance?” You asked.

“I don’t dance.”

“That’s a lie. I know those hips can move.”

“Oh, yes you do,” he winked.

“Come on.” You grabbed his hand, gently tugging him with you to the dance floor.

“One dance,” he said. “You’re lucky I like you.”

“Lucky me,” you grinned.

The music blasted throughout the bar and there were so many bodies moving with the beat that no one was paying attention to either you or Javier. So, you wrapped your arms around his shoulders and you felt his arms wrap around your waist, bringing you flush against him. The music was upbeat, but you and Javier were slowly swaying with each other, bodies so close that there was no inch of space between the both of you.

You looked into his eyes. This felt like home to you. Javier felt like home to you.

Javier kept his eyes focused on you. Feeling your body against his with your eyes staring into his, he felt calm, at peace, without any stressors weighing on his shoulders. You made every concern and worry disappear and Javier found himself wanting to hold onto it, onto you, as long as he could.

“Wanna get out of here?” You asked, standing on your toes to whisper in his ear.

Javier pulled back. He looked down at you and grinned, deciding to turn it back to you and tease you. “You’re not getting laid back home?”

You rolled your eyes, gently pushing him away. “Take me back to your place.”

—

Once the door shut to Javier’s apartment, he pulled you into his arms, gently backing you up against the wall. He looked down at you and growled lowly, pressing his lips instantly to yours. He groaned, his hands moving to your hips as your arms wrapped around his broad shoulders. Immediately, you moved your lips with his, parting them just slightly to let out a quiet moan when you felt one of his hands move to grasp your backside.

Javier pulled away to move his lips along your jawline and down to the side of your neck. He gently bit down on your skin, sucking on it afterwards as he used both hands to pick you up, feeling your legs wrap around his waist. He continued kissing and marking along your neck as he walked towards his bedroom. Your moans filtered his apartment and it sounded like music to Javier’s ears.

Gently, he tossed you onto his mattress. You let out a quiet squeal of surprise before looking up at him, noticing the center of pants and the growing bulge beneath it. Biting your lower lip, you kicked off your heels and stood from his bed, grabbing the end of his tie roughly.

Javier grinned. “Mm, baby.”

You nodded, gently shoving him onto his back. You watched him fall back onto his mattress and before he could even get up, you straddled his waist, lifting your dress above your hips to reveal the lacy, black thong. Rolling your hips, you felt his bulge firmly against your clothed sex. You looked down at him, removing his tie and beginning to unbutton his shirt impatiently.

Normally, Javier would like to fight you for dominance, but seeing you like this after so long, he couldn’t help but just lie there and take it. It felt so good to have your hands running along his frame, your lips nipping at his skin along his neck, and your hips rolling against him.

“Fuck,” he groaned, feeling your teeth run along his jawline as your fingertips lightly dragged down the front of his chest. “Stop teasing me, baby and just fuck me already.”

“Can I get a please?”

Javier growled. He shook his head and rolled you over onto your back. He settled himself between your legs and looked down at you. Your hair splayed on his sheets and your lips were swollen from the intense kisses you both shared. He also noticed the markings his lips left along your neck and he smiled to himself.

“If anyone’s begging, baby, it’s gonna be you.” Javier pulled his shirt from his body and unbuckled his belt, pushing his pants down to his legs and kicking them to the side. As his member stood erect, he pulled your panties roughly down your pants and ripped your dress apart in two. When he realized you hadn’t worn a bra and your breasts spilled out, greeting him almost invitingly, Javier felt like he could have reached his high right there.

You had worn this dress just for him.

“Javi, please…”

Javier grinned. He grasped his member, bringing his tip to align with your opening. Gently, he ran his tip along the length of your sex, watching you closely as your eyes fell shut and your hands gripped his sheets. He was teasing you, like he always had, but he felt himself losing his resolve. Javier gently pushed his tip past your folds, moaning quietly to himself.

“Javier…” you whimpered, opening your eyes to look up at him. “Just take me, please!”

“That’s my girl,” Javier smirked. He pushed himself even further, letting out a loud moan at the feel of your walls making way for his girth and size. Javier missed this, missed you. He didn’t move for a few seconds, savoring the way your walls wrapped tightly around his length and the way your legs wrapped around his waist. No other woman could ever compare to you, he thought.

Slowly, Javier moved his hips, pushing in and out of you at a slow pace. He moved one hand to move your hair away from your face, watching as you leaned against his touch. Your eyes looked up at him as he continued to move. Your moans mixed with his and you both kept eye contact. It was so intimate, so different than what you were both used to.

“Told you those hips can move,” you whispered, biting the inside of your cheek as he delivered a sharp thrust that elicited a loud moan from you.

Javier chuckled, gently placing a soft kiss on your lips. He pulled away from you, immediately feeling your tightness around him. You whimpered, missing the feel of him filling you up.

Before you could protest, Javier pulled you roughly to the edge of the bed. He stood up and aligned himself back to your folds, snapping his hips against yours. He grasped your hips tightly, his fingertips digging into your skin as he continued to push in and out of you at a quick pace.

You moaned aloud, keeping your legs spread open for him. With each thrust, Javier was bringing you closer and closer to the edge of your climax. You could feel yourself slowly come undone and the feeling was intense that you tried to pull away from him, to make him slow down, but Javier knew it was coming.

He knew you were close.

So he pulled out and turned you around, making you stand on all fours. With your backside in the air, Javier grasped your hips and slid back into you. He groaned aloud, moving one hand to your shoulder as the other hand connected with your backside, leaving a red imprint of Javier’s hand.

You let out a loud moan, pushing back against him eagerly as your hands gripped the sheets so tight that your knuckles had turned white.

“Javier!” You moaned, feeling his hips continuously snap against yours. The sounds of your moans mixed in with the sounds of flesh slapping against each other filtered his room. He slapped your ass again, stopping his movements to watch you bounce back against him.

Javier growled at the sight of you and watched as you looked at him from over your shoulder. He gripped your hips tightly, pulling you back against him as his hips took a chaotic and rhythmic pace. He was close too and he could tell that you were waiting for him to reach his high first.

“Come for me, cariño,” he groaned. Javier reached around, gently rubbing your bundle of nerves as his hips continued to slam into yours.

That was all it took. With one circular motion on your bud mixed with Javier’s thrusts and the feeling of his member filling you up completely made you reach your high. You let out a loud moan, pushing back against him as your body trembled and your orgasm reached its ultimate high.

Javier didn’t falter though. He continued to push against you, slapping your backside once more. He growled to himself, feeling your walls tighten even further around his member, wrapping tightly in a vice. Your walls milked him with each thrust and Javier felt himself nearing closer and closer to the edge. With one hard thrust, he pulled back out and slowly released along your lower back. His body shook too; the only time he had ever reached his climax like this was whenever he had sex with you.

You both were breathing heavily and Javier had grabbed a towel to wipe his release off of you. Once he cleaned you up, you moved to lie on your back. His eyes raked over your bare frame, licking his lips.

“Wow,” you smiled, gently tugging on his arm to pull you down next to him.

“You wanna take back what you said about me not having enough sex?”

You shrugged, “Eh.”

Javier chuckled, pulling you into his arms. He grabbed his blanket and draped it over both your bodies. Gently, he leaned down to peck your lips.

“So, two months you’ll be here?”

“With a possibility for a longer stay.”

Javier arched his brow. “Oh yeah?”

“It’s a possibility.”

“Good,” he said. “Good.”

“Why do you ask?”

“Just want to make sure we can do that again.”

You smiled. “Oh, we’re definitely doing that again.”

—

Two months had passed since you arrived in Bogotá and mostly every night, you spent with Javier. Your relationship with the man shifted and you weren’t sure when it happened, but it started to feel like you were both now in a committed relationship without putting a label on it. When you or Javier weren’t working, you would be spending it with each other. Part of you wanted to believe that it was because you were on borrowed time and eventually, you would be going back home to the states. But, another part of you wanted to believe that Javier truly felt the way you did.

“I thought you could extend your stay,” Javier said, watching you pack your bags.

“I tried,” you replied. “The story’s changed. The attention is elsewhere now.”

“Are you kidding?” He asked, lighting another cigarette. “We still haven’t caught Escobar!”

“I know, Javi…” you sighed, looking over at him. “But who knows how long that will take…”

“It’ll take as long as it does! We’re getting somewhere. We have more intel and–”

“Javier,” you stopped packing for a moment to walk over to him. He was shirtless, the Bogotá weather calling for as little clothes as possible whenever you both were home. “I’ll be back.”

“Right.” He sighed, shaking his head. “You don’t have to lie to me to make me feel better.”

“I’m not lying.”

“Yes, you are, cariño!” Javier exclaimed, not realizing how loud his voice had gotten. “These past two months were just a distraction, a way for the both of us to forget the reality of what’s going on in the world, right?”

“You don’t believe that, do you?”

“That’s all we are to each other, isn’t it?” He replied, looking at you. Long gone was the soft look he had in his eyes whenever he looked at you. Instead, it was replaced with a look of hurt, a look of betrayal, and you could see the walls slowly building around him, around his heart.

“That’s not true.”

“It is, though.” Javier shook his head. “It’s what worked for us all these years… Being at each other’s disposal, using each other to forget the shitty things we have to deal with at work.”

Tears filled your eyes. Maybe he didn’t love you like you thought. “Stop,” you whispered. “Just stop.”

“Me?” He asked, letting out a puff of smoke. “You’re the one leaving!”

“I have to!”

“No, you don’t!”

“Javier,” you sighed. “It’s my job. I don’t want to leave, but I have to…”

He scoffed. “You always put work first.”

Widening your eyes, you grabbed his cigarette and put it out on the ashtray on his nightstand. “Are you kidding me right now?”

“It’s true. Ever since we met, you were always so focused on–”

“You’re such a fucking asshole.”

Javier tightened his jaw. “I know, but–”

“No, no buts. I have given you every chance to make this more than what it is,” you admitted. “I put myself at your disposal, hoping one day you’ll notice that I want you more than just some fuck buddy!”

His eyes softened. He furrowed a brow. Javier never noticed. “Cariño, I–”

“No. Do you know how I felt when you got engaged to Lorraine?”

Javier shook his head. “I didn’t know,” he answered. “I didn’t know that you–”

“That’s because you were so focused on everyone and everything else but me! Because you knew that no matter what, I would always be there. I would never leave.”

“And you did…”

“No, you did! You came here, to Bogotá!”

“For work!” Javier immediately knew what you were implying, what you were getting at, and as soon as the words left his mouth, he sighed and stared up at you with apologetic eyes.

“Exactly, cariño.” You said, shaking your head. “So, don’t sit here and act like I’m the one who’s hurting you, who’s deciding to leave, because I have always stuck by your side. Even when it fucking hurt me.”

You moved to your suitcase, continuing to pack. You could hear Javier shuffle behind you and you didn’t need to look over at him to know that he was probably pacing back and forth, thinking and pondering on what just happened.

“You’ve never wanted more with me, Javi,” you whispered. “But you know what, maybe you’re right. Maybe this is all we are to each other. Maybe that’s why this works.”

Javier sighed and stopped pacing, moving to sit at the edge of his bed again. He glanced over at you, feeling his heart break as you continued to pack your things. The past two months had opened his eyes and shown him that the woman who kept him grounded and managed to ease away any stress or concern was you.

But he didn’t have it in him to fight, to beg you to stay.

“Maybe,” Javier replied. “Maybe that’s all we’ll ever be to each other.”

Your heart broke and when you looked over at him, tears filling your eyes, you knew that Javier didn’t mean it, didn’t believe it.

But you didn’t have any more fight left in you to convince him otherwise.

“Glad we’re on the same page,” you whispered, your voice shaky as you wiped away your tears. “Drop me off at the airport tomorrow morning?”

Javier sighed. His heart was breaking and he nodded, gently grabbing your hand to pull you into his arms. He hugged you tight, afraid to let you go as his forehead rested against your abdomen.

You wrapped your arms around him, running your fingertips over his dark locks as you stood between his legs.

“These past two months have been amazing,” you whispered, leaning down to kiss the top of his head.

Javier nodded, pulling back to look up at you. “Gave me a glimpse of what life would be like with you.”

“And what’s the verdict? You like it or no?”

He stood up and cupped your cheek. Staring into your eyes, Javier replied, “It’s the life I’ve always wanted.”

—

@pedrostories

#pedro pascal #pedro pascal fanfiction #pedro pascal fanfic #javier pena #javier peña #javier pena fanfiction #javier pena fanfic #javier peña fanfiction #javier peña fanfic #narcos #story: all we are #narcos fanfiction #narcos fanfic #one shot #one-shot #jwritesfanfics oneshot #jwritesfanfics one-shot

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elioherondale · 6 months

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Bette Kane: The original Batgirl and how her history never technically got retconned at all

So this is basically a repost from an old reblog I did but I doubt it's gonna get any traction so I've decided to post it here so more people can actually know about it. (I suggest actually reading what I wrote in the original thing cause there's some parts where I did at OP's comments and it'll look a bit weird here OOC)

let's actually talk about that "continuity dependence" So Bette is regarded by most of the fandom as having only been Batgirl only in Pre-Crisis (some people also think that she just never re-appeared after 1967 but that's not true since she appeared as a key character in the ending three-parter conclusion to the 70s Teen Titans run which set up Titans West). As in, Bette has only ever been Flamebird Post-Crisis and Hawkfire Post-Flashpoint.

Something to explain the whole thing about how Bette became Flamebird, Marv Wolfman decided that the Titans West three-parter was canon and this wrote about it in the Secret Origins 1989 Annual. Except Babs was the first person to become Batgirl Post-Crisis which meant it couldn't be Bette (for some reason), thus the story was rewritten so that instead of being Bat-Girl, a competitive tennis named player Bette Kane joined the Titans West under the mantle of Flamebird (where she got the name, we'll never know). So basically, Post-Crisis Bette was never Batgirl, right? At least, not until that very small duration of time when Morrison brought back Kathy Kane, right?

Below is the following panel from Young Justice Issue #21 where Bette herself confirms she has been Batgirl in the past. (after the New Titans Secret Origins issue tried to make it seem like she'd always been Flamebird the entire time). Take not that she says this whilst fighting alongside the latest Batgirl, Cass Cain

ok, so that only means the between 1985-2000, Bette was never Batgirl. Except that's not true. I especially know it's not true because of a key story that I think a lot of Batgirl stans are familiar with. Say hello to Page 10 of The Killing Joke. Also known as Bette Kane's first Post-Crisis first appearance.

Wait, wait, wait. What are you saying? Are you saying that Bette's history as Batgirl was never erased with Crisis? Are you saying that the argument that Babs, Steph and Cass stans that "oh, but she doesn't count/oh, but she was written out of continuity" isn't true? That's not possible. Oh, you toxic autumn child. It was always possible. It was merely that the spoutings of Babs stans who were angry that she wasn't the first Batgirl were taken as gospel /j (that or just how low her appearances have been throughout her creation)

Now, that just leaves us with one final era to go: Post-Flashpoint. Now unfortunately, I don't have anything from New 52 that implies she was Batgirl and I can't take the whole contracted timeline thing as concrete either so I'll just say this: Bette is in the same boat as Steph and Cass in terms of their backgrounds as Batgirl being erased in the New 52 before reclaiming their histories back.

Now I do have evidence of Bette being Batgirl Post-Flashpoint - Dark Nights Death Metal: The Last Stories Of The DC Multiverse. More specifically, the story "Together" where it shows nearly every single Titans and Teen Titans member (along with some Fearsome Five, Project Defiance and Young Justice and weirdly missing Team Titans). On the bottom left hand corner, you can see cast of the 70s Teen Titans run which includes Bette Kane as Batgirl.

And so there you go. Bette's history as Batgirl was never erased and is a legitimate member of the mantle as its originator.

If you sincerely think she doesn't count as Batgirl, I think you should go and take a deep look in the mirror and see for yourself what that speaks about you.

#Bette Kane #Batgirl #Bat-Girl #Flamebird #Barbara Gordon #babs gordon #Oracle #Stephanie Brown #Spoiler #Cassandra Cain #cass cain #Black Bat #Orphan #Teen Titans #Batfam #Titans West

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betweenlands · 1 year

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[ID: Two asks from my inbox. The first is from @12u3ie and reads "Drop the essay, Solar /nf". The second is from @artisticgryfess and reads "wait no tell me about joe being technos hels". /End ID]

holy shit you guys i'm not even a hermitcraft or dsmp blog rn. fair enough this is a longstanding conspiracy theory of mine, though. ok, so. Joe Is Techno's Hels, the not-an-essay (mainly because i'm not going to cite SHIT, this is PURELY in the realm of headcanon/theory except if i explicitly indicate something is supported by canon)

so, the joke theory starts like this: back when hermitcraft/dsmp crossovers were first getting popular, there were a lot of crack theories about "hels!joe is technoblade" because... well, a lot of factors. they're both loosely english majors (i know joe is a history major just humor me), both slightly strange guys who operate by their own logic, both have somewhat similar (ish?) accents, both have a very deadpan sense of humor and incredible delivery on that deadpan, and most of all both of them Cannot Be Killed In A Way That Matters.

however, i am your local Hels Analyst, no like seriously there's so much weird shit about helsknight we haven't discussed yet, and one (implied? this is a theory but i feel it holds water) thing that's always been key to me about Hels versions is... they represent bad traits present in the original individual. whether or not those bad traits are the Objectively Bad ones or the traits the original self-identifies as bad is pretty up in the air right now (welsknight come off anon i just need you to tell me if helsknight likes pineapple on pizza it is absolutely fucking critical to our understanding of hels lore) but we'll be going with the latter, for reasons i'll explain later and by later i mean right now.

so! assuming there are hels versions of more players than just welsknight (i cannot stress enough how much we technically don't know this in canon -- it can reasonably be extrapolated but we really aren't sure!), that brings up an interesting issue with techno being joe's hels.

joe is not a particularly violent person.

"well solar," you say, "what does that have to do with techno being joe's hels?"

"well, strawman i have made up to make this long-ass post more visually broken-up and less formal-feeling," i reply, "hels versions of players only exhibit traits that are present in the original person." and this is confirmed canon, by the way -- wels himself has explicitly cited specific ways he can sometimes suck that are directly visible in the way helsknight acts!

so. joe is not a particularly violent person, and... okay yes listen i know there's a lot of very good writing on how technoblade isn't entirely 100% down for violence all the time and maybe wants to peacefully retire, okay. i get it. i am not calling techno a murder machine all i'm saying is that one of them enjoys pvp enough that he helped train other people and the other one is recording as he always does from nashville tennessee. i am a variety mcyt blogger and the only dsmp essay i have ever written before now is about how the tftsmp metaplot parallels redstoner. just bear with me.

imo joe also exhibits a lot of self-awareness about his own bad qualities as a character, and none of those traits are really... present in technoblade? but here's where it gets interesting.

i am no genius and certainly no master c!technoblade analyst, but if we assume technoblade trained to become a fighter and identified certain of his traits as being Not Ideal for someone who focuses on pvp and being a strong pigman, we can. kind of see those traits in joe, even if we can assume technoblade has learned enough to stop displaying those traits:

will commit to the bit even if it's inconvenient for him

obnoxious about whatever form of literature is closest to him

will start quoting from that work of literature to fit the situation even when it totally doesn't fit the situation

zero bloodlust and an active need to avoid direct conflict; a tendency towards pacifism even

malicious compliance

perfectly timed awful timing

overwhelming amounts of Just Some Guy and also English Major energy

exceedingly stubborn and would rather go through a problem than around it; will also see a tunnel through a mountain and climb over the hill instead

and. hm! yeah that feels like a joe hills description. you could make a joe hills out of this. add to that the fact that both of them refuse to die, but technoblade never dies whereas joe conquers death by dying over and over and coming back repeatedly out of sheer spite -- yeah i'd say joe could very easily be seen as the hels of the two.

and if Hels, the dimension, is the hostile and horrible place that helsknight claims it is -- where "everyone's unyielding and everyone there rebels" -- well, only one of them has a (mostly) canonical backstory that involves struggling through a hellish landscape designed by a hostile architect who wishes to cause pain and suffering. and it's not technoblade.

#anyway! i hope this helsknight finds you before i do #i have to go feed Animals in my House now. thanks for humoring me #yt #txt #ask #orig #solar scraps #solar scrawls #12u3ie #artisticgryfess #technoblade #joe hills #joehills #hermits #dsmp #hc x dsmp

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squib-2006 · 5 days

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like a month and a half ago I wrote about Ninjago for a school essay and it has been itching at my brain cuz my teacher gave me an 80 on both the draft and final despite me adding three new paragraphs to it like he suggested and also having three people proofread it and say it was good. he didn't even tell me what I did wrong and it's driving me insane. so I thought I might share it here because I put a lot of effort into it.

(will include spoilers for Dragons Rising season one but not season 2 cuz this was written before it came out)

Ninjago Dragons Rising and How to do a Soft Reboot

When a show goes on for a while, it can become pretty stagnant. The way showrunners and creators try to fix this problem is with a soft reboot. They introduce new characters and locations to spice things up, or in the most extreme cases, they reset the entire story, but still try to acknowledge that everything that happened before still happened. This can have a polarizing effect on fans of the show, and it may, or may not, drive some fans away. In the case of Lego Ninjago, a show that has been going on for fifteen seasons as of 2022, the writers have a challenge in trying to do a soft reboot, while not sacrificing the history and appeal of the show. This is the first time I have seen a soft reboot that has managed to keep the heart and soul of a show while making things fresh and new.

One of the first things that they improved was the characterization. A lot of the time, if a show goes on for a while, the characters can suffer from Flanderization. “The act of taking a single (often minor) action or trait of a character within a work and exaggerating it more and more over time until it completely consumes the character. Most always, the trait/action becomes completely outlandish, and it becomes their defining characteristic, turning them into a caricature of their former selves” (“Flanderization”). This is often quite common in media that has gone on for a while. For example, one of the characters Kai started out as a hot-headed brave person, but as the show went on, he became more stupid and reckless.

The show fixed this by giving the characters a new purpose. Kai became a mentor to Wyldfyre, a new character in the show, and he became more levelheaded and enjoyable as a character. He isn’t the only character to benefit from new characters being added. All of the new characters serve a purpose to the show. Arin is one of the new main characters, he acts as an audience surrogate, specifically for the returning fans of the series. To put it in simple terms, Arin is a super fan of the main cast. This background allows him to make references to the older seasons, without it sounding forced or out of place. On the other hand, his counterpart Sora has the exact opposite role. She is the audience surrogate for newcomers. She isn’t from the original world where some of the main cast came from. Thus, she is able to ask questions that will fill in newcomers to the show on old lore from previous seasons.

Another thing that they did, that I haven’t seen in other shows, is expand the world. In the world of the show, there exists sixteen realms. The whole plot of the soft reboot is that all of these realms merge together, which makes one massive new world. This opens up a lot of possibilities, and the world that the show existed in before the soft reboot was already thoroughly explored. Adding the new area definitely adds a new layer of excitement to the show.

The show also had a problem with stale villains. They have recycled villains multiple times, and most villains are pretty bland. With the new show, they added the kingdom of Imperium, which has its own villain empress Beatrix. Her lackeys, Ras and Rapton, are both unique in their own ways. Rapton is a dragon hunter, who is obsessed with capturing dragons for fun. While Ras is a mysterious outsider from another realm, he has an allegiance to another unknown person, and this adds mystery to his character.

I have watched this show since I was in third grade. It has been an important part of my life for years. Every time there was a new trailer, I would spend hours looking over every little detail and theorizing what would happen next. Up until season 10, all the episodes would air on Cartoon Network, which was unfortunate since my family used streaming services instead. I was so excited to go to my grandparents and watch the episodes since they had cable. Eventually with season 11, they moved the show to Netflix, and I got to watch them as they came out instead of binging them all at once when I went to my grandparents’ house.

Unfortunately for me season 11 was extremely disappointing. The season had a good concept, but a poor execution. It also used a lot of tropes for the characters and failed to resolve the conflict in a satisfying way. This season is known amongst fans as one of the worst seasons to ever come out of the show. It was so disappointing to me, that when I saw the trailer for season 12, I just lost interest. The plot seemed boring, and I didn’t care for the character they were focusing on. So, I dropped the show and ignored it for about two years, until I saw a clip from an episode I had never watched. To my surprise, I liked it, and it was actually funny for once. I ended up looking up more clips and episodes, eventually watched the seasons I missed, and regretted giving up the show. Season 11 was just a rough patch, and due to me dropping the show, I had missed two of the best seasons the show had ever had, seasons 13 and 14. Season 15 was an ok season all together. Looking back a year and a half later, it was definitely made to tie up any loose ends that the show had before the soft reboot happened.

All this change and improvement is great for the series. When the creators first announced that Ninjago was getting a new TV show, and that it would be a soft reboot of the show, I was concerned. Soft reboots have a history of not really benefiting a show at all. It often ends up falling back on old ideas or introduces new ideas that don’t fit well with the show. As more trailers and clips started releasing, I was once again reminded why I love the show so much. The world and characters are amazing, and the story never fails to reel me in. This new TV series is a promising new step in a good direction. I personally can’t wait until the next season.

#ninjago #lego ninjago #ninjago dragons rising #all he told me was that it needed to be ''revised and edited'' what ever that means

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wrishwrosh · 3 months

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the vaster wilds has the typical goodreads problem of all the negative reviews just being “this book was gross and sad and nothing happened :((“ “the prose was stylized and hard to understand”” but as a gross sad stylized prose enjoyer these critiques do not get to the MEAT of all the evils herein present

- the problem of the enlightened protagonist, where a character who has nominally lived in the real historical past until the book begins and yet somehow manages to individually develop a 21st century twitter-educated perspective on colonialism, god, and nature. classic groffism nothing new

- remember that tweet about how hiking is a bourgeois affectation and indigenous people never hiked before colonization. imagine if that was the premise of an entire novel. written by somebody who went to amherst

- another classic groffism is taking a real historical figure about whom almost nothing is known and constructing a history for them that can’t technically be ruled out as impossible given the dearth of records but IS ahistorical, implausible, and kind of stupid while also making sure that the one thing that is concretely known about this person is weirdly and smugly deemphasized in the narrative. in this case the historical figure is “jane” the anonymous teenage girl whose remains were found at jamestown exhibiting signs of butchering. the cannibalism is treated as a twist ending which is dumb as hell and made the pacing insanely frustrating as this was obvious from the beginning to any true jamestownheads in the audience. also the cannibalism of a young woman seems like an obvious place of exploration for a novel nominally about the exigencies of subsistence survival and how hard it was to be a girl in the dark ages before second wave feminism but what do i know. obviously you should just kind of shoehorn it in as a gotcha in the last 20 pages serving as the millionth indication that the bad guys in this narrative are bad and do bad things

- speaking of the bad guys every single character aside from the narrator is a one dimensional paper doll present to essentially speak one of groffs points directly into camera and then vanish in a way that literally made me laugh out loud several times. Some Women Are Vain, Which Is Bad. Some Men Hurt Women And Native People For Fun, Which Is Evil.

- there was a stylistic decision made to not capitalize proper nouns which sure. it makes sense with what the book is trying to do to not capitalize god or english or powhatan. but then it was so inconsistently applied like why is atlantic (ocean) not capitalized but James (river) is. why is god lowercase but Sunday is uppercase. why are all the names capitalized but titles that function as names arent. stop the madness

- a personal nitpick now but i have spent a lot of time kicking around in the area where the book is set and was hoping at least there would be some evocative descriptions of this place that i love. and yet in this book nominally about wilderness there was so little specificity in the depiction of it! this could have been any forest! the specific natural setting did not feel like a tidewater forest! feels like groff wrote it based on a google search of pamunkey traditional lifestyles and a glance at a topographic map

- cant even get into all the reductive and underresearched gender stuff but know it’s there. classic groffism

- finally and most minimally yet perhaps most egregiously groff has yet again failed to internalize a religious worldview in order to write a religious character. this narrator is a change from marie in matrix as we are sternly informed on page 4 that she believes what she has been told about christianity. like once every 20 pages groff remembers that and has her pray or something and then once she has been away from her culture for about 200 pages she realizes god is a lie and that’s the arc. cool!

- why bother! why bother with this setting, this character, this real place and real historical event and real belief system, if you arent going to USE any of it. this should have been a zine about climate change. it should have been like six tweets. if it needed to be fiction (and im not convinced it did) it should have been a contemporary novel and like three things could have been changed. why! bother!

in summary, i went so insane that i googled every single person mentioned in the acknowledgements to see how many were historians or archaeologists or librarians or ecologists or associates of the pamunkey tribe or anyone else who might be assumed to have expertise here and there was: one. illustrative i think!!!!

#ok NO more groff we have freed ourselves from the curse of groff #i could keep and another thinging myself to death here but i will show restraint #last groff book i read i blacked out for a week and when i came to i found a 20 slide powerpoint/screed #bravely limiting myself to a tumblr post this time #histfic #long post #i have to go lie down

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ducktracy · 6 months

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Conspiracy theory I didn't come up with: Part of why Hollywood is so weird with Looney Tunes and Muppets is that they resent the voice work involved. Even dumbass execs know you need Kermit to sound like Kermit and Daffy to sound like Daffy and they HATE that they can't just recast them with some random celebrity.

HMMMMM… i unfortunately don’t know enough about the Muppets to throw my two cents in there, but with LT—i both see where you’re going with this and somewhat object at the same time.

i guess my point i’m about to bring up just as much proves you right, but they DID get away with some celeb stunt casting with Space Jam 2 (lol) thanks to Zendaya and Gabriel Iglesias. and hell even going back to TLTS, you have Kristen Wiig and Fred Armisen… Frank Gorshin voices Daffy in Superior Duck.. so there IS the fair share of celeb stunt casting with these characters, which i guess does in a way sort of prove your point, but to me still makes me think it’s not entirely it

one of my biggest complaints with modern LT revivals IS, however, that they never seem to write the characters with Mel Blanc in mind. i realize the man has been dead for 35 years and we obviously can’t raise him back, but the originals were so often written to cater to his voice talents and his quirks and his specificities, and while you have incredibly talented voice actors like Eric Bauza or Bob Bergen or Jeff Bergman or Joe Alaskey (RIP), the one little ingredient missing from their deliveries is because they aren’t written with Mel in mind. Mel’s involvement is just as important to the characters and their personalities as the directors and writers and animators

which leads me to my next point in that i just think that nobody understands the Looney Tunes characters, simple as. they don’t! they are not some big happy family à la the Muppets, who, in turn, are not some big happy family. likewise they are not mindless drones who drop anvils and blow each other up and repeat the same 2 bits over and over and over again. i don’t think Space Jam 2’s ineptitude is a product of execs losing their minds over the inability to stunt cast—i just think you don’t know your Looney Tunes if you’re going to genuinely play up a Bugs Bunny death scene as a sincere, heart felt moment. come on!!!!!

i still think a lot about the excerpt in Jerry Beck’s 100 Greatest LT Shorts book where one of the contributors—whose name escapes me—had a WB exec tell him in the ‘90s that nobody likes Porky because “people don’t like pigs”, and his quip in the book was “well, i’m people and i like pigs!”. likewise the whole political correctness bit in Back in Action is true to life! the Speedy complaint surprises me less but the whole “first they tell me to lose the stutter, then they tell me i’m not funny” actually happened! WB hasn’t known what to do with these characters for half a century at this point and it’s unfortunately nothing new. i wish it were just a matter of grievances at celebrity voice casting, but i really do think it’s just because nobody knows how the hell to characterize or approach the characters.

likewise, that is very much by design. the original run is lightning in a bottle. its brilliance is the product of so many ultra specific circumstances and benefits and histories and trial and error that you just can’t really replicate. i mean, you can, but even with the most meticulous studying and planning and adaptation and mathematical calculations and all that other jargon, even if you put all that into your work… you’re still not Chuck Jones with Chuck Jones’ life experience, you’re not Bob Clampett with Bob Clampett’s life experience, not Friz Freleng, not Bob McKimson, not Frank Tashlin…

i am a loud proponent of thinking that honoring these characters correctly and accurately and respectfully is possible. i think it can be done. i think it is possible to study all of the quirks of the directors, of the writers, the animators, the characters, how the characters talk and walk and play off of each other, how the directorial tone is dictated. you have to be a complete nut to do it, but i think it’s possible. but that just goes back to the original question of: well… why try and make carbon copies of the originals when the originals are right there? (which, i admit, is another question that i myself get huffy about and am like “just because!!!! why not!” but i can’t act like i can fully deny it either. it’s a valid question.)

ANYWAY. i just went on a huge tangent, some of which is completely unrelated to your ask and your point so MY APOLOGIES! i do think you have something there, but i really do think the main perpetrator is just a lack of understanding and awareness. or, we do have adaptations that show potential and they aren’t given the light of day to be realized and help set the course a little because we need to think of our tax write-offs first. god forbid!

#i do like the timing of you sending this the day the Chris PraI Mean Garfield trailer came out #anonymous #asks

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that-ari-blogger · 2 months

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Witch Side Are They On? (Young Blood, Old Souls)

Hero and villain are nebulous terms, the definitions of which can be taken to mean literally any character. Although, almost everyone knows one when they see one. It's a vibes based classification. Nobody is trying to argue that The Joker is a paragon hero (except some people), for example.

Certain characters break from the mould, with some protagonists displaying more morally challenged motivations or methods, some villains being redeemed, and some "morally grey" heroes ending up being written as power fantasies and you can usually tell when that happens.

I find the classification of characters rather redundant, as people have a habit of being complex. Sure, I have met people who fit stereotypes to a tea, but they are the exception not the rule, and the more you get to know someone, the less tropey they seem to you.

So, instead, I would like to examine the actions that The Owl House frames as evil, as well as the point at which the series decides a character is no longer redeemable.

Let me explain.

SPOILERS AHEAD: (The Owl House)

Because good and bad are subjective, and this is the internet, I am going to define heroic and villainous actions in this context as "behaviours that The Owl House presents as desirable and undesirable" respectively. Knowledge, expression and kindness are heroic in this context, and willful ignorance, cruelty, and repression are villainous. Ok?

These themes are really well emphasised by the light and dark motif going on. Luz's name literally means light, and she is very much associated with that concept through her magic.

Compare that to Belos, who has managed to spend the entirety of the series up to this point either in literal shadows or figurative ones. We haven't seen him outside in the daylight; we haven't even seen what he looks like yet. The man exists in darkness.

What I mean by this, is light reveals, shadows conceal. A light can bring hope, show you the way out, or let you glimpse the beauty of an artwork, if someone keeps you in darkness, your eyes will adjust eventually, but you won't be seeing the full thing.

Now, here's a question: what exactly is Lilith's motivation? The flashback gives her a history, and shows her actions and sacrifices, but it doesn't redeem her by any stretch of the imagination.

Lilith made a sacrifice for power. She has been chasing Eda because of Belos, and we will get to that. But the curse was her own misdeed, and I think its fascinating how the concept of willful ignorance plays into that.

"I thought it would just be for a day."

Now, I don't know what was on that scroll. Maybe it came with a sticky note that says, "guaranteed 24-hour magic removal or your money back". But, it takes some serious mental gymnastics to decide that the thing you wanted to do because you wanted to do it with someone was worth sacrificing that someone to achieve.

And when the curse turned Eda into the beast, it never occurred to Lilith to tell anyone. I think providing evidence of the magic that caused it might have helped to fix it, but Lilith kept it a secret.

Also, if you see a system that outcasts your closest family member and TURNS PEOPLE IT DOESN'T LIKE TO STONE, and you devote yourself to upholding that system "because of all the good it does", you are deliberately ignoring some major factors.

So, Lilith engages with the theme on two fronts, she keeps the world in the dark about her own actions, and she actively ignores things about the world she is in, and that is the key here. Lilith is presented as highly intelligent and rational, but someone the clever should surely notice some things that she very much doesn't. Which leads me to believe that she is either unintelligent and rational, or intelligent and irrational.

I don't think Lilith is a villain in the series, entirely. I think she is an antagonist, and thematically opposed to the heroes. But the motivation for the specific acts of antagonism are, fundamentally, altruistic. She wants to heal her sister. The problem is that being motivated by guilt and compassion doesn't square with the actions she has taken to get to this position. So naturally, she ignores the incongruities until she runs face first into them, and her redemption comes later through her actions and decisions to seek out and understand.

Belos plays an interesting role in this as well. I mentioned in my previous post that Belos manipulates her agency out from underneath her, and I stand by that here for two reasons. 1) Belos is the system she has bought into. He has directly and intentionally, through propaganda, convinced a world that wild magic is bad and that sacrifices must be made. 2) He found a woman who was conflicted about her actions and saw a way to get rid of the most powerful witch in the boiling isles.

So, Belos too features the theme of wilful ignorance, imposing it on the boiling isles, and making use of Lilith's blind spot to further his own goals.

I've mentioned Belos' restriction of expression in the past multiple times, but there is one more of the core themes that the emperor engages with, and I think the way in which he does that is rather funny. Belos is cruel, and it is constantly tripping him up.

So, what spur's Lilith's redemption? She gets shown her actions are wrong immediately after performing them, so it can't be realisation. So, what is it that prompts her to reconsider her life choices? What causes the leader of the coven heads to bail? Lilith backs out of the coven system because Belos is a jerk.

Belos could have kept the manipulation going. He could have said that he tried and failed to heal Eda's curse. He could have said that Eda attacked him and left him no choice. But instead, he decided to gloat.

"Ah, taking her to the healing ceremony?" "I will not be healing her." "But, you, promised me." "Don't be so naïve, Lilith."

This isn't even the only time the man's desire to gloat self-sabotages him in this episode. So, let's get to that fight scene.

"Okay, I'll play."

I feel the need to point out that Belos wins the fight part of this scene hands down. I recommend UnholyBasil's excellent video on this scene, but suffice to say, anyone with the power to instantly quadruple the animation budget for a moment is a terrifying threat, and Belos is definitely that.

Up until now, the emperor was just an ideological roadblock. The antagonist has been the coven system and the Emperor's Coven that want to restrict magic. Belos has simply been the guy at the head, the one Luz must symbolically defeat.

But now, Belos barely has to lift a finger, and Luz is on the back foot. She can't even touch him. And that is the key to why the ending of the fight is so cool. Belos is untouchable, emotionally and physically, so Luz does both. She puts a crack in his armour, not enough to defeat him, but enough to break the facade he has put up and make him look like an Undertale character.

Remember what I said about self-sabotage? Well, it happens again here. Here is someone who is trying to kill Belos, someone with magic that he has seen. And he decides to waltz up to her and present his face as a target, just because he wants to needle at her mind, the man would have succeeded had he been intelligent.

That is my takeaway from Belos. He is an eejit with delusions of grandeur. Don't get me wrong, the man is a decent manipulator, but his inability to look past himself and his need to be cruel repeatedly puts a dampener on his whole mastermind shtick.

Also, he didn't think to check for the obvious glyphs on the side of the suitcase he was given, he just assumed he had won and didn't feel the need to make sure. Are we sure this guy is clever and not just charismatic?

Now, I haven't talked about Luz or Eda much, and I think it's time to rectify that.

Lilith's character design is a mirror of her sister's. She is restricted in her dress, and perfectly symmetrical. Eda meanwhile is unkempt and wild, with the torn outfit making her look unbalanced and volatile.

The Clawthorn sisters also have a Red Oni, Blue Oni motif going on between them, a trope about characters with a duality to them that has shades of colour symbolism and mythology thrown in for spice.

According to TV Tropes:

"The Red Oni is associated with passion, wildness, and defiance. The red oni character is often more brawny than brainy, extroverted, enthusiastic, determined, and filled with a zest for life. They are also much more likely to break conventions and rules than their counterpart."

Meanwhile:

"The Blue Oni is associated with serenity, control, and observing authority. A Blue Oni is more intellectual, proud, traditional, introverted, and cultured."

I those two don't sum up Eda and Lilith respectively, I don't know what does. And if you have been paying attention, the colour symbolism there appears in the designs of the two. Lilith bears more cool colours, with the blueish hair, eyes, and gem, while Eda scraps all subtlety and just wears red and orange.

So, Eda and Lilith represent two ends of the spectrum, chaotic and lawful. But its notable that when Lilith gets redeemed, she doesn't lose the logical, heavily rationalised mindset, she loses the restrictions. She ends up being free to be whomever she wants, and that person doesn't have to be as overtly wild as her sister.

Luz and Belos, however, are extremely similar characters, with one Luz and Belos, however, are extremely similar characters, with one main difference. One is kind, one is cruel. In terms of character mechanics (how they approach problems), that is the main difference. The rest of their actions come as a result of this dichotomy. Both have a form of main character syndrome, for example, but where Luz wants an adventure and to save the world, Belos wants to remake the world in his own image.

I'm not saying they are identical, or that they are the same character, I am saying that they are similar except for the most fundamental of points, derived from this difference of kindness vs cruelty. All of the lessons that Luz learns but Belos ignores, come from selflessness, all the differences come from expanding out this over and over again until you get a hero and a megalomaniac.

They are both charisma-based artificers, but they have different alignments, and that has led to them making different choices, and leading different stories that have clashed with each other. They started in a similar place, but because of the one difference, their paths diverged wildly.

Final Thoughts

Belos is a villain who would be right at home with Wiley Coyote if he wasn't so terrifying and megalomaniacal, because he cannot stop bringing about his own downfall in spectacular fashion.

I wanted to find the Tolkien quote about evil destroying itself for this post, but instead I found something that sums up The Owl House really well.

"You have to understand the good in things, to detect the real evil."

Tolkien was a man who fought in both the first and second World Wars, including the battle of the Somme, and yet he was a profoundly optimistic man, as well as being a realist. His most famous work is about someone small accomplishing a great thing against all the odds because evil cannot comprehend the simple acts of kindness.

That, transformed by generations of nerds, has resulted in The Owl House, where a villain, by dint of being clad in gold, can only shine by reflecting the light of the protagonist. And he cannot comprehend the simple kindness of community, and harmony.

Light, do not faulter.

Next week, I am diving straight into the next season, with Separate Tides, and the introduction of the woobie, so stick around if that interests you.

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#rants #literary analysis #literature analysis #character analysis #what's so special about...?#the owl house #toh #toh belos #the owl house belos #emperor belos #the owl house lilith #lilith clawthorne #toh lilith #young blood old souls

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