#I may not like him because he's mean to vanellope

[raspberrii-soda]

HE'S SHORTHER THAN FELIX

#Sorry for another post about the same thing but #Noooo waaaay #vanellope von schweetz #My stuff #king candy #fix it felix #sergeant calhoun #wreck it ralph #I may not like him because he's mean to vanellope #But I sure love bullying him

[burgerrat]

@hofnarrofficial said: gimme everything you got just bury me alive (only if thats possible ofc lmao)

Ok.

Turbo's favourite movie is Herbie: Fully Loaded

He has ALWAYS been flamboyant/effeminate like you see King Candy being. I hate seeing people portray Turbo as this perpetually grumpy/angry bitter person all the time all because of the revelation scene being the one 'real scene' we have of Turbo in his original form. The reason why Ralph wouldn't recognize the similar behaviour pattern is because he didn't know Turbo well enough since he rarely ever left his own game unless it was to go to Tapper's to have a root beer and brag about winning to anyone who'd listen (mainly Felix). Need a 'draw/write Turbo being silly and goofy like King Candy is' solidarity.

Contrary to popular belief, he does like the color pink- he just has a very specific preference for that particular salmon shade of pink.

Turbo and the twins all had racecar beds to sleep in back in TurboTime.

Candybug's desire to take over the entire arcade at the end of the movie is his new cy-bug coding speaking; all Turbo has ever wanted is to race again and be in the spotlight. He would struggle to control his bug instincts not just in terms of resisting beacons of light but also in terms of acting upon intrusive thoughts in general. Mix that with anger and hopelessness that he'll likely never be able to drive again in this new form and you've got the perfect recipe for disaster, because what more does he have to lose?

Do not misunderstand: I too dislike the trope of 'he's just misunderstood' since that is far from the truth, but that doesn't mean he can't have moments where you feel empathy for him (at least in my case): you are programmed to be the protagonist of your world, the best, that is your sole purpose in the life you have. You become addicted to the attention you recieve- foolishly not thinking once that it's possible that may not be the same thing tomorrow. Once that is suddenly taken away, you don't understand why- you're the best. And because you are the best, instead of processing your losses normally, you won't let go. You're instead determined to take back what was rightfully yours. By any means possible. Making the biggest mistake of your life- you kill not just your neighbors but your own home out of impulse. You are to blame for the choice you took- guilt becomes rage, rage becomes bitterness, bitterness becomes calculative; why cry over spilled milk? The damage is done, and your code is desperately crying out to do what you were made to do: race. All you can do is start anew... don't dwell on the past if you want to have the spotlight again, processing your mistake doesn't matter anyway; and so, once a new racing game is in town- you'd be frothing at the mouth to hop in after decades of isolation, wouldn't you? You'd do anything, if you were that desperate and awfully selfish.

This leads us to the following: Turbo had a mental breakdown during his years of isolation, mainly because he was unable to race; this is why he laughs and giggles no matter the mood he's in as King Candy. It's a form of tic.

This might be a bit OOC? But whatever. Hilariously enough King Candy is a somewhat decent(take that with a grain of salt, I'll elaborate in a moment) fatherly figure: he treats the SR racers like they're his adopted kids. I say somewhat decent because of course he completely excludes Vanellope and because he picks favourites; Taffyta, Rancis and Candlehead are his golden children and because of that, he's sometimes willing to swallow his pride and let them cross the finish line before him.

Taffyta is VERY competitive and sometimes will get unreasonably aggressive to win and that's something KC admires in her because it reminds him so much of himself and the bond he used to have with the Twins, especially when competing. Another reason why Taffyta bullies Vanellope is because she knows King Candy dislikes her wish to compete and she feels like this is something that would please him regardless of his approval of it.

Again maybe kind of OOC-ish but I sincerely don't think Turbo outright hates Vanellope herself like. As a person; she has done nothing, but she does pose a threat to blowing his cover and he is not going to allow her. The one thing that bothers him a lot about her is her stubborness to race and always finding a way to weasel into the Random Roster Race. During the tunnel scene where he straight up becomes violent towards her, you can tell she's never seen him this angry to her before; this leads me to believe he never blew up on her before because, regardless of how much of a threat she posed for him; in his mind- he figured she likely would never really be in a situation where she would actually cross the finish line, and she's just a child, so why bother? Of course. That is until she sprints right past him on the race track and the rest is history. (And I have to clarify again I AM NOT justifying his actions; there is no 'justifying' any of it. This is an observation because of the reactions/expressions/etc. seen in the scene.)

Writing that previous hc reminded me of this and I just had to include it because I can SO see this happening 😭 it's hilarious and wholesome in a way.

I saw something about this on @king-crawler 's blog and I feel like I should bring this up bc it rubbed me the wrong way: I donno about you but to me, Turbo programming himself as King of Sugar Rush is not ego thing (not the main reason behind it at least!); it's to avoid suspicion in general within the game because ALL of the SR racers are children. It would be suspicious and really fuckin' weird to have a character programmed as an adult that isn't an NPC/side-character like Sour Bill or the donut cops to just be among them like nothing, regardless if he wipes their memories they (or other candy subjects) will question it. He's not stupid, in the game there's supposed to be a royal figure, no? So, it'd make perfect sense for that figure to be a supposedly 'wise' King that looks after all his subjects and makes sure rules aren't broken. So to me it's less of something done out of selfishness and more of just being able to go by unnoticed, he programmed himself as King to fit in with the whole 'monarchy' concept within SR. At the end of the movie when Vanellope says she doesn't want to be a princess, you get a little glimpse of how much the candy subjects depend and rely on a 'higher figure' to function.

As King Candy, he believes himself to be cute. (adding this side note just in case bc I shit you not this is genuinely something people have argued and mocked me over: don't come at me for this. I have my opinion, you have yours and I'm not going to change it for you; as a fan for a whole decade who has known in tge past other fans, there ARE people that find him cute as I do /gen /lh) He shamelessly indulges in that and he WILL use that as a manipulation tactic to get what he wants- sometimes playing with your emotions as well by tugging at your heart strings and overall painting himself to be a 'frail silly old man' in sn exaggerated manner so you'll give in to whatever he wants- and once you agree suddenly the 'frail' old monarch has an outburst of energy and joy, completely shedding off this fragile-pitiful facade.

Turbo has somehow rescued the Turbo Twins before his game was unplugged and I have evidence to prove this:

He has their codes tucked into his own (bad example I know but kind of like how an opossum mom keeps her joeys in her pouch); he keeps them in a dormant state this way by not allowing them to have separate code boxes of their own. The reasons behind this are simple: he doesn't want two characters that very obviously don't belong in the game to roam around freely, he has enough trouble with Vanellope as it is; and he knows that if he lets them awaken and respawn, they will criticize him for the path he chose to go down- and he doesn't want to deal with that because, for him, it would be pointless and it'd only bring frustration he doesn't need. He would rather keep them as ghosts of the past hidden in his pocket.

Speaking of Vanellope: Turbo is awfully envious of her driving skills, she's the first racer that has bested him on the track. Another selfish reason why he doesn't want her to race- goodness forbid a child beating you at what you're passionate about and arriving in second place.

When overly emotional- be it positive or negative feelings- King Candy would sometimes temporarily glitch back to his original form as Turbo because his code is old, filled to the brim with stuff, it's bound to have a few crack and tears here and there, like an old but still functioning car with a rusty engine; this issue has only accentuated after the glitching-exchange during the tunnel scene.

Speaking of which- because there were little to no censorships in 70's videogames, Turbo bleeds. It's pixelated blood because it cannot be processed through the programming of Sugar Rush since the game was not made to have any graphic themes in it. If one of the racers gets hurt- they quite literally just bleed coding.

Turbo often smokes.

Turbo sometimes gets sick of eating nothing but candy and will send out Sour Bill to get him something salty to eat from another game. He has his own little stack of junk food and other non-sweets within the castle.

He's not just the King of Candy, he's THE LORD OF THE DANCE! (watch at your own risk I warn you /hj)

CURSED JOKES ASIDE I unironically like to think he is a good dancer. Nobody beats him at tap-dancing and The Bus Stop. (He's from the 70's so it'd make sense he's familiar with a lot of funky/disco dance moves)

#my writing #ig !! #rabbit blogs #🍬 #wreck it ralph #king candy #turbo #most of those links are from the same headcanon blog that has been a major part of my childhood too #whoever made that blog: thank you SO MUCH op for keeping it around you have no idea how much joy it brings me to visit every now and again

[i-am-megalodonna]

Okay remember when I talked about that au randomly? The King Candy one? Art is pretty hard so lemme just write this out real quick.

So basically there's this assumption that King Candy wouldn't respawn because he's actually Turbo and you don't respawn outside your game blah blah blah. But because I'm a random person on the internet I can say whatever I want, and I'm saying that it's a bit more complicated than that. See, Turbo may not originally be from Sugar Rush, but he's been messing around with the code of the game for a good while. And before I continue I should mention that I'm complying with the theory/concept that King Candy was an actual character in the game that was unused and left unfinished, but left in the game (like the unfinished bonus level). I didn't come up with that idea, but I don't remember who did. If I find them I'll edit this post. ANYWAY, the point is that in meddling with all of this, Turbo has essentially fused himself with native code, meaning that if he died he actually would respawn.

The actual problem comes with the Cybug part. 100% not native code, obviously. Which presents an issue for the game. It wants to respawn King Candy, but there's all this weird code it doesn't really know what to do with. So in the end it does respawn him. But wrong.

His code is still intact, but it's now fused with all this malignant junk the game doesn't know how to handle. Which means that he ends up being a glitch for entirely different reasons to Vanellope. Like Vanellope, though, his glitching tends to worsen with heightened stress.

Most of the time he still looks like King Candy, occasionally shifting into Turbo in more benign glitches. However, if things get particularly strained he starts glitching into his candybug form, first just in portions and then into full bug mode when things come to a head. Which would be pretty epic (who doesn't want claws and wings), if full bug mode didn't also come with full bug instincts. When in bug forme™ he easily loses himself and becomes an uncontrollably destructive force of nature until incapacitated. Or until things calm down enough for him to wrestle back control of his own body. Even when he doesn't look buggy, that side of him still rears it's head at random and inopportune times. He's developed a strong distaste for all those fun flashy signs he used to love.

He's happy to be alive and all, but everything kind of sucks. He has no power, no allies, no home. I don't have much in the way of story for this au figured out, but his main goal is to get into the code room and fix everything. For now, though, he's probably hiding out in the forest trying to figure out how in the world he could pull that off.

#i feel like this would be a cool au to tell from Vanellope's perspective or something. someone other than turbo #for a suspense horror vibe almost #idk #like people finding traces of his existence and slowly putting the pieces together yknow #anyway i have some art of this ill share later #feel free to send asks i like getting asks #mostly because i like hearing myself talk lmao #that's mostly a joke i like talking to y'all #wreck it ralph #king candy #turbo #wir #wir turbo #wir king candy #king candybug #wreck it ralph au #megalodonwrites #megalodonspeaks

[onwardnroyalty]

Can we talk about how unfairly two Disney sequel movies have been treated after Moana? I mean, the first was Ralph Breaks the Internet, which gets SO MUCH UNNECESSARY AND UNFAIR HATE. Then there’s Frozen II, which gets hate, but not as much as Ralph Breaks the Internet. It’s all until Encanto comes along and gets acclaimed. Let me tell you why Ralph 2abd Frozen II are GREAT Disney sequels and DO NOT deserve all the hate they get.

First of all, I will be among the small village to defend Ralph 2 and agree with how it ends, because the majority of people who hate it for their own reason honestly just make me sick as hell. Like, FUCK the assholes who think negatively about Vanellope for her decision to move into Slaughter Race and out of Sugar Rush, believing her to have selfishly "gone Turbo" (when she clearly did nothing of the sort). She only wanted to experience something new outside of her game, and while she is on much better terms with everyone in Sugar Rush now, she does not have that much attachment to them since they ostracized her for years--although it was not really their fault, on account that Turbo brainwashed them after he took over the game (until he was ultimately exposed and defeated by Ralph). Also, Vanellope may have been the princess/president of Sugar Rush, but she was not an essential part of the game, just a playable racer like the others. So when she said to Ralph that no one would miss her, she meant players of the arcade, not the citizens of Sugar Rush or the other video game characters she became acquainted with. Vanellope probably could have at least said goodbye to them as well and not just Ralph, but she wasn't putting anyone at risk leaving her game like Turbo did; they were all okay with her choice and able to stay in touch with her like Ralph was. Besides, Sugar Rush is supposed to have a rotating roster of players, so odds are players of the arcade wouldn't question why she is missing. Plus, the company that made Sugar Rush went out of business, so unless they sold the rights to their characters, it's unlikely anyone would question a guest character like her showing up in Slaughter Race. Furthermore, Vanellope's code was incorporated into Slaughter Race by the end of the film, so that she could stay in the game and never die outside of Sugar Rush. Thus, she made the right decision in following her dreams (which was encouraged by the Disney Princesses). So if one more person dares say she went Turbo, I am gonna just quit my life for real, because SHE DID ABSOLUTELY NOTHING LIKE THAT WHATFUCKINGSOEVER.

Moving on to Frozen II, I found it to be a really good sequel that’s better than the original (yes, I know how iconic the original one is, and I still love it). Olaf is still my favorite character in the whole Frozen franchise, so seeing him all confused and hurt about everything changing (and then FADING AWAY later on) cuts me deep. Also, the music is great and takes it to the next level (Show Yourself specifically). Like Ralph 2, the storyline is especially clever.

One thing these sequels have in common is the central message they have: that no matter how far apart two can be, they will still always be the best of friends and that all it takes is trust. If I could pick, I’d say Ralph Breaks the Internet does it a bit better than Frozen II. I mean, come on, this is a friendship story we’re talking about. That part where the halved necklace combines at the end? B-E-A-U-T-I-F-U-L. It’s also about insecurities and not letting them define you in any possible way. Ralph was afraid things would go back to how they were in the first film, him seen as only a villain rather than a friend. Vanellope was the first to relate and see the darkness in him because she too felt that darkness. She was his first true best friend for maybe his whole damn life. So when she considers a more exciting life in the Internet, he’s terrified that he might lose her, much so that he takes it upon himself to plant that virus into the Slaughter Race game. It’s when Ralph truly understands how important it is to trust Vanellope and believe in her that he lets her go. After that, he starts to feel more confident and interact with others. Not to mention he calls her whenever.

Frozen II, on the other hand, takes a sibling-like approach to the message. Anna becomes afraid of losing her eldest sister Elsa to the enchanted forest until learning how important it is to trust her sister and know that Arendelle will be safe from harm as long. Not sure if that’s the case, because I haven’t watched Frozen II in a while, but I know that happened.

Apologies for the long rant, but I felt like I had to get something off my chest for a little bit there. So anyways, there you have it: Ralph Breaks the Internet and Frozen II are very great Disney sequels, and no, I don’t care that haters say otherwise, nor will I take any criticism. Thanks for listening to my TED Talk.

#fuck haters #they suck #disney movies #wreck it ralph #frozen #ralph breaks the internet #frozen 2

[i-am-literal-nightmare-fuel]

so I feel like posting about my oc’s (WARNING; THERE MAY BE MENTIONS OF BLOOD! DEATH! MURDER! CHILD DEATH! PLUS MORE!)

so, I’ve had these OC’s for a few years now and they started out being characters for a Minecraft server, circa 2019. The main handful (9) I kept are the ones that we used the most. I had my main, Aether (Sleepless) and her twin sister, Blythe, who ended up getting her own server that I worked really hard on. then they had a brother, Carlos, who was some form of god and also the worst glitch in the server. Sorta like Vanellope von Schweetz. now there’s the husbands, Blythe’s husband Karl is a hybrid of a form of ‘nether dragon’ (worth mentioning Blythe and Aether are goat hybrids) he ends up dying, which sucks since he was my favourite (I wrote his death a whole year after the server ended)

and James, Aether’s (ex)husband, who was part enderman, part spider, part human. (Probably one of my favourites) he gets to live, separated from Aether after she lost her marbles (and her daughter) and notably almost died when she and the god of death (we’ll get to him) gambled for her life (she owns a casino). James is pretty rational, except for the fact that he lives in a hut in the middle of snow capped mountains, meaning he can’t really leave.

now, next we have Conan, he’s the god of death and Satan’s right hand man (yes, they co-exist don’t @ me). He’s kind of grim reaper-y except he looks more like lucifer’s human form than lucifer himself. He’s a dick. Listen I’ll say it outright. Conan’s a dick. (He also got his own server)

okay onto the children

Alexis is one of only very few OC’S I have done intensive research for, as Alexis had DID in canon (this may change as I need to refresh on my research). She died. Unfortunately. She was one of my favourites. She was Aether and James’ daughter

bloom was Blythe and Karl’s 7-9 year old daughter (I don’t recall her exact age). Bloom was sort of snatched away by Conan in attempts to mess with Aether, via messing with her sister and to be honest I was just writing Conan as a dick, because that’s what he is, a dick. Absolute douche bag. Anyways I might draw them one day (ask me if you want more about them)

#vee talks #my Ocs #OC: Aether #OC: Blythe #OC: Carlos #OC: Karl #OC: James #OC: Conan #OC: Alexis #OC: Bloom #Sleepless server #“Sleep less. You’ll die quicker.” -Aether #i love them so much #I’m not sorry

[starleska]

!!!!

i am so interested in your take on everything!! ralph breaks the internet used to be one of my favorite movies 😳

aww honestly i really enjoyed it!!! i see why it means so much to you, it's a very sweet movie with such fantastic emotional punches. i still do prefer the first one however, and i want to talk a little bit about perhaps there needing to be more time spent on the script... (spoilers, theories and suggestions ahead for Ralph Breaks the Internet!)

first of all, i really enjoyed the angle they took with exploring Ralph's severe insecurities and his unintentionally toxic behaviour towards Vanellope. i think it's a lovely theme that tracks well from the first movie, and is very relatable to all of us in some capacity. however, i feel that the second half of the movie was the more tightly-written part, because for the first half i don't think we got enough of Ralph's jealousy or Vanellope feeling smothered...certainly not enough for Ralph to go ahead and unleash a virus. given what went down with the Cybugs in the first movie, and Vanellope almost being deleted in her Candy glitch state, i think it would take a lot more of a breaking point for Ralph to fathom doing something that awful...he may have disliked Shank, but not enough to potentially kill that many people, you know?

another thing i found odd is that there was no overt villain...even though i was absolutely banking on it being Knowsmore. you mean to tell me they wrote a vastly intelligent, powerful character who feels terribly underappreciated and ignored for all the work that he does...and they didn't decide to expand upon that, and mirror his potential actions from that character motivation with Ralph's descent into toxicity?? i keep thinking what an amazing parallel that would have made...having an antagonistic character absolutely desperate for attention and going on some megalomaniacal power trip with the power of the Internet at his disposal.

i was also chatting with a pal who says they wish there was more video game content in this one, and i agree. why not expand Vanellope's conflict by introducing us to the concepts of video game lore, hackers, emulators, modders and more? can you imagine Vanellope in a Toy Story 2-type situation, discovering that there are countless versions of her and she could go anywhere she likes using the Internet? we were introduced to online players in this universe - what if we had a real-world antagonistic character?

i think, from this concept, the one thing i would have killed to see would be some sort of modding to resurrect King Candy/Turbo's code, and bring him to the Internet. you can't tell me that in the time King Candy was in his version of Sugar Rush - presumably only the Litwack version - that someone wouldn't have noticed this unique character. can you imagine the possibilities if someone decided to start modding King Candy/Turbo into other games, or unleashing his face as a virus instead? i bring this up because we have Knowsmore, a character who literally has the entire knowledge of the Internet at his fingertips....and the script does nothing with him except use him as a bit of a deus ex machina at the end of the movie 😭💖

tldr; i thought the movie was lovely but i think Knowsmore should have been the villain. i enjoyed the exploration of Ralph's self-esteem and trauma, but feel both he and Vanellope were somewhat out-of-character, and that the script would have benefitted from an overt villain to contrast with Ralph's moral crisis. i would have liked the re-assertion that Ralph is not a bad guy - he’s just been treated that way his whole life.

#these are just my thoughts of course!!! perhaps i am just suffering from a lack of King Candy in this one 😳 #please feel free to tell me your wreck it ralph/ralph breaks the internet theories and headcanons or ask questions it's so fun to talk abou #wreck it ralph #ralph breaks the internet #vanellope von schweetz #knowsmore #king candy #turbo #starleskatalks #starleskasks

[fangirlstarot]

FIVE OF SWORDS

"Another such victory over the Romans, and we are undone." - Pyrrhus

The Five of Swords are those times when you may have won, but you did it at such a cost that it became a hollow victory which is more painful than anything. You were being led by your ego into what they call a pyrrhic victory, or a victory that comes at the expense of great losses or costs. The conflict itself as unequal, unfair and abusive. Your own self-interested pushed you to indulge in power plays, which only truly sabotaged yourself. The best choice of action here is to rediscover your moral compass, surrender and walk away because there is no honor to be found here.

::Who's Who On This Card::

1. Wreck-It Ralph Winning The Medal Scene from Wreck-It Ralph - Ralph finally wins the medal that he wanted, he just had to destroy his friend Vanellope's racecar to do it. He starts to realize his actions too late, realizing that the medal means little to him now that he broke his friend's heart, caused trouble throughout their world and realizes he's left alone due to his own self-serving actions. As he says in this scene, "this is not what I wanted!" By the time the Five of Swords hits you, it's often too late to realize you done fked up.

2. Once-ler from The Lorax - The Once-ler let his ego go to his head after his invention, which took cutting down the forest's trees in order to mass produce, became successful. He ended up cutting the whole forest down in his greed, not stopping until he realized what he had done and stood over the barren wasteland he'd created, a rich man but horrified at his own victory. Heartbroken and unbearably guilty, he watched as the forest animals went to go find a new place to live, leaving him to his regret alone.

3. Mark Zuckerberg from The Social Network - The Social Network traces the creation of Facebook, showing how Mark Zuckerberg built this entire empire but how he backstabbed his friends and eventually ended up alone to do it. Throughout the movie, he's shown to be overly-confident and egotistical, listening to only his own selfish whims even if that meant acting immature, being greedy, stealing and lying to get the job done-- to the detriment of all the relationships around him.

4. Thanos from Endgame - After killing his own adopted daughter for his aims and then dying himself, Thanos meets her in the afterlife. Tired and weary, he looks beaten as she asks, "What did it cost?" and all he can tell her is "Everything." A Five of Swords victory will often cost you everything and give you little in return.

5. Andrea Sachs from The Devil Wear's Prada - At the end of the movie, Andrea realizes that in the pursuit of building her career, she's ended up like her evil boss, Miranda Priestly. Suddenly all the backstabbing behavior, manipulations and scarified friendships repulsed her and even though she finally made it to Fashion Week in Paris, she decided she needed to walk away from the hostile environment and stop looking out for only herself.

6. Dr Horrible from Dr Horrible - He always wanted to be part of the Evil League of Evil, and elite group of super villians, but they require that he commit a murder in order to get in. Throughout the miniseries, he tries to kill Captain Hammer but instead ends up accidentally murdering the girl he loves. The last scene of the series shows him being inducted, though it's clear by his body language he's a shell of himself without her. He got what he wanted, but god-- at what cost?!

#minor arcana #five of swords #swords #tarot #tarot readings #Wreck-It Ralph #disney #pixar #Once-ler #The Lorax #Mark Zuckerberg #The Social Network #Thanos #Endgame #Andrea Sachs #The Devil Wear's Prada #Dr Horrible

[violethowler]

Death and Separation: Emerging Trends in Pop Culture Franchises

Warning: The following essay contains ending and character death  spoilers for Voltron: Legendary Defender,  How To Train Your Dragon: The Hidden World, Game of Thrones, and everything released under the Disney umbrella since January 2017. That includes Marvel, Star Wars, and vanilla Disney movies, both animated and live action. 

I’ve noticed a pattern in the last couple of years of media consumption. 

Since 2017, there has been a string of major releases by major companies or networks that featured story decisions that proved controversial with audiences. Now, such things on their own aren’t really a big deal because for the most part there’s always going to be some fans who aren’t satisfied with how a story turned out, regardless of their reasons. 

But what I’m noticing is that there is a pattern to which elements fans are criticizing and why. 

As I became aware of this trend I started looking back at media released in the last few years and noticing that many of these stories were featuring the same plot elements, whether they worked for the story or not: 

One common point I noticed is how many of these franchises have taken morally complicated characters that were popular with audiences, and permanently killed them off in ways which a lot of people have found narratively unsatisfying: 

In Star Wars: Episode IX: The Rise of Skywalker, Ben Solo manages to achieve his redemption and turn back to the light after all prior supplementary material showed how Snoke preyed on his feelings of abandonment to groom him into joining the dark side. After being redeemed, his contribution to the story’s climax is being thrown into a pit, where he stays until after Palpatineis defeated, and upon climbing out finds the girl he loves dead. Ben then uses the force to heal Rey and restore her to life, only to immediately kick the bucket himself, after which point the narrative ceases to acknowledge him in any way. 

Loki and his brother Thor reconcile at the end of 2017’s Thor: Ragnarok, only for the film’s post credits scene to herald their encounter with Loki’s former “employer” Thanos. The next time audiences see Loki in the opening minutes of Avengers: Infinity War, he’s strangled to death on-screen by Thanos following a failed assassination attempt before the film’s title card has even appeared. Despite theories that he had faked his death and would return in Avengers: Endgame, the only versions of Loki to appear in the finale of the Infinity Saga are past versions from alternate timelines, with only the characters dusted during Infinity War being brought back to life. 

Gamora escapes from her abusive father figure Thanos in the first Guardians of the Galaxy movie and spends subsequent films building a life for herself outside of Thanos’ toxic influence, with the sequel focusing on her repairing her relationship with her sister Nebula. After being captured by Thanos and forced to bring him to the Soul Stone, Thanos flings her off a cliff to her death when he learns that obtaining the Soul Stone will require him to sacrifice someone he loves, and awakens in a pool of water with the stone in his hand. Despite theories she would be brought back to life in Avengers: Endgame, but like Loki, the only versions of Gamora to appear were from alternate timelines that lacked the dead version’s character development.

Black Widow’s defining character trait across the Infinity Saga has been her desire to eliminate “the red in her ledger” to atone for the things she did when the Red Room had raised her to be an assassin. In Avengers: Endgame, Black Widow sacrifices herself to obtain the Soul Stone in the past to give her close friend Clint Barton a second chance to come back from the brutal path of vengeance the death of his family had set him on, in the same way that he had given her a second chance to build a better life for herself when they first met. 

In Voltron: Legendary Defender’s third season, Prince Lotor is introduced as a morally ambiguous figure with unclear motives. When forced on the run by his tyrannical father, he forms an alliance with the Paladins of Voltron and eventually develops a romance with Princess Allura. In the sixth season, Lotor is accused of mass murder of the survivors of Allura’s destroyed planet and their alliance falls apart. Lotor insists that his intentions for peace are genuine, but his efforts to explain himself fall on deaf ears, and after a battle, is left for dead in the Quintessence Field. The second episode of the final seasons fills in the details of his abusive childhood while showing that despite what he’d suffered, he was genuine in his desire for peace. Seasons 6 through 8 are sprinkled with hints that Lotor was innocent of the crimes he was accused of, but despite Season 8 Episode 6 Genesis depicting him being still alive after four years in the Quintessence Field, the audience is treated to an image of his melted corpse four episodes later, while his abusive mother searches alternate realities for a better version of him.

The first seven seasons of Game of Thrones depict Daenerys Targaryen as someone from an abusive family who was nevertheless determined to rise above her turbulent upbringing and make the world a better place. Over the course of the eighth and final season, her new allies disrespect her, her lover repeatedly betrays her trust, and her advisers not only question her mental stability but immediately attempt to undermine her campaign as soon as a male heir to the throne from her bloodline is presented to them. When her trusted confidant is murdered in the penultimate episode, she snaps and burns large swaths of the capitol to the ground with dragon fire. In the series finale, her remaining advisers convince her lover to kill her for the good of the realm, and her destructive rage is presented as who she always was.  

In the narrative of these characters’ stories, some of these fit with the themes of that character’s story arc. Black Widow sacrificing herself makes sense because of the symmetry with what we know of her backstory. Clint Barton gave her a second chance and guided her back from the dark path she was on when they first met, and in Avengers: Endgame, she returns the favor. Her death, while upsetting to many fans for different reasons, fits within the context of her personal narrative arc from across the last decade of Marvel movies. 

While Daenerys turning into a Mad Queen like her father would still be disappointing to fans hoping to see her disprove the “madness is in the blood” ideas about her family, it wouldn’t have come entirely out of nowhere. The hints that she had the potential to go down that path were there, even if many hoped it would only remain potential. One of the biggest issues is how Season 8 portrayed her descent into madness. Her cruelty towards King’s Landing is treated not as the rage of someone who has been pushed too far, but that this is who she always was. 

Meanwhile Ben Solo’s death came suddenly and abruptly after repeated narrative fakeouts that he came back from. The previous films, novels, and comics had built him up as a victim of abuse and set up audiences to anticipate him breaking free of the Dark Side and finding a happy ending, likely while working to atone for his actions as Kylo Ren. But despite his actor having been promised that Ben Solo’s story would not end the same way that Darth Vader’s did, that was exactly what happened: with the redeemed villain dying to save a person they loved. 

The context may differ, but there is a visible pattern of major genre franchises in the last year taking this type of complicated character and either killing them off when they’re finally in a good place mentally and emotionally, or in the case of Lotor and Daenerys, striping away their happiness to force them into the role of a one-dimensional tyrant and then killing them off. Lotor’s case is even more egregious because there were unanswered questions and inconsistencies surrounding his alleged crimes that after his death were never explained.  

While I doubt the creators of any of these titles set out to intentionally hurt people who identified with these characters, their narrative choices still send very damaging messages. 

These character’s backstories involve them either intentionally or unintentionally set up to fail by the people around them. Where most characters begin with a blank slate, theirs was already written in with expectations, pressure, violence, condemnation, control, manipulation, and/or outright subjugation. Fans young and old find them relatable because of similar rough pasts or trauma, often because or in spite of their grey moral compasses. This type of character resonates with audiences because they represent what it means to be human -  to struggle, to make mistakes, and to have the ability to atone for them in the end. 

Except in recent stories they don’t ever get that chance. Seeing Ben Solo and Lotor and Daenerys and Loki denied a chance at a happy ending tells people who identify with them that they will never find happiness. That their struggle toward the light is doomed to fail and will only end in death. 

And that isn’t the only divisive trend that’s been observed in recent years. Since 2018, there have been sequels and series finales where the characters whose bond was the core of the story go their separate ways either after the conflict has been resolved or as the means to resolve the conflict: 

In the series finale of Star Wars: Rebels, audience viewpoint character Ezra Bridger forces Grand Admiral Thrawn’s Star Destroyer fleet into hyperspace to protect the capital city of his planet Lothal from orbital bombardment. This separates him from his Found Family, and due to their commitments to the rebellion it isn’t until several years later that they set out to find him and bring him home. 

During the course of Ralph Breaks the Internet: Wreck-it Ralph 2, Vanellope von Schweetz becomes enamored with the virtual world of the internet, having grown tired of the routine of her life in the arcade in the five years since the original movie. Ralph’s desire for life to stay the same and his insecurities over losing his best friend drive the plot of the movie, and the conflict is resolved when Ralph learns to let go of his insecurities and respect Vanellope’s wishes. Ralph returns to the arcade while Vanellope remains on the internet, though they stay in touch via video chat.

The series finale of Voltron: Legendary Defender depicts the surviving paladins going their separate ways after the war ends, only meeting up once a year for a memorial dinner to honor Allura’s sacrifice. Lance is depicted with the markings of Allura’s people branded on his face, grieving her as he spends his days working on his family’s farm. Keith returns to the stars to restructure the Blade of Marmora into a peacetime organization. Hunk becomes a galactic chef, while Pidge returns to Earth to build robots at the Garrison. A year after the series, Shiro retires from the job he loves and marries one of the men on the bridge crew for the Atlas. 

In order to protect the dragons of Berk from Grimmel the dragon hunter, Hiccup must send Toothless away so that the Night Fury can lead the Berkian dragons to the safety of the Hidden World. Year later Hiccan and Astrid take their children to the entrance of the Hidden World where they reunite with their dragon friends and their children. 

In order to defeat Thanos and his army, Iron Man uses the Infinity Stones to snap Thanos’ legions out of existence at the cost of his own life. Following Tony’s funeral, Captain America returns the Stones to their original timeline before settling down in an alternate timeline to live a peaceful life with Peggy Carter in the 1940s. After reaching old age, Steve returns to his original timeline and passes the mantle of Captain America on to Sam Wilson along with the repaired shield. Thor abdicates the throne of New Asgard to Valkyrie before setting off to the stars with the Guardians of the Galaxy. Hawkeye returns to the quiet farm life with his wife and children, and the remaining heroes all go their separate ways. 

After the death of Daenerys in the series finale of Game of Thrones, the Westerosi nobility decided to form an elected monarchy, choosing Bran Stark as the next king of the Seven Kingdoms. Sansa returns to Winterfell, where she becomes Queen of the North, while Jon Snow is “exiled” beyond the wall, and Arya sets sail to explore lands west of Westeros. 

In Toy Story 4, Woody is feeling pushed to the side as Bonny plays with him less than she does the other toys. After getting lost on a road trip, Woody is reunited with his lost love, Bo Peep, who has been living alone scavenging from humans rather than being played with by a single child. After rescuing Bonnie’s new toy Forky, Woody and Bo race to get everyone back to the RV before Bonny’s family leaves. Before boarding the RV, Woody ultimately decides to stay with Bo, and he parts ways with the rest of Andy’s toys as the film ends. 

After the previous film was about Maleficent becoming a surrogate mother figure to Aurora, the sequel, Maleficent: Mistress of Evil, is about Maleficent learning to let her daughter grow up and leave the nest. After Queen Ingrid’s crusade against the fairies is thwarted, Maleficent gives her blessing for Aurora’s marriage to Phillip and lets her adopted daughter go. Maleficent returns to the Moors with the promise that she will return when Aurora and Phillip have a child of their own. 

In the course of uncovering and making amends for their bigoted grandfather’s actions against the Northuldra people, Elsa and Anna learn that the rumored fifth spirit that bridges the mortal and the supernatural is actually them and their bond. After breaking the curse on the Enchanted Forest, Elsa abdicated her throne and remains in the forest to continue exploring the full extent of her powers while Anna takes the throne. Thanks to the magic of the other elemental spirits, the sisters remain in constant contact, with Elsa returning to Arendelle for regular visits. 

Star Wars: The Rise of Skywalker establishes that Ben Solo and Rey are a dyad in the Force - literal soulmates. At the end of the movie, Rey sacrifices her life to destroy Palpatine, and after climbing up from the pit he was tossed into, Ben uses the Force to heal Rey’s wounds and bring her back to life, at which point he immediately dies. After a victory celebration with the Resistance, Rey travels to Tatooine and is last seen burying Luke and Leia’s lightsabers in the sands outside the farm where Luke grew up. 

As with the trend of killing off morally complicated characters, some of these examples work within the context of the film. 

Motherhood was an important element of Maleficent’s arc across the two live action films, and learning to let her daughter leave the nest is a classic lesson in a parental figure’s character arc. 

Hiccup and Toothless parting ways fits with the How To Train Your Dragon series’ focus on protecting the dragons and the animal conservation message that comes with that. 

Ezra being separated from his found family at the end of Rebels was a way to maintain Luke Skywalker’s status as the only Jedi working for the rebellion in the original movies without permanently killing Ezra off, and the show’s writers left the door open for a potential sequel focused on Sabine following his trail to bring him home. 

Other examples, however, do not align with the themes of their respective franchises. 

Game of Thrones spent several seasons focusing on the surviving Stark children as they find their way back to each other. Sending them all in different directions at the end feels disappointing and pointless after they had finally been reunited in the previous season. 

The Paladins of Voltron finding their own careers after the war that take them to different parts of the galaxy but still making the effort to consistently stay in contact makes sense in theory, but with the death of Allura it comes across as if her passing broke the team apart. 

While the original Avengers going their separate ways to let a new generation of heroes step into the limelight seems like an organic conclusion to the Infinity Saga, Captain America’s ending in particular feels like a regression. His character arc across his previous solo films has been about moving forward, and Endgame concludes with him literally going backward. 

It’s been common for fan complaints over these story elements to be directed mainly at the people directly responsible for making each project - the showrunners, the movie directors, the script writers…… But I couldn’t help but notice just how many of these examples for both trends fell under the Disney umbrella.

And then I remembered that Infinity War, Endgame, and The Rise of Skywalker all had reshoots done at some point in the production process. 

It really makes me wonder how much of these disliked story decisions were really the individual directors’ and showrunners’ decisions and how much were mandated by someone higher up the ladder. And I can’t help but notice the demographics of the people in charge of these companies and the people affected by them. 

The demographics of fans that enjoy morally complicated characters and want them to have a happy ending, that enjoy stories where the the characters who bonded over the course of the story stay together after their mutual goal is achieved, are from what I’ve observed predominantly made up of women, LGBTQ+ people, disabled people, nonwhite people, and people with mental illnesses. 

And most of the people in charge of these story decisions are cis, straight, neurotypipcal, able-bodied white men. The CEO of Disney... The showrunners of Game of Thrones….. Voltron’s a little more complicated because while Dreamworks made the show they didn’t own the franchise, but the Voltron IP owner is a straight white male.  

These stories are controlled by straight white men, and the audiences that have the biggest negative reactions to these story decisions are women, LGBTQ+ people, and POC. 

Companies may talk about having more diversity on camera and behind the camera, but the people at the top of the corporate hierarchy - the ones with the money and therefore the ultimate control over what gets released to the public - are for the most part the same demographic as they've always been.

And all of these show finales and movies have been released within the last four years, as fandom spaces and American public discourse in general have become increasingly polarized into a black and white mentality with no room for nuance. Where someone can only be either a perfect ally or an offensive oppressor. This trend in killing off morally complicated characters in ways that don’t always work for their character arc has also coincided with the rise of fandom’s pearl clutching over moral purity and whether a villain or anti villain “deserves” a redemption arc. 

Your first instinct will probably be to dismiss what I’m suggesting, insisting that these are just shows and movies and that they don’t matter. That it’s Not That DeepTM. But more often than not the media we consume is a reflection of the world around us. And we are seeing a pattern that as fandom becomes increasingly obsessed with purity and enforces a “one strike and you’re a monster” mentality, the major franchises of pop culture are producing stories where people who aren’t clear-cut Pure Good Heroes or Pure Evil Villains die. 

Also, dismissing people’s thoughts about the social messages of a movie or show, insisting that we’re wrong for saying that something doesn’t fit with the story so far, is part of the problem. Having critics and other fans praising the stories we feel hurt by and dismissing our criticisms as, for example, whiny shippers mad that our favorite pairings didn’t happen, has a very stifling, damaging effect. It tells us over and over again that this is the way that stories are supposed to be, and that there is something weird, broken, wrong with us for not being satisfied with stories that break up the Found Family or kill off your morally messed up fave regardless of whether it actually makes sense for the story. 

It leaves us isolated and alienated from wider fandom discussions because we’re told it again and again until we internalize it that we’re in the wrong. That people just don’t want to make the kinds of stories we want to see. That we’re paranoid for suspecting that there is a pattern when we see this happen over and over. But it’s clear from the way that some creators have acted - going from excitedly promoting their work to complete silence after the initial disappointment over the finale - that there are creators who want to tell those kinds of stories, but they are being silenced. They are being forced to change the stories they wanted to tell because someone in charge didn’t like that kind of story, and because of their NDAs are forced to either keep silent, or lie and take credit for decisions that weren’t theirs. 

It’s easy to dismiss these story decisions as a coincidence. To believe that all of these creators made similar decisions on their own. That they just fucked up a beautiful story on their own with no intervention from someone higher up the corporate ladder. It’s a comforting option. It makes us feel like our criticisms have an impact. Because the alternative? That creators can and have been forced to change their stories because the person at the top doesn’t think that it’ll sell well if it doesn’t cater to the demographic they consider most important? That’s terrifying. 

#media analysis #meta #trends I'm seeing in popular franchises

[12timetraveler]

Family Matters (HC on their families)

Just a little random thing I came up with today. I also posted this on Campfire Stories though it’s not technically a one shot. 

Made this with the help of @sweet-hoe-vanellope while we were chatting about some of the Van der Linde gang as parents. 

Enjoy!

~~~~~~~~~~~~

Charles’ Kids

Charles has a little boy and a little girl.

He makes sure they are well behaved and polite, and that they respect the world around them.

They are always the first to ask to help, and not just because their dad has told them to, they genuinely like to help.

They’re very curious children, always ready with questions.

They want to get to know the world around them.

Quiet and observant like their father

But they don’t require as much silence as Charles, because they didn’t grow up alone.

They’re good influences on the other kids, doing their best to keep them out of trouble (Not always succeeding.)

They’re always there to help when their friends do get in trouble.

They are very loyal and they always have their friends’ backs.

 Arthur’s kids

Arthur has five daughters.

Yes five.

Yes daughters.

And he is completely wrapped around their fingers.

He is fairly certain he is raising five little angels, come to earth in human bodies.

They all look so much like him. Sandy blonde hair, sturdy build.

But some of them have their mother’s eyes.

At first Arthur wants to coddle them, treat them like the princesses they are.

But he soon realizes that the best way to keep them safe is to teach them to protect themselves.

So as beautiful and sweet as the Morgan girls are, they also could slit your throat before you knew what was happening.

They’re not afraid to get their hands dirty, always ready to help dad skin a deer or tend to the horses.

You can tell they’re spoiled, not because they’re bratty, or demand everything go their way, but because they all know their worth, and wont let anyone bring them down.

Arthur made sure not to pass his self-deprecating attitude to them.

 Javier’s Kids

Javier has an older son, then twins, a boy and a girl.

He loves all his children but he has a soft spot for his little princess.

All are musical like their father and keep their appearance crisp and fashionable.

Wild. Children.

Javier is by no means an absent parent

But he’s not going to stifle his children just to make them fit into societies standards.

He lets them do their own thing, unless it’s something seriously bad.

They are opinionated as hell and not afraid to tell you off.

Much to their mother’s dismay, their vocabulary is filled with curses.

Javier swears he never taught those words to them, but we all know he did.

Despite being blunt and passionate, they aren’t rude.

Quite the contrary, they turn their passions on helping others, and are the first to defend their friends if someone is picking on them.

  The family lines merge

One day Javier's eldest son invites Arthur's eldest daughter to go dancing (remember this would be in the roaring 20s)

Arthur leaps into protective dad mode.

He remembers how suave and flirtatious Javier was back in the day.

He’s worried that the elder Escuella boy may just be playing with his daughters heart.

He forbids her from going out with him (vaguely suggests she may never go out with anyone.)

One day Javier shows up on his porch with a bottle of the good stuff.

“Let’s talk, amigo.”

Javier tells that story on their wedding day, when the eldest Morgan daughter became an Escuella.

 Charles tells himself he'll never be like that when his little girl starts dating.

He. Is. Wrong.

The moment the younger Escuella boy comes sniffing around, suddenly he's just as bad as Arthur was.

Maybe even worse.

His wife tries to calm him down and convince him to give the boy a chance to prove himself.

Charles is too stubborn to listen.

Eventually his daughter confronts him, arms folded.

She calmly asks him what he always taught her.

Trust your instincts, listen to your heart, and keep a knife on your person at all times.

Why did he bother teaching her to be independent if he wasn't going to let her use it.

Foiled by his own logic he has to let her go out with the younger Escuella boy.

He shows up at Charles’ dressed in his best suit, with a bouquet of flowers for her, and a bottle of whiskey for Charles.

Soon enough he accepts the that the Escuella boy won't hurt his daughter.

He eventually admits to his wife that there are worse men who could be courting his little girl.

The day they get married, his wife just has the biggest "told you so* smile on her face.

 Next the Morgan and Smith lines finally come together.

Charles’ son and the second eldest Morgan girl have been flirting their whole lives.

Only when he asks Arthur’s permission to take her on a date does it click for Arthur.

Arthur is a little calmer about it this time.

He trusts Charles' parenting more, and now he knows his girls can take care of themselves.

The day his daughter comes home crying is the day a rift nearly tears the Smith and Morgan families apart.

The two kids had a fight and had broken up.

The two dads are pissed at each other, blaming their poor parenting.

The moms try to work out what happened.

Eventually the kids work it out themselves

They're both human, they both have flaws.

Together they work through them and become the strongest couple anyone has ever seen.

Arthur is grumpy about it for the rest of his life.

He never letting the Smith boy forget the day he made her cry.

But he actually does forgive him, if only for his daughters sake.

He just feels the need to bring it up now and then.

Everyone is worried the damage is too much between Arthur and Charles.

Even after the kids are back together, the men don’t say a word to each other.

The day of the wedding, Arthur and Charles apologize to each other.

It's the best wedding present the kids could have asked for.

 Javier is more than shocked when his daughter admits that she is in love with the second youngest Morgan girl.

He's a good Catholic boy.

While he experimented in his youth, he had eventually settled with a woman.

He wasn’t sure about his daughter actually choosing that life

But more importantly, he worried for her safety.

People weren't kind to homosexuals.

What if someone hurt his little girl?

Arthur was a little shocked at first.

But having also been attracted to an Escuella at one point, the father Escuella, he couldn't necessarily blame her.

He too was worried about how others would treat them.

The first night the girls went out dancing, Javier and Arthur sat down with glasses of whiskey and discussed what they'd do.

The both agreed that anyone who tried to stand in their girls' way would meet with a strange accident.

Their wedding was smaller, just the family.

They couldn’t be married by a priest.

In fact the only people who knew about the wedding were the family.

The girls didn’t care.

This was about their love.

They vowed to always love each other, look out for each other.

Arthur swears their vows were more powerful than anything done by a priest.

Javier most certainly didn’t cry.

 Arthur was concerned when Marston's boy started showing interest in his middle child.

Jack was 10 years older than her and he found it inappropriate.

Also, as much as he loved Jack, he couldn't help but think of what a shitty husband and father John had been.

Would Jack be the same?

John, assuming the worst, stormed over to the Morgan ranch.

He was ready to talk, argue, even fight with Arthur I'd need be.

Arthur, having already gone through this a few times, was relatively calm when John arrived.

Arthur and Jack were sitting on the porch, discussing it like men.

Jack was amused (and touched) to see his father ready to throw hands for him.

Arthur just shook his head and said something about taking the man out of the wild and the wild out of the man.

Arthur agreed to let Jack date his daughter, on the condition.

If things went well, Jack would wait until she was 21 to propose.

(She is 18 at the time. Jack is 28)

Arthur wants her to be a grown woman first and make sure she knows what she wants.

Jack agrees to this, far less hot-headed than his father is.

On her Twenty first birthday, Jack proposes.

Arthur knew it was coming.

It had been clear for a while that the middle Morgan daughter would become a Marston.

On their wedding day, John and Arthur tease each other relentlessly.

It's their way of covering their emotions.

 The Youngest Morgan girl meets a handsome young man on a trip to Saint Denis.

The two of them correspond through letter for many months.

Arthur is rightly curious about the man.

And a little suspicious.

Old habits die hard.

One day the man sends a letter that he and his mother will be taking a trip out that way.

He wants to meet Arthur officially.

Arthur has never been more shocked than when Tilly Jackson stood behind her son on his doorstep.

Tilly's husband died recently and she decided to leave Saint Denis with her son.

They bought a little cottage nearby.

Within a few months, the youngest Morgan daughter was engaged to the son of Tilly Jackson.

Arthur doesn't worry about this one.

He knows any child of Tilly will be a good man.

The only concern he has is how people will treat the two of them, being a mixed race couple.

The first time they go into town together, Tilly's son let's go of the Morgan girls hand

Arthur grabbed their hands and pressed them back together.

He told them not to be afraid of what others thought.

The death glares people got from the intimidating old man have never been rivaled.

He'd gladly kill anyone who dares try to stop those kids, or any of his kids, from loving who they love.

This wedding has the town riled up.

While it's true that none of Arthur's children married white people, this wedding drew more attention for some reason.

The protesters didn't stay long

On the back row sat all the parents, guns casually draped over their laps

None of the families minded being outcast from the town.

Just so long as all their kids were happy.

 Grandparents

As the parents grow older, they all move into the Morgan Ranch and give their homes to their children.

It’s easier to have all the grandparents in one place.

And they can look out for each other, like old times.

The Marston’s stay at Beechers Hope

But that isn’t far from the Morgan Ranch anyway.

The grandchildren call all of them grandpa and grandma.

At this point the families are so intertwined its hard to figure out which child is actually who’s grandchild unless you sit down and write it out.

It’s just easier to let them all be your grandchildren.

They all fervently deny that they were ever gunslingers, but their grandkids are very suspicious about it.

 Arthur nearly lost count of all his blood grandbabies.

Ask him how many he has, he’ll shrug his shoulders.

But he can name them all without missing a beat.

And those that aren’t his to boot.

So if you really want the number, he’ll count it out for you.

At first he’s a little upset that there’s no one to carry on the last name “Morgan.”

But he shrugs it off and says that it weren’t that great a name anyway.

Then his daughter and the Escuella girl come to him with news.

They’re adopting a boy, or rather his daughter is.

The little boy will have the last name Morgan.

He didn’t realize how happy that would make him until they said it.

He loves the little adopted baby just as much as any of his other grandbabies.

 Charles is almost mystical to the grandchildren.

They always snap to attention when he speaks, entranced by his wisdom.

He teaches them all about nature and his heritage.

Even those who aren’t descended from him.

He’s the grandpa everyone comes to for advice.

He finds it amusing, but is happy to talk their problems out with them until they figure out a solution on their own.

He also makes sure each and every one of them can use a bow and arrow.

 Javier jokes that there are enough children to form a choir.

At least everyone thinks he’s joking.

Until one day he lines them all up and they sing Oh Shenandoah in perfect 4-part harmony.

He��d been teaching them on the side.

Javier is just as proud of his adopted grandson as Arthur is.

He makes sure the child learns Spanish and music.

The best dressed of the grandchildren, thanks to Javier.

Sometimes you forget the boy is adopted, he’s so much like his abuelito.

 John is terrible at keeping all the kids in order in his head.

He can remember the two that belong to Jack, but that’s it.

The other kids don’t mind.

Arthur told them that a wolf ate part of Grandpa John’s brain so he can’t remember things well.

They all take it easy on Grandpa John.

Abigail knows each and every one of them, and what they’re interests are.

“Why do we have a book on Frogs?” John asks

“Oh I bought that for ____________ ‘s birthday.”

“Who?”

“Oh you know. Javier and Charles’ granddaughter.”

“… she likes frogs?”

 One day Arthur sees a strange man watching the property.

He’s aged drastically since Arthur last saw him, but he knows immediately who it is.

He calls his children to herd the grandchildren inside.

Javier, John and Charles come out and stand by his side, hands casually resting on their guns.

They aren’t sure what he wants, but they aren’t taking any risks with their family.

The man just stares, gives them a nod, then turns and rides away.

It’s the last time anyone sees Dutch Van der Linde.

#red dead redemption 2 #rdr2 #rdr2 headcanons #arthur morgan #Charles Smith #Javier Escuella #rdr2 arthur #rdr2 charles #rdr2 javier #domestic headcanons #family headcanon

[straynstay]

Double Knot theory

this might be completely wrong, sorry lol it took me the whole day to come up with this, my head hurts lol

Alrighty peeps, here I am again with another attempt in trying to understand what’s behind the minds of SKZ when it comes to concepts, so I’m gonna analyze Double Knot on my yeezys after watching several times all their MVs (yes, I’m crazy lol). I’m not gonna be able to put pics of everything here cause tumblr sucks sometimes, but you can check the MVs to see what I’m talking about in case you don’t remember or didn’t notice. BARE WITH ME CAUSE THIS IS GONNA BE A LONG RIDE!

Starting with District 9 (where it all began), we have Mr. Bang Chan (the one in charge of their duties, therefore the leader) that sees a red flower and realizes that something is not right because if everything is monochromatic, how can there be a red flower? A glitch? An abnormality in their reality?

I think that the flower is a Poisenttia, but I don’t understand much of flowers, so I might be wrong. But if it’s really a Poisenttia, it could mean that the flower is pointing them to “salvation” since, according to Google, this flower is used during Christmas to symbolize the star of Bethlehem which led the Wise Men to where Jesus was born. So maybe the flower is showing that there’s a way out of this controlled reality they’re in? Maybe... (or maybe the flower will lead them to the big boss).

Moving on, Chan runs away to find that one of the drones that was watching them has crashed with a glass (?), making him place his hand on the panel that is projecting their world, and it wobbles (idk), meaning that they’re in a fake reality (everything is not what it seems!!)

Chan then hands out red papers with an encrypted message (I tried really hard reading what was on it, but it looks like and alien language or sth) to all SKZ members and they all get inside the bus (I’ve always wondered who’s driving the bus…) to break free from that reality and they enter another reality, a post-apocalyptic one, kinda lol, which is District 9 and they think they rule it cause they raised their flags there (but they’re not the ones in control, sorry boys)

And at the end we see the Stray Kids logo with black letters and the K in red. My mind went crazy and thought: S T R A Y K I D S = 9 letters, but one is different. > 9 boys, but one is different. Who? I think is Hyunjin because he’s the only one that looks at Chan after receiving the paper to escape and because he’s the one that the camera shows right after we see their logo on the floor lol So what I take from this is that Stray Kids now has become a glitch in their perfect system, but Hyunjin is not completely okay with it.

Moving on, in Mirror (not Miroh) we have Hyunjin alone in a room with 9 chairs, which I think that while the others left, he stayed behind. He’s writing on a piece of paper: who am I? where am I? I am not me (and the pencil dramatically breaks). They repeat several times “I don’t even know who I am, I just came along as they told me to” so I’m assuming Hyunjin is the one who’s still lost while SKZ is trying to break free, and maybe he’s having a hard time trusting Chan cause in the end Chan and Hyunjin are facing each other (don’t fight boys lol). 

And I say that Hyunjin is the different one by watching subtle things in other MVs (like Voices, MIA, My Pace...) in which the scenario changes suddenly when his part comes, or when it doesn’t glitch as much as the others, etc., which makes me believe my theory that he’s the odd one, the one that actually doesn’t want to be part of the group.

May I add that in My Pace they’re all stepping on red pamphlets on the floor that says “Just stay in my lane”… and they’re not staying in their lane anymore? (you can’t control SKZ trying to take over the system).

Now we move on to I Am You MV which is the sequel to My Pace, right? So we see them after glitching a lot in My Pace and they’re still being watched, but now Jisung breaks a surveillance camera lol and they move to another post-apocalyptic scenario cause, let’s be honest, who would live on that rooftop with drawings of a couch and a plant if it wasn’t for the end of the world? But what called my attention was the fact that we see Jeongin’s reflection on a puddle and we see two moons (hi Side Effects and Double Knot), they’re on the move on a truck instead of a bus, and we have an interesting scene with Chan and Jeongin’s reflection becoming one (so they’re indeed in this together), but what about Hyunjin? Well, we see him assembling something like a bat-signal that has SKZ logo on it as if he’s now calling for them…but by the end of the MV their logo still has the K as the odd one out.

So what’s all this about? In my weird mind, Chan discovered that they were living a lie, being controlled and told what to do and decided to break free from all of it, and while the others seem to agree, Hyunjin isn’t fully convinced about it. Maybe he’s scared? He doesn’t know who he actually is, since they all seemed to be in a mind controlling environment being watched 24/7, so he’s lost. The albums go like this in the storyline I’ve created in my mind: I Am Not = I’m not who I think I was, my life has been a lie; I Am Who = who am I? everything is a mess while I’m searching for my own self at my own pace; I Am You = I’m a glitch just like you.

NOW WE MOVE ON TO THE CLÉ SERIES!! (I swear to God SKZ is trying to give me a headache cause I’ve never used my brain this much before in my life lol)

In Miroh (not Mirror lol) we all know now that they are trying to overtake the system. They were able to enter the surveillance room and find those who they thought were controlling them. There’s some signs I was able to check in Miroh during the parade (that I haven’t noticed before) that are quite interesting. The first one says “There is no Tarzan in City Jungle”. Tarzan is considered a wild man, someone who’s not behaving the way society demands since he was raised in the jungle among animals. The other signs say “Something happened, nothing changed” and “The world is the same”, so I’m assuming that society is celebrating the fact that the faulty/glitched ones (the “Tarzans” aka SKZ) are long gone now – since District 9 –, and everything is back to normal with everyone behaving like they should and the system functioning perfectly, but they don’t realize that SKZ figured their way into the City Jungle (aka the central part of the system) and are gonna make a mess in it lol

I have already analyzed Side Effects (you can check it here), but I’m gonna go even crazier now and assume that Side Effects is also them being chased by the “boss” after what they’ve done in Miroh, and they have to follow unlocked roads in order to lay low and not be captured. Maybe that’s why Hyunjin is the nervous one in the MV, fighting Seungmin (cause he’s about to register with a camera where they are and what they’re doing) and Felix (who wants to leave the cart, their ‘safe’ zone), because he didn’t want to be there in the first place. His lines in the song shows he’s afraid and doubting himself.

But at the end of Side Effects, Hyunjin is now converted to SKZ’s cause, if that makes sense. After everything they’ve gone through, everything that happened in Miroh and the other MVs, he’s finally part of the group. So Chan, as the leader, reaches out to him, and Hyunjin accepts, leaving a key behind – which I think might be what he was holding onto since District 9 (cause they all had separate rooms in that ‘prison’ and that key looks like a regular room key and not one of the fancy keys that show up on Double Knot). Now they’re gonna walk their path as a unit, not individuals.

Alright, that being said, I’m gonna move on to Double Knot. In Double Knot we see them walking on a road that looks almost exactly like the one they’ve been staring at in Victory Song in a city with two moons, so that means that after running a lot in Side Effects, they’ve reached their destination = the city. 9 fancy keys appear on top of some maps, so I’m assuming everything is complete now. We see an Astronaut billboard and we also have “take off” being showed in a bracelet, a ring, a necklace, and on the road. I’ll comment on those two later.

Right, so here comes the fun parts of this analysis. When Jisung (?) ties his laces, the ground becomes glitched as if something (aka SKZ) is interfering in the system (we can see signal written, so it means ‘no signal’ or ‘error-signal’). 

And now EVERYTHING STARTS TO MAKE SENSE! Because SKZ now knows that since everyone is in this together after Hyunjin decided to join them in Side Effects, they can play with the glitches! Let me try to explain it better: after watching this MV and the others, I now see their concept kinda like Wreck It Ralph, if you know what I mean lol They’re not where they were supposed to be and they’re glitching inside a world that’s being projected to them, a fake world in which someone is in charge, but they broke free from that control, so now that they’re complete as a unit, they can be like Vanellope and play around with the faulty system that can’t handle them, meaning that they’re free and can go anywhere, change from one to another, lag the system and confuse the hell out of whoever is still trying to stop them.

This MV has more glitches and interferences than any other one, so it probably means they’re closer to the end than before. I don’t know if they’re trying to reach the main core or anything like this, but I do believe that this is not the end for them, I still think that there’s a final boss even after Miroh... but this is just me guessing lol

Minho, Jeongin and Seungmin see that they’re still being watched by a drone (kinda like District 9) and they’re recognized by the system (can you see their names on the side of the screen right below Stray Kids?), maybe the system is trying to get rid of the glitches?

Hyunjin is running alone on the street until he reaches a crossroad (now he doesn’t have to choose which road to take, he can go anywhere) and then after running some more he finds a key with the SKZ logo on the floor. This key is the same key that Chan uses to unlock the Yellow Wood on the elevator, btw, and the same key that we see him trying to open the white door with; the same door that Chan peeks through the key hole and sees himself and the SKZ on the sky, somewhat in a heroic kinda pose, right?

“ERROR-SIGNAL” shows up at the end when they’re all together, and we see that the Stray Kids logo is now all white (they’re all the same now). At the end, there’s blue while we see the interferences, which I think is because they’re gonna go up to the sky in Levanter.

THEY’RE GONNA TAKE OFF TO THE MOON!!! or not lol mark my words: Stray Kids everywhere all around the UNIVERSE! the world is too small for them now! The MV also shows “the owners of Clé”, meaning that they’ve learned how to make the system work for them now. GO, STRAY KIDS!

Something weird that I noticed while watching the MVs is that they’re always on rooftops (in Victory Song, Voices, I Am You, Miroh, etc), as if they’re trying to reach higher than that, but can’t or don’t know how to yet. They need an Astronaut to help them Take Off (see what I did here?), and I believe that the answer is behind the white door that Chan is about to open. Now I have no idea who or what might the astronaut, or what’s behind that door, but I hope we get more answers in Levanter.

Wow, I think I wrote a lot and there’s still much more that we can talk about this MV and SKZ’s concept. Maybe I’m dead wrong, but this is how I interpreted the story, so feel free to discuss your ideas with me if you want to~

STRAY KIDS MAKE ME PROUD AND THAT’S ALL THAT MATTERS ♥️

#stray kids #stray kids theory #stray kids comeback #double knot #skz #stray kids reactions #bang chan #woojin #lee know #changbin #hyunjin #jisung #felix #seungmin #jeongin

[sgtcalhouns]

Under the Mistletoe

Felix is excited to share his holiday traditions with Tamora, but he finds himself disappointed when she doesn’t seem to be interested.

No matter how he tried, Felix just couldn’t wrap his head around it.

Out of everything that excited him about the Christmas season, nothing made him happier than the fact that, this year, he would be celebrating with Tamora. They had been going steady for a couple of weeks now, and every day he felt more certain that she was the one. The thought of sharing his Christmas celebrations with her made him giddy, and he was especially looking forward to having a special someone to kiss under the mistletoe this year. While Tamora wasn’t always the most open with her feelings, she was quite affectionate, so this was one Christmas tradition that seemed to be right up her alley.

But so far, all his attempts had fallen flat. No matter what he did, how carefully he placed the mistletoe to ensure that it was in her line of sight, he had yet to receive a kiss in return. He had stood poised in the perfect spot more times than he could count, patiently awaiting her arrival, anticipating the moment she would swoop in and press her lips to his, only to be met with disappointment each time. He had even presented his cheek to her with an upward tilt of his head, just in case she decided to kiss him there instead--he wasn’t picky about placement. As Christmas drew near, he began to worry that she didn’t want to kiss him after all. What had he done wrong?

“I don’t understand it, Ralph,” Felix lamented. “I thought things were going well, but it seems like she doesn’t want to kiss me.”

The pair were seated on the couch in the penthouse as the annual Niceland Christmas party took place around them.

“Are you sure she’s seen the mistletoe?” Ralph suggested. “Maybe she’s just been missing it.”

“I’ve been so careful to put it up high enough that she can see it,” Felix replied. “I don’t see how she could’ve missed it every time.”

“I don’t know, buddy,” Ralph said. “I’m sorry.”

Their conversation was interrupted as Vanellope glitched up onto Ralph’s shoulder and requested his assistance making a mug of hot chocolate. With an apologetic shrug, his large companion disappeared into the kitchen. Felix sighed and retreated to the corner of the room. As he watched the party go on without him, he didn’t notice Tamora entering the kitchen for her own mug of cocoa.

“Hey, sarge, you made it,” Ralph greeted her.

“It’s not usually my scene, but you know how excited Felix gets about this stuff,” she replied.

“Yeah, he’s been really excited about spending Christmas with you, that’s for sure,” he said. “I gotta tell you, though, he seems pretty disappointed that you’re not into the mistletoe thing.”

“Mistletoe?” she asked. “What’s that?”

“You mean you don’t know?”

“No,” she answered. “We don’t celebrate Christmas in Hero’s Duty. The only reason I even know it exists is because of Felix.”

“Well, that explains a lot,” Ralph said. “Come on, we need to talk.”

A short while later Felix was taken by surprise when he found himself eclipsed in Tamora’s shadow as she approached him from across the room.

“Hey, short stack,” she said with a hand on her hip. “Looks like you’re standing under the mistletoe.”

He looked up was met with the familiar sight of green leaves and white berries on the ceiling above him.

“I suppose I am,” he said, attempting a smile through his dejected demeanor.

Before he knew what was happening, she grabbed him by the collar, hauled him up to her, and crushed their lips together in a fervent kiss. He melted at the affection, going slack within her grip. When she finally released him, a thick blush coated his cheeks and nose and he looked up at her with a dreamy expression.

“It’s come to my attention that I owe you a backlog of those kisses,” she said with a smirk.

“You don’t owe me anything,” he said. “You didn’t want to kiss me before, and that’s alright.”

“You know, I’ve spent the last couple of weeks trying to figure out why all these tiny plants keep popping up all over the place,” she said, giving the mistletoe above them a gentle flick. “I thought maybe you were trying to spruce things up around here.”

“What?” Felix asked as she set him back down. “You mean you—you didn’t know—”

“We don’t have Christmas in my game,” she said as she knelt down in front of him. “There’s a few fuzzy memories in my backstory, but nothing specific. I didn’t know about any holiday traditions until you told me about them.”

“Oh, Tammy,” he said with a sigh, reaching out to take her hand in his. “All this time I’ve been mopin’ around thinking you just weren’t interested in kissing me. I never even thought to ask you about it.”

“I had a feeling something was up when I got here and didn’t see you out on the dance floor,” she said. “Then Wreck-It clued me in and it all made sense.”

“I’m sorry,” he said. “I feel so foolish. I just got so excited thinkin’ about finally having someone to kiss under the mistletoe, I guess I got a little ahead of myself.”

“I suppose I can forgive you,” she teased, “if you teach me what this whole mistletoe thing is all about.”

“Well, around Christmas folks’ll put mistletoe up around the house. If you meet someone under the mistletoe, you’re supposed to share a kiss,” he explained. “I may have gone a little overboard with it trying to catch your attention. I just think it’s so romantic, and I’ve always wanted to have that special moment with someone. I thought maybe...we could have that special moment.”

“That’s very sweet of you, Felix,” she said. “I’m sorry I didn’t follow along sooner. I would’ve knocked your socks off by now.”

“It’s not your fault,” he said. “I’m just glad we got to have one mistletoe kiss before the season ends.”

“So that was your first, huh?” she asked, a gleam of interest in her eye.

He nodded, looking bashfully toward the floor as his cheeks began to glow.

“Well, how’d I do?” she asked.

“It was perfect,” he said, unable to stop the grin that stretched his cheeks. “Just like I always imagined.”

“Well, there’s more where that came from,” she smirked. “What do you say we go somewhere more private?”

Felix was certain his cheeks had never been such a vibrant red, but he couldn’t hide his enthusiasm as he nodded in response. She stood up straight and took his hand before reaching up and pulling the sprig of mistletoe off the ceiling.

“I think I need a little more instruction,” she said with a wink, “but this may turn out to be my favorite holiday tradition yet.”

#hero's cuties #wreck it ralph #wir fanfiction #fix it felix #sgt calhoun #my fic #merry christmas have a baby ficlet #NO AU CAN YOU BELIEVE

[mariolucario493]

A Frozen 2 review no one asked for! (POSSIBLE SPOILERS AHEAD)

Okay, hear me out. I’m probably in the minority when I say this, but...

I think it’s better than the first one.

I liked the original Frozen just fine. I liked how it depicted anxiety and how it subverted a lot of Disney tropes, but I probably wouldn’t put it in my top ten.

(Which, in case you’re interested, is:)

10. Tarzan

9. Aladdin

8. Beauty and the Beast

7. Frozen 2 (this one!)

6. Lilo & Stitch

5. Wreck-it Ralph

4. Moana

3. The Lion King

2. The Hunchback of Notre Dame

1. Zootopia

(And that’s not even including the Pixar ones.)

But it seems that the general consensus of Frozen 2 is the same as a lot of sequels (especially Disney sequels): that it’s not as good as the first one. Or, dare I say it, that it’s just the first one all over again. But here’s my argument against that. I think being similar to the first one actually works in its favor.

What do I mean by that? Well, after the prologue, the movie opens with a song called “Some Things Never Change,” in which all the characters sing about how happy they are in their current life. Although Olaf worries that change might be inevitable (I love how woke he’s become, btw), no one is really seeking anything new. Now that sounds like the setup for a lot of recent Disney movies, I know. But it's an idea that’s really explored throughout the entirety of the movie.

Every character reacts to change differently. Elsa is nervous, but tries to embrace it anyway; Olaf dismisses it as something he will understand when he’s older; Kristoff feels like he and his friends are drifting apart; and Anna struggles to accept it overall. And we see how each of them goes through it. Even the inclusion of darker themes allows the audience to react similarly to the characters onscreen. Kids probably won’t always understand what’s going on; but they’ll have a good time anyway. And just like Olaf, they’ll understand it when they’re older. That does seem to be one of the major criticisms I’ve seen for Frozen 2, that it’s too dark and too complicated for kids. But Disney’s never been afraid to tackle heavy subjects before, because they know that challenging the audience helps them grow. And hey, at least it’s not Crimes of Grindelwald, right?

I think the reason they made Frozen 2 similar to Frozen 1 was the same reason they used similar themes in Frozen 1 that we were already familiar with - princesses, magical kingdoms, curses, goofy sidekicks. And that’s to deconstruct and subvert them. In fact, I might even go so far as to say that this was an attempt to remind Disney to always try new things, which they have had trouble with recently. Just look at all those live-action remakes that no one asked for. The exact same thing all over again disguised as something new, but without all the stuff that made the originals so good in the first place.

Frozen 2 also continues the tradition of having interesting female protagonists. Well, interesting ANIMATED female protagonists, anyway. It’s not like the Aladdin remake, where Jasmine has a whole new song about girl power, but then she becomes the damsel in distress anyway and does nothing to fight back. It’s not like Captain Marvel, who makes a big deal about being a female superhero even though the Avengers already have several much more interesting female members. It’s not like the new Star Wars movies, in which they’re so focused with making Rey a strong female role model that they forget to give her a personality. And it’s not going to be like the Mulan remake, which I’m just going to assume is going to be another soapbox feminist’s wet dream. Oh, wait, I forgot this is Tumblr, and they love that shit.

But really. Starting with Tiana, Disney’s animated leading ladies have become such well-written characters. From Rapunzel to Vanellope to Judy Hopps to Moana to Elastigirl, they are fully fleshed-out characters first and agenda pushers second. Anna and Elsa are no exception. Elsa battles magical spirits and tames a water horse, and Anna has a crisis of ethics that feels really genuine. All without saying something dumb like “Look how capable I, a female, am in this situation, in comparison to my less competent male companions.”

Oh, by the way, for those of you who wanted Elsa to be revealed as a lesbian, I think we have a few more hints that she may be. She does not end up with a love interest, but I noticed she does seem to get along really well with Honeymaren. So maybe? Definitely better than the live-action Beauty and the Beast, am I right?

Oh, and the songs are great. We get not one, but TWO big numbers from Idina Menzel. Olaf and Kristoff both get new songs that are pointless, but still really funny. Anna has a new song that is one of the emotional highlights. The lyrics are just as clever, and they help further each character’s story arc. Even the lame pop versions of the songs over the end credits, which I usually DESPISE; hearing Imagine Dragons’ cover of “Into the Unknown” was actually pretty decent.

So, those darker themes. The reveal that one of Anna and Elsa’s ancestors was a genocidal tyrant who built the dam as a way to restrict the Northuldra tribe’s resources, and then declared war on them. Pretty ballsy, I have to say. And pretty creative that the villain of this movie is a character who is already dead before the movie even begins. Kind of like Coco, but they don’t even interact with him as a spirit or anything. What I like about this is that it kind of explains why the father in the first movie didn’t always do the right thing when it came to raising his kids. Locking up one of your daughters because she has supernatural abilities seems like a terrible move. But when you consider that Agnarr’s father was also distant from his son and had the goal of suppressing magic, you realize that it may have been a subconscious choice on his behalf. And hey, it’s also revealed that the reason Agnarr left on the ship that would eventually be his grave was to find answers about Elsa. So he probably felt remorse about it.

And now it’s time to compare this movie to today’s political climate. And before you start typing about how I’m wrong like Tumblr users are prone to do, maybe take a hint from the first movie and let it go. This is just my personal analysis.

The Northuldra tribe is clearly inspired by the Sami, the indigenous people of Norway, who have been persecuted for generations. But I don’t know much about Norwegian history, so let’s just compare it to America. Now let’s see...does America have a history of persecuting its indigenous population and disguising acts of war as offerings of peace? Hey, didn’t this movie come out just a week before Thanksgiving?

That’s right, I’m going there. Come to think of it, this whole movie radiates Thanksgiving vibes. It’s set in autumn, and it opens with everyone having a big feast with pumpkins and stuff.

King Runeard is a historical figure within Arendelle, and he is considered a hero. The dam that Runeard built is a monument that is ultimately destroyed by Anna in the film’s climax. And Anna initially refuses to do so because she believes the dam represents all that her kingdom stands for. I might be crazy, but this reminds me of how people are starting to take down statues of Confederate soldiers or how many cities have stopped recognizing Columbus Day as a national holiday, despite others saying that they are important parts of our heritage. One of the lines in “Some Things Never Change” is “Arendelle’s flag will always fly.” Sounds kind of like those conservative nuts who think the American flag is an infallible symbol and anyone who disrespects it (say, by taking a knee during the national anthem) is not a true patriot. Might be grasping at straws with that one.

And what Anna decides to do ultimately makes Arendelle a better place, even though she worries that it will be an unpopular decision. So we have a person in a position of political power who puts aside her own hubris for the good of her people. She asks for nothing in return, and knows that the right choice is not the easy one. She destroys a physical bridge, but builds a metaphorical one. Anna really is the type of leader we need. And if you think that it’s ethnocentric that a white person saves the day for a minority, remember that Anna and Elsa are actually half Northuldran on their mother’s side.

Yes, I believe Frozen 2 is up there with Zootopia as one of the great Disney flexes on right-wing extremists. But it’s subtle enough that we can enjoy the characters, the music, and the story first; and the message second. It reminds us to step outside our comfort zones and to always think about what it means to do the right thing.

If you didn’t like the first Frozen, you probably won’t enjoy this one either. I can understand what people mean when they say the movie throws a lot at you and doesn’t always feel focused on a coherent story. But regardless, I think it is an important movie.

#frozen 2 #disney #review #anna #elsa #olaf #kristoff #sven

[wonderfulworldofmichaelford]

Michael in the Mainstream: Frozen II

Disney and sequels tend not to mix well. For every decent sequel like Aladdin and the King of Thieves, Lion King 2, and The Rescuers Down Under, we get afflicted with a cinematic venereal disease like Mulan 2, Milo’s Return, or Ralph Breaks the Internet. Going into Frozen II, I really had no expectations whatsoever. Sure, the trailers looked good, but if there’s one thing I’ve learned it’s to never trust a trailer. 

I probably shouldn’t have worried though, because 2019 has proven to be pretty kind to sequels to Disney properties. This movie was not only fantastic, but I’d go as far as to say it was better than the first one.

A lot of this has to do with the improved characterizations. Elsa in particular is so much stronger in this film; with the groundwork laid in the first film, Elsa has become a headstrong, adventurous woman who is desperately looking for a place she truly belongs. Anna is still as perky as ever, and is supportive of her sister to the point she outright refuses to have her go through her trials alone. In short, they have the dynamic Ralph and Vanellope should have had in their sequel. The most amusing characterization update, however, is Olaf, who in this movie has become introspective and philosophical, constantly pondering his place in the world. He also re-enacts the first movie, and it is hilarious; frankly, Olaf is just way funnier in this film.

Of course, the characterization bus seems to have missed Kristoff entirely. The poor guy is relegated to a joke where he constantly tries (and fails) to propose, which features multiple points where Anna misconstrues what he’s saying as an insult. It gets to a point where it’s honestly kind of mean-spirited, and he ends up having more chemistry with a newly introduced reindeer herding guy than his own girlfriend. When freaking Pabbie the troll has better characterization and a more important role in the plot despite being in one scene it’s almost a mercy that they write poor Kristoff out of the movie for forty minutes, with him only returning at the climax.

To the movie’s eternal credit, though, they write Kristoff out in the most epic way possible: by giving him an 80s-style power ballad about how he’s lost in the woods without Anna and her love, complete with reindeer backup singers. It’s even more notable because this makes it the only sincere power ballad ever written. While this is easily my favorite song in the film, the rest of the soundtrack is pretty great, and is probably more solid than the first film’s, with no lows as notable as “Fixer-Upper” or “Do You Want to Build a Snowman?” When the ‘worst’ song on the soundtrack is an Olaf song that is just okay, you’re in good hands. This time around Idina Menzel gets not one but two epic ballads this time, with “Into the Unknown” as the clear successor to “Let It Go;” it even has an awful cover version that plays over the credits! I honestly find it a bit better than “Let It Go,” as Elsa sticks with the themes of song throughout the film.

The animation in this film is absolutely stunning. One need only look at the “Into the Unknown” and “Show Yourself” sequences to have your breath taken away. It goes a long way towards making up for that terrible Lion King remake earlier this year. It looks so much more polished and pretty than the previous film, and there are plenty more interesting visuals. Setting the story in the fall was definitely a smart move. Special mention goes to the elemental spirits, who all look fantastic, though nothing really tops the “Show Yourself” sequence.

The story is a bit complicated and gets into a lot of worldbuilding, sometimes cramming in a lot of stuff at once, but overall it’s a solid plot that feels like a natural extension of the first film. Best of all: Elsa does not get a romance arc. Once again the story focuses on the bond between her and Anna, There’s not really a twist villain, no forced romance, and any snarking that occurs is in regards to moments from the first film. While there are a few issues, especially considering it dumps so much on us and underutilized the cool new characters it introduces, it’s an overall solid and enjoyable storyline that builds off of what came before it.

This is what really cements it in my mind as a good film. Unlike other recent Disney sequels like The Last Jedi and Ralph Breaks the Internet, Frozen II feels like it expands the world and themes of the first film in new and interesting ways, building off what was already there rather than scrapping everything and trying to start with a clean slate on the second film of a franchise. It honestly has a lot in common with Ralph Breaks the Internet, right down to a similar ending, but where that film failed due to being instantly dated and pandering, this film soars by being emotionally resonant and timeless to a degree. If you liked the first film, you’re definitely going to love this one.

This film really feels conclusive and final; all the characters have pretty definitive endings to their character arcs, and everything has wrapped up in a satisfying way. I’m sure that Disney will try and force the directors to churn out more Frozen content, and if they did maybe shorts or a show based around the new characters it could work well. The world of Frozen may not be going away anytime soon, but I think this is the end of Anna and Elsa’s story, and honestly? I’m okay with that.

#Michael in the Mainstream #review #movie review #Frozen #Frozen II #Elsa #Anna #idina menzel #disney #animation #animated movie #musical

[madmirrormaiden]

An idea for an anime x disney au x oc crossover

Ok, so I may not be returning to the roleplay sphere anytime soon, but I will still (somehow) churn out more original content concerning our Goblin of Doblo City and her life both there and in Walterland.

So, let me explain what the title of this post means - I am bringing one anime character (or two, maybe) as reincarnated into Maya’s world, and the world of the Magical Soldiers of Walter High.

Hang on tight, it’s a long wild ride.

At 24 years old, Maya Ingrid Anson has somewhat made it in life as junior school counselor at Walter High, and self-proclaimed mentor to the latest generation of Magical Soldiers.

Her apartment is a bus ride away from Halloween Town, one of her regular haunts in Walterland. She’s friends with the residents there, as kooky as she is, and she is best buds with Sally Finklestein.

One day, Jack Skellington brings a couple to Finklestein’s Fabrications, the little morbidly eclectic store Sally runs. In this AU, Jack is a human male who has managed to make several trips outside the country following that one certain incident around Christmas time.

This couple was one of the friends he made overseas, an equally eccentric couple from Britain - blue-eyed Marian wears her raven hair in long wavy locks and a sleeveless flowy dress over her birch-like frame, while the big, towering Creed is bald save for bushy facial hair, with tattoos lining where his skin is unclad by black leather.

Despite their strange appearances, Marian is akin to a classic Disney Princess with a lot of joy and kindness flowing out of her slender built, while Creed has a teddy-bear demeanor and weeps openly at animal cruelty.

And they have a ten-year-old son, who wore a blue hoodie pulled up over his head, pairing it with dark jeans and a plain white under-tee.

“The forest witch, the metal head, and the emo kid,” Maya had sniggered to Sally. “Classic goth family combo.”

And then Marian addresses her son by name, and every cell in Maya freezes.

(Am I losing you here? I hope not. Because this is where it gets interesting.)

“Lelouch, why not you pull that hood down and say hello to your Uncle Jack and Auntie Sally? They may have something for your nightmares!”

That’s right. That Lelouch. The Lelouch who died at the end of his story, and started a new world for his sister. The Lelouch who created that world by destroying the old one. The Demon Emperor, and the welder of the mysterious power Geass.

Why is he here?

Maya remembered a night from ten years ago. When she was 14 and a year past her father’s untimely death.

Maya then had not wanted to go home that night, and stuck around a little outside the school grounds with Jason, her best friend then. The pair had chanced upon five members from one of the school clubs, who had gathered to build a shrine for their favourite anime character in their clubroom.

She remembered those five - they were not close, but she still follows them on social media as other bored millenials would do for their acquaintances. And she remembered the anime and this character they told her about, a character whose death they still mourned to this day. On the night they built their shrine, they had done a little joke-chant to bring him back, or some shit like that.

Did that silly little chant really work?

She returned her attention to the boy, and she scoffed. It could be just a coincidence, right? Lelouch is quite a common name in Europe, right?

Not when the boy pulled down his hood, revealing shoulder-length black hair and purple eyes.

This ten-year-old Lelouch, (now with the surname Langdon instead of Lamperouge or Vi Britannia) demonstrated the same behaviour and intelligence as his fictional animated counterpart - his vocabulary and general knowledge was advanced for his age, he spoke about social justice a fair bit, he expressed interest in social sciences, and even beat Jack at a chess game.

But this Lelouch was also different, perhaps because of his current environment - he was a little bit more mindful of others’ feelings, he smiled a little more, and yep, that Geass of his seemed non-existent.

And then he spoke about his nightmares, and then Maya knew it was no coincidence. The scared boy had dreamt of attacks, nations conquered, people oppressed, death, destruction...and of bringing terror and pain to the world, before being stabbed through the front by a masked man named Zero.

Maya knew those nightmares were no common nightmares - they were flashbacks, memories of Lelouch’s past life in another form, another place, another world perhaps.

And she decided to help ten-year-old Lelouch Langdon the same way her late father had advised her all these years ago: “To fully fear and fully embrace all that you are.”

So the Langdons settled down in Halloween Town, Walterland. And Lelouch gets acquainted with Hiro (Big Hero 6), Miguel (Coco, not to be confused with Maya’s brother), and Vanellope (Wreck-It Ralph).

While he may be slightly different from his past life, who knows if his Geass may make an appearance in his new life?

#:>I outofmadnessandmirrors I>: #code geass #lelouch #isekai #crossover #code geass au #disney rp #disney au #disney crossover

[starskitty-art]

Disney... what have you done with Ralph Breaks the Internet?

Ok, probably nobody will care about it, but I HAVE to write this. This movie was so disappointing to me, that I really need to pour my heart out. I don’t want to trigger anyone, I respect the fact that someone actually enjoyed it. BUT I want and need to say my opinion about this movie, and WHY I think it’s pure trash, point by point. Let’s start.

1) Ralph and Vanellope. Oh my God. Now, I don’t know what you think about this, but I really can’t say they’re the same characters from the original movie. Both of them, but Ralph especially. In the first one, Ralph describes himself as an irascible person. It doesn’t mean he’s a bad guy, of course, but this aspect of his character is strongly shown due to his programming as a game villain. He’s easily overcome by fits of anger, pity that in the sequel this trait is almost missing; he appears more as an extremely dumb and whiner person instead. Yes, I know he was ostracized in the first movie, and most of his insecurities may derive from this treatment. BUT he wasn’t as needy as in the sequel, I’d rather say he coped with his condition developing a more cynical and passive-aggressive behavior. Aaand, don’t forget the movie ended with Ralph conciliating with the nicelanders and Felix, so I really don’t get why they wanted to portray him like that, if he wasn’t this way not even when he still was discriminated. Also, don’t forget how mature he was when he realized what King Candy wanted to do with Vanellope: I think he responded just like any adult who wants to protect a child would do. He also realized he caused some troubles to his game, and he wanted to remedy to that. What about the sequel? They demand to turn him into a childish one, just to make a weak plot working!!!

And Vanellope? We all know she’s sassy and somehow irriverent, and that’s also why we like her. But, despite these traits, she always proved to be a real friend, not only Ralph’s friend, but racers’, Felix and Tamora’s too. And what does she do in the sequel? She leaves them, for a game and some characters she has just met. Yeah, I don’t really know how long they have been into the internet, but I’m sure you won’t leave your family and your friends, right then and there, because you have made a new friend like... 2/4 hours ago? Ok... -.-’ That’s not the way the real Vanellope would have behaved, especially if you consider the fact that she could have returned in Slaughter Race whenever she wanted, after Litwak’s closing time.

2) Felix and Calhoun. I don’t want only to reaffirm how unfair the fact that they appear just for 3 minutes in the whole movie is, since they were some really important characters in the first one. Like, no comment. I also want to highlight how flat they have become in the sequel. We know they’re married and that they love each other but... They are still 2 different characters with their personalities, own spaces and separate moments. All we get here is: “hey we are wife and husband, nothing more”. Sad.

3) What about other friends? This is one of the most hilarious points of all. Why the hell they made Ralph and Vanellope act like they only had each other and nothing more?? Felix calls Ralph “brother” and he’s clearly his friend, the other “bad guys” he met in the first movie also showed him support and friendship, the nicelanders reconcilied with him at the end of the first movie. Vanellope and the racers were really friends, in fact Taffyta and the others mistreated her JUST BECAUSE OF Turbo, and they actually showed to care about her, and Vanellope about them too! They were a big family, and there were also canon Disney’s books to prove this. Don’t forget Vanellope was also Tamora’s bridesmaid at her wedding, and this means Felix, Tamora and Vanellope bonded after all that story. I can’t believe how they easily erased this in the sequel, pretending they all haven’t these emotional bonds! Vanellope, the racers, Felix, Tamora and the Nicelanders didn’t even say goodbye, just like they have never met each other in their entire lives.

4) Incongruities and incoherences in relation to the first movie.

- Ralph leaves his game in the middle of the day and nobody cares about this, while in the first movie this had a severe consequence.

- It was the 30th anniversary of Ralph’s game in the first movie, God knows why he said he was there since 27 years.

- The sugar racers: some of them are missing (and no, they were not simply “recolors”, they were regular characters, no excuses: they also had their own names, and you don’t give a name to someone who doesn’t exist). Also, why Felix and Calhoun say “15 kids” if  they only adopt 10 racers? Rough mistake for a Disney movie.

- Sugar Rush had 2 seats, why has it only one in the sequel? Was it a too strenous work for the animators to make 2 of them?

- Where the hell went all the candies of Sugar Rush? I bet animators said “oh well, nobody will care about this, let's eliminate them just as we did with the other racers”. No.

- Didn’t Vanellope refuse her role as a princess? .-.

- Must I really say something about “going Turbo” and Vanellope? -.-

At the end of this...

I can say this movie really had a huge potentiality, but unfortunately they didn’t develop a strong and faithful plot, and it feels it’s poorly connected to the first one in my opinion. The characters are somehow odd and different from the original, there are too many discontinuities in relation to the first movie and I don’t know... this destabilized me. I didn’t want to talk about the new characters because they’re new, and this make them ok to me because I can’t benchmark them with their previous appearance. I’ll always love Wreck-it Ralph because I think it’s a terrific movie, but for these reasons I just can’t take the sequel seriously, even if I really wanted to.

#ralph breaks the internet #wreck it ralph 2 #wir 2 #wreck it ralph #disney #personal opinion #wir

[sanderssidesfanfiction]

We’ll Carry On - Chapter Sixty Two

We’ll Carry On Tag

General Content Warnings: Sympathetic Deceit Sanders, Substance Abuse, Abandonment, Minor Character Death, Transphobia, Implied/Referenced Child Abuse, Post-Traumatic Stress Disorder, Dissociation, Bullying, Homophobia

April 1st, 2019

“Haven’t you heard of April Fool’s, Dee?” Logan asked.

Dee shook his head, brows knitting together in confusion. “What is it?” he asked.

“It’s a day where people commonly play harmless pranks on each other, like short-sheeting someone’s bed, or swapping sugar for salt by the coffee. I never really got to play a lot of pranks, because my old parents...were not the biggest fans of that sort of thing, but it’s generally pretty fun, so long as no one gets hurt when you play those pranks,” Logan explained.

Dee nodded to show he was listening, but he wasn’t sure he understood. Patton and Virgil swapping clothes and pretending to be each other was kind of weird, especially considering that they weren’t identical twins. But he supposed it was whatever. Maybe he’d better understand next year, and could play a few pranks of his own.

April 1st, 2021

Dee dashed around the house, snickering like mad. It was April Fool’s day, and he had woken up before dawn and was unable to go back to sleep, so he decided to play some pranks on the rest of the family. Nothing mean-spirited, of course, and nothing that would get them hurt. Just little things like hiding Dad’s toothbrush in the medicine cabinet, or swapping Ami’s white shirt with a pink one on the same hanger that he always got the white one from. He found it hilarious, but he was trying to be quiet so no one else would wake up in the middle of his plans.

Thankfully, everyone seemed to be tired enough that no one heard his laughter. He was downstairs, making himself breakfast in the form of grabbing a pair of Pop-Tarts and sat on the kitchen stool, swinging his legs a little and humming the song he had been learning in Music for the past couple weeks. Occupied by this, he only barely registered Ami behind him when he was three feet away. Ami didn’t stop behind him, though, just went to the refrigerator. “You’re up early, Dee.”

“I couldn’t sleep,” Dee signed when Ami turned to look at him.

“Bad dreams?” Ami asked. “Because you can always come to me and Dad, no matter how old you are.”

Dee shook his head. “No bad dreams. I just woke up and couldn’t sleep again.”

“You could still come to me and Dad,” Ami said.

Oh. Dee hadn’t realized that. Still, he wasn’t sure there was much they could have done, so he just shrugged in response.

“Oh, and by the way, I know my white shirt didn’t get thrown into the wash with any red socks, so the pink shirt you put on my hangers? Is definitely not mine,” Ami said.

“It was in your dresser,” Dee signed.

Ami frowned, fingers darting side to side as he thought. “Huh. Well what do you know? I do own a single pink shirt.”

“Are you gonna wear it today?” Dee asked.

Ami leaned against the counter and hummed. “You know what? Why not? It could be a fun prank on my employees. I’m pretty sure they’re convinced I only own one pair of clothes.”

Dee snickered more and glanced at the clock in the kitchen. Any minute now, Logan’s alarm was bound to go off...

“Dee, what else did you do for pranks?” Ami asked.

Dee just blinked, putting on his best innocent face. “I don’t know what you mean,” he signed.

“Oh, come on, Dee, you get a huge kick out of April Fool’s videos on YouTube. What else did you do?” Ami pressed.

Dee sat on the kitchen stool, munching on his Pop-Tart innocently while Ami stared him down. Upstairs, there was the sound of an alarm, and hurried footsteps, before a very loud thud reverberated through the house, followed by a very annoyed, "Deagan Timothy Picani!"

It was impossible not to crack up as Logan stormed down the stairs, only to trip at the threshold of the kitchen because of the shrink wrap still stuck to his feet. Logan glared at Dee, who only continued to giggle as Logan wrestled with the shrink wrap on his feet. “Not funny,” he ground out. “I could have broken my wrists!”

“In my defense, I didn’t think you would try to run out of your room,” Dee signed, laughter finally dying down.

“He generally isn’t up this early, Logan, you know he’s telling the truth,” Ami said. “He doesn’t know your morning routine.”

Logan rolled his eyes and sighed. “I’m still annoyed,” he snapped. “And you probably woke up the whole house by causing me to trip that hard.”

“You’re the one who yelled,” Dee retorted.

“Because of your poor excuse of a prank,” Logan growled.

“Hey, boys, play nice,” Ami warned. “Dee, Logan’s right. You could have seriously hurt him. In the future, you can’t set it up for him to trip, all right?”

Dee sighed but nodded. He didn’t like it, but he knew that Ami had a point.

“Logan, there’s no need to snarl at Dee. He’s seven, do you honestly expect him to know everything about everyone’s morning routines to ensure that his pranks are safe? He made an attempt to be safe, he just assumed that you would walk rather than run out of your room,” Ami said. “And while he was incorrect in that assumption, he didn’t hurt anyone in a serious manner.”

Logan grumbled but went to the refrigerator to grab the things he needed for breakfast. “Fine,” he said. “But I’m not quite in a place where I feel like apologizing.”

“That’s fine,” Ami said. “So long as you and Dee can come to an understanding in the future.”

Hurried footsteps entered the kitchen behind Dee and he turned to find Roman looking around frantically. “Where’s Vanellope? She was with me last night when we all went to sleep and now she’s not there!”

There was a bark from the den and Vanellope bounded over to Roman, wagging her tail. “Oh,” Roman sighed. “I was worried someone might have taken her away as an April Fool’s joke.”

Logan looked Roman over. “I think there’s a quite different April Fool’s joke at play, here,” he said, fighting back a grin.

“What? What is it?” Roman asked.

Dee was giggling again, as the morning light filtered in and made Roman’s hair sparkle. Roman scratched at his head, only to have some glitter fall on his fingers. He stared at them in shock, rubbing his fingers together. Then he sighed. “Dee, we’ve been over this! Glitter is a prank for bad people!”

“Glitter is a prank for people you want to annoy for weeks,” Dee corrected. “And I wanted to remind you that I can and will annoy you for weeks if I want.”

Roman sighed and turned to Ami. “Now do you believe me when I say we have to lock up the messy stuff so the young ones don’t get their hands on it without supervision?”

“I think you may have a point, yes,” Ami said. “While the prank is relatively harmless, it’s certainly not ideal to be covered in glitter for two weeks.”

“Understatement,” Roman complained, “I’ll have to go to school like this! I don’t have time to shower!”

Logan actually laughed at that. “That should not be as funny as it is,” he said.

Roman huffed. “Okay, sure, go ahead, pick on the fourteen year old, see if I care!”

“Dee doesn’t discriminate with pranks,” Logan said. “I just appreciate what he did to you more than what he did to me.”

“You would,” Roman grumbled.

Dee finished his Pop-Tarts and got off the kitchen stool, throwing the package away. “Do I get to try and sleep again, or should I stay up longer?” he asked Ami.

“Stay up a little longer to observe the fruits of your labor,” Ami said. “Plus, it’ll be easier to talk with you about what pranks you pull if you’re actually alert when we have the conversation.”

Dee groaned at that. “But I didn’t hurt anyone!” he protested.

“You could have,” Ami said. “And the potential for being severely hurt outweighs the fact that you got lucky this time. Because you might not get lucky next time.”

Dee sighed.

Dad walked into the kitchen, scratching his head. “Who moved around virtually everything that I use in my morning routine? I spent a good five minutes trying to find my toothbrush, and it was in the medicine cabinet?”

Everyone pointed at Dee. He waved.

Dad waved back with a sigh. “Well, I can’t really say that I’m not surprised. I do wish that it had waited until I was more functional, instead of first thing in the morning.”

“At least your only got your stuff moved,” Logan said. “I tripped over shrink wrap at the bottom of my door.”

“And I’m doomed to look like a Twilight vampire for the next couple days at least,” Roman griped.

Dad looked around, seeming to assess the damage before sighing. “Clearly, we need to specify what April Fool’s pranks are okay and which ones aren’t,” he said. “Because simply ‘not hurting anyone’ is a bit of a subjective rule.”

“Yeah,” Ami said. “No one’s hurt, but everyone’s a little crabby, now.”

Dad shook his head. “Dee, how long have you been awake?”

“Since, like...three thirty?” Dee signed back. “I haven’t been able to sleep for a while.”

“Okay. Impaired judgement might also have played a part in it,” Dad said. “Dee, you should really try to get some sleep instead of pranking everyone, April Fool’s or not.”

“I did try! I tried for a whole hour!” Dee signed, scowling. “My stupid brain wouldn’t stop thinking long enough for me to fall asleep!”

Dad sighed. “Okay, okay. Probably a poor word choice. Rem, are you okay putting off the prank talk while I try and get Dee to fall asleep?”

“Sure,” Ami sighed. “I was suggesting he should watch to see the consequences of his actions, but he does look a little dead inside already.”

“Yeah, I think he should take some time to sleep if he can. He’s definitely not going to be able to function by the afternoon at school. Do we call him in as sick?” Dad asked.

“Probably a good idea. We all know what happens when he pushes himself too hard,” Ami agreed.

Dad waved for Dee to come over. “Come on, Dee, we’ll see if we can get you some more sleep before three this afternoon.”

Dee frowned, but followed Dad out of the kitchen. “I can get off school because I can’t sleep?” he asked softly, using his voice over his hands.

“Not always, but if you’ve been up for three hours and it isn’t seven in the morning, yet, I qualify that as reason enough to stay home,” Dad said. “Do we need to have a conversation about pranks and how they can hurt people?”

Dee shook his head. “Not yet,” he said. “I think I get it for the most part. I just need to dial it back a little more, I guess.”

“Yeah,” Dad agreed. “And you’ll be helping me get the glitter out of Roman’s bed when he manages to get it mostly out of his hair, so you can understand why glitter isn’t a good prank, ever. Even if someone is annoying, it just makes a deeper grudge.”

Dee sighed. “I screwed up, didn’t I?” he asked.

“Hey, it’s only your second April Fool’s, I expected you to cross a line you weren’t aware of. No big deal, so long as you learn from your mistakes,” Dad reassured.

“Thanks for being understanding,” Dee mumbled. “I still don’t know if I can sleep, though.”

Dad shrugged. “Well, we can find out,” he hummed.

Dee went into his bedroom and crawled under his sheets, pulling both them and his weighted blanket up to his chin. Dad passed him Fangs and said, “Now, I don’t know if this will help or not, but I can always lead you through a guided meditation and see if that relaxes you enough to fall asleep.”

“Sure,” Dee said. It wasn’t like he had anything to lose from it.

“Okay,” Dad said with an encouraging smile. “I’m going to need you to close your eyes, and let your breathing even out. In for four seconds, hold for seven, and out for eight. Can you do that?”

Dee nodded, closing his eyes and following the breathing pattern. Dad barely had to get through half of the scene he was setting before Dee couldn’t even open his eyes if he wanted to. He nuzzled into Fangs’ fur, feeling content enough to actually sleep for another hour or two at least. Sure, he might be in a bit of trouble when he got up, but he wouldn’t have to worry about a punishment. Dad and Ami would be fair, they would never hurt him or ask him to do the impossible.

Dad ruffled Dee’s hair and murmured that he would see Dee in a few hours when he woke up, and Dee was left alone to rest for as long as he needed.

#we'll carry on #sanders sides fanfiction #deceit sanders #remy sanders #emile picani #roman sanders #logan sanders #our creations #danger gays