#every day I am plagued by Thoughts abt these guys help me

[general-cyno]

I sort of rambled about this in the tags of a post, but I wanted to make a proper one myself since I find it very fascinating (law backstory flashback you will always be famous). so one of my favorite scenes is this one:

it is a very meaningful moment for these two, a very clear turning point to their dynamic at that time, and it's made even clearer by how law starts referring to rocinante as cora-san afterwards.

now, there are several instances throughout dressrosa arc where the similarities between doflamingo and law are mentioned, with the former going as far as to call them both birds of a feather. and as it's shown in the flashbacks, reading about flevance was enough to trigger doflamingo's traumatizing memories of his and rocinante's childhood, which seems to motivate him to bring law into the family. the way law seeks to lash out at everything then is reminiscent of doflamingo's own worldview and experiences, at least from his pov:

rocinante noticed those similarities as well and though he tried to (questionably) discourage all kids from joining the DQ pirates by scaring them away, law's case in particular prompted him to bring up the topic with sengoku at some point, as seen during sengoku's conversation with law.

sengoku repeats what everyone says about the amber lead disease, that it's incurable, and warns rocinante not to favor law much for it could jeopardize his mission. whether rocinante's agreement here was reluctant or not ig is up to each reader but learning of law's real/full name (his relation to the D clan) reignites his initial worries and some more, considering the historic opposition/threat the D represents wrt celestial dragons and how this could endanger him if doflamingo were to find out.

so there's even bigger reasons for rocinante to not want law to become doflamingo 2.0. though as he later admits amidst his drunken speech, the will of D no longer matters to him when it comes to saving law, as rocinante's journey to cure his disease ends up making him feel genuine sympathy for law beyond that. he's forced to witness first hand how much discrimination and dehumanization law's subjected to time and time again, because of his disease and ties to flevance. before all this, law's mentioned his imminent death more than a few times and does it after too. and during the first disastrous hospital visit, he tells rocinante: see? I'm not even human anymore!

which brings me to this bit of dialogue:

for all of law's similarities and/or parallels to doflamingo, it's worth noting that rocinante experienced the same things his brother did and due to his younger age probably understood even less of what was happening or why they were being targeted in the first place. compared to doflamingo, rocinante also has way less dialogue in their backstory but one he does have is this:

this happens in the part where rocinante, doflamingo and their father are strung up on a wall and shot at with arrows. the villagers all express their anger, grief, the violence and suffering they've gone through because of celestial dragons like the donquixotes. albeit different in nature, along with doflamingo, rocinante experienced a kind of dehumanization as well.

so, again: for all that law might resemble doflamingo the most, I do wonder... how much of himself did rocinante see in law, though subconsciously? a kid who lost his family, subjected to the kind of violence that led him to resign himself to death (seek it, even) and was treated by others as inhuman because of circumstances out of his control? it might've not been what rocinante believed to be his own motivations to help law, likely never actually saw or realized the similarities they shared, but imo it adds some more depth to his kindness and sympathy towards law.

this also marks a stark difference between the donquixote brothers. whereas doflamingo got caught up in a very vicious cycle (which traces back to the existence of celestial dragons as a whole and was further enabled by others like trebol) that he planned to continue with law, rocinante was able to see past law's rage and acknowledge the pain beneath. after all, rocinante knows too what it's like to be hurt by others who've been terribly hurt first and became someone who wasn't exactly keen on returning the sentiment, unlike doflamingo, regardless of whether it was in his nature to be so or if it's something that was nurtured as he grew up. that's not to say rocinante was an endlessly kind saint (he had his own biased views) or that he wasn't capable of violence (he did beat up all those medical staff and burn down hospitals for example), but those incidents weren't caused by a sense of entitlement on his part or such. he didn't blame law for stabbing him or in general for seeking revenge against the world, ultimately chose to protect and save him instead - which, indeed, changed law's life. as law presently insists, he owes cora not just that very life but his heart as well.

lastly - law himself might not disagree with doflamingo insisting they're of the same sort, but law is also the kid who couldn't fathom leaving his dying little sister behind. who softened and lowered his guard after receiving genuine kindness/love/sympathy for the first time in years. who saved a little mink and risked his own neck later on to save a boy who'd just lost his brother in the worst way possible. who didn't even consider putting his crew in danger when he knew (and expected) he might die and his whole revenge plan against doflamingo was rooted in love and grief to begin with, the same upon which the foundation of his crew was built and is a tribute to. last we saw of him, law orders bepo to go back in winner island because can't leave the crew behind, etc etc, so there's that too. how much of it is law's own nature and personality? how much is due to the impact cora had on him? both? would've doflamingo turned out differently or made different choices if his parents had tried harder to school him out of those CD views or if he'd had more positive influences aside from them, instead of the people he ended up surrounded by? would he have become the same kind of person he is rn no matter what? interesting stuff to think about.

#one piece #tp #donquixote rosinante #donquixote corazon #trafalgar law #every day I am plagued by Thoughts abt these guys help me #hope this is somewhat coherent ajdkkgg #also writing this made me realize cora kind of? subtly told law abt his and doffy's relation to the celestial dragons? #probably flew over his lil head tho #long post

[tragedynatural]

Hey I know you posted it like a month ago but I would love a detailed song-by song reasoning/annotations for your Sam/jake mix. If you have time it would be great to hear your thoughts!

anon i've never jumped so hard at the chance to explain my totally normal thought process in depth before. thank you! yes of course! i will try to be as brief as possible! but probably not!

the first caveat i have to give you is that this mix was based mostly on a concept where cold oak lasts for ~2 weeks. so there's time for complicated relationships and despair to set in and a lot of this won't match the like..two days? it takes in the show. also this tracklist might be different from the post. i was editing.

we must be killers (mikky ekko) - "children of the wild ones" - references demon blood and my loose interpretation of what it might feel like to have these burgeoning powers, and then the "killer" refrain is because imo a key part of boyking4boyking is about how they both Know one of them is going to die, probably by the other's hand. also i'm compelled by similarities i see between jake and sam and both have spent their adult lives (hunting, military) being trained to kill. and i think neither of them want to do that, and in this situation they're forced to consider killing their peers..oof. thinking about jake's face when he has to kill ava, thinking about how sam and jake have been in situations where they've needed to kill someone in order to ensure the safety of someone else (in the logic of spn universe's approach to hunting & military)

like real people do (hozier) - this is abt that sense of knowing i was talking about. in the 2 week cold oak au jake and sam both find out from azazel early on how things are supposed to go. and they spend a week not killing each other! but they don't know each other very well and each fears that the other will snap first. "i will not ask why you were creeping / in some sad way i already know" - a sense of like, scorpion-and-frog anticipation that the other's going to turn on you but wanting to prolong the peace before it happens. also this dynamic is a product of a horrible time for them, they know that they probably won't both make it out - the "kiss like real people do" refrain is about an idle wish of like, what would it have been like if we were normal?

damn these vampires (the mountain goats) - i just like this song i think. this was rlly about the atmosphere, capturing the sense of being changed against your will that jake is reckoning with for the first time and sam is still struggling with. also, you know, there's a little bit of a defiant feel to this song. "scream when captured... let this whole town hear your knuckles crack." at this point they think maybe they can refuse to play along with azazel, and that it might be possible to get out anyway.

our time is short (gang of youths) - look, you know, rn they've been here for a ~week? they're not sure if they're ever making it out. the other kids died in the first couple days so it's just jake and sam and i think they're going through 'last 2 people on earth' feelings at warp speed. this is .... a moment of feeling good b/c they know it won't last very long, and there's a bit of last hurrah energy. "so let's drink the best wine now..before lightning strikes us down" etc.

another place (bastille) - the jake/sam connection is a genuine feeling but it's also very much....a foxhole thing to quote bobby. they like each other genuinely but both are aware this is the result of an extraordinary situation. even if they were both getting out alive...they live completely different lives. this song is about, don't make this more than it is because even though maybe we'd both want it to be, it's not attainable.

heavy in your arms (florence + the machine) - "who is the betrayer? / who's the killer in the crowd?" is absolutely my concept for the 2 week cold oak. sam and jake being plagued by dreams from yellow-eyes, and they don't want to suspect or betray the other but. well. they'll be stuck here forever. this is both of them wondering who'll crack first. also "heavy in your arms" is a little foreshadowing for when jake stabs sam and holds him while he bleeds out. thanks!

as the world caves in (matt maltese) - look. they're going to nuke each other up boys till old satan stands impressed...on their final night alive it's YOUUU that i lie with.... this is last few days of peace before Inevitable Conflict as the tension hits a peak. it's about "i like you and i care for you and i know eventually one of us is going to kill the other but i can't be the person to pick up the knife first. so every night i sleep across the fire from you and hope you fall asleep before i do." and azazel is there.

no one would riot for less (bright eyes) - "everything is eclipsed / by the shape of destiny" - the fact that the lives of the special children have been counting down to this moment! their hopes, dreams, personal morals, affections for others are eclipsed by fate baby! inescapable! the whole "little soldier" section is again about how both of them have been made into weapons to fight for various causes, and now they're being. pitted against each other. "love me now / hell is coming" and "help me out / hell is coming / could you do it now / hell is here" is obviously about them knowing shit is going to go down soon and also this sense of like. just kill me if you're going to. don't prolong the inevitable.

have to explode (the mountain goats) - similar theme here, feeling like you're counting down to the inevitable - "the stage is set / someone's going to do something someone else will regret" sam and jake are pieces in a plan that's been in motion for years and everyone's just waiting for them to buckle down and play the role. "the fuse will have to run out sometime / something here will eventually have to explode" - dean only finds sam once sam's been stabbed and jake has 'won'. if no victor emerges they stay here until one does, and they know that they can't hold out forever.

tusk (fleetwood mac) - i put this on every playlist sorry about me! also it's, okay, jake wakes up in the night to see sam stuck in a nightmare and he knows the demon's visiting both of them. what's it saying to him, he thinks, what's sam going to do? this is about creeping dread, and this sense that the person you're with maybe knows something you don't. that they're planning to betray you, that they already have. and musically the frantic melody and vocalization just ups the tension.

bite the hand (boygenius) - jake's pov. sam is the one who pushes for a truce and holding out for another option out of cold oak, and jake is on board. at first. but as time kicks on he realizes that there's no other option whereas sam is still a little bit in denial. so the "i can't love you how you want me to / i'll bite the hand that feeds me / you want what i can't give to you / who do you think you are / who do you think i am / maybe i'm afraid of you" - is about him doing a heel turn where he realizes like, i can't do this (stay indefinitely here to find a dubiously-real other way out for a guy i just met) and sam can't do it either, and one of us is going to snap, and i'm afraid it'll be sam first.

i bet on losing dogs (mitski) - sam's perspective on ^ - he does know how it's going to end but he can't quite. give up on hoping that it won't. he doesn't kill jake when he has the chance. he must know jake'll kill him if he's not dead or knocked unconscious, but he hopes. that he won't. anyway. and he's wrong. he knows he'll be wrong, i think he can sense that jake is doing a heel turn but also, they're getting played by azazel who's planting seeds of doubt and they're stuck in this depressing place alone, and sam's not sure how much he can trust himself. he's betting on losing dogs.

samson (regina spektor) - "you are my sweetest downfall / i loved you first" - jake's pov on a guy he genuinely likes who he knows he's going to kill. before the fight & the cemetery they cared for each other. "we couldn't bring the columns down / we couldn't destroy a single one" - in the end trying to hold out against azazel does nothing, the gate opens, the apocalypse happens. it's futile. and the story never mentions jake or cold oak again - i think the fact that sam tried to like, help & protect the special kids & then had to watch andy, ava, and lily die, & then jake tried to kill him, & he had to kill jake is like. pretty fucked up. those are the last people like him on this earth man he was 23!

heaven or hell (digital daggers) - vibes! also: "i’ve got the same deep wounds as you / my love can double as a weapon too" - jake and sam's similarities are so key to me. either one of them could have been the person to turn first. i'm anti-trying to make jake into a bad guy for stabbing sam! he wanted to go home! "show me the side no one else sees / turn it back on me" - what's it like for sam to be around other special kids? does he feel more normal or less than he does with dean? thinking about that "it doesn't matter if we believe it only matters that they do" scene- SO interesting! what a cool moment of jake and sam connecting on a level of both being leaders, both knowing what a lose-lose situation looks like, both knowing how to keep the hope alive, and do what has to be done. of course this is also the trait that leads to jake killing sam / sam killing jake. they're the same.

old college try (the mountain goats) - this is specifically like, night before jake stabs sam. he knows he's going to kill sam by now. "i want to say i'm sorry for stuff i haven't done yet / things will shortly get completely out of hand" - jake thinking about this last like, goodbye. and "i will walk down to the end with you / if you will come all the way down with me" - seeing it through till the end, sam has a burgeoning sense of something wrong.

it seemed the better way (leonard cohen)- again i literally just put this one on everything i can. also you know, it's jake thinking about listening to azazel and killing sam. it seemed like the better way then, but now, when azazel's threatened his family and he realizes he can't get out of it, it's too late to go back in time and do it differently. he has to obey azazel + play along. "i better hold my tongue / i better take my place / lift this glass of blood / try to say the grace". yes i know this is about religion i'm not trying to make light of the song i just think. i'm squinting okay.

don't let me be misunderstood (nina simone) - LISTEN! JAKE'S INTENTIONS ARE GOOD. this is like, meeting in the cemetery and sam is alive and they both know what's passed between them and what can never be and where it has to go now, and jake's thinking "just remember that i'm not evil. just remember i have a family that i wanted to come back to like you, don't let where this went eclipse the fact that you cared about me, that you know i'm a good person." it's also me holding a large stick and pointing it at everyone in supernatural so that they remember that he did nothing wrong.

say goodbye (fleetwood mac) - okay bear with me. in my version. of cold oak jake doesn't get killed by sam. he kills azazel and sam and dean let him go. this is a retrospective on the whole thing for both of them. "i let you slip away / there was nothing I could do / that was so long ago, yeah / still I often think of you" and "so don't let it get you down / just a time within a time / just a scheme within a scheme / a little world within a world / yes, a dream, just a dream" are the thesis lyrics for this song. cold oak's done, azazel's nuked, back to the real world now. it's a bitter way to say goodbye to a person you cared about after they killed you/you killed them, even though you both sort of. expected it to go that direction. by this point i was just like IT FEELS RIGHT (adds to playlist).

#THIS IS SO LONG? i've never felt more charlie_day_pepe_silvia.png in my life #anon. i...this is a little deranged. i hope it was what you were looking for #mevoice why don't i make a playlist chiefly about an au that i will never finish or post! #boyking4boyking #long post #if this shows up without a readmore on mobile i'm so desperately sorry

[wheatlev]

📃💕💎 for the hyperfixation asks, and you can choose which to talk about 🥰

gonna make this one abt DotV/Fearless Vampire Killers (the movie not the band that apparently exists???)

what is the plot of your hyperfixation? and is it a movie, game, show, etc?

(cracks knuckles) This applies to the musical and the movie, I am going to make notes where the plot differs significantly, if at all.

So basically DotV is about a bumbling idiot of a professor named Abronsius (from Königsberg, or in the Broadway show, Heidelberg?) and his shy assistant Alfred, on their way to Transsilvania. Abronsius is convinved that vampires are, in fact, real, and wants to show everyone that laughed him off his seat in uni that they were wrong (also he does talk about wanting a nobel prize in the play, so).

They make it to a small inn, the professor half frozen to eath, where everyone is wearing garlic all over while pretending it is definitely not cause of vampires haha youre so silly old man :) The two of them get a room with a bathroom that is, apparently for some reason also shared by the innkeepers daughter who has a serious thing for bathing despite her father trying to tell her to knock it off already. (Notably in the movie the bathroom’S the only garlic free room so I guess...). She of course does NOT listen, and subsequently both meets Alfred, who immediately falls in love with her a la every single movie ever.

The inkeeper, Chagall, is also a serial adulterer, ddespite trying to keep his daughter from the same thing he is subjecting their only maid to, causing his wife to hit Abronsius over the head with a sausage that very night when the Pro is investigating noises he heard on the stairs (which were Chagall, sneaking out to bother the maid).

(In the stage show the vampire count makes his first appearance here, being appropriately mysterious and, I think, telepathically communicating with the daughter, Sarah?)

The next day the inn is visited by a cripple (literally called that). He asks for a bunch of candles, and while they’re being fetched, tells Sarah to follow him later that night. He gets his candles, leaves, Abronsius asks who that was, and why the inkeeper is so scared of the guy. Chagall deflects, and Abronsius waffles on some more.

That evening Alfred tries to take a bath, which Sarah walks in on, he lets her have the bath and then said vampire count comes crashing in through the skylight and bites her for the first time after inviting her to his midnight ball. (The stage play also has him singing a whole song about how he knows she’s grown tired of her life etc). He flees, and Alfred, who spotted him through the keyhole, alerts the inkeeper, the wife, and his prof, and everyone just bum-rushes Sarah. She’s told off VERY sternly by her father.

She leaves the house later that night, finding Alfred pining for her outside. They have a bit of a discussion about whether or not she should run away. (The stage play involves a big dance number here and gives her a bit more of a personality than damsell in distress.) Alfred returns to the inn, alerting the innkeeper that Sarah left, and Chagall runs off to go find her.

The very next morning, he’s brought in, frozen to deathm apparently, and the cause is determined to be wolves. Abronsius knows better, but is not listened to, resulting in Chagall unfreezing later and attacking the maid he apparently still has the hots for. Professor and Alfred return to stake Chagall, find the maid instead, and coax him into leading them to the castle.

There, they meet the count and his (very gay, like for real) son, pretending they are bat researchers and securing a place to stay overnight.

(End first act of the play.)

Once in the castle, Alfred has a buncha nightmares (another hecking GREAT dance number in the play) and wakes up to find the Professor raring to go kill some vampires. They set off, and things go well until the Professor gets held back and Alfred fails to stake the Count and his sons, promptimg him to head back out and leaving the Professor to freeze, again. (In the musical he doesn’t and just leaves with Alfred.)

 Chagall and his maid love were trying to sleep in the crypt with the count, get booted out by the hunchback and go to sulk about it, I guess.

Alfred goes to look for Sarah, findign the Profesor distracted with the library, finds her, fails to convince her to be saved, and ultimately leaves. Prof is still busy, but suggests a book to help Alfred with his problems, so he picks up a book of poems.

He runs into the son of the count, who thinks Alfred is in love with HIM, not Sarah, there is a scene that is either funny as hell or super uncomfortable depending on how you feel about using gay peopel for comedy and whether you can stomach that, and Alfred and his professor are caught and locked up for the ball later that night.

They escape, sneak into the ball and just barely make it out with their lives and Sarah, who was bitten again and drained (which neither of them know). On the way back out, the Professor remains unaware he is, in fact, bringing the plague of vampires back home by bringing along the newly turned SArah and Alfred, whom she promptly bites.

(The musical has a banging ending sequence, once again with dancing, and men in tight pants. Hmmm.)

I tried to keep it short and uh, failed, so, hey, enjoy.

I should note that the inkeeeper is very much jewish, it is a major point in the story, and that plus the fact there’s a joke that essentially goes ‘aren’t gay people just WEIRD?’ makes me hesitant to tell everyone to watch the movie. It IS very old. The musical handles things a bit better, I think, feel free to ask on details as to why but again, this is getting way too long already...

tell us about one of your favorite characters and why you like them!

Outside of being the most heteronormative thing to ever hetero, I really like Alfred in the stage version! (the movie is uh, well, it has Roman Polaski in it, and is kinda. Hmmm.) He is very genuine about his love and ddespite me not being a huge fan of the love at first sight plot, he makes it somewhat platable. Plus, the version I’ve seen, Lukas Perman, is just... super cute??? Nohomo but some homo, ya know how it is. I also have a bit of a lot of thoughts abt him not being straight and all that, but this is not the space for me to ramble on about that!!! 

are there any fun facts or trivia that you would like to share?

The music was almost entirely written by and essentially ripped from Jim Steinman songs, so if you like his music, watch this musical! Do it. I am pointign a knife at you politely.

Less fun fact: Michael Crawford has played the role of the count (You may recognize him as one of the OG Phantoms from Lloyd WebberS’ musical).

Even less fun fact: Polaski was not invovled with the Broadway version due to being disallowed on american soil due to... issues.

The movie had an alternate intro made that was entirely aniamted, to play up the comedy aspect. Not sure if that helped. Its full title was also The Fearless Vampire Killers or, Pardon Me, But Your Teeth Are In My Neck. Most translations make it Dance of the Vampires, which is kept for the musical. (Some languages turn it into ‘The Ball of the Vampires’ instead, the Russian and French versions coming to mind off the top of my head.)

(dabs) you asked for the plot, you get the plot

#jamday #angelwave

[themariotheme]

okay under the cut..... is my dumb lil skeleton for my story based on the lyrics for frankie by alexandra savior..... read if u wish..... i haven't read or written in ages..... the last time i tried to read was yesterday and it was the plague by camus and i only got 2 pages in before i got distracted (because of the brainrot? let's blame it on that)

written 04.04.2021

//

Why am I latching onto this idea that I will surely not carry out to completion? I don’t know maybe ‘cause I nearly called myself Frankie instead of Alex. Jamie and Jordan and Max were on the table too.

This story would work even if it weren’t gay, Frankie could be whoever. They could even just be friends but where else will I get my subverted bury-your-gays trope? I’ll have to read books and I haven’t Read in ages, I don’t have brain cells.

//

Anna-Marie Mirage is an actress, but more like modern day Marilyn Monroe than Audrey Hepburn. She's not respected enough. 

She’s dating an actor named Dean. He’s a Clint Eastwood/James Dean/Humphrey Bogart type, he plays the Cool Hero Guy in movies. He’s been in mobster films, sci fi movies, westerns, etc.

He’s kind of an asshole. Anna-Marie thinks he’s cheating on her. 

The second act consists of Anna-Marie and Dean’s fights, and then her meeting Frankie.

Frankie is someone who is also in the industry, maybe not an actress, but maybe someone industry adjacent. Frankie and Anna-Marie get together. Maybe Anna-Marie asks for help from Frankie to find out info about the people Dean is cheating on her with.

The parallel stories mirror the occurring events, but they take place in universes from Dean's movies, so a western setting, in the mafia, and in space, but the story gets subverted so Dean, who would be the 'hero' in those stories typically, 'loses'.

The mafia one, Anna-Marie ends up hiring a hit on Dean and Frankie is the mercenary.

The sci-fi one, Dean dies by his own stupidity.

The western one, I think maybe Anna-Marie poisons him. 

Anna-Marie still steps in and solves whatever conflict the hero was meant to solve.

In the main story, Anna-Marie stays with Frankie behind Dean’s back, more empowered in herself and then the ending could be left ambiguous-ish? Or Anna-Marie dumps his ass and roasts the fuck out of him with all the info Frankie helped her get on his cheating ass as she leaves. 

(everything below was my attempt at Getting The Damn Story Started which didn't go anywhere)

//

As far as careers went, being a Hollywood actress comes with it’s fair share of pros and cons. Nevertheless, Anna-Marie couldn’t complain. Not publicly, anyway. It was all she could do to keep a smile on her face while her (male) costars shook hands and won awards for performances that were (worth less than?) half of what she could have done in those roles.

Even privately, though, she felt entitled for the resentment she held for the industry she chose to work in. She had been in films and worked with incredible people, people she respected. For all intents and purposes, she had “made it”. But the artist in her longed for actual roles. Not for lack of trying, but every character she had played was never the lead, it never her story. It wasn’t bitterness or the want for the spotlight, though, that drove her mad, she had no qualms about playing a secondary character. It was the lack of depth. Her characters' involvement in the story was almost always inconsequential, superficial. She was the sexy lamp. And it infuriated her.

There wasn’t any way not to sound cocky about it, but Anna-Marie knew she was a good actress. She was sure of her skill, but the opportunity to really become involved in a movie had yet to present itself, it seemed at points to be just out of reach, like her fingertips were grazing the side of it but it slipped by her tauntingly.

//

probably overexplaining my dumb thought process about the lyrics and story and thus making it uninteresting below:

[Verse 1]:

Babe, you got your villains' car//You got your sleeves rolled up//Anatomical heart

(Dean, mafia movie)

Babe, got your ten-gallon hat

(Dean, western)

Cinnamon toothpick//Lightning flash

(cinnamon toothpicks were popular in the 50s, so mafia movie?)

[Verse 2]:

Babe, you got your destiny//You've got your fingers crossed//You've got me so intrigued

Babe, you've got to make me come...//Back to your Battle Star//We better run along

(Dean, sci fi)

[Pre-Chorus]:

You got falling stars at your feet//

You got stolen from next to me

And the moment's gone back to sleep//

You got stolen from next to me

(cheating)

[Chorus]:

Say you gotta go//To a place I don't know

(cheating)

Well the ace in the hole//Is I've got a friend called Frankie

(in the "literal" story, Frankie has her intel on Dean's cheating ass, in the mafia story, Frankie would be her merc, not sure abt the other ones yet, but having Frankie could be Anna Marie's smoking gun, because Dean isn't the only one she has)

[Bridge]:

Submit to me//Your fantasy

And I'll endlessly//Maintain it...

(this one for if she gets back with him, playing along and "maintaining his fantasy" but actually having power in the relationship now) (but also like. she would end up dumping him anyway)

#ch's #personal #my writing #alexandra savior