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livgr3 · 2 months

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Fairy Tale Musicals: Little Shop of Horrors (1981) dir. Frank Oz

Little Shop of Horrors has a somewhat lengthy history of multiple adaptations. The first iteration of the story was the 1960 film The Little Shop of Horrors, with a screenplay inspired by science fiction stories of the 1950s. Then, the movie was adapted into an off-Broadway musical in 1982. In 1986, the popular musical was adapted into the high camp, soon to be cult-classic movie musical Little Shop of Horrors, directed by Frank Oz, whose experience in creating and puppeteering The Muppets would lend itself to Little Shop's impressive Audrey II puppets.

Three teen girls who live on Skid Row, Crystal, Ronette, and Chiffon, introduce and narrate the events of the film.

Seymour and Audrey are both struggling to make ends meet, and work at Mr. Mushnik's failing flower shop on Skid Row. Seymour, who has a hobby of collecting exotic plants, brings a mysterious plant to the shop, Audrey II, which draws in customers and gives the shop a fighting chance at staying in business. As the plant begins to make Seymour more popular and successful, he discovers that the only thing that he can feed the plant to make it grow is human blood. (Also it can talk and sing.) Meanwhile, Audrey's abusively masochistic dentist boyfriend Orin becomes more and more insidious towards her, making him into the perfect candidate for Audrey II's first victim...

Aesthetic Markers of Class, Race, and "Bootstraps" Myths Through Song

Though Oz's film is still set in the 1960s when its source film was made and generally parodies conventions of '60s B-movies, it is clearly influenced by the politics of the 1980s, when it was made. I will read Oz's Little Shop alongside two specific events: The Reagan Administration and the Second-wave Feminist movement.

Let's close read the musical number "Skid Row" to see how formal and stylistic elements enhance racial difference and enforce the "Pull yourself up by the bootstraps" rhetoric that became popular during the Reagan era as a way to justify and distract from the growing economic disparities in America.

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Though the three narrators provide a segue into the song by exclaiming that there is no chance of "bettering ourselves" on Skid Row, Audrey and Seymour end the song determined to get out of their situations. They are notably the only two people in this ensemble number to sing about getting out of Skid Row, looking up towards the sky as the song ends while the rest of the cast looks down. Several other stylistic markers set Audrey and Seymour apart throughout the song, such as the bright lighting on only them, their brighter clothes/hair in comparison to everyone else's dull attire, and even the slower tempo and more gentle style of singing during their verses.

While Seymour and Audrey's economic status makes them "Othered" protagonists (much like Eliza Dolittle in Ray's analysis of My Fair Lady), the formal elements of this number serve to further Otherize people of color. It is important to consider Seymour and Audrey's whiteness in comparison to the ensemble, which consists of many Black performers. With these two white characters as the only ones to sing about wanting to get out of Skid Row while the others do not, the film contributes racist capitalist narratives that one's economic status is a "choice." This is further supported by the fact that the rest of the ensemble of this number rarely shows up throughout the rest of the film. Their only purpose is to foil the protagonists' strife, making the audience feel as though they are rooting for the "little guy" or the "Other" at the expense of another, racialized Other.

However, the narrative that continues after this song seems to subvert and rework this very same myth of finding economic success through the exploitation of The Other.

After finding out that Audrey II feeds on human flesh and blood, the meek and good-natured Seymour struggles to see anyone as "deserving" of death. That is, until Audrey II directs him towards Audrey's abusive boyfriend Orin. Fast forward a bit, and Seymour later feeds his boss, Mr. Mushnik, to Audrey II. The death of both these characters promote Audrey II's growth, which increases the attention it gets from the media and therefore brings Seymour more wealth.

Since the film dips into conventions of Sci-Fi and monster movies, it is expected that those who are killed for financial gain are bodies which have been marked as disposable or lesser. However, the victims in this film, a horribly misogynistic man with a good career and a boss who disregards the well-being of his workers, could easily be construed as heroes in other films. In this film, Seymour and Audrey II flip the narrative of violent exploitation, fighting against oppressive figures in order to succeed in the very capitalist system which they help promote.

Complicating Femininity Through Race and Class

Ray writes of My Fair Lady as indicating what it means to properly "be" a woman through a rags to riches transformation. Little Shop sets up the perfect foundation for such a transformation to occur to Audrey, who defies any notions of demure, proper womanhood with her "trashy" style and nasally voice. This physical transformation never happens, though, and Audrey's femininity or womanhood are never in question.

Instead, Audrey undergoes an internal transformation through the film's exploration of domestic abuse, which seems to be informed by a heightened awareness of the issue thanks to the advancements of the Second Wave Feminist movement. I find that the film handles this issue surprisingly well, with Audrey experiencing symptoms of abuse in a way that is very realistic, and she is never treated as a source of blame for the abuse Orin subjects her to. When Orin's death frees her of her circumstances, she regains a sense of autonomy and self-confidence.

Audrey's "I want" song, "Somewhere That's Green," also handles contentious aspects of womanhood in a way which considers economic class. In this song, Audrey sings that her biggest dream in life is to live in a comfortable suburban home married to Seymour. While the Second Wave Feminist movement fought against the designation of women as housewives, such a lifestyle would be a privilege to Audrey in her current economic state.

However, the film's three narrators are not given the same complex characterization. Ray writes of the "transgressive inner voice" of female musical protagonists as something progressive and empowering. The three narrators in Little Shop are basically only their voices (and they out-sing everyone else in the cast tbh), existing as an omnipotent presence that is only partially connected to the world of the film. Though the film definitely showcases their vocal talent and charm, they are reduced to an accessory with the sole purpose of narrating white stories.

Two Endings

The film's original ending followed the ending of the stage musical. In this version, Audrey II kills both Audrey and Seymour. Businessmen take cuttings of Audrey II and sell it across the country, accidentally creating an army of Audrey IIs that take over the US.

After two test screenings which left audiences uncomfortable and speechless, Oz filmed a new ending before the wider release of the film. In this new conclusion, Audrey and Seymour survive, kill Audrey II and live happily ever after.

Discussion Questions!

Does camp and the tone of movie musicals make it easier to include anti-capitalist themes and narrative points? Might the film have been made and widely released if the same themes were conveyed in a more "serious" manner?

What is the significance of Audrey II being a plant, as opposed to another kind of being? Could there be an environmentalist reading of the film?

Why do you think the darker ending was successful in the stage musical, but made audiences of the film adaptation uncomfortable? Do stage plays and films evoke different expectations?

What do you make of the second ending and the role of happy endings more generally - can they evoke a sense of hope, or are they an unrealistic distraction from real issues?

#oxyfilmmusical #@uncannyprofessoro #panelpresentation

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blessedfatui · 1 year

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Chloé fans🤝Sabrina fans: hating Zoé’s guts for ruining their potential

I cannot stand that stupid, blonde, fill-in of a “character”.

This is just me ranting underneath the cut and pointing out everything wrong with Zoe’s characters, and the poor writing that is both Sabrina and Chloe, because that’s all I do is bitch about this show (it’s the autism I swear).

The way that Zoé was only added to show that Chloé is this abusive monster and she just abused Sabrina when three seasons before, we’re shown that both Sabrina and Chloé care about each other and are willing to protect each other. Sure, their friendship is unstable at the beginning, but it was slowly becoming healthy and the way Chloé defended Sabrina when the akumas almost attacked her in Ladybug, when Chloe bought her a gift (granted, it was worded poorly but you could see that Chloe was happy that Sabrina was happy to receive her new gift in Antibug)🥹 Also the fact that if they wanted someone to stand up to Chloé or address her abusive tendencies in a relationship, Sabrina was right there. This bullshit arc where she only calls Chloé out because she got replaced by Lila just irks me. Sabrina was right there, front and center if they wanted to have some meek character finally grow a pair of balls (besides the Mary-Sue of a protagonist). Worded crudely, I know but the way this show is just—irritating isn’t even the right word. It’s downright infuriating how they not only portray Chloe as this heartless, abusive monster who has never cared about anyone/uses people for her own entertainment/doesn’t care about her (little group of) friends, but they’re also using Sabrina as a plot point to make Chloe worse than the majority of the abusers in the show (i.e André, Audrey, Tomoe, Gabriel, Lila’s three sets of parents, Felix’s father). Then, you have the Chloe antis running to say that she was never abused by Andre because he gave her a life of luxury—hate to break it to y’all: neglect is still abuse! He neglected to raise her with ANY morals, failed to properly punish her when she was in the wrong, failed to protect her from his abusive wife/her mother, failed to teach her how to be a decent person, and he enabled her behavior which is why she ended up being spoiled and thinking the world revolves around her.

If they wanted someone to replace Chloe as the new Queen Bee, Sabrina would have been a better fit because it would be the chance she gets to finally become her own person and stand up to Chloe (granted, it’s behind a mask, but it’s better than nothing). We’ve seen their dynamic and actually know more about Sabrina than we do with Zoe (which irks me because why is she getting a miraculous after being in the new season for two episodes and is declared the true holder of the bee miraculous when none of the miraculous have true holders; we have a terrorist running amok with the butterfly miraculous, but go off, I guess).

I’m getting off topic. This show is just so poorly written has does not utilize all of their characters to the fullest. Most of the characters are just there (if not, 95% of the cast) are there to either stroke Marinette’s ego or always worship her and the only way you can get redeemed is if you’re Marinette’s friend (ie, Kagami, Sabrina, Felix)

TLDR: the show sucks and Chloe and Sabrina could have had better writing and Zoe was completely unnecessary to the plot.

#🌼 .from anon #💐 .nyx’s asks/questions #ml salt #ml spoilers #mlb fandom #sabrina raincomprix #chloe bourgeois #zoe lee #ml writers salt #miraculous season five spoilers

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generalluxun · 11 months

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ML Fanfiction: Showing Love

This little one shot is a rewrite of the end of Queen Wasp. It never sat right with me, Marinette badmouthing Chloé to get Audrey to pay attention to her (and we see how well it turned out having her in Paris) Who wouldn't prefer something with some awesome Marinette and Moma Sabine in it? Link to the post on AO3 in my bio. Full text below the break.

Marinette was so sure. She had seen what everyone else had, but unlike so many people she couldn't, wouldn't look away. She might have every reason to, it might be any number of people's responsibilities before her, but she was Ladybug. It was more than a costume. It was more than fighting villains. It was saving people, and everyone deserved to be saved.

She was so sure. When that 'go away' came through the door, it was expected. When that baffled 'Dupain-Cheng?' left Chloé's lips -she never used Marinette's first name- it had been a victory. Yes Chloé, even you.

She was so sure. She marched up to the helipad with a plan fully formed. She declined Audrey's offer. She stepped aside to present Chloé to her mother. It was easy to brush aside the 'Chlorine?' It was just a quirk, right? Nothing else made sense.

She was so sure. 'Why don't you love me, mom?' broke her heart. No child should ever have to ask that. It was Chloé though, Chloé could be trusted to misread anything. This was the way to clear everything up. It was all a misunderstanding.

"But… Uh– of course I-" Audrey choked. She turned her head. She wouldn't even look at the girl, hunched and desperate before her. When she managed to force the words 'love you' from her lips they were almost unrecognizable.

She was so wrong.

"No."

Both Audrey and Chloé turned to her, one still wallowing in confusion, the other with indignant surprise.

Marinette had to fight to find her voice. Hope, warmth, and pride had turned to a burning anger and disgust. She looked at Audrey and saw something incomprehensible. "You… don't… Do you?"

Marinette was stunned, but after being contradicted twice in as many minutes, Audrey was moreso. She looked at Marinette over her sunglasses, "Excuse me?"

"You don't. It doesn't make sense, but… you don't." Marinette found strength in her anger. "You can't even make yourself say it! The one thing every child should be able to count on, and you can't even do that much!"

"Listen here Mariachi, don't you tell me how to handle my employees, Cardamom is-"

"She's your daughter, and her name is Chloé!" Marinette was shaking with rage. "I hate her and I can remember her that much! She's awful, mean, cruel, and makes my life hell but even she deserves better than you!"

Marinette snatched Chloé's hand and began dragging her off. The blonde was stumbling after her passively, clearly still reeling. Her 'Dupain- wait- I-let me-' protests were meek, Marinette ignored them.

She was waiting, listening, holding out for that last little bit of hope as she marched away from the pad. There was still a chance… but no. No outraged scream, no fervent protests, no last vestige of maternal instinct followed after them. Just to drive home the point, the sound of helicopter rotors starting up was the sound that saw them off the pad.

"Dupain-Cheng, stop!" Chloé finally found her strength and yanked back, pulling herself free. She turned back, scanning the sky.

"Chloé, where are you going?"

She didn't even look Marinette's way, instead pulling out her phone as she answered. "She can't have gone far, the limo is fast. I can get Jean-Loius to chase her dow-"

Marinette caught the phone even as Chloé lifted it to her ear. The look she got for it was crazed. She moderated her tone, speaking softly. "And then what?"

Chloé's eyes snapped to her, a hunted look to them. "Then we can- I can- … " She want from shock to shout, "Dupain-Cheng you were the one who dragged me here!"

The truth stung. Marinette channeled the pain though, admitting, "And I was wrong! Who can blame me? Who could think that… that… just, how?? It shouldn't be hard for a mother to love her daughter!"

Chloé sniffed, posture changing again, chin up. "Oh it's not hard, Dupain-Cheng. All you have to do is be exceptional."

Chloé spoke such nonsense with complete confidence, Marinette was left gaping, "No! No, that is so messed up, don't you see? You want to win a medal? Sure, be exceptional. You get your parents' love just by being alive. You're her daughter."

Chloé's head snapped to the side, she scoffed, "You're talking presents, Dupain-Cheng. You get presents by being alive. Love you have to fight for."

Marinette wasn't sure she'd ever heard anything more wrong in her life. The insanity of it threatened to overwhelm her. A part of her mind went into overdrive recontextualizing years of interactions. She wanted to just shut down. No!

She wouldn't be wrong, not about this. She grabbed Chloé's hand again and started off, "Come on."

Chloé stumbled after her again, "Where are we go-going? Dupain-Cheng!"

"It's Marinette! And you're coming to dinner. You're going to see what a family looks like."

"What? Dup-" Marinette glared and Chloé corrected herself, "-arinette. You don't even like me. I heard you."

Marinette stopped, but didn't let go. She looked back at Chloé, the girl was on the ropes, worse even than when Marinette had found her. A small selfish part of Marinette wished she could enjoy it, a very small part.

Instead she spoke evenly, "You're right. I don't like you. Can you blame me? You've been a terror, bullying me, harassing my friends. The thing is I don't have to like you to know what you just said isn't right, and I'm going to show you. You might be the worst person I know -second worst now- but even you deserve a parent who loves you."

Chloé started to talk, stopped, looked around as if the answer might be walking past them, ground her teeth, then tried and failed to speak again.

Marinette held up a hand to stop the meltdown-in-progress. “We can call it off if you want. You can go home, I can go home, and we can pretend this never happened.” She lowered her hand and tried her best Ladybug voice. “If we do that though, nothing will change. Whatever you’re feeling right now, it won’t go away. What I’m feeling won’t go away either. I don’t know about you, but I don’t want that. I want things to change. I want things to be better, for both of us, but I’m going to be honest, I don’t know if I’ll ever have the strength to do this again.”

Marinette let out a sigh, her anger was flagging and her energy with it. While she still could, she offered her hand.

She tried mimicking a familiar smirk as she asked, “So, what do you say, Bour-geois?”

Chloé flinched at her offer, more emotions played across her face in a cascade. A hint of determination flashed and she reached out, pausing halfway and looking around again.

Marinette prompted, “No one’s watching. Even if they were, just make a scene.”

A small light sparked in those deep blue eyes. Her lips curled into a smirk that was familiar but without fangs. She set her hand in Marinette’s and said, “This is ridiculous.”

Marinette turned, pulling her along before either of them could change their mind. “Utterly ridiculous!”

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Another small burst of adrenaline saw Marinette all the way home. Chloé didn’t let go, and neither did she. It wasn’t a tender connection though, it was a lifeline. Her too-loud greeting clued her mother in right away. Her father just accepted the strange situation with his usual gentle confusion. It was still a whole bottle of nitro-glycerine waiting to go off.

Sabine spoke first, “Marinette! Honey! You’re home! And you’ve brought… a friend?”

Her mother’s doubt was palpable. Marinette spoke, again too loud, “Mom! You know Chloé from school. She’s going to be coming to dinner, if that’s okay?”

Sabine looked between the two of them, then visibly clicked into ‘mother’ mode. “Yes, of course. I was just going to go up to begin preparing it. I can call you when it’s done.”

“Call-” Marinette realized a flaw in her plans. Everything was working as long as she kept momentum, but now…

From beside her, “Don’t you design things, D- Marinette? Show me some of it.”

Choé’s voice rose and fell in a strange oscillating tone. It kept trying to settle back into its usual domineering affect, but then being knocked out of it, seeking another groove. When Marinette looked at her she snapped her head away quickly, but slowly turned back, waiting.

Marinette took a chance she was right about what she was seeing. “Sure. We’ll be upstairs, Mom.”

They had to let go of each other to climb the narrow stairs into Marinette’s room, and suddenly Marinette was adrift. On top of that, Chloé Bourgeois was in her room! Alarms, warning bells, klaxons, and a little voice perpetually screaming all sounded at once in Marinette’s head. Instead of doing any one of the dozen sane things though, she walked across to her desk and picked up one of her notebooks.

“This is your room, huh?”

Marinette froze. That voice, here. She was still fighting to force her paralyzed limbs to move when the voice came again.

“It’s small… too small. You should have it expanded. You- you’ve got a chaise too? They’re so comfy. I used to flop on mine after dance cl- I um.. Steps, I have some leading up to my bed too, but this many Marinette? You’re just showing off.”

Chloé’s voice was still working the scales, looking for a place to call home. Marinette recognized babbling when she heard it, long proficient herself. She found she could move again. Turning, she held out the notebook. “Well, you know me, can’t do anything halfway. I think your balcony is bigger than mine too, but I like my view. If you’re still here when the sun goes down, I can show you.”

Marinette had just long enough to panic at her own offer as Chloé hesitantly reached out for the notebook. Their eyes met again and she saw the panic was mutual.

The exchange turned into a snatch, but as Marinette braced for ridicule Chloé instead retreated to the divan, opened the book, and went silent.

The pause gave Marinette a chance to question, to doubt. She shuffled to her desk, but then was stuck. She couldn't just sit there staring at Chloé, but history had her trained not to turn her back either. She settled for half-facing and with her phone out, then she wasn't *staring* staring, right?

Needing to get her thoughts down but not daring to open her diary, Marinette began typing out a note to herself with her thumbs.

What am I doing? It's Chloé. Yeah, but that isn't right no matter who it is. Why me? I could probably try and ask Miss Bustier. But

Marinette drummed her thumbs on the sides of her phone as she thought. A quick glance showed Chloé had progressed through several pages of sketches, but there was not a peep out of her. In fact Marinette wasn't sure if she had ever seen Chloé so focused. Hiding in details to keep from thinking about the big picture. Marinette was very familiar with that trick too.

I want to do this. I want to be the one. It's not like I like her, or want to hang out. It's…

I want to win. I can't do anything about Mr. Flaps yet, but this I can do something about. Beating this villain doesn't do anything. I've been doing that all year. So maybe getting her to stop being a villain would work. That train thing was awful, and wrong, but she didn't run either. How long would she have tried to stop it on her own? All the way? She liked Ladybug. Can I use that? Is it too soon to talk about her using the Miraculous? Would clumsy Dupain-Cheng asking just embarrass her? Gah. Akumas might be hard, but at least I have my lucky charm.

She looked up again. The notebook was closed in Chloé's lap and the other girl was looking around Marinette's room in more of her uncharacteristic silence.

Marinette hit delete on her note. "Nothing in there to your liking?"

Chloé startled. She ran her hands over the front of the notebook and started softly. "No, I-" Her fingers gripped the cover and she regained some fire,"What am I supposed to say? Hmm? Should I gush? Should I pick it all apart? I was miserable in my room, with mommy leaving and you with her. Now she's still gone, I'm here in your room, with you, and I'm still miserable. Should I call Daddy? What would I even scream for? What am I doing here, Marinette?"

Marinette went through a flash cycle of feeling sorry for Chloé, being angry with herself for feeling sorry, then feeling guilty for being angry. "You could always be honest… about the designs I mean. There's no one to hear. As for the rest…"

Marinette tilted her head back and spun slightly in her chair, she didn't have Cat Noir to buy her time here.

"I-" Marinette leaned forward, elbows on knees. "Look, I'm still processing what I just saw. It's a lot. I thought if I just got you together, away from the lights things would be better. Now… Now I'm realizing it wasn't a fluke. Seeing her was like seeing an adult version of you. Or, really… you're a little version of her."

Chloé puffed up slightly at that, but it was an unsure sort of preening.

Marinette continued, "So like, everything. Everything, was that you, or you trying to be her? Has Audrey Bourgeois been my bully by proxy for all these years?"

It seemed to take hold. Chloé deflated again, and when she rallied it was the sound of someone desperately treading water. "Mommy is a winner! Winners step on losers and little people."

"And the unexceptional?"

Chloé's mouth snapped shut. Marinette could see the tears forming in real time. She knew what would come next if a certain someone was paying attention. That wasn't what prompted her though. She was just so sick of pain.

"You're not unexceptional, Chloé. You are a whole lot of things, things I would get in trouble for saying if my parents heard, but unexceptional isn't one of them. If your mom can't see it. Then she's blind."

Marinette sighed. With Ladybug it was easy, fight and flee before the timer. Staying, talking, this was hard.

"It's more than that though. You want to know why you are here? To see how it is supposed to work. My mother, she's amazing. I'm not bragging or trying to rub your face in it. I want you to see what a mother is supposed to do. Maybe if you do, you'll see that it's not worth chasing after one who doesn't. It's not worth bending yourself into her shape. It's not worth hurting other people. Hurting people is easy, Chloé. Saving people, like Ladybug does, that's hard."

As she finished, Marinette realized her trap door was slightly ajar. She was trying to steal a look without making it obvious when Chloé's voice rose in a mumble.

"I liked.. the coat."

Marinette couldn't follow, "The what?"

Chloé was still slumped."The coat, page seven. I would wear that."

Marinette squinted until it clicked. "Oh!" She tried to remember back that far. "The cropped one, with the feathered collar?"

Chloé picked at the edge of the notebook. "I always liked feathers, but… ridiculous."

Marinette filled in the blanks. "Then I came along and," She did her best Audrey impression, "feathers are in."

Chloé nodded. She stopped picking, flexing her fingers but silent.

"That just proves it, right? You shouldn't have to live like that, no one should."

"So, what? If I stop, I still don't have a mother."

Marinette struggled. Chloé wasn't wrong, and Marinette couldn't picture a life without her own mother. Not just as a mother, but as someone there, supporting her, encouraging her, and correcting her, loving her.

Marinette went to her last resort, honesty, "I don't have all the answers, Chloé. I brought you here to show you there was something else to want, a different way to be. Maybe, if you want that, you can try a different approach. It might not be Audrey -probably better if it isn't- but there are others. Ms. Bustier seems to care a lot about you."

Chloé brightened suddenly, "Or Ladybug?!"

"I, ahhh, don't think she's, unmm, looking to have any daughters right now…" Marinette hedged.

Chloé's cheerfulness evaporated. "You're right. She probably hates me now, you saw what I did. Everybody saw what I did."

"Chloé, I think Ladybug might be very understanding. I can't imagine it would be easy for a hero to hate anyone. But, let's not focus on that. Let's focus on the here and now." Marinette glanced towards the trapdoor, "And I think I smell dinner cooking."

With that, the door swung open and her mother appeared. "You do indeed, my dear. If the two of you would come down and wash your hands, it is time to eat."

-------------

Dinner was… well, it was awkward. Marinette wasn't sure if Chloé had eaten a family dinner ever before, and with four people the potential for miscues was exponential. Her mother was a blessing in all this, as Marinette had believed she would be.

Sabine prompted Chloé with a steady flow of questions. Like clockwork the blonde would start with a full head of steam but peter out quickly into uneasiness. Without acknowledging the change, She would simply ask something else, seemingly unrelated. Her dad was largely quiet, his eyes ping ponging back and forth between the two, and a spoon often forgotten in his mouth.

Marinette missed a good chunk of the exchange, lost in her own thoughts until a sharp clearing of her mother's throat and, 'Isn't that right, Marinette?' in just the right tone of voice clued her in. Her mother was pumping Chloé for information. It was a flood of details and stories that Marinette herself would never have been able to pry past sealed lips.

They seemed honest too. The usual bragging melted away quickly before her mother's gentle, 'That's nice, dear.' Genuine stories earned genuine engagement. Chloé was speaking to Sabine like a daughter, or at least like someone desperate to know what being a daughter felt like.

Chloé didn't eat much, which was fine because Marinette stress-ate for three. Dinner was winding down when Chloé's phone went off. The change was instant and complete. Her entire body language shifted as she pulled it out.

"What, Daddy? … So what? … No! You never come up any-"

That clearing of the throat again. Marinette's response was Pavlovian, and already she wasn't the only one. Chloé cut herself off mid-word and both girls looked to Sabine. Marinette's mother merely looked serene, the smallest of smiles on her lips. Marinette instantly tried to figure out something she might have done wrong. To her surprise Chloé winced visibly and when she spoke her tone had changed.

"I already ate. I'm eating at a… classmate's house … okay, Daddy … It's the Dupain-Cheng bakery … no rush."

She hung up and prodded an untouched portion of tofu and vegetables on her plate with her fork.

"I have to go home."

It was the weirdest experience for Marinette, feeling upset at that news.

“Well, honey,” Sabine broke the stalemate, “Would you like to take anything home? I may not work at a Michelin hotel, but I like to think my food is good the next day too.”

Chloé cast around the table. Marinette was holding her breath. Chloé eventually mumbled, “Some of those gougères, maybe?”

Sabine nodded, “Right. Okay everyone, clear.”

Marinette stood, grabbing her plate and a nearby server. Her dad hastily shoveled several more bites into his mouth before grabbing as many plates as his big hands could carry. After a pace, Chloé even picked up her own plate and followed Marinette like a lost puppy to the kitchen. By the time the plates were scraped and stacked, Sabine had bagged up several puffs and pressed the bag into Chloé’s hands. “Marinette, why don’t you see our guest downstairs? Take care, Miss Bourgeois. You are welcome to come again.”

Chloé stood there for a moment, bag held in front of her like a shield, then without warning launched herself at Sabine, nearly knocking the smaller woman over as she threw her arms around her.

Sabine braced herself, and patted the girl gently on the back, “Bao bei.”

Chloé disentangled, shot Marinette an embarrassed glance, then dashed for the stairs.

Marinette had the space of time it took her to follow to try and catch up mentally again. She found Chloé looking out the door to the shop and stepped up beside her. “Did this help? Can you see what I mean?”

The bag crinkled in Chloé’s hands. “Don’t ask me that right now. I have to go home and sit by myself in my room, unless I can convince Sabrina to come over. I probably shouldn’t yell, right?”

“There are other ways to do things.”

“People say ‘no’.”

Marinette gave a little laugh at that. “Yeah, asking is a lot scarier, believe me.”

“You don’t like me, Marinette. Why did you do all this? And don’t give me some high-and-mighty Ladybug talk. You’re just a normal person, like me.”

Marinette shifted her weight from foot to foot. “Everyone wants to beat their bully. I do too. I just saw a way to maybe have a person left when the bully was gone.” She glanced sidelong at the other girl, “How did I do?”

Blue eyes met blue. Chloé looked away and crossed her arms, bagheld in one hand. “I’m going to take you off my list, Marinette. I guess I should take everyone off for now, so maybe that isn’t so special. You’ll be at the top of the list of people who aren’t on my list though. That’s the best I can do for now.”

Chloé’s limo pulled up outside. Chloé tried the door, then Marinette unlocked it for her. “It’s a start.” Marinette had a flash of inspiration and added, “I’ll tell you a secret. It’s not losing if your new self is the one to take down your old self.”

They exchanged another look, then Chloé stepped out into the evening. Marinette locked the door behind her and watched years of problems get into a limo and ride away, maybe for the last time.

“That was the Chloé, right?” her mother’s voice startled her, even being soft.

Her mother knew the answer, she wasn’t really asking, she was prompting again. “Yeah.” Marinette touched the window, “It was.”

“You’re not going to New York, then?”

“No, even before all this I had decided. I have too much to do here to run away around the world. Then I saw… I don’t understand it, Mom.”

“You weren’t raised to understand cruelty. Maybe I should have shared more of what is out there sooner, but I never wanted to add too many shadows to your world of color.”

“Does this mean I can’t be mad for all the things she did?”

“Of course you can. Pain is pain, and it hurts. This just means there might be a way to stop the pain and heal, rather than having to cut off that wounded part of you, like so many do.”

Marinette thought about that. The idea made her smile. She wasn’t sure, but she was hopeful. “Thanks, Mom.”

“I’m proud of you, ma choue.”

------------------------------

End Note:

Sabine uses the phrases on purpose. Mandarin for Chloe so she won't necessarily understand it. It's more for the tone and the action. It could easily have been 'there there' but Sabine's a mom and her heart also goes out to a child, so she uses the term of endearment.

For Marinette she switches, so that it's not the same phrase she used for Chloé so close. Each child should feel special.

#miraculous ladybug #ml fanfiction #Rewriting the end of Queen Wasp #marinette dupain cheng #chloe bourgeois #sabine cheng #Audrey Bourgeois #Tom Dupain #emotions!!!#ml fic #ML Queen Wasp #ML season 2 #badass Marinette #Good Parent Sabine

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lithuanianking · 3 months

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What do you think about the bits of characterization implying that Seymour thinks Audrey likes abusive guys (the leather jacket scene/"Gee I'd like a harley machine, toolin' around like I was James Dean, makin' all the guys on the corner turn green!"/her choosing Twoey over him in his nightmare in the extended movie version of The Meek Shall Inherit), this stuff drives me insane and I don't ever see anyone talk about it but I think it's really interesting and can be tied into things like his insecurity about his masculinity and the reality of her 50s housewife dream actually being very messed up and conductive to abuse unknown to her and yeah why do I never see anyone talk about this it's so (strange and) interesting

I have never heard this concept before omg.

Seymour definitely tries to "mirror" orin in the sense that he at least wants to look like him.

Audery actually kinda admits to him that she keeps ending up with abusive guys "I'd meet a man and I follow him blindly,he'd snap his fingers,me I'd say sure." Also with in the movie how she excuses orin by saying he makes good money and that he's a Professional.

So I don't know if I agree with Seymour thinks she particularly goes affter abusive guys but I don't disagree either.

But I'm gonna have to flat out respectfully disagree with you about her wanting to be a house wife being messed up.

The second wave of feminism took place in the 1960s which was did critique the idea of women having to belong in the kitchen. But just because a woman wants to be a housewife does that mean she has internalize misogyny?

Let's break down her song somewhere that's green.

"I know Seymour's the greatest

But I'm dating a semi-sadist

So I've got a black eye

And my arm's in a cast."

It's pretty clear what she's saying here,Seymour is the ideal guy for her but she can't really leave orin.

"Still, that Seymour's a cutie

Well, if not, he's got inner beauty

And I dream of a place

Where we could be together at last"

Being a house wife isn't audery trying to confine to social standards it's a place for her and Seymour to get away from there hard lives.

"He rakes and trims the grass

He loves to mow and weed"

Here she talks about how Seymour would Also be doing his fair share,even though it is the more "masculine" chore. But she likes the idea of having a husband who'd just like to do chores and be a good father.

It suddenly Seymour she mentions being raised by a single mother so she probably wants a "normal" adult life and wants to raise children with 2 parents.

Also yes Seymour is definitely concerned about his masculinity. He is a very nerdy guy and allways portrayed as the weak guy.

To get a little off topic but in the cartoon i mentioned there a episode that he's I'm home ec and he gets bullied by paine and his friends for not being manly enough.

He probably feels almost pressured by orin who is this overly masculine guy (which is to compensate for the fact he is a closed gay man but that's not what this posts about) and might think audery won't like a little shrimp like him.

He's also constantly getting picked on and pushed around and mostly by his own creation. I myself do struggle with some toxic masculinity and can sympathize with Seymour being more feminine by the people around him.

So audery "choosing " orin over him 100% makes him feel not manly enough.

Thanks so much for this ask it was great to think of something I've never took into account !

#seymour lsoh #lsoh twoey #orin lsoh #orin scrivello #seymour krelborn #suddenly seymour #little shop of horrors audery #little shop of horrors

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thedupshadove · 9 months

Text

Thought that came to me out of a clear blue sky…Little Shop of Horrors roleswap au.

Same setup at the beginning, but it’s Audrey who impulse-buys the Strange and Interesting Plant (which she probably names Seymour the Second), cares for it, and discovers its…unusual dietary needs (maybe instead of bandaids, she covers the wounds on her hands by wearing gloves more often, apparently as a fashion statement. Or maybe she chalks it up to Orin.) Success comes to the shop, with Audrey being the one to get radio interviews and sudden acclaim (boosting her confidence somewhat, but only convincing Seymour even more firmly that he could never ask her out. She was always too beautiful for him, and now with this influx of cash she’s going to end up a lady, so how could somebody like him have any chance? If only he knew…)

Once the plant begins to talk, it convinces her to kill Mushnik first, by highlighting how mean he is to Seymour after that boy’s done nothing but slave for him all his life in exchange for scraps of scraps. She tells herself that she’s going to confront him first, and only if she can’t make him see reason will she use the derringer in her purse, but inevitably…

I want to preserve the “I can off this guy by staying in the chair” moment, but obviously Mushnik doesn’t use nitrous oxide recreationally…right now I’ve got it down to a choice between a sudden heart attack where Audrey just…doesn’t call an ambulance, or else he’s eating during their conversation (to show how little mind he pays to requests to treat Seymour better), and she conspicuously fails to Heimlich him when he chokes.

In the aftermath of Mushnik’s death (which of his two assistants did he leave the shop to? I’m not sure yet), Audrey does her best to help Seymour through his tangled emotions, assuaging his guilt at not being as sad as he should be by pointing out that Mushnik was never as nice to him as he should have been, after all. This culminates in an impulsive kiss that breaks the tension between them into an open declaration of love…which Orin just happens to overhear.

He corners her later that evening, more angry than she’s ever seen him (and we all know that’s saying something), but unfortunately for him he made the mistake of staging his jealous little rage in the flower shop, so when she bats her eyes and calls him “Doctor” and explains that the plant has some spines on the front, so if they make love with her back against it surely that will show him just how sorry she is…well, Suppertime indeed.

From there things can run pretty much the same as the original, to whichever version of the ending you prefer. Now, let’s talk songs!

Most of them can be kept pretty much the same, with at most some shuffling around parts and re-writing lyrics. “Suddenly Seymour” can even keep its title phrase, with the lyrics being shifted to be about Audrey convincing Seymour that he’s someone worth paying attention to. The only real sticking point is “Somewhere That’s Green”. Since Audrey, as our new main character, will be getting the likes of “Grow for Me” and “The Meek Shall Inherit”, it seems only fair that Seymour, having been moved to the position of Love Interest, should get the Love Interest Song. But it can’t be as simple as moving some pronouns around–a guy wishing for the woman he’s interested in to be a parody of a 50s housewife has a different vibe from a woman wishing to be one herself. It’s a little too unsympathetic, especially now that Seymour isn’t even the murderer. But then what do we do with it? With Audrey being the one leading the way to financial success, is the song now about Seymour’s secret, socially-deviant desire to become a malewife?

#Little Shop of Horrors

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meeks-just-wants-to-scroll · 1 year

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I sometimes forget that my vers. of Orin has Christian Borle’s Orin as his voice claim / inspo…

Anyways, first post including Arthur Denton. I love him, but unfortunately my vers. of Orin is a bit *too* intimidated by Denton’s open queerness to like him (Orin has those internalized homophobia + closeted bisexual issues).

#meek’s art #LSOH #little shop of horrors #orin scrivello #audrey fulquard #seymour krelborn #arthur denton #shitpost #art dump #transgender #trans #smoking tw #cw #tw #blood cw #drunk tw #t4t #autism

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coffee-in-veins · 3 months

Note

Hey there,

Sorry to hear about the entire shitfest with the DD contest and I think you argued your case well. It adds insult to injury that you showed your picture beforehand but the disqualification came right at the end of the deadline.

It's also double standards that Dismas' manspread bulge in the CC is fine, so is Amani and Audrey's backstory but someone has a seriously troubling view on what counts as erotica and they kick you out for it.

I saw this picture and thought "this looks familiar" but I couldn't really place why until you showed the For Honor reference (shame on me, I played that game like an addict for a while, even made a Reynauld character) and that is a pretty cool kill move. And you did the reference justice.

I hope that in time you will be able to look at the piece and not think of it as a waste of time. Sometimes it's hard to love a product when the people behind it disappoint us so much.

I for one would like to thank you for sharing your wonderful art with us and wish you all the best!

hello hello o/

thank you for reaching out to me. i really appreciate that. those two days were a mess and a half, not gonna lie. and i'm really happy to hear that you like the picture! the support shown for it definitelly dulled some of the "this is such a waste of my effort, love and care" feel, thank you and everyone else for it

the real salt to injury was that disqualification came *after* the showcase was posted. it's been an hour since all participants were shown in a new channel, and i started to get nervous and had to ask around who should i even talk to to get any info on what happened with my work. i thought that maybe i messed up and sent confirmation to rules from one email and the work itself from another... so the "too violent" (as i understood at the time) disqualification was like a kick to the throat.

when i started posting about the fact that i was disqualified for "violence" and people started wondering, then the mods came into picture. and the first one who contacted me even was on my side, seeing this as some mistake as well. so i had my false hopes.

i didn't include those snapshots because they were basically a couple of words with a promise to look into things. it was Lux, if anyone is wondering.

then the gem who wasted a few hours of my life appeared, trying to gaslight me into believing that incel interpretation of an execution pose is somehow my fault... you know the rest. by that point i wasn't meek or baffled. i was pissed.

now i'm mostly numb. double standards are the way to go, i suppose. when the guy argued that depiction of canonical events is bannable in the Hellsing he brought out of nowhere, i knew it was a lost cause.

heh, glad to hear you faintly recognized the pose and think i did it justice! that's always reassuring to hear. a small part of me wonders if it would've helped if i sent those pictures and video alongside the progress pictures we were required to send. most likely no. maybe i'm just trying to see if there was anything i could do to make things work... a faulty way of thinking, i suppose. the burden of evidence for accusation is on the accusing side, after all, and there was no evidence provided. and again, most of me just hopes for feeling closure in a day or six.

thank you again for your kind words and reassurance! it means a lot to me <3

p.s. also i know what my author's notes for each and every RRR chapter will be from now on ;}

#my shoebox of letters #this ain't a contest this is a shit fiesta

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theyareweird · 10 months

Text

1986 Little Shop of Horrors —Aesthetic

Movie Description

Meek flower shop assistant Seymour pines for co-worker Audrey. One day, during a total eclipse, he discovers an unusual plant. The growing plant attracts a great deal of business for the previously struggling store, but it only feeds on human flesh and blood. When Seymour feeds Audrey's boyfriend to the plant after his accidental death, he must come up with more bodies for the increasingly bloodthirsty plant.

#little shop of horrors #art #horror movie #80s #80s movie #aesthetic #moodboard

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spenceluvsurmomsblog · 1 year

Text

Master list!

Here’s what/who I currently write smut/fluff for!

Huge disclaimer: if you know a character is a minor then you should know I will not write smut for them. Ty loves!

Full / fuller house

Jesse Katsopolis

Joey Gladstone

Danny Tanner

(Older) DJ Tanner

(Older) Stephanie Tanner

(Older) Kimmy Kibbler

Matt Harmon

Heart stopper

Nick Nelson (fluff)

Charlie Spring (fluff)

Tara Jones (fluff)

Darcy (fluff)

Issac (fluff)

Tori Spring (depends on what’s requested)

Aled (fluff)

Tou Xu (fluff)

Elle (fluff)

The summer I turned pretty

Conrad Fisher (smut/fluff)

Jeremiah Fisher (smut/fluff)

Steven Conklin (smut/fluff)

Isabell Conklin (fluff)

Susannah Fisher (fluff)

Laurel Conklin (fluff)

The Black Phone

Finney Blake (fluff)

Robin Arellano (fluff)

Bruce Yamada (fluff)

Vance Hopper (fluff)

Griffin Stagg (fluff any one who requests smut is blocked)

Billy Showalter (fluff)

Metal Lords

Hunter Sylvester (smut/fluff)

Kevin (smut/fluff)

Emily (smut/fluff)

That 70s show

Steven Hyde (smut/fluff)

Eric Forman (smut/fluff)

Jackie Burkheart (smut/fluff)

Michael Kelso (smut/fluff)

Fez (probably just fluff)

Donna Pincioti (smut/fluff)

Divergent

Tris Prior (smut/fluff)

Caleb Prior (smut/fluff)

Tobias Eaton (four) (smut/fluff)

Christina (smut/fluff)

Eric (smut/fluff)

Chucky (the series)

Junior Wheeler (fluff)

Jake Wheeler (fluffy malexmale only)

Lexy Cross (fluff)

Devon Evans (fluff)

Tiffany / Jennifer Tilly (smut/fluff)

The sandlot

Benny Rodriguez (fluff)

Scott Smalls (fluff)

Michael Palledorous (fluff)

Hamilton Porter (fluff)

Alan “yeah-yeah” Mcclean (fluff)

Bertram Grover Weeks (fluff)

Wendy Peffercorn (fluff)

Kenny Denunez (fluff)

Fear Street

Simon Kalivoda (smut/fluff)

Deena (smut/fluff femalexfemale only)

Kate Schmidt (smut/fluff)

Josh (fluff)

Heather (smut/fluff)

Cindy Berman (smut/fluff)

Ziggy Berman (fluff)

Tommy Slater (smut/fluff)

Nick Goode (smut/fluff)

Descendents

Harry Hook (smut/fluff)

Mal (fluff)

Evie (fluff)

Jay (fluff)

Carlos (fluff)

Ben (fluff)

Uma (fluff)

Gil Gaston (fluff)

Jane (fluff)

Audrey (fluff)

The Breakfast Club

John Bender (smut/fluffish)

Andrew Clark (smut/fluff)

Brian Johnson (smut/fluff)

Claire Standish (smut/fluff)

Allison Reynolds (smut/fluff)

Mean Girls

Karen Smith (smut/fluff)

Gretchen Weiners (smut/fluff)

Regina George (smut/fluff)

Janis Ian (smut/fluff)

Kady Heron (smut/fluff)

The Hunger Games

Peeta Mellark (smut/fluff)

Gale Hawthorn (smut/fluff)

Finnick Odair (smut/fluff)

Cinna (smut/fluff)

Katniss Everdeen (smut/fluff)

Glimmer (smut/fluff)

Clove (fluff)

Cato (smut)

Finch (fox face) (smut/fluff)

Any others ask and I’ll tell you what I write

Shameless

Fiona Gallagher (smut/fluff)

Lip Gallagher (smut/fluff)

Ian Gallagher (smut/fluff)

Carl Gallagher (smut/fluff)

Debbie Gallagher (smut/fluff)

Mickey Milkovitch /(smut/fluff)

Mandy Milkovitch (smut /fluff)

Kevin Ball (smut/fluff)

Veronica Fisher (smut/fluff)

Scream

Billy Loomis (smut/fluff)

Stu Macher (smut/fluff)

Sydney Prescott (smut/fluff)

Tatum Riley (smut/fluff)

Randy Meeks (smut/fluff)

Dewy Riley (smut/fluff)

Gale Weathers (smut/fluff)

Charlie Walker (smut/fluff)

Jill Roberts (smut/fluff)

Amber (smut/fluff)

Chad Minks (smut/fluff)

Mindy Minks (smut/fluff)

Sam Loomis ? (smut/fluff)

Outerbanks

JJ Maybank (smut/fluff)

Pope Hayward (smut/fluff)

Sarah Cameron (smut/fluff)

Kiera (smut/fluff)

John B (smut/fluff)

Rafe Camron

Twilight

Edward Cullen (smut/fluff)

Jasper Hale (smut/fluff)

Emmet Cullen (smut/fluff)

Carlisle Cullen (smut/fluff)

Jacob Black (smut/fluff)

Seth Clearwater (fluff)

Charlie Swan (smut/fluff)

Bella Swan (smut/fluff)

Rosalie Hale (smut/fluff)

Alice Cullen (smut/fluff)

Esme Cullen (smut/fluff)

Lea Clearwater (smut/fluff)

Mauraders

Regulus Black (smut/fluff)

Sirius Black (smut/fluff)

James Potter (smut/fluff)

Lily Evans (smut/fluff)

Severus Snape (smut/fluff)

Remus Lupin (smut/fluff)

Peter Petigrew (smut/fluff)

Narcissa Black (smut/fluff)

Bellatrix Black (smut/fluff)

Pandora Lovegood (smut/fluff)

Barty Crouch JR (smut/fluff)

Evan Rosier (smut/fluff)

Marlene Mckenny (smut/fluff)

Riverdale

Cheryl Blossom (smut/fluff) femalexfemale only

Jughead Jones (smut/fluff)

Betty Cooper (smut/fluff)

Veronica Lodge (smut/fluff)

Archie Andrews (smut/fluff)

Tony Topaz (smut/fluff)

Sweet pea (smut/fluff)

Fangs Fogurty (smut/fluff)

I am not ok with this

Sydney (fluff)

Deena (fluff)

Stanley Barber (fluff)

That’s about it.

Cobra Kai

Eli Moskiwitz (hawke) (aged up smut/fluff)

Demetri (fluff)

Samatha Larusso (aged up smut/fluff)

Moon (aged up smut/fluff)

Yasmine (aged up smut/fluff)

Anthony Larusso (aged up smut/fluff)

Daniel Larusso (smut/fluff)

Johnny Lawrence (smut/fluff)

Tori (aged up smut/fluff)

Robby Keene (aged up smut/fluff)

The outsiders

Darry Curtis (smut/fluff)

Two-bit Matthews (smut/fluff)

Sodapop Curtis (smut/fluff)

Steve Randle (smut/fluff)

Dallas Winston (smut/fluff)

Johnny Cade (fluff)

Ponyboy Curtis (fluff)

Tim Shepheard (smut/fluff)

Curly Shepheard (smut/fluff)

Angela Shepheard (smut/fluff)

Criminal Minds

Aaron Hotchner (smut/fluff)

Spencer Reid (smut/fluff)

Derek Morgan (smut/fluff)

David Rossi (smut/fluff)

Emily Prentiss (smut/fluff)

Jennifer Jaroue (smut/fluff)

Elle Greenaway (smut/fluff)

Penelope Garcia (smut/fluff)

The Originals

Klaus Mikaelson (smut/fluff)

Elijah Mikaelson (smut/fluff)

Kol Mikaelson (smut/fluff)

Rebekah Mikaelson (smut/fluff)

Freya Mikaelson (smut/fluff)

Hayley Marshall (smut/fluff)

Jackson (smut/fluff)

The Vampire Diaries

Elena Gilbert (smut/fluff)

Damon Salvatore (smut/fluff)

Bonnie Bennett (smut/fluff)

Stefan Salvatore (smut/fluff)

Caroline Forbes (smut/fluff)

Enzo St.John (smut/fluff)

Vicki Donovan (smut/fluff)

Matt Donovan (smut/fluff)

Katherine Pierce (smut/fluff)

Tyler Lockwood (smut/fluff)

Anyone else requested I’ll tell you what I write for! XX

Henry Bowers (smut/fluff)

Belch Huggins (smut/fluff)

Patrick Hockstetter (smut/fluff)

Victor Criss (smut/fluff)

(Older) Richie Tozier (smut/fluff)

(Older) Eddie Kaspbrak (smut/fluff)

(Older) Bill Debrough (smut/fluff)

(Older) Stanley Uris (smut/fluff)

(Older) Beverly Marsh (smut/fluff)

(Older) Ben Hanscome (smut/fluff)

(Older) Mike Hanlon (smut/fluff)

Friends

Chandler Bing (smut/fluff)

Rachel Green (smut/fluff)

Joey Tribiani (smut/fluff)

Monica Geller Bing (smut/fluff)

Ross Geller (smut/fluff)

Phoebe Buffay (smut/fluff)

Stranger Things

Steve Harrington (smut/fluff)

Eddie Munson (smut/fluff)

Jonathan Byers (smut/fluff)

Argyle (smut/fluff)

Billy Hargrove (smut/fluff)

Nancy Wheeler (smut/fluff)

Robin Buckley (smut/fluff)

Chrissy Cunningham (smut/fluff)

Anyone else will be fluff !

Sam and Colby

Sam Golbach (smut/fluff)

Colby Brock (smut/fluff)

Jake Webber (smut/fluff)

Reggie Webber (smut/fluff)

Kevin Langue (smut/fluff)

MIKE (smut/fluff)

Ariya (smut/fluff)

Corey schere (smut/fluff)

Katrina Stuart (smut/fluff)

Tara Yummy (smut/fluff)

Zephyr Wolf (smut/fluff)

Devyn Lundy (smut/fluff)

Cassie (smut/fluff)

The walking dead

Glenn Rhee (smut/fluff)

Rick Grimes (smut/fluff)

Daryl Dixion (smut/fluff)

Negan Smith (smut/fluff)

Maggie Rhee (smut/fluff)

Michonne (smut/fluff)

Carl Grimes (some smut aged up ofc/fluff )

South Park (all aged up ofc)

Kenny McCormick (fluff/smut)

Stan marsh (fluff/smut)

Kyle Broflovski (smut/fluff)

Eric Cartman (ig I’ll do smut or fluff)

Michael (the goth kid) (anything)

Basically anyone as long as it’s not them as children for smut

And I’ll do anything for euphoria (minus Nate) and Harry Potter (mostly fluff) and I will do anything for the walking dead !! :))

(Please no incest, zoophilia stuff)

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