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goldeneyedgirl · 6 months

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this is probably a dumb question but: how do you think the saga would have gone had victoria turned mike instead of riley? what do you think would have happened if it was revealed that bree or fred was/were related to jessica or something like that?

(or if angela really did turn out to be a witch?)

and also, how would you go about involving the humans of forks into all the supernatural stuff if you could rewrite the saga / have free rein?

and also also (i'm done now, i promise, this ask is all over the place, i am so sorry): tara x jacob? i ship it. please tell me more :-D

Ooof, Anon, great questions. Settle in, I've never been known for short answers.

mike.

So if Mike were changed instead of Riley, that's someone that Bella knows and theoretically cares about. That's a disappearance that affects her entire community - Bella works for Mike's family, she spends time with him, her other friends have known Mike for years. I can see Bella being concerned, but not overall worried or invested in Mike's fate too much. Bella comes across as very self-centered and I think that only Jessica or Angela could inspire her to really worry in this scenario. I can see some jokes being made about Edward not worrying about Mike anymore, and having that look very dark during the reveal.

I also think that Victoria would keep Mike a secret, and not let him roam as much as Riley, to have the maximum impact. Victoria got so close to Bella, she killed one of Bella's friends as part of her army. That's extremely scary and messed up.

There's a huge emotional arc of Mike disappearing without a trace, and then Bella coming face to face with him in the battle. And Mike is so confused - he's believed the whole time that he's saving Bella (because Victoria would use Mike's affection for Bella to her benefit) from the terrible, dangerous Cullens, and that he's met his soulmate in Victoria. That Victoria is really a good person who is looking out for Bella and only changed Mike because she loved him at first sight.

I like to think that Mike would have his moment, and turn on Victoria - maybe even help Edward and Jacob destroy Victoria. A nice little framing of the three boys who loved her protecting her. And Mike backing the fuck up away from Bella because he knows he's going to want to eat her if he gets too close.

As much as I think it would be cute and fun if Mike and Bree were allowed to live, and go off together as nomads with kind of a sibling dynamic (and great potential for their return in Breaking Dawn as witnesses; Mike has the advantage of testifying that no one suspects the Cullens of being anything except too rich and fucking weird), I think Jane would have executed both of them, and that Bella and Edward's choices would finally have a human price and a face to them - especially if Mike realized he was on death row and tells Bella to make sure his mom knows that he loved her.

I don't believe that Bella was written to reflect on this kind of thing much, but I do like the idea of Mike's death weighing on her and making her question everything that has happened since she moved to Forks, and Eclipse ending with Bella 'needing to think' rather than accepting Edward's proposal. She's the reason that Mike never graduated high school, why his family will never stop looking for him, why he never got to go to college or get married or have any of the things that Bella can still have.

And then you lead into Breaking Dawn with Bella finally accepting the proposal but asking to put off her change until after college (obviously Renesmee ruins that plan, but the sentiment is enough.) I would also hope that Bella chooses a boy's name of Edward Michael, to honour her friend.

It would be amazing fun, though, to have Mike and Bree return in Breaking Dawn to help Bella, considering each other family, and Mike meets Tanya and is just in awe of this gorgeous woman who actually seems interested in him? It might not be forever, but Mike kind of gets to make lemonade out of the lemons of Victoria changing him. Plus after all his time as a punchline, Mike actually makes friends with the Cullens? He and Emmett are both super enthusiastic about Cullen baseball and video games, he's stunned by how much Rose knows about cars, he gets to part ways with Edward as friends. Feels more fun, but it does lose a lot of the lessons his execution would have for Bella.

bree & fred.

To be frank, I don't think Bella would have cared if Bree or Fred were related to Jessica. I think she would have noticed Jessica's worried and unhappiness, and *maybe* made the connection when faced with them on the battlefield, but she wouldn't have been emotionally invested in them as people. Their execution would be sad, but I don't think it would fundamentally change Bella or her story.

angela.

I've never played with this headcanon much, but I am intrigued. I think that if Angela were a witch, it would be hinted at from Twilight - maybe James' hunt with Bella broke some kind of protective circle she and her family established around Forks. One that the Cullens didn't break because they genuinely mean no harm to the people, and because Carlisle arrived with the intentions of healing and helping.

I feel like Angela's relationship with the Pack could go either way - as an ally who provides healing and protection, as well insight, or as an enemy, someone tapping into powers and knowledge they have no business accessing.

She would definitely have some kind of rune to make sure that Edward doesn't hear anything she doesn't want heard. I think it would be SUPER fun if it were Angela who rocked up to the Cullens house to let them know there was an army being formed, and they needed to do something. Maybe spilling the beans that she's done a good amount of research and worked out exactly who Carlisle, Rose, Jasper, and Edward were, but she's never been able to pinpoint which era Esme, Alice, and Emmett were from, just to really stop the Cullens in their tracks.

During the Eclipse battle, Angela would be with Bella the entire time, creating any kind of protective circle and warding charms she could manage, and be zero-tolerance with Edward and Jacob's competitive nonsense - "Bella's a person, not an object to be fought over." She'd be sent back to the Res after the battle so that she didn't run into the Volturi.

Angela wouldn't end up imprinting on the Pack or anything; she'd go to college, maybe coming back for Breaking Dawn's confrontation during Winter Break (though she would definitely be facetiming during Bella's pregnancy with ideas, tips, and generally trying to convince Bella that the risk was insane and there was only so much that could be done). I think in that scenario, Angela would be the one entrusted with Renesmee, and that Jacob would be responsible for getting both of them away from the battle. Angela becomes a friend and ally to the whole family, and gets to live out her life with a foot in each world because she deserves good things.

humans in twilight.

If I had free reign over Twilight, Bella and Edward would be the B-plot, and Alice would be the protagonist learning about where she came from, and realising Aro wants her as a weapon. Or just a super self-indulgent human Alice/vampire Jasper moment. Or just ret-con a lot of it.

But I digress.

To integrate the classmates into Twilight more, I would let the Cullens have friends. No necessarily bffs, but maybe the Cullens sit at the same lunch table as Jessica and co, maybe Alice joins them sometimes and other times Edward summons her back to the family. Or maybe Rosalie is part of a study group for STEM, or Emmett had a part-time job down at Newtons (a GREAT opportunity for him and Bella to interact in the later books - I maintain that Emmett deserved a much larger role, and that New Moon needs a total overhaul to balance out Eclipse and Breaking Dawn. But that's a full TED talk on its own.)

Just something to integrate them more with their classmates. "The Cullens are kind of weird, but they're okay - Jasper Hale can fix any electronic, it's freaky, but he makes you pay. If you need any tutoring in the sciences, Rosalie Hale is terrifying but so good at it. Alice Cullen is so cute, every year she does the school musical's costumes by herself, and she teaches kiddie ballet classes at the rec center on Saturdays." Give these people some hobbies, some way of still being apart of human life beyond freakin' high school. Give them a reason for them to be accepted on the fringes of their classmates lives.

Have Bella be a little more pleasantly surprised how easily these people accept and want to make friends with her - maybe Tara's dad used to go fishing with Charlie, and she remembers playing with Tara when she was a kid. Maybe DJ Garret's older sister baby-sat Bella once or twice. Maybe Rachel and Rebecca Black text Bella welcoming her back to 'hell' and Bella spends four books trying to conceal what's going on because she doesn't think Rachel or Rebecca know anything.

Then start using them - specifically Jessica. She's a good foil to Bella because she's so outgoing, and Jessica is so fundamentally human that she can represent all the things that Bella is willing to give up. No gift, no trauma, just an ordinary girl in high school from a content family.

It's not Renee that James pretends to kidnap, he grabs Jessica when she shows up at the Swans to study with Bella; It's not Bella that's bitten, it's Jessica. Bella has to witness all this, and the Cullens are more invested because Jessica is fundamentally a nice person to them. Bella sees the horror of vampirism, but Jessica is convinced she just had a head injury.

Then New Moon happens and Emmett attacks Bella instead of Jasper and the Cullens leave. They let themselves get too close in Forks, it's become too much. They got too attached, and this is what happened. Maybe it's not realistic to live like humans anymore. Maybe they have to isolate themselves because of what they are. Make this a family choice, make everyone be leaving something behind - Carlisle, his work; Esme's social circle and maybe a business; friends, jobs, hobbies, just little human things they really wanted but can no longer justify.

Bella's depressed, but Jessica is getting more memories back, and her hand feels kind of weird and that scar looks like a human bite mark? The story isn't fitting together right. Why didn't anyone call the police over James? Why is Bella so depressed?

Jessica has a strong personality, and she definitely isn't going to let all this go... which results in her tracking Bella down at the Res to get some answers just in time to see Jacob transform. And OF COURSE Jessica tells her friends, who don't believe her until Jessica goes digging JUST in time to confront Bella with a full binder of evidence including the fact the Cullens owned the property back in the 1920s and Hoquaim Hospital happened to have a Doctor Carlisle Cullen working for them.

"I saw a guy turn into a giant wolf, Bella, nothing is off the table. Did you know a Rosalie Hale disappeared in New York State during the 1930s? She just vanished, and then her fiance was murdered in a locked room. The photos are blurry but I have copies."

By the time we get to Eclipse, Bella's trying SO HARD to protect her human friends from the Volturi by keeping them away from where Edward might hear their thoughts. Meeting Aro terrified and traumatized her; she's having nightmares. But Jessica has her friends convinced. She has Angela and Eric helping her comb records to find out where the other Cullens came from. It's pretty futile, since she only has two surnames to work from, but she does find a marriage certificate for an Esme Platt to a Carlisle Cullen from the 60s that she's certain is useful.

Eventually, Jessica decides she wants the full story. What do the Cullens want? What happened to her when that guy abducted her? So she gets her friends and goes to the Cullens for a confrontation. And Alice insists they tell them everything because that's how it has to go. There's no way around telling the truth now.

I'd mess with the timeline a lot to so that Bella has more time to develop her relationship with Edward, and so that the actual battle in Eclipse is the night of graduation - Alice's 'party' is just a cover. And Jessica and co want to help; the wolves and Cullens might be fighting and dismembering the newborns, but Mike has a whole camping store of weapons, there's a good likelihood of some of them having shooting skills, get them in the mix - first aid for wounded wolves, starting the pyres, holding some kind of line to warn the Cullens if any get past a certain point towards town. And then someone gets hurt - maybe Eric or Ben get attacked, maybe Nicole gets hurt bad enough she ends up paralyzed. Raise the stakes some more.

Then Breaking Dawn. Jessica hears that Bella is recovering from near-death after the wedding, and she and Angela go to visit Bella pregnant, wasting away. Jessica just rolls her eyes and is like "you really are gunning for Queen of Fucking Terrible Decisions, Swan. Move over, lets watch a movie." Jessica and Angela - maybe even Tara and Nicole - immediately start coming over to hang out with Bella, and help with the research into hybrids. I really find it bizarre that dhampir legends never came up in canon because vampire hybrids are based in actual mythology.

Then they all leave for college. Jessica definitely texts Bella 'Renesmee? What are you, Mormon?' when Ness is born, but it's friendly ribbing. The Cullens defend the presence of the humans to the Volturi by offering them this choice: either you have a dozen kids protecting their home, helping uphold the secrecy laws, and knowing that walking around at night is fucking dangerous in a new way, or you have an entire town slaughtered by newborns in the age of Facebook. Alice's visions of no one spilling the beans helps, but it solidifies to Aro that Carlisle cannot be trusted, that his compassion is also his biggest flaw. That if anyone should die for these humans, it should be the Cullens.

And then the last scene is spring break; Cullens vs the Pack baseball match, and the humans are back to watch and heckle. And Bella gets this one moment that if she has to leave it all behind, she's glad these are the memories and the people she gets to carry with her. The Cullens know that things have to change, that they cannot integrate themselves like this again, so that Forks will always be special to them. The end of an era.

Fade to black.

tara/jacob.

I think most of the rest of that verse is really from Alice's POV, so you don't get much from seeing Tara interacting with Jacob, but you get a lot of Tara having the biggest crush and freaking out that she's made a fool of herself in front of him. A lot of joking, a lot of girl-talk, a lot of "Bella. Look at me. Tell Jacob you are not interested and give him my number, you are a terrible wing-man. I will make a very convincing argument."

I do know that once Tara gets her guy, she gets to spend more time around at the Cullens asking all the questions she can think of (at least half of them are inappropriate), and she and Rose... they aren't friends, but they get along. Jacob is definitely frustrated that Tara likes the Cullens, and wishes she'd 'stay safe'. At that point, though, Alice has friends like a Real Girl (the document is actually called nofriendsforalice.pages) and Tara is laughing at Jacob, that he thinks manicures and pop music and gossip is dangerous.

The reveal is pretty fun, and the whole fic is really about female friendships and autonomy, and Jacob getting a girlfriend that isn't mystically ordained and just likes him for being him.

#asks #long ask #the twilight saga #mike newton #angela weber #jacob black

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staliamazing · 3 months

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tag game TEHEH

name: sarah !!!! c'est moi

age: twenty, to be twenty-one soon-ish. i am planning a party. will i go through with it? who's to say.

star sign: taurus sun, capricorn rising, gemini moon. i have beef with geminis so the last one deeply upsets me.

first language: english

second language: je parle français !!

i was near fluent and have my B2 but don't practice anymore. i am considering getting back into it because i feel i need more hobbies and highly regret throwing out all my textbooks and notes. (that's a whole other story i LOVED school and threw out all my damn notes and stuff?!?!? sarah you dumb dumb)

favorite lip product: that lush lip scrub! i've lost my peppermint tub but anticipate it turning up when i least expect it. my lips always has excess skin peeling off for some reason so its great to feel exfoliated!

the best food dish you can make without a recipe? um. pizza bread! pizza, pizza sauce, cheese. eat up friends!

if you drink tea, what kind? none, get away from me. SOMETIMES lipton peach iced tea but only if im at mad mex.

if you drink coffee, what roast do you usually get? see last answer. i get the jitters.

favorite thing to watch on youtube right now: THE BALD AND THE BEAUTIFUL. i;ve been watching upwards of two episodes every night in bed.

favorite thing to watch on youtube in 2012: for sure mormon family vloggers. pick a channel i probably watched them. i have no fucking clue why!

favorite item of clothing right now: new graphic tee! the alice oseman x everpress collab with this gorg patchwork design and all little queer and trans doodles over it! the proceeds went to LGBTQIA+ refugees <3 i fucking love graphic tees holy shit

favorite item of clothing in 2012: some form of graphic leggings im certain.

fandom -

three movies you recommend: the half of it on netflix - watched recently and was confused but pleasantly surprised

your favorite concert: either one i went to with my gf! they were both great experiences even though i was shitting myself before both because i have a lot of sound and crowd sensitiivities ( # actually autistic). i loved being in the pit for ATL despite not knowing any songs and i like how you can feel the music inside you.

have you ever unfollowed someone over a fandom opinion? no i've actually followed someone because i love getting mad <3 over time i have grown to really respect them and where their views come from which im proud of because i can be a bit close-minded.

the best tv show you watched last year: i watch a lot of shows! recently though i watched euphoria and understood the hype. couldn't rewatch though. it felt like a disservice to the shock factor i feel like the show really feeds off.

do you have a fancasting you just can’t let go of? don't pay much attention to fancasts!

a ship you’ve abandoned: im so sorry amy and rory from doctor who... i legit met them too. it just doesnt hit the same and im glad they divorced. amy was too swept up in the doctor and rory is a damn sweetheart who honestly deserves better. ALSO maya and lucas from girl meets world - bit random honestly why did they do that. lucas and riley from day one. maya and zay!

on a scale of 1-10 how willing are you to share your ao3 history? 7? depends on who to! anyone on here sure. not real people they'd be like "what do you mean you like fics where that little thug man wears short skirts" they just wouldnt UNDERSTAND

what fandom do you wish was bigger? tori spring fandom! maybe it is and i just dont know but.

do you have a fandom tattoo? yah, the fandom of my high school english teacher! most of my tats are literary inspired and specifically books i read in school for the curriculum.

my others are - phoebe bridgers related

gf related (she tattooed me) (fave fandom) (she's the best)

has a finale ever ruined a show for you? definitely i just can't remember which lmao im sorry

have you…

swam in an ocean? yep! swam is a strong word though. i've been in and bobbed up and down! i usually run from the tide.

been vegan/vegetarian? both! at different times. it was very much part of my friend and family culture growing up.

gone skinny dipping? yes, in my exs best friends dads girlfriends dead uncles pool :) honestly 10/10 swimming with clothes on is so random? i think its so beautiful how people look under the blue wavy water of the pool.

gone skiing? no i am scared of the snow since learning about crevasses in year 4 and almost falling off a ski lift at a very young age. i do love the cold and the ski lodge episode of gmw though.

thanks for the tag @iansw0rld, these are fun :)

#tag game

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lindszeppelin · 3 months

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i was asking for your take out of genuine curiosity so maybe don’t such a holier than thou know it all attitude with people who dare offer a different viewpoint? i was offering my *opinion* and some hypotheticals on the situation and you’re freaking out at me asserting things as facts when at the end of the day you know these people just as well as i do- that is not at all since we’re strangers to them.

but to my actual point. if austin does indeed feel trapped, is miserable, this whole “situationship” is draining him, he’s gaining nothing…and kate isn’t doing everything in her power to get him out of that situation as opposed to just “correcting the record” on odd occasion she is unfortunately, imo, no friend or ally to him. i didn’t think that was a controversial take. and my opinion on all this at all just comes from thinking that to really analyze it we need to look at both sides contributing, not give one all the power while letting the other off the responsibility hook completely. i like austin plenty so please don’t treat me like a bad/stupid fan for being slightly critical.

just trying to birds eye view things here. again- if he’s gaining absolutely nothing but suffering, why is his team allowing it to continue? The Lede Company is an awarded PR firm staffed by industry lauded professionals. kate, who also works for riley keough who seems to really adore her, nor anyone else working there is a rookie that i can see just shrugging their shoulders and allowing their clients to needlessly suffer. that’s not what they’re payed the big bucks for.

i see you're back for round two. you say i've got a holier than thou attitude when you literally came waltzing into my DMs with an agenda, trying to poke the finger at me and accusing me of giving austin the slide but meanwhile giving kaia the brunt of the accosting that you seem to think she doesn't deserve. also, you are not helping your case at all by saying outlandish shit like he's being groomed to take on rande's business as if he is already his son-in-law, and austin is nothing but a freeloader to this family. what do you think this is, an episode of As The World Turns? seriously, you have some nerve coming to me with your nose high in the air with this snobbery attitude, and you have the fucking balls to say that i am holier than thou?

i have given my opinions on this matter for the last year now, and i have spoken about this exact thing with his PR team and her PR team at length. you would not have come in my DMs the way you did if it was out of friendly banter. everybody knows i am open to discussion. but you came at me sideways with your bullshit that i smelled a mile away and i have my right to give it right back to you. you must think i was born yesterday to not understand the nuance of how you were asking me your question. i don't owe you a damn thing. and clearly you are willing to give kaia all the grace in the world but put austin under the microscope that he does not deserve. he has a great PR team and my point, if you cared to read it, was that his team DON'T step in at all to guide him in these matters. they seem to let austin do his thing within reason, unless they have to come in and set the record straight. so WE AGREE, moron. it is HER team that does a great deal of the string pulling. so you are once again making a damn fool of yourself by coming back to my blog not satisfied in the original answer i gave you. well that's too bad because i gave you an answer and it's not my fault that you didn't like it.

i am not entertaining your snooty, nose in the air, fake "i just wanted to know your opinion" bullshit. you must not know me because i ain't backing down on this one. you started this and this is me finishing it. if you can't comprehend what im saying, when i gave you a response last time in regards to his PR team and now a second response, then you're nothing but an instigator.

#lindsay's anon asks

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angelasscribbles · 2 years

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Bad Romance Disney Adventure Chapter 5: Bickering

Miniseries: Bad Romance Disney Adventure

Main Series: Bad Romance

Fandom: The Royal Romance

Pairings for series: Riley x Liam, Liam x Max, Riley x Max, Riley x Drake, Riley x Leo (past)

Rating: MA

Warnings for this chapter: Language

Word Count: 2,431

A/N: Listen. I know I said chapter 5 would be the last chapter, but to be fair I also said that about chapters four and three so.... ya'll should know by now never to believe me on series length! Once again, things just got away from me. But this time I promise that chapter six will be the last one because it's mostly written pending proofing and a bit of minor tweaking and that's all there is for this alleged miniseries. (When does it just become a whole series?) There might be an epilogue though (Ok, there is, it's mostly written already too.)

A/N 2: Thank you @harleybeaumont for bouncing ideas and prereading snippets. Thanks again to @queen-arabella-of-cordonia for the ask for Jace's birth and @nestledonthaveone for the BR gang at Disneyland ask. They launched this series.

My other stuff: Master List.

Liam called Dr. Russo on the way to the hospital and asked her to meet them there. “Probably should have taken her to Disneyland with us,” He told Drake, “But live and learn. Who could have foreseen something like this happening?”

“Uh…me! I told you this was a bad idea, but did you listen? Nooooooo! No one ever listens to Drake, he’s just the overly serious, overly grumpy one, no one takes that guy seriously!” Drake threw his hands up in the air while shaking his head as his voice got louder, “I don’t know why I even try to warn you people about shit! It’s a waste of fucking breath, is what it is! You don’t listen, she doesn’t listen! Nobody fucking listens and I know what the fuck I’m talking about! I’m literally always right about these things, but does that change any damn thing? Does it?”

“Well-“ Liam tried to answer.

Drake wasn’t done with his rant though, “It does not. It does not! No matter how many fucking times I’m right, no one ever thinks, oh, maybe we should listen to Drake…he knows what he’s talking about, remember all those times we didn’t listen to him, then wished we had? Remember all those times he turned out to be right and not just an overly serious, grumpy fucking asshole?”

Liam waited for a moment to make sure there wasn’t any more forthcoming before asking, “Are you done?”

“I just want it on the fucking record that I was right and that I fucking told you so!”

“So now you’re an ‘I told you so’ kind of guy?”

“When have I ever not been an ‘I told you so’ kind of guy? Because you know why, Li? Do you fucking know why?”

“Why, Drake?”

“Because I fucking told you so, that’s why!”

“Okay!” Liam threw his hands up in the air as his body thumped back into the leather seat of the SUV they were riding in. “It is noted for the fucking record, we should have listened to Drake! Are you happy now?”

“Eh.” Drake held a hand out and tilted it from side to side.

Liam blew out a breath of frustration. He leaned forward and asked the driver to hurry.

By the time Liam and Drake reached the hospital, Riley had already been settled into the hospital’s most luxurious, private VIP room. Dr. Russo was with her and there was a young nurse bustling around the room.

“Riley is doing great!” Dr. Russo greeted them, “Jace is in the nursery right now, I’m on my way to check on him next. I’ll be right back.”

Dr. Russo exited, but the door swung open again almost immediately.

“Sorry I’m late.” Leo called out as he barged into the room.

“You’re not late,” Drake snapped at him, “How can you be late to something you weren’t invited to?”

“Oh, I was invited!”

“By who?”

“By Riley.” Leo answered, glowing with satisfaction.

“No, she didn’t…did you?” Drake spun to Riley for answers.

Riley smiled as she reached out toward Leo hopefully, “Did you bring it?”

“I brought it-“

Xander started to cry from his spot on the sofa that graced the far side of the room.

“What’s wrong, Xan? Buddy?” Liam asked gently.

Xander pointed at Leo, “That dog!”

Everyone turned to look at Leo, who looked down at the Pluto t-shirt he was wearing with a sigh. Before he could process what was happening, Ellie shot across the room and delivered a well executed sucker punch to his gut then darted over to Drake, retreating behind his back for sanctuary.

Leo fumbled the food he was holding. He managed to grab it as it fell, but the lid flew off the shake, most of it sloshing over the top of the cup and spilling down the front of his body. He managed to pull the grease soaked bag into himself but copious amounts of chili soaked through the bag and onto his new shirt. “Son of a bitch!”

“No!” Riley gasped, concerned about her dinner.

“Oh, you poor thing!” The nurse exclaimed. “Here, let me help you!”

Leo sat the food down on a counter as the nurse grabbed a towel out of the bathroom. She took the towel over to him and started wiping him up. Leo put his hands up in the air and let her rub the towel all over his torso, then he pulled his shirt off. Again. The young woman looked up at him and flushed.

“Uh…. You know I could go get you some scrubs, if you want.” She offered.

“That would be great miss…..what’s your name?” Leo gave her his best dimpled smile.

“Ah…I…Miranda.”

“Well, thank you, Miranda.” He drawled out slowly, purposely emphasizing his Cordonian accent.

Miranda’s eyes widened before she hurried out of the room.

Drake turned to Riley, “You saw that, right? He flirts with everyone, you see that, right?”

“I don’t care who the hell he flirts with, Drake. Why would I?” She asked dismissively.

Leo defended himself, “I’m just having fun, Riley. No one holds a candle to you, baby!”

“I don’t care, you’re forgiven, flirt with all the nurses you want, hell, bang a few of them, just gimme the food, please!” Riley reached out with both hands and made a grabbing motion.

Leo held the bag just out of her reach, “Who’s your favorite brother-in-law baby?”

“Bertrand. Now give me the damn food!”

“Wait a minute....” Leo’s eyes narrowed, “Were you just using me to get food?”

“Obviously. But look at it this way Leo, tonight you were able to give me something that none of these other three boneheads were.”

“You’re right.” Leo grinned as he handed over the food. What was left of it anyway.

Liam gaped at her in astonishment, “If you wanted food Riley you should have just said so! One of us would have gotten it for you!”

“Bullshit, Liam! I did say so! Multiple times, but no one was listening to me! You were all too busy cooing over the baby! And I get it, he's adorable and precious and beautiful and perfect and wonderful but God damn, I did just push a seven pound baby out of my hoo haw. Can mama not get a little attention?” Turning back to Leo she continued, “This is what happens once you give them babies, you are no longer the center of attention! Babies are little attention stealers, that's what they are!”

“Riley, you know that's not true!” Liam pinched the bridge of his nose. Drake and Riley were both full of attitude today. Maybe Disneyland hadn’t been his greatest idea.

Drake threw his arms up in the air, “What the fuck, Riley? You just remarked today on how obsessed I am with you!”

A frown spread across Max’s face as he told her, “I spent all day catering to your needs!”

“We all spent all day catering to your needs!” Liam insisted.

She grinned up at them from around the cheeseburger in her mouth, “Calm down, I'm kidding.” Cutting her eyes back to Leo, she gave him a conspiratorial wink, “Mostly.”

Miranda the nurse came back with a scrub top for Leo.

“You’re an angel.” He told her with a wink as he pulled it on. “What time do you get off work?”

While Leo was busy hitting on the nurse, Dr. Russo returned with baby Jace, “Here he is. I know you guys want to room in. He passed his physical with flying colors, so he won’t have to go back to the nursery.”

Not only did Riley prefer to keep her baby in the room with her, but Drake had pretty much insisted on it as a matter of security.

Riley fed him again then handed him to Max who walked around the room rocking him while singing Beatles songs. Liam and Drake also took turns holding him. Leo alternated between keeping Riley company, hitting on the nurse, cracking jokes with Liam and playing on his phone.

Dinner was brought in, and everyone ate, including Riley who was still hungry, “I’m eating for two, shut up.”

“Literally no one said anything about it.” Drake told her.

“Eat as much as you want, love.” Liam said.

“Yeah, and then have some dessert!” Max added.

“I don’t think eating that steak is going to be a problem.” Leo said, “I mean, you just had a whole baby and you’re still hot as hell.”

“Shut up Leo.” The other three men said at the same time.

“What?” Leo was genuinely confused, “It was a compliment.”

“What they’re saying is that they love me no matter what I eat or if I gain weight because of it. The fact that you don’t see the difference is why I married your brother and not you.”

When dinner was over, Ellie and Xander took turns holding the new baby carefully in their laps, while sitting down next to an adult who provided maximum supervision. Jax looked at him, but didn’t seem that interested.

“He’ll be more fun once he’s moving around, buddy.” Max promised.

“I’m going to check in with the security team. I’ll be back.” Drake gave a Riley and Jace both a kiss on the forehead before leaving.

When he came back, he wasn’t alone.

“Look who I found downstairs.” Drake called as he came through the door with Jason, their Disney tour guide and Jace’s namesake, in tow.

“I just wanted to stop by and make sure everything was ok. Of course, there’s no one on the maternity floor named Riley Smith.” He glanced around the room hoping someone would enlighten him.

“Yeah, I told Liam that was a lame alias.” Riley agreed.

Liam sighed, “Really, love? It was effective. No one questioned it until you started yelling about being queen and Drake outed the security team-“

“Hey! We needed security!” Drake sounded offended.

“Oh yeah,” Leo decided to spill the beans. “My brother is the king of Cordonia.”

“What?” Jason’s eyes went back and forth between Leo and Liam, expecting Liam to tell him Leo was just fucking with him. But he didn’t.

Liam grimaced a little, “Thanks for blowing our cover.”

“I hate to break it to you, little bro, but your cover was blown the minute you had an entire hospital floor cleared.” Leo swiped at his phone a few times then shoved it under Liam’s nose.

“Queen Riley Rys of Cordonia rushed to UCLA Medical Center after giving birth at Disneyland!” The headline screamed.

“Well fuck.” Liam said.

Leo showed the article to Jason next. Jason’s mouth fell open, “Ok, I knew you guys were rich, but I was thinking like one of you was a celebrity or a tech CEO or something, not fucking royalty! Oh, shit, I’m sorry!”

“You’re good.” Max told him, “Riley and Drake cuss like sailors, no one here is going to be offended by the use of the word fuck. Plus, you delivered our son so you’d get a pass regardless.”

“He’s right.” Drake interjected, “But I’m going to need you to sign some NDA’s since you now know who we are and the nature of our relationship.”

“Oh! I…uh…sure.” Jason agreed.

“You work at Disneyland to pay for medical school?” Liam asked him.

“Yes.”

Liam frowned slightly, “I’m certain it would be better for your studies if you could devote yourself to them fulltime.”

Jason smiled wryly, “I’m sure it would, but unfortunately, bills don’t pay themselves.”

Liam nodded in understanding, “We want to pay for your medical education.”

“What? That…I can’t…I mean, that’s too much, I barely did anything!”

“Nonsense! You took charge of the situation, kept everyone calm and delivered our child. You were a godsend.” Liam clapped him on the back, “What’s your last name?”

“Withers.”

“The Jason Withers scholarship fund. You’ll be the first recipient.”

“I…that’s…wow, just wow! I don’t know what to say, thank you! Thank you so much!”

After Jason held the baby, made some small talk with everyone, signed the NDA’s and gave Liam all his contact information for the scholarship, he bid them goodnight and took his leave. “I have an early class in the morning. It was so nice meeting you all.”

“Keep in touch!” Riley told him.

“Yeah, I will.” He said in bemusement, touching his cell phone which now had the queen of Cordonia’s personal number stored in it. He was still a little in shock as he left the room.

Max turned to Leo with Jace in his arms, “Do you want to hold him?”

Leo looked around in confusion, “What? You mean me? I…I don’t know anything about babies…”

“Except how to make them.” Liam snorted.

“It’s easy, we can show you how.” Max responded.

“Oh, I, uh….sure.” Leo looked and sounded anything but sure.

Max placed the wriggling bundle in his arms. Liam showed him how to cradle the baby correctly. Drake just scowled at him from across the room.

“Like this?” Leo asked uncertainly.

“Just like that.” Liam patted his shoulder.

“You’re doing great!” Max encouraged him.

“He’s holding a baby,” Drake shook his head, “It’s not rocket science.”

Max leaned in and whispered, “Ignore him. You’re doing great.”

“Are you sure? He seems fussy, maybe he doesn’t like me…”

Drake snorted, “Then he’s got good taste already.”

“Of course, he likes you!” Max assured him, “You’re his uncle!”

“I mean….am I?” Leo asked skeptically.

“Leo.” Liam sighed, “This child is a Rys by every measure that counts.”

“Other than DNA, right?”

“Swear to God.” Liam responded, “Why are you so hung up on DNA? You have seven children carrying yours and have you ever even met any of them?”

“What’s that got to do with- Oh! Why is he making that noise? What’s happening?”

“He sounds like he’s trying to poop.” Max responded. “Here, I’ll take him.”

But it was too late. Jace’s grunting got louder as he pulled his legs up and a black tarry substance exploded out of the leg of his diaper.

“Oh…oh shit!” Leo exclaimed as the front of his shirt got soaked, again. He was getting used to it.

“Literally!” Drake laughed.

Max brought him another towel and helped him wipe it up. “I’m sure you could get that nurse to bring you another shirt.”

Liam took Jace so Leo could pull his shirt off. “This isn’t funny anymore.”

“Yes, it is.” Drake chuckled.

“Fuck you, Walker.” Leo held his middle finger out to the other man before walking out of the room looking for the hot nurse.

#bad romance #angelasscribbles #choices fic writers creations #cfwc fics of the week #trr #drake walker #liam rys #maxwell beaumont #leo rys #riley brooks #the royal romance #the royal romance fanfic #choices stories you play #choices #trr poly #why choose #play choices #choices trh #the royal heir

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voteformightyclocks · 1 year

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Why I'm Excited For Inside Out 2

So, I know a lot of people are upset about Inside Out's announced sequel, and rightfully so. Disney milks their IPs for every cent they can get. However, I'm excited for Inside Out for one major reason:

Riley's a teenager now

This in and of itself could have one of two implications. Riley could have massive mood swings (just imagine a major rivalry in Riley's brain as the other emotions rebel against Joy since, well, they want their turns), or Riley could begin to suffer from a mental disorder. The latter would be what I'm most interested in, however I must admit that would make the show a lot more mature than Disney tends to go, so as awesome as it would be, it's unlikely. (Then again, the first movie had to do with depression, so...maybe?) But, let's assume the latter of the two scenarios are true! I have three different theories for the mental disorder Riley could possibly develop, the emotion the story would center around, and what we might be able to expect from Riley's circumstances

ANGER - BIPOLAR DISORDER

So, I'm kinda stretching a little bit with this first theory, but that's mostly because I figure if Pixar's going to be tackling bipolar disorder, they're going to show us one of the more extreme sides of it. Furthermore, this opens up a chance for both Joy and Sadness to share the helm of Protagonist similarly to how Joy was the star in the first movie. This theory proposes that Anger is fed up with being sidelined and feels Joy is being control-freakish to an unnecessary degree. "Why should she be allowed to have all the fun while we do nothing?!" So he consistently attempts to sabotage Riley's mind, potentially destroying the command center and sending Joy, Fear, and Disgust into unknown parts of Riley's brain while Sadness and Anger struggle for control. Sadness knows Anger can't be allowed to have free reign, so she tries her best to manage to situation while Joy and the others make their way back. On the outside, Riley would be struggling with depression again, but also be struggling with intense bouts of rage. While this is a more extreme case of bipolar disorder, it technically qualifies

2. DISGUST - SELF DEPRECATION

So in my research for this post, I found out self-deprecation is actually a disorder??? I had no idea it go so extreme that it was literally a disorder. Anywho, my theory for a Disgust-centered arc would show Riley as she struggles to believe she's got value. She sees all these cool kids at school, and sees couples getting together, and perhaps her boyfriend breaks up with her (or maybe she just never had one...I still haven't seen the Riley's First Date short), and Disgust pushes the other emotions away and insists Riley's inadequate. This could go into a whole arc about identity, belonging, and self-value. If Pixar really wanted to carry mature themes, they could write in themes of suicide or self-harm, but not only do I strongly doubt they'd do that, I would personally struggle to cope with the movie if they tried that, so I don't really want to see those themes prominently displayed either. I'm not sure about specific points within the story, however I'm certain about the general premise of the story

3. FEAR - ANXIETY

This is, in my opinion, the most likely of my theories to appear in the sequel. Depression and anxiety are two of the most common disorders, and so this would be a great, logical way to continue the franchise. In it, maybe Fear becomes hyperactive. He's convinced that Riley's boyfriend (again, if she has one) doesn't actually like her, and he starts insisting he controls Riley on dates because, well, he's the only one who can figure it out. Joy's confused, and initially just lets Fear do his thing, however as Riley begins acting weird around her boyfriend, he starts slowly distancing himself, because he believes something's wrong. And when he tries to confront Riley, Fear conjures a lie to try to hide what's going on. A lot of social drama could be created out of this, and it would especially work well if Disgust and Fear worked together and even created a combination of this theory and my second theory

So those are my top three theories! ...and this is where I awkwardly end the post

#inside out #inside out 2 #theories #disney #pixar #sequel #voteformightyclocks

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ellowynbeimler · 2 months

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Mar 8

Dear Dad,

We saw the Seers. Well, I saw the Seers. I mean, Riley, Will, and I got to see them.

We didn't notice before, but they had people on the door to keep large groups out. Volunteers maybe? I don't know if they're being paid to do it. Or maybe to keep people from being rowdy? Like if they got a bad vision?

They would only see one person at a time, so we took turns.

The Seers wouldn't see Reese, Zunair, or Grace and didn't give any explanation.

Willow went in first. Riley was going to go in first, but people thought she looked too eager, so Will went in first.

It took a lot longer than I thought it would, and then she came out. Willow was so excited cause they saw that she wanted to go home and that they'd help us with the rest of it.

Riley went in next cause she still didn't have any patience. It also took a long time, and she said that the second one said the gate was at the base of a cliff.

She and Willow were talking when I went in.

It was a weird, dark room with a lot of cloth everywhere. It actually did a really good job of soundproofing the whole place. Once the curtains closed behind me, I couldn't hear Riley or Willow or the sounds of the people outside at all. It was all so strangely silent.

There were these three ladies, I mean, I think they were ladies, they all sounded like women, kneeling on pillows on a little wooden stage-looking thing.

The first and second women said something about seeing into the heart, into the mind, and into the future, some stuff about how they cannot say much about the details for fear of driving it off or preventing it. Then the third, who'd been quiet the whole time, spoke up. She said that ultimately, we'll succeed, but it will take more time than we want.

So we’ll get home one day!

Hopefully. I don't know if what was in my heart is actually what the group wants, but I feel pretty strongly that I want to go home, so we'll see, I guess.

When we left, I don't know if we felt much better about our chances. I mean, it was nice to be told that we'll "Achieve our heart's desire," but not so great to hear that it's apparently going to be much longer than we want. So, who knows how long that's actually going to be.

Grace, Reese, and Zunair had a lot of questions and were worried, though, since they weren't allowed to talk to the Seers.

Grace was miffed. She was passed over, but she thinks she should have just been allowed in, even if they weren't going to "look at her heart" or whatever. Which makes sense. I mean, I got to go in, and even if I wasn't actually getting talked to, I would also want to know what it was like. What the Seers were like. She's not too mad about it. I mean, she didn't do anything extreme.

Maybe her temper was tempered (Ha!) by the knowledge that we'll get home eventually?

Reese is just glad to hear we’ll get home. He's practically over the moon about it. Talking about how he can't wait, there's all kinds of stuff he's sure he's missed out on, how he'll at least have some good stories to tell when he gets home. He's been talking a little more about his siblings, but there's been some stuff going on, so he hasn't been saying names or such.

Cultists, you know.

Zunair is wondering if that means he’s going to be stuck here. I doubt he's the only one thinking about that cause they didn't answer each of the questions for each of us.

We're kinda assuming that cause MY heart's desire will be fulfilled, that means that all of us are getting home. And we're all kind of assuming that cause they knew Willow wanted to go home and that Riley was told about a gate at the bottom of a cliff, we'd all get home that way.

But what if my heart's desire is actually different? What if Riley's was? What if we never find our way out because we're looking for the right thing in the wrong place cause we don't really know what we're looking for?

Just cause the gate in the cliff is A path doesn't mean it's the right path. They just said that was how to do it, not even the best way. And maybe it's not even the right way for us, maybe it's just a way, and even though we'll succeed, we'll, I don't know, pull a looney tunes or something.

I shouldn't be thinking like this. I'm just worrying about myself. I'm sure it'll be fine. We'll get home. WE WILL.

I know we will.

We’re going to move on in the morning, even if we don't know where exactly it is we're going. Maybe we can find that guy who knew about the different portals and see if he knows a way home that's through a gate in a cliff.

Or maybe the group in the city will know. The Seers said they didn't want to give us too much information just in case, which makes sense, but that doesn't mean we can't research on our own and find something ourselves.

Also, I think we should keep our options open.

If there are multiple ways for us to get home, then it won't do any harm for us to try a couple of ways. And then, if we get home another way, we'll know there was another path for us the whole time. After all, we knew we'd succeed, right?

But if we get home like they said, we just know they were right. So it's all good and great, and we'll get home either way.

Another thing to talk about that I don't really want to, but it is probably good to talk about with you (even though you probably aren't going to read this anytime soon (if at all)) is that all of us are feeling paranoid. And not just a little bit, but like, a lotta bit.

But there really are people out to get us, so it makes sense that we'd feel paranoid. And it makes sense that we'll feel paranoid since we don't know where the threat is coming from.

Even though I can reason it and think hard about why I'm feeling the way I do, it doesn't make it disappear. It doesn't make that watched feeling go away.

It doesn't make the fact that any time I turn a corner, I pause for half a second, go away.

It just means that I'm actually not crazy for feeling this way. Which does help. I mean, when you're already feeling kind of crazy, being told you're crazy doesn't help things. So, at the very least, I'm, in fact, not crazy for feeling this way. But that doesn't make the feeling of being watched go away, and it doesn't help that I still feel very alone here.

It doesn't help at all, really.

There's nothing that can be done about it.

And I hate it.

I hate this watched feeling, and I hate knowing that it's not just in my head, and I hate that I'm not the only one.

I hate them.

I hate that even though I have my friends, sometimes there's a wall, and I hate that even though I want to help, there's nothing I can do.

I hate the uncertainty of it all, and I hate that at any point, any point at all, they might show up again and ruin it all.

I hate that I don't know when we'll get home, even if we think we might be able to.

I hate the uncertainty of not being sure about anything, from the people I'm with to the places I'm in to the intentions of literally everyone.

I hate knowing that magic is real and that I can do it and not being able to help in most situations.

I hate it all.

There's no good in any of this.

Well, it's good that we're all still alive and together.

But who knows how long that'll last.

Like Zunair said, they didn't let Reese, Grace, or him in. Was it cause they knew that they wouldn't make it home?

Was it cause they knew they'd fail somehow?

Was it just chance?

I don't know.

Just another thing I hate.

I'll write to you soon,

Jack

Read the rest of the series here:

Or read more by this author here:

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alirhi · 2 years

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reposting from an ooooold fb post

this just popped up in my memories on facebook from 5 years ago, and I still stand by every point I made here, so fuck it. I'm reposting it here:

While I really do love Joss Whedon's work, I'm not surprised in the least that his attempt at writing a Wonder Woman movie is being ripped apart for being sexist. Has anyone ever actually WATCHED Buffy the Vampire Slayer? I mean, really? It's a great show if you don't think too deeply on it, but... Every single female who shows the slightest bit of strength and independence is immediately ridiculed and slut-shamed, including the goddamn title character! Here's just the examples I can think of off the top of my head:

1) Buffy's entire. Fucking. Arc. She can't have a functional relationship because in Whedon's mind that's aaaaaalllllllll about sex, and there is an ENDLESS trope of "girl who enjoys sex must be punished!" Angel turns evil, Parker's a douche, she and Riley (UGH, Riley! *barf*) trigger a massive haunting that nearly kills all their friends, Spike is UTTERLY DESTROYED as a character on EVERY level, and everyone shrugs off his attempt to RAPE HER as just "eh, whatever. he went crazy that one time, but it's all better now." Oh, and she can't date a normal human boy because - god forbid - his fragile wittle ego might get all bruised!

2) Faith. omfg Faith. What he did to her should be a CRIME. Here is a girl who is comfortable with her sexuality and LOVES what she does. She's powerful, beautiful, and she knows it. In Whedon's mind? CLEARLY INSANE. TURN HER EVIL IMMEDIATELY. But not really evil, no. A truly evil woman is just too interesting. No, make her crazy, and then make her flop like a fish out of water back and forth over that good/evil line, just dipping her toe in on either side enough to make her feel like utter shit at all times.

3) Kendra is smart and has been properly trained. Can't have that! She's a stuttering robot and dies the DUMBEST WHEDONVERSE DEATH EVER. (well... maybe second-dumbest *side-eyes Wash in Serenity*)

4) Drusilla is actually interesting and nuanced and kind of a badass? Eh...quietly remove her and make her boyfriend whine about her for all eternity. No one will notice. (I noticed, Joss. I noticed and was NOT PLEASED.)

5) Willow, immediately upon discovering that she has a natural affinity for magic, is punished at every turn for pursuing that. Giles talks down to her and tries to hide things from her without even explaining why he thinks they're so dangerous for her, if she doesn't get something perfect on the first try, every goddamn character around her except Tara (who is the ONLY ONE with a leg to stand on, here, as the only other witch in the series - not counting Amy the rat) ridicules her for it, and when she finally gets a good solid handle on her abilities? BOOM. "Addiction" (thus proving Whedon has NO FUCKING IDEA what magic really is, what it does, or how it works), hurt Dawn, lose Tara (😭 MY HEART), and then make her "evil", and the only way she can be back with the good guys is if she's TERRIFIED of her power and lives in eternal shame of it, because I swear to god, WHEDON IS AFRAID OF WOMEN.

I was going to say something about Cordelia, but that's a whole rant on its own, because she was AMAZING on Angel before Joss ruined everything AGAIN... and I'm trying not to delve into Angel right now. I'm too tired for that shit lol. And Anya...eh. Everything about her and her relationship with Xander is pretty much just one big sexist trope. Also too tired to get into that.

#repost #stolen from my own fb #rant #sexism #fuck whedon

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siswritesyanderes · 3 years

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If it had been Jasper-Sadie or Alice-Sadie as the vampires and finding their third later, how if at all would any of the “prior” story (the Twilght saga proper) have changed?

This turns the timeline inside out, but Meyer was never great at those anyway.

(Hi, if you're from the Twilight fandom stumbling across this post without context, Sadie is my OC in a yandere Alice/yandere Jasper/OC fic that you can read here.)

Ohhh, so much potential there! I can't answer that in full, because doing so would spoil what Sadie's potential vampire ability is. (Super sorry about that. Feel free to ask again after that information has come up in Rule One!)

I can say that both Bella and Edward would take to confiding in her and seeking her counsel with regards to their relationship. Especially if it's a Sadie-Alice duo; Edward would be super close with both Sadie and Alice (like he's close with Alice in canon), and while he sometimes gets frustrated with Alice, he pretty much always respects Sadie. It's like, Alice would be Bella's best friend and Edward's partner in crime (since she's still the one who would agree to kidnap Bella, whereas Sadie would never), and Sadie would be Bella's confidante and Edward's moral compass. Both Bella and Edward would go to Sadie for advice about each other, and Sadie, though startled by their neediness, would always have something valuable to say.

(Picture Bella or Edward bursting into Sadie's room with a question, and Sadie, wide-eyed, putting down whatever she's doing and saying, "Alrighty then, have a seat.)

Edward trusts that Sadie wouldn't lie to him, so the urgency in having Bella run to him in Italy before he sparkles in front of people (lest he read Alice's thoughts and assume she's lying to him) wouldn't be a thing; Sadie just runs Bella to Edward with vampire speed and is subjected to that whole reunion as an awkward third wheel while Alice parks the stolen car.

Also, Sadie would tip every fight slightly more in favor of the Cullens, but she would also have a habit of really wanting to talk to the enemies instead of attacking them. This is good/useful with the Volturi but not so good/useful with Victoria and Riley.

Oh! Also, Sadie would realize that Victoria will probably follow Edward's scent, in Eclipse, and Sadie would accompany him and Bella in sitting the battle out, so that they have more backup against Victoria. Jasper and Alice wouldn't be privy to the fact that Victoria is coming; this is just a realization that Sadie has that Edward hears in her mind. (As far as Jasper and Alice are concerned, Sadie is sitting the battle out just to be safe, and they're happy that she won't be in harm's way.) This is where Sadie's need to talk to enemies would become a problem, because both Victoria and Riley are too far gone to listen to reason, but Sadie really believes in them and wants to convince them they don't have to die today. It still turns out fine, though. Sadie gets a little hurt, but she's fine. Alice and Jasper would be absolutely smothering, after. Victoria is lucky she's already dead, because they would make her suffer.

And Sadie would think to explain things to Irina before Alice realizes that Irina is going to the Volturi, so that whole misunderstanding never happens.

All of that being said, the thought of "Yandere Alice meets Sadie first" and "Yandere Jasper meets Sadie first" got really interesting to me. So I have to talk about those scenarios immediately.

I'm going to place Sadie sometime in the twentieth century in both cases, and I'm going to try to let the time period matter as little as possible, but feel free to imagine them in 50s or 60s attire, lol. (Or 70s or 80s; again, it doesn't matter that much; I'm just placing her in the twentieth century to keep the rough order of events the same, kind of.) I'm approaching this with the assumption that Alice and Jasper still become vampires in the same way/at the same time as they do in canon; they just meet at different times. I'm not dealing with the Confederate thing here, though, because I'll be dealing with it in Rule One.

I'm gonna go ahead and put it all under the cut. (And if your experience of Rule One is more invested in the potential for wholesome romance than the yandere aspect, maybe the rest of this isn't for you, because this is definitely more yandere-leaning, lol.)

Alice-Sadie

Alice knows three things: 1. Her own name. 2. That she is going to join the Cullens. 3. That Sadie, whom she has not yet met, is her soulmate.

Though she slips up every now and then, Alice does her best not to eat humans. She wants to fit in with the Cullens by the time she finds them, so she's accustoming herself to the animal diet. Anyway, she has a mate out there whom she will meet as a human, and she has to get herself under control before she can risk being around her.

The thing is, Alice knows about Sadie before Sadie is actually an option, so she has to kill time so that she doesn't meet Sadie too early. And Alice hates waiting, so she goes ahead and introduces herself to the Cullens before Sadie. She tells them all about how she'll have a soulmate soon, and how it's killing her to keep her distance but she knows things will be way better if she never meets Sadie as a child. She decorates her room with things that Sadie likes, anticipating that one day she'll be sharing the room with Sadie. Honestly, if it weren't for Edward's mind reading, the rest of the Cullens might think Sadie was an imaginary friend or something.

(Rosalie would normally take issue with Alice's plans to intrude on the life of a human she's never met just because of a potential future where they're in love, but she doesn't really take Alice's fantasizing seriously until it's too late.)

One day, Alice just sort of disappears from the Cullen house, and only Edward knows where she's gone.

Sadie is finally at the right age; it's time.

Alice appears in Sadie's life, and everything she says and does is perfect. She rockets from stranger to friend to best friend at an impressive rate, her precognition easily compensating for Sadie's hesitancy (and Sadie would start off more wary than she is in Rule One, due to the time period). Having left the rest of the Cullens, for the time being, there is nothing (read: no one) holding Alice back from being absolutely surgical about making herself important in Sadie's life and subtly isolating her. She gives expensive gifts, and comprehensive compliments, and she always knows what to say to make Sadie like and trust her more.

When Sadie starts to become suspicious about the evolution of their friendship, Alice drops the vampire bomb and the soulmate bomb all at once, showing Sadie her speed and strength and sparkles. There was no better way to do it. Alice checked; this was the absolute best set of circumstances for the reveal.

Sadie asks for time to process the information. She asks for space. Alice graciously allows it; she's practically living with Sadie at this point, anyway. (Not that Sadie knows it. But yeah, she's in Sadie's house pretty much 24/7 (minus her hunting trips), dodging notice with stealth and psychic powers.)

When Sadie is ready to talk again, Alice pours out every reassurance: how she will never stop loving her; how she would never hurt her; how she thinks about her all the time and loves her so much. Sadie isn't fully won over by the whole vampire lover concept, but Alice does convince her to come meet her family.

They go to the Cullen house. Alice shows her off to everyone, and Rosalie is stunned, and Emmett laughs incredulously. Edward and Carlisle make polite introductions, and Esme hugs her, just glad to see Alice so happy. (Esme has been so worried about her newest daughter, so flighty and constantly pining for someone who wasn't there. And then she disappeared, and anything could have happened to her! But now she's back, and she's brought someone lovely, and she looks happier than Esme has ever seen her.) Carlisle and Edward give Sadie a more in-depth explanation of how vampires operate and why the bond between mates is a big deal. Esme cooks her a huge meal. Before they know it, nighttime has come, and Sadie falls asleep in Alice's room.

She wasn't drugged or anything; Alice just perfectly orchestrated a set of circumstances in which she would be tired by this exact time.

When she wakes up, Alice is an utter angel, offering her breakfast and a bath and telling her that there's more to see, around the house. She hasn't seen Rosalie's garage, yet! She hasn't seen Esme's garden. And soon enough she's sleeping over again.

On that third day at the house, Rosalie pulls Sadie aside to say that she'll drive Sadie home, if Sadie needs her to. But Alice has done her job well; Sadie likes Alice, and she likes the Cullens, and most of all, she's so curious about vampires and the world thereof. She's willing to stay and learn, provided she can visit her friends and family, and provided Alice doesn't try to change her. She fills several journals with what she learns about vampires, all in the span of a single year. She learns so much, and she's never satisfied that she's learned enough.

When Alice asks her to let Carlisle change her, she chooses exactly the right conversation, exactly the right approach, and exactly the right time. Sadie agrees and becomes a vampire. (She kind of has to, for this prompt, lol.) Rosalie is annoyed, but she knows that Sadie thought the matter over thoroughly.

When the day comes that Alice sees Jasper in their future, she drags Sadie off to meet him, barely explaining herself beyond "We have another mate!". Sadie goes along with it because she's used to Alice's antics.

They meet this crimson-eyed, roguishly handsome vampire, and Jasper is pretty instantly enthralled with them both. He's curious about their golden eyes, charmed by Alice's forwardness, and amused by Sadie's mix of intrigue and wariness. The emotional flavor of Alice's joy and cheerfulness, and of Sadie's curiosity and uncertainty, are enough to pretty much have him wrapped around their fingers right away.

Sadie's reaction is more "Ohhhh, Alice, this guy eats people..."

Alice just goes, "It's okay. Jasper will be willing to change his diet if we ask him to. Won't you, Jasper?"

And it's so presumptuous, but also he's into it, because Sadie has already made it clear that eating humans is a deal-breaker for her, and he doesn't want this meeting to end.

He joins the family, and it feels like the best thing ever; he has two amazing soulmates, and he belongs to a large coven that will always be safe from strangers. The animal-eating thing is a downside, but there's no help for that.

The dynamic for the next little while is that Alice is already in love with both Jasper and Sadie, Jasper is already in love with Alice and Sadie, and Sadie is in love with Alice and polite to Jasper but isn't quite sure about him. Like, she's in a peculiar place of "We are soulmates, and I do like you and feel an attraction to you, and I understand how our personalities are good together, but I don't know how long it'll take me to become comfortable with your past", and Jasper is just falling over himself to earn her approval, but she's comfortable with allowing it to take time.

(Rosalie is secretly very entertained by the whole thing, and Emmett is not-so-secretly entertained.)

Unlike in canon, Jasper would never suggest eating any human ever again; even once Sadie is comfortable with him, he never wants to risk making her doubt him the way she did in the beginning.

Jasper-Sadie

So at this point in his life, Jasper is eating people. His eyes are bright red, and he is ruthless, and Alice isn't around to temper that side of him.

This is absolutely a kidnapping situation.

When he runs into Sadie (entirely by happenstance), he doesn't know immediately that he is in love with her; he just knows that he wants to follow her, so he does. He stalks after her like he has stalked lots of prey in the past. Her blood doesn't sing to him, though; after several hours of just tailing her, he realizes that he just likes to hear her breathe and speak and laugh. He likes to look at her. He likes to taste her emotions on the air. He likes this human.

Then he realizes that he's in love with her, as much as Peter is in love with Charlotte.

He never wants to stop looking at her, listening to her talk...

He manages to get her alone, and he introduces himself in a charismatic, gentlemanly fashion. He kisses the back of her hand (managing to ignore the feel and sound of her pulse so close; he shouldn't take a risk like that again) and says, "Good afternoon, ma'am. My name is Jasper Whitlock. May I ask what your name is?"

She notices the coldness of his skin and the redness of his eyes (and again, time-period-wise, this interaction is very weird), but he is sending her the most powerful waves of comfort and calm that he can. She is dazed and perplexed, but not afraid, as she answers, "I'm Sadie Gilder."

It's the most beautiful name he has ever heard.

He abducts her pretty much then and there; he leads her away with a request that she accompany him and a heavy layer of mood control. Sadie is able to break out of the daze (through sheer overthinking) after they've walked together awhile; by the time she asks, "Wait, where are we?", they've reached the secluded mansion of an old widow.

(Jasper doesn't need a place to sleep, but his Sadie does, so he quickly identified this place as the best option.)

The order in which Jasper eats the occupants of the house and brings Sadie inside the house is up to your imagination, as is whether or not Sadie ends up seeing any bodies or seeing him with blood on his face and clothes. Either way, just the kidnapping itself is enough to have Sadie panicking, and he hates to feel her fear.

He holds her, gives her calming energy, and whispers to her. "Don't be scared. I won't hurt you, Perfect Sadie. I won't eat you. You're too special. Just gonna keep you right here." (He's just eaten a lot of people, so he's okay with breathing right next to her, so that he can keep whispering to her.) She falls asleep in his arms. He doesn't stop holding her, and he doesn't stop whispering. (Also, remember how the first thing he says to Sadie in Rule One is that she's warm and soft? Yeah, he still says that, pretty much verbatim, in this scenario. I'm not putting it in quotes, because it sounds dirty in a kidnapping context, but he for sure says it.)

The next day, since he's keeping up the comforting vibes to keep her from being afraid, Sadie asks Jasper a lot of questions. He tells her everything he knows about vampires. He isn't fully versed in vampire mating, so he isn't able to really inform her that his obsession with her is, to some degree, an inherent vampire trait, but he is very good at conveying to her that he is obsessed.

With no one to tell him to cool it with his power, and with his diet of human blood making his power more potent than it would be on animal blood, Jasper uses it at pretty much full capacity every time, instead of subtle shifts in emotion. So, while Sadie does notice that it's happening, she can't keep herself from the effects of his power by self-awareness alone.

He generally doses her with the same kind of peaceful calm he uses when he meets strange vampires for the first time, instead of the lethargic calm he uses to keep prey docile. He uses the latter when he wants her to sleep, but for the most part he just wants her to be unfearful and communicative.

She eats the food that's in the house. When he's able to convince himself to leave her unattended (usually after he's put her to sleep), he picks up more groceries and abducts some humans for himself. He keeps them in the cellar, far enough away from Sadie that she needn't know they're there but close enough that he can still hear her when he goes down to eat them. It's actually very convenient, not to have to hunt often; he just has to pop down to the cellar and enjoy a few of the already-injured occupants. Having a steady home has its upside. It's a shame someone will eventually notice the widow missing and he'll have to move with Sadie. But there will always be another empty mansion, or a mansion that can be easily made empty.

(When it's time to change homes, Jasper carries Sadie to the new destination while she's sleeping.)

Partially due to the mood control and partially due to the upfront-ness of everything, there's honestly very little tension between them. There's fear, sometimes (The one time Sadie tries to leave the mansion while Jasper is eating, he runs up from the cellar to stop her, and he's still covered in blood, and she's terrified, and it takes him a lot of soothing to get her calm again. It upsets him when she's scared.), but no tension. Sadie would like to leave, but she gathers that she can't, so all there is to do is maneuver within the new situation and learn more about her captor.

And neither of them is inherently a romantic. Jasper loves her, but even he isn't under the impression that they're dating or something. As far as he's concerned, he's keeping her; as far as she's concerned, she's studying him. Jasper is ecstatic with the arrangement, and Sadie is as comfortable as the situation allows.

Peter and Charlotte follow Jasper's scent at some point, wanting to hang out, and Jasper socializes with them outside the mansion, explaining that they can't go in because there's a human inside whom he is invested in keeping alive, and he can't risk them eating her. When they learn that he's in love, they ask if he plans on changing her, but he says that he can't yet. His control isn't good enough.

One day, Alice shows up.

She meets Jasper while he's in town, gathering food for Sadie and himself. They still have the little "You kept me waiting" "My apologies" flirtation, but he's a little more guarded, because he has to get back to Sadie, and as much as he is already beguiled by this weird-eyed stranger, he doesn't want her following him home. She's a vampire, and no vampires are allowed near his Sadie.

Alice really wants to skip the wooing; she's already seen herself with Jasper and Sadie. But she knows that mentioning Sadie too soon could make Jasper defensive, so she has to sprinkle herself slowly into Jasper's life, meeting him when he comes to town and letting his instinctive attraction and fondness for her grow into trust over a span of months (even moving towns when he does). She doesn't say anything about him switching to an animal diet, either; she tells him that she eats animals, but trying to influence him at this stage could alter her chances of seeing Sadie. Better to just let him murder.

Once they're at the right place, trust-wise, she tells him that she is already as in love with Sadie as she is with him, due to her psychic visions, and she asks to meet her. At first, Jasper isn't ready, but after she's asked a few more times, he allows it.

Alice has to be extra careful, because she wants to just run and hug Sadie as soon as she sees her, but if she makes a sudden move, Jasper will react badly. (Especially since the speed that comes with her small frame makes her a genuine threat to Sadie, even with Jasper there.) Not to mention, she has to endear herself to Sadie, whose only experience with vampires has been abduction.

"Sadie Lily Gilder," Alice says, barely restraining her excitement. "I am Alice Cullen. I'm your other soulmate."

Sadie is mostly perplexed and a little exasperated, but Jasper feels suddenly as if the sun has broken through the clouds. (Which means a lot, since he was already happy before.) Alice's joy at finally getting to see Sadie seems to fill the room, and this is his first time hearing Sadie's middle name, and...

"I like seeing you together," he realizes.

For the next few months, Alice is allowed to visit Sadie every now and then, under full supervision from Jasper. He can feel that she loves Sadie as much as he does, but he's still got to be careful. Humans are so fragile, and he's used to only trusting himself. When she comes, Alice brings Sadie little gifts that she never thought to ask Jasper before. She brings a new spritely energy to the house that Sadie comes to enjoy.

The following few months, (and after Jasper has watched her hunt animals) she's allowed to stay over full-time. They watch Sadie sleep, together. She's able to answer more of Sadie's questions.

Alice introduces Jasper to the idea of joining a family she's seen in their future. He doesn't want that many vampires around their Sadie, but as always, Alice says just the right things: they're all animal eaters; she hasn't seen a single future where any of them hurt Sadie; and the eldest of them could change Sadie for them.

(She also has to convince Sadie to want to become immortal with them, since she knows that Carlisle and Edward would be against turning her against her will. It helps that Sadie has been captured by a vampire for a while, now, and being a vampire herself would give her a chance of exerting some control over her future.)

When they meet the Cullens, Alice acts like they're already best friends. Jasper is more formal in asking the patriarch if he can change Sadie for them.

Edward calls them out on kidnapping Sadie, but Sadie points out that, unless things come to blows between the Cullens and Alice and Jasper, the only way for her to no longer be kidnapped is by becoming a vampire.

So Carlisle changes her, and she stays with the Cullens so that she can have someone to help her overcome her thirst during her newborn years without slipping up and hurting someone. Alice and Jasper stay with the Cullens, too (and the Cullens tell Jasper that he has to switch to the animal diet if he wants to stay). Eventually, all three of them are close enough to various members of the Cullen family that they just sort of become part of it.

Having been kidnapped at the start of all this, though, Sadie exerts her autonomy in pretty much every way. In her newborn years, in which she is more temperamental (though that isn't saying much; she's still pretty mellow by newborn vampire standards), she confronts Jasper for what he did, and he pretty much just takes it; things have worked out pretty great for him, so it's only fair to let her get it off her chest. Sadie can feel the bond between her and Alice and Jasper, but she can also feel that he didn't have to do what he did. She goes to visit her human family, once she knows that she won't eat them; she and Rosalie go on lengthy road trips; she and Emmett go to football games; she goes volunteering and home renovating with Esme; she learns languages and musical instruments from Edward; she learns vampire history from Carlisle and even joins him on a trip to Volterra.

She lets Alice buy her clothes but overall gives Jasper a wide berth.

Alice, having gained full trust from Jasper, is able to convince him to allow Sadie her space for a while, as she comes to terms with everything that happened. Jasper agrees, since Sadie isn't so fragile anymore and he knows that Alice is keeping an eye on her. So long as they know where Sadie is at all times, and so long as she is accompanied by at least one of the Cullens, he can bear to spend uninterrupted one-on-one time with his newest mate, especially if doing so will help Sadie to forgive him.

The diet of animal blood makes him less wild (but more tense, as he can feel that he is weaker), and the newness of everything in Sadie's life raises her spirits. Maybe eventually she'll be willing to hang out with him again, but it'll take a few years.

#rule one sadie #sadie lily gilder #yandere jasper hale #yandere alice cullen #male yandere #female yandere #yandere twilight #yandere poly #kidnapping #obsession #possessive #yandere/oc #black oc

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dissonantdreamer · 3 years

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So If Ellie ever went back to Jackson after the whole fight by the docs do you think that she would be honest w/ him or just hide the fact about letting her go..

So, I've answered something, and written a story involving this resolution in a profound yes she would tell Tommy.

So I'm gonna use this ask to ramble a bit about Tommy and his trauma first because I feel like a lot of people take what I like to see as the Dina angle and kick the door in and fight with him. Which I did too for a little bit after my first play through.

I think from Dina's perspective and ours, you have this adult who should know better, sure he just lost his brother, his sight, use of his leg, his ability to do the things he took great pride in... but he should know better. He spent his entire life trying to help others. Help his brother (even to the point of his own mental health being impacted as a Hunter), help Jackson, help every group of people coming through so that they can see another day in a world where you don't know if that is something you are ever going to see. Tommy's hurt is something that runs much deeper than I think we acknowledge. It's easy to take it at face value. He wanted to spare Ellie, he wanted to go home, but he lost his eye and his leg and now he's pissed. It's more than that now. Who is to say after they went back to Jackson he wouldn't try to double back because he knew if he didn't, Ellie would? It's a whole different world for him after losing his brother and now he is losing everything that made him Tommy. Like Ellie, he has lost himself. He loses everything just as Ellie does. They are what is left of Joel and they have both lost themselves and in turn that connection to Joel.

But therein lies the redemption. It's no longer about Joel. It's about their humanity. Tommy pushed himself too far and he lost that connection to Joel the second Ellie left. While Ellie keeps a shred of her own, Tommy has to try and put the pieces back together

Tommy would have the same revelation that Ellie has after fighting Abby, when he hears Ellie is actually gone off. At first he is happy but then a week turns to a month to another and he realizes he has forced Ellie to do the thing he wanted to protect her from. The one thing that he tried to do for his dead brother. Keep her safe and keep her from doing the one thing Joel would never do. What he never told Ellie, Joel never sought out revenge for the man who ordered Sarah's death. Its a reminder late in the night when his mind is at its most gone that would be sobering for him, that he sent off the one person Joel had love in his heart left for. He can't go kill Abby, and he sure as shit can't go save Ellie. So he begins doubling his efforts elsewhere in Jackson, maybe living out at the dam or help settle a new place. Shame keeping him from his self destruction.

All that being said, Ellie understands him, understands the pain of losing Joel in a way that no one gets but the two of them. It's a shared pain and if the roles we're switched, Tommy would do the same for her. Ellie however also has to deal with the guilt of everything that happened, most likely since Riley, it has piled up and that boundary has been crossed she can't turn back now. Dina would want nothing to do with him and he would understand, after all he took away her family too. He was a family man once as much as one could be in the apocalypse. He keeps to himself and respects her. Instead waiting and hoping that Ellie would speak to him when she is ready. And she does, eyes distant but determined she goes to him.

There are rumors he's heard that Ellie let the girl go. He doesn't pay them mind, waiting instead until Ellie tells him. She does and it's straight forward. "Abby isn’t dead and if you can't deal with that, then we have nothing more to discuss." They have so much to discuss, because for all his anger and wrath before, Tommy is family.

It wouldn't be an immediate discussion. Tommy would have to show that he has changed, there would be cautious, almost hopeful distance between them. He would keep away, the shame of what he had done too much to deal with. Eventually over time, months, years, who knows, Ellie would extend that same branch to Tommy to take if he so chooses.

Tommy would take the chance that Ellie gives him. Because it was the chance that Joel was given, but never got to take.

There might not be forgiveness, but they have to try.

#kind orb with sick shades #did i go overboard with this ?#yes #could i have just said yeah she did?#also yes #but this is who i am as a person so #team tommy and ellie are two sides of the same fucked up coin #thanks for the ask anon #this was a fun exploration of what might happen #hope you like it #ellie #tommy #the last of us 2 #the analysis of us

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new-sandrafilter · 4 years

Video

The Making (and Re-Making) of Timothée Chalamet

BY DANIEL RILEY / PHOTOGRAPHY BY RENELL MEDRANO

He found superstardom and artistic acclaim instantaneously. Now, with unique candor, the actor of a generation reveals what it’s like to come of age in our very upside-down era.

The day after the Oscars in 2018, everything that had changed, changed back again. Timothée Chalamet had spent the previous months becoming known. He had acted in a film, Call Me by Your Name, which was critically acclaimed as well as an instant object of cultish admiration—and his performance had made him, at 22, the youngest person nominated for best actor in 80 years. He had, simultaneously, been transformed into the rarest of pop confections—fawned over by younger women, older men, and every demographic in between. And he had traveled without pause on the awards circuit since early autumn, back and forth from New York and Los Angeles, practically living out of the first-class lounge and the lobbies of the Bowery Hotel and the Sunset Tower.

But the day after the Oscars, the moment the clock struck midnight and his carriage turned into a pumpkin, Chalamet was right back where he'd been before the whole fantasy had begun: in New York, with no credit card, no apartment, and no longer any structured demands on his time and attention. Outsiders who had witnessed the arrival may have regarded this 22-year-old as being in possession of wealth and clout, but he was suddenly back on his own dime, which amounted to maybe five or six dimes, reticent to stay with family and friends whose lives he felt he was disrupting with all his new baggage. Of course they couldn't possibly comprehend the chemical reaction that had just transpired. They were still hydrogen and oxygen, and Timothée Chalamet was all of a sudden water.

And so, for three weeks, he disappeared into the wallpaper of the Lower East Side. Specifically, the wallpaper of a little apartment that the French street artist JR kept for visiting collaborators. Chalamet holed up against the ugly New York weather of late winter, and did the only thing he could think to do: learn lines. The King would be his first film since his pivot into fame, and he was anxious to get back to acting after such a long stretch of merely talking about acting. Even more, he needed to blot out the unrecognizable icon the internet was already beginning to make of Timothée Chalamet.

I met Timothée for the first time at the onset of that initial blush of fame, when all of us were being introduced to an actor who had both rare talent and the un-engineerable it that chings like an audible sparkle off a jewel in a cartoon. I wrote a story for this magazine about that first chapter in the arrival of a film star. This is the second chapter, the story of what's happened since. It wasn't evident yet, but those three weeks in New York in 2018 were the starting line of what would amount to a 30-month stretch of four new films, two new Oscar campaigns, some refreshing romance, an incessant awareness of the confusing image of himself as—what else to call it?—an emerging global movie star, and a constant concerted effort to figure himself out as both a young actor and a young person in the unceasing spotlight.

This summer, we were talking about all this on a little screened porch out back of a modest cabin in Woodstock when Chalamet recalled those three weeks. “My world had flipped,” he said. “But if I kicked it with my friends, things could still feel the same. I was trying to marry these two realities. But I don't even think I knew that was what I was doing. That dissonance was real. And thank God. Because I feel like if I'd caught up to it immediately, I would've been a psychopath or something.”

Out on that porch, I asked him a version of the same question over and over: What had the last two and a half years been like for him, as a human being? His response was a multi-hour monologue that I would characterize as: intense. He expressed unadulterated gratitude for his great good fortune. But he also expressed confusion and tension. He is firmly in a moment when he is concerned that everything he says or does or thinks will look or sound wrong. He backtracked a lot (“Wait, let me try that again”). He jumped on and off the record (“Sorry, sorry, sorry, this is just for you…”). It was important for me to know, he said, in order to communicate the context of his experience, if not the specifics.

“I want to get back to the undefined space again. I'm chasing a feeling.”

He lives in the same world all of us do—only with the potential for adoration and blowback turned up to 11. He seems, at once, to trust his own instincts while also second-guessing most thoughts the moment he's convinced of them. It is an exhausting way to be. At times, when he was up on his feet, in his T-shirt and shorts, pacing around the little screened porch, hands tugging at his mane, I could feel the gears grinding to the point of smoke. He wanted so desperately to get this right, to express what he really meant, to feel the right feelings, to live the right way, to be the right kind of man for the people in his life that he knows he can and should be, despite everything else, despite the noise. He's doing his best.

Timothée had rented the house for the month of July, as a little escape but also as an opportunity. He was slated to play Bob Dylan in a new biopic. No telling when it might film, given everything, but for now he had more time to himself than he'd had in years, which meant time to maybe huff the vapors of some Woodstock Dylanalia. “It's not like I'm suffering from lack of connection otherwise,” he said, “but it just really feels like I'm connecting to something here.” When he arrived, he discovered that his little house had a wall devoted to Dylan—to the albums he'd recorded in the run-up to his timeout in Woodstock in the late '60s. Timothée relished happening upon that wall his first day in the Airbnb. The universe offered signs if you nudged it toward coherence.

He knew what the cabin might seem like—like some young actor taking himself way too seriously, “treating himself like an artist.” But he was back and forth between Woodstock and New York all month, bombing up and down the interstate in the Honda sedan he'd rented from Enterprise. (He learned how to drive on Beautiful Boy.) All the while Dylan was top of mind. Timothée was late to the party but helplessly obsessed. He quoted him generously. He fixated on both the art and the persona. He marveled at the way the artist could be out there so much, making such an impact, while also keeping the real person obscured behind the music, the characters in the songs, the language. In the city, we spent time walking around Greenwich Village, Timothée in an identity-concealing face mask and bucket hat and sunglasses, able to search out old Dylan addresses in an invisibility cloak. He ran from site to site, with notes he'd kept while reading Dylan's memoir, Chronicles: Volume One, barreling up stairs and peering into windows. He was a 24-year-old actor, taking advantage of the pause between the second phase of his career and the third and thinking hard, daily, about how to play the next few years.

He rented the house in Woodstock, too, so that he could have a little space all to himself. He craved the privacy to try things and to fuck up. To make small mistakes now, out of view, when it was just him, when he was still young, so that he didn't have to worry about it later. At one point, he stood up and slapped an empty water bottle off the table so that it clattered against the screen of the porch. “I want to know what that sounds like!” he shouted. He hadn't taken many missteps yet, and it made him uncomfortable, wary, that he would someday. The month felt like a controlled burn. In the most innocent way, that was what Woodstock was about. He got to practice his guitar and harmonica in peace, cook himself his “shitty pasta” without judgment, permit himself space to keep growing up. So much was in the spotlight now. But in that cabin, he could sit on the couch for a while and re-familiarize himself with “the crease in the cushion” that he'd lost touch with over the past few years. The quiet. The stillness. That sunlight there coming through the trees. He could breathe a little. Sleep a little. It had all been so good for him so far. But the goodness made him anxious. When will the other shoe drop? Not there. He'd deleted Instagram off his phone. He'd stopped posting on Twitter. He was reading again. Listening to albums all the way through. Slowing down. What was it like to have lived these past two and a half years? It was like a lot of things, but here at the end of it, it just felt good to sleep.

Back at the start of the 30-month run that led to Woodstock, Timothée turned over the keys to JR's studio and went to Europe to shoot The King. The role was like none of the films he'd just received notice for. “Here I am on set with all these Hungarian men with scars on their faces, and they're like, ‘You're the center of the shot, you're the badass! And we know you tried to put on all this weight, but like: You're wearing all the chain mail.’ If they took the chain mail off, my throat is still this big…” There he was trying to keep in perspective this new fame, this new validation, this new temptation toward ego, all while being thrust into the center of “something called The motherfucking King.”

When he returned to New York that summer, he skipped off the atmosphere again with another awkward reentry. One moment he was on the battlefield of the biggest-budget drama he'd yet experienced, the next he was “back in New York, on the A/C/E at Port Authority, just like, What the fuck is going on?” It was a pattern over the past few years. The calmly intense immersion into work, the “thud of lost purpose,” as he called it, when the work ended. It happened the same way in the fall of 2018 with Little Women—reunited with Greta Gerwig and Saoirse Ronan and the crew from Lady Bird. There was just an ease with which he plugged in with them, “a vocabulary of friendship” that existed there.

Timothée's career thus far has been filled with these sorts of friendships, notably those across generational lines. Even a casual observer may have picked up on it. Those glommings-on to older people in his life. Armie Hammer. Kid Cudi. Greta Gerwig. When I asked Gerwig to comment on the arc she's witnessed up close, from Lady Bird to Little Women, she wrote a note about “my friend Timmy”: “It's hard for me now, because I'm his friend, to see him strategically.… I love talking to him. We can get on the phone and talk for an hour or more without even realizing it, just skipping from subject to subject, making jokes, me feeling old and happy and him being funny and anxious and delightfully all over the place.” It's an odd gap he finds himself in—forced to be more accelerated than most 24-year-olds while also having not lived enough life yet to fit in absolutely with the people he enjoys spending time with most. On a recent visit with his grandmother in New York, she surprised him by saying, “I wish you would hang out with people your own age more often. It must be so weird.” It made him chuckle. Even she'd noticed. She might be right. But how could he resist the orbit of these creative geniuses he'd so long admired and who were filled with so much knowingness?

“I'm confident in the way I'm trying to approach things now, how I'm setting up the angles.”

In the winter of 2019, another Oscar campaign left him feeling disoriented all over again. Everything, Timothée said, was exactly the same as the first time except him. He'd put in this undeniable performance, but maybe one that sparked a little less for Oscar voters than that first kiss with a stranger. Now he was in all the same rooms as before, the same lunches and dinners and cocktail parties, shaking hands with the same Academy members who showed up at everything to get a little nibble of the freshest biscuit, growling ominous things at him, like: You don't have my vote yet.… “I really don't know how to talk about this stuff, man,” he told me, “because my experience of it is at the center of it. There's just some dark energy at these things, and this time around I felt like I could see it. And yet I'm thinking, Why isn't this going the exact same way?”

He wasn't nominated for Beautiful Boy, but the fresh air came, as it always seemed to, on the set of the next film: Wes Anderson's The French Dispatch. The movie is about a fictional English-language magazine (based on The New Yorker of the midcentury) and is structurally organized like the magazine itself, featuring short pieces at the “front” of the movie and a triptych of long features at the back. Timothée costars in the second feature, about a May '68-style student-protest leader named Zeffirelli and the middle-aged magazine journalist (Frances McDormand) assigned to report on his cause.

“I had seen Timmy in Lady Bird and Call Me by Your Name,” Anderson wrote to me, “and I never had the inconvenience of ever thinking of anybody else for this role even for a second. I knew he was exactly right, and plus: He speaks French and looks like he might actually have walked right out of an Éric Rohmer movie. Some time around 1985. A slow train from Paris, a backpack, a beach for 10 days in bad weather. He's not any kind of type—but the New Wave would have had a happy place for him.”

The privilege of early fame that Timothée most appreciates is the ability to choose the directors he works with. His role in The French Dispatch is a minor one, but it's a Wes Anderson movie—it's as simple as that. Due to the episodic nature of the film, some of the other “stories” were already being shot when Timothée arrived in Angoulême, a town that reminded him of the one he spent time in growing up, “so French it was like a caricature,” he said. Timothée had the opportunity, then, to hang with some of the elders he doesn't act with, like Jeffrey Wright, Bill Murray, and other seasoned members of the Wes Anderson troupe. “It was immediately as if it wasn't his first time with our group,” Anderson explained. “He was somehow already part of the family. The youngest member.”

Timothée had seen McDormand around for years, but he'd never felt like she was someone he could approach. “We'd shared an agent,” he said. “And it was no disrespect to me, but I hadn't been in any movies yet. What business do I have talking to Frances McDormand? But now, and this is the gift of acting, I really feel myself coming into my own as a community of thespians, as opposed to actors. And man, that sounds pretentious, but I just mean it's not about the fucked-up ladder of success and un-success, and being the guy or the girl, and then being off the list… That's not what I'm talking about with her on set, that's not what she's espousing to me. She's talking about a long career. She's talking about marriage with a creative partner and consultant. So to be able to have conversations like that and then a story line in the movie where they're kind of on an equal field? Even if she's an experienced, wise woman and he's an idealistic, naive boy? That's the exact relationship of exchange I want with my intergenerational peers.”

There's a particularly memorable scene in The French Dispatch, reporter and subject having fallen into bed together, when there's a knock at the door. Timothée looks at McDormand, anxious about who's there, mortified when McDormand informs him it's his mother. There, in that scene, we see all the desire of Zeffirelli—this energetic young man with all the right intentions, who strains to be intellectually and emotionally riper—clash with the reality of his age. It felt familiar to me, and no doubt to Timothée. It was some of my favorite acting in the film. I asked McDormand if there was anything in their scenes that struck her as particularly mature for someone his age. “Maturity is not something a fellow actor is the most concerned with,” she said. “Playfulness, discipline, and rigor. I do recall, during our scene in bed, the crew responding to his work with true respect for his focus. He was bringing it and we sat up and paid attention.” Anderson added: “I think my favorite moments with Timmy during a scene were the ones where I saw him pause and find a new attack. A new angle, which he does very clearly and assertively. What I love is how he will surprise you with something new, completely unexpected and perfect.”

One night, while McDormand was shooting a scene without Timothée, her husband, Joel Coen—he of the Brothers—asked Timothée if he wanted to go out for a steak. Over dinner, Timothée grilled Coen about Dylan. He knew Coen was a fan and had steeped in it on Inside Llewyn Davis. “He almost seemed weary of even talking about this stuff, it was so big and potent,” Timothée told me. But Coen noted that the truly incredible thing about Dylan was not so much the quality, which was obvious, but the quantity—the rapid amount of work in short succession, one groundbreaking album after another, in those early years. That takeaway resonated deeply with Timothée. Especially as he reflected on it from summer 2020, during the pause, during the moment of no work. That gush from Dylan made him want to work—harder, longer, better, more.

A week after our conversation in Woodstock, Timothée and I were in New York City, sitting on a bench along the Hudson, talking about what he's looking for when work resumes. “I want to get back to the undefined space again,” he said. “I'm chasing a feeling. When you think you're doing some great thing, it's probably something you've done before, and when you really fucking have no clue, that's when you're doing something on the edge, good or bad.”

Timothée's mask had slipped down his face as he was saying this, and two young women, about his age, approached cautiously. “Would you mind if we got a…,” they asked, and he hopped up without hesitation. “How'd you recognize me?” he said, friendly, but genuinely curious, as if he hadn't just been shouting about art in a voice that sounded a lot like Laurie from Little Women or Timmy from late-night shows.

“Was it the scrawny limbs or the hair?” I asked him as he sat back down.

“Definitely the first.”

From France, last spring, it was straight to Hungary—right back to the exact apartment in Budapest he'd stayed in while shooting The King—to start work on Dune. Very few actors had become as famous without a blockbuster. And while he'd really gotten it down how to act on an indie set, how to make every second and every take count, he knew this would be something altogether different. It wasn't just the shoot that would prove taxing. A film of Dune's scale would likely be the can opener to a whole other stratum of Hollywood prominence.

Director Denis Villeneuve told me Timothée was his “first and only choice” to play Paul Atreides, “the one name on the page.” When they met to discuss the prospect, Villeneuve told Timothée how happy he was to finally meet the young actor. And Timothée had to remind him that they'd met before, when Timothée read for Villeneuve's Prisoners. “ ‘Of course!’ ” Villeneuve remembered. “He did a great audition, but he didn't physically fit the part. He was probably swearing at me because I didn't take him.” Timothée was party to so many stories like that one—glancing interactions with these heroes of his before he'd broken through. It reminded me of the relationship between freshmen and seniors in high school. The freshmen remember everything about the seniors; the seniors hardly notice the freshmen. But we all become peers eventually.

“I felt there was one being on this planet right now that would be able to portray Paul Atreides,” Villeneuve said—referring to the hero of the 1965 Frank Herbert novel, who transforms from an unassuming heir into a messiah figure, a charismatic outsider and commander of men and women (and sandworms). I read Dune for the first time this summer and was shocked by the source material, how much I'd consumed in culture that had borrowed from it. Star Wars. Alien. The Matrix. Game of Thrones. Paul, therefore, is a type we're familiar with but also possessing singular characteristics Villeneuve wanted Timothée for: “He has a deep, deep intelligence in the eyes. Something you cannot fake. The kid is brilliant. Very intellectual, very strong. And you see that in the eyes. He also has a very old soul. You feel that he has already lived through several lives. And at the same time, he looks so young on camera. Sometimes he'd look almost 14 years old. He has this kind of general youth in his features and the contrast with the old-soul quality in his eyes—it's a kid that knows more about life than his age. Finally: He has that beautiful charisma, the charisma of a rock star. That Paul will lead the whole population of a planet later. Timothée has that kind of instant charisma onscreen that you can find only sometimes in the Old Hollywood stars from the '20s. There's something of a romantic beauty to him. A cross of aristocracy and being a bum at the same time. I mean, Timothée is Paul Atreides for me. It was a big relief that he agreed, because I had no plan b.”

“If I get hit by a truck next week, I'm looking at 20 to 23, I don't know if you can top that.”

I asked Villeneuve if he noticed Timothée struggling at all to adjust to the larger-scale production. “It didn't show when he was on set, but I think for him the big thing was to learn how to create his own bubble on set. So that he would not have to try to be the friend of everyone. When you're on a smaller set, when there's 25 people, you can be friendly with 25 people. When there's 800 people around, you cannot be friends with 800 people.” He chuckled. “It's too much. So how to save your energy, how to focus, how to give himself permission to be in his bubble and make sure that his bubble is respected.”

As ever, Timothée had a special affinity with those people on set who were a little older, a little wiser. Villeneuve said Timothée was constantly speaking with him and his wife in this open, vulnerable way about his concerns, his fears, how to deal with certain pressures. Villeneuve also described for me Timothée's relationships with his fellow actors, particularly the trio of Josh Brolin, Oscar Isaac, and Jason Momoa. “I felt like Timothée was deeply seduced—or maybe not seduced, but I just felt it was like a kid being with older brothers,” Villeneuve said. “He was younger, he was the little one on set, and everybody loved him. There's a scene in the movie where Timothée runs into the arms of Jason Momoa, and Jason grabs him like a puppy and lifts him into the air like he was a feather. And that's real! They really loved each other. It was very beautiful to see this young man being influenced by these people he admires.”

“His positive energy is infectious,” Zendaya, his nearest peer in the film, told me. “He really is so much fun to be around. We have very similar humor, and we can keep a joke going for a long time, but when the cameras start rolling and it's time to work, you can see it's game time, and he just taps into this brilliant intensity. It's awesome to witness.” Villeneuve underlined the energy as well, describing for me just having seen Timothée the night before we spoke, and marveling at “that beautiful, strong candor.”

“I will say that looking at Timothée working, I had a deep feeling that I was watching the birth of something,” Villeneuve added. “Not that it's for me—I say that with humility, because I feel that birth in all the movies he's done so far. I'm feeling it's someone that has insane potential. When I say potential, I don't want to reduce what he's doing right now, not at all. It's just that sometimes you are in front of somebody and you have the feeling you are in contact with a strong artist and that artist, his identity is still growing, building itself, learning its boundaries, learning how to protect some part of it. I think that we are witnessing something beautiful right now.”

At the end of summer 2019, Timothée finally resurfaced from Planet Dune. He had been on social media only sporadically while shooting for most of 2019, and so, for his vast base of fans, it was an overdue glimpse of the object of their affection. First up was the Venice Film Festival and the premiere of The King. There were clothes and Kid Cudi cameos and charming red-carpet interviews. It was an example of the sort of stretch, in the gaps between shoots, when Timothée could indulge his passions for hip-hop and fashion and all these things he'd loved all his life that were suddenly accessible. It was another of the delirious disorientations of the past few years—the way that people who were once subjects of his intense fandom were suddenly a part of his life as friends or acquaintances happy to have him around. He might still embarrass himself at times, helplessly rapping back lyrics to his hip-hop heroes or gushing like a broken dam about new music or clothes or art made by the makers in his life, but they were cool with him so long as he actually kept his cool.

Timothée also spent the end of last summer promoting The King, alongside his costar Lily-Rose Depp, whom he'd been dating for about a year. He is serious about keeping his former relationship with Depp to himself, but he did share one very sweet, very funny, very sad anecdote that encapsulates the spectrum of great and terrible that accompanies the private life of someone new to mega-fame like Timothée.

After Venice, he and Lily-Rose took a few days for themselves in Capri, where they were photographed by paparazzi. One image, in particular, circulated in which they were making out on the deck of a boat. Timothée is contorting himself into the kiss and looks a little awkward. Many people had their laughs. And some even suggested that the photo was staged for publicity. “I went to bed that night thinking that was one of the best days of my life,” Timothée told me. “I was on this boat all day with someone I really loved, and closing my eyes, I was like, indisputably, ‘That was great.’ And then waking up to all these pictures, and feeling embarrassed, and looking like a real nob? All pale? And then people are like: This is a P.R. stunt. A P.R. stunt?! Do you think I'd want to look like that in front of all of you?!”

This was how things worked now. He'd disappeared into those four straight films and emerged into a new paradigm—one that followed him into the holiday season of last year and a whole new level of exposure with Little Women. Here was this film about sisterhood, female intimacy, and a feminist critique of art and commerce. And yet Timothée was still the shiniest object in the set for so many fans. “I'm very used to answering questions about Timothée's hair from 15-year-old girls,” Saoirse Ronan joked with me. “I imagine that's probably what you're going to ask me about?”

Ronan has the unique perspective of having filmed and then promoted two movies with Chalamet during the past three years, and has as clear an eye as anyone onto this early phase of his career. “He's had such incredible opportunities, and he doesn't let the reality of that pass him by,” she said. “He's incredibly gracious and grateful in relation to his work and the people he works with. I think he's become more open as an actor. He knows his instrument more. I think he works even harder now because there are projects that are on his shoulders in a way that they weren't before. And of course he's been totally catapulted into this whole other realm of attention and notoriety. So he's also having to balance the incredible fame and attention, which would completely freak me out if it was something I had to go through.”

“I've realized that as much as these heroes of mine mean to me, and as grateful as I am when they offer me advice, even they acknowledge it's just a different thing now.”

When Timothée and I were sitting by the Hudson that afternoon back in summer, there were those two young women who approached him for a photo. But there were also two other young women who caught an eyeful of his profile as they strolled by and then surreptitiously positioned themselves out of his sight line but still in mine. They did that thing where one pretends to take a picture of the other while actually shooting back over her shoulder in selfie mode. That charade went on for five minutes or so while Timothée exercised his guts about reuniting with Gerwig and Ronan on Little Women, and though I was nodding along, I was also marveling at the lengths to which those two fans were willing to go to get a picture of him.

I asked Ronan what she's noticed about that level of attention, sitting beside him for so much of it. “I'm always kind of shocked by those things—when any one person can just completely take over people's lives so much,” she said, laughing a little incredulously. “But I'm also not surprised. There just aren't many other young male actors out there like him, who are able to hold an audience in the way that he does. His look is so magnetic and beautiful. One of the things that we spoke about a lot when we were doing Little Women, in terms of our characters, but also in terms of myself and him as people, is that we both have this masculinity and femininity equally. And I think that that's one of his strengths, is that he can be incredibly sort of feminine and sensitive and sensual, and also he's a guy that, you know, girls fancy. So he covers so much ground in terms of popularity. But at the end of the day, he's always gonna have this skill. He can be cute, but that only gets you so far.… And so I've seen him learn how to separate himself from all that other stuff when he's on set, when he's working.”

In Woodstock, Timothée had described to me with greatest admiration the way that Ronan can act in these films, at this highest level of acclaim and attention, but also remove herself, uncomplicatedly, from all the fuss: “She is like a superhero when it comes to this sort of thing, going through it so healthy—with the asterisk being excellent work across the board and four Oscar nominations. I think her, like, DNA of self is really morally right.” She knows herself extremely well, he said, and has the confidence to give up only so much of herself. Whereas he feels he is calibrating constantly how much of his true self to reveal. “Saoirse's one of my best friends in the world—at least I think we're best friends. And she's never judged me for…the Coachella of it all.” That is, the part of him that can't resist fanning out backstage with his favorite musicians or occasionally allowing himself to be in the spotlight even as he talks about preserving his privacy.

“He's 24, and he's gonna have a great time, and I would never judge him. I've been to Coachella; I just never got photographed at Coachella,” Ronan said, chuckling. “But yeah, we talk about that sort of stuff all the time. We've weirdly gone through this together for the last few years. We've both become more accessible. But he's had one sort of attention—I do feel like boys get it on a whole other level. I know that ultimately what he wants is to be good at his job. And that will always steer him on the right path. I've always let him know, and he's always let me know, we can talk to each other, and we do. He has good people around him, and I'm one of them, and Greta as well—we all kind of look out for one another.”

Timothée spent late May and early June asking questions of himself: What can I do? What is my role in all this? He felt conflicted when he sprang to action and conflicted when he stood still. But never did things feel less uncertain, less self-conscious, than when he was marching, anonymously, alongside hundreds or thousands of others in Los Angeles in the wake of the murder of George Floyd. It was an active way to participate—meaningful action, without being showy, without flexing any of the levers of fame or power. He was going to get hit no matter what he did, so he tried to follow his instincts of what felt humble, responsible, right.

“This idea,” he said, “that power is the mass body politic organized—and how many bodies can you get together—that makes sense to me.” He didn't disappear but, rather, stripped himself of his him-ness and became one body, among many, taking up space and participating in an unequivocal statement. “With a mask, a hood, a hat, glasses—my face is deleted,” he explained, “and I'm literally presenting a physical form, you know?” A single body in space that, like a vote cast in an election, is democracy embodied, but anonymous. The same unit of power as anyone else. “People might find it disingenuous, but I found it really grounding,” he said. “It was Oh shit, I don't feel out of place—and yet I haven't been in a crowd like this for years.”

He spent much of the summer talking with others about how a person should be in a cultural and political moment such as this one. “After a day of protests,” he said, “I'd ask friends if they ‘felt good.’ If we do, is it a good thing to feel good, or does that mean we're doing it for the wrong reasons? How much do I want to put on social media? Is it a virtue signal to put it on social media? But all social media is performative, right?” I heard him ask dozens of self-interrogating questions like these. He cares so genuinely about doing the right thing, about doing well by his family, his friends, and his fans. But he didn't want to misuse his privilege or his platform, to overreach so that the gravity of his fame sucked up anything from anyone else whose moment it was to speak. He didn't want to take up room; he wanted to help center other voices. On Instagram, he posted videos each day during the first week of marches in Los Angeles—no directives into camera, just an implicit charge to his followers: Show up. Listen. Be a body.

“I have so many thoughts on so much of it,” he said, “but I don't see the benefit of putting it down for consumption until I've really worked out exactly how I feel about it all. Who benefits from my half-baked ideas?” Who cannot relate to this in 2020? Who would want any of their dinnertime conversations with family and friends these past months chiseled into the stone of the internet? “I care so much about this stuff. But I would never want my caring to be misconstrued. I don't want my caring to be about me in any way.”

God, this stuff twisted him up. He knows how much has gone his way. But from the summit of good fortune and power, is it better to speak constantly—or to shut up, put on the glasses, pull down the hood, and live and act according to one's convictions as one individual among many individuals? To march. To vote. To speak through action rather than words. Staying in motion, showing up, being a body—it's a good place to start while he works out the rest of how he's meant to live a life true to his values with everyone watching.

He's seeking out the right path, the right people—with help from his “intergenerational peers” and Dylan and anyone else he can find. He wants the benefit of their knowledge and experience, and he's okay if it's slow going to accrue it. He's open to playing the role of the novice still. But there have also been things in his life these past of couple years that have made him realize, as he puts it, “adults are just kids a little bit older.” When he returned to New York from Los Angeles this summer, it wasn't to his childhood apartment or to a borrowed living space of an acquaintance. It was to his very own apartment, his first, in a little wedge of Manhattan he loved for being nowhere, but on the edge of several somewheres. He relished the mundanity of setting up his own place. To hear him talk about a first trip to CB2 was like hearing another person talk about their first trip to a movie set. “But I think if people saw what my apartment looked like, they'd be like, ‘Oh! This kid has no fucking clue what he's doing.’ ” He is so young and he is so old. It is his gift. He is so patient when he can suppress being so restless. So careful with the long arc of a career when he can resist obsessing over the instant. He is so confident when he centers on the work and so searching when he gets sucked down into questions about the rest of his life. Will he always be this way? This pliable and open? This self-reflective and intentional? He trusted so little of his new life, but he trusted his talent. That was the key. He knew he was as good as anyone at playing other people, even if he was still figuring out how to play himself.

We spent a good amount of time in Woodstock and in New York City and on the phone talking about where his career might take him from here. With great humility, he acknowledges his skill. But he has been thinking a lot about the difference between preternatural talent and mastery—the work that's required to ascend from that floor of young greatness to the ceiling of realized potential. That said, he's wise enough to know that his career could pivot in an entirely different direction—that the world could change or the opportunities could dry up or “eventually there's gonna be an Oscar Isaac in his 30s who's gonna bust out of Juilliard who's gonna be the next great actor and make me feel like a piece of shit. But right now…”

He told me, “If I get hit by a truck next week, I'm looking at 20 to 23, I don't know if you can top that.” To show up with Call Me by Your Name—he knows that that film was a unicorn, the sort an actor works his whole life to find. And the immediate Oscar nomination had freed him up to not spend the rest of his career chasing a certain kind of role that might lead to a certain kind of validation. “I'm not gonna be bashing my head against a wall trying to prove that I'm an actor,” he said. “The train can run over my leg and leave a track forever, and yet the point of entry for me…,” he said, trailing. “That's a good feeling.”

He looks at all these careers—all the careers you might expect: DiCaprio, Bale, Phoenix, Depp. And he does his best to separate the strands of each of their careers that might still apply to his. But all of the rules for acting success that those performers played by, for how to be in the public eye, for career arcs and longevity—those rules are irrelevant now. Hollywood is different, the media is different, fans are different, movies are different, the world is different. “I've realized that as much as these heroes of mine mean to me, and as grateful as I am when they offer me advice, even they acknowledge it's just a different thing now.”

And so it's occurring to him that the next few years will be Timothée finding the path that's right for him. Lately, he's thought about this next phase as shining a flashlight into the dark. There are potential projects that excite him considerably, some of which he's had a greater hand in engineering. There is, of course, the Dylan movie. But there's the question of how to spend the rest of the year, when most Hollywood productions are still paused. “The rest of the year,” he says, “I'm just thinking about Trump, man.” But after that…maybe Europe for a while? The Woodstock experiment did what he'd hoped it would—a little space, somewhere else. He would love to just breathe some different air again.

He was at another pivot point, as he had been when he and I were first together for Chapter 1. In the winter of 2018, the work had been validated, the public profile had developed suddenly. But the temptations, the confusion, the money—those were all lagging indicators. By mid-2020, all had caught up. And the money, in particular, was on his mind one afternoon in New York. We were talking about how a person might stay true to one's roots with that sort of thing when the reality, for him at least, had changed with Dune. I told him that one of the things that seemed to differentiate him from young stars of the past, and perhaps was a feature of his generation, was the way that material possessions didn't consume him. He didn't buy much stuff. He didn't own a car or a house. He liked borrowing clothes, but not necessarily keeping them. He agreed with the characterization, but then got immediately twisted up about a potential future hypocrisy: “But Dan, what if I do grow to like fancy shit?!”

Boomeranging back home after the surreal adventures out in the world—that was a good and grounding thing for him. Over the weeks we were talking, he spent time with his folks, delivered some COVID groceries to his grandma, and was in touch with his sister daily. And in New York, he and I kept running into ghosts. One afternoon, when we crossed the West Side Highway at Houston Street, he gestured at the athletic complex at Pier 40, where he played soccer growing up. He scampered over to a vending machine there to grab a bottle of water. When he pulled open his wallet to pay, he had only twenties. “Bad metaphor! Bad metaphor!” he screamed, jumping away from the vending machine, as though it were one of the great threats to his selfhood. This was the sort of innocuous moment that will hum with outsize resonance for me when I think about Chapter 2 from the future. All the things that one would expect to happen had happened in the first two and a half years since the arrival of a comet, and yet he was suspicious of so much of it.

Here is another way I will remember him from this moment: sitting on that porch in Woodstock—breeze and birds in the trees, sunlight in the leaves—looking for a higher power. Or at least expressing openness, as a nonreligious person, to the idea of some central organizing force in the universe—because, given everything lately, there has to be or we're fucked, right? Some of these searching things he said to me could be mistaken as a person spinning out a little. But that wasn't it at all. There was such calm. There was such contentment with the grace that had been afforded his life and career thus far, and where each might take him next. He was questing, yes—but he was firmly at the controls. The flashlight in the dark. Someone moving forward with great confidence into the unknown, with eyes wide, mouth shut, and ears listening more than they ever had before. There were no models for how a person like him should be anymore. There were no longer any adults who weren't just kids a little bit older. There were no blueprints for how to shape a career—so much had changed. There was only a head and a heart, his, and a feeling for the moment. “Maybe I'll never do a great work of art again, but I just feel like I'm confident in the way I'm trying to approach things now, how I'm setting up the angles,” he said on that porch in Woodstock. “When you think about Dylan. When you think about what Joel Coen said about the rapidness of the art, I'm just like: Trust the beat of your own drum. Give this its best shot. Give your artistry its best shot.”

Daniel Riley is a GQ correspondent and the author of ‘Barcelona Days,’ which was published this past summer.

A version of this story originally appears in the November 2020 issue with the title "Wild Heart."

PRODUCTION CREDITS: Photographs by Renell Medrano Styled by Mobolaji Dawodu Tailoring by Ksenia Golub Produced by Wei-Li Wang at Hudson Hill Production

#timmy #timothee chalamet #gq interview #super long post

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vidavalor · 3 years

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A ‘why Bucky stopped responding to Sam’s texts’ analysis...

This turned into a whole thing about not just the texts but the evolution of SamBucky in TFATWS so yeah, make a hot drink and get cozy if you want to read this as it’s a little on the wordy side...

So, what we know is that Bucky stopped responding to Sam’s texts ahead of TFATWS but *before* Sam decided to retire the shield. I’ve seen speculation on what event could have caused this and I think the fact that we aren’t entirely told it in so many words, plus some other clues from the show might lead us to one conclusion. Obviously, this is just what I see here and there are other ways to interpret it but some thoughts for anyone who feels like reading them... :)

The answer to why Bucky stopped responding to Sam’s texts is actually the shield, just not in the way that we think it is. Go back to Endgame and the scenes between Sam and Bucky. The amount of *feeling* there is already present and plentiful-- Bucky looks at Sam with naked love, right at him, and Sam touches Bucky so tenderly that it’s a bit heartbreaking. That little thumb swish on his shoulder at the funeral? That’s familiar and sweet and comes with intimacy born of the knowledge that Bucky is okay with him in his space. Between Sam knowing he has permission that others really don’t to touch Bucky (also add in how he’s a little jealous when Steve hugs Bucky) and between Bucky not hiding how he feels when he looks at Sam, we could speculate that there’s at least a working understanding between them happening by Endgame that they have feelings for one another. Now, hop back in time a little to see maybe what kind of understanding or what level of it they could potentially be at by Endgame...

If you go along with the idea that Sam found Bucky after The Winter Soldier and kept that a secret while he helped him to hide and that they built their whole banter-y rapport beginning then, then you also have to think that this is kind of a real slow burn romance happening. Sam is a sensitive, (semi-secretly) introverted guy who has been mourning the loss of a man who meant the world to him for years, mostly alone, atop trying to deal with his own trauma from witnessing that violent death and everything else he saw at war. He doesn’t open up easily and comes from a place of needing to seem in control of his emotions, even if he’s the first person to be there for someone else when they are struggling and is highly empathetic. Meanwhile, Bucky?

Bucky’s a mess. His memories are coming back in fragments. He’s plagued by nightmares and PTSD from the decades he’s spent as an assassin and is still on the earlier end of his healing process. Not to mention that he can’t have much in the way of normalcy because he’s on the run and in hiding. Sam is a decent man who is also experienced, both personally and professionally, when it comes to trauma recovery and he is the last man on earth who would try to take advantage of Bucky so this relationship is a friendship at the early stages. It’s one that’s complicated by their mutual attraction that won’t stop growing but they aren’t really discussing it. They’re getting to know one another and discovering that they actually like one another, as much as they try to hide it (and joke that they don’t at all.) The mutual respect grows.

This all continues until the plot results in Bucky not having to hide anymore and being able to get some help in gaining an edge over the Winter Soldier in Wakanda. This is especially true for Bucky because he might have been wildly attracted to Sam before this-- and a frustrating kind of attracted, a not-wanting-casual kind of attracted-- but he didn’t have any real hope in even thinking there could be a chance at this until Wakanda. He’d been afraid of not having enough control over his mind and somehow hurting Sam, even if he didn’t mean to. He’d been on the run, so not really a great life to offer the man you want to be with. By the time he gets to Wakanda, though, Bucky’s cautiously optimistic that even though everything always ends with a fight that maybe he could have some good things before the last one comes for him. Steve and Sam think they can get him a pardon and the Wakandans think they can help rid of him of being controlled by the trigger words and all of that does happen over the next few months for Bucky. For the first time in decades, he’s more fully his own person and can trust himself a bit more. He has gained more headspace and freedom and options and some calm.

Meanwhile, Sam? The 5-6 months when Bucky was in cryofreeze in Wakanda while Shuri figured out how to help him? He doesn’t want to go there when it comes to how much he missed Bucky. He and Steve are on the run but T’Challa is an ally so they can get into Wakanda. Sam comes to visit Bucky and is overwhelmed by how grateful he is that the deprogramming worked and Bucky is finding some peace. He watches him smile and tend goats and farm and play games with the local kids when he visits and it’s odd, in a way-- kind of like their lives have flipped around. Bucky’s the one who has a place that grounds him and Sam’s the one on the run. But more unmooring for both of them now is that there isn’t the excuse of staying away from someone who might be too in the throes of mental health problems to adequately consent because Bucky is in a place where his personal agency keeps growing and he’s more edging away from victim and into survivor mode. He’s not “fine” but no one ever is, including Sam-- but the idea of the two of them is no longer as prohibitive as it was when they first met. Sam, for his part, is healing more over Riley through his developing relationship with Bucky than he wants to admit, even if it’s obviously still traumatic and painful. They’re good for one another and grow more affectionate around the snarky banter, becoming more comfortable with letting how they feel show more.

They might get to a point of admitting that there is something between them and wanting to try for more but they’re like really, really cute about it in that they both keep trying to give one another almost too much space. Bucky knows that Sam has been through a lot and lost someone. He understands that it’s hard for him to trust and that he’s not great with casual and that, for reasons Bucky barely agrees with or understands, Sam sees him as someone he’d like to try being not casual with. Sam knows that Bucky has been through decades of trauma and that there is a really wide gap for trauma survivors between having sexual desire for someone and really feeling comfortable with the idea of having sex, let alone actually attempting that. He’s fine with going slow. Their touchiness with one another is an affirmation of all of this-- a way of saying that they’re there for each other without pressuring the other for more than they feel ready for but, at the same time, saying that they are very interested. As a result, they kind of run on this for awhile and probably don’t get much further than that because then a series of things start to get in the way of this potential romance on the cusp of these poor bastards finally getting to shag...

The first is that they reunite with Steve in Wakanda and fight Thanos for the first time which is all great but then they both get dusted right afterwards and disappear for the next five years. In a way, they’re lucky here with this because they both secretly think it’d be worse if only *one* of them had been Blipped. Would the other have found someone else? Would they still feel the same way after all that time? They’re afraid of those things and it’s another thing that shows them both how much they feel for one another. Instead, they went through the same thing and can go through the aftermath of that together as well. It’s more impactful for Sam because he’s the one with living family. He’s missed some of the early years of his nephews and he’s left Sarah on her own for five years. He leans on Bucky with the guilt of that and the two of them, in general, are starting to make some plans. Plans that involve one another.

For the first time since they met, they’re both in a place to try their hand at a relationship with one another for real. Neither of them are in hiding or on the run. Bucky is pardoned and further along in his healing process. Sam has decided he feels safe enough and ready enough for this. They’re in love and it’s basically understood between them, even if they haven’t really said the words. They’re also in a place that is different from where we see them at the start of TFATWS and that’s because the shield hasn’t entered into their plans yet.

In the post-battle/pre-Old Steve parts of Endgame, Sam and Bucky basically think they’re going to have different options when it comes to what they’re doing all day. They’re thinking of being together in terms of how they’re thinking they’ll both be Steve’s backup team in the field when Steve needs it. There’s vague talk of a garden because Bucky likes working outside and Sam wants Bucky to have all that calm like he had in Wakanda that he can handle. They’re talking about going to Delacroix at some point soon so Sam can visit with the family he’s been missing. Ya know, making plans like a married couple when they’re lucky if they’ve kissed yet, like the shy, snarky boys they are. Then, Steve... sorry but there’s no other way to put it this but Steve kind of f---s it all up.

Steve tells Bucky that he’s planning to go back to the ‘40s to find Peggy and live a normal life. Bucky, drunk on hope of the secret of his own potential normal life for the first time in basically a century, turns down Steve’s offer to join him back in their past. Steve is surprised because Steve hearts the ‘40s and thinks Bucky must want a do-over of his life but Bucky reminds him quietly that he never was much of a man of his time and he always had an eye to the future. He’s interested in the prospect of living a life here in the modern world. Bucky might have also at least hinted at the idea (or just said) that maybe he also wants to stay because his own chance at love is here in 2023, not back in the 1940s. (If Steve hadn’t already picked up on this by this point.) Steve tells Bucky that he has to pass on the shield and he wants to give it to Sam. This is a massive crisis for Bucky because there’s suddenly no way that this can work out, in Bucky’s mind-- no way for him and Sam to work out, that is. So, why then does Bucky support this plan?

Because he believes Sam is the right man to be Captain America. Because he believes in *Sam*, full-stop. He thinks Sam is the best man he’s met and the strongest. He feels this but it’s also reinforced by the fact that Steve-- Bucky’s best friend, who helped him even when he couldn’t help himself, and is a guy so good that Bucky tends to measure all men against him-- also feels this way about Sam. It’s validation for Bucky on his own feelings towards Sam and Bucky is a believer in the greater good-- and one who feels guilty for the pain he’s caused as The Winter Soldier atop that. He’s all in when it comes to supporting the idea that Sam should be the one to pick up the mantle to save the world because the world deserves Sam’s awesome goodness and will be a better place for it. As Bucky will later tell Sam in TFATWS, he and Steve weren’t thinking in terms of how Sam might feel about being handed this responsibility and Bucky acknowledges that they really didn’t think this through from all the angles necessary but it’s obvious their hearts were in a good place with it. Their intention was to honor Sam as a man worthy of something they both see as a mantle that can only be carried by men who are, well, the anti-John Walkers of the universe, and they were trying to tell Sam that they saw him as the best of men, even if they didn’t exactly win at considering it from Sam’s point of view.

What happens to Sam and Bucky’s relationship as a result of Sam getting the shield, though, happens when Bucky considers the fact that Sam having it means that he can’t see a way that their relationship will work. It was one thing when he and Sam were making quiet plans, planning to have some calm and privacy with one another, but now Sam is going to be *Captain America*. He’s going to go from lower level celebrity that a lot of people don’t even know exists to the guy who gets coverage on Good Morning, America. Bucky isn’t completely blind to race issues, either, as he knows that Sam would be the first publicly-known Black Captain America and that would come with a different kind of scrutiny. He knows how private Sam is as a person and how hard this will be, if Sam chooses to take on the shield. Bucky thinks the world might barely-- barely-- be ready to deal with a Black Captain America but he’s not naive to the world of the media. He was by Steve’s side for most of WW2 and saw how the role of Captain America is symbolic as much as mission-based. It’s about the image of the role. Bucky thinks there is no way on earth that Sam can be Captain America *and* in a relationship with Bucky.

The other side of the catch-22 is that if Sam decides *not* to take up the shield-- and he’s hinted to Bucky that he might not, he hasn’t decided yet-- then suddenly, Bucky is wondering if maybe he misjudged Sam. He sees Sam as a man who doesn’t back down from a fight, someone strong who defends others and stands up for what is right and to Bucky, that is what Captain America does and what the allies of Captain America do. He’s no stranger to feeling conflicted over how it is supporting a country that doesn’t value everyone equally-- Bucky is not straight and fought for an Army and a country that would have thrown him in prison for being caught being himself and still believes in trying to make that military and that country live up to the higher ideals it espouses. (Undoubtedly, something Sam values about Bucky is Bucky’s ability to comprehend feeling like an outsider. It’s a major difference from Steve, who might have not felt like he fit the ideal man of the WW2 era but whose response to that was to get himself pumped up with experimental drugs so he *could*... as opposed to Bucky, who for sure has conflict over it, probably a lot more when he was younger, but is someone who sees that the rules of society aren’t always something to try to live up to. Steve was in allies to try to prove he was as tough as guys who fit a type more valued by society. Bucky was in allies to protect Steve from himself sometimes... and other times, to get some in a flagrant f--- you to the same societal values. Sam has empathy for Steve but is partial to Bucky’s attitude towards things.)

The ironic thing about Bucky’s take on the shield and Sam is that for *Sam*, one of the many, many reasons why he was reluctant to take up the shield was probably Bucky himself. Sam obviously has a lot of very valid reasons for not being sure about taking up the shield stemming from being a Black man in America and one who has also seen his share of darkness during war, which are looked at during TFATWS. Additionally, I think there are other reasons he hesitated-- one is that he is a very private person who doesn’t have a lot of tolerance for the more b.s. parts of what the mantle would entail and the other is that he has been steadily falling in love with another person who deserves privacy and freedoms that he’s been denied and he’s not sure he wants to try this thing with Bucky under a spotlight. They weren’t completely at a stage of having actual, involved conversations about this at that point but I definitely think it was (and still is) a concern for Sam.

So, the point is that once Steve gives Sam the shield, Bucky begins to no longer see a path forward for him and Sam. He sees them being friends-- Steve’s mutual friends who look in on one another and who care. If Sam wants him there to back him up when he’s Captain America, Bucky would do that. He wants to keep Sam safe but Sam also has Torres and the Air Force and Bucky really... is not looking forward to the rest of his life going from this hopeful place of potential mutual love and adventures in the modern world to... the rest of his life mooning after another Captain America whose role in the world keeps him from loving him. Bucky, whose experience with close relationships with men and with Captain America is Steve Rogers, thinks that this is going to end just like that and it’s the lesser explored aspect of trauma for him. Everyone is all over his Winter Soldier issues in his world, fewer people notice that he’s also a man with a lot of love to give who has not really ever had someone look at him like they really notice that... ya know, until Sam. Until the man he’s just lost to the shield which, coincidentally, is the closest thing Bucky still has left that feels like family and home. Because yeesh, the world is pretty cruel to this guy sometimes...

So, they’ve split up for a bit under the guise of working out their different things to get their new lives as non-fugitives going. Bucky has to go to government-dated therapy and heads to Brooklyn in an effort to feel like he’s got some ground under his feet by going to a place he once called home. Sam goes to Delacroix to see Sarah and the boys. They’re both floundering around a bit without the other, making progress in some ways and not at all in others. Sam is in love and wants to give Bucky whatever space he needs to feel in control of himself and get the help he needs and he’s happy that he is-- they’re friends before anything else-- so he still messages him but the messages begin to change a little, due to both of them. Maybe calling a lot turns into texts and maybe the texts get a little less frequent as Bucky responds a little less.

All of this is self-fulfilling prophecy: Bucky is trying to push Sam away because he doesn’t think he can have Sam and he’s got enough suffering going on to deal with, as far as he’s concerned. He’s still strong enough that he’s trying to live a life even without Sam or to figure out what that would look like-- what he needs to do to get to that point, even if he’s running in place with it a little. He even tries to get over Sam a bit, dips his toes into the online dating pool. (He never says to Leah that he actually went out on any dates, just that he seemed to get caught up at the browsing stage. He could have but it’s pretty clear that he didn’t get anywhere of any real note with them.) He can’t help but compare all of them to Sam and he really doesn’t want (even if he thinks he might want for a bit) something casual and ultimately meaningless. He’s probably considering the idea of sleeping with someone just to sleep with someone, which is a fairly common thing for a lot of people who have been victims of sexual violence-- and the show basically says this in the Shelby scene-- to try. Ultimately, though, Bucky seems to have bailed at the idea because what he really wants is the trust and intimacy he has built with Sam.

Bucky eventually stops responding to Sam’s texts entirely because he doesn’t know how to handle them. Sam is consistently kind towards him and respectful of the fact that he needs space and it’s driving Bucky mad-- all this sweetness from this man he can’t have and isn’t sure he deserves anyway. Then, he sees Sam retire the shield and it feels like an ending, maybe one that Bucky pushed into being unwillingly by not responding to the texts and so not knowing where Sam was with his decisions and not being there to help him. Bucky isn’t meaning to be self-involved so much as he’s so caught up in his trauma and trying to get through it that he sometimes can’t see past the pain he’s in enough to see Sam’s own. Sam, for his part, sometimes fails to consider just how afraid Bucky is of letting himself trust someone again and at the idea of being happy and just assumes space and time will be enough but they aren’t.

This is also why they fall back into a rhythm pretty easily when they meet up again in Episode 2. While it probably hurt that Bucky stopped responding to his texts, Sam isn’t seeing it as a deal breaker. He’s back flirting with Bucky from the get-go and Bucky is following him to protect him. John Walker is an excuse that they have now-- a Captain America mutual problem to solve that can replace the ‘who are we now without Steve here and with this shield issue’ problems between them. The way they touch one another and seek to protect one another-- and show off for one another a bit-- is reassurance. Bucky wants to prove he’ll be there for Sam after not answering the texts so he jumps out of a plane to show he’s committed to the mission-- and to Sam-- by showing he’s working on getting over his fears and *can* get over some of them or at least deal with them. Sam is more important than his fear of heights. Bucky is more important to Sam than Sam’s fear of another Riley moment and as Riley moment of losing a partner mixes with Bucky’s trauma of the train car, Sam then steps up and saves Bucky from the side of the truck-- proving he can try to get over his own trauma and also be there for Bucky in return.

And, in the midst of it, is all the sexual tension between these two guys who have wanted to go to bed together for years now but stupid battles and trauma and Captain Americas kept getting in the way. Sam admits he likes Bucky’s stealthy cat moves and is floored and encouraged when Bucky flirts back. They’re all over one another in the grass-- Bucky sure to land so that he’s between Sam’s legs and Sam just grabbing his jacket lapels to keep him close. It’s a blatant invitation for Bucky to top him anytime, a little tongue-in-cheek, barely hidden under their whole begrudging one another’s presence vibe as even when Bucky grumbles and Sam tosses him off (after having pulled him closer by his jacket), they both know the truth under it. Sam reaches over to touch Bucky’s shoulder and Bucky is dazed from the pleasure of being so close to Sam, who not only just saved him and pulled him to him without a thought but who did so *at the expense of the mission*. Sam continuously proves throughout TFATWS that Bucky is of a higher priority to him than the actual mission is. He almost blows their undercover operation in Madripoor by coming close to breaking his cover to make sure that Bucky was okay and he lets the Flag Smashers escape when he saves Bucky from the truck. He very much wants Bucky to notice that this is how he feels-- that whether or not he winds up trying to take the shield back from Walker, whether or not he winds up Captain America, how he feels about Bucky isn’t dependent upon their roles as Steve’s mutual friends-- that they themselves have something independent of that and Sam wants as much of it as Bucky wants to take.

The whole cyborg wheels turning scene on the walk after the field is Sam wanting to talk more about it, even in the midst of the mission. Bucky’s quiet response of “it’s processing” when asked by a (nervous so teasing) Sam what his mind is thinking is about them, about what Sam confessed without words by saving Bucky from the truck. Bucky is telling Sam he understands what Sam is saying and is overwhelmed and Sam is already starting to let him mull it over when Walker and Lemar pull up in the truck and it has to be tabled discussion for awhile.

What is holding Bucky back, even if he is still flirting, still protective of Sam, is that he’s still never had to fully test himself in terms of getting over his trauma enough to really pursue something new in his life. He was about to in Endgame-- he felt ready to try to take this shot with Sam-- but that was before the shield and Steve’s plan entered the picture. Alone in New York to do nothing but try to deal with his past, he was having trouble seeing a future that looked appealing and regressed pretty badly in his trauma recovery to a point of lots of nightmares and not really great self-care. When he reconnects with Sam in Ep 2 and sees that he hasn’t really been successful in pushing Sam away-- that Sam cares that much, is interested that much-- it gives Bucky a boost to try to see if maybe he can find a way forward. Madripoor is the big test he gives himself.

In Madripoor, Bucky gets something very important for his recovery, which is a situation that allows him to own his own experiences. This is actually along the same lines of his attempts at online dating earlier in the series, even though it looks to be totally different-- the idea is that Bucky needs to prove to himself, in essence, that he’s in control of himself and have experiences where he’s in control of what happens. When Bucky is forced to play The Winter Soldier it’s not particularly fun for him and he’s bothered by it a lot-- but he emerges from it because he was able to do it. He was in control of himself throughout it. Sam being there absolutely helped, even if part of Bucky doesn’t want him to be because there’s a part of him that’s still ashamed of who he had become, even if he’s slowly accepting that it wasn’t really entirely his fault. (The amends thing shows he still thinks it is but not entirely & how he ultimately handles it shows he’s getting better at accepting he’s not to blame.)

Madripoor also brings about another challenge in the Selby scene, when Zemo makes it clear that The Winter Soldier was used for more than missions in the past and this happens in front of Sam. I actually don’t think that this was the first time Sam had this thought-- I saw him looking away from Bucky playing that role undercover as not just because he was pained at the reminder of this but because he wanted to try to give Bucky some space with it, some privacy, because this was another violation and Sam didn’t want to make it worse. Sam absolutely knows that Bucky faced different kinds of violence when he was tortured, even if it could go either way as to whether or not they’ve ever really talked much about it. Sam though continually keeps trying to show Bucky that underscoring their sexual tension there is Sam trying to convey that not only does he want to take things slow, he has no qualms with the idea of Bucky having whatever sense of control he needs to feel comfortable.

Telling Bucky he likes the whole “White Panther” vibe is a way of telling Bucky that he can see *him* there, even when he’s doing things that Sam had previously seen him do as The Winter Soldier-- it’s showing he knows the difference and he thinks Bucky looks plenty hot being all stealthy as himself. Later, in the grass, Sam just as easily could have used his momentum to roll them just a little more and landed on top of Bucky in the grass but he didn’t-- he let Bucky wind up on top and just pulled him closer, saying without saying that he’s not only fine with this in bed because he gets that Bucky needs this but because he just straight up *likes* this. He wants the White Wolf to come at him a bit and he’s showing Bucky that in the same moments that he’s also just scooped Bucky up from a flashback to one of the worst moments of his life and took him safely to a peaceful field of flowers like... he’s offering up some romance here, ya know? It’s heart eyes as a series of actions.

Then, there’s the therapy scene. Both of them are breaking a little with patience, snapping a bit, feeling brittle and like the other one isn’t totally seeing them. *Even in the midst of that*, they’re also still sending out the same messages. The way they look at one another before they let the soul gazing de-evolve into a staring contest to cover up the real emotion there. The way that they both scoot closer in the chairs without any real direction and then Bucky thinks he’s already gotten a bit scandalously close with the bumping knees, is nervous about pushing it any further and especially in front of the therapist he’s not entirely honest about anything with and who works for the government and there’s Sam again with his ‘you know what? I don’t even care about any of this except for you’ attitude. It’s Sam who takes Bucky’s chair and pulls him over closer and slips his thigh between Bucky’s legs and when Bucky splutters in surprise that it’s “a little close”, Sam’s patience is a little thin and he does snap “well, that’s what you wanted, isn’t it?” because he’s been trying. really. hard. to tell Bucky. that he just wants to be with him. regardless of all the other captain america or battling big threes or whatever nonsense the world is throwing at them now. Maybe the most telling part here is how he lets his fingers run lightly over Bucky’s thigh during this. It’s both very tender/sweet and very sexy at once-- a message that says okay, hey, maybe you didn’t totally go for the field or maybe it’s not all you want. Maybe sometimes you want me to be the one more in control and you’re terrified of that, understandably. Well, here’s how it’d be: see this whole thigh thing? It’s a nod towards basically mutually-controlled sex. It’s a way of saying what I also like, what I also want, if you want it, too, is to just be with you as we are-- a couple of pretty equally matched guys just having fun, no real power games, no need to define who’s topping or bottoming or any of this. That brush of Bucky’s thigh? It’s a reminder. It’s saying whatever you want, however you want it, this is how you’re going to get treated by me: not like you’re fragile but like you’re *precious*. It’s saying I don’t want to hurt you, I want to love you but you have to trust me enough to let me and I don’t know what else to do to prove that to you.

Maybe the sweetest part is outside after the session, when Sam goes back to their default barbing and quips that he feels better when he clearly does not and Bucky, devastated that he is making this hard for Sam and didn’t see how much he was hurting him, just says “I feel awful”. It’s basically an apology and it’s also saying that he’s getting the messages that Sam has been putting out.

So, it’s something that by the time Bucky gets through a series of challenges to himself in Madripoor-- playing the Winter Soldier and having his history of being raped brought up in front of Sam-- he gets through the biggest one yet, courtesy of John Walker, when he is electrocuted. Bucky had been programmed to respond and echoes of that would have still been happening to him when he woke up. We can see actually the flashbacks almost happening in front of his eyes when he gives Sam the shield at the end of the scene. He fought it all, every step of the way, for Sam. When he woke up, he pushed through memories of every painful moment of it from before and the pain of the electrocution he was really feeling in that moment to get up and remember where he was, to stay in the moment and present through a PTSD flashback and save Sam’s life in the process. He leaves the shield with Sam and goes outside without a word but Sam sees it all on his face-- he knows just how much that took out of Bucky and that Bucky forced himself to get through it not just for his own healing process but to protect Sam. It’s an answer, one Bucky has been giving all along, to Sam’s silent questions. Every time Bucky protects him, he is saying to Sam that he wants to be with him and wants to work towards figuring that out.

Bucky still isn’t over the flashback by the time he gets to the scene with Sam and Torres and Torres-- a nice, normal, sweet guy with a crush on Sam whom Bucky privately thinks would be a better match for Sam and so is jealous of him-- triggers some annoyance just with his presence there. He can’t talk to Sam alone with Torres there. There’s still work to be done. He’s got to clean up the Zemo mess. By the time he is not killing Zemo in Slovakia-- exhibiting control over himself, making decisions about how he will react that he can be proud of, all in the face of a past torturer and abuser of his-- Bucky is at a new stage of free. He feels ready or almost ready, anyway. He wants to show Sam that he wants to try. Maybe this isn’t all over yet after all, no matter what Sam decides to do about the shield, even if Bucky thinks he ultimately will decide to take it up.

It’s clear that by this point, Bucky is going to support whatever Sam chooses to do about it but what’s also equally clear is that Bucky is hearing Sam when Sam has been sending messages that he wants to be with Bucky no matter what happens with the shield. He sees them before anything else and no one has ever loved Bucky this much and for once, he’s in love with someone who can love him back and does love him back. He’s free from the worst of his trauma, free from the trigger words, free from the sense that his past-- hydra, steve, any and all of it-- have to define him going forward. He’s free and ready and in love and decides to go to Delacroix and show Sam that he has noticed a thing or two about what *Sam* might need as well.

Maybe Sam needs a man who is strong, as strong as Bucky is-- physically and emotionally-- who can be there to listen or even just be silently companionable with him. Maybe Sam’s been alone for a long time and isn’t used to having someone close enough to notice or care about or be able to help with his problems. Maybe Sam is the kind who gets overwhelmed trying to help everyone around him and gets anxious about failing or when he fails and needs someone there to help get him over the last steps of it. Maybe he’s a good surrogate dad but it overwhelms him at times and he needs someone else to support him and help care for the boys. Maybe he doesn’t always hear what Sarah is trying to tell him or put her in the driver’s seat with decisions so it helps that Bucky can and does.

Maybe it’s been a long time since someone romanced Sam Wilson and maybe they never got it right or as right as it could be and maybe it just so happens that Bucky Barnes knows a thing or two about romancing. Maybe no one’s ever charmed his friends and family to win him over or showed up unannounced with an extravagant and intimate gift (and note that it’s really a leap from the Bucky that can’t bear to look at a shirtless Sam because he’s so attracted to him in Madripoor to showing up with a custom-made super suit)... especially not one he needed right in the moment, that showed how he was seen by someone who loved him, just when Sam needed to see himself that way, too. Maybe no one’s ever liked Sam’s hometown as much as he has, maybe Sam has never felt more at home than when Bucky is now there, too, saying with every action and look that he loves him-- something else that maybe Sam’s never had like this before. Bucky knows he’s not the only one who can get nervous. He sends out some messages of his own. His hands keep going to Sam’s waist. It’s flirty with the broken pipe but it’s also intimate inside the boat in the morning scene-- Bucky almost does it automatically and Sam sees it, sees his hands move as he’s looking down at the moment when Bucky pulls back and moves out of Sam’s space. He lets Sam see that, even if he doesn’t actually do it as they aren’t quite there yet. He is intentionally showing Sam that Sam isn’t the only one who notices needs and that Bucky sees in Sam a want for that quiet intimacy. He sees how badly Sam needs to be held close and just loved into oblivion and Bucky is happy to oblige. It makes Sam nervous, being that seen, but he also really likes it. He has his own fears the way that Bucky does but they dance towards one another. There’s a dance to these things, as Bucky says, and he and Sam have been engaged in that dance their whole story and especially in TFATWS.

By the time we get to melting ice cream cake and a stage of public hugging, we’re seeing them having finally gotten to a place where they can allow themselves to be with one another and that’s really the implications of the end scene. It could go either way as to whether or not they actually have sex after Sam’s first night as Captain America in New York or whether it’s after the last scene in the finale but the way they look at one another on the docks before they walk off together is with an indication that they’re on the same page now and they’re becoming physically more intimate. Bucky taps Sam’s shoulder when he approaches and Sam is there, still with the party lingering in the background, needing a moment of quiet but Bucky is welcome in that quiet and knows it. Sam likes him checking up on him. The shoulder tap is a nod towards their multitude of shoulder touches before and Sam turns, their expressions acknowledge their history of doing that to show affection and when they pull away to leave, Sam’s returning touch moves from Bucky’s shoulder-- further up to start with and then over more-- to the back of his neck, a traditionally much more intimate touch and more overtly in line with people who are sleeping together (or interested in doing so) than not. It’s not the first time, either, as Bucky seems comfortable with it and they walk off together as the sun sets, indicating that they’re going to spend the night together. Sam’s expression when they leave the dock is a happy kind of smug, like he knows he’s about to have some serious fun and not from playing penuckle. Bucky’s smile when there with him at the docks is happy and relaxed and comfortable. Put together, they’ve either started sleeping together or are about to and feel good about it. The nervousness they had around one another has evaporated. Consider Sam on the boat when Bucky gets close to holding his hips to Sam on the docks at the end of Episode 6-- it’s a higher degree of confidence in his ability to handle being this close to someone he cares so much about. The same is true for Bucky.

But, yeah, 800 paragraphs later... Bucky stopped answering Sam’s texts for, among other reasons, out of pain over what he felt was the shield-induced reasons they couldn’t try any longer to be together and couldn’t stand not being able to be around him so he cut off communication to try to move on. Also? For what it’s worth? Had there been a specific incident that triggered Bucky to stop texting Sam, they could have shown us that flashback if it wasn’t gayer than gay. We got a Wakanda flashback. They could have shown us the moment Sam and Bucky stopped talking. They didn’t. So it was for romance-related reasons.

#sambucky #winterfalcon #tfatws #sam wilson #bucky barnes #captain america #the falcon #the winter soldier #the white wolf

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flowerpowelltales · 3 years

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Until You Hate Me (Liam x MC)

PART THREE - THE BEGINNING

A/N: Yes, I do feel ashamed I forgot about this series for TWO years. I also am aware most of you, who have been tagged, dont even remember ever reading this series. If you’d like to be taken off the taglist just let me know because I don’t want to bother anyone. If you want a refresher - it’s the series where Regina pays Riley to be the worst suitor ever so that in two weeks, Liam would have to marry someone Regina picked for him. Previous parts are on my masterlist. Shoutout to the Nonny who motivated me to write this part. Hope y’all enjoy! Characters belong to PB.

Rating: G

Word count: 1692

Tagging: @gardeningourmet @delightfullypinkglitter @blackcatkita @badchoicesposts @jared2612 @princess-geek @desiree-pow-35-1986 @emichelle @ao719 @cordoniantrash @kinggliam @needalittlerain @flyawayboo @nazariortega @jlpplays1 @kimmiedoo5 @annekebbphotography @ladyangel70 @eadanga @kingliam2019 @nz1091 @emceesynonymroll @texaskitten30 @mskaneko @custaroonie @drakesensworld @janezillow @ritachacha @lodberg @msjr0119 @gkittylove99 @sweatyrysconnoisseur @dcbbw @potter1-7harry

“Welcome to Cordonia,” Liam said when the Royal Jet finally landed. He looked at Riley warily as she took in the sights. The flight was a total disaster and made him rethink his whole life. If he hadn’t known better he’d think she wanted to sabotage his mission.

“Looks sick,” she said and Liam sighed.

“Liam, Riley, the car is here. Come before anyone spots us.” Regina nodded towards their driver.

“Whoa, we have our own driver? That’s mad!”

Regina raised an eyebrow in a ‘do-not-overdo-it’ manner but Riley ignored it. For her it was either go hard or go home. Literally, because if she failed she’d go home with no money.

The ride from the private airport to the palace was silent; Riley was admiring the views, Liam was thinking if he made the right choice and Regina was already planning Liam’s wedding to Madeleine.

When they arrived, Regina excused herself and went straight into her office.

“What do you think?” Liam asked politely when they were the only two left.

“It looks so… majestic. Like something I’d expect a palace look like but at the same time like something I wouldn’t expect. It’s gorgeous.”

Liam turned to her stunned by her words. What happened to “sick” and “mad”? Maybe it wouldn’t be that bad, after all.

“Come inside,” he said and extended his hands towards her. She took it and then gasped at the interior.

“It’s so regal and so big and oof—” Riley was almost knocked out by a small, fluffy ball that jumped at her.

“Ah, this is Chance, Maxwell’s dog. He must feel you’re a good person because he is never that happy about strangers.” Liam smiled as he leaned to take her coat. She handed it to him and when Liam walked away to hang it, she bent over to Chance.

“Hey, buddy! I’m super flattered you like me but can you please bite me or start barking at me so Liam doesn’t think I’m good?” She asked and Chance titled his head in confusion. “You see,” she lowered her voice, “I have a mission to complete.”

When Chace still couldn’t understand, Riley tried to speak his language.

“Woof woof woof woof,” she barked at Chance in low voice.

“Um… is everything okay, lady Riley?” Liam asked, suddenly appearing behind her. Shoot.

“Mhm. Just talking to that cute little muffin. And please, call me Riley. I’m no lady.”

“If you insist. Would you like to see your room?”

“Sure! Does it have a mini fridge? I bet it’s totally dope!”

Liam shook his head in disbelief. Riley changed her mood every few minutes. He couldn’t figure her out. Sometimes she was serious and really fun to talk to but then she changed again and acted like a spoiled teenager.

“Here we are.” Liam motioned the room when they finally reached the guest chamber. “It doesn’t have a mini fridge but you can call any of the staff members to ask for whatever you’d like, anytime.”

“Cool.”

“Ah, Liam! Riley! I am so glad to see you both here!” Regina exclaimed with a smiled on her face. “We have a dinner today with a few of our friends. Liam, please help lady Riley to prepare for it.”

“Of course, Regina. Who are we expecting?” Liam asked.

“Duchess Olivia Nevrakis, Lord Neville, Duchess Adelaide, her daughter and Duke Godfrey, lady Hana Lee and her parents, and a few of the court members.”

Liam nodded politely but started to panic internally. Lord Neville, Godfrey and Adelaide weren’t exactly the first people he wanted Riley to be introduced to. He knew too well how they treated commoners and how awful they could be. He had only about two hours before the dinner to go through the royal protocol, table manners, dress code and how to address who. When he looked up at Riley he noticed she was already studying him.

“Everything’s alright?”

“Yes, it is. I just thought we would have more time before your debut.”

“Oh, don’t worry about that! I was born ready!” she said reassuringly, which, ironically, made Liam even less reassured.

~~~~

“So when I see Hana Lee’s dad I should say ‘ni hao’, right?”

“Correct! And can you please repeat how you would address Duchess Olivia?”

“Your Grace,” Riley replied.

“Exactly. And Lord Neville?”

“…Also your Grace?”

“Yes. How would you address me, then?”

“Your Majesty?”

“No, Majesty is used for Kings and Queens. I’m not a King yet so I ought to be addressed ‘your Highness’.”

“So Regina is her Majesty?” Riley asked.

“Precisely. Now, what is my title?”

“Prince?”

“Full title.”

“Prince Louis of Cordonia.”

“Ye—What? What Louis?”

“Your name isn’t Louis?”

“No,” he shook his head. “It’s Liam.”

“Oh, right! Sorry, I’ve always had a problem with remembering names.”

Liam smiled but wanted to scream. Remembering names was probably one of the most important things Riley had to learn. And she forgot even his.

“Let me get this straight, when I talk to you I always have to use ‘your highness’?”

“When we’re with nobility, yes. It shows respect. When there’s only me and you, or friends and family, you can call me by my name,” he explained.

“Which is Louis!”

“Liam,” he corrected. Again.

“Sorry! Sorry!” Riley apologized. “I’ll just need something to associate you with… Oh! I know! I used to listen to One Direction a lot and Liam was the name of one of the singers! I liked him a lot!”

“Whatever works for you.” Liam smiled, feeling less and less enthusiastic about his mission.

~~~~

Two hours and three braincell losses later, Riley was walking arm in arm with Liam, into the ballroom. She was wearing a very expensive dress, more expensive than everything she owned altogether. She was very stressed and started to regret coming here. Pretending to be the worst suitor in front of Liam was one thing, but pretending to be the worst suitor in front of all Cordonian nobility was a completely different thing.

“Look, there’s Xinghai, he’s coming here,” Liam whispered and Riley nodded as the man approached them. Liam nudged Riley.

Okay. Show time.

“Hey hoe!” She yelled, making everyone freeze.

I hate myself.

“Riley!” Liam hissed, pinching her arm.

“Excuse me?” Xinghai asked as if not believing his ears.

“I think Riley tried to say ‘ni hao’, is that right?” Liam raised his eyebrows and Riley felt sick.

“Yes! Ni hao! I’m so sorry, I’m very bad at languages!”

Xinghai shook his head. “If you say so.”

“Hi, I’m Hana! And this is my mother, Lorelai.” A girl with a very friendly face extended her hand as if she hadn’t noticed that huge faux-pas. Her mom barely smiled at her.

“Nice to meet you.”

“Your Highness.” A man approached them and raised a glass. “I feel deeply honored to be invited here today. Her Majesty mentioned you would bring an American suitor, is this that lovely lady?”

Riley didn’t know who it was but she sure hated him already. She looked at Liam and realized she wasn’t the only one thinking so.

“Lord Neville. I am very happy you could join us. Yes, this is lady Riley, my suitor. Lady Riley, this is Lord Neville.”

“Lord? Like Lord of the Rings? Is that even a real title?” she asked.

“Excuse me?” Neville was confused and Liam embarrassed. From the corner of her eye, Riley could see Regina smiling at the sight.

At least someone is happy with what I’m doing.

“I believe we haven’t met.” A blond woman interrupted them, holding a glass of champagne in one hand and a very unhappy man in the other.

“This is Duchess Adelaide, Duke Godfrey and their daughter, Countess Madeleine. And this lovely woman by my side is lady Riley.”

“Hi y’all! Louis told me so much about you!” She heard Liam sighing.

“Hmph” was all Godfrey said. The rest of the family looked confused.

“Who’s Louis?” Adelaide asked.

“What happened to One Direction association?” Liam whispered to her when the family wasn’t looking.

“I forgot Louis was in the band, too,” she replied.

“If you excuse us,” Liam turned to Adelaide, “but we need to say hello to Duchess Olivia. Thank you for coming.”

He quickly led Riley far from Adelaide and Godfrey, avoiding other court members on the way. He couldn’t do this. At least not today. Riley clearly wasn’t ready.

“Why hello there,” a lady with red hair and a matching dress greeted them.

“Olivia. Hello. How are you?” Liam started a small talk and Riley noticed he was more relaxed talking to her than he was talking to other people. She must be a friend, she thought.

“I’m great. Haven’t been to a party that is as much fun as this one. And it’s all thanks to you. I’m Olivia.”

“Riley. You’re the Ice Queen?” Riley asked remembering Lythikos was a winter wonderland. She hoped Olivia would be offended just like the others but to her surprise the Duchess burst out laughing.

“Ice Queen! I like her already,” she said as she wiped a tear from her eye. “Absolutely loved when she questioned Neville’s title. The man’s pain in the ass.”

“I’m glad you find it funny,” Liam said firmly. Olivia shrugged and turned to take another glass of wine.

“I’m really sorry I embarrassed you, Louis.”

“Liam,” he corrected.

“Liam,” Riley repeated. “I’ve just came to Cordonia and had only two hours to take it all in. I’ll be better in time.” Not sure how better at making you hate me I can get though.

“It’s fine. Listen, it’s me who should be apologizing. As you said, you just came here and within a few hours you had to learn things I learned throughout the years.”

Riley’s eyes widened. She embarrassed him, she humiliated him and he still apologized? She felt awful.

“I still feel bad. I promise I won’t let you down,” she lied and Liam smiled.

“I’m happy to hear that because we’re visiting our apple orchard tomorrow and the press will be there to meet you, too.”

Riley gulped as she smiled at Liam.

That only meant she had to try even harder.

#the royal romance #the royal heir #the royal finale #king liam #playchoices #choices #liam rys #king liam rys #liam x mc #king liam x mc #liam rys x mc #my fics #until you hate me

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hamliet · 3 years

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The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls.

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe.

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too.

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages.

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.)

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today).

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.

Season 7: Yep, the final season was my favorite.

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward.

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world.

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.”

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6:

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic.

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic.

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.)

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow.

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ?????

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch.

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well.

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating.

Favorite Episodes: Family, Fool for Love, Intervention.

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief.

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless.

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.”

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group.

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters. (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.)

Favorite Episode: Witch, Nightmares.

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been.

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People.

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes?

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings:

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex).

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role.

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done.

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away.

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either.

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time.

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad.

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it.

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him.

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying.

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