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dragoneyes618 · 9 months

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Ernesto de la Cruz, as evident by his immediate and complete acceptance of Miguel as his great-great-grandson, had quite a few girlfriends when he was alive.

It did not start only once he gained fame and fortune on the body of his best friend, though. Even back in Santa Cecilia, he was quite the ladies' man.

As was only to be expected, one young woman - the only child of doting parents who had had her late in life - approached him soon after their affair had ended with the news that she was carrying his child, and that they had to marry to spare her honor.

Of course, Ernesto refused. He had big plans, and couldn't be tied down by a wife and child. (He could never understand why it didn't seem to bother Héctor.) Maybe he was nice about it and gave her some money. Maybe he just laughed at her. The end result was the same: the young woman - Victoria, her name was - left alone and with child.

So, what did she do? She dared not admit what she had done even to her parents, who, as their only child born when they had nearly given up hope, would have forgiven her anything. Instead, she told them she was going to visit a distant relative in Mexico City, and instead went to the orphanage the next town over.

It's not like this had never been done before. She would live there for the next few months, helping out with the children, the cleaning, the cooking, the sewing - all the work that came along with a few sisters raising three dozen children as well as they could - and, once she gave birth, she would leave her child there, and go home like nothing had happened.

In due time, she gave birth to twins, a boy and a girl.

She named the boy Julio, because she'd always liked that name.

She named the girl Rosa, after her mother. Her mother was still alive, but she knew her children would never be able to meet her parents, that they would never even know her, and she wanted them to at least have this.

On their birth certificates, she wrote down their full names, giving them her own surname, and she wrote her name, as well as the name of their father. The name meant nothing to anyone outside Santa Cecilia then, but she wrote it anyway, because it was true. Just in case Ernesto changed his mind. (He wouldn't.)

Then she went back home and went on with her life, gently spurning all offers of courtship, unable to leave behind the images of the wailing babies she'd left in that orphanages.

About five years later, she grew ill - with influenza, pneumonia, it doesn't matter. She grew ill, and worsened, and died, and left her grieving parents to bury their daughter.

Before she died, she confessed to her parents and the priest administering the last rites that she had borne twin children out of wedlock, and had left them in an orphanage in a town close by.

She died, and her parents buried her, and grieved.

Then they traveled to the orphanage and told them that their grandchildren were here, and they had come to claim them.

Things were very lax back then. They didn't need proof, didn't need any documents. All they had to say was who they were, their daughter's name, and the names she had told them she had given her children, and the people running the orphanage said "That sounds right, nice to meet you, here they are."

Little Julio and Rosa were shy and uncertain at first, but their newfound grandparents were kind to them, and raised them just as if they had been their own children. They gave them both individualized attention, which had been hard to come by in the orphanage. They told them stories and taught them new things and comforted them when they had nightmares and told them about their mother.

To differentiate young Rosa from her namesake, they called her Rosita, and the name stuck, even after the first Rosa was long in the Land of the Dead.

As they grew older, Rosita helped her grandmother around the house, while Julio helped his grandfather - his name was Alberto - in the small upholstery shop he had that supported their little family.

Then one day, Julio met a young woman named Coco in the plaza, and his life changed.

Julio's grandparents were overjoyed to see him in love, to see him settle down and be happy. Elderly, they died only a short while after the wedding, and Coco helped Julio through his grief. None of the Riveras wanted Rosita to be alone, so she was invited to move in with them and join the workshop, and she happily accepted.

Neither of them ever knew the identity of their father. They had no reason to. They never had cause to look at their birth certificates. They'd never known him, and he hadn't wanted to know them. They had their grandparents, and that was all they'd ever needed. They felt like they were missing nothing.

The years passed, and Rosita and then Julio died. More years passed, and Miguel got cursed.

In the year following, Miguel suddenly developed an extensive interest in family history and would spend hours going through old papers. Héctor's letters proved that he had written the songs, but having more than just the letters, the importance of them unknown until now, would help. Maybe a journal, maybe more letters, something.

Miguel wanted to find out as much as he could about Héctor, too, to ensure that the true Héctor Rivera would never be forgotten.

Also, he was worried that maybe the family had somehow forgotten someone else, and wanted to make sure they knew of everybody.

The Riveras lived in the same house that Imelda and Héctor had scrambled to put together money for all those years ago, adding on rooms as the family grew. If not for that, many of the crucial papers - Héctor's letters first and foremost - may have been scattered in different households across Santa Cecilia, or even destroyed entirely, their importance unknown. Having only one house to search makes it much easier. Not easy, but easier.

Miguel finds Héctor and Imelda's marriage certificate, and Coco's baptism certificate, and her and Julio's wedding certificate (the one documenting the union of Elena López Rivera and Franco Rivera Rojas is in a drawer in their bedroom, and so is Luisa and Enrique's, and Carmen and Berto have theirs pinned to the wall), and birth and death and baptism and communion certificates for all the older, deceased generation of Riveras, the ones who have no need of any of them anymore.

And he finds a birth certificate for Papá Julio, and another for Tía Rosita, naming them as twins, born illegitimately to Victoria López Hernández and Ernesto de la Cruz.

To say Miguel has an identity crisis is an understatement.

He was devastated when he thought he was the descendant of a murderer, and overjoyed to find he was Héctor's descendant instead. All of his love and admiration for de la Cruz has curdled into hatred, the love passed on to his great-great-grandfather, the musical genius and, more importantly, the loving father.

Now he finds out that not only is he the great-great-grandson of Ernesto de la Cruz after all, but he's descended from both of them - one great-great-grandfather killed his other one.

He begins to worry that he's going to be like Ernesto. What if he, one day, lies and steals for music? He's already lied to his family and stolen a guitar for music. What if one day he kills for music? How can he be sure that his musical talent is inherited from Héctor and not Ernesto? Because he doesn't want anything of Ernesto's, not anymore.

Elena takes personal offense to finding out that she's the granddaughter of the good-for-nothing musician who probably (nothing has been proven, it's too long ago for that, but it's all very suspicious) murdered her other good-for-nothing grandfather (said in completely different tones of voice; Elena is the only one allowed to insult Héctor, you see).

The Riveras were abruptly plunged into national scrutiny after Héctor's letters were published; the media has a field day with the news that most of them are descended from Ernesto.

Miguel writes a long letter - multiple long letters - about his feelings about all this, and leave it on the ofrenda at the next Day of the Dead, along with the offending birth certificates. Actually, with all the papers belonging to the dead Riveras, in case they want them. But Julio's and Rosita's birth certificates are at the top.

So the dead Riveras get home after the holiday is over, and they go through all the things Miguel left them, and Héctor reads the letters Miguel wrote to him.

Now Julio (and Rosita, to a lesser extent, but she's not the one who married the child of the man her father murdered) has a bit of an identity crisis.

His father caused his wife (and her mother) so much pain. How is he supposed to live (well, not live, but you know what I mean) with that? His father killed her father.

He and Coco have a lot of long talks about this.

Coco doesn't blame him or his sister, of course; neither does the rest of the family. The only change comes in the way Julio thinks the rest of the family is now thinking about him. He was always more on the timid side; it takes literal years before he stops calling Héctor Señor Rivera. Now he's sure that Imelda and Héctor hold his father's crimes against him. It takes a surprisingly gentle talk from his in-laws to get him to surpass that.

"So, ah..." Héctor hesitates afterwards, not having felt this awkward since his first few weeks with the family. "You remember, the trial and everything, I testified, I'm the "principal victim" and all that...I could probably arrange for you to visit him, if you wanted...."

Julio and Rosita look at each other, and shake their heads in unison. "No," they say at once.

"No," Julio says again. "I don't. We don't." He squeezes his sister's hand of bones in one hand, his wife's in the other.

Oscar stirs. "Hey, so....Ernesto's blessing would've worked with Miguel after all."

Felipe, of all people, hushes him. "Not now, hermano."

Victoria takes up Héctor's offer to arrange a visit with de la Cruz, though.

"What?" she asks, daring anyone to question her. "He's my grandfather too."

Any suspicion of sentimentality is immediately discarded when Victoria walks into the visiting room, boot already at the ready, hits him once, and walks right back out again.

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imaredshirt · 5 months

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Do you have any headcanons about Julio and Hector - ie, how they get along, what their relationship is like, etc?

Julio teaches Héctor how to box. Like, properly throw a punch. Because after a run-in with some of Ernesto's super fans, it's pretty clear that Héctor cannot fight.

There's a few moments where Julio falls back on his fatherly ways and treats Héctor like a young man he's taken under his wing, but then he remembers that this is also his wife's father and trips over himself trying to apologize. Héctor, by now used to seeing Julio's anxiety shoot through the roof when this happens, just laughs and calms him down.

Even after all this, Julio never quite matches the anxiety of that time during one of their first conversations - after all the drama has died down and Héctor is back on his feet, Julio is the first to break the ice between them, but once they're alone, Héctor's tapping his fingers on the table top and then asks lightly, "Soo... you married my daughter."

And that's when Julio's anxiety spikes like it's never spiked before. Suddenly he's seventeen again and sitting across from his sweetheart's parent - except this time it's her father.

Héctor notices Julio's mind blank and then drops the stern act. He's super chill about it. Laughs and clasps Julio's shoulder.

"How did you meet her? What was she like? When did she take you to meet Imelda? What did Imelda do?"

Questions like that. Héctor is always fishing for stories about Coco from the family, and Julio has so many to tell.

#thank you for the question!#héctor rivera #julio rivera #coco

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razoogm · 5 months

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Rivera family ages (my HC)

Imelda: 78(when she died)

Héctor: 21(when he died)

Oscar and Felipe: 57 (when they died)

Julio: 85 (when he died)

Coco: 100 (when she died)

Rosita: 70 (when she died)

Victoria 60(when she died)

Franco: 72/73

Elena: 70/71

Berto: 46/47

Carmen: 45/46

Enrique: 39/40

Gloria: 37/38

Luisa: 35/36

Abel: 19/20

Rosa: 14/15

Miguel: 12/13

Benny and Manny:4/5

Socorro: 10 months/1

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myhusbandwouldplay · 6 months

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Oscar: It's locked. You got a lock pick?

Julio : Yeah-

Imelda : kicks in the door

#coco 2017 #mama imelda #oscar rivera #julio rivera #incorrect quotes

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pencopanko · 8 months

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A compilation of Mamá Coco & Papá Julio doodles from my days when I was super active in the Coco fandom

And yes, she's about to give Ernesto a bad time for killing her sweet papá thus preventing him from going home

#penco draws #yupyupyup #coco pixar #mamá coco #socorro rivera sr #coco rivera sr #julio rivera #julico #luchadora coco best girl -julio #I like to think that Mamá Coco can be a sweet and loving great-grandma and wife one moment but turns into an agent of chaos the next

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ddalameda · 2 years

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In this story, Coco has known Rosita and Julio since childhood, these two are residents of Encanto and neighbors of the Riviera. In fact, I have included many characters in the Encanto from the original Coco, including characters from the land of the dead… Well, I love them too much.

Bruno gets a vision of Coco and Julio's wedding and shows it to Rosita… And no, he won't show the vision to anyone else, including Hector!

Maybe Imelda, though…

Meanwhile, the twins have a vague feeling of deja vu…

#encanto #bruno magridal #coco 2017 #pixar coco #hector rivera #imelda rivera #rosita rivera #julio rivera #felipe and oscar #coco rivera

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loracarol · 1 year

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Hi! What are your headcanons about Julio Rivera?

It's been a while since I watched Coco, so I'm afraid that these may not be comprehensive (?) as my previous ones, but:

He 100% tells people that he fell in love with Coco at first sight. This isn't precisely true as they grew up in the same town, and he saw her around, but he fell in love with her as soon as he really looked at her and went, "oh shit (in Spanish)."

Prior to courting Coco, he asked around for people to teach him how to work with leather. He had no clue how to make shoes but he wanted to go in with at least a little bit of knowledge.

He used to ride horses in his youth. Admittedly, it wasn't very necessary for him to know how given modernization, but he did know how. (Alebrijes are a different beast, literally and figuratively, especially when the alebrije in question is Mamá Imelda's.) By the time of the movie, he hadn't done it in years.

#coco #pixar coco #julio rivera #dragoneyes618

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graphicpolicy · 1 month

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From the fall of the House of Brainiac to the countdown to Absolute Power, it's a packed June for Superman

From the fall of the House of Brainiac to the countdown to Absolute Power, it's a packed June for Superman #comics #comicbooks #superman

Superman, Lobo, and the Superman family take a stand against Brainiac and the Brainiac Queen in the finale to “House of Brainiac.” That leads into the anticipated summer event, Absolute Power. It’s all hands on deck in Action Comics #1066! Brainiac has created his masterpiece, and all bets are off as Superman and his teammates bear witness to a cosmic horror unlike anything they’ve ever seen!…

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mirrorofliterature · 1 year

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random coco idea -

julio gets cursed to the land of the dead when he is in his thirties to forties. his parents aren't dead yet and he doesn't know a lot of extended family so the department is looking. dia de muertos and whatnot timininf.

he is visited by local regular detainee of the department, héctor. héctor is like, 'oh you're cursed! sad. so some family member just,' héctor says, picking up a cemaspuchil petal, "needs to say 'I give you my blessing.'"

and then the petal fucking glows, and they both freak out and try to figure out how they're related.

h��ctor is like - I'm an orphan.

and it's only when julio mentions that he's from santa cecilia and his wife's name is coco that things start to make sense.

#coco pixar #hector rivera #papa julio #the RANDOM ideas I have #my brain is an endless machine #rambles

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larsisfrommars · 2 years

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So I’m a few episodes into El Hotel De Los Secretos

I’m so overjoyed to find that Andrés Salinas is not just played by 💕Carlos Rivera💕 but is second most important male lead AND my favorite character archetype/personality!

He’s the emotional heart/rock of the series!

He’s the counterbalance of caution, patience and kindness to Julio’s zero-impulse control and scrappy investigative zeal and I’m in love with that dynamic! (If I’m not careful I’m gonna ship it lmao, eh whatever! Whose gonna stop me if I do?! Lol)

In a way they remind me of the Triumvirate dynamic from Star Trek. Julio is Kirk and Andrés is a very charming combination of Spock & Bones. Andrés is like 85-90% of Julio’s impulse control

I smell the potential of him being the moral compass if things get darker than they are. Which, they probably will, it’s a telenovela/period DRAMA after all.

What really sold me on the show (and this character) was the third episode.

Waking up and comforting Julio when he breaks down in tears because it seems that his sister didn’t just disappear but was (probably) murdered thanks to some emotionally devastating evidence.

God just LOOK at them 🥲

¡Voy a llorar! 😭😭😭

I don’t know man, Andrés really went “this man has body slammed me TWICE in less than 48 hours and I saw him cry once. You know what though? He’s earnest and funny and I feel bad for him. So! We Are Now Inseparable.”

Then what he does for BELÉN, pobresita 😭

Andrés comforts her (who he clearly already cared about before, can’t really tell if it’s a “he/they were already a little in love but we’re hiding it” situation or a “friends that become lovers(?) due to fanfic level circumstances” situation).

He doesn’t pressure her when she won’t say who the father is and doesn’t seem to think less of her for having a child out of wedlock. Which is like, a HUGE deal considering this takes place in the early 1900s.

Not only that! But what does he do in order to keep his mother (the chief of staff regarding the maid staff) to keep her from firing Belén?

HE LIES HIS MOM AND TELLS HER THE BABY IS HIS. He sacrifices his mother’s respect for him for Belén’s sake! Like, W H A T.

HELLO? H E L L O?!?!?!

Ahh! I love this series!

Oh man, I really hope he doesn’t become a target in whatever Diego’s shady ass plans are if he ever finds out Andrés is taking credit for the child/pregnant woman he discarded like trash to protect his engagement to Isabela 👀 (not that Andrés knows who the real father is) ¡NO MORTES POR FAVOR!

Does anybody else watch this show?! Send help! I’m chewing on the upholstery!!

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dragoneyes618 · 7 months

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Julio seems to speak for the family, when Imelda's not there.

He seems to be the timid, shy type, not the kind to seek the limelight. Yet he's the one who presents Miguel to the agent. He's terrified of Pepita and his mother-in-law (to be fair, I would also be terrified of Pepita and of Julio's mother-in-law), but he's the one who comes forward to give Pepita the petal, and he's the one who started explaining to Imelda what had happened when they'd tried to go to the ofrenda and found Miguel instead.

Besides for Imelda, Julio is the eldest direct ancestor. As such, he has implicit authority; when refusing Imelda's blessing, Miguel first asked for Julio's instead.

When Imelda's there, she speaks for the family. But when she's not, Julio does.

#coco #pixar coco #coco pixar #imelda rivera #mama imelda #julio rivera #papa julio

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avatarvyakara · 1 year

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Keeping things running in San Ambrosio—and Santa Cecilia too…

205. Táctica

(nf) tactics

The letters make it back to them, somehow. (Say what you like about northerners, their postal service could probably deliver messages from the dead themselves.)

Coco Rivera de Reyes is surprisingly gentle. Dolores has a habit of hearing words as she reads them, and the older woman’s tone is always so calm, so sweet, in her head. So patient.

But of course she wants to know more. Dolores expected this. You don’t get strangers writing to you out of the blue about your long-lost father’s murder (Dolores can never listen to one of Bastito’s Ernesto de la Cruz albums again) without a smidgen of curiosity. She should have expected, too, that Coco would prove herself quite perceptive of Dolores’ little hints here and there in her letter. But the other woman doesn’t say so outright; instead, she circumnavigates the topic as dextrously as any San Ambrosiano, or for that matter Dolores herself, might do. As though the walls around her have eyes and ears.

Alas, my own family prefers to limit their perceptions of events, unlike yourself. Life is pleasant in Santa Cecilia, but work is a must for all of us. A clear focus on what needs to be done saw my mother and uncles and me through many a hard year. Distractions can be a danger, and my mother has gone through enough in her lifetime that she no longer tolerates them. There are times when my cuñada, Rosita, disagrees with this assessment. I personally like to keep an open mind. I certainly intend to visit the memorial in the town when I am able. I hope to tell you all about it.

…miércoles, the memorial. The one not due to open for twelve years yet. Did they put that in the timeline?

“She is good,” marvels Isabela.

Dolores has always known everything about Isabela’s life, except for perhaps two months when she was five and Dolores four. As a happy medium of exchange, she’s always known she can talk to Isabela when things bother her, so her melliza understands a bit better.

They’re sitting on the beach together. (Somehow it’s quite rare that Dolores don’t have a heart-to-heart conversation with her family that doesn’t end up in her Room. Then again, it does mean she’s literally on her own ground.)

"I mean, you did kind of spell it out for her that we were brujas all, but never mind that."

“Hm!” squeaks Dolores, mildly indignant.

It’s not as though mentioning the magic is taboo. At least, not in the valley. But too many years of hearing what people said about Tío Bruno—said in general, to be honest—have taught Dolores that sometimes holding that kind of power is seen as holding it over other people, even when your intention is to do anything but. Someone from beyond San Cristóbal—even anyone outside San Ambrosio, really—is going to be even more disconcerted. And admittedly she's probably frightened Coco enough already, even if the woman isn't letting it show.

Maybe she should have been a little more discreet. But she’s done with keeping quiet when instead of causing a panic she can actually do something. She just needs to…measure her response, perhaps.

“She was nice enough to give some advice about Julio, at least,” Isabela goes on.

The boy in question, safe in his father’s arms as he reclines next to her, gives her melliza one of those piercing looks he’s so good at. Isabela grins.

“Do you think we might try that?” asks Mariano. (She knows everything that’s bothering him, too. It’s only fair that he knows at least part of what’s bothering her, so he can help as well.)

“Try what?” asks Dolores.

“I don’t know, maybe…well, it took two generations—four by village reckoning—for the truth about the Miracle to come to light and for the family to start healing.” Mariano’s become a little more blunt over the past year, but never rudely. Just…uncomfortable truths. Just like her. (She can only hope Julio is more like him, if only for her bebé’s sake.) “And she’s already got two children. If she starts talking to them early…”

Isabela frowns. “How? It’s one thing to pass on word that their grandfather was murdered, it’s another thing to put a name and face to the culprit without proof.”

“So maybe not proof,” says Dolores. “Not just yet. Maybe we start with us.” She looks at Mariano for confirmation of what he’s thinking, and he nods happily.

(Julio looks between the two of them and gives them a very quizzical stare. She can’t quite hide the smile that pops up on her face.)

“Us?” And then Isabela catches on. “Ohhhh.”

Stories enough about the family, subtly told, to let Coco Rivera de Reyes read between the lines even further without ever coming out and asking. Stories with enough whimsy that maybe bits and pieces will sneak into the tales she tells her children, give them a taste of the magic that their world denies them. Teach them to keep an open mind, to look in far-off places for the real answers instead of accepting what’s easiest.

Keep their eyes open.

It’s a long shot. Between the three adults in the room they’re not exactly adept at psychological manipulation. (Julio has this knack for getting whatever he wants out of his family, but she’s chalked that up to him being the most adorable being that ever was upon this earth. …stop smirking, Isa.)

"We can’t expect the family to change overnight.” If even the Madrigals couldn’t, even with Mirabel’s Songs leading the way, then how will that work for a family that has outright banned music? “So we play the long game. It's a long time until the world finds out. But Tío Bruno's vision has some leeway to it. And I think we can play with that."

Her melliza nods. So does her husband. (So does Julio. Awwwww.)

Isabela and Dolores share one more thing: being screwed over by too-literal interpretations of Tío Bruno's visions.

If they can make it easier for the poor lady to get a better future—one where her family, and maybe even Mexico, accepts the truth about her papá well before it becomes public knowledge in a small village in Colombia nearly completely cut-off from the outside world—then that's what they'll do.

That's what being a Madrigal means.

#fanfic #encanto #encanto 2021 #tiles on the roof #dolores madrigal #isabela madrigal #mariano guzman #Julio Madrigal #coco pixar #coco rivera #one shot collection #i liiiiiive

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