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#also I’m already inconsolable

idaoftheburningmind · 1 year

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Dawn Greeting Dusk Falling

A reimagining of the events after ‘Siege and Storm’ and a coping mechanism for the SaB S2 ending we would rather not have…

She had kept a little of his shadow, he enough of her light. This is what made it possible, this meeting at the roiling edge of the Fold where Alina knew she would one day find herself.

Fifty years did he say? She knew it had been more, and still it surprised her as the seasons dragged on that love had endured — the love of so many, and the love of one above all. Even if she had to watch each one shrouded and laid in the ground. Each and every one.

What she means to do here now is neither a reckoning, nor a reconciliation. The moment is simply right. She looks into the shadows, and lifts her hand. The globe of light is muted, as though in a fog; but she knows he will not fail to see it.

“Alina.”

There is no rage in the way he says her name, not even a question. They are past that, she supposes.

One who was too young, and one who lived too long; they were here now, nearly unchanged but for her white hair worn unbound. He did not expect her to come sooner, he knew time well enough. He might have thought he knew her as well.

She did not destroy the Fold.

Thought dead after the collapse of the Chapel, legend had it that her spirit guided skiffs as they made each journey. For not a soul has been lost to the Fold since.

That was how she knew that he wasn’t lost. And the knowledge, when she realized it, caused her that day to weep with joy.

The two of them lived because they could not let the other die; when his humanity was burning away, she held on blindly to what remained and he … she could not name what he did, but in the end she knew he had kept her from falling into darkness.

He had kept — some essence, some hope? Light either way.

And a resolve not to lose her to the void.

What was left of him that day was drawn to the Fold, the only place where he could still exist.

A shadow among shadows.

“You might have left me with a fresh set of clothes. An eternity disheveled is its own unique torture.”

She startles with laughter, the unexpected joy at the even more unexpected attempt at humor freeing the tension in her shoulders. She lets herself smile at him, and his smile is genuine as he smiles back.

“Are you angry?” she asks.

“What is anger for?” is his reply.

Flame sputtering to life in sunlight has more purpose.

A silence heavy as the weight of loss they now share settles between them.

“I could not bear it if you turned from me now.”

He spoke the truth. It was the same truth she would always understand, no matter the centuries left to them, no matter their choices that will always hang in the balance.

She reaches for him with a tendril of shadow.

He holds out his hand in welcome.

————-

A/N: For my AU sister @becauseicantthinkwritings who has been putting up with my not-fun era for longer than she should 😅

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izvmimi · 3 months

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so this weekend i learned the best way to get writing done is to procrastinate a real important thing that has to get done in real life

#i rarely write a oneshot over 5k words #but i’m barely into this vday oneshot #and around 5k already #all cuz i’m not trying to make this lecture #i’m dead this is so funny #and also terrible on thursday night i will be inconsolable

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beababoobies · 3 months

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ME AGAIN!!! WITH A SAL X READER REQUEST (again) THIS TIME AIDJSJDH. a porn one at that !!!!

i need sal so bad its an actual problem

just like. imagine reader n the gang r havin a little sleepover. and reader is just so inconsolably turned on for some reason (maybe sal had his hand on their thigh when they watched a movie or smthin), so when everyone is asleep they asks sal to help them out :,,,) (his fingers r just so long n pretty,, they cant help but want them lol)

mayb he has to keep them quiet somehow, mayb covers their mouth/puts his fingers in their mouth to muffle them

hes so shy and nervous and awkward but he’s having the time of his life, watching the reader’s reactions. mayb he cant help but get himself off too, too enraptured by the way reader struggles to gasp and whine against his fingers

GOD DAMN.

would love if u wrote this mootie 🫶🏼🫶🏼 no pressure ofc ofc ofc !! (fem bodied reader pls if u dont mind <3!)

(i might write this too, i love my mind sometimes 🙏)

hey mootie!! Im giving you the fast pass because all the jjk stuff you repost got me into the series and I’m loving it, also cus you’re AMAZING! All characters are aged 20+ because this is based in chapter five of course, please do enjoy! :) (and for everyone waiting for their Hazbin requests to be filled - IT IS COMING! I am a busy woman.)

Needy - Sal Fisher X Fem!Reader

words : 2k, warnings : SPICAYYYY!!, creampie, fingering, slightly public, needy!sal AND needy!reader, unprotected sex (wrap it before you tap it guys, c’mon), hold the moan trope

The entire gang had been having more sleepovers ever since Sal and Todd had found the new house. Larry was moving in so it was just the normal next step, and you loved coming over so much. More specifically to spend time with your boyfriend, but also just to feel like old times again. Even Ash came from the city every once and a while, and this was one of those days.

Since it was Larry’s last day living in the Apartments, you had all agreed to made the most out of that small basement apartment you had spent so much of your awkward teen years in. You had been doing all the same shit you used to all day - smoking in the treehouse, playing card games for hours.

You and Sal huddled up around his old gamebuddy, playing the games Larry had kept long forgotten in the corners of his room, Larry and Ash painting on a shared canvas, chatting about life while Larry’s old metal mixtapes blasted in the background, and Todd and Neil cuddled up on the beanbag in the corner, occasionally joining in their conversation, but mostly just cuddled up and enjoying each others company. All of this was wonderful, nostalgic - even healing.

That was all up until Sal quietly suggested you all watched an old horror movie, and you were all huddled together in the dark, you with Sal leaning on your shoulder on your right, and Ash on your left, giggling and nudging you like old times. Larry laid out casually on the floor in front of you all because of how shit his eyes were from years of refusing glasses. Which should’ve been fine.

In fact - it was fine. Until Sal decided it would be a wonderful idea to put his hand on your thigh. Your bare thigh, just below where your miniskirt started. And even that - even that, you could’ve survived with some unwanted heat in your panties. But no, the blue fucker jumped at one of the scenes, hand sliding up the inside of your thigh to accidentally drag your skirt up, his hand knocking against your warm core - hand rubbing up against your clothed clit as he pulled his hand away, and all you could do was pull your hand away from where it was sweetly brushing through Ashley’s hair like you used to do, straight to your face to hide the unbelievably needy whine you would’ve let out.

“you okay?” Ashley whispers softly, looking over to you and you just nod quickly, watching her go back to watching the movie before shooting Sal a venomous glance, which he avoids nervously, already feeling your stare of death shoot through the side of his head. You pierced your lips together, putting one leg over the other and squeezing your thighs firmly shut, Sal’s hand now comfortably resting much, much lower on your thigh. Practically on your calve, as he preferred not to die tonight.

But that’s when it started, the unwanted slick already gently collecting in your panties, your mind running through all the things you wanted to do to him - what you wanted him to do to you. God, your mind was like a dog in heat. You couldn’t even bear to focus on the movie, sitting there, cautiously eyeing up your dead silent boyfriend. His shirt ridden up his stomach just oh-so-slightly from the way he was slouched back, soft happy trail of blue peeking out from under his shirt. God, what you would do to pull those stupid red torn up jeans down - not even fully - and ride him until he was shooting blanks and sobbing under you.

That is how it went on for the rest of the movie. That is exactly how it went on when you all decided the sleeping plan. That is where your mind still was when you and Sal decided to take the pullout couch, Todd and Neil in Lisa’s old room, and Larry sleeping on his bed with Ashley on a cot on his floor. With the thinnest fucking walls known to man kind. You should know - you grew up with the same ones.

Sal yawned as he laid next to you, mask placed softly on the table right beside the couch, as well as his glass eye floating in a cup, looking at you nervously as he pulled the covers up over himself too, gently wrapping an arm around your waist and pulling you into him from behind, expecting you to be asleep by now - you were a heavy sleeper, he was an insomniac. It worked out like that. Until he heard a soft, half-whine of a whisper come from you.

“S-sal..” you mumbled softly, pressing yourself back against him, causing him to let out a soft whine of his own, hand around your waist flinching ever so softly. “P-please baby, need you so bad..” you mumbled out softly, turning around to face him, seeing the needy tears in your eyes had him melting as well, piercing his lips together as he grips softly at your side.

“N-no, you know how thin these walls are - I’m sorry about earlier, but..” he says nervously as he watches you whine and writhe softly, pressing yourself up against him, one hand on his chest. That’s when you decide to make the move, grabbing his hand and moving to in-between your legs so he can feel how absolutely soaked through your panties are, causing him to experimentally run his fingers over them, biting down on his scarred lip so hard he’s concerned it might bleed. You can’t help a choked whine and a buck of your hips against his hand at that, looking up at him with those needy eyes. Fuck.

He doesn’t say a word as he puts two shaky fingers to your lips, and you wrap your mouth around them without question, twirling your tongue around them and sucking on them like your life depended on it, all while he shakily pulled you panties to the side, prodding his fingers at your soaked hole, a quiet ‘fuck.’ Escaping his mouth when he slides one in with ease, feeling the vibrations around his fingers as you whine. “G-gotta be quiet, please - we h have to be quiet..” he mumbles out messily as he feels his cock throb to life in his sleep shorts, smearing precum across his thigh when he feels your cunt clench needily around his fingers.

He lets out a sigh of relief when you quickly nod at him, squeezing your eyes shut as he slowly starts to curl his long fingers inside of you, the obscene squealing noise making him whimper softly, hips accidentally bucking softly against your thigh as his cock tries to find some sort of friction - daydreaming about how easily he could slip inside you right now with how wet you are - how you would feel around his cock, velvety walks clenching around him and providing him that oh so delicious friction he was searching for.

His thumb moves to gently circle your clit as you start to find a slow grinding rhythm against his hand, practically riding his fingers as he finds that delicious spongy spot on your walls and pushes his fingers up against it, causing your cunt to give another urgent and needy clench, more slick falling into his palm, making a mess as he tries his best not to whine himself.

The slippery sounds of friction, the feeling of your thigh twitching pressed up right against his own throbbing problem, or the way his fingertips are pressing up against the entrance to your throat, the way his other fingertips are pressed up against your velvety walls. It’s driving him beyond insane, to the point he’s thinking he might cum in his sleep shorts if it continues this way. And he didn’t bring an extra pair - and it would just be a waste if he didn’t cum inside of you - not while you were practically begging for it.

“B-baby.” He whines out, catching your attention for a second, tears of pleasure falling softly down your face as your hips still, whining against his hand from the way you stopped while being so close - it was beyond downright embarrassing how quickly you were about to cum, and you were honestly glad he stopped you. “C-can i please put it in? J-just the tip, please baby, ‘s so sensitive. Need you so bad.” He whines quietly and softly, pressing his hard on against your thigh to back up his own statement, whining softly again. “Just wann’ cum inside you, please…” he whispers, watching you nod eagerly.

Pulling his fingers out of you with an obscenely wet pop, pulling your soaked panties to the side and he lets out an erotic sigh pressing his face into the crook of your neck as he pulled his shorts down, cock slapping to attention against his abdomen, precum beading from the sensitive tip as he shakily pulled your hips up, grabbing the base of his cock and gently rubbing it against your entrance, and you could hear how wet you were when he moved his tip to part your drenched lips and drag through them, whining into the crook of your neck as you grabbed his shoulders, brain fuzzy with the way his hot tip felt rubbing against your clit, sticky with your own slick.

He bit down hard on your shoulder as his tip popped past the tight ring of muscles of your entrance, desperately rutting against you, trying not to whine or let slip how good it felt to be inside you - the way your hot, heady slick insides felt like they were trying to pull him in deeper. His hand cupped your mouth quickly, stopping you from making a sound as he gently pushed himself further inside you, feeling you grip tightly at his shoulders, nails digging into his flesh as he broke his promise, pushing his cock inside of you, inch by desperate inch, trying not to slam his entire cock into you at once - which was unbelievably hard, considering how wet you were, and how desperate he was - his tip prodded at your cervix, making you jerk forward, groaning against the palm of his hand.

He rutted into you desperately, not daring to thrust properly, letting everyone else hear how wet and desperate you were, or even worse, how even needier he was for you, the head of his cock bumping against your sweet spot, the only sound in the air being the quiet sounds of your muffled whines, and the quiet rustling of sheets as he ground into you, abdomen rubbing against your clit as he did so, bringing you to the edge so much faster than you ever expected, cunt clenching around him, the sign that you were about to cum. He just nodded into the nape of your neck, hips refusing to stop.

“m-me too, fuck, me too, me too ‘m gonna cum, ‘s too tight, ‘s so warm.” He half whines, half whispers right into your neck as he detaches his teeth from your shoulder for a second, before hurriedly latching them back onto your neck as you feel his cock violently twitch inside you, whining desperately into his hand as you felt yourself start to cum, cunt clenching around him desperately, slick flooding from you and creating an obscene squelching between you two as you spasmed and arched under him.

He groaned into your neck as he quickly pulled his face from your neck, smashing his lips desperately against yours, muffling his own groans as he pushes himself as deep into you as he can go, cumming hot ropes into you as he stills, thighs twitching as he pulls his mouth from you, both of you panting and catching your breaths, feeling the warm liquid pool out of you and spill onto Sal’s abdomen as he lets out a small and raspy chuckle, still catching his breath.

“You’re going to be the fucking death of me.”

#sal fisher #sally face #sally face x reader #larry johnson #sal fisher x reader #sally fisher #ashley campbell #todd morrison #neil sally face #sal fisher smut #sal fisher x reader smut #JESUS CHRIST!!! WOW!! MY FIRST SMUT!!

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vampykween · 6 months

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Second Chances (part 1)

i wanted to write about singledad!ghost x teacher!reader (which is so self indulgent as im a teacher hehe) and thus this was born summary: little poppy is simon riley's entire world and you've just had yours turned completely upside down. despite everything, it seems like everything falls into place when you're with each other. this is going to be a little series - i already have a few drabbles written and have l more ideas up my sleeve, but feel free to let me know all of yall's ideas too!! dedicated to @suimon since you love my dad!ghost so much hehe mwah

Simon is just short of pulling his hair out. He’s spent all morning wrestling with a five-year old who, last night was bouncing off the walls excited about her first day of school, but now is inconsolable and quite frankly working his last nerve.

“Poppy, love, please just get dressed. We don’t have all morning for you to mess about.”

Poppy shrugs her shoulders and blows a raspberry right in her father’s face. “Let me go, I’m not going to school,” the five-year old squirms in her father’s grasp, less than thrilled at the prospect of getting dressed for school.

Simon briefly considers whether he should invest any more energy into their morning battle or if he should just concede and let his daughter win this round. Despite her protests, he keeps his hold on Poppy and tries his best to calm her down enough to reason with her. Sometimes Simon couldn’t believe this was his life, he was tussling with his daughter about getting ready for school, when in a past life all he was ever worried about was backing his team throughout a mission. He used to be a trained killer now the only thing he’s an expert at is making silly voices for all the book characters at bedtime.

“You were so excited about school just last night, what happened lovie, what’s going on with you?”

Poppy just stares at him with her big doe eyes, the ones that look exactly like her mother’s, and makes Simon’s chest ache painfully. It’s moments like these that make him feel like the grief would never end.

After a drawn-out minute, she finally squeaks out, “What if I don’t like school? What if people are mean to me?” Simon’s heart breaks at his little girl’s admission, he, of course, worried about those things too; he wasn’t sure he even wanted to send her off for hours every day, but he also knew that Poppy could handle it.

Simon grasps both of her much smaller hands, “You’re the best girl I know, what’s not to love yeah? I’m sure you’ll make lots of friends, sweetheart.” Simon isn’t sure who he’s reassuring more at this point, but he’ll say anything to get them both through this day and all the ones that come.

Poppy sighs loudly and by something short of a miracle, she concedes with getting dressed; Simon let her pick out her own outfit, in hopes that it would rekindle her previous excitement. It helped, but only marginally.

Standing in the doorway of the classroom, is not the teacher Simon had been expecting. When he thought of teachers, he imagined either super strict, uptight older women or bright and bubbly young women fresh out of university. You were neither of those – you wore a bright smile that reached your eyes, and your voice had the most warm and comforting lilt to it. Contrastingly, you were dressed head to toe in an all-black outfit, but it didn’t make you look dark and dreary, no, on you it worked quite well. Poppy finally, but reluctantly revealed herself from behind her father’s legs, and stepped forward to greet her new teacher.

“Hi! What’s your name?” you were clearly not from anywhere near, and Poppy immediately comments on it.

“My name is Poppy, like the flower, and you talk very funny.”

Simon groaned, “Poppy, that’s not very polite, love.”

“No, no it’s alright. It’s not the first time I’ve heard that this morning,” you laugh breezily, not affronted by the little girl’s observation. The sound of your laugh is like a mirage in a desert, and Simon is taken aback at how much the sound affected him. You crouch down and introduce yourself to Poppy, then rise to greet Simon as well. You hold out your hand, clearly in an attempt to shake his, and he shakes his head to clear his stupor and takes your hand. Your hands are much smaller than his own, and much softer, not calloused from battlefields and the hardships of life.

❀

You hope you’re coming off as a well put together adult, one who’s supposed to be in charge of people’s most precious gifts. Threatening to ruin your façade is the fact that you’re shaking hands with quite possibly the hottest man you’ve seen since you upturned your life and moved to London a few months ago. This is your student’s dad, jesus get a grip, you hastily remind yourself. You can’t help yourself though, and your eyes are roaming over his massive hands searching for a wedding band. You’re not sure whether it’s a good thing or not when you see there isn’t one. He’s hot, but he’s got a child, and you’ve just had your heart shattered into a million pieces this summer. The last thing you need is to be lusting after your student’s unreasonably hot father.

You’re not even sure you want to be here; nothing had gone the way you planned and now you’re a million miles away from your family – who had forewarned you that your ex maybe was not worth moving across the world for, but you were in love, you didn’t want to hear that.

Poppy, who seemingly gained some confidence, breezes past her father and finds her way easily into the classroom. You looked back up at her father, realizing you hadn’t caught his name – he tilts his head ever so slightly at you as if he’s trying to discreetly assess you and it makes your palms sweat.

“I didn’t catch your name, can’t call you Poppy’s dad all year now, can I?” you prod causally, laughing despite the stifling air that was forming between you two.

“You can call me Simon,” he replies elusively and suddenly you’re overcome with the feeling that there’s something mysterious about this man – and as attractive as he is, the revelation also makes you feel unnerved.

taglist: @happy-mushrooms @lunamoonbby

banners from @reveriesources and @cafekitsune pic creds: @ave661

#simon ghost riley x reader #simon riley x reader #ghost x reader #dad!ghost #dad!simon #simon ghost riley fluff #oc: poppy #second chances au #mic writes

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cozage · 1 year

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Captured by Marines

Characters: Luffy, Law, Ace cw: f! reader, angst, gore, mentions of injury/surgery A/N: A bit of a 180 from my post this morning haha! Also, I know I put it in the cw but again, this is obviously going to have some angst and there are also varying mentions of gore. I'm going to tag each individual story with major content warnings, hope that helps.

Luffy

A/N: spoilers for Marineford ahead in this one.

“Listen Luffy,” Nami begins hesitantly. “I need you to sit down, and remain calm when I tell you this.”

“What’s up, Nami?” He jokes, laughing at her tone. “You’re always so serious!” He hasn’t realized you were missing yet, or noticed the tears in Nami’s eyes.

“Luffy…” Nami takes a ragged breath to steady herself. “It’s Y/N. She-” Nami breaks off unable to finish the sentence, tears finally pouring out of her eyes.

Her tears surprise him, and Luffy’s head snaps around, suddenly very aware of his surroundings. You’re not here. You’re not at the rendezvous point. He does a crew count, everyone is here except you. He does the count again. One short. And Nami crying…

He grabs Nami’s shoulders firmly. “Where is she, Nami?” He begins to shake her, trying to get the words out faster. “Where is Y/N?!”

Nami is sobbing now, inconsolable. Luffy knows she’s trying to speak, but the words simply won’t come. “Nami, TELL ME! TELL ME WHERE SHE IS?” He can’t stop shaking her. He knows it’s not helping, but he needs her words to come out faster. He needs to know that you’re safe.

“Luffy, that’s enough.” Sanji takes a long drag off the cigarette between his lips, ready to step in at any moment. “Calm down. You shouldn’t be acting that way towards a lady.”

“THEN TELL ME WHERE SHE IS!” Luffy roars out to the room, but he releases his navigator. Nami backs away from him until her back hits a wall, and then sinks to the ground.

“I’m sorry,” she sobs into her hands again and again. “I’m so sorry, Luffy.”

“She got taken.” Sanji says in her place. He takes another inhale off the cigarette and removes it from his mouth. He makes brief eye contact with Zoro, both of them prepping for the worst reaction from their captain. “By the Marines.”

Luffy stands there, stunned for a moment. Surely he had misheard Sanji. There was a strange ringing in his ears, and his vision started to get dark around the edges. “By the…marines?”

Sanji sighs. “Yeah. She was protecting Nami, and they got her with the sea prism stone cuffs and made a quick escape. We tried to get her back, but they were quick. It almost felt like that was their mission the whole time.”

Sanji mouth kept moving, but Luffy couldn’t hear him. He could only hear your laugh, see your smile. And then he hears Ace, thanking him with his final breath. No, the outcome wouldn’t be the same. He was stronger now, and he would save you. He had to save you.

“We’re not letting them leave this island with her.” His voice is authoritative, even if his entire body is shaking with fear.

The entire crew responds in unison. “Obviously.”

Rescued

Law

A/N: Injury and surgery mentions

“CAPTAINNN!!!” The Heart Pirates race towards their captain, eager to see him again. It had been too long. He smiles at his crew, but his eyes are scanning the crowd. He can’t locate the two people who are always first to greet him. “Where’s Bepo and Y/N-ya?” You and Bepo had been sent for a reconnaissance mission a few days ago and should’ve arrived back before Law. His unease grew as he watched his crew’s eyes shift nervously between each other.

Penguin finally clears his throat and speaks up for the crew. “Bepo is back at camp. He got inju-” Law is already on the move, not waiting for Penguin to finish his sentence. He refuses to run, but he’s walking as fast as he can without doing so.

Penguin is following close behind, not missing a beat. “Captain-” he starts again, trying to find the right words, but he’s cut off again by the surgeon.

“How critical are they?” He asks, tone clipped. He had used a lot of energy on the mission, but he’d do whatever he needed to in order to keep his crew alive. Especially you and Bepo.

“Bepo has blunt force trauma to his torso that will probably need to be examined and a deep wound in his leg and paw that will need to be checked out. He’s unconscious but stable.” Penguin responded. He had gotten used to reporting injuries to the Captain. “But, Captain-”

“And Y/N-ya?” Law felt better knowing Bepo was okay, assuming you probably had the same injury status.

Penguin said nothing for a long moment, which caused Law to glance his way. His mouth felt like sandpaper suddenly, and he realized that Penguin hadn’t actually report about you at all yet. “Penguin,” he prompted again. “What about Y/N?”

“She hasn’t reported in yet.” Penguin’s voice was pained. “We found Bepo unconscious about a half a kilometer from camp.”

Law hissed in disapproval, resisting the urge to Shambles closer to camp. He needed to save what little energy he had left. Penguin kept moving silently beside him, but Law could feel there was something his crew member wasn’t saying. He waited a few moments before he couldn’t stand the tension. “What aren’t you telling me, Penguin?”

“It’s not confirmed.” Penguin starts out, trying to keep it positive. “But Shachi heard something on the radio.”

“What? Spit it out.” Laws tone was dangerously close to being hostile.

“The Marines said..” Penguin stopped moving, taking a breath, as if to prepare himself.

Law didn’t raise his voice at his crew often, but with a member of his crew injured and another missing, he snapped. He turned on his heels and glared daggers at his subordinate. “Stop keeping me on edge and tell me already, dammit!”

“The Marines said they had someone in custody!” The words tumbled out of his mouth in a squeak, leaving a heavy weight in the air.

The captain paused for a moment to take in Penguin’s words, and then turned away, heading towards Bepo again without another word.

“Ca-Captain?” Penguin was back on his heels again, but Law said nothing. He couldn’t be distracted by a simple rumor. You were probably safe, hiding in the woods, waiting for a moment to come back to camp. Bepo would confirm that when he woke up.

Penguin tried again. “Captain, it’s just that-”

“You said it wasn’t confirmed right? She’s fine, then. Let’s worry with Bepo, and then we’ll send out a search party for her when we get a better idea of her last location.” The Captain’s confidence in you left Penguin stopped in his tracks, but Law kept moving forward towards his injured crew member, leaving Penguin in the dust.

—

Law waited by Bepo’s side after the surgery, within close earshot of Shachi and the radio. He had split the crew into small groups and sent them out to search for you in rotations, but nobody had found any sign of you so far.

Law couldn’t sleep while you were missing, but he knew he needed rest. He compromised by sitting and staring at the radio, as if he were trying to will it to speak to them. After a few hours of silence, radio static signaled that the channel was active. “Do we have confirmation on the identity of the individual in custody yet?” A husky voice broke the air.

“Standby.” A younger voice responded, maybe even younger than Law.

Law stood up for the first time since he had finished tending to Bepo. “Switch to-”

Shachi was already flipping to the secure line they had tapped earlier.

The husky voice returned as Shachi hit the channel switch. “-me you have a name, Lieutenant. I’ve got HQ on my ass about this matter.”

“Yessir. We have confirmation that the individual in question is [F/N] [L/N] of the Heart Pirates led by Trafalgar Law.”

The husky-voice man let out an audible gasp. “You better not be shitting me, Lieutenant. You’re positive?”

Shachi looked nervously at his Captain, but Law was fixated on the radio. It had to be a mistake. This couldn’t be happening.

“Yes sir.” The younger man confirmed. “We have multiple sources from the battlefield confirming her skill and her identity. We’re departing for Impel Down as we speak”.

Law’s breath was shallow. He needed to get to you. To pull you back to safety. “Room.” If he can just make an area wide enough, he can shambles himself to you and free you.

But the effects from the mission and the operation weigh heavy on him, and he can feel his ability fading before he can find your presence. He falls to the ground, the weight of failure finally pushing him over the edge into total exhaustion. He can feel the world spinning, and know he’s far surpassed his limit.

“Ready the ship to set sail immediately and do so immediately.” He can feel his eyes closing against his will, no matter how determined he is to stay awake. “We’re going after her. Follow them at any cost.”

As he slips from consciousness, he only thinks about you. How he’s lost you, and how he’ll stop at nothing to get you back.

Rescued

Ace:

A/N: major gore/injuries

“To Whitebeard!” Mugs of various alcohols slammed together for a toast. Ace had Marco in a headlock, laughing and drinking his cup of ale while Marco struggled to get free.

“I’m just saying we should wait to celebrate!” Marco squirmed below him. “Jozu’s division still isn’t back-”

“Come on, Marco,” Ace jested. “You really have that little faith in division three? I’m telling Y/N. She’ll never forgive you, y’know.”

Marco finally freed himself from Ace’s grip and stood upright, looking out to sea. “It just…they should be back by now.”

As the hours passed and the party raged on, Ace found himself glancing at the horizon more and more frequently. By the time the sun was setting, his gaze was stuck on the path you should be returning back on. “They should be back by now,” he muttered to himself. “Where are you?” Ace pulls out your vivre card, relieved to find it intact and inching towards the way you should be returning.

He held your vivre card all evening, watching for any signs of distress. Marco sat with him on lookout, waiting for any kind of news as well. It wasn’t until the moon hung high in the sky that lights appeared on the horizon. “They’re back!” Relief washed over him as he shook Marco awake. He tucked your vivre card away and stood up for the first time in hours. “I’m going to go meet them and see what’s going on.”

“Wait, Ace,” Marco started, still groggy with sleep. “It could be-” but Ace was already jumping off the boat, aiming for his Striker. Flames appeared far below where Marco was sitting, and the Striker’s engine roared as it took off towards the approaching ship.

Ace was used to you all being apart for missions. You were in the third division with Jozu, so it didn’t always line up that you all worked together. But Jozu was a man who was always has his crew back by rendezvous time, and it had been over twelve hours since that time had passed.

The ship was flying a Whiteboard flag, and he could pick out a few crew members he recognized when he looked through the binoculars. He let out a sigh of relief, finally releasing a burden he didn’t realize he was carrying. The pit that had grown in his stomach over the past half day had been so slow, he didn’t even notice it until it started to ease away.

The feeling of relief didn’t last long. As he got closer, he realized the ship itself was in bad shape. It had clearly been through an unexpected battle, maybe even more than one. He threw more flames out from his feet and raced towards the ship, the pit in his stomach returning and multiplying by the second.

He jumped aboard the boat, looking for your face in the crowd, but all he could see were beaten and battered crew mates in various states of conditions. Some had cuts, others were more bandages than human. The smell was worse. The stench of death and distant smell of blood was mixed with a strange smell of meat cooking. Ace’s vision blurred for a second seeing such a sight, and he willed himself to stay focused.

A deep voice called his name from the other side of the ship. Jozu. He looked around, searching for his fellow commander, but couldn’t locate him. “Down here, man.”

Ace had a pretty iron stomach, but the sight of his friend made it do a few somersaults. Jozu had a horrible head gash that someone was applying constant pressure on, a bandage wrapped around one eye, and the entire left part of his body seemed to be blackened, as if it were burnt.

“Jozu…” Ace resisted the urge to ask about your status, suddenly afraid of the answer. “What happened?”

“Navy ambush.” Jozu took a ragged breath, and those around him exchanged worried looks. “We didn’t stand a chance.” Jozu was gasping for air at this point, but he was determined to get the information out. “They took prisoners. About 10-15.” It was clear he wanted to relay more information, but his body convulsed with a sudden coughing fit.

“Who was taken? Where is-” Ace stopped himself right before he says your name, shameful of the fact that he’s prioritizing your life over everyone else.

His cheeks must’ve turned a shade of red, because a kid passing by glares at him. “If you’re going to vomit, do it over the side of the ship. We have enough to clean up.”

Jozu’s cough finally subsides, and he looks at his brother with deep regret in his eyes. Ace’s heart plummets, and he knows what to expect before the words are out of his mouth. “They took her, Ace. They took Y/N. I’m sorry. I-” whatever Jozu was going to say is cut off by another round of coughing fits, but Ace doesn’t need an explanation. He just needs you back.

Ace gingerly puts his hand on Jozu’s right shoulder, one of the few places the third division commander doesn’t seem to be injured. “Don’t you worry, Jozu. I’ll get them back.” Without another word, he jumps off the ship and onto his Striker.

“Hang on, Ace.” Marco’s voice of reason calls out to him from the deck of the ship, and Ace silently curses himself for waking him in the first place. “You need a plan. Don’t go charging into this headfirst. It’ll just get you killed.”

“I have a plan!” Ace fibbed. “I’ll be back in the morning with the prisoners.”

“Ace,” Marco starts. It was clear to him that the freckled boy wouldn’t listen to anyone who stood in his way.

“If they get them to Impel Down it’s over and you know it!” Ace’s panic was starting to show. Marco could see his eyes from the deck, wild and desperate like a cornered animal.

“Tch, you’re always such a hothead.” Marco chided. “Good luck. I’ll relay what happened to Pops, but be prepared for any consequences when you get back.”

Ace grinned and tipped his hat towards Marco. “Good luck here, Marco. Thanks for everything.” The Striker’s engine roared to life once again, and he pulled out your vivre card, ready to follow your compass to hell and back.

Rescued

#one piece #one piece imagine #one piece scenario #one piece x reader #monkey d. luffy #luffy #luffy x y/n #luffy x reader #trafalgar law #trafalgar d water law #law x y/n #law x reader #portgas d ace #ace x y/n #ace x reader #cozage #✧˚ luffy✧˚#✧˚law✧˚#✧˚ace✧˚

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2knightt · 4 months

Text

「 you are—unforgettable.」

IN WHICH—you’re them and they’re you!♡ ໋֢ 👒✧

🍵ヾFT. THE GREASERS࿐ྀུ ♡

⌗ 👒 notes !𖥔༌ ᰷ ﹅ people in this fic refer to two-bit as ‘keith.’ who cuz who the FUCK says ‘he got his two-bits in🤓’ NOBODY! but in the descriptive parts he will be two-bit. ALSO IF U DON’T UNDERSTAND WHAT I’M SAYING LOOK IN THE TAGS!

Ponyboy Curtis ;

his class was gonna watch this movie before reading a book. ‘the outsiders,’ or somethin’.

it was made in the ‘80’s—he didn’t want to even watch it. watching movies in class was the worst!

ponyboy sat at his desk, head in his arms. he heard the music and looked up, chin resting on his arms.

when ponyboy seen you writing down and narrating, he could’ve sworn he died and came back to life. LIKE WHEN HE HEARD YOUR VOICEEE HE GOT A LITTLE BLUSH ON HIS CHEEKS.

his friends beside him noticed, snickering to themselves. they shoved him, asking if that was his future partner. he just pushed them off, quietly telling them to fuck off.

when ponyboy seen you covered in the soot??? phew—he questioned his morals, man. and THEN HE SEEN YOU BEAT UP?? he was getting FED.

ponyboy came out of that school a new man.

his ears were hot, his cheeks were red, and he was already looking up edits of you. ponyboy shoved those almost broken wired apple headphones in his ears and tuned everyone out.

when he got home he ignored any questions darry and soda threw at him and immediately went to his room. ponyboy quietly closed the door before hopping into bed, pulling out his phone, and going on tiktok.

spent like a solid 30 minutes tweaking over edits of you. like full on screaming into his pillow—i’m so serious.

“darry, what the hell is that noise?”

“i dunn—ponyboy?”

“AHHH!!”

when he found out that, outside of the outsiders, you’re decades older than him he was SO HEARTBROKEN.

the gang seen him looking at photos of you and immediately started teasing him. he absolutely tried to back himself up with stutters.

“they’re how much years older than you, bro?”

“NONO HEAR ME OUT, PLEASE! KEITH, BRO, PLEASE.”

reads fanfic. look at me in the eyes and try to tell me that ponyboy motherfucking curtis doesn’t read fanfiction.

you can’t.

like bro he’s so desperate for more content of you to the point where he writes the fics he yearns for—got pretty popular to.

“why the fuck is your phone blowing up?”

“PLEASE don’t ask me any questions about it.”

he’s a freak. he knows everything about you. ponyboy’s even began to watch your interview’s about the movie. and your other movies.

literally a teenage girl.

“THEY’RE SO FINE THOUGH, PLEASE!”

“nuh-uh.”

“FUCK YOU MEAN ‘NUH-UH’?”

Johnny Cade ;

seen you when he was watching random movies at the curtis house. at first he was like, ‘wait!! they’re so me coded😛.’ it never occurred to him that you could be so cute.

he seen you crying and something in him like actually snapped.

“wait….am i getting a crush? they’re kinda…”

when he seen the equivalent of ponyboy in this universe snuggled up to you in the church he was soooo jealous.

yk that one audio where it’s like, “how long is he gon’ be talking to my WIFE.” that’s literally johnny cade when he seen that person kiss the top of your head.

“what the fuck?”

“…what do you mean?”

“nothin’. it’s just kinda bullshit that they swoop in and steal my chance😒.”

“you never had one.”

“okay, pal😐.”

heart broke when he seen you in the hospital bed btw. like was full on gripping onto a pillow with tears in his eyes.

johnny was in such denial when he seen you die😭. ‘bro, no. they literally aren’t dead.’/‘guys!! it’s just a prank!!’

when he got to the scene he was in SHAMBLES. HE WAS INCONSOLABLE. ripping his hair out, screaming, crying, allat.

“stay gold…”

“NOOOOOOO-“

was so pissed when you didn’t come back. was even more pissed when your letter was read out loud.

“HOW COULD THEY KILL THEM OFF?? THEY DIDN’T DESERVE IT!”

“johnny, it’s a movie.”

“this is so unfair. i hate movies.”

gets nervous looking at photos of you. like to the point where he tries to look up your name on pinterest before bailing mid sentence and giggling. like full on throwing his phone across the room, kicking his feet.

will talk for hours about you. thinks your the coolest character ever!! defends you like his life depends on it.

“they killed someone?”

“so?? you’re acting like you wouldn’t do it to🤣🤣 fake ahh friend.”

—

“they legit can’t stand up for themselves. you want someone like that to be out walking them streets?”

“oh, god for bid a person has trauma. and YES I DO🗣️. i hope they walk right into my arms, HO.”

all said online btw. he would never ruin his ego by speaking like this. i am a strong believer johnny cade puts up a strong front online.

johnny literally thinks you’re the cutest person he’s ever seen. like his cheeks get so hot when he thinks about you and he gets a silly little smile on his face.

he looks at photos of you and his friends think he has a little girlfriend.

“who you textin’, johnnycakes?”

“nobody-uh!”

“c’mon—we see that smile!”

and it’s literally just you with blood dripping down your face.

Dallas Winston ;

caught a glimpse of you at some girls house he slept at. literally stopped dead in his tracks as he seen you light a cigarette before mumbling, ‘nothin’ legal, man.’

“i-uh, what movie’s this?”

“huh? oh, the outsiders. pretty good movie.”

he thanked her and threw on his jacket before speed walking to bucks place. he had to watch this movie or he’s actually lose it.

imagine buck’s bar is actually a house, kay? dallas sits his pretty little ass on that couch, flips to whatever streaming service, and turns on ‘the outsiders.’

thought it was all boring until he seen you walk into frame—mocking the main character. at that very moment he was all, ‘wait that’s kinda hot.’

seeing you help the two younger ones run away while still acting tough was so attractive to him. dallas felt like he was losing his mind.

seeing you run in after the two into the church kinda made his knees weak.

“BAE NO!”

“what the hell are you screamin’ ‘bout?”

“nothin’, buck…”

he was so scared that you’d die in the fire. (little did old dallas know am i right fellas!!!!) like i swear to god he was so scared you’d end up like the johnny in this universe.

WHEN HE SEEN YOU FIGHTINGGG. he went feral. dallas was like so flustered. he was trying so hard to hide his blush to the ghosts around him with his hair.

his flush was short lived however. seeing you cry and then literally point a gun at a cashier was lowkey whiplash for him.

“what the fuck is happening?”

dallas figured out what was gonna happen early on and started kinda tearing up. like one tear formed in his eye before he blinked it away. but he was still devastated.

WHEN DALLY HEARD SOMEONE SCREAM “they’re just a kid!” he lost it. like actually. he went limp on the couch and spaced out. like damn…his fiancé, who doesn’t know they’re his fiancé yet, really WAS just a kid.

nobody knows he likes the outsiders OR that he has a crush on you. and they CAN’T know, it’s way too embarrassing. like actually.

when he’s with the gang and he’s just casually scrolling on tiktok and he sees the tags with your name, he immediately favourites it and scrolls. he saved it for later when he’s alone.

also defends you like there’s no tomorrow.

“they were hitting on someone who had a partner??”

“okay?? fucking live a little jesus.”

—

“THEY’RE A FUCKING CRIMINAL?”

“i’m into it tho lmfao”

swears up and down that if you and him were in a room together—you’d have a crush on him. top tier delusion.

like if he gets drunk with keith, he will rant about it.

“no—hear me out. put me in a room with y/n l/n and i swear to god they’re gonna be madly in love with me.”

“no they won’t, dallas.”

“yuh-huh.”

looks at photos of you and probably has you as his pfp on his spam. includes you in every other photo dump.

Sodapop Curtis ;

seen an edit of you on tiktok and audibly gasped. full on went, “WHO IS THATT😜” went to the tags and just scrolled under it for a good long while.

he seen a angst edit of you and made up his mind that he had to watch the movie.

for the while that you weren’t on screen, he was trying to push through. he really was. but deep down—in his head he was screaming, “BORING! SHOW ME THE PRETTY ONE!!”

when sodapop seen you tending to your younger sibling he could’ve sworn he was on cloud 9.

“my turn when :/.”

WHEN SODA SEEN YOU GET OUT OF THE SHOWERRR😭😭. he lost his BREATH like was full on gripping his imaginary pearls.

had to take a breather to walk around the house before unpausing the movie. had a blush across his cheeks, i can’t even lie.

when he learned that you were described as, “movie star attractive,” all he did was nod. like,

“mhm. i always knew my fiancé was good looking.”

SODA WAS APPALLED WHEN HE FOUND OUT THAT YOUR PARTNER CHEATED ON YOU. like jaw was on the FLOOR.

“I COULD TREAT THEM BETTER🗣️🗣️ THEY KNOW WHERE HOME IS!!”

he is so open about his little crush in you—it’s so cute :(

“steve, look at ‘em.”

“i see them—get your fuckin’ phone outta my face.”

“aren’t they so perfect??🤭🤭”

“i guess.”

“well, BACK OFF. we’re already happily married.”

“in your dreams maybe.”

“oh my god.”

soda has you as his pfp on at least two platforms. his name on one platform is “y/n’s boyfriend (REAL!)”

seeing you run out on your siblings after they grouped you into your argument made him just wanna hug you so bad. like he just wanted to tell you it was all gonna be okay.

has a album in his photos where it’s edits of you and photos. giggles and twirls his hair as he looks at it.

Darry Curtis ;

his parents used to watch the movie all the time and you’ve always just been a life long crush of his.

like when younger darry seen you walk into frame, comforting your kid sibling, something in his head snapped.

suddenly everything was in slow motion, there were hearts everywhere, he had rose coloured glasses on, and for some reason—harps play in the background.

as darry grew up it literally never went away. whenever the outsiders comes on when he’s home he always still goes, “woah.😍😍”

like he thinks you’re so fine.

he doesn’t like watch edits, read fanfic—none of that🗣️. but if he gets asked who is celebrity crush is—your name is coming out of his mouth ASAP.

“so, darry, who’s your celebrity cru-“

“y/n l/n.”

“but they’re a character?”

“Y/N L/N.”

he has like ONE printed out photo of you in his room from years ago. he knows exactly where it is and where to hide it, but he still keeps it.

at least once every two months, when everyone’s asleep and he has no work the next day, he’ll stay up just to watch the movie.

he’ll have a budlight in his hand as he watches you absolutely DEMOLISH at the rumble.

“i always knew they’d win.”

“you’ve watch this movie a thousand times.”

“PONYBOY?!”

the gang eventually found out his little crush on you. only light teasing ‘cause they’re so scared they’ll get that darry smoke if they push him further😭😭.

“oh my god! look, darry! you’re little crush is on screen!”

“steve, i will beat some sense into you if you don’t shut up.”

“…okay, bud.”

—

“when’s the weddin’?”

“after your funeral, keith.”

“wow. hater.”

Steve Randle ;

his dad fell asleep on the couch one night with this old movie playing in the background.

steve was about to turn it off before he caught a glimpse of you offering this half naked person some cake. he was all, ‘WAITTTT🙈🙈!!’

like he seen you in that sleeveless jacket and immediately fell in love. literally was on a mission to figure out who you were.

when he did? all he wanted to do was watch the outsiders. WHEN HE SEEN YOU SCOLDING THE MAIN CHARACTER HE SOO KNEW YOU WERE HIS TYPE

“wish they’d scold me like that…damn…😞✊”

was TWEAKING SOO HARD WHEN HE SEEN YOU ALL BLOODY WITH YOUR HEAD THROWN BACK.

“…you think i look tuff?”

“YES BAE!!!”

making his name on like insta or something, “y/n’s HUSBAND.” he puts emphasis on the husband because he believes that you want him so bad.

like actually. he’s fucking delusional.

“guys…they like cake…and I LIKE CAKE! do you see my vision??”

“no??”

“man, fuck you.”

photo dumps on insta of pictures of you with the caption, “from our honeymoon 😍😍😛😛!” his friends are ripping him apart in comments btw.

WOULD GO FOR WAR FOR YOU.

“they’re actually so gross what.”

“YOU’RE GROSS!🗣️ KEEP THEM OUT OF YOUR MOUTH YOU FOOL!!”

—

“they have 0 depth.”

“0 depth to YOU. to ME they’re the love of my life.”

Two-bit Matthews ;

seen the outsiders when he was drunk. he didn’t remember anything that night but the cute lil’ actor who was laughing after flirting with some rich lookin’ kid.

the only thing he remembers saying that night was,

“damn—when is it MY TURN😩😞”

WENT ON A FUCKING HUNT TO FIND THIS MOVIE ISTG. he was looking up shit that didn’t even matter to the plot—so he got different movies each time.

‘cute actor flirting’

‘cute actor in old ass movie’

‘mickey mouse shirt’

‘when was mickey mouse created’

‘who is walt disney’

he got a little distracted but that’s not the point. two-bit found the movie and cried tears of joy. fell to his knees and all😭.

he immediately turned the outsiders on and waited to see you. HE WAS SOO SAD TO FIND OUT YOU HAD LIKE SUCH LITTLE SCREENTIME.

but he worked with it. he was taking SO MUCH PHOTOS OF HIS TV WHEN YOU WERE ON SCREEN LMFAO. they were all so shaky too😭😭.

doesn’t shut the fuck up about you.

“they want me so bad🤣🤣😂😂.”

“they wouldn’t touch you with a ten foot pole, keith.”

“what if i killed myse-”

—

“they’re so find i won’t ‘em.”

“what the fuck are you saying?”

“what are YOU SAYING? back up.”

saves edits of you. he is ABSOLUTELY THE TYPE OF PERSON TO SAY THE MOST OUT OF POCKET SHIT ABOUT YOU IN THE COMMENTS LMFAOOO

‘they could beat the shit out of me and i thank them :3’

‘WHAT?’

‘omg who said that’

you are his profile picture everywhere. and anywhere.

genuinely believe you’re the love of his life. i swear to god he does. KING OF DELUSION ABOVE ALL ELSE!

#the outsiders #the outsiders x reader #dallas winston x reader #johnny cade x reader #ponyboy x reader #ponyboy curtis x reader #sodapop x reader #sodapop curtis x reader #darry curtis x reader #two bit x reader #two bit mathews x reader #two bit matthews x reader #steve randle x reader #LUV THIS CONCEPT!!!#like you’re the movie character and he’s the real person #like idk you’re the dallas and he’s the real person giggling over u.#feels so good to write like this again!!! teehee!!

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theminecraftbee · 6 months

Note

Iskall was on Barry’s stream today and he said hermit vault hunters has already slowed down drastically and people don’t log on often and personally? I’m inconsolable

eh, I wouldn’t worry too much about it. in a lot of ways this was inevitable—it kind of happens WHENEVER the hermits play on a new thing/server, and a lot of that gang were never going to stick around that much. the ones that have gotten proper hooked on vault hunters are still playing plenty! I think someone needs to tell them to not be afraid of outpacing each other in levels (the jump at level 20 in difficulty and the jump at level 50 are like, the only points this kind of matters), and then a bunch of them will play more again, too. but genuinely: it’s november, season 9 is ALSO on its last legs so hermits with things to wrap up there are wrapping things up there, and it’s generally the time of year the hermits slow down. this happened in the CROSSOVER too, let alone a side server.

that said. also inconsolable because I wanted constant vault hunters content from hermits what do you mean they aren’t online all the time vault gods make them play more,

#answered

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shibaraki · 2 years

Text

WARM BODIES ┊ GOJO SATORU

tags: GN reader, sick fic, gojo is a big whiny noodle, established (yet unlabelled) relationship, bathing a partner, non sexual nudity, intimacy, fluffy fluff but a smidge of angsty angst

wc: 2k

“Stop being difficult, Satoru”.

You readjust your grip around his waist and attempt to take on more of his weight, briefly closing your eyes to silence the need to roll them. If he saw, no doubt he would complain. Satoru is heavy without the exhaustion from sickness, but you can tell he’s purposefully feigning complete helplessness.

It was not often that he was allowed to exhibit such weakness — if viral infection should fall under the definition of weakness. Satoru had a name, an image, and a certain projection of himself to maintain. Such a divine thing could not falter under trivialities; there was no mourning, sloth or envy. If you are condemned to be a God amongst men, what is there left to long for?

This. A safe place to fall apart, a warm body to curl against that touches you without ulterior motive. You can tell by the way he indulges in your generous love whenever he can — a spare moment will always be spent with you, kissing you without direction, but most of all, doing nothing aside from breathing one another in.

When you first met Gojo Satoru a small pip of melancholy buried itself into your chest, took root and grew with every encounter. Back then it felt as if there was no one version of him. You saw his demeanour wane and adjust to those around him, shapeshifting into whatever it was they wanted to see in him. The cajoling and arrogance was the only consistent thread he interwove between those masks, and you realised eventually that that very thread had been the thing keeping his seams together.

Satoru needed to be strong. In the face of his opponents, his allies, his students and his admirers. To stoke kindling of mutiny, to admonish any small spark of disbelief, that strength must be upheld wherever eyes could see.

You were under no illusions. From the start, you knew that your ability to see through his façades had been the very quality that magnetised him. And you let it happen, because with every true smile he gave you — fond and small, faint crows feet at the corners of his eyes — the ache in your chest lessened, and he began to look more like a man. Less deific.

The relationship was almost symbiotic, medicinal. It was also something neither of you ever put a name to. In the unpredictable world you lived in, it was much easier that way. During the months that had passed you saw him in fits of laughter, inconsolable and regretful, scarfing down a hot meal made in your kitchen, frustrated, braced over you and shrouded in want.

You hadn’t seen him sick, not until today. Part of you once wondered if Satoru could even get sick.

“Be nicer to me. I’m dying,” he bemoans, nose nuzzling into your crown. You lock your knees as they threaten to buckle. Draping himself over you like a second skin, uncomfortably hot to the touch and slightly breathless between words, Satoru seemed to be both suffering and enjoying his sudden sickness.

“I wish you would do it quietly then,” you huff, struggling in your short walk to the tub. It is already prepared and full of warm water — halfway, just to be safe. Once the levels expectedly rise around his too-big body, you didn’t fancy having to mop up your bathroom floor.

“I don’t know how to be quiet… you would know,” he mumbles, voice stretched into a tired drawl despite the effort to sound suggestive. As the sentence ends, you have already bent to settle him on the edge of the bath.

You stand between his thighs, smoothing both hands along his bare shoulders to steady him. The film of sweat sticks to your palms but you say nothing of it. Thankfully he’s already undressed and only left in his boxers, having shed his clothes hours before amidst the worst of the fever. He’s slouched like a puppet with no strings, and he continues to bend until his face is pressed against your chest.

“Hey,” your brow creases with worry, any previous frustration quickly dissipating at the sight of him struggling. You bring your fingers to cradle his jaw, and his chin tilts until your eyes meet. “You with me, baby?”

Satoru blinks heavily, Elysian eyes clouded. His skin is flushed pink. Flat, white strands of hair cling to the damp on his forehead. Slow, a blissed out grin spreads across his cheeks at the affectionate pet name. “As long as… you want me,” he replies.

If this illness isn’t contagious then his boyish grin and poor attempt at flirting certainly is. You smile, resisting the urge to kiss him as you push the hair away from his face, “If you cooperate and help me get you into the bath, then I promise to peel your oranges for you even when we’re old”.

This promise holds a lot of weight. Satoru hates having sticky fingers. A pleased hum rumbles in his throat, and he leans into your touch. “Don’t know if that’s romantic or manipulative”.

“You’re both of those things,” you snort, pushing the flesh together until his lips jut into an unattractive pout, “all the time”.

“Touché”.

“Come on, Satoru. Off,” you forgo spoiling him further and reach to tug at the waistband of his briefs, “and in!”

He’s boneless as he moves, shifting his hips left and then right as he shoves the material down his thighs. You crouch to squeeze beneath his knee in encouragement and slip the underwear over his ankles, feeling entirely at home with him despite the nudity. You half expect him to make a joke about where your eyeline falls, but he only watches you with a quiet reverence that warms you inside and out.

You had checked the temperature while you’d drawn it. Tepid, around thirty one degrees to be careful, probably cooler now that some time has passed. Satoru turns on axis and lowers himself into the tub with a hand on your arm, the surface rising as it is displaced.

Any and all rigidity immediately bleeds from his body, breathing a long suffering sigh. The bath is hardly long enough for his legs, but they bend willingly as his mouth disappears beneath the water. You’re quick to support him the further he slips, so taken by the relief that he doesn’t catch himself.

Water ripples in rings as he exhales through his nose. You are submerged up to your elbows and grateful you’d opted for wearing a vest top, fingers interlocked at his back for support. “That feel better, baby?” you murmur.

He hums a lazy affirmative and it vibrates through the water. Satoru’s lashes are pearly white like the halo of hair settling around his shoulders, his gaze doleful when he peers up at you. With the tension gone, it’s startling how sickly he looks.

“This thing has really done a number on you, huh?” internally, you debate when and how you’ll free your hands. Louder than anything was the urge to gently scratch at his scalp, the way you knew he liked. “I don’t like seeing you suffer”.

His movements echo around the room as he finally finds strength, settling both feet flat to the end of the tub and pushing himself up the other. “Steady,” you smile, releasing your grip to thumb at the pink line that now cuts across the lower half of his face.

“Bet I look real ugly,” he rasps in quiet theatrics, head rolling slightly into your palm, “don’t look at me”. His lips purse against the skin there in a brief kiss as you continue to stroke his cheek.

A laugh bubbles in your chest, but you keep it held. Intuitively, you heard the underlying insecurities. “I like you ugly,” you tell him honestly. “Sometimes you’re so perfect it’s like looking into the uncanny valley. Now you look like a drenched kitten”.

“Rude,” you feel when the pout spreads into a smile, and he nips lightly at the heel of your hand before kissing the spot again. “You shouldn’t bully a sick person”.

“Then how about I run a cloth over you instead?”

The drenched kitten absentmindedly nuzzles his nose along your inner wrist, barely holding himself upright. “…‘Kay,” he murmurs.

Your arm remains around his back as the other leaves his cheek and reaches for a wash cloth. The water distorts around his body as you dip it beside his hip, pale skin almost comparable to a moonlight's reflection beneath the surface. Your fingertips ghost through the soft hair at his navel, feeling the muscles flinch.

“Gonna start up top, alright?” you explain, voice low as not to disturb the atmosphere. Stowed away in your narrow bathroom like this, it’s as if the two of you are the only people to exist.

Satoru’s smile deepens, “Must be nice… getting to feel me up…”.

“Mhm. Lucky I don’t usually need to get you sick to be able to feel you up,” you tease back, the fabric saturated and dripping over his chest as you stretch to run it along his collarbones.

“No,” he breathes happily, chin tipping back to rest his head against the edge of the bath, throat bared. “You don’t”.

You continue to wipe away at his skin in an effort to soothe him and further allay the fever. Gentle, purposeful motions over the lines and curves of his body. Your tender cadence continues as you instruct him to lift his arms, one by one kneading the flesh into smooth dough, accounting for every finger as you bring them to your lips. For each kiss his face further slacks, mouth parted to exhale soft breath, cheeks flush with more than sickness.

The sight of him flowers love in your chest. It aches, not because it’s empty, but because it is full. “Think if I tell you something while you’re slightly delirious, you’ll forget I said it?”

The cloth is pleasant on his skin as you wait for his response. It’s your own — one you know he favours and steals when he uses your shower, but adamantly denies doing so. Your caress has lowered over his pink chest to his abdomen, drawing circles into his hip.

You can see his body naturally reacting to the touch, blood gathering between his legs, but he makes no indication of wanting more. Had he asked, you would have denied him tonight anyway.

“Maybe,” he mumbles, watching you behind half lidded eyes. He looks benevolent. If you had to choose your favourite version of Satoru, you would pick Contented.

He’s saying ‘I can’t promise anything’, just without as many words. You laugh warmly, and slide the cloth along his thighs with some finality. Chances are, your doting of him would be material to poke fun at you for the rest of the month.

Your silence stretches out but he doesn’t press you. Instead you soak the cloth once more and squeeze before patting it across his forehead, wiping the damp hair back before you lean forward to kiss between his brows. The feeling coaxes his eyes shut, and when they do, you dip to kiss each closed lid. A sharp inhale ricochets throughout the room.

There, the six eyes protected only by a thin layer of skin, you speak. It isn’t a confession of love, but it is as good as any.

“You’re my favourite person”.

Moving back just a hair's breadth, they don’t open again. They seem to visibly tighten, a crease forming across the bridge of his nose, like he was trying not to cry. He sighs deeply, smile trembling.

When he replies it is as expected, masked despite catching in his throat. You don’t mind the feigned nonchalance, or his need to shield himself with egotism. Because just as it has been from the start, you can see right through him, as he can through you.

“‘Course I am,” he says. “I’m Gojo Satoru”.

#jjk x reader #jujutsu kaisen x reader #gojo x reader #gojo satoru x reader

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bbybaku · 1 year

Text

i’m back lol

this one’s long and kind of weird but shiggy smut as always

warnings: enemies to lovers, rough sex, choking, slapping, praise, afab reader, long intro, gamer shig, idk lmao

for your second year of college you and some friends , your girl best friend, her boyfriend and and his best friend got a 4 bedroom house.

well that was the original plan, your best friend and her boyfriend got into a study abroad program last minute with a scholarship so good they couldn’t refuse.

you knew of the boyfriends best friend but had never met him longer than in passing.

by the time this all happened the papers had already been signed and the first few months of rent had been paid.

leaving you living with a stranger.

a stranger you found after the first week that you weren’t fond of.

tomura. but you called him shigaraki because you didn’t care for him enough to call him by his first name.

while the two of you were in college, he opted to take all of his classes online. meaning he never left.

he was also nocturnal.

and addicted to video games.

which he absolutely refused to turn the volume down for. keeping you up all night.

your classes were all in person and you took your education very seriously.

your roommate did not.

he very obviously didn’t care for you or your life.

which he would remind you when the two of you bumped into each other.

at first you two just exchanged snarky comments at each other.

“you’re ugly in the morning”

he would say when you got up for class after he had been up all night.

“you’re ugly all the time” you would snap back.

or another complaint of yours to him would be that he never did his dishes. which you let him use despite everything being yours.

you started off asking nicely but he would always pick a fight about it.

he felt a woman’s place was in the kitchen.

you got him back by doing all the dishes then keeping them in your room.

after about a month and a half the snarky comments turned into screaming matches.

you would stay away from home on purpose to avoid him.

you hated him so much.

but despite all the snarky comments, he wasn’t that ugly.

you always noticed his hands. long slender fingers.

and for being a compsci major and a gamer he always smelled good.

you hated all the long hot showers he took but they did have a result.

your dislike for him lessened one night when you came home from a night out.

drunk. hysterical. inconsolable.

you had seen your ex making out with your ex best friend at the bar.

none of your friends made the situation any better.

but somehow shigaraki did?

he was so nice to you. so gentle about it.

“they’ve showed you who they are. you’re probably better than them anyway. you should just go to bed then you won’t have to think about it anymore because you’ll be asleep”

he walked you to the bathroom seeing as you were so drunk you could barely walk.

he tucked you into bed and then started walking back to his room.

before he closed the door you asked him to stay. you told him you just really didn’t want to be alone right now.

“oh um are you sure?”

you insisted.

he slept on the floor.

but when you woke up he was in your bed spooning you. you instantly fell back asleep in warm bliss.

but when you woke up again he was gone.

you two didn’t talk about this interaction for about a month.

it wasn’t until you two were screaming at eachother about wanting to use the tv that he grabbed your face, looked at you for a few seconds the aggressively made out with you.

the agressive making out, tit squeezing, dick grabbing makeout quickly made it’s way into a bed.

not your bed.

a bed with clean dark blue sheets, an ocean smell, and a dark room with lots of vibey LED lights.

he ripped your clothes off of you while sucking your tits like there was milk coming out of them.

you were grinding aggressively on his hard on when his hand found your throat and applied the perfect amount of pressure.

he looked down at you through his blue hair and whispered

“you drive me fucking insane in every possible way”

he threw one of your legs over his shoulder and inserted himself slowly.

throwing his head back and groaning once all the way in.

“i’m so obsessed with you and i hate it”

he whispered through heavy breaths.

he started slow. going in and out. it barely hurt because of how wet you were between your legs

you could barely function.

maybe it was the lack of airflow or the utter show of what was happening. but you were to stunned to move.

once he had stretched you out just enough he started pounding.

if you could have you would have been moaning.

“can i hit you?”

you nodded slightly against the risk stance of his hand.

mouth open and eyes fuzzy you watched as he took his hand from you throat, drew back, and slapped you.

hard.

after he slapped you he held the bottom of your face, forcing you to look at him.

“make eye contact with me” he was out of breath, smirking and pounding into you.

you obeyed and his free hand started rubbing.

he was searching around for a bit before he found what he was looking for.

you reeled the minute he found it.

“ah ah no no, you’re supposed to be looking at me.”

“pl-ease i-“

he shook you face with the hand that was holding your jaw.

“you know better than this, y/n.”

you squirmed beneath him. over satisfied and growing overstimulated you could tell he was getting close the way his hands were twitching and his pounds inconsistent.

“ you’re so good for me you little slut”

he put his thumb in your mouth.

“can i come inside?”

you had an ied. so you nodded while taking his thumb and his cock.

“ahhh you’re sooooooo good”

he moaned durring the so.

the hand on your clit landed on your boob and he squeezed it as he came.

then he collapsed on top of you.

“i’m still not doing the fucking dishes.”

#shigaraki smut #yandere shigaraki #shigaraki x you #yandere mha #mha shigaraki #mha smut #lov smut #shigaraki x reader #mha fanfiction #mha headcanons #mha x reader #lov headcanons #yandere aizawa #bakugou smut #mha yandere

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vendetta-if · 10 months

Note

I just found your account and couldn't get enough, thank you so much for taking your time to write this masterpieces! I am kind of curious will there be multiple bad ending for each RO's route? Maybe some estimate of how many endings there will be, because I am sure as hell will be trying to get all of them LOL

Also how would the RO's react to MC (post relationship) who got into a comatose state (for maybe a month or more) after protecting them from an attack before finally waking up? How miserable are they before MC wakes up? And how they react when MC finally wake up from their coma? Maybe add papa Victor, uncle Luka, Grandpa, and Yvette too if you can? Thank you so much~~~

Thank you so much for the kind words! 🙏😊 Right now, I’m not too sure on how many variations of the endings there will be since it’s still a while away 🤔

Right now, the “bad endings”—so as to speak—for the 3 ROs will have to do with what future path your MC decides to choose at the end since there will be some paths that Rin, Santana, and Skylar wouldn’t want to follow MC, and they would break up with MC instead.

I’ve touched upon it ages ago and the paths are actually listed in the Character List in the pinned post. Basically, Rin & Santana wouldn’t follow Superhero MC, Skylar wouldn’t follow Criminal Heir MC, meanwhile Ash would follow MC whatever paths they decide in the end.

I’m glad you’re interested in trying out all of the possible endings though! 😁 I think there might be quite a lot of variations of the endings depending mostly on your RO choice and path choice, not to mention some other decisions later on.

As for the second part of your ask, I’ll do for the ROs only this time because the post is getting too long 😅 But feel free to send me the follow-up ask.

I’ll keep the answers under the cut to save some space!

Ash

They’ll be in agony. Just seeing MC in pain or gets hurt is already really painful for them, but MC in a coma… That’s on a whole other level of distress that’s only short of the distress they would feel over MC’s death. But they’re trying to keep that possibility out of their mind…

Not to mention that MC is in this state because of them. They would be filled with such rage and self-loathing, that even after they have decimated the people responsible for hurting MC, they would still be unsatisfied and agitated because they themself is one of them.

They would spend almost all of their time accompanying MC and it’s hard and near impossible to tear them away from MC’s side. They would spend hours recounting both of their countless adventures… Childhood, teenage years, desperately hoping it would somehow help MC wake up.

Once MC wakes up though, they’ll be so relieved that they would probably cry right there and then from all the emotions. They will gush out apologies to MC over and over again for putting them through this while hugging MC as carefully as they can.

Rin

They’ll be nigh inconsolable. They’ll also be tortured from spending day and night repeating the scene over and over in their head—whether voluntary or not—thinking of countless of different scenarios and outcomes from hundreds of different things they could’ve done to prevent this.

While they would still be doing their responsibilities, they would always make sure to visit MC everyday and accompany them, even playing some of their favorite instrumental music as if it can help MC relax and get better quicker.

Their precognition ability, which is usually their greatest asset, has become their greatest enemy. They don’t want to use it. For the first time in their life, the complete uncertainty brings them a semblance of comfort left, giving them hope. They don’t want to know about the probabilities of MC dying or surviving. And everyday, they hope and pray that no visions of MC’s death ever comes to them.

Once MC wakes up, they’d be so relieved and happy. It feels as if a great weight has been lifted from them. They would smile wistfully as they take MC’s hand in theirs gently, rubbing it comfortingly as they speak to MC soothingly before finally getting the doctor to check on MC.

Santana

They’ll be even more depressed and morose, spending almost all of their break and lunch hours to visit MC everyday, talking to them about their day, pretending that MC can hear them.

They probably wouldn’t be able to focus on their job as well. The Chief would be pissed off but they couldn’t care less. Maybe it’d make a good excuse for them to quit.Their already messy life would get even messier.

They’ll also be consumed by guilt because MC gets into this situation to save them. It doesn’t help that Ash, Rin, Luka, and Grandpa would often send them accusatory side-eye whenever they come to visit MC, and honestly, they agree with them. They’ve never understood why MC would so readily sacrifice their safety—and even probably life—for a nobody like them.

Once MC wakes up, they almost can’t believe themself. Their heart is racing as it soars from the relief and happiness. They’ll quickly get a doctor to check on MC and after that, they’ll talk with MC, starting with how much they miss them before chiding them for getting themself in danger for them.

Skylar

The poor superhero is so distressed that for the duration of MC’s coma, the can only smile in front of the camera and they smiles they muster are ones that are clearly strained.

Just like Santana, they couldn’t focus on their superhero job fully as their mind always wanders back to MC in worry even during their shifts. If Skylar is a less important person, the Agency would have berated them harder and probably threaten to cut contract with them, but thankfully, Skylar is far from someone insignificant.

They spend a lot of time everyday visiting and spending time with MC. They’d talk to MC about various things and sometimes, they’d bring some of their books and read their favorite poems to MC—even some of their own that they have always kept to themself. When they don’t feel like talking, they’ll keep themself busy by drawing and sketching MC or the view outside of the window. Anything that will distract them from the encroaching morbid thoughts.

Once MC wakes up, they’d be so happy and relieved, and for the first time in months, they have a genuine big grin on their face and their eyes even water a bit from the overwhelming emotions. They’d probably try to crack a joke, but it would fall short of its mark. So, instead, they would hug MC, thanking them for saving them and telling them to never do that ever again.

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angelbaby-fics · 11 months

Note

You got an ask awhile back about Ransom taking reader to the dentist and paying for it. I’d love to see that fic or blurb!

Word Count: 900

A/N: Oh darling I’m so so sorry this took so long!! I think Ireally psyched myself out with wanting it to be perfect and not knowing how to write accurately write dentistry 😅 But I hope you enjoy what I came up with because I think it turned out really sweet! 💕💕💕

Ransom had the means to get you anything your heart desired, and since he’d never been told “no” his entire life, what right did he have to ever say it to you? And of course, that included late night treats, and when you fell asleep after those extravagant sweets, Ransom would carry you to your giant bedroom, teeth going unbrushed as he didn’t have the heart to wake you. Even though he thought he was doing what was best for you by never allowing you to feel even a hint of discomfort, that plan backfired, because you now found yourself with a mouthful of pain.

You didn’t want to tell him. You knew Ransom’s greatest fear was for you to be in any sort of harm, so you were afraid he’d be angry if he found out you were hurt. Even more so, since the thing hurting you was your own mouth, you were afraid that he’d direct his anger at you. Your plan only worked for approximately five minutes, however, as Ransom was such a doting caregiver, he knew you were feeling off in an instant.

“What’s wrong, bubba?” He asked from across the breakfast table as you winced your way through a fluffy waffle drenched in syrup.

“Nothin’,” you tried to respond, but a pointed look from Ransom had you spilling the truth in no time. “Teef hurt.”

Ransom stood up and circled the table to crouch in front of you.

“Can I see, angel?” He asked, gently holding your head as you nodded.

You opened your mouth to him, and he took a short look inside, hiding his reaction well. He knew immediately that you’d need to see a professional, and he also knew that the second you caught wind of that, you’d be inconsolable, so he pretended to think as he stood up.

“That does look pretty painful, huh, baby?” You nodded. “Well then I think someone deserves a treat for being so brave about it.”

You furrowed your brows. Not only was Ransom not upset, he was rewarding you? But before you knew it, you were being buckled into your carseat and being driven off to who knows where. You were looking out the window, bopping your head along to the music playing in the car, when you pulled up to a fancy little building in town that you’d never been to before. Ransom parked the car and unbuckled you from your carseat, carrying you up the steps to the door of the building. There was writing on the door, you couldn’t see it very well, but you did recognize one word.

Dentist.

Ransom could feel you tense up in his arms, your breath quickening as you looked around for an escape, someone to save you from whatever horrors awaited. Usually that would be Ransom, but now you stared at him with such betrayal in your eyes. He'd tricked you; you should have known. But just as soon as you'd started to fret, Ransom was already calming you down.

"Shh babydoll don't worry. This isn't a mean dentist, this is one of daddy's friends, alright?" He kissed each of your cheeks and then your nose before looking you right in the eyes. "I promise you're going to be safe."

Ransom carried you into the building, where a kind looking woman in a white coat guided the two of you towards the big chair.

"Do you wanna sit down and hold daddy's hand?" Ransom asked. "Or do you wanna sit in daddy's lap?"

"Daddy lap pwease," you whispered.

Ransom sat down in the dentist's chair with you on his lap, one arm around your middle and the other across your chest like a seatbelt. He lifted his arm only briefly to allow the woman to pin a cloth to your shirt, during which he reached into his pocket and pulled out his phone. Your eyes lit up despite your current situation; you weren't allowed much screentime during the say, let alone on daddy's phone. Ransom put his arm back over your chest, holding the phone so you could see the screen. In the delight of getting to watch Bluey in your daddy's arms, you hardly had time to worry about the woman as she examined and cleaned your teeth. Every now and then you'd feel a pain, or taste one of the pastes the spread across your teeth, but every time, Ransom would kiss your temple and remind you how safe you were in his arms. The next thing you knew, Ransom was turning off his phone and unwrapping his arms from your torso.

"No daddy!" You looked up with fear, but the dentist woman just smiled as she unclipped your bib.

"You did it, baby! You're all finished!" Ransom cheered for you, rubbing up and down your arms.

"I did?"

You'd barely even noticed it was happening. Your daddy was so lovingly protective of you that all your fears were whisked away. Ransom stood up with you still in his arms and carried you our of the room and back towards the door, thanking the dentist on the way. The whole ordeal was taken care of in what felt like no time at all and very little effort. You found most things in life went like that with Ransom around; you never had to worry about a thing.

#little!reader #chloe's fic #ransom drysdale x little!reader #agere fanfic

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bradshawsbaby · 2 years

Text

Lt. Bradley “Rooster” Bradshaw As A Father (Pt. III)

Pairing: Rooster x Wife!Reader

Author’s Note: The saga continues! I would suggest reading Part I and Part II before reading this part.

Tag list for those who specifically expressed interest in being notified for this part: @lunamoonbby, @blessupblessup, @itscheybaby, @yourphinphan81, @acdassenza.

Warnings: Mentions of deployment, pregnancy and childbirth, lots and lots of fluffy goodness.

* A separate warning for this gif because OH MY GOODNESS! *

- Rooster is an incredibly hands-on father.

- Whenever he isn’t working or spending time with you, you know without a doubt that you can find him on the floor in the living room, playing games with your children and making them laugh until their sides hurt.

- “Daddy, play with me!” is a call that you hear echoing throughout your apartment on a daily basis. While the kids love playing with you during the day, they can’t help but be excited when their father comes home every night, especially since he’s usually gone before they wake up in the morning.

- Even if you end up going back to sleep, you and Rooster usually wake up at the same time so that you can enjoy some morning coffee and a little quiet time together in the kitchen. Your favorite part of your morning routine is watching Rooster sneak into the kids’ rooms to give them each a kiss goodbye before he has to leave.

- He always saves a kiss for you on his way out the door, winking as he tells you, “Don’t spoil them too much!”

- “You’re one to talk!” you always call back, smiling. In addition to being incredibly hands-on, Rooster is also a very doting father. He has a hard time saying no to anything the kids ask for.

- The kids want ice cream on the drive home from the park? Rooster is making a pit stop to get it for them. Goose wants to play cops and robbers for the fifteenth time that night? Rooster is already up and ready to go. Lydia wants her daddy to attend a tea party with all her stuffed animals? Rooster is there.

- “I can’t deny their mommy anything, so how could I deny them?” he teases you whenever you poke fun at him for making you play the bad cop.

- Goose and Lydia love to listen to their father play the piano at night before they go to bed. At five years old, Goose is already able to bang out a few simple tunes, and three-year-old Lydia is catching up fast to her older brother. They always giggle and try to sing along whenever Rooster plays “Great Balls of Fire.”

- “Come on, baby, sing with the family,” Rooster usually calls to you with a playful wink. “I know you can!”

- The kids are inconsolable whenever Rooster has to travel for work, and you can’t say you blame them. Even after all these years, you still shed a few tears whenever your husband leaves for a mission.

- Rooster always kneels down in front of the kids so that he’s on eye level with them, his heart breaking every time he sees their tears. “Daddy loves you both so much. I’m going to be back soon, I promise,” he tells them, pulling them both into a big hug. He remembers what it was like to have to say goodbye to his own father, and the tears his mother often shed when she thought he wasn’t looking.

- “Goose, you’re the man of the house while I’m gone. You’re going to look out for your mom and sister, right?” Rooster asks, trying to hide a smile as your son’s chest puffs out with pride.

- “Yes, Daddy!” Goose always promises with a big nod of his head and a little salute.

- The days you’re reunited after a mission are always the best. The kids make Rooster “welcome home” signs and the three of you usually bake him some kind of cake or cookies. Your heart melts at the sight of Goose and Lydia screaming and running into their father’s arms, clinging to him even as he moves to wrap you in his embrace and kiss you.

- Besides hating to see their tears, Rooster also hates to see your children in any kind of pain. Every time they get a scrape or injury, he’s always there to dry their tears and bandage up their boo-boos. The two of you usually work as a team, since both Goose and Lydia hate having their wounds washed out with alcohol. Rooster holds their hands and tries to distract them with silly faces while you clean their cuts out, then the two of you make sure to “kiss it and make it all better.”

- When you have to take the kids to the doctor for their annual shots and boosters, Rooster holds them in his lap so that they don’t get scared. Sometimes he’ll even ask their pediatrician if he can get a band-aid, too, so that they don’t feel so alone. Afterwards, he always insists on buying them ice cream.

- When Goose was four, he broke his arm jumping off the dining room table while “trying to be a pilot like Daddy.” You’d had to frantically call Rooster to meet you at the hospital while he was still at work. He’d dropped everything to race there and tell Goose how brave he was, and how proud he was of him.

- Not long after Lydia’s third birthday, you discover that you’re pregnant with Baby #3, which both you and Rooster are ecstatic about. You begin house hunting shortly afterward, knowing that you’re going to need more space as your family continues to grow and expand.

- After a few months of navigating the housing market, you finally end up with a lovely bit of property right near the beach, with lots of room for your growing family. It also happens to be fairly close to Penny’s place, which is great because she and Mav, and even Amelia on occasion, love to babysit when you and Rooster go out for date nights.

- When you’re a little over eight months pregnant, Rooster suddenly gets orders for a mission that will take him away for at least two weeks. Though you know it’s the plight of an aviator’s wife, you can’t help but shed many tears over it, terrified at the thought that your husband won’t be home when you give birth. You’d been incredibly lucky that he’d been there for Goose’s and Lydia’s births.

- “Baby, I’ll be back in no time. You’re not due for almost a month,” Rooster reassures you, wiping your tears and running a loving hand over your swollen belly. “You stay put in there until I get home, okay?” he whispers to the baby, pressing a kiss to your stomach.

- A week after he leaves, however, your water suddenly breaks while Penny is over for lunch, helping you with the kids.

- “No,” you murmur, eyes widening in shock and dismay. “No, that can’t be my water breaking,” you insist, shaking your head in denial.

- “Sweetie, it is,” Penny says in her calmest voice, already rising to go round up the kids and grab your hospital bag. “It’s going to be alright. We’re going to get you to the hospital.”

- “No, no, no, no,” you tell her, tears burning your eyes as you shake your head again. “It can’t be! Not yet! Bradley isn’t here. Bradley needs to be here,” you sob.

- Though you’re nearing hysterics, Penny manages to calm you down enough to get you into the car so that she can drop the kids off with Mav and then get you to the hospital.

- Already having gone through labor and delivery twice before, your body knows exactly what to do. Once you’re at the hospital, it ends up being your quickest birth to date.

- James Thomas Bradshaw comes into the world that afternoon, just as big and as loud as his older brother had been when he was born. You and Rooster hadn’t known if you were having a boy or a girl, but thankfully you’d already decided on names.

- You sob when they place your son in your arms, not only because of the abundant love pouring out of your heart, but also because you wish more than anything that Rooster could be here with you. He would be devastated when he learned that James had been born without him.

- A few hours after James is born, Penny and Mav bring Goose and Lydia to meet their new baby brother. Though Hangman, Phoenix, and Bob are on the mission with Rooster, Payback, Fanboy, and Coyote are able to come to the hospital as well. They bring balloons, flowers, chocolates, and a giant teddy bear, knowing that you would be upset about Rooster being away.

- That night, when you’re alone in your hospital room with little James sleeping soundly on your chest, you get a text from your husband. FaceTime? he asks with a little heart emoji. No one had told him yet. They knew you needed to be the one to do it.

- Lifting up your phone so that your newborn son is visible on your chest, you dial Rooster’s number and wait, heart hammering, for him to pick up. When he does, you can immediately see his eyes go wide and some of the color drain from his face.

- “Hi, Daddy,” you say softly, gently lifting James’ tiny fist and waving it slowly.

- “Baby, I—” Rooster isn’t even able to get the words out as he suddenly bursts into tears, the sight of you and the baby too much for his heart to take. He can’t believe you’d gone into labor and he hadn’t been there. “Baby, I’m sorry! I’m so sorry!” he manages to choke out.

- “It’s okay,” you tell him tenderly, stroking your son’s soft head with gentle fingers. “He just wanted to make an early entrance, that’s all.”

- “He? Another boy?” Rooster sniffs, smiling at that. “Welcome to the world, James Thomas,” he says reverently, watching the baby in awe through his phone screen. “I can’t wait to get to hold you soon.”

- “He says ditto,” you grin, talking to Rooster for a few more minutes until he has to go. “I love you,” you tell him before he goes, blowing him a kiss.

- “I love you, too, baby. So much,” Rooster replies, blowing kisses for you and the baby before reluctantly ending the call.

- When Rooster returns home a week later, Mav and Penny go to pick him up with Goose and Lydia since James is still too young to be around too many people yet. The minute Rooster walks through the door of your home, he immediately runs to you, taking you in his arms and kissing you deeply.

- “God, I missed you,” he whispers, nuzzling your nose with his.

- “I missed you, too,” you whisper back, a few tears leaking out of the corners of your eyes. In addition to missing him, your hormones were still all over the place from childbirth. “Want to meet your son?”

- Rooster eagerly follows you over to the bassinet, where James is just opening his eyes from a nap. He’s the sweetest, most good-natured baby. “Hello, my sweet angel,” you coo, carefully lifting him into your arms. “Come meet Daddy,” you say, stroking his cheek as you turn and gently place him into your husband’s waiting arms.

- Staring down at him in wonder, Rooster starts to well up again. “He’s so damn perfect,” he breathes out softly, gazing down at your son with love. “And so are you,” Rooster tells you, leaning over to kiss you again.

- That night, as Goose and Lydia play on the floor and you and Rooster snuggle on the couch with the baby, you can’t think of a time in your life when you’ve ever been happier.

#bradley rooster bradshaw #rooster bradshaw #bradley bradshaw x reader #rooster x reader #x reader #x female reader #miles teller #top gun #top gun: maverick

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sleeplesslionheart · 7 months

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The Haunting of Bly Manor as Allegory: Self-Sacrifice, Grief, and Queer Representation

As always, I am extremely late with my fandom infatuations—this time, I’m about three years late getting smitten with Dani and Jamie from The Haunting of Bly Manor.

Because of my lateness, I’ll confess from the start that I’m largely unfamiliar with the fandom’s output: whether fanfiction, interpretations, analyses, discourse, what have you. I’ve dabbled around a bit, but haven’t seen anything near the extent of the discussions that may or may not have happened in the wake of the show’s release, so I apologize if I’m re-treading already well-trod ground or otherwise making observations that’ve already been made. Even so, I’m completely stuck on Dani/Jamie right now and have some thoughts that I want to compose and work through.

This analysis concerns the show’s concluding episode in particular, so please be aware that it contains heavy, detailed spoilers for the ending, as well as the show in its entirety. Additionally, as a major trigger warning: this essay contains explicit references to suicide and suicidal ideation, so please tread cautiously. (These are triggers for me, and I did, in fact, manage to trigger myself while writing this—but this was also very therapeutic to write, so those triggering moments wound up also being some healing opportunities for me. But definitely take care of yourself while reading this, okay?).

After finishing Bly and necessarily being destroyed by the ending, staying up until 2:00 a.m. crying, re-watching scenes on Youtube, so on and so forth, I came away from the show (as others have before me) feeling like its ending functioned fairly well as an allegory for loving and being in a romantic partnership with someone who suffers from severe mental illness, grief, and trauma.

Without going too deeply into my own personal backstory, I want to provide some opening context, which I think will help to show why this interpretation matters to me and how I’m making sense of it.

Like many of Bly’s characters, I’ve experienced catastrophic grief and loss in my own life. A few years ago, my brother died in some horrific circumstances (which you can probably guess at if you read between the lines here), leaving me traumatized and with severe problems with my mental health. When it happened, I was engaged to a man (it was back when I thought I was straight (lol), so I’ve also found Dani’s comphet backstory to be incredibly relatable…but more on this later) who quickly tired of my grieving. Just a few months after my brother’s death, my then-fiancé started saying things like “I wish you’d just go back to normal, the way you were” and “I’ve gotten back on-track and am just waiting for you to get back on-track with me,” apparently without any understanding that my old “normal” was completely gone and was never coming back. He saw my panic attacks as threatening and unreasonable, often resorting to yelling at me to stop instead of trying to comfort me. He complained that he felt like I hadn’t reciprocated the care that he’d provided me in the immediate aftermath of my brother’s loss, and that he needed me to set aside my grief (and “heal from it”) so that he could be the center of my attention. Although this was not the sole cause, all of it laid the groundwork for our eventual breakup. It was as though my trauma and mourning had ruined the innocent happiness of his own life, and he didn’t want to deal with it anymore.

Given this, I was powerfully struck by the ways that Jamie handles Dani’s trauma: accepting and supporting her, never shaming her or diminishing her pain.

Early in the show—in their first true interaction with one another, in fact—Jamie finds Dani in the throes of a panic attack. She responds to this with no judgment; instead, she validates Dani’s experiences. To put Dani at ease, she first jokes about her own “endless well of deep, inconsolable tears,” before then offering more serious words of encouragement about how well Dani is dealing with the circumstances at Bly. Later, when Dani confesses to seeing apparitions of Peter and Edmund, Jamie doesn’t pathologize this, doubt it, or demean it, but accepts it with a sincere question about whether Dani’s ex-fiancé is with them at that moment—followed by another effort to comfort Dani with some joking (this time, a light-hearted threat at Edmund to back off) and more affirmations of Dani’s strength in the face of it all.

All of this isn’t to say, however, that Dani’s grief-driven behaviors don’t also hurt Jamie (or, more generally, that grieving folks don’t also do things that hurt their loved ones). When Dani recoils from their first kiss because of another guilt-inspired vision of Eddie, Jamie is clearly hurt and disappointed; still, Jamie doesn’t hold this against Dani, as she instead tries to take responsibility for it herself. A week later, though, Jamie strongly indicates that she needed that time to be alone in the aftermath and that she is wary that Dani’s pattern of withdrawing from her every time they start to get closer will continue to happen. Nonetheless, it’s important to note that this contributes to Dani’s recognition that she’s been allowing her guilt about Eddie’s death to become all-consuming, preventing her from acting on her own desires to be with Jamie. That recognition, in turn, leads Dani to decide to move through her grief and beyond her guilt. Once she’s alone later in the evening after that first kiss, Dani casts Eddie’s glasses into the bonfire’s lingering embers; she faces off with his specter for a final time, and after burning away his shadow, her visions of him finally cease. When she and Jamie reunite during their 6:00 a.m. terrible coffee visit, Dani acknowledges that the way that she and Jamie left things was “wrong,” and she actively tries to take steps to “do something right” by inviting Jamie out for a drink at the village pub…which, of course, just so happens to be right below Jamie’s flat. (Victoria Pedretti’s expressions in that scene are so good).

Before we continue, though, let’s pause here a moment to consider some crucial factors in all of this. First, there is a significant difference between “moving through one’s grief” and simply discarding it…or being pressured by someone else to discard it. Second, there is also a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming. Keep these distinctions in mind as we go on.

Ultimately, the resolution of the show’s core supernatural conflict involves Dani inviting Viola’s ghost to inhabit her, which Viola accepts. This frees the other spirits who have been caught in Bly Manor’s “gravity well,” even as it dooms Dani to eventually be overtaken by Viola and her rage. Jamie, however, offers to stay with Dani while she waits for this “beast in the jungle” to claim her. The show’s final episode shows the two of them going on to forge a life together, opening a flower shop in a cute town in Vermont, enjoying years of domestic bliss, and later getting married (in what capacities they can—more on this soon), all while remaining acutely aware of the inevitability of Dani’s demise.

The allegorical potentials of this concluding narrative scenario are fairly flexible. It is possible, for instance, to interpret Dani’s “beast in the jungle” as chronic (and/or terminal) illness—in particular, there’re some harrowing readings that we could do in relation to degenerative neurological diseases associated with aging (e.g. dementia, Alzheimer’s, Parkinson’s, progressive supranuclear palsy, etc.), especially if we put the final episode into conversation with the show’s earlier subplot about the death of Owen’s mother, its recurring themes of memory loss as a form of death (or, even, as something worse than death), and Jamie’s resonant remarks that she would rather be “put out of her misery” than let herself be “worn away a little bit every day.” For the purposes of this analysis, though, I’m primarily concerned with interpreting Viola’s lurking presence in Dani’s psyche as a stand-in for severe grief, trauma, and mental illness. …Because, even as we may “move through” grief and trauma, and even as we may work to heal from them, they never just go away completely—they’re always lurking around, waiting to resurface. (In fact, the final minutes of the last episode feature a conversation between older Jamie and Flora about contending with this inevitable recurrence of grief). Therapy can give us tools to negotiate and live with them, of course; but that doesn’t mean that they’re not still present in our lives. The tools that therapy provides are meant to help us manage those inevitable resurfacings in healthy ways. But they are not meant to return us to some pre-grief or pre-trauma state of “normality” or to make them magically dissipate into the ether, never to return. And, even with plenty of therapy and with healthy coping mechanisms, we can still experience significant mental health issues in the wake of catastrophic grief, loss, and trauma; therapy doesn’t totally preclude that possibility.

In light of my own experiences with personal tragedy, crumbling mental health, and the dissolution of a romantic partnership with someone who couldn’t accept the presence of grief in my life, I was immediately enamored with the ways that Jamie approaches the enduring aftereffects of Dani’s trauma during the show’s final episode. Jamie never once pressures Dani to just be “normal.” She never once issues any judgment about what Dani is experiencing. At those times when Dani’s grief and trauma do resurface—when the beast in the jungle catches up with her—Jamie is there to console her, often with the strategies that have always worked in their relationship: gentle, playful ribbing and words of affirmation. There are instances in which Dani doesn’t emote joyfulness during events that we might otherwise expect her to—consider, for instance, how somber Dani appears in the proposal scene, in contrast to Jamie’s smiles and laughter. (In the year after my brother’s death, my ex-fiancé and his family would observe that I seemed gloomy in situations that they thought should be fun and exciting. “Then why aren’t you smiling?” they’d ask, even when I tried to assure them that I was having a good time, but just couldn’t completely feel that or express it in the ways that I might’ve in the past). Dani even comments on an inability to feel that is all too reminiscent of the blunting of emotions that can happen in the wake of acute trauma: “It’s like I see you in front of me and I feel you touching me, and every day we’re living our lives, and I’m aware of that. But it’s like I don’t feel it all the way.” But throughout all of this (and in contrast to my own experiences with my ex), Jamie attempts to ground Dani without ever invalidating what she’s experiencing. When Dani tells her that she can’t feel, Jamie assures her, “If you can’t feel anything, then I’ll feel everything for the both of us.”

A few days after I finished the show for the first time, I gushed to a friend about how taken I was with the whole thing. Jamie was just so…not what I had experienced in my own life. I loved witnessing a representation of such a supportive and understanding partner, especially within the context of a sapphic romance. After breaking up with my own ex-fiancé, I’ve since come to terms with my sexuality and am still processing through the roles that compulsory heterosexuality and internalized homophobia have played in my life; so Dani and Jamie’s relationship has been incredibly meaningful for me to see for so, so many reasons.

“I’m glad you found the show so relatable,” my friend told me. “But,” she cautioned, “don’t lose sight of what Dani does in that relationship.” Then, she pointed out something that I hadn’t considered at all. Although Jamie may model the possibilities of a supportive partnership, Dani’s tragic death espouses a very different and very troubling perspective: the poisonous belief that I’m inevitably going to hurt my partner with my grief and trauma, so I need to leave them before I can inflict that harm on them.

Indeed, this is a deeply engrained belief that I hold about myself. While I harbor a great deal of anger at my ex-fiancé for how he treated me, there’s also still a part of me that sincerely believes that I nearly ruined his and his family’s lives by bringing such immense devastation and darkness into it. On my bad days (which are many), I have strong convictions about this in relation to my future romantic prospects as well. How could anyone ever want to be with me? I wonder. And even if someone eventually does try to be with me, all I’ll do is ruin her life with all my trauma and sadness. I shouldn’t even want to be with anyone, because I don’t want to hurt someone else. I don’t want someone else to deal with what I’ve had to deal with. I even think about this, too, with my friends. Since my brother’s death and my breakup, I’ve gone through even more trauma, pain, grief, and loss, such that now I continue to struggle enormously with issues like anhedonia, emotional fragility, and social anxiety. I worry, consequently, that I’m just a burden on my friends. That I’m too hard to be around. That being around me, with all of my pain and perpetual misfortune, just causes my friends pain, too. That they’re better off not having to deal with me at all. I could spare them all, I think, by just letting them go, by not bothering them anymore.

I suspect that this is why I didn’t notice any issues with Dani’s behavior at the end of Bly Manor at first. Well…that and the fact that the reality of the show’s conclusion is immensely triggering for me. Probably, my attention just kind of slid past the truth of it in favor of indulging in the catharsis of a sad gay romance.

But after my friend observed this issue, I couldn’t stop thinking about it.

I realized, then, that I hadn’t extended the allegory out to its necessary conclusion…which is that Dani has, in effect, committed suicide in order to—or so she believes, at least—protect Jamie from her. This is the case regardless of whether we keep Viola’s ghost in the mix as an actual, tangible, existing threat within the show’s diegesis or as a figurative symbol of the ways that other forces can “haunt” us to the point of our own self-destruction. If the former, then Dani’s suicide (or the more gentle and elusive description that I’ve seen: her act of “giving herself to the lake”) is to prevent Viola’s ghost from ever harming Jamie. But if the latter, if we continue doing the work of allegorical readings, then it’s possible to interpret Bly’s conclusion as the tragedy of Dani ultimately succumbing to her mental illness and suicidal ideation.

The problems with this allegory’s import really start cropping up, however, when we consider the ways that the show valorizes Dani’s actions as an expression of ultimate, self-sacrificing love—a valorization that Bly accomplishes, in particular, through its sustained contrasting of love and possession.

The Implications of Idealizing Self-Sacrifice as True Love

During a pivotal conversation in one of the show’s early episodes, Dani and Jamie discuss the “wrong kind of love” that existed between Rebecca Jessel and Peter Quint. Jamie remarks on how she “understands why so many people mix up love and possession,” thereby characterizing Rebecca and Peter’s romance as a matter of possession—as well as hinting, perhaps, that Jamie herself has had experiences with this in her own past. After considering for a moment, Dani agrees: “People do, don’t they? Mix up love and possession. […] I don’t think that should be possible. I mean, they’re opposites, really, love and ownership.” We can already tell from this scene that Dani and Jamie are, themselves, heading towards a burgeoning romance—and that this contrast between love and possession (and their self-awareness of it) is going to become a defining feature of that romance.

Indeed, the show takes great pains to emphasize the genuine love that exists between Dani and Jamie against the damaging drive for possession enacted by characters like Peter (who consistently manipulates Rebecca and kills her to keep her ghost with him) and Viola (who has killed numerous people and trapped their souls at Bly over the centuries in a long since forgotten effort to reclaim her life with her husband and daughter from Perdita, her murderously jealous sister). These contrasts take multiple forms and emerge from multiple angles, all to establish that Dani and Jamie’s love is uniquely safe, caring, healing, mutually supportive, and built on a foundation of prevailing concern for the other’s wellbeing. Some of these contrasts are subtle and understated. Consider, for instance, how Hannah observes that Rebecca looks like she hasn’t slept in days because of the turmoil of her entanglements with Peter, whereas Jamie’s narration describes how Dani gets the best sleep of her life during the first night that she and Jamie spend together. Note, too, the editing work in Episode 6 that fades in and out between the memories of the destructive ramifications of Henry and Charlotte’s affair and the scenes of tender progression in Dani and Jamie’s romance. Other contrasts, though, are far more overt. Of course, one of the most blatant examples (and most pertinent to this analysis) is the very fact that the ghosts of Viola, Peter, and Rebecca are striving to reclaim the people they love and the lives that they’ve lost by literally possessing the bodies and existences of the living.

The role of consent is an important factor in these ghostly possessions and serves as a further contrast with Dani and Jamie’s relationship. Peter and Rebecca frequently possess Miles and Flora without their consent—at times, even, when the children explicitly tell them to stop or, at the very least, to provide them with warnings beforehand. While inhabiting the children, Peter and Rebecca go on to harm them and put them at risk (e.g. Peter smokes cigarettes while in Miles’s body; Rebecca leaves Flora alone and unconscious on the grounds outside the manor) and to commit acts of violence against others (e.g. Peter pushes Hannah into the well, killing her; Peter and Rebecca together attack Dani and restrain her). The “It’s you, it’s me, it’s us,” conceit—with which living people can invite Bly’s ghosts to possess them, the mechanism by which Dani breaks the curse of Bly’s gravity well—is a case of dubious consent at best and abusive, violent control at worst. (“I didn’t agree,” Rebecca says after Peter leaves her body, releasing his “invited” possession of her at the very moment that the lake’s waters start to fill her lungs).

Against these selfish possessions and wrong kinds of love, Jamie and Dani’s love is defined by their selfless refusal to possess one another. A key characteristic of their courtship involves them expressing vulnerability in ways that invite the other to make their own decisions about whether to accept and how to proceed (or not proceed). As we discussed earlier, Dani and Jamie’s first kiss happens after Dani opens up about her guilt surrounding her ex-fiancé’s death. Pausing that kiss, Jamie checks, “You sure?” and only continues after Dani answers with a spoken yes. (Let’s also take this moment to appreciate Amelia Eve’s excellent, whispered “Thank fuck,” that isn’t included in Netflix’s subtitles). Even so, Dani frantically breaks away from her just moments later. But Jamie accepts this and doesn’t push Dani to continue, believing, in fact, that Dani has withdrawn precisely because Jamie has pushed too much already. A week later, Dani takes the initiative to advance their budding romance by inviting Jamie out for a drink—which Jamie accepts by, instead, taking Dani to see her blooming moonflowers that very evening. There, in her own moment of vulnerability, Jamie shares her heart-wrenching and tumultuous backstory with Dani in order to “skip to the end” and spare Dani the effort of getting to know her. By openly sharing these difficult details about herself, Jamie evidently intends to provide Dani with information that would help her decide for herself whether she wants to continue their relationship or not.

Their shared refusal to possess reaches its ultimate culmination in that moment, all those years later, when Dani discovers just how close she’s come to strangling Jamie—and then leaves their home to travel all the way back to Bly and drown herself in the lake because she could “not risk her most important thing, her most important person.” Upon waking to find that Dani has left, Jamie immediately sets off to follow her back to Bly. And in an absolutely heartbreaking, beautiful scene, we see Jamie attempting the “you, me, us,” invitation, desperate for Dani to possess her, for Dani to take Jamie with her. (Y’all, I know I’m critiquing this scene right now, but I also fuckin’ love it, okay? Ugh. The sight of Jamie screaming into the water and helplessly grasping for Dani is gonna stay with me forever. brb while I go cry about it again). Dani, of course, refuses this plea. Because “Dani wouldn’t. Dani would never.” Further emphasizing the nobility of Dani’s actions, Jamie’s narration also reveals that Dani’s self-sacrificial death has not only spared Jamie alone, but has also enabled Dani to take the place of the Lady of the Lake and thereby ensure that no one else can be taken and possessed by Viola’s gravity well ever again.

And so we have the show’s ennoblement of Dani’s magnanimous self-sacrifice. By inviting Viola to possess her, drowning herself to keep from harming Jamie, and then refusing to possess Jamie or anyone else, Dani has effectively saved everyone: the children, the restive souls that have been trapped at Bly, anyone else who may ever come to Bly in the future, and the woman she loves most. Dani has also, then, broken the perpetuation of Bly’s cycles of possession and trauma with her selfless expression of love for Jamie.

The unfortunate effect of all of this is that, quite without meaning to (I think? I hope—), The Haunting of Bly Manor ends up stumbling headlong into a validation of suicide as a selfless act of true love, as a force of protection and salvation.

So, before we proceed, I just want to take this moment to say—definitively, emphatically, as someone who has survived and experienced firsthand the ineffably catastrophic consequences of suicide—that suicide is nothing remotely resembling a selfless “refusal to possess” or an act of love. I’m not going to harp extensively on this, though, because I’d rather not trigger myself for a second time (so far, lol) while writing this essay. Just take my fuckin’ word for it. And before anybody tries to hit me with some excuse like “But Squall, it isn’t that the show is valorizing suicide, it’s that Dani is literally protecting Jamie from Viola,” please consider that I’ve already discussed how the show’s depiction of this lent itself to my own noxious beliefs that “all I do is harm other people with my grief, so maybe I should stop talking to my friends so that they don’t have to deal with me anymore.” Please consider what these narrative details and their allegorical import might tell people who are struggling with their mental health—even if not with suicidal ideation, then with the notion that they should self-sacrificially remove themselves from relationships for the sake of sparing loved ones from (assumed) harm.

Okay, that said, now let’s proceed…‘cause I’ve got even more to say, ‘cause the more I mulled over these details, the more I also came to realize that Dani’s self-sacrificial death in Bly’s conclusion also has the unfortunate effect of undermining some of its other (attempted) themes and its queer representation.

What Bly Manor Tries (and Fails) to Say about Grief and Acceptance

Let’s start by jumping back to a theme we’ve already addressed briefly: moving through one’s grief.

The Haunting of Bly Manor does, in fact, have a lot to say about this. Or…it wants to, more like. On the whole, it seems like it’s trying really hard to give us a cautionary tale about the destructive effects of unprocessed grief and the misplaced guilt that we can wind up carrying around when someone we love dies. The show spends a whole lot of time preaching about how important it is that we learn to accept our losses without allowing them to totally consume us—or without lingering around in denial about them (gettin’ some Kübler-Ross in here, y’all). Sadly, though, it does kind of a half-assed job of it…despite the fact that this is a major recurring theme and a component of the characterizations and storylines of, like, most of its characters. In fact, this fundamentally Kübler-Rossian understanding of what it means to move through grief and to accept loss and mortality appears to be the show’s guiding framework. During his rehearsal dinner speech in the first episode, Owen proclaims that, “To truly love another person is to accept that the work of loving them is worth the pain of losing them,” with such eerie resonance—as the camera stays set on Jamie’s unwavering gaze—that we know that what we’re about to experience is a story about accepting the inevitable losses of the people we love.

Bly Manor is chock full of characters who’re stuck in earlier stages of grief but aren’t really moving along to reach that acceptance stage. I mean, the whole cause of the main supernatural haunting is that Viola so ferociously refuses to accept her death and move on from her rage (brought about by Perdita’s resentment) that she spends centuries strangling whoever she comes across, which then effectively traps them there with her. And the other antagonistic ghostly forces, Rebecca and Peter, also obviously suck at accepting their own deaths, given that they actually believe that possessing two children is a perfectly fine (and splendid) way for them to grasp at some semblance of life again. (Actually…the more that I’ve thought about this, the more that I think each of the pre-acceptance stages of grief in Kübler-Ross’s model may even have a corresponding character to represent it: Hannah is denial; Viola is anger; Peter and Rebecca are bargaining; Henry is depression. Just a little something to chew on).

But let’s talk more at-length about this theme in relation to two characters we haven’t focused on yet: Hannah and Henry. For Hannah, this theme shows up in her struggles to accept that her husband, Sam, has left her (Charlotte wryly burns candles in the chapel as though marking his passing, while Hannah seems to be holding out hope that he might return) and in her persistent denial that Peter-as-Miles has killed her. As a ghost, she determinedly continues going about her daily life and chores even as she’s progressively losing her grip on reality. Henry, meanwhile, won’t issue official notifications of Dominic’s death and continues to collect his mail because doing otherwise would mean admitting to the true finality of Dominic’s loss. At the same time, he is so, completely consumed by his guilt about the role that he believes he played in Charlotte and Dominic’s deaths that he’s haunting himself with an evil alter-ego. His overriding guilt and despair also result in his refusal to be more present in Miles and Flora’s lives—even with the knowledge that Flora is actually his daughter.

In the end, both Hannah and Henry reach some critical moments of acceptance. But, honestly, the show doesn’t do a great job of bringing home this theme of move through your grief with either of them…or with anybody else, really. Peter basically winds up bullying Hannah into recognizing that her broken body is still at the bottom of the well—and then she accepts her own death right in time to make a completely abortive attempt at rescuing Dani and Flora. Henry finally has a preternatural Bad Feeling about things (something about a phone being disconnected? whose phone? Bly’s phone? his phone? I don’t understand), snaps to attention, and rushes to Bly right in time to make an equally abortive rescue attempt that leaves him incapacitated so that his not-quite-ghost can hang out with Hannah long enough to find out that she’s dead. But at least he decides to be an attentive uncle/dad to Miles and Flora after that, I guess. Otherwise, Hannah and Henry get handwaved away pretty quickly before we can really witness what their acceptance means for them in any meaningful detail. (I blame this on some sloppy writing and the way-too-long, all-about-Viola eighth episode. And, on that note, what about the “acceptances” of Rebecca, Peter, and Viola there at the end? Rebecca does get an interesting moment of acceptance—of a sort—with her offer to possess Flora in order to experience Flora’s imminent drowning for her, thereby sparing the child by tucking her in a happy memory. Peter just…disappears at the end with some way-too-late words of apology. Viola’s “acceptance,” however, is tricky…What she accepts is Dani’s invitation to inhabit her. More on this later).

Hannah and Henry’s stories appear to be part of the show’s efforts to warn us about the ways that unprocessed, all-consuming grief can cause us to miss opportunities to have meaningful relationships with others. Hannah doesn’t just miss her chance to be with Owen because…well, she’s dead, but also because of her unwillingness to move on from Sam beforehand. Her denial about her own death, in turn, prevents her from taking the opportunity as a ghost to tell Owen that she loves him. Henry, at least, does figure out that he’s about to lose his chance to be a caring parental figure to his daughter and nephew—but just barely. It takes the near-deaths of him and the children to finally prompt that realization.

Of the cast, Dani gets the most thorough and intentional development of this move through your grief theme. And, importantly, she learns this lesson in time to cultivate a meaningful relationship that she could’ve easily missed out on otherwise. As we’ve already discussed, a critical part of Dani’s character arc involves her realization that she has to directly confront Edmund’s death and start absolving herself of her guilt in order to open up the possibility of a romantic relationship with Jamie. In Episode 4, Jamie’s narration suggests that Dani has had a habit of putting off such difficult processes (whether in regards to moving through her grief, breaking off her engagement to Edmund, or coming to terms with her sexuality), as she’s been constantly deferring to “another night, another time for years and years.” Indeed, the show’s early episodes are largely devoted to showing the consequences of Dani’s deferrals and avoidances. From the very beginning, we see just how intrusively Dani’s unresolved guilt is impacting her daily life and functioning. She covers up mirrors to try to prevent herself from encountering Edmund’s haunting visage, yet still spots him in the reflections of windows and polished surfaces. Panic attacks seem to be regular occurrences for her, sparked by reminders of him. And all of this only gets worse and more disruptive as Dani starts acting on her attraction to Jamie.

It's only after Dani decides to begin moving through her grief and guilt that she’s able to start becoming emotionally and physically intimate with Jamie. And the major turning point for this comes during a scene that features a direct, explicit discussion of the importance of accepting (and even embracing) mortality.

That’s right—it’s time to talk about the moonflower scene.

In a very “I am extremely fed up with people not being able to deal with my traumatic past, so I’m going to tell you about all of the shit that I’ve been through so that you can go ahead and decide whether you want to bolt right now instead of just dropping me later on” move (which…legit, Jamie—I feel that), Jamie sits Dani down at her moonflower patch to give her the full rundown of her own personal backstory and worldview. Her monologue evinces both a profound cynicism and a profound valuation of human life…all of which is also suggestive, to me at least, of a traumatized person who at once desperately wishes for intimate connection, but who’s also been burned way too many times (something with which I am wholly unfamiliar, lol). She characterizes people as “exhaustive effort with very little to show for it,” only to go on to wax poetic about how human mortality is as beautiful as the ephemeral buds of a moonflower. This is, in essence, Jamie’s sorta convoluted way of articulating that whole “To truly love another person is to accept that the work of loving them is worth the pain of losing them” idea.

After detailing her own past, Jamie shifts gears to suggest that she believes that cultivating a relationship with Dani—like the devoted work of growing a tropical, transient Ipomoea alba in England—might be worth the effort. And as part of this cultivation work, Jamie then acknowledges Dani’s struggles with her guilt, while also firmly encouraging her to move through it by accepting the beauty of mortality:

“I know you’re carrying this guilt around, but I also know that you don’t decide who lives and who doesn’t. I’m sorry Dani, but you don’t. Humans are organic. It’s a fact. We’re meant to die. It’s natural…beautiful. […] We leave more life behind to take our place. Like this moonflower. It’s where all its beauty lies, you know. In the mortality of the thing.”

After that, Jamie and Dani are finally able to make out unimpeded.

Frustratingly, though, Jamie’s own dealings with grief, loss, and trauma remain terribly understated throughout the show. Her monologue in the moonflower scene is really the most insight that we ever get. Jamie consistently comes off as better equipped to contend with life’s hardships than many of Bly’s other characters; and she is, in fact, the sole member of the cast who is confirmed to have ever had any sort of professional therapy. She regularly demonstrates a remarkable sense of empathy and emotional awareness, able to pick up on others’ needs and then support them accordingly, though often in gruff, tough-love forms. Further, there are numerous scenes in which we see Jamie bestowing incisive guidance for handling difficult situations: the moonflower scene, her advice to Rebecca about contacting Henry after Peter’s disappearance, and her suggestion to Dani that Flora needs to see a psychologist, to name just a few. As such, Jamie appears to have—or, at least, projects—a sort of unflappable groundedness that sets her apart from everyone else in the show.

Bly only suggests that Jamie’s struggles run far deeper than she lets on. There are a few times that we witness quick-tempered outbursts (usually provoked by Miles) and hints of bottled-up rage. Lest we forget, although it was Flora who first found Rebecca’s dead body floating in the water, it was Jamie who then found them both immediately thereafter. We see this happen, but we never learn anything about the impact that this must have had on her. Indeed, Jamie’s exposure to the layered, compounding grief at Bly has no doubt inflicted a great deal of pain on her, suggested by details like her memorialization of Charlotte and Dominic during the bonfire scene. If we look past her flippancy, there must be more than a few grains of truth to that endless well of deep, inconsolable tears—but Jamie never actually shares what they might be. Moreover, although the moonflower scene reveals the complex traumas of her past, we never get any follow-up or elaboration about those details or Dani’s observation of the scar on her shoulder. For the most part, Jamie’s grief goes unspoken.

There’s a case to be made that these omissions are a byproduct of narrator Jamie decentering herself in a story whose primary focus is Dani. Narrator Jamie even claims that the story she’s telling “isn’t really my story. It belongs to someone I knew” (yes, it’s a diversionary tactic to keep us from learning her identity too soon—but she also means it). And in plenty of respects, the telling of the story is, itself, Jamie’s extended expression of her grief. By engaging in this act of oral storytelling to share Dani’s sacrifice with others—especially with those who would have otherwise forgotten—Jamie is performing an important ritual of mourning her wife. Still, it’s for exactly these reasons that I think it would’ve been valuable for the show to include more about the impacts that grief, loss, and trauma had on Jamie prior to Dani’s death. Jamie’s underdevelopment on this front feels more like a disappointing oversight of the show’s writing than her narrator self’s intentional, careful withholding of information. Additionally, I think that Bly leaves Jamie’s grieving on an…odd note (though, yes, I know I’m just a curmudgeonly outlier here). Those saccharine final moments of Jamie filling up the bathtub and sleeping on a chair so that she can face the cracked doorway are a little too heavy-handedly tear-jerking for my liking. And while this, too, may be a ritual of mourning after the undoubtedly taxing effort of telling Dani’s story, it may also suggest that Jamie is demurring her own acceptance of Dani’s death. Is the hand on her shoulder really Dani’s ghost? Or is it Jamie’s own hopeful fabrication that her wife’s spirit is watching over her? (Or—to counter my own point here and suggest a different alternative—could this latter idea (i.e. the imagining of Dani’s ghost) also be another valid manner of “accepting” a loss by preserving a loved one’s presence? “Dead doesn’t mean gone,” after all. …Anyway, maybe I would be more charitable to this scene if not for the hokey, totally out-of-place song. Coulda done without that, seriously).

But let’s jump back to the moonflower scene. For Dani, this marks an important moment in the progression of her own movement through grief. In combination, her newfound readiness to contend with her guilt and her eagerness to grow closer to Jamie enable Dani to find a sense of peace that she hasn’t experienced since Eddie’s death…or maybe ever, really (hang on to this thought for this essay’s final section, too). When she and Jamie sleep together for the first time, not only does Dani actually sleep well, but she also wakes the next morning to do something that she hasn’t done to that point and won’t do again: she comfortably looks into a mirror. (One small qualification to this: Dani does look into her own reflection at the diner when she and Jamie are on their road trip; Viola doesn’t interfere then, but whether this is actually a comfortable moment is questionable). Then, shifting her gaze away from her own reflection, she sees Jamie still sleeping soundly in her bed—and smiles. It’s a fleeting moment of peace. Immediately after that, she spots Flora out the window, which throws everything back into accumulating turmoil. But that moment of peace, however fleeting, is still a powerful one.

However, Bly teases this narrative about the possibilities of finding healing in the wake of traumatic loss—especially through the cultivation of meaningful and supportive relationships with others—only to then totally pull that rug out from under Dani in the final episode.

During that final episode, we see that Dani’s shared life with Jamie has supported her in coming to terms with Viola’s lurking presence, such that “at long last, deep within the au pair’s heart, there was peace. And that peace held for years, which is more than some of us ever get.” But it’s at the exact moment that that line of narration occurs that we then begin to witness Dani’s steady, inexorable decline. Sure, we could say that Dani “accepts” Viola’s intrusions and the unavoidable eventuality that the ghost will seize control of her. But this isn’t a healthy acceptance or even a depiction of the fraught relationships that we can have with grief and trauma as we continue to process them throughout our lives. At all. Instead, it’s a distinctive, destructive sense of fatalism.

“I’m not even scared of her anymore,” Dani tells Jamie as the flooded bathtub spills around them. “I just stare at her and it's getting harder and harder to see me. Maybe I should just accept that. Maybe I should just accept that and go.” Remember way back at the beginning of this essay when I pointed out that there’s a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming? Well, by the time we reach the bathtub scene, Dani’s grief and trauma have completely overtaken her. Her “acceptance” is, thus, a fatalistic, catastrophizing determination that her trauma defines her existence, such that she believes that all she has left to do is give up her life in order to protect Jamie from her. For a less ghostly (and less suicidal ideation-y) and more real-life example to illustrate what I’m getting at here: this would be like me saying “I should just accept that I’m never going to be anything other than a traumatized mess and should stop reaching out to my friends so that I don’t keep hurting them by making them deal with what a mess I am.” If I said something like this, I suspect (hope) that you would tell me that this is not a productive acceptance, but a pernicious narrative that only hurts me and the people who care about me. Sadly, though, this kind of pernicious narrative is exactly what we get out of Bly’s ending allegory.

“But Squall,” you may be thinking, “this scene is representing how people who struggle with their mental health can actually feel. This is exactly what it can be like to have severe mental illness, even for folks who have strong support systems and healthy, meaningful relationships. And there’s value in showing that.”

And if you’re thinking that, then first of all—as I have indicated already—I am aware that this is what it can be like. Very aware. And second of all, you make a fair point, but…there are ways that the show could’ve represented this without concluding that representation with a suicide that it effectively valorizes. I’ll contend with this more in the final section, where I offer a few suggestions of other ways that Bly could’ve ended instead.

I just want to be absolutely clear that I’m not saying that I think all media portrayals of mental illness need to be hopeful or wholesome or end in “positive” ways. But what I am saying is that Bly’s conclusion offers a really fuckin’ bleak outlook on grief, trauma, and mental illness, especially when we fit that ending into the framework of the show’s other (attempted) core themes, as well as Dani’s earlier character development. It’s especially bleak to see this as someone with severe mental health issues and who has also lost a loved one to suicide—and as someone who desperately hopes that my life and worldview won’t always stay so darkly colored by my trauma.

Additionally, it’s also worth pausing here to acknowledge that fatalism is, in fact, a major theme of The Beast in the Jungle, the 1903 Henry James novella on which the ninth episode is loosely based. I confess that I’ve only read about this novella, but haven’t read the story itself. However, based on my (admittedly limited) understanding of it, there appears to be a significant thematic rupture between The Beast in the Jungle and The Haunting of Bly Manor in their treatments of fatalism. In the end of the novella, its protagonist, John Marcher, comes to the realization that his fatalism has been a horrible mistake that has caused him to completely miss out on an opportunity for love that was right in front of him all along. The tragic fate to which Marcher believed that he was doomed was, in the end, his own fatalism. Dani, in contrast, never has this moment of recognition, not only because her fatalism leads to her own death, but also because the show treats her fatalism not as something that keeps her from love, but instead as leading her towards a definitive act of love.

All of this is exactly why Dani’s portrayal has become so damn concerning to me, and why I don’t believe that Bly’s allegory of “this is what it’s like to live with mental illness and/or to love (and lose) someone who is mentally ill” is somehow value-neutral—or, worse, something worth celebrating.

How Dani’s Self-Sacrifice Bears on Bly’s Queer Representation

In my dabblings around the fandom so far, I’ve seen a fair amount of deliberation about whether or not Bly Manor’s ending constitutes an example of the Bury Your Gays trope.

Honestly, though, I am super unenthused about rehashing those deliberations or splitting hairs trying to give some definitive “yes it is” or “no it isn’t” answer, so…I’m just not going to. Instead, I’m going to offer up some further observations about how Dani’s self-sacrificial death impinges on Bly’s queer representation, regardless of whether Bury Your Gays is at work here or not.

I would also like to humbly submit that the show could’ve just…not fucked around in proximity of that trope in the first place so that we wouldn’t even need to be having these conversations.

But anyway. I’m going to start this section off with a disclaimer.

Even though I’m leveling some pretty fierce critiques in this section (and across this essay), I do also want to say that I adore that The Haunting of Bly Manor and its creators gave us a narrative that centers two queer women and their romantic relationship as its driving forces and that intentionally sets out to portray the healing potentials of sapphic love as a contrast to the destructive, coercive harms found in many conventional dynamics of hegemonic heteronormativity. I don’t want to downplay that, because I’m extremely happy that this show exists, and I sincerely believe that many elements of its representation are potent and meaningful and amazing. But…I also have some reservations with this portrayal that I want to share. I critique not because I don’t love, but because I do love. I love this show a lot. I love Dani and Jamie a lot. I critique because I love and because I want more and better in future media.

So, that being said…let’s move on to talk about Dani, self-sacrifice, and compulsory heterosexuality.

Well before Dani’s ennobled death, Bly establishes self-sacrifice as a core component of her characterization. It’s hardwired into her, no doubt due to the relentless, entangled educational work of compulsory heterosexuality (comphet) and the aggressive forms of socialization that tell girls and women that their roles in life are to sacrifice themselves in order to please others and to belong to men. Indeed, Episode 4’s series of flashbacks emphasizes the interconnectedness between comphet and Dani’s beliefs that she is supposed to sacrifice herself for others’ sakes, revealing how these forces have shaped who she is and the decisions that she’s made across her life. (While we’re at it, let’s also not lose sight of the fact that Dani’s profession during this time period is one that—in American culture, at least—has come to rely on a distinctively feminized self-sacrificiality in order to function. Prior to becoming an au pair, Dani was a schoolteacher. In fact, in one of Episode 4’s flashbacks, Eddie’s mother points out that she appreciates Dani’s knack for identifying the kids that need her the most, but also reminds Dani that she needs to take care of herself…which suggests that Dani hadn’t been: “Save them all if you can, but put your own oxygen mask on first”).

In the flashback of her engagement party, Dani’s visible discomfort during Edmund’s speech clues us in that she wasn’t preparing to marry him because she genuinely wanted to, but because she felt like she was supposed to. The “childhood sweethearts” narrative bears down on the couple, celebrated by their friends and family, vaunted by cultural constructs that prize this life trajectory as a cherished, “happily ever after” ideal. Further illustrating the pressures to which Dani had been subject, the same scene shows Eddie’s mother, Judy O’Mara, presenting Dani with her own wedding dress and asking Dani to wear it when she marries Eddie. Despite Mrs. O’Mara’s assurances that Dani can say no, the hopes that she heaps onto Dani make abundantly clear that anything other than a yes would disappoint her. Later, another flashback shows Dani having that dress sized and fitted while her mother and Mrs. O’Mara look on and chatter about their own weddings and marriages. Their conversation is imbued with further hopes that Dani’s marriage to Edmund will improve on the mistakes that they made in their lives. Meanwhile, Dani’s attentiveness to the tailor who takes her measurements, compliments her body, and places a hand on her back strongly suggests that Dani is suppressing her attraction to women. Though brief, this scene is a weighty demonstration of the ways that the enclosures of heteronormativity constrain women into believing that their only option is to deny homosexual attraction, to forfeit their own desires in order to remain in relationships with men, and to prioritize the hopes and dreams and aspirations of the people around them above their own.

Dani followed this pathway—determined for her by everyone else except herself—until she couldn’t anymore.

During the flashback of their breakup, Dani explains to Eddie that she didn’t end their relationship sooner because she thought that even just having desires that didn’t match his and his family’s was selfish of her: “I should’ve said something sooner. […] I didn’t want to hurt you, or your mom, or your family. And then it was just what we were doing. […] I just thought I was being selfish, that I could just stick it out, and eventually I would feel how I was supposed to.” As happens to so many women, Dani was on the cusp of sacrificing her life for the sake of “sticking out” a marriage to a man, all because she so deeply believed that it was her duty to satisfy everyone’s expectations of her and that it was her responsibility to change her own feelings about that plight.

And Eddie’s response to this is telling. “Fuck you, Danielle,” he says. “Why are you doing this to me?”

Pay close attention to those last two words. Underline ‘em. Bold ‘em. Italicize ‘em.

“Why are you doing this to me?”

With those two words, Eddie indicates that he views Dani’s refusal to marry him as something that she is doing to him, a harm that she is committing against him. It is as though Dani is inflicting her will on him, or even that she is unjustly attackinghim by finally admitting that her desires run contrary to his own, that she doesn’t want to be his wife. And with this statement, he confirms precisely what she anticipated would happen upon giving voice to her true feelings.

What space did Edmund, his family, or Dani’s mother ever grant for Dani to have aspirations of her own that weren’t towards the preordained role of Eddie’s future wife? Let’s jump back to that engagement party. Eddie’s entire speech reveals a very longstanding assumption of his claim over her as his wife-to-be. He’d first asked Dani to marry him when they were ten years old, after he mistakenly believed that their first kiss could get Dani pregnant; Dani turned him down then, saying that they were too young. So, over the years, as they got older, Eddie continued to repeatedly ask her—until, presumably, she relented. “Now, we’re still pretty young,” he remarks as he concludes his speech, “but I think we’re old enough to know what we want.” Significantly, Eddie speaks here not just for himself, but also for Dani. Dani’s voice throughout the entire party is notably absent, as Eddie and his mother both impose their own wishes on her, assume that she wants what they want, and don’t really open any possibility for her to say otherwise. Moreover, although there’s a palpable awkwardness that accompanies Eddie’s story, the crowd at the party chuckles along as though it’s a sweet, innocent tale of lifelong love and devotion, and not an instance of a man whittling away at a woman’s resistance until she finally caved to his pursuit of her.

All of this suggests that Eddie shared in the socialized convictions of heteropatriarchy, according to which Dani’s purpose and destiny were to marry him and to make him happy. His patterns of behavior evince the unquestioned presumptions of so many men: that women exist in service to them and their wants, such that it is utterly inconceivable that women could possibly desire otherwise. As a political institution, heteropatriarchy tells men that they are entitled to women’s existences, bodies, futures. And, indeed, Eddie can’t seem to even imagine that Dani could ever want anything other than the future that he has mapped out for them. (Oh, hey look, we’ve got some love vs. possession going on here again).

For what it’s worth, I think that the show’s portrayal of compulsory heterosexuality is excellent. I love that the writers decided to tackle this. Like I mentioned at the beginning, I found all of this to be extremelyrelatable. I might even be accused of over-relating and projecting my own experiences onto my readings here, but…there were just too many resonances between Dani’s experiences and my own. Mrs. O’Mara’s advice to Dani to “put your own oxygen mask on first” is all too reminiscent of the ways that my ex’s parents would encourage me to “heal” from my brother’s loss…but not for the sake of my own wellbeing, but so that I would return to prioritizing the care of their son and existing to do whatever would make him happy. I’ll also share here that what drove me to break up with my ex-fiancé wasn’t just his unwillingness to contend with my grief, but the fact that he had decided that the best way for me to heal from my loss would be to have a baby. He insisted that I could counteract my brother’s death by “bringing new life into the world.” And he would not take no for an answer. He told me that if I wouldn’t agree to try to have children in the near future, then he wasn’t interested in continuing to stay with me. It took me months to pluck up the courage, but I finally answered this ultimatum by ending our relationship myself. Thus, like Dani, I came very close to sacrificing myself, my wants, my body, my future, and my life for the sake of doing what my fiancé and his family wanted me to do, all while painfully denying my own attraction to women. What kept me from “sticking it out” any longer was that I finally decided that I wasn’t going to sacrifice myself for a man I didn’t love (and who clearly didn’t love me) and decided, instead, to reclaim my own wants and needs away from him.

For Dani, however, the moment that she finally begins to reclaim her wants and needs away from Eddie is also the moment that he furiously jumps out of the driver’s seat and into the path of a passing truck, which leaves her to entangle those events as though his death is her fault for finally asserting herself.

Of course, the guilt that Dani feels for having “caused” Eddie’s death isn’t justa matter of breaking up with him and thereby provoking a reaction that would prove fatal—it’s also the guilt of her suppressed homosexual desire, of not desiring Eddie in the first place. In other words, internalized homophobia is an inextricable layer of the culpability that Dani feels. Internalized homophobia is also what’s haunting her. As others (such as Rowan Ellis, whose deep dive includes a solid discussion of internalized homophobia in Bly, as well as a more at-length examination of Bury Your Gays than I’m providing here) have pointed out, the show highlights this metaphorically by having Dani literally get locked into a closet with Edmund’s ghost in the very first episode. Further reinforcing this idea is the fact that these spectral visions get even worse as Dani starts to come to terms with and act on her attraction to Jamie, as though the ghost is punishing her for her desires. Across Episode 3, as Dani and Jamie begin spending more time together, Edmund’s ghost concurrently begins materializing in more shocking, visceral forms (e.g. his bleeding hand in Dani’s bed; his shadowy figure lurking behind Dani after she’s held Jamie’s hand) that exceed the reflective surfaces to which he’d previously been confined. This continues into Episode 4, where each of Eddie’s appearances follows moments of Dani’s growing closeness to Jamie. A particularly alarming instance occurs when Dani just can’t seem to pry her gaze away from a dressed-up Jamie who’s in the process of some mild undressing. Finally turning away from Jamie, Dani becomes aware of Eddie’s hands on her hips. It’s a violating reminder of his claims over her, horrifying in its invocation of men’s efforts to coerce and control women’s sexuality.

It is incredibly powerful, then, to watch Dani answer all of this by becoming more resolute and assertive in the expression of her wants and needs. The establishment of her romantic relationship with Jamie isn’t just the movement through grief and guilt that we discussed earlier; it’s also Dani’s defiance of compulsory heterosexuality and her fierce claiming of her queer existence. Even in the face of all that’s been haunting her, Dani initiates her first kiss with Jamie; and Eddie’s intrusion in that moment is only enough to temporarily dissuade her, as Dani follows this up by then asking Jamie out for a drink at the pub to “see where that takes them” (i.e. up to Jamie’s flat to bang, obviously). The peace that Dani finds after having sex with Jamie for the first time is, therefore, also the profound fulfillment of at last having her first sexual experience with a woman, of finally giving expression to this critical part of herself that she’d spent her entire life denying. Compulsory heterosexuality had dictated to Dani that she must self-sacrifice to meet the strictures of heteropatriarchy, to please everyone except herself; but in her relationship with Jamie, Dani learns that she doesn’t have to do this at all. This is only bolstered by the fact that, as we’ve talked about at length already, Jamie is very attentive to Dani’s needs and respectful of her boundaries. Jamie doesn’t want Dani to do anything other than what Dani wants to do. And so, in the cultivation of their romantic partnership, Dani thus comes to value her own wants and needs in a way that she hasn’t before.

The fact that the show nails all of this so fucking well is what makes all that comes later so goddamn frustrating.

The final episode chronicles Dani and Jamie forging a queer life together that the rest of us can only dream of, including another scene of Dani flouting homophobia and negotiating her own internal struggles so that she can be with Jamie. “I know we can’t technically get married,” she tells Jamie when she proposes to her, “but I also don’t really care.” And with her awareness that the beast in the jungle is starting to catch up with her, Dani tells Jamie that she wants to spend whatever time she has left with her.

But then…

A few scenes later—along with a jump of a few years later, presumably—Jamie arrives home with the licenses that legally certify their civil union in the state of Vermont. It’s a monumental moment. In 2000, Vermont became the first state to introduce civil unions, which paved the way for it to later (in 2009) become the first state to pass legislation that recognized gay marriages without needing to have a court order mandating that the state extend marriage rights beyond opposite-sex couples. I appreciate that Bly’s creatorsincorporated this significant milestone in the history of American queer rights into the show. But its positioning in the show also fuckin’ sucks. Just as Jamie is announcing the legality of her and Dani’s civil union and declaring that they’ll have another marriage ceremony soon, we see water running into the hallway. This moves us into that scene with the flooded bathtub, as Jamie finds Dani staring into the water, unaware of anything else except the reflection of Viola staring back at her. Thus, it is at the exact moment when her wife proudly shares the news of this incredible achievement in the struggle for queer rights—for which queer folks have long fought and are continuing to fight to protect in the present—that Dani has completely, hopelessly resigned herself to Viola’s possession.

I want to be careful to clarify here that, in making this observation, I don’t mean to posit some sort of “Dani should have fought back against Viola” argument, which—within the context of our allegorical readings—might have the effect of damagingly suggesting that Dani should have fought harder to recover from mental illness or terminal disease. But I do mean to point out the incredibly grim implications that the juxtaposition of these events engenders, especially when we contemplate them (as we did in the previous section) within the overall frameworks of the show’s themes and Dani’s character development. After all that has come before, after we’ve watched Dani come to so boldly assert her queer desire and existence, it is devastating to see the show reduce her to such a despairing state that doesn’t even give her a chance to register that she and Jamie are now legal partners.

Why did you have to do this, Bly? Why?

Further compounding this despair, the next scene features the resumption of Dani’s self-sacrificial beliefs and behaviors, which results in her demise, and which leaves Jamie to suffer through the devastation of her wife’s death. This resumption of self-sacrifice hence demolishes all of that beautiful work of asserting Dani’s queer existence and learning that she doesn’t need to sacrifice herself that I just devoted two thousand words to describing above.

Additionally, in the end, Dani’s noble self-sacrifice also effects a safe recuperation of heteronormativity…which might add more evidence to a Bury Your Gays claim, oops.

And that is because, in the end, after we see Jamie screaming into the water and Dani forever interred at the bottom of the lake in which she drowned herself, we come to the end of Jamie’s story and return to Bly Manor’s frame narrative: Flora’s wedding.

At the start of the show, the evening of Flora and Unnamed Man’s (Wikipedia says his name is James? idk, w/e) rehearsal dinner provides the occasion and impetus for Jamie’s storytelling. Following dinner, Flora, her fiancé, and their guests gather around a fireplace and discuss a ghost story about the venue, a former convent. With a captive audience that includes her primary targets—Flora and Miles, who have forgotten what happened at Bly and, by extension, all that Dani sacrificed and that Jamie lost so that they could live their lives free of the trauma of what transpired—and with a topically relevant conversation already ongoing, Jamie interjects that she has a ghost story of her own to share…and thus, the show’s longer, secondary narrative begins.

When Jamie’s tale winds to a close at the end of the ninth episode, the show returns us to its frame, that scene in front of the cozy, crackling fire. And it is there that we learn that it is, in fact, Jamie who has been telling us this story all along.

As the other guests trickle away, Flora stays behind to talk to Jamie on her own. A critical conversation then ensues between them, which functions not only as Jamie’s shared wisdom to Flora, but also as the show’s attempt to lead viewers through what they’ve just experienced and thereby impart its core message about the secondary narrative. The frame narrative is, thus, also a direct address to the audience that tells us what we should take away from the experience. By this point, the show has thoroughly established that Jamie is a gentle-but-tough-love, knowledgeable, and trustworthy guide through the trials of accepting grief and mortality, and so it is Jamie who leaves Flora and us, the audience, with the show’s final word about how to treasure the people we love while they are still in our lives and how to grieve them if we survive beyond them. (But, by this point in this essay, we’ve also learned that Bly’s messages about grief and mortality are beautiful but also messy and unconvincing, even with this didactic ending moment).

With all of this in mind, we can (and should) ask some additional questions of the frame narrative.

One of those questions is: Why is the secondary narrative being told from/within this particular frame?

Answering this question within the show’s diegesis (by asking it of the narrator) is easy enough. Jamie is performing a memorialization of Dani’s life and sacrifice at an event where her intended audience happens to be gathered, ensuring that Miles and Flora begin to recognize what Dani did for them in a manner that maybe won’t just outright traumatize them.

Okay, sure, yeah. True. Not wrong.

But let’s interrogate this question more deeply—let’s ask it of the show itself. So, Bly Manor: Why is the secondary narrative being told from/within this particular frame?

We could also tweak this question a bit to further consider: What is the purpose of the frame? A frame narrative can function to shape audiences’ interpretations of and attitudes towards the secondary narrative. So, in this case, let’s make our line of questioning even more specific. What does the frame of Flora’s wedding do for Bly’s audiences?

Crucially, the framing scene at the fireplace provides us with a sense that we’ve returned to safety after the horror of the ghost story we’ve just experienced. To further assure us of this safety, then, Bly’s frame aims to restore a sense of normality, a sense that the threat that has provoked fear in us has been neutralized, a sense of hope that endures beyond tragedy. Indeed, as we fade from the secondary narrative and return to the frame, Jamie’s narration emphasizes how Dani’s selfless death has brought peace to Bly Manor by breaking its cycles of violence and trauma: “But she won’t be hollow or empty, and she won’t pull others to her fate. She will merely walk the grounds of Bly, harmless as a dove for all of her days, leaving the only trace of who she once was in the memory of the woman who loved her most.”

What Dani has accomplished with her self-sacrifice, then, is a longstanding, prevailing, expected staple of Western—and especially American—storytelling: redemption.

American media is rife with examples of this narrative formula (in which an individual must take selfless action—which may or may not involve self-sacrificial death—in order to redeem an imperiled community by restoring a threatened order) to an extent that is kind of impossible to overstate. Variations of this formula are everywhere, from film to television to comics to videogames to news reports. It is absolutely fundamental to our cultural understandings of what “heroism” means. And it’s been this way for, umm…a long time, largely thanks to that most foundational figure of Western myth, some guy who was crucified for everybody’s sins or something. (Well, that and the related popularization of Joseph Campbell’s hero’s journey, but…I’m not gonna go off onto a whole rant about that right now, this essay is already too long as it is).

In Bly Manor, the threatened order is the natural process of death itself, which Viola has disrupted with a gravity well that traps souls and keeps them suspended within physical proximity of the manor. Dani’s invitation to Viola is the initial step towards salvation (although, I think it’s important to note that this is not entirely intentional on Dani’s part. Jamie’s narration indicates that Dani didn’t entirely understand what she was doing with the “It’s you, it’s me, it’s us” invitation, so self-sacrifice was not necessarily her initial goal). It nullifies the gravity well and resumes the passage of death, which liberates all of the souls that have been trapped at Bly and also produces additional opportunities for others’ atonements (e.g. Peter’s apology to Miles; Henry’s guardianship of the children). But it’s Dani’s suicide that is the ultimate completion of the redemptive task. It is only by “giving herself to the lake” that Dani is able to definitively dispel Viola’s threat and confer redemptive peace to Bly Manor.

It’s tempting to celebrate this incredibly rare instance of a queer woman in the heroic-redemptive role, given that American media overwhelmingly reserve it for straight men. But I want to strongly advise that we resist this temptation. Frankly, there’s a lot about the conventional heroic-redemptive narrative formula that sucks, and I’d rather that we work to advocate for other kinds of narratives, instead of just championing more “diversity” within this stuffy old model of heroism. Explaining what sucks about this formula is beyond the purview of this essay, though. But my next point might help to illustrate part of why it sucks (spoiler: it’s because it tends to prop up traditional, dominant structures of power and relationality).

So…What I want us to do is entertain the possibility that Dani’s redemptive self-sacrifice might serve specific purposes for straight audiences, especially in the return to the frame at the end.

Across The Haunting of Bly Manor, we’ve seen ample examples of heterosexuality gone awry. The show has repeatedly called our attention to the flaws and failings of heterosexual relationships against the carefully cultivated safety, open communication, and mutual fulfillment of a queer romance between two women. But, while queer audiences may celebrate this about this show, for straight audiences, this whole situation might just wind up producing anxiety instead—as though heterosexuality is also a threatened order within the world of Bly Manor. More generally, asking straight audiences to connect with a queer couple as the show’s main protagonists is an unaccustomed challenge with which they’re not normally tasked; thus, the show risks leaving this dominant viewer base uncomfortable, threatened, and resentful, sitting with the looming question of whether heterosexuality is, itself, redeemable.

In answer to this, Dani’s self-sacrifice provides multiple assurances to straight audiences. To begin with, her assumption of the traditional heroic-redemptive role secures audiences within the familiar confines of that narrative formula, which also then promises that Dani is acting as a protector of threatened status quos and not as another source of peril. What Bly Manor is doing here is, in effect, acknowledging that it may have challenged (and even threatened) straight audiences with its centerpiece of a queer romance—and that, likewise, queers themselves may be challenging the status quos of romantic partnerships by, for instance, demanding marriage rights and improvements in media representations—while also emphatically reassuring those audiences in the wake of that challenge that Dani and Jamie haven’t created and aren’t going to create too much disturbance with their queerness. They’re really not that threatening, Bly swears. They’re harmless as a dove. They’re wholesome. They’re respectable. They—and queer folks more generally—aren’t going to totally upend everything, really. Look, they’ll even sacrifice themselves to save everyone and redeem imperiled communities and threatened orders—even heterosexuality itself!

A critical step towards achieving this assurance is the leveling of the playing field. In order for the show to neutralize the threat of queerness for straight audiences, comfort them with a return to safety, and promise them that heterosexuality is redeemable, the queer women need to have an on-screen tragic end to their relationship just like all of the straight couples have. And so, Dani must die and Jamie must grieve.

That accomplished, the show then immediately returns to the frame, the scene at the fireplace following Flora’s rehearsal dinner.

There—after we’ve witnessed so much queer joy and queer tragedy crammed into this final episode—we see Flora and her fiancé, bride and groom, sitting together, arms linked, taking in all that Jamie has to tell them. And with this warm, idyllic image of impending matrimony between man and wife, the safety to which straight audiences return in the frame is, therefore, also the safety of a heterosexuality that can find its redemption through Dani’s self-sacrifice. Not only does Dani’s death mean that Flora can live (and go on to marry her perfectly bland, unremarkable husband, all without the trauma of what happened at Bly), but it also means that she—and, with her, straight audiences—can ultimately benefit from the lessons about true love, loss, and grieving that Dani’s self-sacrifice and Jamie’s story bestow.

And so, Bly Manor concludes with a valorization of redemptive self-sacrifice and an anodyne recuperation of heteronormativity, bequeathing Flora with the opportunities to have and to hold the experiential knowledge that Dani and Jamie have provided for her. Here, queer tragedy serves up an educational opportunity for heterosexual audiences in a challengingly “inclusive,” but otherwise essentially non-threatening manner. The ending is a gentle, non-traumatizing, yet frank lesson to heterosexual audiences in the same way that Jamie’s story is a gentle, non-traumatizing, yet frank lesson to Flora.

Did the show’s creators intentionally do all of this to set about providing such assurances to straight audiences? Maybe. Maybe not. I don’t really know—or care! But, especially in light of incidents like the recent “Suletta and Miorine’s relationship is up to interpretation” controversy following the Gundam: Witch from Mercury finale, I absolutely do not put it past media corporations and content creators to very intentionally take steps to prioritize the comfort of straight audiences against the threats of queer love. And anyway, intentional or not, all of this still has effects and implications loaded with meaning, as I have tried to account for here.

Honestly, though, I can’t quite shake the feeling that there’s some tension between Jamie, Owen, and maybe also Henry about Jamie’s decision to publicly share Dani’s story in front of Flora and Miles. Owen’s abrupt declaration that it’s getting late and that they should wrap up seems like an intervention—like he’s been as patient and understanding as he possibly could up to that point, but now, he’s finally having to put a stop to Jamie’s deviance. I can’t help but read the meaningful stares that pass between them at both ends of the frame as a complex mixture of compassion and fraught disagreement (and I wish that the show had done more with this). The scene where Dani and Jamie visit Owen at his restaurant seems to set up the potential for this unspoken dispute. By their expressions and mannerisms (Dani’s stony stare; the protective way that Jamie holds her as her own gaze is locked on Dani), it’s clear that Dani and Jamie are aghast that Flora and Miles have forgotten what happened and that Owen believes that they should just be able to live their lives without that knowledge. And it’s also clear, by her very telling of Dani’s story, that Jamie disagrees with him. Maybe I’m over-imposing my own attitudes here, but I’m left with the impression that Jamie resents the coddling of Miles and Flora just like I’m resenting the coddling of straight audiences…that Jamie resents that she and Dani have had to give up everything so that Miles and Flora can continue living their privileged lives just like I’m resenting the exploitation of queer tragedy for the sake preserving straight innocence. (As Jamie says to Hannah when Dani puts the children to work in the garden: “You can’t give them a pass forever.” Disclaimer: I’m not saying that I want Miles and Flora to be traumatized, but I am saying that I agree with Jamie, because hiding traumatic shit is not how to resolve inter-generational trauma. Anyway—).

Also, I don’t know about y’all, but I find Flora and Jamie’s concluding conversation to be super cringe. Maybe it’s because I’m gay and just have way too much firsthand experience with this sort of thing from my own comphet past, but Flora’s whole “I just keep thinking about that silly, gorgeous, insane man I’m marrying tomorrow. I love him. More than I ever thought I could love anybody. And the crazy thing is, he loves me the same exact amount,” spiel just absolutely screams “woman who is having to do all of the emotional work in her relationship with an absolutely dull, mediocre, emotionally illiterate man and is desperately trying to convince herself that he does, in fact, love her as much as she (believes) that she loves him.”

I feel like this is a parody of straightness?? Is this actually sincere??

This is what Dani gave up her life to redeem??

To me, this is just more bleak shit that Bly leaves us with. It is so painful to watch.

Bless.

Okay, so I know that I said that I wasn’t going to offer a definitive yes or no about whether Bly commits Bury Your Gays with Dani’s death, but…after writing all of this out, I’m honestly kinda leaning towards a yes.

But I’m already anticipating that folks are gonna push back against me on this. So I just want to humbly submit, again, that Bly could have just not done this. It could have just not portrayed Dani’s death at all.

To really drive this point home, then, I’m going to conclude this essay by suggesting just a few ways that The Haunting of Bly Manor could have ended without Dani’s self-sacrificial death—or without depicting her death on-screen at all.

Bly Manor Could Have Ended Differently

Mike Flanagan—creator, director, writer, editor, executive producer, showrunner, etc. of The Haunting of Bly Manor—has stated that he believes that the show’s ending is a happy one.

I, on the other hand, believe that Bly’s ending is…not. In my view, the way that the ending treats Dani is unnecessarily cruel and exploitative. “Happy ending”—really? If I let myself be cynical about it (which I do), I honestly think that Dani’s death is a pretty damn transparent effort to squeeze out some tears with a sloppy, mawkish, feel-good veneer slapped over it. And if we peel back that veneer and look under it, what we find is quite bleak.

To be fair, for a psychological horror show that’s so centrally about grief and trauma, Bly Manor does seem to profess an incredibly strong sense of hopefulness. Underlying the entirety of the show is a profound faith in all the good and beauty that can come from human connection, however fleeting our lives may be—and even if we make a ton of dumb, awful mistakes along the way. If I’m being less cynical about it, I do also think that the show’s ending strives to demonstrate a peak expression of this conviction. But—at least in my opinion—it doesn’t succeed in this goal. In my writing of this essay, I’ve come to believe that the show instead ends in a state of despair that is at odds with what it appears to want to achieve.

So, in this final section, I’m going to offer up a few possibilities for ways that the show could have ended that maybe wouldn’t have so thoroughly undermined its own attempted messages.

Now, if I were actually going to fix the ending of The Haunting of Bly Manor, I would honestly overhaul a ton of the show to arrive at something completely different. But I’m not going to go through all the trouble of rewriting the entire show here, lol. Instead, I’m going to work with most of what’s already there, leading out from Viola’s possession of Dani (even though I don’t actually like that part of the show either – maybe someday I’ll write about other implications of Viola’s possession of Dani beyond these allegorical readings, but not right now). I’m also going to try to adhere to some of the show’s core themes and build on some of the allegorical possibilities that are already in place. Granted, the ideas that I pose here wouldn’t fix everything, by any stretch of the imagination; but they would, at least (I hope), mitigate some of the issues that I’ve outlined over the course of this essay. And one way or another, I hope that they’ll help to demonstrate that Dani’s self-sacrificial death was completely unnecessary. (Seriously, just not including Dani’s death would’ve enabled the show to completely dodge the question of Bury Your Gays and would’ve otherwise gone a long way towards avoiding the problems with the show’s queer representation).

So, here's how this is going to work. First, I’m going to pose a few general, guiding questions before then proposing an overarching thematic modification that expands on an idea that’s already prominent across the show. This will then serve as the groundwork for two alternative scenarios. I’m not going to go super into detail with either of these alternatives; mostly, I just want to demonstrate that the show that could’ve easily replaced the situation leading to Dani drowning herself. (For the record, I also think that the show could’ve benefitted from having at least one additional episode—and from some timing and pacing restructuring otherwise. So, before anybody tries an excuse like “but this wouldn’t fit into the last episode,” I want to urge that we imagine these possibilities beyond that limitation).

Let’s start off by returning to a point that I raised in the earlier conversation about grief and acceptance: the trickiness of Viola’s “acceptance.”

What Viola “accepts” in the end aren’t her losses or her own mortality, but Dani’s desperate, last-ditch-effort invitation to inhabit her. Within the show’s extant ending, Viola never actually comes to any kind of acceptance otherwise. Dani’s suicide effectively forces her dissolution, eradicating her persistent presence through the redemptive power of self-sacrifice. But in all of my viewings of the show and in all of my efforts to think through and write about it, there’s a question that’s been bugging me to no end: Why does Viola accept Dani’s invitation in the first place?

We know that Peter figured out the “it’s you, it’s me, it’s us” trick in his desperation to return to some form of life and to leave the grounds of Bly Manor. But…what is the appeal of it for Viola? How do her own motivations factor into it? For so long, Viola’s soul has been tenaciously persisting at Bly all so that she can repeatedly return to the physical locus of her connection with her husband and daughter, their shared bedroom in the manor. She’s done this for so long that she no longer even remembers why she’s doing it—she just goes back there to grab whatever child she can find and strangles whoever happens to get in her way. So what would compel her to accept Dani’s invitation? What does she get out of it—and what does she want out of it? What does her acceptance mean? And why, then, does her acceptance result in the dissipation of the gravity well?

We can conjecture, certainly. But the show doesn’t actually provide answers to these questions. Indeed, one of the other major criticisms that I have of Bly is that it confines all of Viola’s development to the eighth episode alone. I really think that it needed to have done way more to characterize her threat and at least gestureat her history sooner, rather than leaving it all to that penultimate episode, interrupting and drawing out the exact moment when she’s about to kill Dani. (Like, after centuries of Viola indiscriminately killing people, and with so many ghosts that’ve been loitering around for so long because of that, wouldn’t Bly Manor have rampant ghost stories floating around about it by the time Dani arrives? But there’s only one minor suggestion of that possibility: Henry indicating that he might’ve met a soldier ghost once. That’s it. And on that note, all of the ghosts at the manor needed to have had more screentime and development, really). Further, it’s disappointing that the show devotes that entire eighth episode to accounting for Viola’s motivations, only to then reduce her to Big, Bad, Unspeakable Evil in the final episode, with no rhyme or reason for what she’s doing, all so that she can necessitate Dani’s death.

As we continue pondering these unanswered questions, there’s also another issue that I want to raise, which the show abandons only as an oblique, obscure consideration. And that is: How the hell did Jamie acquire all that extensive knowledge about Viola, the ghosts of the manor, and all that happened, such that she is able to tell Bly’sstory in such rich detail? My own sort of headcanon answer to this is that Viola’s possession of Dani somehow enabled Viola to regain some of her own memories—as well as, perhaps, a more extended, yet also limited awareness of the enduring consciousnesses of the other ghosts—while also, in turn, giving Dani access to them, too. Dani then could have divulged what she learned to Jamie, which would account for how Jamie knows so much. I bring this up because it provides one possible response to the question of “What does Viola get out of her possession of Dani?” (especially given the significant weight that the show places on the retention of one’s memories—more on this in a moment) and because this is an important basis for both of my proposed alternative scenarios.

Before we dig into those alternative scenarios, however, there’s also a thematic modification that I want to suggest, which would help to provide another answer to “What does Viola get out of her possession of Dani?” while also alleviating the issues that lead into the valorization of Dani’s suicide. That thematic modification involves how the show defines love. Although Bly’s sustained contrasts between love and possession have some valuable elements, I think that the ending would’ve benefitted from downplaying the love vs. possession theme (which is where we run into so much trouble with Dani’s self-sacrifice, and which has also resulted in some celebratory conflations between “selflessness” and self-sacrifice that I’ve seen crop up in commentary about the show—but, y’all, self-sacrifice is not something to celebrate in romantic partnerships, so please, please be careful idolizing that) to instead play up a different theme: the idea that love is the experience of feeling such safety and security with another person that we can find opportunities for peace by being with them.

Seeking peace—and people with whom to feel safe enough to share traumas and experience peace—is a theme that already runs rampant across the show, so this modification is really just a matter of accentuating it differently. It’s also closely linked to the moving through grief theme that we’ve already discussed at length, as numerous characters in Bly express desires for solitude with loved ones as a way of finding relief and healing from their pain, grief, and trauma. (And I suspect that I latched onto this because I have desperately wanted peace, calm, and stillness in the midst of my own acute, compounding traumas…and because my own former romantic partner was obviously not someone with whom I felt safe enough to experience the kind of peace that would’ve allowed me to begin the process of healing).

We run into this idea early in the development of Jamie and Dani’s romance, as narrator Jamie explains in the scene leading up to their first kiss, “The au pair was tired. She’d been tired for so long. Yet without even realizing she was doing it, she found herself taking her own advice that she’d given to Miles. She’d chosen someone to keep close to her that she could feel tired around.” Following this moment, at the beginning of Episode 5, narrator Jamie then foregrounds Hannah’s search for peace (“The housekeeper knew, more than most, that deep experience was never peaceful. And because she knew this ever since she’d first called Bly home, she would always find her way back to peace within her daily routine, and it had always worked”), which calls our attention to the ways that Hannah has been retreating into her memory of her first meeting with Owen as a crucial site of peace against the shock of her own death. Grown-up Flora even gushes about “that easy silence you only get with your forever person who loves you as much as you love them” when she’s getting all teary at Jamie about her husband-to-be.

Of course, this theme is already actively at work in the show’s conclusion as well. During her “beast in the jungle” monologue, Dani tells Jamie that she feels Viola “in here. It’s so quiet…it’s so quiet. She’s in here. And this part of her that’s in here, it isn’t…peaceful.” As such, Viola’s whole entire issue is that, after all those centuries, she has not only refused to accept her own death, but she’s likewise never been at peace—she’s still not at peace. Against Viola’s unpeaceful presence, however, Dani does find peace in her life with Jamie…at least temporarily, until Viola’s continued refusal of peace leads to Dani’s self-destructive sense of fatalism. Still, in her replacement of Viola as the new Lady of the Lake, Dani exists as a prevailing force of peace (she’s “harmless as a dove”); however, incidentally, she only accomplishes this through the decidedly non-peaceful, violent act of taking her own life.

But…what if that hadn’t been the case?

What if, instead, the peace that Dani finds in her beautiful, queer, non-self-sacrificing existence with Jamie had also enabled Viola to find some sense of peace of her own? What if, through her inhabitation of Dani, Viola managed to, like…calm the fuck down some? What if Dani’s safety and solitude worked to at least somewhat assuage Viola’s rage—and even guide her towards some other form of acceptance?

Depending on how this developed, the show could’ve borne out the potential for a much more subversive conclusion than what we actually got. Rather than All-Consuming-Evil Viola’s forced dissolution through the violence of Dani’s redemptive self-sacrifice (and its attendant recuperation of heteronormativity), we could’ve instead had the makings of a narrative about sapphic love as a source of healing that’s capable of breaking cycles of violence and trauma. And I think that it would’ve been possible for the show to accomplish this without a purely “happy” ending in which everything was just magically fine, and all the trauma dissipated, and there were no problems in the world ever again. The show could have, in fact, managed this while preserving the allegorical possibilities of Viola’s presence as mental and/or terminal illness.

But, before I can start describing how this could’ve happened, there’s one last little outstanding problem that I need to address. In the video essay that I cited earlier, Rowan Ellis suggests that there are limitations to the “Viola as a stand-in for mental/terminal illness” reading of the show because of the fact that Dani invites Viola into herself and, therefore, willingly brings on her own suffering. But I don’t think that this is quite the case or that it interferes with these allegorical readings. As I’ve already mentioned at various points, Dani doesn’t entirely understand the implications of what she’s doing when she issues her invitation to Viola; and even so, the invitation is still a matter of a dubious consent that evidently cannot be withdrawn once initially granted—at the absolute most generous characterization. Dani’s invitation is a snap decision, a frantic attempt to save Flora after everyone and everything else has failed. Consequently, we don’t necessarily have to construe Viola’s presence in Dani’s life as a matter of Dani “willingly inviting her own suffering,” but can instead understand it as the wounds and traumas that persist after Dani has risked her life to rescue Flora. In this way, the show could have also challenged the traditional heroic-redemptive narrative formula by offering a more explicit commentary on the all-too-often unseen ramifications of selflessly “heroic” actions (instead of just heedlessly perpetuating their glorification and, with them, self-sacrifice). Dani may have saved Flora—but at what cost to herself? What long-term toll might this lasting trauma exact on her?

And with that, we move into my two alternative ending scenarios.

Alternative Ending 1: Progressive Memory Loss

Memory and its loss are such significant themes in Bly Manor that theycould use an essay all their own.

I am, however, going to refrain from writing such an essay at this moment in time (I’m already super tired from writing this one, lol).

Still, the first of my alternative scenarios would bring these major themes full-circle—and would make Jamie eat her words.

In this alternative scenario, Viola would find some sense of peace—even if fraught and, at times, tumultuous—in her possession of Dani. As her rage subsides, she is even able to regain fragmented pieces of her own memory, which Dani is also able to experience. The restoration of Viola’s memory, albeit vague and scattered, leads Dani to try to learn even more about Viola’s history at Bly in an effort to at least partially fill in the gaps. As time goes on, though, Viola’s co-habitation within Dani’s consciousness leads to the steady degradation of Dani’s own memory. The reclamation of Viola’s memories would occur, then, concomitant with a steady erosion of both herself and Dani. Thus, Dani would still undergo an inexorable decline across the show’s ending, but one more explicitly akin to degenerative neurological diseases associated with aging, accentuating the “Viola as terminal illness” allegory while also still carrying resonances of the residual reverberations of trauma (given that memory loss is often a common consequence of acute trauma). Jamie would take on the role of Dani’s caregiver, mirroring and more directly illuminating the role that Owen plays for his mother earlier in the show. By the show’s conclusion, Dani would still be alive, including during the course of the frame narrative.

I mentioned earlier in this essay that I’ve endured even more trauma and grief since my brother’s death and since my breakup with my ex-fiancé. So, I’ll share another piece of it with you now: shortly after my breakup, my dad was diagnosed with one of those degenerative neurological diseases that I listed way back at the very beginning. I moved home not only to get away from my ex, but also to become a caregiver. In the time that I’ve been home, I’ve had no choice but to behold my dad’s continuous, irreversible decline and his indescribable suffering. He has further health issues, including a form of cancer. As a result, he now harbors a sense of fatalism that he’ll never be able to reconcile—he does not have the cognitive capacities to address his despair or turn it into some other form of acceptance. He is merely, in essence, awaiting his death. Hence, fatalism is something that I have had to “accept” as a regular component of my own life. (In light of this situation, you may be wondering if I have thoughts and opinions on medical aid in dying, given all that I have had to say so far about fatalism and suicide. And the answer is yes, I do have thoughts and opinions…but they are complex, and I don’t really want to try to account for them here).

Indeed, I live in a suspended, indefinite state of grieving. Day in and day out, I watch my father perish before my eyes, anticipating the blow of fresh grief that will strike when he dies. I watch my mother’s grief. I watch my father’s grief. He forgets about the symptoms of his disease; he looks up his disease to try to learn about it; he re-discovers his inevitable demise anew; the grieving process restarts again. (“She would wake, she would walk, she would forget […] and she would fade and fade and fade”).

What, then, does acceptance look like when grief is so ongoing and so protracted?

What does acceptance look like in the absence of any possibility of acceptance?

Kübler-Ross’s “five stages of grief” model has been a meaningful guide for countless folks in their efforts to navigate grief and loss. Yet, the model has also been subject to a great deal of critique. Critics have accused the model of, among other things, suggesting that grieving is a linear process, whereby a person moves from one stage to the next and then ends conclusively at acceptance (when grieving is, in fact, an incredibly uneven, nonlinear, and inconclusive process). Relatedly, they have also called attention to the fact that the model commonly gets used prescriptively in ways that usher grieving folks towards the end goal of acceptance and cast judgment on those who do not reach that stage. These are criticisms that I would level at Bly’s application of Kübler-Ross as well. Earlier, we thoroughly covered the show’sissues with grief and acceptance as major themes; but in addition to those issues, Bly alsotends to steer its characters towards abrupt endpoints of acceptance, while doling out punishments to those who “refuse” to accept. At root, there are normative ascriptions at work in the show’s very characterization of deferred acceptance as refusal and acceptance itself as an active choice that one has to make.

This alternative ending, then, would have the potential to challenge and complicate the show’s handling of grief by approaching Jamie’s grieving and Dani’s fatalism from very different angles. As Dani’s caregiver, Jamie would encounter and negotiate grief in ongoing and processual ways, which would continue to evolve as her wife’s condition worsens and her caregiving responsibilities mount, thereby lending new layers of meaning to the message that “To truly love another person is to accept that the work of loving them is worth the pain of losing them.” Dani’s fatalism here could also serve as a different interpretation of James’s Beast in the Jungle; perhaps her sense of fatalism ebbs and flows, morphs and contorts along with the progression of her memory loss as she anticipates the gradual whittling-away of her selfhood—or even forgets that inevitability entirely. Still a tragic, heart-rending ending to the show, this scenario may not have the dramatic force of Jamie screaming into the waters of the lake, but it would be a relatable depiction of the ways that many real-life romances conclude. (And, having witnessed the extent of my mom’s ongoing caregiving for my dad, lemme tell ya: if y’all really want a portrayal of selflessness in romantic partnerships, I can think of nothing more selfless than caring for one’s terminally ill partner across their gradual death).

Additionally, this scenario could allow the show to maintain the frame narrative, while also packing fresh complexities into it.

Perhaps, in this case, Dani is still alive, but Jamie has come to Flora’s wedding alone, leaving Dani with in-home caregivers or within assisted living or some such. She comes there determined to ensure that Miles and Flora regain at least some awareness of what Dani did for them—that they remember her. The act of telling Dani’s story, then, becomes not only the performance of a mourning ritual, but also a vital way of preserving and perpetuating Dani’s memory where both the children and Dani, herself, can no longer remember. To be sure, such purposes already compel Jamie’s storytelling in the show: Narrator Jamie indicates that the new Lady of the Lake will eventually lose her recollection of the life she had with the gardener, “leaving the only trace of who she once was in the memory of the woman who loved her most.” But in the context of a conclusion so focused on memory loss, this statement would take on new dimensions of import. In this way, the frame narrative might also more forcefully prompt us, the audience, to reflect on the waysthat we can carry on the memories of our loved ones by telling their stories—and also, maybe, the responsibilities that we may have to do so. “Almost no one even remembers how she was when her mind hadn’t gone,” Jamie remarks after returning from Owen’s mother’s funeral, a subtle indictment of just how easily we can lose our own memories of those who suffer from conditions like dementia—how easily we can fail to carry on the stories of the people they were before and to keep their memories alive. (“We are all just stories in the end,” Olivia Crain emphasizes during the eulogy for Shirl’s kitten in The Haunting of Hill House. In fact, there’re some interesting comparative analyses we could do about storytelling and the responsibilities incumbent on storytellers between these two Flanagan shows).

Along those lines, I think that this would’ve been an excellent opportunity for the show to exacerbate and foreground those latent tensions between Jamie and Owen (and maybe also Henry) about whether to share Dani’s story with the now-adult children.

In the show’s explorations of memory loss, there’re already some interesting but largely neglected undercurrents churning around about the idea that maybe losing one’s memory isn’t just a curse or a heartbreaking misfortune (as it is for Viola, the ghosts of Bly Manor, and Owen’s mother), but can, in certain circumstances, be a blessing. Bly implies—via Owen and the frame narrative—that Miles and Flora have been able to flourish in their lives because they have forgotten what happened at Bly and still remain blissfully unaware of it…which, to be clear, is only possible because of the sacrifices that Dani and Jamie have made. But this situation raises, and leaves floating there, a bunch of questions about the responsibilities we have to impart traumatic histories to younger generations—whether interpersonally (e.g. within families) or societally (e.g. in history classrooms). Cycles of trauma don’t end by shielding younger generations from the past; they especially don’t end by forcing impacted, oppressed, traumatized populations (e.g. queer folks) to shoulder the burdens of trauma on their own for the sake of protecting another population’s innocent ignorance. But how do we impart traumatic histories? How do we do so responsibly, compassionately, in ways that respect those harrowing pasts—and those who lived them, those most directly impacted by them—without actively causing harm to receiving audiences? On the other hand, if we over-privilege the innocence of those who have forgotten or those who weren’t directly impacted, what do we lose and what do we risk by not having frank, open conversations about traumatic histories?

As it stands, I think that Bly is remiss in the way it tosses out these issues, but never actually does anything with them. It could have done much, much more. In this alternate ending, then, there could be some productive disagreement among Jamie, Owen, and Henry about whether to tell Flora and Miles, what to tell them, how to tell them. Perhaps, in her seizing of the conversation and her launching of the story in such a public way, Jamie has taken matters into her own hands and has done so in a way that Owen and Henry can’t easily derail. Perhaps Owen sympathizes but does, indeed, abruptly cut her off just before her audience can completely connect the dots. Perhaps Henry is conflicted and doesn’t take a stand—or perhaps he does. Perhaps we find out that Henry had been torn about whether to even invite Jamie because of the possibility of something like this happening. Or, perhaps Henry wants the children to know and believes that they should hear Dani’s story from Jamie. Perhaps we see scenes of past quarrels between Jamie and Owen, Owen and Henry. Perhaps, once the story has ended, we see a brief aftermath conversation between Owen and Jamie about what Jamie has done, their speculations about how it may impact Miles and Flora. Perhaps the show presents these conversations in ways that challenge us to reflect on them, even if it does not provide conclusive answers to the questions it raises, and even if it leaves these conflicts open-ended, largely unresolved.

Alternative Ending 2: Living with the Trauma

If Bly’s creators had wanted Viola’s inhabitation of Dani to represent the ongoing struggles of living—and loving someone—with severe mental illness and trauma, they could have also just…done that? Like, they could have just portrayed Jamie and Dani living their lives together and dealing with Viola along the way. They could have just let that be it. It wouldn’t have been necessary to include Dani’s death within the show’s depicted timeline at all.

The show could’ve more closely aligned its treatment of Dani’s fatalism with James’s Beast in the Jungle—but with, perhaps, a bit more of a hopeful spin. Perhaps, early on, Dani is convinced that her demise is imminent and incontrovertible, much as we already see in the final episode’s diner scene. For a while, this outlook continues to dominate her existence in ways that interfere with her daily functioning and her relationship with Jamie. Perhaps there’s an equivalent of the flooded bathtub scene, but it happens much earlier in the progression of their partnership: Dani despairs, and Jamie is there to reinforce her commitment to staying with Dani through it all, much like her extant “If you can’t feel anything, then I’ll feel everything for the both of us” remarks. But maybe, as a result of this, Dani comes to a realization much like The Beast in the Jungle’s John Marcher—but one that enables her to act on her newfound understanding, an opportunity that Marcher never finds before it’s too late. Maybe she realizes that her fatalism has been causing her to miss out on really, truly embracing the life that she and Jamie have been forging together, thus echoing the show’s earlier points about how unresolved trauma can impede our cultivation of meaningful relationships. Maybe she realizes that her life with Jamie has been passing her by while she’s remained so convinced that Viola will claim that life at any moment. Maybe she comes to understand that her perpetual sense of dread has been hurting Jamie—that Jamie needs her in the same ways that she needs Jamie, but that Dani’s ever-present sense of doom has been preventing her from providing for those needs. And maybe this leads to a re-framing of the “you, me, us,” conceit, with a scene in which Dani acknowledges the extent to which her fatalism has been dictating their lives; in light of this acknowledgement, she and Jamie resolve—together—to continue supporting each other as they navigate Viola’s lasting influences on their lives.

By making this suggestion, I once again do not want to seem like I’m advocating that “Dani should fight back against Viola” (or, in other words, that “Dani should fight harder to win the battle against her mental illness”). But I do want to direct us back to a point that I raised at the very beginning: grieving, traumatized, and mentally ill folks can, indeed, cause harm to our loved ones. Our grief, trauma, and mental illness don’t excuse that fact. But what that means is that we have to take responsibility for our harmful actions. What it absolutely does not mean is that our harms are inevitable or that our loved ones would be better off without us.It means recognizing that we still matter and have value to others, despite the narratives we craft to try to convince ourselves otherwise. It means acknowledging the wounds that fatalistic, “everybody is better without me” assumptions can inflict. It means identifying the ways that we can support and care for our loved ones, even through our own struggles with our mental health.

“Fighting harder to win the battle against mental illness” is a callous and downright incorrect framing of the matter; but there are, nevertheless, intentional steps that we must take to heal from trauma, to receive treatment for our mental illnesses, to care for ourselves, to care for our loved ones. For instance…the very process of writing this essay incited me to do a lot of reflecting on the self-defeating narratives that I have been telling myself about my mental health and my relationships with others. And that, in turn, incited me to do some course-correcting. I thought about how much I want to work towards healing, however convoluted and intricate that process may be. I thought about how I want to support my family. How I want to foster a robust social support network, such that I feel a genuine sense of community. How I want to be an attentive friend. How, someday, if I’m fortunate enough to have a girlfriend, I want to be a caring, present, and equal partner to her; I want to emotionally nourish her through life’s trials and turmoil, not just expect her to provide that emotional nourishment for me. I started writing this essay in August; and since then, because of it, I’ve held myself accountable by reaching out to friends, spending time with them, trying to support them. I’ve also managed to get myself, finally, to start therapy. And my therapist is already helping me address those self-defeating narratives that have led me to believe that I’m just a burden on my friends. So, y’know, I’m workin’ on it.

But it ain’t pretty. And it also ain’t a linear upward trajectory of consistent improvement. It’s messy. Sometimes, frankly, it’s real ugly.

It could be for Dani, too.

Even with her decision to accept the certainties and uncertainties of Viola’s intrusive presence in her life, to live her life as best she can in the face of it all, perhaps Dani still struggles from day to day. Perhaps some days are better than others. Perhaps Viola, as I suggested earlier, begins finding some modicum of peace through her possession of Dani; nonetheless, her rage and disquiet never entirely subside, and they still periodically overtake Dani. Perhaps Dani improves, only to then backslide, only to then find ways to stabilize once again. In this way, the show could’ve more precisely portrayed the muddled, tumultuous lastingness of grief and trauma throughout a lifetime—without concluding that struggle with a valorized suicide.

Such portrayals are not unprecedented in horror. As I contemplated this ending possibility, I couldn’t help but think of The Babadook (2014), another piece of horror media whose monster carries allegorical import as a representation of the endurance and obtrusion of unresolved trauma. The titular monster doesn’t disappear at the film’s end; Sam emphasizes, in fact, that “you can’t get rid of the Babadook.” And so, even after Amelia has confronted the Babadook and locked him in the basement of the family’s home, he continues to lurk there, still aggressive and threatening to overcome her, but able to be pacified with a bowlful of worms. Like loss and trauma, the Babadook can never be totally ignored or dispelled, only assuaged with necessary, recurrent attention and feedings.

Bly could have easily done something similar with Viola. Perhaps, in the same way that Amelia has to regularly provide the Babadook with an offering of worms, Dani must also “feed” Viola to soothe her rage. What might those feedings look like? What might they consist of? Perhaps Viola draws Dani back to Bly Manor, insisting on revisiting those same sites that have held implacable sway over her for centuries. Perhaps these visits are what permit Dani to gradually learn about Viola: who she was, what she has become, why she has tarried between life and death for so long. Perhaps Dani also learns that these “feedings” agitate Viola for a while, stirring her into fresh furor—but that, in their wake, Viola also settles more deeply and for longer periods. Perhaps they necessitate that Dani and Jamie both directly confront their own traumas, bring them to the surface, attend to them. Perhaps, together, they learn how to navigate their traumas in productive, mutually supportive ways. Perhaps this is also what quiets Viola over time, even if Dani is never quite sure whether Viola will return to claim her life.

You may be wondering, then, about what happens with the frame narrative in this scenario. If Dani doesn’t meet some tragic demise, what happens to the role and significance of grieving in the act of Jamie’s storytelling? Would Jamie’s storytelling even occur? Wouldn’t Dani just be at Flora’s wedding, too? Would we miss the emotional gut-punch of the reveal of the narrator’s identity at the end?

Perhaps, in this case, the ending removes some of the weight off of the grief theme to instead foreground those troubled deliberations about how to impart traumatic histories (as we covered in the previous scenario). As such, the frame could feature those conflicts between Jamie (and Dani here too this time), Owen, and Henry concerning whether or not to tell Dani’s story to Miles and Flora. Perhaps Dani decides not to attend the wedding, wary of contributing to this conflict at the scene of what should be a joyous occasion for Flora; perhaps she feels like she can’t even face the children. And then, without Dani there, perhaps an overwrought Jamie jumps into the story when the opportunity presents itself—whether impulsively or premeditatedly.

Or…Perhaps the show could’ve just scrapped the frame at Flora’s wedding and could’ve done something else instead. What might that be? I have no idea! Sky’s the limit.

At any rate, even with these changes, it would’ve still been possible to have the show conclude in a sentimental, tear-jerking way (which seems to be Flanagan’s preference). Perhaps Jamie’s storytelling does spark the return of the children’s memories. Perhaps, as they begin to remember, they reach out to Dani and Jamie, wanting to connect with them, wanting especially to see Dani again. And then, perhaps, the show could’ve ended with a scene of Miles and Flora finally reuniting with Dani—emotional, sweet, and memorable, no valorized suicide or exploitation of queer tragedy needed.

Conclusion

In my writing of this essay—and over the course of the Bly Manor and Hill House rewatches that it inspired—I’ve been finding myself also doing a great deal of reflection about the possibilities and purposes of horror media. I’ve been thinking, in particular, about the potential for the horror genre to provide contained settings in which we can face and explore our deepest fears and traumas in (relatively) safe, controlled ways. Honestly, I think that this is part of why I enjoy Flanagan’s work so much (even if it also enrages me at the same time). If you’ve read this far, you’ll have seen just how profoundly I relate to so much of the subject matter of The Haunting of Bly Manor. It has been extremely meaningful and valuable for me to encounter the show’s depictions of topics like familial trauma, grief, loss, compulsory heterosexuality, caregiving for aging parents, so on, all of which bear so heavily on my own existence. Bly Manor produced opportunities for me to excavate and dig deeply into the worst experiences of and feelings about my life: to look at them, understand them, and give voice to them, when I’m otherwise inclined to bury them into inconspicuous docility.

Even so, the show does not handle these relatable topics as well as it could have. Flanagan and the many contributors to this horror anthology can’t just preach at us about the responsibilities of storytellers; they, too, have responsibilities as storytellers in the communication of these delicate, sensitive, weighty human experiences. And so, to reinforce a point that I made earlier, this is why I’ve written this extensive critique. It’s not because I revile the show and want to condemn it—it��s because I cherish Bly Manor immensely. It’s because I wanted more out of it. It’s because I want to hold it and its creators accountable. It’s because I want folks to think more critically about it (especially after how close I came to unreflectively accepting its messages in my own initial reception of it).

Television usually doesn’t get me this way. It’s been a long time since I was this emotionally attached to a show. So this essay has been my attempt to honor Bly with a careful, meticulous treatment. I appreciate all of the reflection and self-work that it has inspired me to undertake. I’ve wanted to pay my respects in the best way I know how: with close, thorough analysis.

If you’ve read all this mess, thanks for taking the time to do so. I hope that you’ve been able to get something out of it, too.

Representation matters, y’all.

The end.

#the haunting of bly manor #bly manor #thobm #dani clayton #jamie taylor #dani x jamie #damie #sapphic romance #lesbian romance #mental health #compulsory heterosexuality #queer representation #not a fix-it fic but a fix-it essay

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