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#divorce arc
strawlessandbraless · 5 months
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As intriguing as the supernatural revival is, they can never give us the destiel divorce arc again
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waokevale · 3 months
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There was no custody battle since their custodians were already chosen.
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nephilimbrute · 3 months
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(from the new marina interview) i don't think she's okay
edit: it's fake i made it. it's for my side order au, lore here 😇 tag for it is on this post
this part is specifically about this bit here vv
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i'm glad it was so believable tho. spent like hours on this perfecting the characterization n editing. there's more to this btw, i've done other mock interviews
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kirby-madness · 1 year
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Whoopsies!
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skotchtapeowner · 7 months
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Insert crying emoji
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Just to make the eventual divorce easier to accept, you’re welcome >:)
Based off this classic gay ass ort
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blacknedsoul-blog · 7 months
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The divorce of the White Raven was the chronicle of a foretold death
Now that the White Raven divorce officially begins tomorrow. I wanted to do a little review of why I've been looking forward to this moment for over 40 chapters and the delicious drama to come. 
The chapters of Annabel and Lenore talking in the greenhouse are wonderful for many reasons, but mainly because they lay the groundwork for what the conflicts in their relationship will be from now on, simply put: these two just aren't on the same page. 
Annabel wants to save them both, Lenore wants to save everyone.
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Annabel calls Lenore "my favorite," "my darling," and "my petal"; Lenore understands "my companion animal" (and Annabel doesn't bother to clarify). 
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Lenore says they are friends; Annabel clearly knows they were a couple.
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Annabel tries to kiss her goodbye on the lips; Lenore kisses her hand. 
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As the comic progresses -and especially with the last chapter released by the Freepass- the more fundamental root of this problem becomes more apparent: the White Raven don't really know each other, they think they do and, incidentally, insist on not listening to each other.
The Annabel Lenore Knows
The "disappointment rooms" are a Victorian myth (I say "myth" because there is no evidence that they were a widespread practice, although there are cases like Blanche Monnier's, they did not seem to be particularly common. But they exist in this comic, so they will be treated as real in this essay) were isolated rooms where a family member with a mental illness or physical deformity was kept isolated from the world, making him or her an outcast. 
We don't know the real reasons why Annabel wanted to get close to Lenore (this scene make it clear that it was of her own free will, something Lenore knows), but anyway, this was extremely strange at the time, the kind of thing that could severely damage someone's reputation if it became public.
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In other words, for Lenore, Annabel not only pulled her out of the spiral of madness she was in, made her feel alive again, and treated her like a person (something that hadn't happened since Theo's death); she also put her reputation on the line to get closer to "the crazy woman in the attic". 
Add to that the fact that Annabel, like Lenore, is someone with an extremely protective personality, albeit in a much more subtle way: containing Lenore's outbursts by trying to distract her, complimenting her when she doubts herself, trying to give her a sense of purpose by asking her to write her a song, and automatically containing her own panic attack when she sees Lenore's horrified expression. 
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To Lenore, Annabel is someone who would rather destroy something that makes her happy and be hated than let Lenore suffer for her absence.
This is a gigantic contrast to the Annabel readers know, yes, the basics are there: she is seen to genuinely care about Prospero, and gratuitous violence against someone who cannot defend himself infuriates her. But Lenore does not dimension how Annabel's methods of survival (shaped by her trauma of not being heard, reasons why she machines her way through people) make her a Machiavellian, manipulative and cold-blooded person. 
The last time Lenore saw Annabel in a situation where she could do nothing, she saw her give up. But readers know that this time, Annabel is willing to burn absolutely everything down to get them both out of it.
That is why the Duke affair takes her by surprise. Never mind that Annabel has said she's willing to destroy or trample anyone to get out of Nevermore. The Annabel Lenore knows would not be capable of that.
The Lenore Annabel knows
This part is more difficult to analyze, because unfortunately Annabel's memories are tied to big mysteries within the plot. On the plus side, this comic is excellent at dropping large amounts of information at the point of detail. 
The most obvious: Annabel is carrying around the ring Lenore had when she burned down her house, in other words, "Leo's" charade worked so well that the two of them got engaged. In other words: Annabel has seen this woman burn down a family home (perhaps with servants inside), fake her own death, steal, take a continental trip, change her identity and pose as a man, all to save her from an arranged marriage. 
A very "you and me against the world" situation. A scenario Lenore made possible by lying to basically everyone, even Annabel herself, who must have spent at least a few months believing Lenore was dead until "Leo" knocked on her door. 
Add to that these two scenes: in the first, Annabel seems pretty convinced that Lenore has a good idea of what's going on here...
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And in this one, Annabel thinks Lenore is doing this out of guilt.
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Again, this is a huge contrast to the Lenore we readers have seen throughout the comic: a person who desperately wants to show others the affection and security that no one (except Theo and Annabel) has given her. A mix of a naturally vivacious and caring personality with traumas from which her need for control stems from anxiety and a terrible fear of abandonment. 
In this light, Annabel putting Duke in danger to keep Montressor away from Lenore was something that was informed, known, and something that Lenore would agree with, because the Lenore she knows would be willing to sacrifice anything to achieve her goal. 
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In that sense, that scene is foreshadowing. Not only did Lenore trick her into using a memory that Annabel does not have, but it comes right after Annabel confidently says that "no one knows Lenore better than she does.
The masks
One of the most painful tragedies of the White Raven relationship (besides the fact that it ended with both of them dead) is that one of the two has had to wear a mask on both sides of it: Annabel pretending that this relationship isn't as deeply ingrained in her as it really is, and then Lenore doing the whole "Leo" thing to be "the perfect fiancé" in everyone else's eyes.
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Their divorce is imminent because both of them (especially Annabel) are projecting onto the other the expectations they have that are a product of the few memories they have been able to recover, rather than really looking at the person in front of them. 
I'm going to enjoy all the beautiful character development that comes from here on out, because they both have a lot of unpacking to do separately from this divorce arc. And, I hope that, when they can finally reconcile, we also get to see how, for the first time in the history of their relationship, Annabel and Lenore can actually see eye to eye.
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grumpchump · 1 month
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and if my heart breaks after the divorce arc ?? If it shatters into a million pathetic little tiny pieces? What then?
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lazarus171 · 9 months
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therealoralie · 2 months
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Thursday needs to become quicker because the covers on these don’t look so good and it’s killing me
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you know that post that's like, "widower arc Dean would punch divorce arc Dean in the face?" PLEASE tell me there's a fic where that happens, I have a mighty need
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strawlessandbraless · 3 months
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The divorce arc was really something else
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mistbix · 10 months
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richarlyson, child of divorce
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thatmexisaurusrex · 9 days
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"Sam Finds the Note" and "Bucky Has Regrets"
This is for the @sambuckylibrary's TFATWS Anniversary Event 2024's prompt "Divorce Arc" Keep reading has the description of the gifs.
"Sam Finds the Note"
Sam stands on The Paul & Darlene as he holds Bucky's goodbye note, which reads:
"I'm sorry, Sam. I have to join them to protect you all. - Bucky"
The dialogue goes:
Sarah: Please come back with me to the house, Sam.
Sam: I'll meet you at the truck in a second, Sarah.
Sarah: ...Okay, I'll be in the car.
Sam: ...
Sam: Bastard...
Sam: We could have fought this together.
Sam: If you believed in me...
Sam: If you believed in us...
Sarah: ...Sam?
Sarah: ...Sam?
Sam: I'm coming.
Sarah: Okay, Sam.
"Bucky Has Regrets"
Bucky holds his head in his hands on a plane as the net behind him sways.
The dialogue goes:
Bucky: I'm such an idiot.
Contessa Valentina Allegra de la Fontaine (Val): Stop complaining, Sergeant.
Val: A few missions and I'll let you go back to playing house with the new Captain America...
Val: ...for a day before I bring you back in.
Bucky: I should have listened to Sam.
Val: And, what? Let me seize The Paul & Darlene? Bring Sam in for vigilantism? I would have.
Val's phone rings, rings, rings.
Bucky: Why did I only leave a note?
Val: Get a grip before we land, Sergeant.
Val: I don't have time for this - Val speaking. What's up?
Val walks away and her heels clack, clack, clack away.
Bucky: Sam was right.
Yelena: Probably. But you're here now, Barnes.
Bucky: I should have stayed. Fought this.
Yelena: She threatened your family.
Bucky: Yelena, Sam's never going to forgive me.
Yelena: Maybe he'll be so mad that he'll find us and save us to give you a piece of his mind.
Bucky: Why did I panic and agree to this?
Yelena: Because you're an idiot like you said.
Bucky: I'm so sorry, Sam...
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blackvelvetcorvid · 2 months
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I didn't know what to draw so uh take this instead
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kirby-madness · 1 year
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A month after revenge of Meta Knight
Anyways start of a new arc! and hope yall are ready for this :)
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starion7crimson · 2 months
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