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solarmorrigan · 8 months

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No one looks like they did in high school forever (be kinda weird if they did, honestly). Changes catch up with everyone sooner or later. For Steve, it seems to have happened sooner.

Personally, Eddie is in favor.

It isn’t that he hadn’t thought Steve looked in good in high school – god knows it isn’t that (Eddie may have thought Steve had been an asshole at the time, but he’d been a pretty one). It’s just that high school had been a time of basketball and swim meets and carefully watching his diet and carefully curating his appearance to match what he’d thought other people would want to see.

The time since graduation has been spent putting on the type of muscle that would better facilitate fighting monsters and keeping a band of misfit children safe (because after three times around, Steve hadn’t quite been able to bring himself to believe that the Upside Down was really gone), being fed by a rotating cast of mothers who appreciate him being there for said misfit children, and in letting himself decide how he thinks he looks good.

The first time Eddie really gets a good look at Steve after he’s left high school, he’s gone from lean muscle and looks a bit closer to the tank that Dustin’s been insisting he is. The first time Eddie sees him in action, he decides he wants to climb Steve like a tree.

Broad shoulders, strong biceps, solid core, thick thighs, that ass—is it objectification if you’re dating the guy and also madly in love with him? Whatever—Eddie is of the opinion that the time since high school has been very kind to Steve, appearance-wise.

He’s startled to realize, then, that Steve does not always share this opinion.

It doesn’t happen often; it’s rare enough that even Robin almost misses it, and Eddie is a big enough person to admit that she’s a more experienced Steve-watcher than he is.

For the most part, Steve is comfortable in his skin; he knows he looks good, he knows Eddie thinks he looks good, he knows what he’s capable of, and he’s pleased with where he is. Some days, though – some days just aren’t good days.

There are times when Eddie will catch Steve lingering in the mirror, frowning over a shirt that used to fall differently, or a pair of shorts that used to fit a little more loosely. He might reach for one of the cookies that Claudia sent them home with after their last dinner over at the Henderson household, before faltering and grabbing an apple instead (or, sometimes, nothing at all). He might wear extra layers, steal one of Eddie’s slightly oversized flannel shirts, go on an extra run, or he might not be in the mood to cuddle up to Eddie in bed (in spite of the fact that Eddie knows how much he loves getting to be the little spoon, even if he still refuses to say it out loud).

Most of these things by themselves don’t really have to mean anything, but somehow, Eddie can always tell when it’s one of those insecure days.

(And if Eddie had ever thought when he was younger that Steve Harrington could feel insecure about the way he looks, about his body, he might have cracked a crass joke about King Steve’s obvious need to overcompensate for something. Now, though, he knows better. Also, he’s a tiny bit more mature than that.)

So when he comes into the living room one afternoon to find Steve practically crammed into the corner of the sofa, curled in on himself just enough to suggest that he’s trying to take up less space, Eddie decides that that will just not do.

Eddie loves Steve’s confidence. He loves the space Steve takes up in his life (metaphorically and literally). He loves Steve, and he sure as hell isn’t about to let him spend the day feeling bad about himself, so he ducks back into the bedroom for the book on his nightstand and then plops down on the other end of the couch.

He reads for a little while and doesn’t really have to worry about getting too distracted from his plan, because he always finds himself tilting towards Steve like a compass to magnetic north, whether he’s actively trying or not. So he reads, and he shuffles around on the couch a bit, and he lists to the side a little, and then he’s finally just close enough to Steve to plausibly ask, “Hey, d’you mind?”

Steve glances up from the magazine he’s been reading, brows furrowed. “Mind what?”

Eddie points to the way Steve’s legs are drawn up almost to his chest. “Stretching your legs out? I wanna lay down.”

And normally, Steve doesn’t hesitate – hell, normally, Eddie doesn’t even need to ask; it’s almost as if he can just tell when Eddie wants to rest his head in his lap and automatically moves to welcome it. Today, though, he rolls his eyes.

“We have pillows on the couch for a reason,” he says, jerking his head towards the throw pillows at the other end of the couch (as if Eddie could forget the throw pillows; they’d spent a goddamn hour at the furniture store staring at the choices and had walked out laughing about how boring and adult and great it felt to be decorating their apartment with fucking throw pillows – but that isn’t the point).

Eddie scoffs. “Why would I settle for a pillow when I could have something way more comfortable?”

“Yeah, there’s no way my lap is better than a pillow,” Steve drawls.

“Baby, your lap is the most comfortable resting place known to man,” Eddie states, so dramatically intoned that it makes Steve laugh, even though Eddie is fairly serious. “Now why would you deny me my favorite place to lay my head?”

Steve rolls his eyes again, but obligingly (if slowly) stretches out his legs and rests his socked feet on the coffee table to make space for Eddie.

“Thank you,” Eddie says primly, before flopping down on the couch and making himself comfortable with his head situated on Steve’s lap, then giving a demonstrative little wiggle to settle in. “Yep, that’s the stuff. Perfect.”

“Man, shut up,” Steve mumbles, turning back to his magazine.

When Eddie glances up to check that he hasn’t gone too far, there’s a bit of a flush high on Steve’s cheeks, but no real displeasure on his face, so he doubles down.

“I will not. Not until you acknowledge the perfection that is your thighs,” Eddie declares, pressing his head further back into Steve’s lap. “Firm, but with just enough give–” he reaches up and pinches the side of Steve’s thigh, smiling innocently when Steve jolts and glares down at him, “always warm. Perfect.”

Steve turns his eyes resolutely back to the magazine he’s got balanced on the arm of the couch. “Not perfect.”

“Well, sure, perfection is subjective, means different things to different people, blah blah blah.” Eddie waves his hand in a vague ‘et cetera’ gesture and accidentally smacks Steve in the arm before he turns his head (and his hair is absolutely going all staticky after being rubbed against the fabric of Steve’s sweatpants, which is going to be a nightmare later, but that’s a problem for future Eddie) and presses a kiss to the spot just above Steve’s knee. “But they’re perfect to me.”

For a moment, Steve is still. Then he shifts slightly in place, and Eddie has the feeling that if he were standing, he’d be shuffling from foot to foot.

“And I have it on pretty good authority that my opinion counts for something,” Eddie goes on. “So if you ask me—which you should—your thighs are one of your best features.”

Finally, Steve glances back down at Eddie. “You think so?” he asks, soft and a little hesitant.

“Absolutely. One of my favorite parts of you, on a rotating basis with every other part of you,” Eddie says, grinning when Steve scoffs, because this time Steve is smiling, too. “What? There are so many good features, I’ve gotta make sure I pay them all equal attention.”

And the thing is, Eddie does know that what got Steve into this mindset in the first place was spending so long seeing himself as valued only for what he can provide physically: a handsome face, a lean figure, a human shield, the Party tank – whatever it is. Most of the time, Eddie makes sure Steve knows what he loves about him as a person, not just about his body. He could gain one hundred pounds, he could lose all muscle mass and be as skinny as a rail, he could look like anything, and it wouldn’t matter, because Eddie loves him.

But that doesn’t mean Steve doesn’t also want a little reassurance now and then that Eddie loves his body, too – which Eddie does, and is happy to provide.

“And today, I’m paying attention to your thighs,” Eddie concludes.

“Stop saying ‘thighs,’ it��s starting to sound like gibberish,” Steve shoots back, but there’s a pleased tilt to the corners of his mouth now.

Eddie hums. “I especially love when you let me lay in your lap. Love having your legs under my head. Or wrapped around my head.” He waves his hand around his face, smirking up at Steve. “Just, in the vicinity of my head, really.”

Steve loses the battle with the laugh he’s been trying to hold in and it overtakes him, shaking with mirth under Eddie while Eddie smiles along with him.

“You’re ridiculous,” Steve says, once he’s gotten his breath back.

“I’m just putting it out there,” Eddie says.

Steve cocks one eyebrow at Eddie and turns back to his magazine with a smirk. “Uh huh. Well, I’m a little busy right now.”

“Oh, sure, me too,” Eddie says easily, bringing his book up over his face as if he’s going to continue reading, even though he isn’t even sure he’s on the right page.

They do settle after that, though, quiet and close and comfortable being draped over and under one another. Steve’s hand finds its way into Eddie’s hair and cards through it absently like he’s petting a cat. Eddie would probably purr like one if he could.

“Love you,” Steve murmurs, glancing down as he flips from one page to the next.

“Love you, too,” Eddie replies, tilting his book away just enough to smile up at Steve.

Maybe later Eddie will get to prove how much he loves Steve’s thighs wrapped around his head. Maybe not. For now, though, he hadn’t been lying – just this is perfect.

[Prompt: Resting your head on your partner's lap]

#steddie #steve harrington #eddie munson #stranger things #eddiesteve #solar wrote #cw for some discussion of weight/body issues #this is mostly fluff though #promise it has a positive ending

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earthtooz · 1 year

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fluff :p gn!reader, reader has a quirk, kissing cringe, not entirely proofread, lmk if there are other warnings

the first time that bakugou katsuki was teased by the students of class 1-a, midoriya was shocked to his core. baffled. taken aback. astounded.

so imagine his shock when the bakugou katsuki chases after someone, rather than the other way around.

oh, midoriya is floored because when they were in middle school, the explosive blond would (literally) blow up any love confessions he received, ruining the beautifully decorated cards, and crumpling any boxes of chocolates that people would gift him. his reputation around school with romance was not great, but that did not seem to deter people. he had a good quirk, good looks, and good grades, a big three of requirements for a love interest, apparently.

even though bakugou did not know how to interact with anyone rather than giving them the stink eye.

it got to the point that bakugou seemed to not have an ounce of compassion or romantic urge within him, too in love with the grind to adore another.

then, you came along.

beautiful, powerful, talented you. graceful with your quirk, competent in the field, and loved by your classmates, it seemed like you had bakugou charmed too.

midoriya noticed when the small things began happening, such as bakugou addressing you by your name rather than a ridiculous nickname, complimenting you- albeit gruffly, but nevertheless complimenting you, or even catching him looking at you during class. since you were seated across the room, it did not take a genius to know that bakugou was distracted from his studies, specifically because of you.

then, towards the end of first year, you officially become (dare i say) friends.

but the purely platonic vibe is never really there. you piss bakugou off to the point that he’s chasing you around campus, giggling at his empty threats as he catches you by the waist, holding you for a little too long.

bakugou takes the initiative to be as close to you as possible; always settling for the seat beside you on the couch, tugging you by your shirt towards him when he deems you’ve strayed too far away, and letting you be the taste-tester for his meals.

you take the time to talk him through his temper tantrums, calming him with ease despite performing a task that midoriya thought was impossible. you’re patient with bakugou, mindful to give him space whilst not treating him like a child that has been banned from the candy jar. you handle him at his worse, despite all the metaphorical explosives in your face.

bakugou works you through your struggles. your quirk is not cooperating with you? he offers you solutions. struggling with classwork? just ask bakugou and he’s telling you to sit your ass down so he can explain to you what is happening. although, unlike how he treats kirishima, he bides and explains everything to you civilly until you understand, even when you’re frustrated by your own shortcomings.

bakugou’s chasing after you and he’s running, sprinting as fast as his legs might allow.

he asks his friends for advice, they all come up with nothing worthy of you, and he was not going to confess to you like those pussy ass middle schoolers.

no, because where they looked at him like he was some sort of eye-candy; a prize to be won, he looks at you as if you’re his fucking limited edition all might card that he so desperately wanted signed. as materialistic as that sounds, that (stupidly cool) card is something he treasures, carefully laminated in a memory book where the card itself takes up a whole page of its own.

he too looks at you with soft gazes, and a desire to keep you with him as long as you’ll allow.

bakugou’s chasing after you and he’s using his explosions to increase his speed, wanting to close the distance in between.

but he skids to a halt one night. when the heart palpitations cease his rate completely, all the air is drained from his lungs, and the quivering of his limbs just stop, because you have just kissed him, on the balcony of his dorm, with the sun setting in the background.

he chases after you, knowing nothing but you, beautiful, powerful, talented you, as bakugou pulls you into a breathtaking kiss.

his heart is now revived, yearning for nothing but you, the air has returned for him to share with you the magnitude of his adorations, and his limbs are frantically holding onto your face.

he realises now that this chase has never been one-sided, and that you have been running to meet him in the middle after all this time.

midoriya is a little less shocked when he receives the news that you and bakugou katsuki are now dating.

#i had an idea #and i attempted!#somebody take bakugou blurbs away from me #bakugo x reader #bakugou x reader #bakugou x you #bakugo katsuki x reader #bakugo katuski x reader #mha x reader #bnha x reader #mha fluff #bnha fluff #bakugou fluff #bakugo fluff #bakugou imagine #bakugo imagine #my hero academia x reader #boku no hero academia x reader

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heliza24 · 2 months

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I want to talk a little bit about Daniel in the Interview with the Vampire show, because the new trailer material has me stuck thinking about him, and also I’ve never written about how meaningful he is as disabled character to me before.

I don’t see many people thinking about show!Daniel in these terms, but he’s a canon disabled character. And I think the way he is written is just SO good. The acerbic wit, his relationship to doctors and his medication, his rueful acceptance of the way his disability has changed him. It is all so correct!! It’s really incredibly rare to have not only a disabled character written this well but specifically a chronically ill character written this well. His illness is always present; it doesn’t get forgotten about by the story. It gives Daniel insight into the vampires (more on this in a min), but it also gives Louis and Armand leverage over him. When Louis triggers his Parkinson’s symptoms? Deeply not ok. But that’s what made it such a great scene, and really made Louis feel dangerous and threateningin that moment. Armand and Louis arranging Daniel’s meds is a sign of great care and also great power over Daniel. It’s the perfect way to communicate the complicated power dynamic in their relationship.

I also just fucking love that this show takes place in 2022 and doesn’t erase the pandemic. Covid is a very present concern for Daniel and I cannot describe how validating that is for me as someone who is clinically vulnerable to Covid and who has had to really limit my life and take a lot of precautions because everyone else has decided to stop caring whether they pass on Covid or not. The fact that Daniel gets on a plane to Dubai is a BIG DEAL. He’s risking his life to talk to Louis and Armand before he’s even in the room with them. He really wants to be there. I have to make a similar calculation every time I travel, and trust me, getting on that plane knowing getting sick could spiral you into even worse health or kill you is really hard.

I think making Daniel disabled and including the pandemic is kind of a genius level decision on a thematic level. Of course Daniel is now facing down his mortality, which gives him a whole new lens on the vampires and the fact that he once asked them to turn him. And the pandemic further highlights his fragility, and is also possibly being used as a cover for drama that’s happening in the vampire world. But I think it also really sets Daniel up as a foil to Louis.

There’s a lot of analysis of the vampire chronicles that reads vampirism as a metaphor for queerness. But I would actually propose that it’s a much neater parallel for disability and illness in a lot of ways. So many of Louis’s initial experiences after being turned resonated with me, as someone who became chronically ill in my 20s. My appetite and relationship to food completely changed, much like Louis. My relationship with the outdoors and the sun changed, because of dysautonomia and allergy reasons. I was very mad, and very depressed, and I too have missed out on birthday parties and big life events like Louis did because I was too sick to go. Hell, you can even say that the way that Louis is treated as evil by his family, that the way vampires literally can’t be a part of society during the day, is reminiscent of ableist exclusion and ugly laws. (Ugly laws were laws that forbid disabled people, especially those with visible differences, from being out in public, and they were on the books in many American municipalities until the 1970s.) You can look at Lestat being an out and proud vampire in the first few episodes on the season and imploring Louis to leave his shame behind as a queer thing, but you can also view it as a disabled thing. Disabled people are portrayed as monstrous so often (and in a way that has gone relatively unexamined compared to say, the queer coded villain trope) that sometimes it’s just easier to embrace that label: I’m the monstrous Crip, but at least I’m not ashamed of or disgusted by who I am anymore.

I do think the real strength of this adaptation is that while you can find parallels between queerness or disability or other forms of marginalization with vampirism, ultimately it’s not a one-to-one parallel. It speaks to the real world but ultimately it is a gothic horror story about supernatural monsters. So I don’t mean to say that vampirism directly equals disability, because it does not. But I do think that making Daniel disabled was an intentional choice to help draw out some of those parallels, and I think the text is richer for it.

So Louis and Daniel have had these kind of parallel experiences of uncontrollable and difficult things happening to their bodies. It sets them up perfectly as foils, and even, I would argue, as the A plot and B Plot protagonists. This is one of my favorite ways of kind of examining the structure of a TV show (or maybe it’s that most of my favorite shows seem to be structured this way?). When TV was all episodic, it would be common to refer to the A plot (mystery of the week), B plot (interpersonal drama happening as the mystery gets solved) and C plot (any overarching plot tying the season together) in an episode. Now that stuff is serialized, there’s often a main protagonist, who has the main dramatic question and the most agency, and then there is often a secondary B plot that explores similar themes and mirrors the A plot, or presents a second main character who is the ldifferent side of the same coin” to the main protagonist. (My favorite example of this is Flint and Max in Black Sails, and I’ve also made the argument that Wilhelm and Sara fit this pattern in Young Royals.) In IwtV, Louis is obviously the main protagonist of the show, especially in the A Plot, which is the stuff taking place in New Orleans/Paris. But I would argue that Daniel is the protagonist of the B Plot set in Dubai. At the very least they’re intentionally set up as mirrors of each other:

They are both unreliable narrators, who are struggling with the way memory contorts (through memory erasure, illness, deliberate obfuscations, and just the passage of time). The most recent teaser trailer, where we hear Louis saying “I don’t remember that”, with panic in his voice, further underlined this similarity between Louis and Daniel to me. I don’t know if it means that Louis has also had his memory tampered with, as I’m assuming Daniel has, but I do think it means that Louis is going to be struggling with feeling out of control of his own narrative more in season 2, a thing that was already starting for Daniel in season 1.

They are also both locked into power struggles with people more powerful than they are. The fact that Louis is under Lestat in the flashbacks and above Daniel in the Dubai scenes in terms of power/status makes it all the more interesting. And, if we want to go ahead and assume that the Devils Minion’s years have happened in the past by the time we get to Dubai— it’s possible that both Daniel and Louis are united in being the less powerful partner in their own respective fucked up gothic romances.

They’re also both the audience’s entry point into their respective stories. Louis’s narration guides us into the world of vampires. Daniel’s questioning satisfies our human curiosity in Dubai.

I think one of the things that makes the show so special is the way that these two protagonists interact. In a lot of shows the a plot and the b plot stay pretty separate. I love talking about Black Sails for this because I think it’s such a good example; Flint and Max never exchange dialogue the entire show, even though they’re so clearly affecting each other the whole time. But the way that Louis and Daniel clash in Dubai is so exciting. We see them both wrestling for control of the narrative. It’s thrilling to watch and it just hammers home the theme of how complicated and changeable stories can be.

I am SO excited to see how the Dubai scenes play out in season 2 because of it. I really can’t wait. I’m really hoping we’ll see Daniel and Louis’s relationship evolve in surprising ways, and I’m holding my breath that we’ll get a lot of Armandaniel material to work with. (I have a whole other post drafted that’s much less smart than this one and is just me waxing poetic about Devil Minion’s theories which I may post at some point. You have been warned.)

I do have two wishes for Daniel in the new season, and they’re 1: that he gets to have romance/sex, because disabled (and older!) characters are so often seen as unworthy of being desired, and I would like to see that challenged and 2: that he continues to refuse to be turned/is not offered a vampiric cure for Parkinson’s. The magic cure for a disability or chronic illness is probably my least favorite disability trope, because it serves to erase disabled characters and representation from the narrative, and I want to see my experiences continue to be reflected in Daniel’s. That means that whatever ending Daniel’s story has will probably have at least a bit of tragedy baked into it, but I’m ok with that.

#interview with the vampire amc #interview with the vampire #iwtv #daniel molloy #armandaniel #devils minion #louis de pointe du lac #armand #my meta #my crip media reviews

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verysium · 5 months

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PLEASE DO BLUE LOCK ICKS IM BEGGING🙏😭🌹

😏 coming right up anon. gonna channel my inner critic and not hold back on any of these.

RIN

brother complex. not much else to say except that he needs to get a life. not everything is about metaphorically crushing your older brother's dreams and brooding in the dark hate of retribution.

competitive but only because he is a desperate whore for external validation. ignores everyone but craves the attention of a sole person named sae itoshi. was defeated by isagi once and has never let go of it since. has a one-track mind that is impossible to derail. stubborn when he wants to be.

probably a virgin and will continue to be one until his late 30s.

has not known a single day of peace ever since sae ditched him for the popular girlies. as a result, he has developed a very concerning case of social awkwardness. his idea of a conversation involves a brick wall and thirty minutes of you staring at his resting bitch face. constantly looks like that one grumpy cat meme. judges you for your poor decisions but then gets aggressively defensive when you point out his own mistakes.

reeks of so much teen angst that even metallica can't save him. the problem is that he has nothing to back up his emo persona. his insults lack creativity and, unfortunately for him, phrases like "lukewarm" and "half-baked" and "hell" do not make his words carry more weight. uses the f-word but in the most embarrassing context that it makes you facepalm and internally cringe.

SAE

zero social awareness. this boy's head is empty. the lights are not on up there. there are no picture frames or furniture. the curtains are drawn, and there is not a sliver of clouds or sunshine. cannot read body language and does not know what a filter is.

the source of all of rin's stress. he is the original trauma projector, creator of generational cycles. not even subtle about it. "turns out i was wrong. i thought japan was incapable of ever giving birth to decent forwards." sir....with the way you worded that, you knew exactly what you were doing when you gave rin false hope.

swears but it's even worse than his brother. literally called his elders a "fatso and bob cut duo" and "insect turd." i mean....there is a line between what is considered a legitimate burn and what is a first grader making up insults in his coloring book.

has a horrible haircut and no fashion taste. i already talked about this previously, but it was so bad it deserved a second mention.

a freak but tries to justify it rationally. like what do you mean you can tell a person's athletic ability from their buttock size? just admit you have a kinky fetish already.

somewhat of a coward but i'm gonna give him some leniency due to his tragic child genius backstory. tbh he's just an eighteen-year-old boy who needs a goddamn break.

KAISER

alexa please play clown music. this man sets himself for failure and then wallows in self-pity when he actually fails. like what did you expect? you knew what was going to happen the moment you challenged isagi like that. it was most definitely your fault you got violently humbled.

has a borderline god complex (currently calls himself an emperor but has not evolved into a deity yet.) unfortunately, he does not stand on business. cue the dramatic meltdowns when he realizes there is an actual gap between his ability and his reputation. if you're going to lie, at least make it believable.

insecure and mentally unstable. he probably cuts and re-dyes his hair every single time shit happens. no wonder his locks get shorter every time.

lazy when it comes to anything that is not football and expects others to do it for him. demands princess treatment wherever he goes. unfortunately, not all of us have servants with no self-respect like ness.

"it is not enough that i should succeed, others should fail" type of person.

does not wear shoes and even if he does, it's sandals. put them grippers away.

NAGI

a literal sloth who has so much potential but uses none of it. has no intrinsic motivation of his own, so if he's going to do anything, it has to be you behind the wheel, making sure he gets put to work.

does not have a close relationship with his parents, and so he has no sense of community, holidays, or traditions. no fun at all if you want him to do things like christmas shopping or birthday celebrations.

rots in bed all day and then has to nerve to ask you to carry him around. your back better be strong because his 190 cm body is not going to be light.

not loyal (need i say more.)

REO

second male lead syndrome. also known as that one popular guy who's always picked last.

acts like a victim but then when you realistically tell him to how to change his situation he refuses to do so. you cannot ask for advice and then take none of it to heart. no wonder you're still not over your ex.

"i can fix him" mentality. no, you can't. you are a seventeen-year-old child, not a licensed therapist and nagi isn't even all that.

NESS

touch-starved to the point he will stay in a toxic and abusive relationship in order to gain some scrap of affection. just because you were the black sheep of your family does not mean you can lose all sense of personal dignity.

probably stalks all the people he hates. has a burn book like regina george from mean girls. cuts out and glues little pictures of kaiser all over his bedroom. doodles hearts all over it with glittery gel pen. isagi's face and name are scratched out of every team photo.

delusional and prone to mood swings. medicated but at this point, he is beyond saving.

ISAGI

a home wrecker. has ruined more relationships than he can count on ten fingers yet still manages to smile like he's some angelic saint.

solves jigsaw puzzles for a living (not very cool if you ask me.)

has some unresolved anger management issues. probably repressed all his negative feelings when he was younger, so it all comes out when he's on the field. unfortunately, his twilight-sparkle-friendship-is-magic agenda is not going to work if he keeps cussing out his teammates like that. but then again, he is the main character, so i guess his plot armor makes up for his pitfalls.

says that he's a good guy but then holds personal vendettas against rivals he doesn't like. boy was so ready to throw hands when #kaisagi was trending on the internet. but when you actually think about, he's similar to kaiser in more ways than he'd like to admit.

BAROU

has the worst case of high and mighty "holier-than-thou" attitude. isagi put his ego in check, but it still peeks out from time to time.

he was the ugliest baby when he was born. i am not going to hold back on the child barou slander because it is true. no, he was not a cute and lovable bundle of joy. he looked like a demonic gremlin.

he needs to take more risks in life and try cross-dressing. simply imagining him in a maid uniform will not suffice. it needs to be made into a reality.

with how nit-picky he is, i doubt people can realistically stay within a 1-meter radius around him. unless you are a clean freak yourself, his constant complaints will start to get annoying after a time. even if he does have good intentions, he needs to let people have a little breathing room sometimes. a messy room is not going to kill you.

BACHIRA

this boy's brain is smooth. no folds. no gray matter. no intelligence either. his pencil and eraser have been left untouched since day one. if he wasn't crazily good at football, he would be unemployed and homeless in the future. not even a mcdonald's wants him.

one of those people who will do the literal opposite of whatever you say. you want him to stop talking? well, now he's never going to shut up. you tell him not to step on a pile of dog shit? well, now he's going to walk right into it. you want him to quit running around and act normal? well, now it's his life's mission to make you as annoyed as possible. please pray for your hair follicles because at the end of the day, you're not going to have many left with how much he makes you want to tear your hair out.

has the cerebral capacity of a toddler. if he thinks monsters are real, he's going to think anything is real. super gullible when it comes to any form of scam, ploy, or trickery. the only way he would not be fooled is if he's also played the same prank before.

SHIDOU

a brazen pervert. says the most out-of-pocket things and refuses to apologize for them. sometimes it comes out a little too sleazy for your liking.

"to me a goal is fertilization! a shot is the seed and the goal is the egg!! and the birth of that joy i call an explosion!! my genes are gonna knock you up!" let us give ourselves a moment of silence to digest this quote. only shidou ryusei would come up with a sperm and egg metaphor to describe football. (i guess protection means nothing to him.)

has no empathy. if you dislike him or cannot keep up with him, you're a literal nobody in his books. no sportsmanship. no compassion. no self-awareness.

you cannot say "balls" to him in a serious tone without him misinterpreting it as something dirty. that alone should tell you enough. stay the hell away from him.

where do men get the audacity? right here. from this little bastard. he invented the term "shameless slut." boy was getting off during the u-20 arc and on live TV too. no wonder sae said he was disgusting.

and finally, he comes from a long line of cockroaches. he's even got the antennae to prove it.

i think this might have been a little excessive, but i have no regrets about it. you're welcome anon ♡

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ravens-two · 9 months

Text

PICK A CARD reading

How do other people see you?

Pile 1 -> Pile 2

Pile 3 -> Pile 4

Decks used: Dark Wood Tarot & Green Witch Oracle

TIPS | BOOK A READING WITH ME | PATREON | LINKTREE | SUGGEST A PAC TOPIC

Pile 1

Strength & Banana

Main Star sign energy: Leo & Cancer

Hi, Pile 1, Banana is the card of duality and so I think that it may be that people see you in very different ways, like you're not very consensual to the general public. The people you meet can't really decipher you, some perceive you to be incredibly nice, while others find you off-putting. However, with this card and Strength I also feel like people turn to you a lot for advice. People find you to be very wise, and most of all, impartial. They trust that you will see things from every perspective and offer the best advice you can. This also means that some people see you as a devil's advocate, because you insist on giving voice to different points of view.

In general, I think that people perceive you as being very outspoken, you don't shy away from conflict, but you don't go looking for it either. It's just that it naturally finds a way to you and you can't help but stand up for yourself and others. I also feel like other people find you to be a very calming presence, I think that it's mix of it just being your vibe, but also that they know that they can count on you to help solve any problem that might come up.

A bit random, but I think that you are known to make dirty jokes and also your sense of humor is very underrated, kind of deadpan and sometimes others can't tell if you're being serious or not.

Other people see you as being very confident in yourself, even if you don't feel like that. There's a sort of confidence that shines through you. Also, you are known as being very loyal to your friends.

Pile 2

6 of Cups & Lemon

Main Star sign energy: Gemini, Scorpio & Cancer

Pile 2 the first thing I'm getting with your group is that you have big Cancer energy. Being with you feels like coming home. I think that the people closest to you feel almost "mothered" by you, I mean this in the best way possible, they know that they can count on you to make them a nice cup of tea, pull out a blanket and hear out their problems. You have a very safe presence.

Some not so nice energy that is also coming through is that some people think that you're stuck in the past. This sentence is coming through very clearly like this to me, but I think that it will apply differently to each of you. It might be a bit literal, like you refuse to embrace new technologies for example or it could be more like you are frequently reminiscing about the good old days. I think that sometimes you are seen as being a bit sad, like filled with ennui if that makes sense. Despite that, I think that you are someone who remembers. You always know your friends birthdays and you remember the little details about their lives, and they appreciate this so so much.

With the lemon card I think that you are very talkative, but only when you feel comfortable. And the interesting thing is, when you get to the stage where you're really really comfortable you start to hold back less and less and you end up being a bit mean with your words. You're not trying to be mean, but they might sting a bit because you're brutally honest. Also, with lemon being the card of cleansing I think that your friends perceive you as being very good at cleaning. I mean this both in a literal sense (lol) and metaphorically. You're good at closing old chapters and cleaning out the old to bring in the new (with a twist too, because you always make space for the memories). You give me this vibe of it doesn't matter if it was good or bad, it matters that it happened.

Pile 3

Empress & Orange

Main Star sign energy: Virgo & Taurus

Pile 3 people see you as being full of life and energy. You are the life to her party, even if there isn't a party, you know how to cheer and pump up the people around you. I also think that people find you very charming and they love to hear you talk. In fact, I think that others love being around you and being around your energy, because it's just so big. Do you know that poem about the orange? In this metaphor you are the orange.

There's also this really interesting vibe that you are very sensual, it could be like sensual as in sexy, but like sensual as in using your senses. You love eating, you love listening to music, you love pretty things. I think that your friends and acquaintances even always ask you about restaurant recommendations and stuff like that. Also, other people love your style and your aesthetic. In fact, they really admire how cohesive you look.

Others also see you as someone who is incredibly creative and that is always filled with ideas. Honestly I think that most of you are either studying arts/design/etc or you work in those areas. You are known for your work. There's also this thing that if one of your friends has a problem they will come to you if they need an out of pocket solution. Like, you always have one. Your friends love your sense of humor, it's always so random and unpredictable. And I honestly think that you might be very popular on social media.

Pile 4

7 of Swords & Pea

Main Star signs energy: Pisces & Aquarius

Hey pile 4, you are the embodiment of chaotic energy. I don't think that anyone can pin you down, and when someone thinks that they have you figured out you immediately prove them wrong. This is big Aquarius energy honestly, not with the chaos, but with the fact that you see things in such a different manner that no one can predict what you are going to do or say next. I also think that you're the type of person to lie for fun (nothing serious of course, but just making up a whole different life to some stranger you'll never see again).

You are filled with ideas and people find you to be a good communicator. In particular I think that you're good with speaking and writing. There's also this vibe that your friends never know when to expect an answer to their texts, it could be immediately or three weeks later.

Your mind is very very busy, always buzzing with new ideas and scenarios and I think that sort of comes across to other people who think you are a bit scatterbrained. Also, people think that you are very smart. I am also getting this vibe that you have a sharp tongue, especially when it comes to social commentary. Sometimes you'll make a sarcastic comment about something around you, but not everyone will get it and those people find you a bit weird. You may get lost while telling a story, going on multiple tangents to explain your train of thought. And I also think that you get distracted easily. Some people find that a bit annoying, but your friends find it endearing.

There's this type of trickster energy here with the 7 of Swords so it might be that you are known for pulling pranks on your friends. Your presence is very fun, but sometimes a bit unsettling because again, no one knows what you're going to do next.

#pac reading #pick a card #pick a pile #pick a picture #tarot reading #tarot

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cobragardens · 7 months

Text

The Golden Lion

For all that Aziraphale is the more frightened of the two of them, Crowley is the snake: he camouflages himself carefully, and his first instinct is always to flee.

Aziraphale's is to stay. He insists on facing the Apocalypse. He insists on facing the Second Coming. He insists on trying to make a difference. He doesn't want to go up to Heaven, but he does it anyway, alone, because he wants to stop the destruction of Earth (again) and keep Crowley safe.

He's very difficult to shame, too. He never gives up his innocent pleasure in eating, even though Heaven, Hell, and probably people on Earth all mock him for it. He's soft and he remains soft, even after Gabriel shames him for both his physical and metaphorical softness. That takes a lot of strength and an unshakeable character.

You know the gold ring Aziraphale wears as a badge of office, that functions as the counterpart to Crowley's snake tattoo? The charge on that ring is a lion.

The heraldic attitude of the lion is rampant (i.e., reared up): it stands on its hind legs with its forelegs raised, as though attacking, and its head is forward-facing: it looks forward, toward the future.

Obviously in popular symbolism, lions represent bravery, and that definitely fits Aziraphale. He's literally leaving the only person who has ever loved him to go make the universe a better place for that person and for everyone, and he's going alone amongst the people who have despised and shamed him his whole existence and tried to kill him at least once; those people are mfing Heaven and have been entrenched in their power for thousands or millions of years. It doesn't get a whole lot braver than that.

In Christian symbolism specifically, the lion represents Christ. (He's referred to in the book of Revelation as the "lion of Judah" because the heraldic symbol for the tribe of Judah was a lion and Jesus was said to be from the tribe of Judah because his [step]father Joseph was from Judah.)

Normally when a story draws a parallel between a character and Christ, the parallel is one of self-sacrifice. That's not what's happening here. When symbolism for Christ represents his self-sacrifice, Jesus is invariably associated with a lamb--the sacrificial lamb--not a lion. When that symbolism represents Christ's mercy or holiness or divine nature/ordination, the dove of the Holy Spirit is used.

But the lion is a symbol inherited from the Old Testament. It represents royalty, power, threat, and seizure from others by force. Jesus is symbolically depicted as the lion upon his return to Earth during the book of Revelation. The lamb is Jesus' self-sacrifice and death for the sins of humanity, but the lion is Jesus' return, powerful, royal, and triumphant.

Does Aziraphale's ring foreshadow his involvement in the Second Coming of Christ? Probably! Is it a symbol that Heaven is the proverbial (and biblical) "lions' den" where they should be doves and lambs? Maybe.

I think it more likely that Aziraphale himself will be the lion, on a righteous rampage like Jesus chasing the moneylenders from the steps of the temple, telling them "It is written, My house shall be called the house of prayer; but ye have made it a den of thieves." Because the ring is a signet ring, meant to impress a seal that legally represented the wearer as an individual. So the lion is linked to Aziraphale himself.

Aziraphale is soft. It is one of his very best qualities. And soft and weak are not the same thing: because he is soft, he tried to kill the Antichrist, a child. Because he is soft, he stood alone before a demon in defiance of the will of Heaven and demanded with no power whatsoever to back him up that the demon spare children whose murder God had authorized. He, an angel of God, worked with a demon to deceive the Heavenly Host and, as he points out himself, thwart the will of God. Even before that, because he was soft, Aziraphale gave humans the gift of fire and self-protection and then lied to God Herself about it. I mean it literally does not get any more courageous than that.

And I can't stop thinking about what that lion, and that softness, and the link between the two is going to mean for S3.

#good omens #good omens 2 #good omens aziraphale's ring #aziraphale's ring #aziraphale #good omens analysis

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ghost-proofbaby · 1 year

Text

twenty four hours (modern!eddie munson x fem!reader)

HOUR TWO

in which eddie munson and you absolutely hate each other's guts. what happens when your friends make a bet that you can't spend more than twenty four hours consecutively together?

→ tropes: enemies to lovers, forced proximity, slow burn

→ warnings: strong language, eventual smut, upside down does not exist, minors dni, eddie is especially mean in this one (be warned), mentions of blood (in metaphors, not literal)

→ pairings: modern!college!eddie x college!fem!reader

→ wc: 4k+

→ a/n: i just wanted to take a quick moment to say thank you for all the love on the first chapter of this!! i appreciate it beyond words <3

masterlist.

spotify playlist.

◁ previous part, next part▷

2:00 ─ㅇ───────────────── 24:00

HOUR TWO - 5:00 PM

It’s a miracle. Eddie is surprisingly quiet for the first hour after your small kitchen dispute.

He resides reading a book on one end of his couch as you sit awkwardly on the other end, fiddling with your hands before finally caving and deciding to scroll mindlessly on your phone. You exhaust every social media app you have downloaded – Instagram, Twitter, Tumblr – before finally turning to Tik Tok. Adjusting your volume doesn’t even cross your mind.

That’s all it takes to finally set Eddie off.

It starts small; he shifts around after the first video, a prolonged sigh after the second video, a quick side-eye after the third video. Finally, after the fourth video and no sign of you turning down the volume, he huffs and snaps his book shut.

“Do you have to watch that shit so loudly?”

His tone is laden with utter annoyance. You’re caught off guard initially, having blatantly ignored his previous signs of being irritated by the noise, and your head whips up in his direction with wide eyes. The shocked look on your face quickly contorts when you catch his stare, full of hatred and vexation.

“Oh, I’m sorry,” you scoff, “Let me just die of boredom I guess.”

“I didn’t say you had to do that,” he narrows his gaze and matches your attitude with ease, “Just… solve the boredom quietly. Like I did.”

“You were quiet because you had a book. I don’t have a book.”

He waves an exasperated hand towards the coffee table where you catch sight of a few magazines, “Please, take your pick.”

You lock your phone reluctantly, tucking it beneath your thigh as you lean forward to glance over your options. There’s one about cars, obvious by the shiny vehicle that sits pretty on the cover, and a few hidden beneath it. You reach out and shift the laminated papers about and catch sight of a Rolling Stone cover.

That one piques your interest, but stubborn as ever, you won’t admit it.

“Those are the most boring fucking magazines I’ve ever seen. Who the hell likes to read about cars?” you deadpan, holding the car magazine up with a scowl.

“Me.”

“Predictable. What’s next, a Playboy?”

“You’re hilarious,” he says without a hint of amusement, “Truly a comedian. Can’t you just see the tears streaming out of my eyes from how hard I’m laughing? Incredible.”

You decide to not entertain him any further. Your hand grabs the Rolling Stone magazine, ignoring his burning gaze before you settle back into the couch.

If he wanted to be a dick, that was fine. You were used to it by now; you’d spent the last year growing accustomed to his cold shoulders and his bitter moods around you. At this point, you expected nothing less from him. Spending a little extra time together didn’t magically change it – at both your cores, you harbored a disdain like no other. You fundamentally hated Eddie, and Eddie fundamentally hated you. The confined space, forced proximity, ticking doomsday clock, and promise of cash did nothing to put any notches in those feelings.

“Interesting choice,” he murmurs under his breath, beginning to relax back into the cushions as well.

“What? Is it a crime for me to like-” you pause, flipping the magazine shut to check the slick cover for what the specific issue was even about, “-The Ramones?”

So maybe saying you liked The Ramones was an overstatement. But at this point, you’re only picking a fight for the sake of picking a fight. Because you don’t know how else to communicate with Eddie aside from with a sharp tongue and turbulent sense of sarcasm. Because when it came to the two of you, there was no such thing as small talk.

Everything was always big. Loud. Screaming matches, bold assumptions, critical insults.

“Pump the bitch breaks,” his eyebrows furrow, as they always do when he glances your way, “I was trying to be civil.”

“I didn’t think civil was in your vocabulary when it came to me.”

He exhales deeply, letting his head fall back in contempt for a moment before he lifts it and looks at you, “Is this really how you want it to be?”

You don’t reply, and he takes it as his cue to continue.

“Do you really want to keep up the miserable act the entire twenty four hours? Won’t it get exhausting acting like a spoiled brat for that long?”

“I’m not acting like a spoiled brat,” you snap, the magazine now discarded and draped across your knee, open to a random spread, “As far as I’m concerned, it’s not an act. Make no mistake, Munson, I am only doing this for the cash.”

His book lays to gather dust on the coffee table as he leans his elbows onto his knees, twisting his body ever so slightly to face you more fully, “Really? There’s gotta be easier ways to make cash. I’m sure if you asked Stevie boy real nicely, he would have let you put that mouth to use for a quick buc-”

You cut him off, because you know how this sentence ends, and it’s too far. He’s crossed a line. You had expected it, should have seen it coming sooner, but it’s crossing a line all the same.

“Stop,” you firmly instruct, holding up a finger, “Not that it’s any of your miserable business, but me and Steve are not like that. At all. So you can fuck right off with that comment,” you only pause briefly, and you’re glad when he doesn’t interrupt you, “And, may I remind you, you’re also getting payment out of this. I could say the same thing to you, dickwad.”

It had been a curious itch beneath your skin – you knew why you needed the extra cash so badly, but you had no idea why Eddie did. Beneath all the hate, all the irritation, the question had come to mind briefly. But it had been pushed down by disinterest in all things regarding the man before you. At the end of the day, you didn’t care what motivated him. You didn’t care about what he did for work, you didn’t care about what magazines he read, and you definitely didn’t care to know if the five hundred was as necessary for him as it was for you.

This was a means to an end – nothing more, nothing less.

“Dickwad?” His nose crinkles as he parrots your words back to you, “Jesus, did you ever learn any new insults past middle school?”

You’re ignoring him once more, picking the magazine up off of your knee and burying your nose in an article about the greatest punk albums of all time rather than letting yourself be dragged into further conversation with him, trying to send the message that this discussion was over.

The message isn’t received. It flies right over his head.

“Pardon me for the assumption,” you can see him hold his hands up in mock surrender in your peripherals, “You and Harrington just seem close.”

You should just keep ignoring him. You should actually read the words inches from your face. You shouldn’t say another word; your gut is screaming at you to not say another word.

But you ignore your gut, just as he’d ignore your disinterest in talking to him.

“What happened to being quiet? I think I liked it better when you weren’t speaking to me,” you try to say casually, keeping an air of indifference. You should have known better. As your mother always said, once you start feeding a stray, they continue to come back.

“Sounds like it’s a sore spot. Are you and Harrington that close?”

“Not in that way,” you grit out behind the pages, “We’re close, but not like that.”

Your answer doesn’t satisfy him like you’d hoped, “Oh, it is so a sore spot.”

When you finally drop the magazine to properly look at him again, it only fans the anger. He looks smug as he crosses his ankle atop his knee, leaning back and looking you over as if he can read you like cellophane.

“It’s not,” you stress, “Seriously. Drop it.”

In all truthfulness, it wasn’t a sore spot – not when it came to Steve. You’d always been strictly platonic, fitting fairly effortlessly into his and Robin’s friendship.

“You definitely want to fuck Steve.”

“You know what I actually want right now?”

“Please, enlighten me.”

“To knock your teeth in.”

The magazine is tossed back onto the table, nearly sliding off the edge from the force behind your throw. He’s relishing the way you’re continuing to get more upset, the way he’s still inching beneath your skin in a grating motion. To him, this is all just a joke.

“I’d love to see you try, sweetheart,” he mocks, smiling with his teeth as if to taunt you.

“Why did you even agree to this?” you finally turn your body towards his and mirror his position, “Is it fun to you? Is that what it is?”

The smile widens, “You know what? Yeah. It is fun to piss you off.”

“Yeah?” you imitate him, putting on a forced smile in an attempt to look as ridiculous as he did right now. You fold your hands and prop your elbows onto your knees, continuing to mock mercilessly as you balance your chin atop them and bat your lashes dramatically, “Please, tell me more. Tell me all about how fun it is.”

In an instant, you drop the smile and begin to return to your previous position. It was rhetorical – you don’t expect a response, and yet he offers one nonetheless.

“Well,” he begins, “First of all, the way you go red in the face is fucking hilarious. Seriously, it’s just like the cartoons. Absolutely ridiculous. I think by the end of this, I’ll get to see steam come out of your ears,” you’re already reaching for your phone, tuning him out, as he continues on, “And then it’s the way you’re just so damn easy. I mean, come on. Sometimes, all I have to do is breathe, and it sends you on a tirade. You just make it too simple, sweetheart.”

Sweetheart. The nickname is prickly and as uncomfortable as ever, lodging into your ears against your better judgment. It creeps across your brain, travels down your spine, numbs your fingertips. You hate the shockwaves it’s capable of sending down your nerves.

He’s right, at the end of the day. These days, you hardly put up a fight in expressing all your negative emotions towards him. If necessary, you could pinpoint a time where he really did simply breathe and you had proceeded to curse him out for it. Sometimes, just the sight of him can sour your entire mood. He’s an ever-present, persistent, irritating rain-cloud that looms on the edges of your life by circumstance. You can’t get rid of him. You can’t get rid of your hatred for him; you’ve always had a preference for sunny weather.

“Careful,” you hum, not looking his way as you glance down at the time that glows from your lock screen: 5:46 PM. “It almost sounds like you enjoy my presence, Munson.”

Indifference. You needed to practice indifference to survive the next twenty three hours.

“Oh, that couldn’t be farther from the truth,” he says, “You are the worst part of my days. You’re like bad leftovers – everytime I see you, the bile immediately rises in my throat. Whenever Steve mentions you’ll be somewhere, I cancel plans. Whenever you show up without warning, I start counting down the minutes till I can get away from you.”

The indifference begins to break. You finally look at him, keeping a steady expression.

“You could go missing, you could vanish off the face of this earth, and I wouldn't blink an eye. As a matter of fact, I’d probably celebrate. Why my friends are so enamored with you, I will never understand.”

It hurts. It might be Eddie, and you might be used to his spiteful words he uses as weapons against you, but it still hurts. The sting resembles a slap as you process each of his words. Each deliberate syllable – the specific referencing to the group as his friends and not your friends, the unblinking glare of his dark eyes, the insinuation that your death could bring him joy – drives deeper into your chest. It’s a human reaction; it doesn’t matter if the boy before you is the enemy, it still bruises to hear anyone say such things about you. The human need to be accepted, to be liked, to at least be tolerated, still twists in your gut.

And he only presses forth. He doesn’t catch the pain spreading in your limbs because you don’t let the hurt raging in your chest spread across your face. You don’t let him see you bleed.

“I’d attend your funeral with a party hat and sparklers. Confetti, even. The whole nine yards along with my finest bottle of champagne,” he hammers the final nail into a coffin, one that you’re not sure of whom it belongs to. Maybe it’s yours, sealing you six feet under with your cursed emotions. Maybe it’s his, locking him into the tomb to dwell in his ability to always take things too far.

You won’t let him see you bleed.

You stand abruptly, making him flinch in the slightest. You keep your face turned from him as you take your phone and storm off into the hallway wordlessly.

“Hey! Where are you going?” he calls after you.

But he’s not following you. No footsteps echo your own as you turn into the only other doorway aside from the bathroom.

He has a clear line of sight of you from the couch, and he can see you disappear into his room.

The door slams shut behind you with a riveting bang. Your nimble fingertips fumble with twisting the lock into place, chest heaving as you finally let your eyes burn.

He can’t see you. You finally bleed.

The tears are feverish as they roll down your cheeks one by one, taking slow steps backward as you squeeze them shut and will them away. There are no accompanying whimpers, or sobs, or hiccups. It’s just you, the salty streams, and the now overwhelming scent of him.

He’s only managed to make you cry, make you bleed this way, once before. The night of Steve’s party, the night you had attempted to make him bleed in retaliation. You’d harbored the need to cut him open desperately that night, to crack open his chest and assure yourself he could bleed the same scarlet as you, that there was still a weathered heart behind his calloused ribs that could beat the same as yours.

But you never did. At the end of that night, you had been the only one left bloodied and bandaged, aside from Steve’s glass as collateral damage. He remained unscathed.

The door knob shakes suddenly, and your eyes flash back open. Another shake, and you hear him huffing.

“Seriously? Did you just lock me out of my own room?” His voice comes from the other side of the door.

The bleeding stops. The wound seals. Even if he can’t see you through the door, just to know that his presence resides on the other side of it is enough to put an end to your trembling breaths.

“Fuck off,” you call out hoarsely.

“Let me in. It’s my room.”

“No.”

He sighs, and a thump sounds that you assume is his forehead falling against the wood in defeat, “Why do you insist on acting like a child?”

“You’re the one with a collection of action figures!” you fight back with your weakest insult of the night. He twists the doorknob without fruition a few more times, a couple sharp knocks sound as you turn to get a better look at the room you’d run into without observation.

It’s nothing extravagant, which makes sense. He has an entire apartment to spill his wretched personality across, which means there’s no need to condense it into the decor of his bedroom. He doesn’t have to express himself in a limited space as you do with your dorm. There’s a few posters of various bands hung crookedly on the wall, a dresser with a few of the drawers half open with assortments of clothes peeking out before they overflow onto the carpeted flooring, and a bed left unmade. His jersey sheets are plaid, worn and clearly well-loved. Despite the expected mess trailing about the rest of the floor, the space beside the bed is left cleared, and you decide to settle yourself down onto the patch.

Your phone buzzes in your tight fist as your back settles up against the side of the bed.

“Unlock the door,” his voice persists impatiently again.

“Go to Hell.”

“I’m already there. Stuck with you.”

Maybe the wound isn’t quite sealed, because the words fall like salt into your chest.

“Why my friends are so enamored with you, I will never understand.”

There’s more to say, but the chiming of a phone cuts off your thoughts. You glance down to your cell phone – not yours.

The ringing is more muted, behind the door. With Eddie.

It’s Eddie’s phone.

You’re about to call out a snarky remark about him getting that, but the ringing cuts off before you have the chance. It’s clear he’s walked away from the door as the echoes of his voice fades, the conversation inaudible to you through the walls.

Your fingers dig into the carpet beside your thighs as you pull at individual strands that stick out, finally discarding your phone on the opposite side. Eventually, your touch trails closer to the edge of the bed, plucking, plucking, plucking until you collide with laminated paper sticking out from beneath the bed.

What’s this?

Just as you’re about to pull what you assume is a magazine from beneath the bed, your phone begins to buzz violently, this time the ringtone being your own.

The screen lights up with Steve’s contact photo. It can’t be good.

“Hello?” you answer once you pick the phone up after a few moments of pause.

“You can’t lock him out of his own room.”

“Oh, hey, Steve. I’m great, thanks for asking. Really living the drea-”

“You can’t lock him out of his own room,” Steve repeats with more emphasis, disregarding your sarcastic tone completely.

You stare across the room at an acoustic guitar resting on a stand. This machine slays dragons, it reads in bold, white lettering.

“So you were the one who called him,” you mumble.

Steve sighs over the line, “No. Nance called him, because you haven’t sent the proof to the chat yet. We were trying to give you guys a grace period, but-”

“But you assumed we’d already murdered each other,” you finish his sentence.

“Can you blame us? What did he even say to make you board yourself up in his room?”

You scoff softly, “He didn’t tell Nancy?”

The moment Steve mentioned Nancy was the one calling Eddie, you’d simply assumed he’d filled her in.

Before you’d weaseled your way into the friend group, there had been clear, strong bonds already set in place: Robin & Steve, Jonathan & Argyle, and Nancy & Eddie. Three sets of best friends who all wove together to form their large friend group with ease.

You were the odd man out. They never treated you as such, except for Eddie, but it was an insecurity that could eat you alive if you ever gave it the time of day. And maybe that was why Eddie’s earlier words had cut so deeply. He was voicing a fear you always tried to bury deep down.

“No,” Steve says as if it were obvious, “He just started going off about how you had locked him out of his room amongst…. Um, amongst other things.”

Other things. You could guess what those other things had been; no doubt, he’d spent his time on the phone bitching about you. He’d probably called you every crude name in his rolodex of hatefulness.

“Right,” you drawl, eyes flickering around the room to seek out another distraction to mindlessly stare at. Suddenly, you remember the magazine you had discovered just as Steve called, “Well, nothing surprising. The usual, really. Just how he hates my guts, he finds me annoying, he wouldn’t care if I died-”

“-What?”

You ignore Steve’s gasp of disbelief and carry on, “-All the classic insults you would say to your arch nemesis.”

Steve says your name softly, still carrying an air of shock, “He didn’t mean that. I- Listen, he’s an asshole sometimes, but I guarantee he would care-”

“Who cares?” you interrupt, “I don’t blame him. It’s fine. He doesn’t have to care if I meet my untimely demise. I kind of figured he was going to murder me anyways, remember?”

“Yeah, but that was… that was joking around, he…” Steve trails off, because you both know he’s full of shit.

There was no joking around between you and Eddie. A painful truth, considering when you first joined the friend group, you had such high hopes of getting along with him.

“It’s whatever. Do you still need me to send proof?” you ask, fingers now playing with the crumpled edges of the magazine. Even half-hidden, you could see there were pages that had been dog-eared.

You almost don’t hear Steve as he tells you that it’s fine, that now they know the two of you are definitely together. It’s already nearly time for the next check in anyways.

“Alright, in that case…” your tongue peaks out as you begin to tug the magazine out of hiding. The moment the magazine's title comes into sight, you gasp, frozen as the phone nearly slips out of your hand.

Fucking jackpot.

“You good?” Steve asks.

Playboy. A goddamn Playboy magazine.

“Never better,” you rush out, eager to hang up so you can utilize this ammunition against Eddie, “Talk later, Steve-O.”

You don’t give him a chance to echo a goodbye before you hang up, tossing your phone off to the side with a muted thump. Your focus is entirely on the magazine before you, crinkling as you hold it in your hands and bite back laughter.

Against your better judgment, you open the cover, mouth falling open as you flip through page after page of nude women and cigarette ads. Some pages stick together, and you don’t dare to peel them apart, cringing at the thought of just why they’re sticky. You come to the first page that had been dog-earred, and your jaw clicks as your mouth falls agape.

Fucking pervert. He’s a goddamn pervert.

A well-timed knock sounds at the door once more, Eddie’s knuckles sharp in their three strikes, “Can you let me in now?”

It’s the closest to a please you’re going to get.

“Sorry, busy!” you call out in response, still staring at the spread.

The nude woman eerily resembles you. Same hair, same skin tone, similar noses. The Universe has dropped the most loving of gifts in your laps in the form of this magazine, something you know you can use to get under Eddie’s skin as severely as he had done to you.

“Busy?” he protests, knocking on the door again before you hear the shaking of the doorknob again, “What the fuck are you doing in there? I told you, don’t touch my shit.”

You bite your lip, smile curling the corners of your mouth as you finally stand from the floor, knees cracking as you keep the magazine open to the photo. Eddie has gone scarily quiet, and you can’t even make out his breathing. His shadow has stilled completely as it peaks in from under the doorway.

He’s never living this down.

You’re still grinning with ill-intent as you shout, “Wow. Who knew I was right about the Playboy?”

Those words are all it takes for the frantic pounding on the door to begin.

taglist: @catherinnn @haylaansmi @gaysludge @paprikaquinn @manda-panda-monium @audhd-dragonaut @amira0303 @blushingquincy @imtryingahh @hellkaisersangel @eddieslittlewh0re @liv0679 @ajkamins @prettyboy200 @munsonzzgf @blue-eyed-lion @digwhatudug @eddiemunxson @ohmeg @madaboutjoe @wickedslashdivine @sweet-villain @somespicystuff @whosbettysstuff

(if your name is crossed out like so, it means i am unable to tag you)

taglist is now closed. <3

#eddie munson #eddie munson x reader #eddie munson x y/n #eddie munson x you #eddie munson fanfic #eddie munson fic #twenty four hours #i still can't believe this got as much attention as it did omg thank y'all

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writing-rat · 5 months

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Gym Crush

Pairing: Sam Carpenter x Reader

Warning: Just fluff!

Summary: Sam is a gym trainer when you join her classes. Soon enough you become friends and go to Sam's house...

WC: 1180

It was your first day of going to the gym, and you were nervous. You hadn’t gone to a gym in New York before, scared of the people who would be going, but you knew you needed to get back to working out soon. So that is when you decided to look at gym classes, where you found one you liked. It was functional strength, and it was a small class with a name you recognised. Sam Carpenter. One of the Ghostface victims. You knew her from the news when you first moved in when the incidents were happening. You knew she was innocent however, the news said so with proof as well as Gale Weathers, known for the books that spurred the people that wore the Ghostface costume on. Out of intrigue (and because of the class size), you thought you would join. You were lucky you did that due to it being the last spot available and you were excited. The class size was 6 people so you were grateful for that. The first classes you would be going to would be tomorrow, so you decided to get your workout clothes sorted. Grabbing an old faded hoodie and a plain shirt, you put them in a pile then grabbed your favourite sweatpants. You were going to be prepared, and glad you could work from home once a week.

It was officially the next day, and it was an hour before your class which was at 4 pm. You made sure you had your water bottle ready as well as having the correct clothes on. You checked the train times before deciding it would be better to walk to the gym. It would be good for exercise too anyway. As you were walking, you were looking around the city since you were still new there, having moved there months ago.

Eventually walking into the gym, you showed your booking to the receptionist. “Just go down this hallway where there are the classroom gyms and it is the second right. The room is marked with Sam’s name too,” the receptionist said with a smile. “She is a good trainer. She wants to warn people who join however to not mention Ghostface or the allegations whatsoever. She will kick you out quickly if not,” the receptionist spoke, looking at her. You nodded, understanding. “Thank you,” you spoke before walking over to the room and entering, being the first one there. You were 30 minutes early after all. Sam looked up after putting some weights down and smiled.

“Hey! Y/N right?” she asked.

“Yeah! That’s me,” you confirmed, looking around. “You can put your drink in one of the cubbies. I am Sam Carpenter, your new trainer. I will be helping you to achieve your goals and also make you stronger. You worked out before?” Sam asked, seemingly done with the set-up. “Yeah, but not for a few months. I just recently moved to NYC,” you confirmed, smiling at her gently. Sam was nodding. “Good, good. Well, I can’t wait to see how you improve,” Sam spoke. You nodded, eager to please her. Little did you know what would happen in the future…

It was 8 months after you first started lessons, and you were growing a crush on the taller girl. You looked up to her, metaphorically and literally. Hell, you even befriended Sam, having been in her classes the longest and communicating with her if you would be late or would not be able to make it to the lesson. Hell, Sam even started driving you to the sessions and sometimes home. You were thankful for that as you could save money than then go on the train every day. You even talked to Sam more personally, which led to a friendship becoming her best friend. She was still a strict coach with you though during lessons.

You were currently at the Carpenter-Weather’s house, Gale cooking dinner with Tara while you were leaning against Sam, curled up after a long session and watching a movie with her. You were both watching The Addam’s Family Values, wanting a relaxing film. You felt comfortable in the strong woman’s embrace, leaning more and more into her neck. You weren’t even aware you were doing that as you were more distracted by the film. Sam meanwhile was rubbing your sides as she kissed your forehead, making you smile. You were about to speak when Tara entered the room. “Dinner’s ready!” she spoke, before going back to the kitchen. Sam groaned, stretching before she stood up, holding her hand out for you to take. You smiled, taking it as you got up, shocked that Sam kept holding it after. Your cheeks did heat up a little bit at that action but you didn’t say anything. Tara and Gale just looked at each other with a smirk for some reason that you didn’t know but you just decided to not care about it.

“Thank you, ma’am, Tara,” you spoke, nodding politely. Gale just smiled.

“Oh please, call me Gale. Ma’am makes me feel old,” Gale just chuckled in response. Nodding in shock, you smiled as you sat down next to Sam. On the plate there were burritos. You were content with that as you started to eat while thanking both Tara and Gale for cooking.

“If you want to stay over, you can!” Tara happily responded. Sam just widened her eyes and then glared at Tara, but you didn’t know why again. You decided to shrug it off again. “Sure, but where would I stay?” you asked, confused as you tilted your head confused.

“Sam’s bed?” Tara suggested. Sam nodded.

“I wouldn’t mind,” she admitted. Gale just smiled, seeing how Tara was being a wing-woman for Sam.

That night, you had decided to stay over. That made you both go to sleep at 1 am, both of you going to her bedroom silently due to the other occupants sleeping. Sam just smiled at you before she kissed your cheek, making you even more flustered as you realised she was being more touchy. She was cuddling you, holding your hands and kissing you. “Are you flirting?” you asked quietly, shaking from nerves admittedly. Sam blinked before she thought then sighed and nodded. “Yes, I am. Is that… ok?” she asked. You just grinned and kissed her, before nodding. “Now let’s cuddle and sleep, I am tired,” you admitted. Sam just grinned and smiled before she went to the bed and was big spooning you. You just cuddled into her neck, glad your feelings were returned.

The next morning, you woke up early, confused as to why before you heard the shutter of a camera. You looked up sleepily, then saw Tara in the room holding a Polaroid and putting it on the side. “Morning, Gale is happy for you. Now you can go back to sleep,” Tara spoke quietly before leaving. You smiled, shaking your head before quickly falling back to sleep. You didn’t miss the faint kiss of your forehead though. You sighed in happiness.

#sam carpenter #sam carpenter x reader #ratboy writing #ratboy writes #scream

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genericpuff · 2 months

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This has been buggibg me for a while. What is the reason why Rachel dehumanizing nymphs?

Cause from what I'm seeing the nymphs getting the most screen time is Daphne, Minthe, Thetis, Psyche and a little bit of Leuce and Echo.

4 out of the 6 nymphs we see are very open in their sex appeal and flirty. Yet for some reason they get discriminated when Hera, Persophone, and Aphrodite do the same thing but get a pass because the are white coded rich people.

For my knowledge (but I could be wrong if so please correct me) nymphs are known to be seductive and sexy but they were well respected just like any other God. They were given given sacrifices to please them.

Is this just another case of Rachel being the so-called "folkorists" who has done the first Google link she see or could there just be how she interprets then but like the rest of her story misses the mark?

So there are a couple different and equally interesting theories on this.

Rachel has established it as canon that the nymphs are lower class. And there are a lot of stereotypes and prejudices against lower class women going into sex work, which we see in LO through characters like Minthe who work as car girls (notice how in the present story Thetis and Minthe are both personal assistants which is also a role that's commonly stereotyped as "the boss' sidepiece" as it's a role often occupied by women in service to men). Even Leuce isn't safe from this:

Normally I'd just say "good for her" but it's clear with how much Leuce has been turned into the delusional girl who "manifests" her fantasies that Rachel is once again conflating sexuality with more negatively-associated character traits for any woman who isn't Persephone (because when it's Persephone it's sexual liberation always, she's not a "sugar baby", she's a "workaholic" who "earned her position and wealth", but when it's Leuce or Minthe or Thetis they're "homewreckers") And yeah, this is a common disconnect that happens between lower class and upper class people, where lower class people (especially women) are often judged and outcast for doing certain things or behaving a certain way which rich upper class people take and adopt and turn into something "trendy" and "empowering".

But there's... another theory that may explain why so many nymphs in the story are being pigeonholed into the "homewrecking sugar babies" stereotype. And you're gonna hate me for this, because I'm sure the gut reaction to reading this from many is gonna be "goddamit not Lolita again!" buuuttt yeah we're gonna talk about Lolita again.

CONTENT WARNING: We're talking about Lolita again, which means discussion surrounding the sexualization of minors is ahead.

There's a certain term the main character of the book Humbert Humbert uses to describe girls who are specifically, and I quote:

"Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travellers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as 'nymphets'." - Lolita, Chapter 5, Page 18, paragraph 5

It's also very clear from the way Nabokov specifies the definition of nymphet from Humbert Humbert's perspective that the use of the word 'nymphet' is intentionally referencing the root word of Greek origin:

"...I would have the reader see 'nine' and 'fourteen' as the boundaries - the mirrory beaches and rosy rocks - of an enchanted island haunted by those nymphets of mine and surrounded by a vast, misty sea. Between those age limits, are all girl-children nymphets? Of course not. Otherwise we who are in the know, we lone voyagers, we nympholepts, would have long gone insane."

Though Humbert Humbert is obviously not being literal here, the visual metaphor is strongly relying on the etymology of the word 'nymph', but twisting the depiction of nymphs in such a way to support his own fantasies.

And while I'm definitely not trying to accuse Rachel of having the same mindset of Humbert Humbert (seriously, I want to make it clear that I don't think Rachel is a pedophile, just horribly misled at best), it's interesting to me how this specific definition of a nymphet matches with that of Rachel's old descriptions of her own art:

"You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs - the slightly feline outline of a cheekbone, the slenderness of a downy limb, and other indices which despair and shame and tears of tenderness forbid me to tabulate - the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power."

What's interesting is that I did dig up an old profile of Rachel's that actually acknowledged that what she's doing with her art shouldn't be conflated with, well... child porn.

"It's not THAT kind of lolita" and yet the writing feels like it's been smeared all over the wall with shit. There are so many scenes and artistic choices throughout LO that scream "it is that kind of lolita".

Though it is still a theory, and I don't resort to using Rachel's old art of "proof" of LO's shortcomings, I don't think it should necessarily be ignored that the nymphs in LO seem to be characterized very similarly to Humbert Humbert's description of 'nymphets' - devious and promiscuous, and thus easier to blame when predatory men pursue them, rather than holding those predatory men accountable. And we see this in Persephone too, but unlike the nymphs, Persephone is rich, upper class, and of a "superior pedigree". So she becomes the desirable form of a 'nymphet' that's praised and celebrated by the narrative and characters like Hades, rather than the literal nymphs who are shamed and outcast for simply having sexual independence.

Whatever theory you roll with is on you, you can dismiss all this as just overthinking nonsense, but I do think it makes for interesting food for thought because at this point, LO is undeniably - intentionally or subconsciously - influenced by Rachel's relationship with Lolita, and whether or not that influence is aware at all of Lolita being originally written to be a precautionary tale, that remains to be seen.

#lore olympus critical #anti lore olympus #lo critical #ask me anything #ama #anon ama #anon ask me anything

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vidavalor · 5 months

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"You love trains": Crowley & Aziraphale inspired 'North by Northwest'

youtube

Putting my film studies background to good use here with some film history & historical context under the cut.

The "what does the J stand for?" exchange in The Blitz, Part 1 and the inability for the audience to initially understand what Aziraphale is mouthing in The Blitz, Part 2 are both references to Hitchcock's classic spy thriller, 'North by Northwest'. I didn't link the clip that goes along with The Blitz, Part 2 in case some of you have never seen this film because it would ruin your experience of it. (Definitely watch it if you have not as it's a masterpiece.) Since The Blitz scenes are taking place in 1941 and 'North by Northwest' was released 18 years later in 1959, Crowley and Aziraphale aren't referencing the film in the dialogue but, instead, could be presumed to be the source *of* the dialogue in the film... just like how Shakespeare lifted Crowley's love poetry for 'Antony & Cleopatra'... and the 'North by Northwest'-referencing part of The Blitz, Part 1 *is referencing* the 'Antony and Cleopatra' reference because it's the reveal of Crowley's first name. But... it gets even better...

The writer of 'North by Northwest' was legendary Hollywood screenwriter Ernest Lehman, whom we're now presuming to have been a friend of probably at least Aziraphale's. Lehman wrote a dozen or so classic films and, outside of 'North by Northwest', is most famous for writing adaptations of several famous musicals, including the adapted screenplay for... 'The Sound of Music.' But, no, somehow, we aren't done yet with how amazing this is lol.

The thing that makes this all even funnier is that 'North by Northwest' is responsible for probably the most famous train metaphor in cinema. I'll spoil just this bit as it won't really ruin the overall movie for you if you haven't seen it but don't go any further than here if you don't want to be spoiled at all. If you've already seen it, you totally know what I mean. *laughs*

In 1959, when this film was released, you still couldn't really show sex on screen in a mainstream film. If you showed two people in a bedroom at all, they were cisgender, heterosexual and married and they slept in two separate beds. The level of sex happening in the above clip was *wild* for the era and the fact that it was put into the film the way it is-- that an unmarried woman picks up a hot guy on a train and they sleep together and she's still the heroine of the film and all of that-- was really nothing short of feminist revolution in a film in this era.

The film has a famous "love scene" of sorts that follows not long after the one I linked above, where the two of them are in a cabin on the train and starting to get it on but constraints of cinema coding at the time limited how far it could go. So, to imply that the main characters do, in fact, sleep together, the film famously cuts away to a shot of the train entering a tunnel-- making the train itself symbolic of sex. Because of how famous the film overall--and this scene in particular--became, it became a thing to use trains euphemistically for sex in other cinematic works following it. There is literally no way that Crowley and Aziraphale have not seen this movie so while Aziraphale was happy to make The Bentley into a sexual metaphor while angling for the car keys, Crowley is half-heartedly griping in flirty response by continually referencing trains, another sexual mode of transportation-- the one that that they inspired lol. Hence Aziraphale's bemused little lololol-but-won't-give-him-the-satisfaction-of-seeing-my-amusement face here:

Sunglassed!Cary Grant is Crowley and the old movie chemistry and the semi-coded flirty banter and someone please, please write a fic where Aziraphale says "I don't particularly like the book I've started"-- I will pay you lol.

#ineffable husbands #aziracrow #good omens #good omens 2 #good omens meta #crowley #aziraphale #north by northwest #good omens 1941

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cedarxwing · 13 days

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The ending of Hannibal the novel explained

(aka the breastfeeding scene)

Here's the passage (end of Chapter 101):

I thought everyone was kidding about the breastfeeding kink jokes until my partner read Hannibal and the whole ending flew over their head. Their main takeaway was "that was weird." When I checked reddit, it seemed everyone was confused there too. I was gobsmacked to see one guy say that Thomas Harris was playing some cruel joke on the reader by writing an ending that didn't make sense!

How many people are reading Hannibal like this, completely missing the resolution to Hannibal's character arc? They must finish the book confused about what it was all about in the first place. So here's how I understand it!

First, I need to get this out of the way: a lot of people hate this scene, and from what I understand it's because they're weirded out by the "breastfeeding kink." Which is fine, but it makes me want to gently hold them by the hand and tell them that it's ok for someone to suck on a nipple. It happens all the time. Sometimes it just feels good, sometimes it's part of a breastfeeding fantasy, and sometimes it's literal breastfeeding. Between consenting adults, this is all fine and normal. Let's all move past this knee-jerk repulsion (or alternatively, sit in our discomfort and expand our horizons) so we can analyze this piece of art together. :)

Next, authors LOVE Freudian psychoanalysis. Even though it's all nonsense, it's full of literary allusion and makes for compelling narratives and character studies (childhood maladjustment, repressed memories, etc), which is basically catnip for a writer. Thomas Harris was no exception, and probably creamed himself (as I did) when he learned that Freud's oral-sadistic stage was also termed the "cannibalistic stage," referring to the time when an infant is growing teeth and begins to bite at the breast--the psychosexual urge to devour and destroy the thing you love. What could be more appropriate for Hannibal?

Next, consider the pattern of Hannibal's Il Mostro murders. He killed young couples in one of the most romantic cities in the world, then arranged them as Chloris and Zephyr from Botticelli's Primavera, exposing Chloris's left breast just like in the painting. In classical art, an exposed breast is often a symbol of fertility. Chloris is associated with spring, new growth, and transformation.

Perhaps, at the time, Hannibal rationalized these murders as retribution for rude behavior. Maybe the couples were performing disgusting PDA. Maybe they were obnoxious tourists on their honeymoons. Either way, it's clear to the reader that Hannibal has some deep-seated hang up about sex and romance.

The particulars of this hang up are open to interpretation, but based on Hannibal's obsession with the rape and transformation of Chloris as well as his embarrassment at the paintings of Leda and the Swan in the German's house, I think it's safe to say that Hannibal feels like any relationship he has with a woman who isn't aware of his true (monstrous) identity would involve a degree of violence/lack of consent. He is forever barred from normal romance.

Having given up on sex/romance, Hannibal is unable to consciously recognize his desire for Clarice, so he sublimates it into a more general familial love. He longs for a return to innocence, to return to the time before he ate Mischa and became an unlovable monster (cue the teacup metaphor).

But even familial love seems like too much to hope for, so he sublimates it further into something that seems more attainable: resurrecting the person whom he loved and devoured, and who loved him in turn (Mischa) through Clarice.

So we have the breast as a symbol of sex/fertility (Chloris/Clarice), as an object that is loved and devoured (Mischa), and as a literal source of sustenance that must be given up during infancy (mommy).

Big brain Clarice connects all these dots and, in the very same style of therapy that Hannibal has been using on her, distills Hannibal's psychological problems into a single poetic gesture that completely fixes Hannibal in an instant, proving that she's not only his intellectual equal, but is, in some ways, his superior.

When Clarice asks, "Did you ever feel that you had to relinquish the breast to Mischa? Did you ever feel you were required to give it up for her?", she's ostensibly asking Hannibal if he's stuck in the oral stage of childhood development (which yeah he probably is). On a deeper level, she's asking Hannibal to consider if he's given up on love.

When Clarice exposes her breast in the same fashion as Chloris, says, "You don’t have to give up this one", and suspends the drop of wine from her nipple, she is shifting his perception of her breast from familial devoured sustenance to a sexual object. Basically, "Why do you want me to pretend I'm your sister when we could be banging?" Hannibal is being aged out of his childlike mindset, not regressing into one.

There are other layers of meaning in this act. The hedonism of using thousand dollar wine for food play is a sign of Clarice's character development. The way Hannibal kneels before Clarice is a position of subservience, but could also be interpreted as devouring Clarice in a way that's new to him. It's the most self-actualized thing Hannibal has done since escaping prison (LOL) and marks the end of his hero's journey (as one of the first things we see him do in Hannibal Rising is nurse).

Personally, I don't read this scene as breastfeeding kink. Yeah, Clarice talks about breastfeeding, but that was more a metaphor for other stuff. Considering the direction of Hannibal's character arc, I understand this scene as him briefly licking the wine off before they have sex. But to each their own! ¯\_(ツ)_/¯

ANYWAY, yeah, it's unsettling. It's obviously meant to be. But it's beautifully unsettling! Hate it all you want, but this is peak cannibal romance, to me!!

#hannibal meta #hannibal #clarice starling

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kerubimcrepin · 6 days

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Dofus: The Production - what is left of the old movie

Originally, the movie was supposed to tie in with the game and the Welsh & Shedar series, and be a trilogy.

As we had already explored on this blog, this did not happen for a variety of reasons.

Welsh and Shedar got cannibalized by other projects due to its cancellation, and the script of the movie "Dofus Book 1: Joris Jurgen" had to be completely rewritten from its old plot;

In that movie, Joris was likely supposed to be a street urchin, who survived together with Lilotte, who was a rogue, and the trailer we have for the older version of the movie reflects that:

As we can also see from the trailer, and the poster featured earlier, proto-Kerubim is also a part of the movie, and Khan was not yet meant to be a boufbowler.

(And considering the posters, the cat that inspired Kerubim's design was also a part of the movie. I wonder if it's related to Welsh's cat from Welsh and Shedar? But maybe I'm just crazy.)

Subsequently, the movie came out at a much later date than planned originally.

(two images included because, bizarrely, there are two versions - one with Joris's tail censored, and the other with his tail uncensored. This proves that already at this point they had a draconic backstory in mind for him, though we do know that at the time of Wakfu season 1 (and, likely, the cancelled DS game, as was noted in my post about it) it was not the case.)

Also, interestingly, it is the only art of this time to include the tail. A possible error on Xa's part, or something that was considered very briefly?

In the end, Kerubim (as well as Simone) swallowed up not just the design of Welsh's cat, clothes, and Ecaflip friend;

He also got the role Julith was supposed to have, both metaphorically, and also literally.

Or not entirely — considering the fact that Joris was supposed to spend time with him anyway, since we have art of Joris on his mount from that old draft.

It's quite interesting, to think of all that could have been different in the 2009-2012 version of the movie!

But even during the making of the second draft of the movie, a lot of things have changed. From the first idea of Joris winning Kerubim back at a pachinko machine, to the concept art of Joris's non-possessed appearance.

The movie was being actively rewritten at the time of the making of Aux Tresors, so some of the early drafts were already tied in with its canon — taking place in Astrub, to be specific — but not with its ending, because the show was still ongoing.

At one point there was supposed to be a whole cast of Huppermage characters, and judging from the fact one of them is mentioned in the following text, they did play some sort of role in the plot:

It is likely that from this early draft it was decided that Joris would be a boufbowl fan, which was then worked in as a plot point in Aux Tresors.

(Stélina may be a proto-version of Bakara.)

It also seems that at this stage, it would be likely that Lilotte was reworked to be the Princess of Bonta, before eventually becoming the Ouginak we know and love.

After this Ankama once again returned to the concept of Lilotte as an orphan, though — even when the movie was still set in Astrub!

And it seems that the draft involved travel between Astrub and Bonta, judging from the usage of a Zaap to attack Luis.

And even at this point they have come up with the tragically cut "Joris and Khan go to adult industry workers and Joris (10yo boy) engages in depressed underaged drinking" scene.

(I'll never forgive Ankama for cutting this. I still argue that it's in character for Khan, our detested/beloved turbovirgin, to do this — as long as he doesn't get together with any of the women due to thinking himself "too good" for them.)

Also, at some point the gods were supposed to play a role. And personally, I am glad it was cut — it feels a bit too grand for the first movie in what was supposed to be a series.

I don't have any grand statement, or conclusion, but it is interesting to see all the ways the movie has changed.

#ro liveblogs dofus #dofus #wakfu #krosmoz #moviehistory

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chaoticrushu · 9 months

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God everything about Lisa is so tragic. Her trigger event, being forced into villainy by Coil, her desperate attempts to find out as much as she can to prevent the end of the world, and her whole relationship with Taylor.

She sees Taylor for the first time and immediately knows she's passively suicidal. She can't let that go, if course she can't, she can't let another Rex happen. So she reaches out, she invites Taylor to join the Undersiders, knowing the whole time Taylor's lying from the start. She gives her a friends/family/a support group, desperately hoping to give Taylor a reason to live. She takes her shopping, hoping to boost Taylor's confidence in herself. She pushes Taylor to go out with Brian, because she knows Brian has the same feelings, and she thinks it'll both help Taylor feel more tied to the group and help make her happier.

And it kinda works. Taylor gains confidence, she's stronger, she's happier.

"I'm sorry," Lisa put her hand on my shoulder. I felt grateful that she wasn’t pulling away or laughing. It was the first time I’d ever really talked about it, and I wasn’t sure I could’ve dealt if she had.

Shell 4.3

It kind of surprised me, but I realized what I was saying was true, so I didn’t even need to worry about tipping Lisa off. A second later, I realized I might have been a little presumptuous.

"I mean, assuming that we are frien—"

"If you finish that sentence,” Lisa warned me, "I'm going to slap you across the head." I felt the heat of a flush in my cheeks and ears. "Yes, Taylor, we’re friends," Brian said.

Shell 4.3

"I don’t know how to say this gracefully," I said. I paused, noting the presence of a hero nearby who’d raised a camera towards me. Whatever, I’d say it anyways. "But you guys mean a lot to me. I’m sorry I didn’t say it before, but I couldn’t without letting on that something was going on. You’re my family, in a way. As lame as it might be, I love you guys."

Drone 23.5

"I know," Grace said, after a pause. "I get that. I get that there’s other reasons. Like the fact that you love those guys and you never loved us. Cool. Makes sense."

"I liked you guys."

"But you didn’t love us.”

"No," I said.

Venom 29.1

By Arc 19, Lisa's sure she succeeded. She averted another Rex, she saved Taylor. Even with how self destructive Taylor is, pushing herself so hard towards a goal, first saving Dinah then saving everyone, throwing herself in dangerous situations one after another, she's in a better state than she was before. But is Lisa?

Taylor and Lisa have somewhat of a distant emotional connection. As much as Lisa has helped Taylor, Taylor can't really do the same to Lisa. Because even when she isn't wearing a mask in a literal sense. she's always wearing one metaphorically, one that she almost never lets slip. So as much as Taylor loves Lisa, she doesn't really know Lisa. She can't. Lisa's given Taylor a support system, but she herself doesn't have one.

"Except you’ve been talking to the heroes, and you’ve had that to help center yourself, figure out where you stand," Tattletale said. "I haven't."

"That’s it? You need to talk to someone?"

"No. That’s not what I’m saying," she said. She sighed. "Yes. Kind of. It’s only part of it. Who the hell am I going to talk to that grasps things on a level I do? Do you really expect me to find a therapist and sit down and not pick him apart faster than he can decipher me?"

"You could talk to me ," I said. "Not when you’re part of the problem, part of what I’d need to work past."

"That’s not fair," I told her.

"No, it isn’t," she admitted."

Scourge 19.7

And that disconnect shows in Taylor's pov. Even in Taylor's head, Lisa is so often thought of as Tattletale, not Lisa. Even as she's eviscerating Taylor on personal level in 30.1, she's still Tattletale, not Lisa. Rachel is almost always Rachel more than Bitch, and I'm pretty sure Aisha is Aisha'd as much as she's Imp'd.

Later in the same chapter, she explains herself, her first time in the whole book being genuine and letting herself be vulnerable.

Me? When you shot Coil, I realized I was done. I’d helped you out of the same trap of despair Rex had been in. Don’t know if the road I helped you down was a good one or a bad, but I’d finished."

"But why be reckless? Why take the risks?"

"Because I did what I had to do, I helped you, and I still feel like the stupid, self-obsessed little child that let her big brother die. It wasn’t conscious, but maybe I felt like I needed to up the stakes. Pull something dramatic. Show that, with these crazy smart capes like Alexandria and Faultline around, I could still be the smartest person in the room."

Scourge 19.7

She's finished her project, she's saved Taylor, whether for good or ill. She's freed herself of Coil. And it didn't fix her; She still bears all that guilt over Rex. Maybe, given time, Taylor could have helped Lisa, returned the favour. But they never had the time, because so soon after this, Taylor is outed, and things escalate, and Taylor is gone. I can't imagine what that did to Lisa, but it I'd guess that it means that her one true friend, probably the only person who even comes close to understanding her, is gone. Of course, she keeps in touch. But the letter she sends, its so impersonal, naught more than a status report. Whereas Brian and Rachel's are emotional and personal, confessions of their feelings. (I love Taylor and Rachel's relationship so much, but that's not the point here.) And when they meet all meet back up before Behemoth, the only thing she says to Taylor is asking her to survive. I think that even though she said she felt like she'd succeeded fixing Taylor, she was still doubting. Taylor is Taylor, I don't think she ever really could have been saved just by who she is. And Lisa could probably tell.

With a touch more seriousness, Tattletale said, "No dying, okay, Skitter?"

"Weaver," I corrected.

"Skitter," she said. "Here, today, you’re Skitter. Consider it a good luck charm. And no dying . I’ll say it as many times as it takes, until it gets through to you."

...

“Just remember,” Tattletale called out, “You’re officially Skitter today. Don’t be a hero. No point to all this shit if you do something brave and get yourself killed.”

Drone 23.5

And it all leads to Khepri. Taylor ruining herself, letting someone alter her brain to such an extent in a desperation to beat Scion. And it kills Lisa

"You couldn’t have made it easy?” Tattletale asked, looking down at it. “Because standing by while you do this… that’s fucking hard . It’s honestly easier if I’m on their side and I’m helping them stop you. If I can blame the fuck-up job Panacea did to your head."

"While I’m saying all this, kiddo, you gotta know I love you. I adore you, warts and all. You saved me, as much as I like to think I saved you. All this stuff I’m bitching about, it’s the same stuff that got us through some pretty hairy shit, and I love you for it as much as I groan about it. You’re brilliant and you’re reckless and you care too much about people in general when I really wish you’d leave things well enough alone and be selfish. But this?"

"Shit ," Tattletale said. "You gotta forgive me, just this once. Because seeing this and knowing what you pulled hurts enough that I gotta say this. This makes me feel really sorry for your dad, because I’m starting to get a sense of what you put him through.

Speck 30.1

Like, god. The tragedy of loving Taylor Hebert, a stubborn, persistent, unyielding person, one who doesn't value herself but will give everything to fight for her friends. For all that Lisa could try and do to save her, for all the happiness she could try and give her, it didn't work. Taylor becomes Khepri, and she loses her forever. I'm don't even know if Lisa knows what happened to Taylor, that she's on another earth, safe with the opportunity for genuine happiness without all the crises, able to be a regular person. Or does she assume Taylor died, maybe at the hands of a cape traumatised and angry and being mind controlled, maybe because of her own shard destroying her?

Does she ever regret trying to fix Taylor? Does she ever think back on it and wonder if Taylor would be better off if she hadn't guided her into villainy?

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septembercfawkes · 8 months

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The 12% Rule of Story Structure

Proper structure helps you deliver your story to the audience in a satisfying and familiar way. You wouldn't want to end up with the climactic peak hitting only ~36% into the story. That would make the story feel awkward and the remaining ~64% boring. (Talk about a dissatisfied audience.)

Contrary to what some believe, to me structure is all about organizing and/or timing. When stripped of all the details, beat sheets, and fill-in-the-blanks, it's a matter of organizing your content and timing the delivery of it.

This is one of the reasons you can find successful stories that don't seem to fit your favorite beat sheet. Even though that particular story may not be like others in its details, it can still deliver the content in a satisfying way if it organizes and times it properly.

Today's post is more about the timing.

And I call it the 12% Rule--or perhaps better said, the 12% Rule of Thumb (because even here there are variations, however atypical they may be).

The idea is, at the most basic level, most all successful stories will have a significant turning point every ~12%. A major turn near the end of every quarter, with a medium turn between those.

First, let me acknowledge that some writers hate using percentages, because they feel too calculated, too formulaic. But in all honesty, percentages are the best and quickest way to convey when something should typically happen in a book, so I use them (though I too used to hate them as a beginner.) And this article is obviously using them today.

Second, let's talk about what I mean by "turning point," in case you are new around here.

A turning point is an action or revelation that turns the direction of the story. It turns the trajectory of the story. The plot was heading toward one destination on a metaphorical "railroad," but a track switched, and now it's heading toward a new destination. (That's the analogy I like to use, anyway.)

The climax is the biggest turning point of the story, and notice that in basic structure, it quite literally, visually, turns the story into the falling action.

But not only should your story have a climactic turning point--ideally there should be turning points in each act and each scene. The difference is that, the smaller the structural unit, the smaller the turn.

Another notable turn in the story as a whole, is the inciting incident, which essentially disrupts "normal" life and kicks off the main plot. Sometimes in basic structure, the inciting incident will be drawn so that it too will visually turn the story into the rising action. While the climax is a big turning point, I consider the inciting incident to be a medium-sized turning point. But I'll talk more about inciting incidents in more detail, in an upcoming post.

If this is your first time learning about turning points, you've probably actually heard them called by a different name. They are also known as plot turns and plot points. Three different names that mean the same thing.

So, there should be multiple turning points (or plot turns or plot points) in a story--moments that actually change the direction, the trajectory, the plot is going. Something shakes up what's currently happening in a big enough way, that the consequences of it lead to a new or altered course. The story is on track for a new outcome. These turning points almost always shift the protagonist's overarching goal or their plan to get the overarching goal (or both). And sometimes, on occasion, they simply add a new goal to the current one.

Now, this is just a rule of thumb, but most successful stories will have some sort of turning point, a plot "shake-up," every ~12%. Let's go through how this typically looks. (And if you know about 7 Point Story Structure, or some other structural approaches, this may all look familiar to you.)

~1%--Hook:

Open the story with a hook to grab the audience. (This isn't necessarily always a turning point, but it's an important moment I felt I should include.)

~12%--Medium-sized Turning Point (Inciting Incident(?)):

It's common for the inciting incident to hit at the ~12% mark. This is halfway through Act I. However, this isn't always the case. The inciting incident can be as early as the first chapter (where it may double as the hook), and as late as near the end of Act I.

For example, the inciting incident of Harry Potter, when the Hogwarts letter arrives, hits near ~12%. But the inciting incident of The Hunger Games, when Prim's name gets called, happens in the first chapter.

So the inciting incident can hit in different places, but there is still often a turn at ~12%, whether that is the inciting incident or something else.

Commonly, if it's not the inciting incident of the main plotline, it will be the inciting incident of a secondary plotline, like a relationship plotline.

What's nice about looking at things this way, is you can have the inciting incident of one plotline be the hook, and the inciting incident of another hit the 12% mark. I could have the inciting incident of the relationship plotline be the hook, and the inciting incident of the external plotline hit at 12%. And I could have the inciting incident of another plotline hit later.

But I digress a little. Because it may not even be an inciting incident.

It's just the idea that there is a medium-sized turn-- a "shake-up" or "change up" ~12% in, that alters the story in some medium-sized way.

~25%--Big Turning Point (Plot Point 1):

Plot Point 1 is the big turning point of Act I. You can even view it as the climactic moment of Act I. It's what the beginning has been building toward. So while Harry gets the letters ~12% in, Hagrid tells him he's a wizard and has been invited to Hogwarts about ~25% in. It's what Act I has been building toward. It's a big turn, and how Harry responds changes the trajectory of the story. He was living an ordinary life with the Dursleys (more or less), and now he's going to go with Hagrid to the Wizarding World.

That's a big change.

That's a big turn.

Plot Point 1 is usually the moment when the protagonist chooses to engage in the main plot in a defining way. It's also known as "Crossing the Threshold" (Hero's Journey) and "Break into Two" (Save the Cat!)

But the most important thing to remember, is that this is a big turn.

~37%--Medium-sized Turning Point (Pinch Point 1):

~37% into the story, there is often another medium-sized shake-up. This is commonly known as Pinch Point 1. A pinch point is a moment where the antagonistic force applies painful pressure to the protagonist. I already did a big post going over the details of Pinch Point 1, so I won't repeat everything. And this could definitely get complicated, because the protagonist isn't always present (which I think can make some of what I'm saying in this article arguable), but I'm trying to stay somewhat basic.

Now admittedly, occasionally, I see stories where I don't see an obvious pinch point here. But there is still some sort of medium-sized turning point. Something comes along and shifts the direction of the story a bit, enough to alter the goal, plan, or course, somewhat.

It often bumps the story on a clearer trajectory to hit the next big turn, the midpoint.

~50%--Big Turning Point (Midpoint):

Halfway through, there is another significant turning point, called the midpoint. Again, it changes the direction of the story in a significant way, often by revealing information to the protagonist about the antagonistic force. This typically leads the protagonist to become more proactive in the "fight." This changes his or her goal or plan in a powerful way that affects the third quarter of the story.

For example, in Interstellar, the midpoint happens when Cooper learns that Plan A is a ruse. He responds by changing his current plans. This alters the story for the next quarter. In Star Wars IV, this is when Alderaan is "missing" and the Millennium Falcon gets pulled in by the tractor beam, before Luke learns Leia is on the ship. He decides to find her. This alters the direction of the story for the next quarter.

~62% Medium-sized Turning Point (Pinch Point 2):

~62% into the story, there is often another medium-sized shake-up. This is commonly known as Pinch Point 2. It's another noteworthy pinch point, but it's worse than Pinch Point 1. It's at least another medium-sized turning point that alters the direction of the story somewhat.

It often bumps the story on a clearer trajectory to hit the next big turn, Plot Point 2.

~75% Big Turning Point (Plot Point 2):

Plot Point 2 is the next major turning point, and you can view it as the climax of the third quarter, or even the climax of the whole second act (the middle). This is (almost) always a major moment, and usually the second biggest "peak" of the story. It will usually be a key confrontation between the protagonist and antagonistic forces. It most commonly ends in a costly failure, but it can also end with a costly victory (sometimes called a "hollow victory").

In Hamilton, this is when Burr implies he could use the info about Hamilton's affair against him, so in response, Hamilton writes the Reynolds Pamphlet, revealing his affair to the public. This is a major moment that alters the course for the next quarter or so of the story.

This is also called "The Ordeal" (Hero's Journey) and "All is Lost" (Save the Cat!).

~ 87% Medium-sized Turning Point:

~12% later, and guess what? There is usually another key turning point--another medium-sized turning point. I feel like this can show up a few different ways, but generally speaking, it's the turn that takes the protagonist into the climax of the story. It's the turn that leads the protagonist toward the final confrontation with the antagonist.

It often bumps the story on a clearer trajectory to hit the next big turn, the climactic turning point.

~ 89 - 100% Big Turning Point (Climactic Turning Point):

This one is a little tricky with the percentages, because obviously 100% is the end of the story, and nearly all stories have a denouement, which means the big turn will come before 100%.

But the final big turn is the climactic turning point. This is where the protagonist or antagonist defeats the other and the main conflict is resolved, which turns the story into the falling action.

This is Harry defeating Voldemort.

Katniss winning the Game.

Luke destroying the Death Star.

Hamilton and his duel with Burr.

I think you are probably most familiar with this turn 😉

Remember that I'm simplifying and briefly covering all these things. These are the basics of timing key turns. And it's the basics that provide the foundation for everything else. So, include a notable turn about every 12% in your novel, and it will serve your story's structure well (even if it varies from more detailed story structure approaches).

#writing tips #writing tips and tricks #writeblr #writing help #writing advice #writing tip #writer #writing #fanfic #writing reference

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cobragardens · 7 months

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Red & Yellow Can Hurt a Fellow:

Color Symbolism in 1941 (Part 1)

(Plus Bonus Sundry 1941 Observations)

"Nazi Zombie Flesheaters" is such an interesting title, isn't it? You don't need to say flesheaters if you've already got zombie: it's redundant. It's like the title was chosen by someone unfamiliar with very basic zombie tropes. Also fwiw "Nazi zombie" is an anachronism: zombies did not exist in the popular consciousness before George Romero's Night of the Living Dead in 1968. I feel like maybe an angel titled this minisode. There is evidence both that the Metatron fucks with the story and that the flashbacks are Aziraphale's memories, so my guess is it's one of them.

***

In "The Colors of Crowley" I make an effort to evidence that crimson red is both the the color that symbolizes Crowley to Crowley and also the color that symbolizes passionate romantic love.

In light of that, here is this tiny beautiful moment:

As they did to each other in 1793, Crowley is sending a message here to Aziraphale with his clothes, so let us dwell on it.

Crowley's tie has Aziraphale's colors on it--white and blue-- in a design that connects two points (through a larger, dark point between them), one above and one below.

And Crowley opens his jacket with a flourish and shows Aziraphale the tie.

So first we we get this beautiful gesture of opening a covering and exposing a hidden, brighter, truer self beneath it, along with the metaphorical implications of exposing the heart and the guts, the snake showing its vulnerable red belly. Then the tie says, I like you. I'm wearing your colors. I want to be connected to you. And Crowley doesn't just display that message by opening his jacket, he then calls attention to it by straightening the tie.

Aziraphale gives no outward sign he has received this message. But.

There is so much red in this bookshop tonight.

The bookshop structure is brown and tan, with bright yellow in the back rooms (just as Aziraphale always has fear in the back rooms of his mind). But in this flashback there's a red carpet on the steps in front of the door, a red carpet on the floor in front of that, a display of red books on the circular tiered stand, a pile of red books in the corner, more red books on the windowsill behind Crowley's head, and the red velvet chair that Crowley's sitting on.

Here's the other side of that room, i.e., what Crowley is facing:

The walls of the bookshop are, again, brown and tan, but there's a red rug, red brocade on the front panel of the cashier's table, two red-upholstered chairs, and a red-stained chest of drawers Aziraphale is mostly blocking, plus another red thing in the right corner behind the stepladder that I can't even identify but that looks like the same velvet as the chairs. That's a determined effort to cram in as much red into a brown space as possible without actually taking a paintbrush to anything.

There are other metas showing how Aziraphale takes pains to make the bookshop into a welcoming place for Crowley [link if I find them again]. Just as likely imo his love of red and gold in soft furnishings is to remind himself of Crowley because they don't get to see each other very often.

But the books Aziraphale would be constantly rearranging, and buying more of, and possibly even occasionally selling when it can't be avoided; and bibliophiles do not generally organize their books by color. I therefore suggest two things are happening simultaneously here: on the Doylean (authorial) level, the set dressers are using the red notes in these backgrounds to symbolize the passionate romantic love Aziraphale has just realized he feels for Crowley; on the Watsonian (intra-story narrator) level, Aziraphale's feelings are "coloring" his memories.

This red as symbolic of Aziraphale's feelings for Crowley is not subtle. It starts immediately after his epiphany about those feelings--I mean literal sparks fly--

--and it does. not. let. up.

Note the other colors in the (brick red) dressing room besides red: blue, white, and off-white, Aziraphale's colors. There are even white and off-white feathers, indicating these are the angel's feelings we're being shown.

Brief digression. I've listened to this line several times now and for the life of me can't hear the final -s. I suspect Crowley may in fact say "Chalk up a win for the side of the angel," i.e., Aziraphale, which definitely makes Aziraphale's reaction of giddy delight track well, but I don't have a decent pair of headphones, so if someone would be willing to verify whether I've caught a Moment or just have romance on the brain, I'd be very grateful. [Update: I've got one confirmation so far that Crowley says "angels."]

Anyway. Note the splashes of blue and off-white surrounding Crowley, indicating all this red (he's sitting on a red velvet chaise btw) continues to be linked to Aziraphale's feelings for him. This whole narrative is drenched in Aziraphale's passionate romantic love.

Until this moment:

Now something really interesting happens. For the first time in the scene (I went back and checked), a bright spot of canary yellow suddenly becomes visible in the frame.

It's a jar of ostrich feathers, dyed bright yellow, on one of the dressing tables. How do we know it's meant to represent fear?

Because it already has done.

And remember how yellow is specifically fear of the head offices?

Look who shows up.

Now suddenly the camera shoots Aziraphale from a different angle, and yellow appears in the frame here, too--more fear.

The yellow feathers remain visible between Aziraphale and Furfur for the remainder of the scene.

So that's one gif and 18 stills I've shown you thus far in this essay about how the use of red in and yellow in this minisode is consistent with the use of red and yellow throughout Show Omens and is being used in a symbolically meaningful way, right? I mean they come down pretty hard on it.

So it's very interesting, in terms of colors, how the minisode ends.

Which I will talk about in Part 2!

#good omens #good omens 2 #good omens 1941 #good omens meta #good omens color symbolism 1941 #furfur #ineffable husbands #aziracrow

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