oranges
gojo knows how to peel oranges
a/n: just something simple inspired by the poem oranges by jean little, i cried the first time i read it, hope you guys enjoy <3
wordcount: 843
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there was a lot you did for satoru.
you helped ground him, reminded him to drink water, made him food, taught him how to fold clothes and do laundry, showed him all your favorites- from places to eat and videos to play.
you reminded him what love felt like, your tender touches late at night, gentle thumb pads wiping away hot tears, soft whispers and proclamations of love.
satoru always wondered what he did for you.
he didn’t think much of the quality time he’d spend with you, he thought that was a given. he often brushed past the shower of compliments he gave you daily, figuring that was the standard. the little gestures of holding doors open, buying you flowers, remembering your favorite candle scent and buying your shampoo seemed too natural to him for it to be considered and outward act of love.
“you want some oranges?” you asked, looking at him with a smile from the kitchen.
“i could go for some oranges” he replies, getting up from the couch and joining you in the kitchen, taking an orange in his hand.
his thumbs easily tear into through the peel, gently digging his finger and separating it seamlessly from the sweet fruit, continuing his motion until the peel comes completely off, all in one piece.
you on the other hand, are putting too much force into your thumb, your finger piercing straight into the flesh of the fruit, shrieking when the juice gets on your face a bit.
“how do you always peel it so neatly? i have never once been able to” you huff, setting the now punctured Orange on a towel, washing your hands in the sink before drying them off.
“cmon sweetheart it really isn’t that hard!” satoru grins, taking your orange and easily peeling it apart neatly. “you have to do this, and then… get it there and boom!” his smile widening as he stares at you, a pout on your lips and an annoyed look in your eyes.
“yeah yeah mr. ‘I’m so good at everything’” you tease, tasking the orange from his hand and munching on a piece. “they’re sweet today” you smile, putting both your pieces and satoru’s in a bowl, heading back to the couch the two of you were on.
two weeks later the two of you are cooking dinner, reading off the recipe and realizing the dish called for an orange.
“can you hand me an orange?” you ask, turning around and thanking him as he hands it to you. you were determined to not make a mess this time, it’s just an orange after all.
but as gentle as you were, the peel wouldn’t budge, and the little force you applied proved to be just a little too much as your fingers pierced through the flesh again. you groaned in frustrations satoru already taking it from his hands, a smile on his face as he so easily peeled it.
“coulda just asked” he hums, handing you the orange, you’re glaring at him, giggling when he misses your nose.
“thank you angel boy,” you mumble, chopping the orange and adding it in.
one year later you’re sitting together in a grassy field, the wild blowing past the two of you, your laughter and love filled gazes scattered in the wind.
“i got some oranges from the market today!” you grin, taking them out of the wicker basket and showing them to your snowy haired lover. “you owe me breakfast in bed if i can finally peel this damn citrus fruit” you wager, satoru easily sitting back, a small smirk on his face as he nodded.
“I’ll do so breakfast in bed for a month if you peel it in one piece” your eyes widen at his proposition, nodding before looking at the fruit in your hands.
it’s only ten seconds later that you’re throwing yourself back, saying the fruit was obviously defective because ‘there’s no way the peel was that easy to cut through!’
satoru takes the oranges from you, peeling them perfectly and separating them into neat sections.
“I’m glad i have you to peel my citrus” you smile one night, taking the mandarin slices from his hand and humming in delight as the sweet taste hits your tastebuds.
“I’ll always peel your oranges for you” he replies, voice soft, his blue eyes seem a little lighter and his face a bit more relaxed as he looks at you.
it’s been years since then, and you never learned to peel oranges, the times you’d attempt to, juice would get everywhere and the peel coming off in chunks, the aftermath looked like an orange massacre.
satoru’s heart flutters when he sees the citrus fruit, knowing you’ll hand it to him, for him to peel for you. he knows you’ll always ask him to do this for you.
satoru is grateful everyday that you can’t peel oranges, because with the boundless things you do for him, he knows this is the one thing he’ll always be able to do for you.
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Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.
And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.
And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.
Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.
This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.
And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.
So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.
It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.
Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.
These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.
Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.
Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.
And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).
But then, for once in both their lives, neither of their usual tactics work.
Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.
On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:
"Under your mask, you're not the killer you pretend to be."
Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.
And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.
Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.
And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.
But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.
So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.
This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.
In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.
To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.
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[this is kind of a messy ramble, sorry about that]
Demon Twins AU, except Danny is loyal to the League.
The League of Assassins is a “cult” for a reason. They know what they’re doing. Ra’s has been around for a very long time; he’s seen every trick in the book and then some.
So when his daughter Talia gave him two, near-identical twin grandsons, he had already planned out their lives by the time the sun had set on their first day living. He knew the plans weren’t perfect. Nothing ever went exactly how he wanted it to. But that was the joy of being absolutely fucking ancient. Ra’s adapted better than anyone. If something went wrong, Ra’s will simply work around the issue and live to see another day.
So the boys were raised as he wished. Ruthless, with sharp blades and even sharper wit. They matched each other in every way, blow for blow. Neither won more than the other, and Ra’s encouraged the competition between the twins. Eventually, the battle for title of Heir came, and Damian won that particular match.
Danny was fine with this. Thrilled, even, for his brother to earn the title of Heir. The boys were very close, and worked well to take down targets twice their size. Ra’s approved this, and granted Danny title of Shadow. He was to be Damian’s eternal shadow, a guard. Both Talia and the boys were pleased with this.
But then came the time for the boys to learn how to live without each other. They’d gotten too used to someone guarding their back. Too complacent and too confident in their roles. Ra’s knew it would happen, and so sent Danny off at a very young age to live with some sleeper agents in America.
The Fentons.
Damian would stay here, with Talia, to learn how to be the perfect Heir. He needed to learn how to fight without the assistance of his brother.
Danny would go to Amity Park, and be fostered by the Fentons. He needed to put his skills to practical use and learn how to live without constant orders.
This was their Test.
Damian did quite well, for a while. Until Talia sent him off to his birth father, The Bat. Reports on his behavior declined in quality after that, and Ra’s couldn’t help but feel dissatisfaction with how the Heir had been corrupted.
Danny’s reports were always immaculate, however. His mask never slipped, and he’d worked himself into the hearts of the townspeople. The sleeper agents, Jack and Maddie, had a daughter who was quite enthusiastic about the properties of the mind, and accept Ra’s instructions to teach Danny with ease. It was the ideal situation.
In Ra’s eyes, Danny was thriving. Damian was not.
And then Ra’s died. The League was in shambles. Damian was at peace with his family, away from the cult he grew up in. He assumed Danny had defected years ago, since their mother stopped giving him reports about his twin.
Then Danny showed up at the Wayne’s doorstep, decked out in full League attire, angry and hostile.
“Tell me, dear brother,” he spat. “Why did you not inform me that Grandfather had died? I had to find out through his spirit when it came to visit from the afterlife!”
Damian didn’t know what to say.
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