Vegas Theerapanyakul, heir of the minor family.
I couldn’t stop thinking about how the minor family is presented in the image of traditional Chinese mafia / triads - a stark contrast to how the main family appears like a corporation. I couldn’t stop thinking about how that that means they would have emphasised on values of community and loyalty. Although the show doesn’t go far and deep into it in the main narrative, there are clues that this is more than just an aesthetic choice of their living compound and dressing - particularly pertaining to Vegas’ character (and because of course that’s all i care about).
Visually, we see that in their Guan Gong worship (typical deity worship by triads), the locals hanging around at the shophouse front of the manor, and also in the group feasts (I had such a good mini exchange in the tags with @bocje-ce-ustu about this that made me want to write this post). This post expounds on this nature of the minor family so much better in detail. *blows kisses to op*
Since we didn't get to see enough of Vegas papa outside of being VP's plot device, we don’t know a reliable amount about him to determine how his leadership style was like to have us seeing what we saw around the minor family house. Personally I just can’t take Kan’s character in ep 11-13 too seriously. He literally appears to bitchslap Vegas based on the most simplistic *handwaves* reasons and then he was gone - as if you didn’t need to go through the hassle to cross the river to get to the safehouse. (crossing rivers everyday just to bitchslap your son? that’s some commitment) The earlier episodes and ep 14 may be more reliable but it’s still limited.
Nevertheless, how did he raise Vegas as a heir of such a community? I want to think that as much as a piece of shit we saw Kan as for most his screentime, he still had a strong sense of their triad values in his blood, and it gets into Vegas as a person (for better or for worse). At the very least, he was shown seated with the rest of the gang at the table (in the above screenshot). How did such a community raise Vegas as a potential successor in general? What was his and Macau’s childhood like? (I have not read the novel so don’t @ me.)
It’s so interesting to think about those given what a complex guy Vegas turned out to be. (Complex as a character itself but also made even more complex with how the narrative over the episodes had nebulously shaped audience perception of him - like, you can get a different side of Vegas in each episode and have no idea where the fake or real Vegas starts and ends as we saw him. That ended up being a charm of his character.)
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(Vegas + Kan + Macau + minor family community)
I got the impression that it has been pretty much assumed that Macau could also be frequently physically abused by Kan like he does with Vegas, and so Vegas would have to actively protect Macau. But also consider this possibility: Kan just doesn’t hit Macau at all. It’s only Vegas he hits.
Macau simply doesn’t strike me as someone who has to live in constant mortal fear. He’s innocently mischievous and sociable; clearly not as emotionally burdened as Vegas. But he's not naive. He’s aware of Vegas’ plans and whatever politics is going on in his extended family. I just don’t believe that Vegas’ form of protection and care for Macau is to completely hide all the ugly stuff from him like what Porsche did with Chay.
At the same time, Vegas is too much of a pleaser to be opposing his dad all the time for Macau to be consistently safe and stable. Especially considering that we can safely guess that him talking back to his dad at the safehouse in ep 13 was one of the first times he had explicitly stood up to his dad in some way. (a side note: the way Kan responded may seem on-the-nose after a succession of Kan scenes just appearing out of thin air to hit Vegas and galvanise the VP narrative - but it hits a raw nerve like yeap I 100% believe that’s how an Asian parent would respond to such a statement from their kid.)
That’s because Kan’s expectations for Vegas, the eldest son and potential successor, just aren’t the same as for Macau, the younger son.
I can imagine Kan putting all his attention, energy, and pressure on Vegas - not only as his heir but a chess piece in his competition with his older brother and the main family. At a cultural-social level, as an eldest son of a family, like a crown prince, he was fed with expectations that he is the leader of his people - that he will have responsibilities to them and to conduct himself with grace. But at the same time, because of personal and familial reasons, he was also fed the belief that he and his family will forever be inferior to the main family - having anger and bloodlust be seeded and harnessed in him to be used on the main family.
On the other hand, I see more realistically of Kan as a neglectful father to Macau. As a second son, Macau isn’t anything to Kan in business sense and just too young to be useful to him. Thus, we have Kan insisting that Macau is useless (SLANDER) despite Macau having done nothing to offend him. It’s precisely that Kan doesn’t do anything but the bare minimum with Macau and lets him be, that he thinks that Macau had wound up as “useless”. It checks out.
Like what many have pointed out, Vegas surely would have taken up the responsibility of giving the care and love to Macau that they never get from their father. Essentially, Vegas had to fulfill Macau’s emotional needs (to his best) while being actively hurt by his father and strangled by his expectations.
So, imagine Macau as a much younger child having to watch his older brother get beaten or go through corporal punishment (kneeling before the ancestral altar, anyone? wow I’m so original). It’s then Macau who may have been protecting or provides relief to his older brother in some way or another. He knows - largely - what his older brother has to go through, and it is this Macau who probably gets confided and eventually got in the knows of his brother’s schemes.
On this note, it’s probably worth noting that there’s after all a community around them so Vegas may not have had to raise Macau - emotionally and socially - all alone. Of course, these are merely weak ties - given that those underlings are socially inferior to the brothers and they clearly still show deference to Vegas. So what their presence can do to fill the voids of the brothers’ family life is only so limited. The important thing, however, is that the brothers do have a community that surrounds them. A community that has already pledged loyalty to the family. A community that would care and show respect - any inkling of non-hostile social interaction - to their young masters which their own immediate family couldn’t offer. A community that Vegas as a heir would have been drilled into his head since day one that he is obligated to keeping together. This sense of community, as vague as it was, preserved Vegas emotionally somewhere deep down, grounding him to be a person that still has the capacity to care for others - to be human.
This isn’t anything nearly suggested in drama canon, but the many families and street vendors working for them doting on and showing tenderness to the brothers as children is an image I have in my head.
Vegas personally has no problem being respectful and affable with the people who are supposedly lower in status than him. Evident in ep 7 (ep 7 my beloved) from how he interacts with them - addressing them in familiar, polite terms: he even calls the street vendor khun lung - uncle, inclusive of honorifics(!) It’s also in how he entertained Porsche, Pete and Arm like they’re his guests and not his family’s bodyguards. He repeatedly makes sure they’re fed: first he offers moo ping to Pete and Arm then shortly after he asks again whether they’re hungry. These are the kind of manners that are inculcated in a traditional Chinese family, in which you show respect to anyone older than you and make sure your guests are never hungry. Even if he was overdoing this just for Porsche at this moment, it was an act he was willing to put up and in a manner of his choice.
(On this note of Vegas’ manners and politeness, I can never forget how much I love Vegas politely pre-empting Porsche and co. at the beginning of his torture session in ep 7 that they would be uncomfortable. like?? thank you evil man?? that’s so considerate of you)
(Just realised that there’s even a plate of buns?? On...a gambling table...?? Minor family is serving their guests well.)
It was so intentional of the drama to dedicate time to scenes of Vegas and co. entering the market and through to the minor family manor and office, even when it didn’t necessarily have to - apart from the purpose of illustrating Vegas' character. If the Vegas we saw in early episodes hanging around main family compound was indisputably a pretense as he was in foreign territory, then this Vegas being in his home ground was surrounded by an expectation to see him being supposedly who he really is. Partly due to Porsche being around, we still see the same Vegas - but now with an inkling of the idea that how he acted with Porsche before is also how he acts daily in his own space: He has to pretend. Socially, that is who he is. (See why he and Pete are mirror images of each other). Those moments of going after Porsche wasn’t an exception he was making for Porsche as the prey and his Grand Scheme. All the more, this makes the ending scene of ep 4, the first time we saw him truly all alone, fascinating to watch.
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(Vegas + Porsche)
I guess tangentially related is...how I found the Soft™ Vegas of ep 13-14 in his interactions with Porsche so fascinating because it does instinctively feel different. Was it just the effect of Pete in the most romance drama cliche fashion or does it adhere to Vegas as a character? Sometimes you have to take the way this show portrays its characters with a pinch of salt because it does take liberties with using them as plot device when it is needed of them. But I’m going to say this side of Vegas is also him. It feels different because it’s the barest we’ve seen of him emotionally yet.
Porsche makes for an ideal litmus test of who Vegas really is because of their past mode of interaction for comparison and also Vegas’ character gets to exist outside of romantic/familial narrative filters in this case. With Porsche no longer being his prey and his newfound attachment to Pete, he had nothing to hide, and now there’s even a reason to bare himself to others.
This is me extrapolating at this point but - when he calls Porsche to warn him of the impending coup - despite not actually being friends, that just *handwaves* spelt out like an act of 义气 to me. 义气 has apparently been translated as “righteousness” but acknowledged to contain cultural connotations too complicated for the translation to be wholly representative. If I had to describe the connotations according to my understanding of it, it’s an idea of a code of honour and brotherhood - in some ways favours and debt-based. So you commonly see that term associated with triads and secret societies.
At this point, Porsche and Vegas are expressively in a collaborative relationship, they helped each other out on what each other needed the most at that point. Vegas is indebted to Porsche. So, even during a time of crisis, he made sure to help Porsche out one last time based on their short-lived allyship and Porsche’s favour to him. But it was a situation beyond his control, so he pays back what he owed, and that was it. Given his upbringing, it is then no surprise that he has such a strong principle and value in him. Vegas is a villain - yes, even after falling in love with Pete and all - but a villain with a code of honour.
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(Vegas + Kan + Pete)
Vegas has 义 (yi, righteousness) and he has 忠 (zhong, loyalty) too: with his father. Vegas clinging to his father despite the toxicity and destructive nature of their relationship - even if to the point of silliness and *chef’s kiss* pathetic - can perfectly be explained as something innately human. But on top of that, the way and the degree he went for his father’s approval was likely also culturally enforced given the environment he was brought up in.
Back to the Guan Gong, aka god of loyalty, worship at the minor family house. I didn’t get to talk much about this in the post I made about it but it’s definitely worth going into it here about Guan Gong:
Just as important, at the grassroots level of society Guan Yu became a kind of patron saint or protector god for everyone from blacksmiths and opera performers to triads and police officers. (...) Guan Yu’s steadfast, sometimes bullheaded adherence to the principle of zhongyi proved key to his meteoric rise. China’s emperors, who valued loyalty in their subjects, saw Guan Yu’s obedience and respect for his superiors as a value worth propagating. To ordinary people, meanwhile, it was Guan Yu’s yi that made him a legend worth believing in. (...) Guan Yu was capable of acts of cruelty and extreme violence, but his yi manifested as a strict code of behavior and sense of honor, two necessary components of any good folk hero. If anything, the flawed side of Guan Yu’s yi actually enhanced his popularity with regular people — his imperfections only made him seem more relatable. (x)
Sounds familiar.
When you swear loyalty - in the presence of the Guan Gong idol, you swear to give everything you have to the organisation. This loyalty is unquestioning and servile. And that’s the kind of loyalty Vegas has to his father. We know that he pleases his father because he craves for his father’s love and recognition - but why this way? Why is he doing it so willingly? Even by the end of the show he barely showed anger and hatred towards his father. He lashes out at the situations of being let down by his dad, but not at his dad (at least that’s what I think) - because he then goes back home and was 100% ready to go kill some people just because his dad wanted to and he never considered once he could defy that. Perhaps this is why.
So when Pete prays to Guan Gong - in Vegas’ home, it’s as if unwittingly pledging his loyalty (and obedience) to Vegas - even before he or the audience was supposed know anything that was going to happen. That’s just a coincidence, yes? While I don’t think Pete was doing that because he was thinking about swearing loyalty to the minor family but just a general sentiment of ‘I see a deity figure and I will pay respects to it for general good blessing’, it was indeed in Pete’s nature to do that. Nothing is a coincidence. Once again, they’re mirror images of each other.
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(Vegas + the main family)
The first time we saw Vegas and Korn in the same room was when Macau came running in to the meeting room after getting bashed in his head. But the first time we really saw them interacting was in ep 14 (correct me if I’m wrong though). I love that scene for so many reasons and all of them are because of Vegas and it being the culmination of the family drama in the show (!!!! bounces in excitement)
This face when Vegas realised that his uncle had killed his father and was about to draw his gun at him:
It just struck me that it was nothing like all the faces he had made before when he was about to torture or kill Kinn/Porsche earlier in the episode too. This is just the face of a boy broken for life, yes?
He draws his gun but he doesn’t shoot right away. Why? What directly got him retreating was not at all Pete telling not to shoot - Pete said that before Vegas drew his gun and was standing away from Vegas’ sight the whole time. It was only right after Korn dismisses his guards and tells Vegas that he will take care of him and Macau, that Vegas stops and leaves.
His uncle just killed his father - maybe it was an inevitable ending he was expecting. But was he expecting his uncle to react so calmly and even extend mercy to his family? I want to know so badly what their relationship was like. How did they interact all along before this? Judging from what we’ve seen of Korn, I’m sure he would have been a respectable and presentable uncle. I’m sure they had family gatherings especially when grandfather (who kidnapped Porsche mama) was still alive.
Hesitating to shoot such an uncle, for a man with a strong sense of loyalty and family? Sounds fair. I would like to think that is the reason of his struggle there since Vegas has no qualms about killing people. Killing people is fine for him but killing his uncle is different. Additionally, I like to think that he was also thinking about Macau’s well-being. If he died here as a murderer of the main family’s leader, what would happen to Macau?
Also bringing us to this one shot in this same scene of Kinn gently shaking his head at Vegas pointing his gun at Kinn’s own dad:
I’m enthralled. It wasn’t an expression of anger or disgust, it was deep disapproval hand in hand with concern. Or something like that. I don’t know if Vegas saw that but I would like to see his face if he registered that. It just felt like a conscious choice to me that Kinn was shown doing this in the midst of an intense moment between his dad and his cousin. I want to know what was going through his brain.
What I would like to extrapolate from this is that there is ultimately not really any real hostility between them, personally. Just as Korn had (even for secretly manipulative reasons) shown gentleness and mercy as a family member to his nephew who was trying to kill him at that moment, I want to think so that Kinn was raised to react similarly except without the ulterior motives Korn harbours.
Did they get along as kids somehow? How have they always been interacting with each other before Porsche came into the picture? I can’t shut up about how Vegas has always referred to Kinn in affectionate familial terms - as p’rung (idk the correct romanisation), the second brother. (Hits close to home because I also refer to my own cousins on sibling terms). Even when he had been harbouring desires to kill Kinn, they’re still family. The only reason he wanted so badly to kill Kinn is the agony that he can never get away from the fact that his family is beneath his. It’s that they are, unfortunately, family.
I lowkey resent that I don’t really have much to say about Vegas and Kinn’s relationship in relation to the topic of this post. I just love them as each other’s foils - both forced to grow up too soon as crown princes of their families and main protectors of their brothers but each raised by two quite different fathers who are brothers in rivalry + Vegas having a one-sided obsessive rivalry with Kinn which is just too funny. The drama sadly doesn’t give me as much as I would have wished for. But we make do. <3
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That’s all. ✌️
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🔥unpopular charles opinion
The thing is, it’s not an opinion, really. The question isn’t meant to be a complaint or a rebuttal or anything. I just genuinely don’t get it! The question goes something like this.
So Charles/Klinger seems to be the one actively disliked ship in the fandom, discounting the h*nn*hawk vs p*erc*ntyre gang war and that one rabidly anti-hawnk person (lol). Most nobody has any love for the ship, because it’s stupid and OOC, of course, but mostly because it’s egregiously obviously racist and gross, which is the critique that seems most common, and to be of most importance to people.
And to be clear, for the purposes of this post I am wholly agreeing with all that! It’s distasteful and immoral and people who are into it are insane, including me. I’m not arguing against this line of thinking, I just wanted to look at its inner logic. Because when I first heard people saying this, I thought, “Yeah, makes sense, Charles is truthfully a terrible person with abhorrent opinions. Nobody watching this already unfortunately bigotry-riddled show is obligated to try and look past that! It is Always valid to hate Charles’ guts.”
But it turns out most of the fandom (I assume it must be most, given how shockingly few people here have blocked me) actually don’t hate Charles, in general. It’s the specific ship, not the character, that’s distasteful. (Not to say any Charles ship is anything resembling popular, but like with most ships, that’s just a result of the general population’s Hawkeye BJ Laser Focus Gaze. I’ve never seen anybody actively dislike these ships when they’re brought up.) And the more I think about it, the more I wonder why, because well. to put it bluntly. It’s not like someone stops being racist when they’re not actively interacting with a nonwhite person.
You know what I mean? I feel like Charles’ bigotry would be a turn off for all of our generally morally sound protagonists, not just one who happens to be personally affected by it. But it only becomes an issue when it involves Klinger. I’ve heard people say that any Charles/Klinger ship fic would obviously have to go out of its way to address Charles’ racism, but I’ve read a few Charles/Hawkeye and Charles/Donna (and Charles / other strange and varied choices too, because of course I have) fics–really, REALLY good fics, that captured the characters very nicely and are very beautifully written–and I’ve yet to find one that discusses The Bigotry In The Room with any degree of seriousness.
(Pssst this is everyone’s chance to absolutely dunk on me by sending me fics that do this if there actually are a bunch and I’ve just never read them because I would in fact LOVE to read some fics with that topic regardless of ship!)
And to be clear, that’s fine with me! I truly do not care. When I read Charles running away to Maine or romancing Ms. Parker and I don’t see his love interests stop to ask “Hey, um, so any updates on the fact that you and your whole family are eugenicists?”, it doesn’t bother me in the slightest, because I just assume that Charles has already gone through the cult deprogramming step of his character development at some point prior to this, and either the love interest in question has already confirmed this off-page, or they are making the same assumption I am. After all, at least in Hawkeye’s case, the mere act of admitting romantic interest in a Democrat from the back of beyond would necessarily imply a shift in values, right?
(Admittedly, for all we canonically know Donna could be a fashy scumlord herself, so this reasoning doesn’t wholly apply there, but it obviously does to her fanon background/personality.) (Which is adorable, by the way. Everyone go check out the collective oeuvre of AO3 user onekisstotakewithme.)
So that’s all cool! It’s just that the same thing applies for me when it comes to Charles/Klinger. If anything, it applies even more, because you can have a fic where Charles’ whole family attend his and Donna’s 2nd wedding (Everyone go check out the collective oeuvre of AO3 user onekisstotakewithme!!!) but if Charles gets with Maxwell in any capacity, his father is at the very LEAST never going to speak to him again, ever. And personally I think that is SO fun and sexy, because Charles’ father is a white supremacist and I want him to die painfully forever and ever amen. <3
I got sidetracked a few times here and I just realized I never actually asked the question, which is, TL;DR: If it’s immoral–or at least gross and nonsensical–to ship Charles/Klinger, because Charles is bigoted, shouldn’t the same also apply to shipping Charles with many other characters too, given that they should logically also have a problem with his bigotry?
For what it’s worth, I have a bit of a theory about the answer to this, all to do with the incompetent way Charles’ bigotry (and other characters’ reactions to it) are portrayed in canon and the deeper Doylist factors that I think forced the showrunners into writing it like that, but I wanted to stay strictly on the topic of fandom attitudes for now, because it may be niche and silly, but I find it interesting. And I’d love to hear other people’s thoughts on it!
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I keep thinking of that reply in my Odysseus/Agamemnon post about how I regard differently Odysseus' and Agamemnon's actions, while acknowledging that at times Agamemnon is written as a sweet man and Odysseus is always straight up shitty, and how it was taken as some sort of defense for Agamemnon and as a form of pointing out the double standard; and that wasn't at all what the post was about for me, even though I can see where they were coming from. To be honest, given I didn't imagine it would spread anywhere other than my own blog, I didn't explain myself very well (or at all).
The fact is that when I talked about Odysseus not caring about hurting someone else's child to start and end a war I was indeed comparing his actions to Agamemnon's, but my words about supporting Odysseus' wrongs and cheering him in his terrible actions, while in a joking tone, weren't entirely a joke. I do think that Odysseus does some very shitty acts, and some quite terrible ones depending on the sources. That's a fact, that he does is at the core of his characterisation and it's what makes him so much fun; but not even when he is at his most cruel does he harm his family, his own son. Agamemnon, while sweet and loving at times in some texts, at his worst is willing to sacrifice Iphigenia. When readers regard with more sympathy Odysseus over Agamemnon despite both being responsible for children dying, I don't think there's a double standard in this aspect at all considering it's never his own kid Odysseus harms. And that's the key, I think.
Odysseus and Agamemnon have very different priorities, a very different view on loyalty and duty. It could be said that Agamemnon acts out of selfishness, but it could also be read in a kinder light, saying that Agamemnon is ruled by the gods first, and by his role as head of the achaeans; Agamemnon is not entirely himself. In opposition we see Odysseus acting perhaps mainly for himself and his own family and men; yes, he is a king, but he has not the role Agamemnon has. As a consequence, Agamemnon submits his family's wellbeing to the war, to the gods, while Odysseus stops the plow before hurting Telemachus but is (depending on the source) the cause of Iphigenia's sacrifice and Astyanax's death.
Both Odysseus and Agamemnon have reasons to support their actions, and both can be sympathised with; it's fiction after all. When it comes to fiction, at the end of the day which character a reader is drawn to or sympathises with is mainly an issue of personal taste, but I suppose it also implies a certain level of one's own views or preferences on morals, what makes us find certain actions more justifiable, or tasteful (perhaps that's a more accurate word), than others. Agamemnon sacrificing his daughter, no matter how sympathetic or understandable the reason, generally sits worse on people than Odysseus doing the same with someone else's kids, because they're someone else's. This different emotional reaction they provoke has place not just metanarratively, but also inside the very story; it is narratively significant, given it determines how their arrival home plays out, how their wives react to them, and thus their futures. Ultimately it determines whether they live or die.
I think both terrible acts go in line wonderfully with each characterisation, showcasing the role they hold in their world, what they value, what they care for, what they're willing to sacrifice for themselves and the others, how much of their own they're willing to give and bend. While looking at the wider picture it could perhaps be drawn that Agamemnon is the better person out of the two, but Odysseus' selfish actions are perhaps easier to empathise with, especially from a modern viewpoint. Odysseus is treacherous and prone to betrayal, but not against his own; Agamemnon follows the rules of the gods. How fitting in that context that Odysseus doesn't die at the end of his story, that he cheats the death heroes so often are fated to, almost as if cheating the narrative itself, bending the rules of the world he is ascribed to; how fitting in the context of those texts that point towards Sisyphus being his father. But that's another topic, and I've already talked a lot.
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[HPHM] Pearl Cromwell Moodboard
fancasting Nicole Kidman as Pearl // done because most of R’s known agents aren’t even half as interesting as they should be
“You know your place in the sky --
You hold your course and your aim,
And each in your season returns and returns
And is always the same...
And if you fall as Lucifer fell, you fall in flames!
And so it must be, for so it is written
On the doorway to paradise,
That those who falter and those who fall
Must pay the price!”
~“Stars (cover)” by Jess Anderson
x~x~x~x
Everyone at the Cromwell estate tried to block out the screams of pain that echoed out of the dining hall. After just under an hour, Charles finally stopped, whether out of physical tiredness or just having finally spent his temper, and bid Pearl and Claire to carry Carewyn up to the tower room at the back of the estate. Charles didn’t want her to leave that room again until she was prepared to behave appropriately.
Carewyn had expected Pearl and Claire to simply throw her on the floor and leave her there. Instead, however, Pearl sent Claire to go fetch some towels and cold water, and she hoisted Carewyn up onto the worn feather cot on the far end. Her aunts then removed her torn dress so that they could clean the open gashes Charles’s whip had delivered to her back.
As far back as Carewyn could remember, her aunts had never liked her. Her mother Lane had even told stories about her siblings and how Charles had pressured his children to compete against each other their whole lives. When Carewyn had moved in, Pearl had refused to look her in the face for over a month…and thanks to her daughters’ dislike for Carewyn, Claire had always treated her niece just as coldly. And yet, now…for some reason, they sat with her.
“…Why are you doing this?”
Carewyn couldn’t see either Pearl or Claire’s faces while she was lying on her stomach, but she heard the mattress give a light squeak, as if Claire had shifted slightly to look at Pearl.
“Don’t you think you’ve questioned your elders more than enough already?” said Pearl in a very hard voice.
She brought a cold cloth up to the largest gash on Carewyn’s shoulder, dabbing at it lightly.
“You may be a stupid, arrogant, pathetic girl, Winnie,” she said quietly, “…but I know the pain of losing one’s sibling.”
Carewyn felt some pity in her heart despite herself.
“Thank you,” she murmured.
Pearl scoffed. “Thank me by doing as your grandfather says.”
Carewyn closed her eyes. Then she turned her head away from her aunts and didn’t reply.
Taking her silence as a refusal, Pearl withdrew quickly and hoisted herself up off the worn mattress.
“Come, Claire.”
~Excerpt from the Cinderella AU, Part 14
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