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clarkgriffon · 4 years

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i'm pretty new to the show and just finding my bearings in this fandom. how did the writers and the cast rationalise becho as anything but a physical relationship? because echo almost killed both octavia and clarke—for a bit in bellamy's mind, echo did kill octavia. how do you forgive someone for that, let alone look past that and be involved with them on a romantic level? it makes very little sense to me. story-wise, sure, bellamy needed to be 1/2

2/2 very very different from who he was (while also remaining the same) at the end of s4 as compared to the beginning of s5, but this was a lot no? i cannot rationalise it as a person who's watched s1-5 in one go.

I’ve definitely answered this one before a couple times, but it’s been a hot minute since I tackled it so, here goes:

A lot of the reason for BE is plot driven, not narrative/story driven. That’s why it feels jarring. It doesn’t make sense, for a lot of the reasons you bring up in your ask. Bellamy’s experiences surrounding E are entirely negative up to that point- She leaves with the grounders in MW, is directly involved in the blowing up of Mt Weather and in result Gina’s demise, she almost kills Octavia, and is just generally the main antagonist aside from the general threat of Praimfaya in Season 4. We don’t feel like those are two characters who should mesh.

But the plot demanded Bellamy move on in space, for a couple of reasons. Firstly, the point of S5 Bellamy is pushing that Bellamy took Clarke’s message to heart (ironically), the message that he needs to use his head too. He is “the head” in Season 5, while Clarke becomes the heart, a total role reversal. Head-Bellamy is rationalist- while E has hurt him in so many ways, he sees her “prove” herself on the ring (though we, the audience, get no proof of this) and after 3 years of refusing to forgive her, he finally lets himself be rational. Speculatively, BE is a fairly new relationship probably starting in around Year 5 on the ring, considering it took him 3 full years to just forgive her. Head-Bellamy moving on is symbolic of the fact he is no longer heart-driven- he knows he should move on, so he does. Secondly, he needs to be in a relationship when he gets down to Earth simply to prolong Bellarke from happening. The writers don’t want that to be canon yet (if they ever do want it to be), and after the overtly romantic S4 finale, they need a romantic obstacle, otherwise plotwise it will make no sense as to why Bellamy isn’t getting together with the woman he just grieved for 6 years and has finally gotten back.

So, there we have it, we know now that Bellamy needs a relationship at the start of S5 for the above seasons. But why E? We’ve established that’s the least likely pairing for Bellamy because of all the mistrust and shit she’s pulled. And the unfortunate response is: process of elimination. Making the dumb assumption Bellamy is straight based on his previous show preferences (Bi!Bellamy will live forever in my heart and soul), we’ve got the following choices: Harper, Emori, Raven, and E. Harper and Emori are immediately out- they already have pairings in space that are solid enough in fanbase and narrative that pairing them up with Bellamy would be a mistake.

That leaves Raven and E. Now, from a story perspective, this relationship is supposed to show how Bellamy has changed. It’s a plot device basically, an off-screen relationship. In other words: not meant to last. So, we know that Bellamy needs a temporary relationship and that can either be with Raven or with E. Bellamy and Raven, in my mind, makes infinitely more sense narratively, with all the content from S1-4. But what I think conflicts with that is simply the fact that the relationship established here is intended to be temporary. They can’t pair him with Raven because that would be too real. There’s a sizable fanbase for that pairing, they have history in canon, and I think if they broke up at any point, it would cause uproar for making Raven suffer more or getting rid of a ‘real’ relationship. So, that leaves E. The only one left.

It’s a corner they backed themselves into, sending 2 couples along with only 3 single people up into space. There was literally no other option if they wanted Bellamy to be in a relationship.

As a fan and a casual watcher, the very first time I watched Praimfaya (4x13), I thought it was set up for a Braven romance. (I’m not even a Braven shipper myself, I just know that Bellamy and Raven have more history and romantic chemistry by a longshot than BE.) Narratively, that’s just always going to make more sense than what actually happened. Plot-wise, I realize why they couldn’t go there.

#the 100 #anonymous #bellamy blake #it's... rough watching it the first time yeah #it doesn't make sense storywise #anti becho

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toabelovednightmare · 4 years

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Shooting day

Characters/Pairings: Martin and Luciano. Mention of Maria. Brarg (and BraVene in fiction).

Notes: This is for Day 4: Novela.

Uff. So many fics this week. I really missed writing Brarg, tho.

Warnings: none.

The knock on the door took Martin away from his furious typing. He looked up to see the door crack open and move slowly. He held in a gasp when Luciano Da Silva peeped in.

“Hey.” The Brazilian smiled. He pushed the door, and entered Martin’s office. “How you doin’?”

Martin shut his laptop, leaned back on his chair and crossed his arms. He frowned at the pretty brown eyed star that was now sitting on a corner of his desk.

“Are you trying to see if your character is going to survive the plane crash scene? Cuz’ you know I’m not allowed to disclose information about future episodes.”

Luciano threw his head back with exasperation.

“Jeez, one can’t just come keep you company without you thinking that there’s some work related scheme going on.”

Luciano lifted his arms, stretching his back. On Martin’s desk. His hand grazed him, as if the suggestive smile on his face wasn’t enough.

“It’s still a no.”

“I’m not saying that you have to tell me—“

“I’m not going to tell you.”

“It’s just that, after all those shirtless scenes—“

“Again with that?! I didn’t ask for it, it was production! I'm just in charge of filming."

"A good excuse for all those close-up shots of my ass, I'm sure."

Luciano had found the way to gracefully slide down to his lap. He was now playing with his hair. Martin had to fight the urge to rest his hands on Luciano's lower back.

"Now, let's evaluate the possible outcomes of whatever decision the writers are going to take next."

"Yeah. The writers. I only. Direct. The filming."

"Shh. Let's see. Okay?" Luciano pinched his cheek. He moved a little and Martin swallowed. Hard. "If I stay alive, I get to spend more time here, pestering you. I get to keep my job for a couple more seasons, but then I do have to kiss Maria like, a hundred times more. I'm sure you are not too fond of that, are you? Yeah. You keep shooting her bad angles."

Martin opened his mouth to argue, but Luciano shushed him again. He kept moving his butt like he didn't know what it could cause. Martin glanced nervously at the door. Luciano wrapped his arms around his neck. His breath felt hot against Martin's cheek.

"Now, if they do kill me.... Well, I'd lose my job. But then we don't have to worry about them walking in on us. You could come to spend the night at my place and it would be fine because it wouldn't be a 'workplace relationship', right?"

Martin let out a shaky sigh. Luciano kissed the base of his neck. Martin's hands had somehow moved to the star's butt.

"I don't shoot Maria's bad angles. All my takes are perfect. They are pure gold."

Luciano laughed.

"Ah-ha."

"I'm serious."

"Ah-ha."

They kissed. Luciano's body was completely against him, and Martin couldn't help but give in for a minute. He ran his hands up and down his back, really feeling him. He bit his lips, and felt Luciano's playful smile against his mouth.

"What is it going to be, then?" Luciano kept moving back and forth. Martin would've loved to pin him against the desk and do all sorts of dirty things to him. But the clock was ticking. They couldn't keep the crew and cast waiting. "Come on, I know you can talk to them. Convince them."

Luciano's teeth brushed his cheek. Martin took in a long breath, gathered all his force of will, put his hands on Luciano's shoulders, and pushed him back gently.

"Time's up. You need to go get covered in fake blood now. You better hurry. That usually takes way longer than what you'd expect."

Luciano rolled his eyes, and moved out of the way at a snail's pace.

"Just so you know, I'm not done yet."

He said as he stepped towards the door, making sure his clothes were as they had been when he had entered the director's office.

"Oh. Make sure that they put a lot of fake tears in your eyes, too. We need it to be extra dramatic this time."

The door closed. Martin brushed his hair, and opened his laptop. Ah...he really needed to start spending more time with Luciano outside the filming set....

Perhaps Maria could get a new love interest....

#latin hetalia #brarg #lh: argentina #lh: brasil #brargweek2019 #drabbles

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badassclarke · 7 years

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not only bellamy blake is the biggest raven reyes fan, bob morley is also lindsey’s (x)

#bob morley #lindsey morgan #the 100 #the 100 cast #braven #rellamy #bellamy blake #raven reyes #may

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scifigeneration · 4 years

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Eco-disaster films in the 21st century - helpful or harmful?

by Ari Mattes

A scene from the 2017 film Geostorm: many societies have historically attempted to deal with collective trauma by replaying and restaging it in art. Warner Bros., Electric Entertainment, Rat Pac-Dune Entertainment

It seems like every time we switch on the idiot box we are confronted with news footage of another disaster. Bushfires in Australia. A hurricane in North America. A tsunami in Indonesia.

Part of this, of course, is merely a reflection of the sensationalist rationale of commercial news in the first place – in order to sell advertising space, this news needs to be sufficiently engaging to keep people from switching the channel.

But the unfortunate reality of global warming means that natural disasters are becoming more frequent and more severe. And Hollywood cinema has kept pace, offering some recent spectacular depictions of natural disaster in the context of global warming.

Climate change is central to the narrative of the 2004 film The Day After Tomorrow directed by Roland Emmerich. In it, a changing climate leads to a series of extreme storms in a precursor to a cataclysmic shift into a new Ice Age.

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The 2015 film San Andreas, meanwhile, looks at the effects of a massive earthquake throughout California.

Geostorm (2017) posits a scientific response to global warming - through the international development of a planetary network of satellites that can control the weather - and what happens when it becomes weaponised.

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The latest in this genre of big budget, Hollywood eco-disaster movies is Moonfall slated to begin production in 2020. Emmerich will be directing the $150 million project, which follows a team attempting to stop the moon from colliding with earth after it has been struck by an asteroid.

The script has been co-written by Emmerich and his regular collaborator Harald Kloser - with whom Emmerich wrote the disaster epic 2012, a 2009 film about the race to save the planet as the earth’s core heats up.

Emmerich has described Moonfall as a cross between 2012 and Independence Day (minus the extra-terrestrial element). It’s unclear whether global warming will feature directly in its plot, but given Emmerich’s record of making ecologically aware films, it seems likely.

How, then, do such films help and/or hinder us in managing our anxieties regarding the progressive deterioration of the planet? As natural disasters become more commonplace, is there a point at which we will become too distressed by the real to reproduce it as entertaining spectacle?

A woman wears a mask to protect herself from bushfire-related smoke haze in Sydney this month. Paul Braven/AAP

‘Bad stars’

The term disaster, with its etymology from ancient Greek for “bad star,” has always elicited cosmic allusions. Disaster suggests that the universe is awry; the planets are out of alignment, bad stars are causing chaos and disorder.

The secularisation of disaster in the modern era, through the notion of risk and insurance, attempts to sever this connection to the word’s planetary origins, envisioning it on the scale of the manageable “accident”, which can be insured against.

Yet, in the context of global warming, and following the large-scale atrocities of the 20th century such as the two world wars, the dropping of the atomic bombs on Hiroshima and Nagasaki, and the Holocaust, it’s clear that disasters are far from manageable. One of the ways we have sought to manage our anxieties about disaster is through popular film.

A photo made available by the Nagasaki Atomic Bomb Museum shows a view of the mushroom cloud photographed from the ground during the bombing of Nagasaki, Japan in 1945. Nagasaki Atomic Bomb Museum handout/EPA

The Hollywood disaster film genre has undergone, roughly, two major cycles. The first was in the 1970s. It included blockbuster melodramas like The Towering Inferno, The Poseidon Adventure, and the Airport films (so brilliantly parodied in Flying High).

These cinematic disasters were often instigated by some kind of natural element – an earthquake, or a tidal wave. But they were also often structured around the malfunctioning of technologies in human-built environments (The China Syndrome being a prime example).

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The heroes in these films were usually strong, hard-boiled men. Gene Hackman in The Poseidon Adventure, for example, leads, as though by sheer willpower alone, a group to safety following the capsizing of the eponymous ship. As viewers, we are awed by his grim determination in overcoming adversity amid often stark images of people dying.

The second cinematic cycle begins in the 1990s with ecologically sensitive films like Twister, which follows a group of meteorologists as they chase violent tornadoes across Oklahoma, and Dante’s Peak, about the disastrous effects of the eruption of a volcano on a small Washington town. Such films prefigure later, more explicit global warming eco-disaster films, like Emmerich’s masterful The Day After Tomorrow.

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While the earlier disaster films were characterised by their ensemble casts and soap-opera like structures, these newer ones dedicate more energy towards showing the disasters (using elaborate CGI and high definition), and imagining social and governmental responses to them.

Affectively, they depend upon the pathos of groups working together to overcome adversity. As in a Christian vigil, the viewer of these films takes solace from participating in this community of suffering.

The Vigil, 1884. Oil on canvas, by John Pettie. Wikimedia Commons

The pleasure of disaster on film

On one level, popular film as “entertainment” offers us reprieve from the petty banalities, inconsistencies and disappointments of everyday life, by giving us a vision of a world ordered into timely narrative. Events are tied together in a fundamentally meaningful fashion.

We are able to defer the concerns of the ordinary for a couple of hours, and participate in a viscerally stimulating and pathos-laden experience. The unwieldy disasters we see in the real world are thereby represented in a contained fashion, allowing us the illusion of conceptual and emotional mastery. But at the same time, this process pacifies us, numbing us to, and distracting us from, reality.

Similarly, our response to disaster films is ambivalent. On one hand, we enjoy watching the ultimately effective responses of the state to the disaster. In The Day After Tomorrow, for example, following some initial bumbling, the US government saves millions of Americans by organising a deal for US migration to Mexico(!)

On the other hand, epic images of full-scale disaster are the visual and visceral centrepieces of these films, and awe and terrify us. Indeed, our most intense pleasure in these films emerges from their sublime images of destruction.

Watching San Francisco fall to pieces in San Andreas is awe inspiring. In The Day After Tomorrow, one of the most sublime sequences involves the ocean swelling and rolling through Manhattan, gathering people and vehicles in its stead after crashing into the Statue of Liberty.

Watching San Francisco fall to pieces in San Andreas is awe-inspiring. New Line Cinema, Village Roadshow Pictures, RatPac-Dune Entertainment

These pleasures in destruction and restoration occur within the context of a more saccharine kind of empathy we feel with the masses of faceless victims. By the films’ endings, we can take solace in the images and acts of community building and collective overcoming. Along with the victims, we mourn worlds destroyed, and are hopeful about worlds beginning to be rebuilt.

The economics of disaster

Hollywood disaster films often feature antagonists who are stubborn bureaucrats and greedy capitalists, but also US presidents who are calm, compassionate and measured, taking an appropriate amount of time to decide how to act and then acting decisively.

In The Day After Tomorrow, this is firstly President Blake (Perry King), who makes cool-headed decisions about the future of America and dies when his motorcade is caught in a storm and destroyed. Later, President Becker (Kenneth Welsh) is magically transformed from a pig-headed obstructionist after he assumes the presidency.

Perry King in The Day After Tomorrow (2004). Twentieth Century Fox, Centropolis Entertainment, Lions Gate Films

This, of course, contrasts with real-life presidential responses to disaster. In 2017, following Hurricane Maria’s devastating effects on Puerto Rico, Donald Trump criticised Puerto Ricans for the economic burden Maria gifted the US government, while simultaneously implying the event wasn’t very bad – not a “real catastrophe” compared to Katrina. This was all while delivering his emergency address on Puerto Rican soil!

At a time in which solidarity and compassion were expected, Trump was criticised by many for making the issue about the US’s economic burden; and yet, like many things Trump does, this inadvertently raised some critical issues surrounding the economics of disaster in the modern era.

US President Donald Trump speaks next to Puerto Rico’s Governor Ricardo Rossello and US First Lady Melania Trump at the Luis Muniz aerial base in San Juan, Puerto Rico, in October 2017. Thais Llorca / POOL/EPA

The imagination of disaster – its preempting, in a sense, its prediction – offers insurers (and the reinsurers who back them), following rapidly updated actuarial tables, a unique opportunity to capitalise on risk.

At the same time, disasters are a boon to some capitalist investors, who are able to buy into the development of new infrastructure for a profit.

Disaster in this way is a chief “innovator”, sucking up surplus capital, offering the most literal realisation of what conservative economist Joseph Schumpeter celebrated as one of the virtues of capitalism – its capacity for “creative destruction”.

Technology and disaster

French philosopher Paul Virilio has argued that the invention of every technology is simultaneously the invention of its accident. The invention of the car, for instance, invents the car crash. While the disaster film is acutely aware of these failures built into every technology, the genre’s relationship towards technology is more complex than outright critique.

Perhaps the most striking ambivalence of disaster films concerns the role – and virtues – of technology in facilitating and overcoming disaster. This is explicitly worked through in “man-made” disaster films like The China Syndrome, The Towering Inferno, and, more recently, Deepwater Horizon.

Natural disaster films like The Day After Tomorrow and Geostorm envision global warming as the product of devastating technological practices, and offer technological solutions to this. In Geostorm, the network of satellites that control the weather malfunction, and rapidly become the cause of even greater disaster as the film progresses.

Geostorm (2017) envisions global warming as the product of devastating technological practices, and offers technological solutions to this. Warner Bros., Electric Entertainment, RatPac-Dune Entertainment

And yet, at a higher level, these films are entirely dependent on cutting edge visual and aural technologies to stage the awe inspiring disasters in the first place. They also require a great deal of investment - of capital, and human labour - and, therefore, create a great deal of waste.

Disaster cinema, in unconsciously teasing out the relationship between technophilia and technophobia, forces us to confront one of most pressing dilemmas of the age of the Anthropocene: should we reflect on and think through the causes of disaster, or use technology to act in the hope of preventing future disasters?

A discourse of technological “solutions” to climate change fits squarely into the logic critiqued by philosopher Timothy Morton in his book Dark Ecology.

Technology, in the first place, depends on the extraction of power from nature, and the conversion of the natural into waste-creating power. Suggesting that something can cohere with a technological “problem: solution” framework is thus perhaps part of the problem itself.

Indeed, the myth that there can be a “growth”-oriented solution to global warming is convincingly undone in one of the key academic works on global warming discourse, Anneleen Kevis and Matthias Lievens’ The Limits of the Green Economy.

By studying Hollywood’s mediations of disaster – its attempts at containment and emotional management – we can perhaps begin to learn something about the ongoing tensions and contradictions that define ecological existence in modernity.

The future of disaster

The sheer frequency of contemporary natural disasters raises the question - is there a point at which we will lose our appetite for watching them staged on film?

I suspect the answer is a resounding “no.” Following September 11, it was commonplace to hear people say the footage of the planes crashing into the World Trade Centre looked like it was from a movie. But what movie? The documentary photo-realism of the footage barely resembled Hollywood’s slick action and disaster spectacles.

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More notably, Hollywood films began to adopt the September 11 style after the event itself, with the hand-held, found-footage style realism of films like Cloverfield becoming a cliche by the end of the first decade of the 21st century.

This, once again, exemplifies the comforting finitude popular film narratives offer viewers. The more frequent disasters become, the greater will be the need for emotional management by the corporations that produce popular news and entertainment.

The more desperate people become about global warming - and the emergence of grassroots activist groups like Extinction Rebellion suggests people are becoming increasingly desperate - the more popular media corporations will assuage our anxieties with carefully ordered, pacifying spectacles.

For the last week or so, people have been walking around Sydney with their heads down, eyes red from the smoke, wearing masks to filter the air.

Pedestrians are seen wearing masks as smoke haze from bushfires in New South Wales blankets the CBD in Sydney this week. Steven Saphore)/AAP

This is like something from a disaster film - and similar scenes of the effects and aftermath of catastrophe are continuing to appear around the globe.

Yet, there is no evidence this will curb Hollywood’s appetite for disaster. In fact, cultures and societies - like individuals - have historically attempted to deal with collective trauma by replaying and restaging it in art, from the Chauvet cave paintings to The Longest Day. This may make people feel both better and more helpless at the same time.

About The Author:

Ari Mattes is a Lecturer in Communications and Media at the University of Notre Dame Australia

This article is republished from our content partners over at The Conversation under a Creative Commons license.

#movies #science fiction #featured #science fiction and fantasy #climate science

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cyi-can-you-imagine · 5 years

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Starved (chapter 21)

Chapter 21 - Lost

“Saaaaammm? Sammy? Saaammmyyy…”

He could hear his father’s voice, but couldn’t tell where he was. The room was dark. Suddenly, a light came on and the room came into view.

He was sitting on his bed, just as he remembered.

Dean was beside him, unconscious, horrible purple bruises on his neck. Sam recoiled when he looked up and saw his father sitting beside him. He tried to back away, but he was unable to move.

“Yeah, I told you that you were mine, Sammy”

“Don’t call be that!” Sam spit out.

John grinned.

“Ok, Sammy. Well since Dean went ahead and did me the favor of turning me into a demon, I’m in charge now, alrighty? I’m gonna tuck you away for a while, now son. I’ll let you see and hear what’s going on though, that’s fair. But I’m in charge. I’m gonna be the best Sam, don’t you worry. Dean will totally believe it’s you. I know you inside and out, remember, Sammy?” he reached out and touched Sam’s cheek.

Sam just swallowed. He tried to scream, but no sound came out.

“Trust me Sammy. I promise. You’ll experience things…differently. Sleep now, Sammy. I’ll wake you up when the fun begins.”

John snapped his fingers. Sam was enveloped in darkness.

***

“DEAN!! DEAN!!” The pounding on the door was getting louder.

“Kick it open!”

Two kicks later, all three adults were in the room.

Sam was curled in a ball at the top of the bed, his still naked body covered in blankets. He seemed to be sleeping peacefully.

Below him was Dean. He had very large purple bruises on his neck. He was stretched out sideways at the bottom of the bed. His eyes were closed. His chest was not rising and falling.

“Is he breathing?” Bobby asked frantically. Rufus put his ear to Dean’s chest and listened.

“Yes, he’s breathing, but barely.”

Braven slowly wiggled his fingers and a baby blue mist came from his fingers and moved to settle over Dean. The mist floated inches above Dean’s mouth. He took a deep breath, inhaling all of it. Slowly, Dean began to breathe more deeply. He blinked his eyes open. He sat up and rubbed his neck where the bruises were. Confused, he looked from one person to the next.

“Bobby? What ha-“

Bobby reached up and hit Dean in the back of the head.

“Ow! What was that for?”

“Idjit! Why the fuck did you lock the door?” Bobby yelled.

“I’m sorry Bobby, I just wanted to…”

“Yeah I know what you wanted, boy. But right now all y’all need protection. Locking doors ain’t safe.”

Dean blushed and sputtered, “No, it wasn’t…I mean I…no, I made some tea and I wanted to not be interrupted, but…John came and…” he looked at Sam sadly, “He strangled me until I passed out.”

Rufus patted his pockets, looking for the booklet, and swore,

“Dammit Dean, some of these are really potent. Which one did you do?” His voice was insistent, worried. “It’s important Dean, I need to make sure of what you did.”

Dean showed him which one he’d made and that he was 100% sure he’d followed it exactly. Rufus deemed everything safe, with Braven concurring. And Dean getting a stern talking to about messing around with spells you don’t understand.

Dean looked at Braven and nodded. “Thanks…uh, for saving me.”

Raven just nodded and tipped the rim of his hat. Exactly like Bobby’s, Dean thought.

Bobby nudged Braven. “Tell Dean what you were telling me downstairs.”

Braven dug into his pocket and showed them the familiar picture of the scar John had. Dean nodded.

“Yeah, that’s what Sam has.” Dean nodded.

“But he doesn’t.” Braven shook his head “Look again.”

Dean looked from Sam to the picture and back again.

“It’s…backwards?”

Braven nodded. “Rufus noticed it yesterday.”

“Does that mean something?”

Braven nodded, a smile forming on his lips. It means it’s breakable. As in not irrevocable. We can undo this!”

Without warning, Sam flinched as his eyes turned black. “Not on my watch!” he yelled in Sam’s voice as he lunged forward.

However, there were four men who were able to hold him.

Bobby tied him down while Rufus, Braven, and Dean held him. Dean fought back tears as he had to shove his brother down twice before Bobby could secure him to the bed.

Suddenly, Sam stopped thrashing and just cried out, “Dean, help, please! I’m holding him back now, Let go!” The men let go and Sam sagged a little on the bed. He remained bound, however.

“Sammy? What’s happening?”

“I don’t know. It’s like he isn’t strong enough. He just can come through a little bit, hold me back, but I can…I can still fight him.”

Bobby looked skeptical. “Just for now Sam, I’d like to keep you tied up, ok? For everyone’s safety, ok? Just in case?”

Sam narrowed his eyes, but nodded. He pulled on the ropes, testing their tightness.

“He got mad when he heard it was breakable.” Sam muttered. He didn’t look up

“Well, it is, but we need two things. The witch that cast the spell, and we need a non-familial to break it.”

“Non-familial?” Dean asked.

“Yeah anyone but family – and really close friends, too. So…nobody here. Not even me, I’m not a stranger anymore to you Sam. I has to be someone you don’t know. And they can’t know what or why they are doing it. It must be completely innocent.”

“How the hell do we do that?”

“Well, that’s the easy part. The tough part? We need to find the witch.”

They painted a devil’s trap on the ceiling. Bobby, Rufus, and Braven set out to find the witch. Braven used a location spell and is almost certain they can get to her. Dean waited with Sam.

After everyone was gone, and they were alone, Dean went upstairs with yet another cup of tea. This one was brewed by Braven before he left, who added an extra protection spell which, after swallowed, would be locked in for seven days. Guaranteed no nightmares. Dean knew Sam would appreciate that.

Sam stayed tied on the bed. Dean saw him instinctively reach out to him when he walked in, but unable to get close. Sam let out a small sob. Dean sighed and set down the tea. “I’m so sorry baby. You know I don’t want this for you. You know it’s just to…”

“Just to stop me from turning into dad and killing you, yeah.”

“Hey, come on now.” He tucked his finger under Sam’s chin, drawing him closer.

Dean leaned in and kissed Sam on the forehead. “Let me hold you, ok?” He lay down on his back and pulled Sam close. He was scared. Sam was here, right here in his arms…but so was his dad. Sam said he had control, but they needed to be careful. But Dean sensed no hesitation as he ran his fingers through Sam’s hair. So he wrapped his arms around him and held him tightly. He fell asleep feeling content.

***

Sam sat up and looked at Dean sleeping peacefully beside him. He smiled as his eyes blinked black.

“See, Sam? Told ya they’d believe me. Whimpering, scared Sam. I made a very good impression, yeah? Enough for them to loosen these ropes. He pulled his right arm in tightly and easily ripped the ropes from the bed. He untied himself the rest of the way and stood up, setting the ropes next to Dean.

He quickly and quietly slipped on a pair of Sam’s jeans from his duffle. He buckled the belt and noticed Sam had gained a little weight. He ran his hands down his torso, admiring himself in the mirror.

“Yeah, Sammy, I can see why he wanted you, too. This is…this is nice…” Sam ran his hand down his stomach, stopping at his belt. He carefully teased the skin above then hem. “Oh yeah, that’s good...Later, though. No time now.”

When he finished getting dressed and tried to walk out the bedroom door, he was stopped by something unseen. “Son of a bitch,” he said, looking up. He merely closed his eyes and shrugged his shoulders. He jabbed his head to the right quickly. A crack appeared in the ceiling that ran down the wall a few feet. He turned back to Dean and laughed. “Too easy.”

John paused. “Sammy? I’m gonna let you tell your brother goodbye. But if you say or do anything else, I will possess your brother instead and make him break your neck. Do you understand?”

Inside, Sam acknowledged. John let him take control, but left one hand on the wheel.

“Goodbye Dean. I love you so much.” He kissed Dean on the cheek and John immediately pulled him back into the darkness. “That’s it. All done.”

John wandered around the house, whistling to himself. Since Sam knew where things were, John did too.

He picked up several supplies, including a few f Bobby’s guns and several bottles of whiskey. He picked up Rufus’ book along with some other books from Bobby’s library.

“I suppose I gotta feed you now, since I need you to live,” he said out loud as he looked in the mirror again. He took what he could from the pantry and kitchen. He left scarcely anything useful for the rest of them.

He found a useable car among the many Bobby kept on his lot. It was a pile of crap but it would get him out of town, where he could steal another car easily. Much more easily now that he didn’t have another person to drag around beside him. Yeah, this was perfect, John thought as Sam’s hands grabbed the steering wheel and he drove off into the night.

***

Dean woke up to an empty bed and a pile of ropes. His cell phone was gone.

The cup of tea, now cold – and still full – sat on the nightstand.

He was alone.

“Sam?!” he jumped out of bed. He ran down the hall, swinging open doors. Dean ran around the house, crying out, over and over, “No! No, not Sam, no. Sammy, please be here, please. Sam. Sam, no. No! No!” But there was no response. He looked outside, up and down rows of cars. He stopped dead when he saw the fresh tire tracks and an empty space where a Corolla used to be. Dean fell to his knees in the mud.

His brother was gone.

Starved taglist:

@charliebradbury1104, @sammys-dimpless, @adsp-wincestj2, @vania-montoya, @ netaelex, @bobbie3939 @mtngirlforever @dontknowmyname215 @j2sunflowerbaby @ alex2029

#CYIDaddy #wincest #weecest #angst #Starved

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laufire · 3 years

Note

The 100 for the in depth fandom questions (of course!)

Top 5 favourite characters: Murphy, Echo, Raven, Emori, and Octavia. The order has varied but the members have been constant since 5x02.

Other characters you like: Indra, ALIE, Becca, Josephine, Jaha, Diyoza, Hope, Anya, Gaia, Lincoln, Harper, Monty... a lot.

Least favourite characters: Bellamy, Kane, Lexa (she bored me). Clarke and I are in a weird place xDD

Otps: Memori, Biyoza, Clarke/Josephine, Indra/Sheidheda, Echoven. Followed by an army of rareships.

Notps: Clarke/Raven, Bellamy/anybody, Clarke/almost anybody.

Favourite friendships: the remaining Spacefam aka snowkru, the og s5 spacefam, Echo’s infiltration team(s), Murven & Memoraven, Murphy & Monty.

Favourite family: Diyoza-Blake clan. They hypenate.

Favourite episodes: 2x12 (Memori’s 1st meeting), 1x10 (I watched it ONCE when it aired and I still remember it so vividly...), 3x02 (Memori stuff!), 3x10 (ALIE VS RAVEN), 3x11 (again), 4x08 (take a guess), 4x12-3 (they made me return to the show c’mon), 5x02, 5x06, 5x09, 5x10-13 really. 6x08. The episode number gets blurry in my head with s7 but I enjoyed the Echo-Diyozas-Blake episode, the Echoven episode, and the finale for the hilarity factor + the opposite feeling of buyers remorse it gave me.

Favourite season/book/movie: s5. Followed by s3 ‘cause a bitch loves an AI plot.

Favourite quotes: “love at first knife to throat” lives in me. Every uber romantic Memori quote does. Also every Blodreina quote.

Best musical moment: 3x01 sing-along scene. S2 had bored me so much and it felt like a breath of fresh air.

Moment that made you fangirl/boy the hardest: everything Memori did in s5-7.

When it really disappointed you: Diyoza and Octavia should have kissed. ON THE MOUTH.

Saddest moment: Finn’s death and Raven’s reaction to it was gutting.

Most well done character death: Diyoza’s.

Favourite guest star: Josephine’s actress, she looked very pretty xD

Favourite cast member: for NON-SHALLOW REASONS, NONE WHATSOEVER- Luisa D’Oliveira.

Character you wish was still alive: Diyoza and Josephine should’ve been there on the beach for my shipping agendas.

One thing you hope really happens: n/a. But we all know Clarke will feel the need to escape to the woods, right? And there she’ll start hallucinating (or not...) Josephine........

Most shocking twist: can’t think of anything.

When did you start watching/reading?: I watched s1 as it aired, for the most part. Quit by a mix of boredom and annoyance at the show. Returned when I heard about How Dirty They Did Clarke in the s4 finale xDD

Best animal/creature: that giant alien whose butthole Clarke & co climbed through is the only one I can remember right now.......... oh thank fuck, Octavia’s poor horse xDD. Helios :((

Favourite location: Becca’s lab.

Trope you wish they would stop using: I don’t want to hear “I bear it so they don’t have to” ever again.

One thing this show/book/film does better than others: male lead swaps and controversial female characters.

Funniest moments: s5-7 Clarke was hilarious and peaked in the finale.

Couple you would like to see: Biyozaaaaaaaa.

Actor/Actress you want to join the cast: n/a.

Favourite outfit: Emori’s blue wardrobe owns me.

Favourite item: Raven’s raven necklace :’)

Do you own anything related to this show/book/film?: nooooope.

What house/team/group/friendship group/family/race etc would you be in?: beachkru is doing alright I guess, now that Clarke left for the woods.

Most boring plotline: s2. I KNOW it’s a fan favourite. Raven had some good scenes, Murphy’s plot was more engaging. But the central stuff/how Clarke-dominant it was? Zzzzzzzz.

Most laughably bad moment: Clarke’s “u want me to be the bad guy? Fine, I’ll be the bad guy”. Ma’am.......

Best flashback/flashfoward if any: the flashbacks in “His Sister’s Keeper” were something else.

Most layered character: Murphy. King shit given where he started xDD

Most one dimensional character: Levitt? But his one dimension is “horny for Octavia” so I’m not judging too hard.

Scariest moment: can’t think of anything.

Grossest moment: did I mention the alien butthole.

Best looking male: Lincoln is objectively pretty af but I’ve grown so fond of Murphy’s owlish face....... I like ‘em a bit weird and with big noses and sharp angles guys.

Best looking female: Emori, to absolutely nobody’s surprise.

Who you’re crushing on (if any): Emori, Echo, Diyoza, Indra (there’s always at least a MILF in my crushes list).

Favourite cast moment: Adina and JR slow dancing in character get up.

Favourite transportation: the spacefam dropship.

Most beautiful scene (scenery/shot wise): Eden was very pretty. Also that shot of the Earth on fire with Braven watching over it *chef’s kiss*

Unanswered question/continuity issue/plot error that bugs you: again, I’m a pro at ignoring/explaining these so I rarely can think of anything lol.

Best promo: absent Bellamy in s7 promo. The way it drove the fandom wild, man. All the Bellamygates that were born of it... groundbreaking.

At what point did you fall in love with this show/book: the s4 finale is went it grabbed me to never let go.

#boomheda #replies #talking to the void #long post for ts #my thoughts #the 100 #t100 thoughts #thank you :D

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