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plaid-shirtsandvibranium-arms · 3 years

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Nemesis: Retribution (3)

Summary: 10 years after the Avengers had left you for dead during a mission gone wrong, you unexpectedly re-enter their lives. Wholly unrecognizable from the person they used to know and now with a new team behind you, they ask for your help to stop a chain of syndicates who were manufacturing and peddling the super soldier serum. You were determined to say no until the chance at the vengeance you had been chasing for years was added to the offer.

Fandoms: Avengers, Marvel, MCU, The Punisher, Daredevil

Pairings: Female Reader x (Frank Castle, Billy Russo, Matt Murdock, Steve Rogers, Bucky Barnes, Pietro Maximoff)

Warnings: EVENTUAL SMUT. SHAMELESS SEXUAL BEHAVIOURS. (18+ ONLY), polyamorous relationships, reverse harem, blatant disregard for canon timelines and events, lots of angst, Punisher canon level of violence and gore, strong language, mentions of trauma, character death, fluff if you squint

A/N: We’re playing fast and loose with canon here people. Also thank you for the interactions. I love reading what you think and it helps me write the next chapters better. Also, I enjoy having someone to freak out with. Highlight of my life I swear to god. Enjoy!

No permission is granted to repost, steal, or translate my work. Not even a credit makes it okay. Tumblr is the only place I post my writing. If you see it anywhere else please report it.

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1:3 Hard Candy

Natasha stormed off the jet and into the conference room where she knew the rest of the team were waiting for them, fury radiating from her small frame. Catching sight of her target only made her grow angrier. She immediately ran up to Steve and growled up in his face causing him to immediately take a step back. Sam and Bucky were immediately alarmed, standing up to intervene and the latter's black vibranium arm whirring in preparation but Steve held up a hand to stop them.

"What the hell, Rogers? You send me on a mission with zero intel and this is what I find? Did you know?"

Steve's eyes narrowed down at her, the thick beard and longer hair adding even more to his already commanding presence. He knew exactly what Natasha was talking about and he did expect her to react this way.

"I wasn't sure, Nat. And I didn't want to get anyone's hopes up if I was wrong."

"And if you were right?" she scoffed.

Steve swallowed hard before he answered, the blue in his eyes calming considerably. "I thought the three of you deserved to be the first to know."

"What the hell is going on?" Bucky asked, arms crossed on his chest and brows deeply furrowed. They didn't even know about any mission.

Natasha chuckled humorlessly and backed off from Steve. She ran a hand through her hair, the red bleeding into the old blonde color, and gestured toward the door at the approaching people.

"Well you weren't wrong, Steve."

Shock.

That was the overall theme of the day it seemed. None of them could hardly believe that you were actually standing at the doorway. It's been ten long years and you were like the ghost haunting their dreams during that time, a pure and kind soul taken far too soon. Hell, they told stories about your selfless sacrifice to the new recruits. You had unknowingly become a legend.

A legend turned ghost story.

Now you looked more like a nightmare; dried blood caked your clothes and skin, a cold smirk lifting the corner of your lips, and a dangerous unhinged glint in your eyes.

"Well, I'll be damned," Sam breathed. "Y/N?"

"Hey, Sam," you said, the almost flirtatious lilt in your voice sending a shiver down their spines. "I go by Nemesis now."

"Nemesis?" Bucky snapped out of his daze, brows raised high and his jaw clenched, features seen clearer now with his shorter hair. "The notorious mercenary Nemesis?"

"I prefer private contractor."

While they had been honoring your memory, you had been building a ruthless reputation of your own that was widely considered on par in violence with The Punisher but with the added disturbing fact that you could be hired. Of course, no one but a select few knew who you actually were.

Until today.

Nemesis. The Greek goddess of divine retribution and revenge. A name that suited the dark avenging persona you had adapted and the only purpose you now lived for. In a twisted kind of way, you were doing the same work they were only with far less finesse and none of the righteous for the good of mankind purpose they usually had.

You shrugged, sitting yourself casually down on the nearest chair on the other end of the long table from where they stood. You have had a long night, your feet were tired and they were still looking at you with absolute confusion and disbelief. This looked like it would take a while.

You rolled your eyes as you unbuckled your stained bulletproof vest, throwing it haphazardly on the table. You hazarded a glance at each one of them as you made yourself comfortable, noting the changes in them too. The years had given way to a solemn maturity to each one, it seems things had changed for them too.

"Now that I'm here, you have 12 minutes."

"12 minutes? Until what?" Steve stammered.

He couldn't keep his eyes off you, couldn't for the life of him reconcile the person he was seeing in front of him with the person he knew. From your expressions to your movements and even to the tone of your voice, you were just so different and yet it just seemed to make you a more magnetic presence. Fresh guilt washed over him, knowing that he had failed you as your Captain. They should have kept looking for you.

"You'll see. 11 minutes now. Either ask your questions or tell me what you want."

"We all thought you were dead," Steve muttered, taken back by your hostility.

"Well that obviously didn't stick. How did you find me, Cap?"

It was Steve who found you. At first he couldn't believe it was really you, but the split second glimpse he got of your eyes from the body cam on one of the field agents weeks ago drove him to obsessively dig further. It was a shot in the dark when he sent Natasha and the twins on the mission tonight.

"By chance," he admitted. "We've been chasing a group of people suspected to be manufacturing and selling the super soldier serum. Our agents have had a few close encounters with you. I think we're going after the same people."

"So you're asking for intel?" you snorted, absentmindedly picking at the bloodstains on your sleeves.

"No," he said cautiously, wary at how relaxed yet tightly coiled you looked. "I'm offering you your spot back with the team."

You almost choked on the laugh that just escaped your lips. You couldn't help the short bark of laughter at the ridiculous proposition. Looking at their faces though it seemed that the offer was serious, although the reluctant look in their eyes at your transformation showed their inner conflict. You straightened your features and shook your head, the amused smile still on your lips.

"Look, I'm not exactly on brand for you guys anymore." You leaned forward with your arms on the table and landed your eyes squarely on Bucky's, the venom unmistakable. "Besides, I seem to recall I was deemed not cut out for this team."

Bucky felt like his soul left him at your words. There was a Molotov cocktail of emotions raging inside him; surprise, shame, relief, anger, guilt, and longing. It was killing him knowing that he had a hand in how drastically you had changed. He was deathly afraid of finding out your full story. He wanted to talk to you, wanted to beg for your forgiveness and make things right. How many chances would anyone get to redeem oneself with a ghost? He couldn't find the words though, his throat going dry and his tongue heavy in his mouth.

"Y/N, you know that's not the truth," Steve tried to insist.

"I'm not Y/N anymore and I already have a team." You waved a hand dismissively. "Also your 12 minutes are up."

All at once the power cut out in the Compound, drenching the room into darkness punctuated by the flashing emergency lights. You felt yourself get lifted off your seat and the next moment you were standing behind a formation of Avengers in the arms of the resident speedster, your arms on his chest to steady yourself from the daze of the sudden movement. His muscles were tense beneath your hands but his expression was gentle as he looked down at you.

He had wanted to rush over to you the moment you revealed your face. He wanted to hold you, jump for joy, speed around the entire city with you in his embrace. How you were alive didn't matter to him.

Only that you were.

It was only at Wanda's warning for him to stay back that he did. She showed him that you weren't the same person anymore and that they weren't sure whether you would still be friend or foe. To Pietro though, you weren't different.

You were just angry.

To him you were still his little star despite the others thinking you were closer to a supernova now. His little star was just hurting and he decided that he would do everything in his power to help you heal. He held your head tighter to his chest, intending to protect you from the anticipated danger and ready to get you to safety at a moment's notice.

"What the damn hell is going on?" Sam yelled, readying his guns.

A figure silently jumped through the window and rolled on the floor to stop right in front of the group, jolting the Avengers to defend. He stood to full height and took a fighting stance; clad in head to toe red, billy clubs at the ready, and horns glinting in the sparse light atop his head.

The Devil of Hell's Kitchen.

"Let Nemesis go," he growled.

Natasha stepped forward, snapping her own batons in place. The crackling of the electricity from it sent lights to dance on the menacing expression on her face. The rest of the team watched closely the other entry points, expecting more to come in and if the first was any indication then they were in for a real fight.

Footsteps could be heard coming down the hallway, loud and not at all trying to be concealed. Walking straight through the front door, were two towering men in heavy military gear each holding an assault rifle aimed at the group. The sneer on one lent a dangerous taunting aura to his surprisingly handsome features as if to say just fucking try me. While the other had a burning steely focus that instinctively made anyone back off, the emblem on his black vest told them exactly who he was.

The Punisher.

The Avengers snapped to attention, each one drawing their weapons and aiming back. The air was crackling with animosity and fingers that itched to pull their respective triggers. Everyone held their breath, waiting for the first to break the standoff in the enclosed space. Willing for someone to break it.

You laughed.

The disorientation at your reaction was palpable across the room. You patted Pietro's chest, grinning up at him in reassurance that everything was fine. He released you from his hold reluctantly and let you step out of the protective cluster they had inadvertently formed around you. The three newcomers visibly relaxed the slightest bit at the sight of you.

"Weapons down," you said calmly, eyeing each one in the room. No one budged. "All of you. Now."

Steve being the first one to lower his shield was the catalyst in diffusing what could have been the fight of the century. As outnumbered as the newcomers were, they lacked nothing in skill and precise brutality. Frank followed in lowering his weapon and soon everyone did the same. There was still tension but at least it was now reduced to intense glaring.

You tutted and shook your head as you strutted your way to your three rescuers. "What I needed was a ride home, Frankie. Not a goddamn full extraction op."

"Sorry, sweetheart," he said, not sounding at all apologetic and knowing you weren't really angry if the tired amusement on your face was anything to go by.

He smiled at you, that small open quirk at the corner of his mouth that was always accompanied by a roll of his tongue. He reached for you when you got close enough, drawing you close with a burly arm around the back of your shoulders. He kissed you on the forehead, a lingering gesture that clearly showed an intimacy between the two of you. The soft look on his face was reserved only for you and when he raised his face to the Avengers it was back to the cold threatening glare.

"Can you blame us though?" His voice came out gravelly, a favorite sound of yours. "The last time you were with these guys you were captured and tortured."

Tortured.

The word hung heavy in the air and though your back was turned, you could imagine the look on the faces of your former team. They didn't know about that yet. How could they when they had believed all this time that you died in the explosion?

"You forgot to mention blown up," Matt added, grabbing your hand and pressing it to his lips.

He removed his helmet, floppy brown hair instantly softening his persona. He peppered kisses on your palm and the inside of your wrist as he breathed in your scent to calm his own anxiety. He almost lost it when Billy had called saying that you had been taken. He was usually the last one to jump to immediate violence in your group, but the thought of you gone filled him with irrational fear. The possibility that history could repeat itself was unacceptable to him.

"I should have come with you."

"I could handle it and Billy was with me."

"Lot of good that did," he scoffed, switching to lightly biting your wrist. This wasn't unusual. Being blind, he relied on a more intense physical reassurance that everything was still as it should be.

"They weren't gonna hurt me, Matty," you argued, but it was more to help settle his nerves.

"All right, leave the foreplay for later," the last of the trio said, pulling you by your other hand closer to him.

He held you tightly by the waist and pressed you close, molding your body to his in a practiced motion. The smile on his face was scandalous and the mischief in his eyes was one that spelled trouble. The cheeky bastard winked at you before dipping his head to lay open mouthed kisses on your neck up to your ear right along your old scars. Shivers went down your spine and you couldn't help the low hum as your body reacted instinctively to him, stepping closer still until you could feel the heat of his body through his gear.

You knew exactly what he was doing. He was always the quickest to show affection in front of company, but this was a particularly golden opportunity for him to stake his claim in front of people he believed did not value you enough. Billy wouldn't be Billy if he didn't take it.

"Hey, pretty girl."

Across the room, the Avengers watched on with blatant curiosity at the apparent intimately familiar exchanges. It wasn't as much the fact that three men were bathing you with affection, but more that this cemented how far removed you were from their memory of you. They knew you as a starry-eyed recruit who stuttered at light teasing and preening at the slightest validation.

"Y/N," Steve called for you, forcing you to step away from Billy for the moment. You turned around to face them but Billy didn't let you go far, slinging his arm over your chest and this time contorting his body to yours.

"I told you, Steve. I'm not Y/N anymore," you said, a fleeting sadness flashed in your eyes before it was replaced with a firm pride. "And this is my team."

"We're taking our girl home," Frank declared, the threat underneath didn't need to be verbalized. If they took you again, it wouldn't end well for anyone.

"Wait!" Steve said urgently, halting your exit. "We'll hire you."

It was a last ditch effort. He was grasping at straws to keep you from disappearing from their lives again. He knew that if you walked out that door now there was no chance of ever getting you back. He just could not let that happen. This would only be temporary at best, but at least it would buy him time to convince you of a more permanent arrangement.

"Not interested."

"Nem." Matt as usual cautioned you from being too hasty. "Is this about the syndicates?"

You sighed. Matt was like a dog with a bone now. There was no choice but to let him chew on it. This was particularly important to him because the syndicates had been running amok in Hell's Kitchen and he was starting to find it difficult to keep his backyard clean.

"Yeah, apparently the stuff we found in the shipment yard was for making super soldier serums. The Avengers have been following the trail too."

"Why not just join forces then? We can get this done and over with a lot faster with their help," he reasoned.

"We're doing fine on our own, Matty."

"Matt has a point, sweetheart," Frank cut in. "We've been chasing this for years. I know a part of you is just itching to end all of this."

"It might help us find him faster. Do you really want to spend another ten years pulling at threads?" Matt added.

You closed your eyes, hands clenching at your sides to control your anger. It grated at you when they ganged up on you like this, but your anger was more because they were right and you knew it. You hated it, but they were right.

It was Billy who intervened, pulling you again to hug you from behind. His hold was firmer than before, aimed more to calm your shaking body. His voice came out calm, but resolute. His first priority was always making sure you were okay and you obviously weren't okay with this.

"You heard the lady. It's a no."

Frank and Matt sighed and shook their heads, but backed off. They weren't about to push you about this no matter how much they knew this would help you. They'll try again to convince you later, but they weren't optimistic. It was fortunate for them that there was more than just one stubborn person in the room.

"Please," Steve interrupted. You had almost forgotten that there were other people in the room. Almost. "We need your help. They have someone who keeps getting in our way and every time we get close he either fights us long enough for the trail to grow cold or leads us on wild goose chases. We can't let that serum be available to whoever can pay for it."

He didn't know what it was that he said that made all of your heads snap in his direction. Your eyes in particular were suddenly wild with barely restrained fury. He would take it. At least he had your attention.

"We can't let that happen, Nemesis," he finished, making sure to use your preferred name. Anything to possibly get himself into your good graces.

"Do you have a name?" you ground out.

"What?"

"A name, Steve. Do you know who this guy is?"

"By the way he fights he seems to be a merc too. Looks like military background though from where I'm not sure," he said slowly, carefully choosing his words in the hopes of you changing your mind. "He goes by Salvacion."

"We're in."

Earth's Mightiest was stunned at the sudden reversal of your decision. As firm as you had rejected the offer, you were jumping at it now with the addition of your own team.

"Let's get one thing straight though, Cap," you began, the rage still burning in your eyes like wildfire. "My team and I will work with you. It's all of us or none of us. We'll help you lock up the syndicates and destroy the serum. We'll play nice, but Salvacion is mine."

Steve took a deep breath, relieved that you had agreed but also deeply concerned at your visceral reaction to a name. He had to ask.

"Why?"

"Because that's the motherfucker who killed my sister."

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A/N: I feel like you guys have more questions now. Come freak out with me through the comments and reblogs! I write faster when people freak out with me. It’s the truth. Now that you’ve seen our girl with ALL our strapping men, what do you think? Who are you most curious about now?

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punemy-spotted · 2 years

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I Swear it is Sweet

Chapter 1: Swim With Your Sorrows

Pairing: Soft-Dark!Robb Stark x Naiad!Reader

Warnings: Rape/Non-Con Elements; Dub Con, Mild Body Horror; Tessa’s Perpetual Disappointment With Game of Thrones; Absolute Disregard for Canon; Human/Animal Sacrifice; Possessive/Obsessive Characters; Soft-Dark!Robb Stark; Non-Consensual Transformation; It’s Game of Thrones; Absolute Disregard for Westeros Worldbuilding

Chapter Warnings: Body Horror, Old Gods, Ancient Betrayals, Game of Thrones AU, Non-Consensual Transformation, Aggressively Poetic Language, Witchcraft, Overuse of the Other

PLEASE REMEMBER THAT YOUR CONSUMPTION OF MEDIA IS YOUR OWN RESPONSIBILITY AND IF YOU ARE UNCOMFORTABLE WITH THE CONTENT THAT IS BEING PRESENTED, PLEASE DO NOT READ

Chapter Summary: The North may remember, but some things are best left forgotten.

Notes: Sometimes I like to think I know what I’m doing but honestly I don’t. I’m a disaster and a third and here we go, so I can get emotional about Robb Stark and ancient tales. If anyone has seen The Last Unicorn, you might understand where I got the inspiration for this fic from. I’m also aware that this took me approximately eight million years to write so please forgive me for the delay. I appreciate your patience with me as I get back into writing.

Eternal thanks to @brandycranby for her encouragement and patience.

All of my work is 18+ Only, Minors DO NOT INTERACT. I do not consent to my work being posted anywhere besides Tumblr or Ao3 and I post my work there myself. Do not copy, translate, or repost any of my content.

It’s late, when you see him by the riverbank. Too late at night for men of sense to be out near unsteady shores where an errant foot might lead to an uncomfortable end in a shallow pool of slick growth and inescapable mud. The man before you, nervously affixed to the dim moonlight to guide his vision, is seemingly unaware of such conventional wisdom.

You watch him with cautious eyes, gleaming yellow in what little silver filters from above. Like the rest of his people, heart and mind occupied by more mundane fears, he does not notice you. Not at first, not even as he seeks you out.

Dark waters have been your home for longer than you can remember, longer than you have been here in these icy ones. Dim as the night is, the stars and watchful moon above are enough for you, enough to see the things mortal men rarely notice. The silver beam of moonlight a halo around a shadow-painted form, clad warm in furs. The furrow of a brow made heavy with thought, memories of youthful play buried under new responsibility. You know your wolf to be… handsome, even when he was a pup, but those were memories of a tadpole, when others lived to remind you of the ways of men.

Are you here? His voice is as you remember it and different all at once, deepened with age and made innocent with hope, seeking and wishing all at once, as if he’d rather be disappointed and find you not at all, find you a rumor complained about in naught more than a hushed whisper and a cautionary bedtime story.

You could let that be. Could allow him to leave, leave thinking you a nothing, a myth and a dismissal, leave him to tell those who complained about your presence that you were no such thing.

You could.

You could punish him for the forgetting, leave his memories confused with the things your once and only friend left behind in the wake of the growing a princeling must do.

You could.

You lift yourself from the murky waters of your domain instead, enough to be seen even by the likes of him, a spark of gold in silver-iced waters, What do you seek?

It’s his tongue you speak rather than your own, and it surprises him. You know this by the way those fur-clad shoulders rise, rise and turn as if he’s seeking to know if someone else has seen him, seen him coming to dark, fey shores and there… there is no way to tell in the shadowy night, but that hardly stops a cautious wolf from looking around, just to be sure.

You understand, he asks of you next, coming closer to that muddy bank, close enough to slip if he isn’t careful, isn’t sure-footed. Luckily for him, you think, memories long-abandoned do not abandon him.

I have ears, yes. You understand, but his tongue and yours are different, just enough. A voice like a song warning of something ageless and eternal meeting the ever ephemeral gravel of men.

You understand — he repeats himself and you are… rightfully impatient, in your own mind, you already said you did, surely he cannot forget so easily — Will you listen?

There. That plea catches your attention and you pause, thoughts of leaving him fading to your curiosity, I have ears, yes,you repeat yourself, waiting for him to make known his will.

Thank you, so deferential, welcome when so few men remember to do so in the face of the Old Gods and how can you not be encouraged when he is?

The people, these people… they…

They are angry.

Yes, you have forgotten your own manners as you interrupt him, stopping him in his tracks as he stumbles around for the right words, but why should you listen to what you already know? Why let him fumble around the truth when you can spur on the conversation, demand your answers yourself? Have you come to tell me to leave? And if so, where would you go? These waters are not where you belong, true, but where you belong is no longer home.

Darkness obscures his face, makes his expressions impossible to read and yet you know. Guilt, worn in the slump of shoulders which should be straight-backed and stern, bowed by an unjust truth. Your princeling — and perhaps you do consider him yours, because he was once, wasn’t he, so long ago? — carries heavy burdens. The lives of hundreds in the hands of a once-boy just learning to rule, his own father a reluctant king.

But the whispers of the ways of men are thoughts for another time, a time when you can reminisce fondly on the serious-faced boy always parroting the words of those with no respect for the past stretched out behind them.

For now, you listen.

Listen to a guilty wolf, watch as he pleads. Is this a king? A Stark?

Then you know. You must know. If you don’t leave, if they catch you in their nets, they will kill you.

Well, at least he comes out and says it.

There have… always been stories of the spirits in the woods and the waters. Stories of women with voices as sweet as spun sugar, with fanged smiles and wicked claws. Of women who wore dresses of iridescent scales and drew the unwitting traveler into a watery doom.

But that is the thing about stories. Some of them carry truths, and your sun-red scales are strange in these icy lands but they are yours, and this place is the only home you’ve known since you were but a tadpole, too young to understand the rushing current and the circumstances which brought you here. Here, far away from the sun-baked lands you swear you must have known once, or the palaces you only ever heard about on the wind.

You do not belong here and this is your home, all at once, so what do you do? What can you do, save for insist on making your claim? This is my home.

I know that, the man’s voice is boyish for a moment, a desperate memory of a petulant insistence, I know that. But the people here, they don’t… care. I cannot make them care, not when you’re stealing what meager food they grow.

Stealing?

Stealing?!

And how are you to survive, when these people have no concept of deference? The men and women of Winterfell tell stories of the Old Gods and yet here you are, a piece of the Old Gods themselves and where is your tribute, your worship, your shrine you might call home? You take what you need to survive, trout and reeds and…

Lives, on occasion, but defending your home is no crime.

You say none of these things aloud, watching him in disappointed silence instead, watching the way he steps closer, so close to the precipice even as you push yourself back.

Please, he is soft as he kneels, kneels in the mud and reeds, in the snow-caked earth, I don’t want to see you hurt. I cannot stop them for long.

You are not among the ranks of the people he must protect.

Where would I go? This is your home, the only home you have ever known, no matter what stories of Redstone walls and desert oases live in your blood.

You can never go back to where you no longer belong.

Tell me how to help you, asks a prince in need of guidance, desperate and full of hope all at once, as if he might be able to bring you under his protection too, just like the people who demand your blood.

This is my home, is not an answer to his plea, but it is all you can give, This is where I have always been.

I know that. I know, but they are angry. And afraid. I cannot keep them away for forever — to them, you have drawn blood and you must answer for it.

Answer for it?

What crime have you committed, but defend your home?

Where would I go?

Answer that is the unspoken challenge, Find me a home and you will be free.

But therein lies the trouble with challenges — sometimes they can’t be completed, can they? Times like now.

Times like now as you watch your princeling’s shoulders bow again and you see the boy in him, so full of hope as he wasted his youth by the riverbanks with a creature of legend, forgotten by time and war.

Times like now as you sink back into the water, disappear into the dark.

I’ll find a way.

It is a promise.

A promise to save you, or cast you out?

The answer, as it turns out, is somewhere in the between.

He leaves. Leaves with the promise heavy on his lips and your ears, leaves you alone in your stolen grotto, waiting. Waiting for the warning to come down the brook, for the shouts to follow, complete with pitchforks and torches. Waiting, really, to die.

Death… does not come down the riverbend.

What comes instead, two weeks after that moonlit night of promises made and challenges given, is a witching darkness. A witching darkness and an anxious wolf.

He does not come alone. Not this night, another one too late for men of sense to be out. Still, the low starlight is enough, enough for you to see them both. The Young Wolf and the Other.

She may already have gone, he is hopeful, so very hopeful, watching the darkness ahead as if his blindness to you might be proof enough, She may have—

She is here, the Other speaks with a voice like burning trees, tearing at you with every wood-whistling breath.

How can you know, she might—

She is here. Stand aside, the rumble is an Order, cracking branch and snapping earth, a spark whistling through the air as fire lights the night and a gloved hand reveals a lantern to tear you from your shadowed sanctuary.

Hail, Godling, the light shining upon you is inescapable, bearing down on you, hailing you and you are seen.

To be seen is dangerous, to be known is deadly, and here under the all-consuming gaze of the Other, you are both.

Hail, Godling, the being before you wears the shape of a woman wizened by the many injustices of time, hood lowered to let the lantern light expose that face to your suspicious eyes.

Trapped. That is what you are. Trapped, here by muck and reeds receding from whatever ill flame lights the lantern. Bound, at the mercy of a being beyond your very ken, pinned in place and waiting to die, once more.

Those who Know the Old Gods know of you, but even you do not know all of what wanders this world.

It is a dangerous thing, you know, to be seen so easily, and so you do not speak. Nor can you, really, as reeds and vines wind their way around you, hold you still and helpless, bind your tongue before it can curse the creature before you.

Wait! Robb Stark, wolf and cub all at once, surges forward, nearly loses his footing on the muck and grass left behind, throws his hands out in some futile gesture to put a halt to the proceedings you resign yourself to, Swear to me she will come to no harm.

Oh sweet one, what a fool you are.

The Other laughs like a bolt of lightning, searing through the trees around as storm-clouds pool in the electric air around you both, Fool boy, you call me to swear? You tear a Godling from her den and accuse me of harm? Do not do me the insult.

Before you, Robb Stark stands stalwart, hand on the pommel of his blade, I asked you to help me save her, not bind her.

All things come at a cost, Wolf of Winterfell. Someone must pay the price—

I will. Name it.

You get no chance to interject, to stop him, to save him. He makes deals with fey beings beyond you, with the things that can bind and break you and he is so very mortal,a boy in the body of a man amongst things that have watched the rise and fall of empires. Run!

The Other speaks for you, as is its way, to speak for the things Man has forgotten since the advent of the Seven, Hear me well then, Robb Stark of Winterfell, hear me well and hear me true. The price is your destiny, and your family’s too.

He gets no chance to question, not as storm clouds continue their gather, roiling in behind the Other, Blood to blood, let yours be bound, lest the line of Stark be forever drowned. Return the river maid to where she was borne and only then will you have a throne. Do not fail.

And then it strikes.

The air above you tears itself apart just as you are torn asunder, pulled below into the muck and water, blood boiling as it is heated, bones made solid and gills sewn shut, you scream and your lungs burn with unfamiliar liquid, choking you still and somewhere above you Robb Stark howls his agony — You’ll kill her!

It is an eternity. A lifetime. Death would be too much the mercy for the torture of being forged anew, aware of every new nerve in your body until you are released from your bondage and left to find the surface before the little air remaining within you is depleted. Warm hands seek yours, pull you free and wrap you in furs, cradle you close as coldbecomes a sensation you familiarize yourself with very quickly.

You could have killed her!

All things come at a cost, Princeling, the Other reminds, watching you shiver in his arms, You asked me for a miracle and I have given you one — now it is you who must fulfill the rest of the bargain. You hold the last Naiad of Westeros in your arms — do not fail.

And there you are left.

There are stories. Stories of the spirits in the woods and the waters, of women with voices as sweet as spun sugar and scales of iridescent gold. Of fanged smiles and wicked claws and you are none of them now, all blunted nails and supple skin, unprotected from the cold save for the blackfur cloak draped around your shoulders as you kneel in snow and ice, torn from the only home you have ever known.

I’ll find a way, was his promise, as Robb Stark of Winterfell lifts you from the ground.

You are saved. You are cast out.

#robb stark x reader #robb stark #robb stark x you #robb stark imagine #robb stark fanfiction #game of thrones #game of thrones fanfiction #richard madden characters #richard madden

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cqlfeels · 3 years

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@lansplaining encouraged me to finish this random meta nobody asked for, so let's talk about Meng Yao, Meng Shi, and 孟母三遷 (mèng mǔ sān qiān), a proverb about good parenting.

A warning: this is super long (even for me!) and is less quality meta and more my ADHD brain jumping around a maze of loosely related ideas. Proceed with caution!

Let me start by briefly going through why I decided to write this, because it’s important. In haunting Meng Shi’s tag in my starvation for Meng Shi content, I’ve multiple times come across the idea that Meng Shi pushed Meng Yao too hard, that she should’ve been more careful with teaching him to seek his father’s approval at any cost, and that she was too naïve. I’ve never reblogged this kind of post because 1) I personally think it’s rude to go out of your way to ramble about how much you disagree with someone on their own post and 2) if this was an isolated incident I wouldn't care either way, so I didn’t want to direct this rant at anyone in particular. It’s more to do with a tendency, primarily (as far as I can tell) from fans who haven’t had much contact with Chinese culture, to oversimplify Meng Shi and make her relationship with Meng Yao slightly disturbing, and I think part of it is due to CQL basically cutting out her entire storyline (so fans simply don’t have info about her to assess her fairly) and part is due to misunderstanding what a good parent is supposed to act like in the context of Ancient China.

[Of course, Ancient China is not a very useful historical concept, not any more than “ye olde Europe” - things change a lot based on time and place - but you know. It’s fantasy. Extremely broad trends are okay in this case.]

Anyway, the idea behind the posts I mentioned is, basically, that Meng Shi (usually through no fault of her own) is to blame for Meng Yao’s obsession with power, since his desire for approval was inherited from lessons she taught him. Just to start with, I’d argue that Meng Yao isn’t power-hungry as much as he craves security and respect, but that’s a different meta. Let’s assume that she really did teach him to be Like That. Was she wrong to do so? I’m not looking for “does that make for a happy, well-adjusted childhood?” or “would you raise your own son as Meng Shi did?” - I’m trying to figure out, would she have been considered a bad mother in the context of the society she lived in? I don’t think she would’ve.

It is surprisingly hard to find texts about the obligations of parents in Ancient China. Their main obligation is to raise filial children, but I feel like that’s not very useful: whether or not parents are good parents, children are expected to be filial, so a child being filial really says more about the child than about the parent. Maybe the parent completely missed the mark and society at large was what taught the child to be filial!

We can assume, of course, that parents were to raise good people, and that by learning what a good person looked like, we could figure out whether the parent was successful, but once again, I feel like that’s pinning things on the outcome, not on the process - the best of parents can end up with an awful kid and vice versa.

While thinking about all this, it took me a frankly embarrassing amount of time to remember the story of Mother Meng and Meng Zi, but once I did, it wouldn’t leave my mind - in part because the Meng here is the exact same Meng of Meng Shi and Meng Yao (yay! fun if useless parallel!), and in part because this is a story about how a woman can successfully raise a son by herself.

Okay, so important note: one of the most influential ancient Chinese thinkers is Meng Zi (孟子 Mèng Zǐ), who is known in the West as Mencius. If you've never heard of him - he's perhaps second in importance only to Confucius. When Mencius was still a young child, his father died, so he was raised by his mother, who is usually known only as Mother Meng (in Chinese, 孟母 Mèng Mǔ.)

Mother Meng's story is told in Biographies of Exemplary Women (列女傳 Liènǚ Zhuàn), which for around 2000 years beginning around the 18th century BCE, was the most commonly used book used to educate women. The book is divided into sections, each one showing a different way women could be honorable and good. Mother Meng's story is told in the Maternal Models section (母儀傳 Mǔ Yí Zhuàn.) The story has a few parts, some of which I'll quote, always from Kinney's 2014 translation.

Before I go on to quote it, though, I'd like to establish that Mother Meng's story is so, so famous that even if Meng Shi had never read this particular book, I'm almost certain she would've been familiar with at least the outlines of Mother Meng's story. I'm not cherry picking a suitable chapter from the book, I'm literally going with the most famous story in it because Meng Shi would be most likely to know this one if she knew no other story.

Okay, the first part of the tale takes place when Mencius is a young boy and Mother Meng is a widow raising him.

The mother of Meng Ke of Zou [a different name for Mencius] was called Mother Meng. She lived near a graveyard. During Mencius’ youth, he enjoyed playing among the tombs, romping about pretending to prepare the ground for burials. Mother Meng said, “This is not the place to raise my son.” She therefore moved away and settled beside the marketplace. But there he liked to play at displaying and selling wares like a merchant. Again Mother Meng said, “This is not the place to raise my son,” and once more left and settled beside a school. There, however, he played at setting out sacrificial vessels, bowing, yielding, entering, and withdrawing. His mother said, “This, indeed, is where I can raise my son!” and settled there. When Mencius grew up, he studied the Six Arts, and finally became known as a great classicist. A man of discernment would say, “Mother Meng was good at gradual transformation.”

According to the translator's footnote, "gradual transformation" is "a childrearing technique, whereby a child is morally formed through daily exposure to correct models of behavior."

From this story comes the proverb 孟母三遷 (Mèng Mǔ sān qiān) - "Mother Meng moved three times." It's come to mean that a parent - especially the mother of a male child - should spare no efforts to provide an environment that will give their child a good education, paying particular attention to what models are surrounding them.

I'm sure I don't need to say if Meng Shi was at all familiar with this proverb (and she would probably be), she must have been very stressed out over literally raising her son in a brothel. (Here I must mention sex workers in ancient China were often essentially owned by the brothels, so literally "moving three times" wasn't really an option for Meng Shi even if she could miraculously pick up another trade.) Meng Shi did however at least try to surround Meng Yao with the accomplishments appropriate for the son of a cultivator:

Xiao-Meng, are you still learning those things lately? [...] The things your mom wants you to learn, things like calligraphy, etiquette, swordsmanship, meditation… How are those things going? [...] His mom’s raising him as a young master of a wealthy family. She taught him how to read and write, bought him all those swordsmanship pamphlets, and even wants to send him to school.

Meng Yao actually talks a little bit about “those swordsmanship pamphlets” in the only time in canon he directly shares memories about this mother:

Lan XiChen, “Your [guqin] skills are also considered quite fine outside of Gusu. Were they taught by your mother?”

Jin GuangYao, “No. I taught myself by watching others. She never taught me such things. She only taught me reading and writing, and bought a handful of expensive sword and cultivation guides for me to practice.”

Lan XiChen seemed surprised, “Sword and cultivation guides?”

Jin GuangYao, “Brother, you haven’t seen them before, have you? Those small booklets sold by the common folk. First jumbled sketches of human figures, then deliberately mystified captions.”

Lan XiChen shook his head, smiling. Jin GuangYao shook his head as well, “All of them are scams, especially to fool women like my mother and ignorant children. You won’t lose anything by practicing them, but you definitely won’t gain anything either.”

He sighed in a rueful way, “But how could my mother have known this? She bought them no matter how expensive they were, saying that if I returned to see my father in the future, I had to see him with as much competence as possible so that I don’t fall behind. All of the money was spent on this.”

See what’s happening? Meng Shi cannot physically take Meng Yao to cultivators, but she spares no efforts in giving him the closest thing she possibly can -- figuratively, we might say she moved three times.

Of course, these booklets don’t work, but as Meng Yao says, how could she have known this? The cultivation world is very closed off - think of how the entire Mo household gathers to see Lan juniors, and how Wei Wuxian mentions once that “Cultivation families, in the eyes of common folk, are like people favored by God, mysterious yet noble.” Not just noble, but mysterious. That tracks, too - I mean, they live in inaccessible households and mostly leave to night hunt or visit each other, neither of which is an activity that would allow commoners to get much more than an occasional glimpse of them.

Now, if Meng Shi doesn’t even know that a pearl for Jin Guangshan was just a trinket, if she doesn’t know even the wealth of a major sect, how can she read booklets and decide whether that’s genuine cultivation or not? All that she sees is a chance for Meng Yao to be surrounded by the ideas and skills of the people she wants him to emulate - cultivators - and therefore she does everything she can to get him that chance. Mother Meng moved three times.

Okay, but maybe the argument is not “Meng Shi shouldn’t have pushed Meng Yao to cultivation” but rather “she should’ve pushed him, just not too hard." To that, I present another tale from Mencius' childhood:

Once, when Mencius was young, he returned home after finishing his lessons and found his mother spinning. She asked him, “How far did you get in your studies today?” Mencius replied, “I’m in about the same place as I was before.” Mother Meng thereupon took up a knife and cut her weaving. Mencius was alarmed and asked her to explain. Mother Meng said, “Your abandoning your study is like my cutting this weaving. A man of discernment studies in order to establish a name and inquires to become broadly knowledgeable. By this means, when he is at rest, he can maintain tranquility and when he is active, he can keep trouble at a distance. If now you abandon your studies, you will not escape a life of menial servitude and will lack the means to keep yourself from misfortune. How is this different from weaving and spinning to eat? If one abandons these tasks midway, how can one clothe one’s husband and child and avoid being perpetually short of food? If a woman abandons that with which she nourishes others and a man is careless about cultivating his virtue, if they don’t become brigands or thieves, then they will end up as slaves or servants.” Mencius was afraid. Morning and evening he studied hard without ceasing. He served Zisi [a great scholar whose grandfather was Confucius] as his teacher and then became one of the most renowned classicists in the world.

Notice that Mother Meng moved three times to ensure Mencius would have the highest of aspirations - to become a scholar. But just aspiration isn’t enough. Not by any means. Now that Mencius is actually studying, Mother Meng is willing to take an extreme action to ensure he's taking it seriously. Mencius doesn't have a father to smooth his path to success. He has to learn that aspiring to greatness isn't enough. He'll have to put in the effort as if his life depended on it. And if he doesn't persist in his hard work, everything he's done thus far will be useless. Sounds like a lesson imparted on young Meng Yao, doesn’t it?

A lot of fandom rage towards Meng Shi would apply to China's Best Mom Contender, Mother Meng. She gives her son big dreams, and teaches him how to go about achieving them in a society where failing is easier than succeeding. Yes, it's fair to say that Meng Shi taught Meng Yao to refuse to settle for anything less than being “Jin Guangshan's son, a respected cultivator.” Yes, it's also fair to say that she probably didn't allow him much time to play like children his age did. But unfortunately, in the world of MDZS, poor children probably wouldn't get to play anyhow, the difference is that they'd usually be working, not studying. Studying is a privilege! It’s a privilege Meng Yao could not afford but was given to him anyway, through his mother’s many sacrifices. We can even say that while she was alive, Meng Shi was trying to ensure Meng Yao would one day have a better life, at the expense of a fun childhood - and that's very Mother Meng of her, whatever our modern Western sensibilities might have to say about that.

Finally, I’d skip other tales (which show Mother Meng and an adult Mencius) and go straight to the poem that ends the Mother Meng section:

The mother of Mencius

Was able to teach, transform, judge, and discriminate.

With skill she selected a place to raise her son,

Prompting him to accord with the great principles.

When her son’s studies did not advance,

She cut her weaving to illustrate her point.

Her son then perfected his virtue;

His achievements rank as the crowning glory of his generation.

I’d like to focus on the last verse - “His achievements rank as the crowning glory of his generation.” All that Mother Meng wanted was for Mencius to not completely ruin his life, but he became great. You can so very easily see a parallel with how Meng Shi hoped Meng Yao would be a cultivator but he became Jin Guangyao, Chief Cultivator, styled Lianfang-zun, one of the Three Venerable, hero of the Sunshot Campaign.

Of course you can say “Jin Guangyao did many Very Wrong Things to get there, though!” Which, sure, okay, fair point. How many and how wrong depends on which canon we're discussing, and your own interpretation, but there’s no version of the story in which Jin Guangyao is 100% an innocent child uwu. But blaming that on Meng Shi is just... straight up weird? I don’t see anyone going “If Jiang Fengmian hadn’t adopted Wei Wuxian, he’d never have dared become Yiling Laozu!” and that’s pretty much the same logic. Would street kid Wei Wuxian have invented a new type of cultivation if he had never been taken in by the Jiang? Probably not, but raising undead armies is very much not something Jiang Fengmian could’ve predicted. In the same way, how could Meng Shi have predicted that teaching her pre-adolescent son “You are the son of a cultivator, act like one and earn your place in society” would’ve ultimately resulted in innocent deaths? How could she predict “You’re not destined to having the same horrible life I did, you can get something better than this” was a bad thing to teach? I quite honestly don’t know.

Finally, I'd like to point towards a much flimsier evidence that Meng Shi did great as a parent. And that is Meng Yao’s love. Nie Huaisang at some point comments Meng Shi is someone who Meng Yao "cherishes more than his life," and I think his assessment is correct.

Even putting aside the fact he built a whole temple to get his mother to reincarnate into a better life, and even putting aside how he refuses to flee the country without her remains, there's still crystal clear evidence that Meng Shi must've done something right. Because a lifetime of people using his mother to bully him doesn't seem to have made Meng Yao resent her. Had their relationship not have been very strong, odds are he'd feel bitter and/or ashamed of her. That doesn't seem to be the case. He's attached to her even decades after her death.

I want to be very careful with equating mutual affection with good parenting, though. When I was a rather rebellious teenager, my mother (in typical Chinese fashion) used to say that parents and children don't have to love each other as long as they're dutiful to each other, by which she meant that a parent-child relationship isn't informed by warm and fuzzy feelings, but by whether you'd be willing to do anything for each other. Specific to my case, she meant "I don't care if it makes you hate me, you will do as you're told because that's what's best for you." (That may also be the reason why people more familiar with Chinese culture see the Jiang family less as outright abusive and more as #complicated, but that's another meta.)

Whether your kid wants to hug you every time they see you is of no consequence to traditional Chinese thought - raising them to be the best they can is all that matters, because at the end of the day, you won't be around forever, but you can definitely set up your kid's life so that it goes smoothly and virtuously. How that's accomplished varies depending on many factors, but to have the goal be "I want my child to love me" rather than "I want to raise my child right" would've been considered selfish as hell.

So even if all that Meng Shi had given Meng Yao had been stern lessons about the need to go get his birthright, she would've still have been considered a good mother!! In fact, she would've been doing everything she was supposed to do, under extremely difficult conditions! (Remember the importance of environment? That Meng Yao grew up to want to be a cultivator despite having probably never even met one speaks wonders about Meng Shi's childrearing powers!!)

But just based off how over the top Meng Yao's filal dutifulness is, I'd go a step further and say that even as she did the impossible, she was also loving enough to inspire genuine affection. This is complicated because children who have present fathers could expect their mothers to be tender with them. The first century BCE text 禮記 Lǐ Jì or The Classic of Rites says that:

Here now is the affection of a father for his sons - he loves the worthy among them, and places on a lower level those who do not show ability; but that of a mother for them is such, that while she loves the worthy, she pities those who do not show ability - the mother deals with them on the ground of affection and not of showing them honour; the father, on the ground of showing them honour and not of affection.

But when the father figure is lacking for any reason, the mother must abandon her tenderness because someone must guide the child, and without a father, the role falls to the mother. A single or widowed mother had to be very careful to not smother their children with affection and raise useless, spoiled kids, or so it was thought. (The presence of Qingheng-jun and Lan Qiren is why Madame Lan can be so affectionate with the Lan boys, by the way - if she was raising them by herself she would've been expected to be much more practical. AUs where she just gets her kids and runs away could do very cool things with this idea. But I digress!)

Where was I? Oh, okay. Because Meng Yao seems to not just respect, but actively miss her, it seems that Meng Shi somehow managed to deal with her son on the ground of both honor and affection, to paraphrase.

So basically, all things considered, it seems not only would Meng Shi have been considered a great mom (if people could look past her being a prostitute, anyway) but she also went above and beyond the bare minimum. She truly spared no efforts on any front to make sure her son had everything your average gongzi would have - someone to teach him and someone to love him, access to education and confidence in his birthright. That she couldn't actually make him a cultivator, that she couldn't actually raise him in a proper home with no one being cruel to herself or him - that's immaterial. Even Mother Meng couldn't control what her neighbors did, only what she taught her son! The key point is Meng Shi tried. She did everything she could to educate her son right. You couldn't ask more of her, and quite honestly, you should probably be asking less.

Of course we can't err on the other extreme and say she was Perfect. Given MXTX only ever writes flawed characters, we can safely assume that if we'd known more about Meng Shi, we would've seen many flaws. Indeed, just the fact she didn't teach Meng Yao the guqin when he apparently wanted to learn it might point to some conflict we don't know enough to speculate about (maybe she focused too much on cultivation when Meng Yao's interests lay elsewhere? Maybe she wasn't able to sufficiently shelter him and he felt it'd be a burden to ask her to teach him anything? Maybe maybe maybe, go wild with your fics.) Nevertheless, I would never hold a female character to a higher ideal than a male character - if the male cast of MDZS can be a hot mess and still be admirable for what they're trying to do, then so can Meng Shi.

At the end of the day, when I look at Meng Shi - and I've made myself a document with all the references to her in the novel canon so I could easily contemplate her life and character - all I see is a woman every bit as determined and resourceful as her son, willing to do everything it took to raise her little boy into the sophisticated and ambitious man he became.

Finally, here's a fun little parallel that I'm 100% sure was unintentional but I still love. I said Meng Shi couldn't have moved three times. She couldn't, but I think maybe she taught her son he was worth moving three times for. Qinghe Nie. Qishan Wen. Lanling Jin. Isn't that super fun to think about?

Alternatively, tl;dr: Oh My God I Can't Believe We're Blaming Women For The Actions Of Their Adult Children In The Year Of Our Lord 2k21, Meng Shi Was Doing Her Best, Chill!

#drinking game #take a shot every time i say 'finally'#this post refused to let me get to the end of it lol #i think because i'm extremely salty about fanon stage mom meng shi #(to not say tiger mom meng shi which crosses into outright racism. but i'm giving people the benefit of the doubt)

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megashadowdragon · 3 years

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Lancelot had a (b)romance with the half-giant king, Galehaut. Some fun stories about them

Galehaut's forces were laying siege to king Arthur's and looked as though they may prevail but before clinching victory, Galehaut offered surrender on the condition that the mighty black knight who fought so valiantly (Lancelot) become his friend. Arthur accepted the terms then Lancelot and Galehaut adventured together.

Galehaut helped cover for Lancelot and Guinevere, allowing them to use his castle for secret meetings.

He later encouraged Lancelot to move somewhere else where he could be with her even though it meant they'd never see each other again (his giant blood and own kingdom meant he couldn't leave).

Upon (false) news that Lancelot had died, Galehaut is said to have died of either loneliness or heartbreak (Lancelot had been kidnapped then driven mad so it wasn't completely implausible).

When Lancelot died, instead of being buried next to any of his three-ish wives, he chose to be laid to rest in the grave Galehaut set aside for the two of them so that they could be side by side for the rest of time

Gilgamesh is an architect nerd

Heracles madness and invulnerability isn't just due to his labours and being too strong to control

He had an actual moment of pure madness due to his invulnerability, his wife gifted him an undershirt that had been soaked in the blood of a centaur that tried to rape her, Heracles killed the centaur with an arrow coated in hydra blood, the hydras blood was deadly to all living things except those of divinity, the centaur knowing why it was dying told her if she felt her husband was cheating on her all she had to do was make him wear the cloth and he would fall completely in love with her and she gave him it as a gift

The hydra blood poisoned him but due to his inability to die he was stuck in perpetual pain and death with no cure he was eventually driven mad, during his madness he hit one of his friends so hard he sent them hurtling into the ocean, during his madness he commanded the building of an enormous pyre which once completed he threw himself on top of and set it on fire, hoping to burn his body into nothingness before it could heal and release him from the poison

I've never heard of a telling of Atalanta's story that has her die in that incident. Every version I've seen that includes that incident says that the two of them were transformed into lions.

As has been mentioned in other comments, FGO did address the existence of Chrysaor in Gorgon's Bond CE, and Mordred proposing to Guinevere, IIRC, is brought up in Fate/Apocrypha.

As for others...

While only addressed in the FGO Materials (and said materials note that it's unclear if this applies in the Nasuverse), some tales say that Medea and Achilles were once married.

There's one tale that happens before Heracles' labours, where he is tasked to hunt a supernatural lion (not the Nemean one). One version has him be rewarded for his success by being allowed to sleep with all 50 of the local king's daughters - Heracles beds and impregnates 49 in one night, and the only reason he didn't go for a full 50 is because one of the daughters wasn't DTF like the other 49. The other version has the hunt take 50 days, and each night Heracles is permitted to sleep with the king's eldest daughter... except they've plotted such that in the darkness, each night a different sister would crawl into bed with him, resulting in all of the sisters getting pregnant.

Heracles spent a couple of years as a lover to a snake-woman (who may or may not have been Echidna) during one of his labours (she was keeping Heracles' horses captive, and wouldn't let them free until she'd had three kids from him). One of their sons, Scythes, became the serpent-woman's heir, and is said to be the king for whom the Scythians were named. The other two sons either joined or founded other neighbouring tribes.

Going by Le Morte d'Arthur, Gareth gets really violent with cock-blockers (or, I suppose in the Nasuverse, clam-jammers). The first time, the intruder got their head cut off, but Gareth ended up being stabbed in the thigh and that ruined sexy-times. The second time, Gareth cut the intruder's head off, broke the skull into itty-bitty pieces, and threw them all into a moat... but sexy-times got ruined again because the fight re-opened the previous thigh-wound and the blood-loss nearly killed Gareth.

solomon and sheba

It varies depending on which version of Arthurian legend it is, but in Thomas Malory’s version, upon learning that mordred is an incest bastard, and Merlins prophecy that mordred will destroy Arthur and his kingdom, Arthur puts every baby born on the same day as mordred on boats and sends them away in hopes they all die, which obviously doesn’t work. I enjoy it because it makes mordreds hatred of his father a bit more understandable, and while he’s still a pretty bad dude, I feel for him a bit. Although in fate, mordred is my favorite character so I’m a little biased towards both her, and her actual counterpart

Arjuna

- "Endowed Hero" is a bullshit title. Arjuna and his brothers, due to being son of Pandu, was forced to be exiled and live in poverty for 14 years.

- Among Drona's student, he is the bravest among them. Even Karna's reason to study more under Parasurama was due to his jealousness toward Arjuna.

- Yudhistira is strong in using chariot and spear, Bhima in using mace, Arjuna in archery, Nakula and Sahadev in using sword. Despite all of that, Arjuna is better in technique than all of them in their respective forte.

- He got his astras by doing wrestle with Mahadev himself

- Among the youngling during Kurukshetra war (it means excluding Drona, Parasurama, and such. Oh, excluding Krishna as well), only Arjuna have fought non-human enemies and won.

Karna

- He's always the one with the obsession to beat Arjuna, not otherwise. Always want to be acknowledged.

- It's true that his armor is immune to everything thrown by Gandiva and even Chakra Sudharsana itself, but doesn't mean Karna is unbeatable. What impossible is to kill Karna, not beat him. Karna already loses 2 times against Arjuna before Kurukshetra war, either fainting or fled.

- Once Karna fought against Bhima. This battle happened years after Karna trade his armor with Vasavi Shakti. Both participants fought with normal weapon. No astras. No gods interference. No blessings. Bhima beat him so hard that Ashvattama needs to carry him.

In Greek mythology, Heracles was given another trial for some reason and he was given to a queen for said trial. The queen tried to humiliate him by making him dress up in women’s clothing and do knitting while she would dress up in his Nemean lion pelt and go into battle, essentially reversing gender roles. Well it turned out that the plan backfired on the queen as Heracles actually came to enjoy knitting. He said it was a calming exercise for him, so he actually found a new hobby out of this trial instead of humiliation. Needless to say that I would find it hilarious if we found berserker Heracles knitting a sweater for one of the children and ritsuka and mash catch him in the act. Just imagining a hulking behemoth like that knitting would be a hilarious image.

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asset35-maya · 3 years

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Nice Things

Inspired by this spectacular drawing of long-haired Nines by @marndraws

Gavin Reed never had nice things.

Every day was a fight for survival. He studied hard, worked hard and did everything he could to come out on top… but he never had nice things. If he did, they wouldn’t last.

Then the most beautiful creature to walk the planet entered his life.

A sheer scientific miracle. A combined feat of engineering and art. The most advanced android ever built… and the kindest soul the mean city of Detroit had ever seen.

Nines.

Gavin had no idea how to interact with the RK900 in the beginning. If it were any other new partner he’d have been his usual abrasive self, but there was something about the android that left him dumbstruck. No insults came to mind, so Gavin stuck to silent cooperation (and obedience, actually).

The RK900 model was designed to be aesthetically pleasing. There was no doubt about that, but it was how the android carried himself that took things to another level entirely. Poise, elegance and flair touched everything that he said and did.

It extended to the way he transformed his appearance after deviancy. Nines shed his Cyberlife uniform with the harsh turtleneck and stiff jacket in favour of softer, more delicate garments. He still stuck to dark colours, but his clothes were all loose and flowing. He dressed more like an interior decorator than a homicide detective (and it honestly served him well).

Gavin often had to tear his gaze away from the refined fabrics and unconventional styles that Nines wore. Gavin never had nice things… but he certainly had an eye for them.

And then there was Nines’ hair…

When Gavin had first seen the change from the default appearance settings, he had to leave the station, find a quiet alley and focus on bringing his breathing back to normal.

Nines… for some unknown, wild, spectacular, unprecedented, utterly amazing reason… had decided to lengthen his hair and let it hang loose around his shoulders.

The dark tresses were as expressive as the android himself. They danced when he laughed. They whipped the air when he animatedly told a story with his steel blue eyes flashing. They shone in every damn light.

Gavin couldn’t help but stare. He never had nice things… but he was drawn to them.

Not a day went by that he didn’t want to reach out and tuck the fine strands behind Nines’ ear, but he held back from giving in to such insanity.

Nines didn’t hold himself back though.

For all the times Gavin had been looking, so had he. He made his move in the middle of a very boozy Christmas party at the DPD. It didn’t take much of an effort. They left the party together on the flimsy pretext of Nines showing Gavin his Christmas lights at home… and promptly fell into bed together.

Gavin had never had nice things… but he knew exactly what he wanted, and when they were presented to him on a silver platter, he knew how to take them.

Nines’ hair was as soft as he imagined and even silkier than he dreamed. He couldn’t stop running his fingers through the lifelike synthetic fibres and Nines couldn’t seem to get enough of his touch either.

Bliss.

On the third anniversary of the Christmas party, the pair found themselves in very much the same position, only that they didn’t actually make it to the mindless office event this time. The day started and ended in bed.

Fairy lights glittered and tastefully-chosen tinsel framed the snow-laden windows of their loft apartment. The large Christmas tree emanated a warm glow that reached even the bedroom where they lay tangled in the sheets.

Nines was draped over Gavin’s chest, his fingers skimming idly across the warm skin.

“Sweetheart…”

“Nines.”

Gavin’s wary tone of voice made the android laugh. A velvet sound that the human would follow to the ends of the earth.

“What’s the thing you love most about me?”

Gavin exhaled loudly, hugging Nines closer.

“Baby, you know I ain’t good at words and shit.”

“I’m not asking you to write me a poem. Just tell me what you love most about me.”

He sighed and stared at the ceiling.

“Is this a test?”

“I don’t have to test you. I know everything there is to know about you. I can read you like a book even with my analysis software turned off.”

“Uh huh. Then why the inquisition?”

“Because validation is nice.”

Gavin snorted and carded his fingers though Nines’ gorgeous hair.

“Guess I can start by applauding your honesty.”

Nines hummed, rubbing slow circles into Gavin’s pec with his thumb. A few minutes went by and Gavin began to drift off to sleep.

“So what’s more attractive to you? My personality or my looks?”

Gavin’s eyes snapped open in alarm.

“What the ph-”

“There’s no right or wrong answer. Just tell me.”

Nines propped himself up on his elbows and peered into Gavin’s face. It was truly a magnificent sight. Two piercing blue eyes… plush lips curling into a smirk… a cyan LED… and a perfectly arched eyebrow. A pale, angular face… framed by sweeping curtains of dark, glossy hair.

Gavin gulped.

“I can’t choose. You’re the total package.”

“Cop out.”

“Pfffft. You tell me then. What do you like better? My mug or my sharp wit? Hah. Betcha can’t answer that for all the complex calculations your supercomputer brain can do.”

Nines tossed his hair over his shoulder and elevated himself further, pressing his forearms onto Gavin. His fixation with the human’s muscular chest was no secret.

“I can.”

“Huh.”

“You hardly said anything when we first met so I had nothing to go off for your personality-”

“Maybe I was mysterious and aloof and ya just couldn’t resist.”

“No, I actually thought you were kind of slow. All your medals and service awards didn’t make any sense to me.”

“Wowww.”

“So it had to be your body. Why else would anyone keep you around?”

“Is that why you stuck around too?”

“Maybe.”

“You little-”

Gavin reversed their positions on the bed, flipping Nines onto his back and curling huge biceps around his lithe body. Nines tipped his head back to allow Gavin to drag his teeth across his throat and latch onto his collarbone. Some moments passed like that until Nines regained control by hooking a leg over the human’s waist to slow him down.

“Fine. I confess. It was the leather jacket.”

“Seriously?”

Nines dug his heel into Gavin’s coccyx.

“It was everything about your appearance that you had control over… or weren’t born with at least. For instance, your face is conventionally attractive, but it’s all the lines and scars and little things that made me wonder what kind of a life you’d lived… what you might have gone through... how you came out stronger. And yes, your body is a temple, but it’s the work you put into it that I admire. You know how to take care of yourself and that’s…”

“Hot?”

“Hot.”

Nines accepted a rather sloppy kiss with grace. He rubbed his hands up and down his partner’s back.

“So. Tell me. What was it for you? What is it for you?”

Gavin’s right hand subconsciously found its way into Nines’ long hair and caressed his scalp. He sighed into the crook of Nines’ neck and took in the familiar scent that was neither entirely human nor entirely artificial. Everyone expected androids to smell like a new car but the fact was that each of them had their own unique smell. It was impossible to describe in words, but it was one of the many many things Gavin loved about Nines.

“Babe, I think you’re asking a shit ton of questions, but none of them are what you actually wanna ask.”

“Say more.”

“Gavin, do you love me because I look like a Greek god or is it because I’m smart as phck? Gavin, what did you notice first about my sexy android ass? Does the same thing get you off today, or is it something else?

I think… there’s something you already know… or something you think you know… and you’re just trying to get me to say it and dig myself into a giant hole.”

Nines didn’t respond but his LED did. Gavin chuckled and pressed his lips to the spinning yellow light.

“Called it.”

Nines rolled his eyes.

“It’s my hair, isn’t it?”

“Huh?”

“Admit it, you’re obsessed with my hair.”

“And you’re obsessed with my tits. We take turns objectifying each other. First sign of a healthy relationship.”

The android’s sharp nose scrunched up at a particular word and Gavin closed his eyes in resignation. Despite his best efforts he’d walked right into the trap.

“Dammit, babe, I didn’t mean it like that. I would never ever see you as an object-”

“My, my… we’re lying here two years to the day we became…”

“A thing.”

“Yes. And here I am reminiscing about what made you even look at me in the first place… and it turns out the credit goes more to Cyberlife than it does to me.”

Gavin groaned while his lover’s tinkling laughter rang out. He had to think fast if he had to turn the tables.

“So I’m that slow?”

Nines looked back at him, confused.

“You just dragged MY instincts. Like I’m dumb enough to fall for a program written by some geeky little code nerd. Like it was all totally predetermined and I didn’t see you tease and flirt and practically fall over yourself trying to get my attention for months. Huh?”

Gavin tightened his grip and gave his partner an affirmative shake.

“All those outfits and nail colours and pointy shoes and sparkly, shiny things. You saw me looking and you just kept stepping it up.”

He grasped Nines’ jaw and kissed him firmly.

“And your hair, baby… yeah, some genius worked on the tech at some point… but they didn’t tell you how to wear it. They didn’t tell you about the length or cut or angle. They didn’t tell you to walk around looking like a phcking prince. They didn’t tell you to roll the car windows down on the highway so your hair could fly in my face and drive me phcking crazy…”

Gavin thrust his fingers into the dark locks and pulled the android back in for a series of open-mouthed kisses and tantalising swipes of his tongue. Nines started to reciprocate physically, but Gavin swatted his hands away, not wanting to let things go further without making it clear who had gained the upper hand in their ridiculous game. He broke away panting.

“I love you. Don’t ask me why because there isn't one single reason. And I phcking love your hair. Not just ’cause it’s pretty but ’cause you’re the only motherphcker in that precinct who’d show up to the gristliest of crime scenes looking like a runway model.”

They stared at each other. Nines’ LED flickered.

“I… wow, sweetheart… okayyy… I… love you too.”

A moment of silence passed and Gavin rounded things off with his classic double wink.

“You’re welcome.”

Nines smiled, accepting defeat. He reached up and carefully rearranged his hair, letting it fan out on the pillow. Unable to keep the smile off his face, Gavin dipped his head down and returned his lips to Nines’, kissing him under the covers until his LED spun bright blue.

Gavin Reed never had nice things… until he learnt how to take good care of them.

Part 2: Red Dress

#reed900 #gavin900 #dbh gavin #gavin reed #rk900 #dbh rk900 #dbh nines #gavin x nines #gavin x rk900 #tw: implied sex #high romance #my writing #dbh writing

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free-pool-trash · 3 years

Note

Okay, can I requests all free! boys (maybe add for albert and kaede too) with s/o who is youtuber (they s/o is pretty famous though) and what kinds of video would they like to do together. I love your writing and tq for it and don't forget to stay safe🥰🥰

Hey lovely! 💕 i love this request so imma pump it out rn (hey Free! queens haven’t seen yall in a while, how we doing? 😎)

Im just gonna do for style 5 + Albert and Kaede for now but let me know if you want the rest 😉

This is actually something I’ve thought about a lot so lets get into it 🤩

Did i proof read this? No ❤️

Haru:

He’s that boyfriend who supports you in everything you’re doing while simultaneously having absolutely no clue what you’re doing

For example; vlogging absolutely boggled his mind at first

“Who are you talking to?”

“Oh I’m just vlogging, do you wanna say hi?”

“Vlogging?”

“Yes, say hi.”

“BuT tO wHo?”

After a while he gets used to it though

“You’re vlogging? Hey guys.”

You have to beg him to be in videos otherwise he won’t do it

When he does though it’s usually a good old “How well do we know each other challenge” and sometimes you can even manage to rope him into one of those “picking each others clothes” videos

He’ll make appearances in vlogs though

Actually quite likes holding the camera

He ends up seeing fans in public and when they come up to him he’s like “👁👄👁 how do you know who i am?” But after the initial shock he’s really nice to them

Will facetime you so they can say hi

Absolutely 100% gains a fanbase of his own

All the comments under your videos with him are the funniest things ever with some gems such as:

“Haru really said 😐(😍🥰)😐”

“POV: ur the camera seeing Haru actually smiling ❤️👄❤️”

“#saveharu”

Makoto:

Supportive king!!!

Hands down your number one fan

He’s always offering to help you with your videos

Is always down with being in videos with you

His favourite thing is making videos like story times and doing gaming videos with you

Which are usually pretty chaotic and funny

The gaming videos provide your subs with a lot of cute y/n-makoto content

“Babe I suck at this”

“No you don’t, you’re the best” he says it really quietly while smashing buttons and taking his game very seriously

Vlogs are the best too, he talks to the camera like he’s on a FaceTime

“Oh! Hey guys, how are you all doing? I hope you’re doing good.”

Your fans love him

You’ve earned the “mom and dad” title

Since they love him so much you often let him take over daily vlogs

“Hey guys. Y/n isn’t feeling great today so you’re stuck with me!”

The comment section:

“Hi dad 🥺😭”

“Imagine having a boyfriend who loves u enough to literally do your job for you when you’re sick 😭😭😭😭”

“Whose gonna tell y/n that her boyfriend contemplated bringing home like 5 different cats 😳”

Everyone wants you to give him an e-boy transformation

You’re still trying to convince him

Rei:

I think he’d really enjoy doing videos with you

Not camera shy at all

The man has a lot to say

His partner has a beautiful online presence and he’s super proud of you!

He’d love making videos that have a little bit of competitiveness to them

Loves a challenge

Playing boyfriend tags with him is stressful af because he has the date of everything you’ve ever done memorised

Absolutely BODIES the swapping clothes for a day videos

He’s a really good sport and your fans really like him

“Rei looks better in a skirt than I do, you guys...”

“I simply can’t help my calf muscles, my love.”

Not great with vlogging

The comments you get:

“Rei when the vlog camera comes out in the mall 🙈 i do not see🙈”

“I wanna see them wear matching outfits 👀”

“Y/n please ask Rei to start up a studying channel 😭”

You actually rope him into making a study tips video with you

To be fair he does most of the talking and you just listen and look at him like 🤩🥰

He loves interacting with fans

He’s always liking and commenting on fan edits of you on Instagram

Nagisa:

Jenna and Julien. Jenna and Julien. Jenna and Julien. Jenna and Julien.

Most chaotic baby on camera

Craft! Videos!

Also chaotic challenges

King of gaming videos

He also is willing to let you put make up on him

“Nagisa, I’m begging you, please sit still.”

Absolutely does not sit still but gives you a lil kiss

He’s so sweet on and off camera

Most of your vlog content is just him doing golden retriever boy stuff

Your audience adore him

Videos come up in your suggestions and they’re all like, “Nagisa being chaotic for ten minutes straight”, “Y/n trying to get Nagisa to pay attention for 4 minutes.”

He gets so excited when your doing videos together, “Yeah guys, this is actually my channel now. I’m taking it over.”

“No he isn’t.”

“Yes I am. Sorry babe but you’re fired.”

Mr. Steal your channel

Rin:

😍😍😍 am i right?

First of all; he’s such a heart throb

Your fans are obsessed with him

He always wants you to work out with him so you decide to get some content out of it

Video gems like “Eating like my olympian Boyfriend for a week”

“RinRin, how the fuck are you even still alive?”

“It’s a salad, Y/n, not a bowl of air.”

“Who the fuck orders a salad at a restaurant, Rin?”

“I’m so sorry that you guys have to hear this profanity.” He says to the camera as if he doesn’t swear every five seconds

Those are usually the types of videos you guys make together

The comments you guys get when he’s feeling lovey in a video

“Oh to be Y/n 😓”

“Alexa, play sweater weather by the neighbourhood”

“The way he looks at her. Im in pain.”

“If they ever break up, i want you to put me down.”

Vlogging at the movies is hilarious because 99% of the time when you come out he’s crying

“Guys please stop telling Rin to take his shirt off on camera, he literally can’t say no and it’s distracting.”

Rin swimming content is highly requested

And what can you say? You give the people what they want 😌✨

Albert:

He’s into it

Once the camera comes on, this man becomes a comedic legend

“Hey guys, today we’re uh, doing something. I’m gonna be honest I don’t know, I didn’t ask. My girlfriend pulls out the camera and I do what I’m told.”

“We’re going to give you different aesthetics.”

He’s like 🤗 “oh okay go for it”

Very complient

He’s down for absolutely anything

“Content is content baby”

Sometimes he just comes into your video room and hijacks your videos

“Thought I’d pop in and say hi”

And by pop in and say hi he actually means sit beside you and look at the camera like he’s on The Office

Oh my god do the fans love this man

He trolls them

He sees comments like, “Y/n is so cute! 😍” and he’s like, “That’s why she has a boyfriend.”

They love him though and if he sees them out in public he’s super sweet

Kaede:

(Im ngl this dude kinda scares me)

Probably has to be coaxed into making videos with you

I get the impression that this man is cocky on camera

Did someone say ✨pda✨

“K, I’m making a video”

“So?”

Doesn’t really interact with fans

Or pay too much attention when he’s actually filming with you

He doesn’t really care but he does it because it makes you happy

He’s more responsive when it comes to vlogs

“I’ve convinced y/n to come to the pool with me, she doesn’t swim but she looks hot in a swimsuit. Not as good as I do, but still.”

You have to cut a lot of the stuff he says out of videos

He makes so many innuendos

✨comments✨:

“It’s the way Kaede doesn’t care about literally anything for me 🙈”

“Someone please check on Y/n, she’s TIRED 😩😓.”

#free x reader #haruka nanese x reader #makoto tachibana x reader #rin matsuoka x reader #rei ryugazaki x reader #nagisa hazuki x reader #albert free!#kaede free!

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new-sandrafilter · 4 years

Video

The Making (and Re-Making) of Timothée Chalamet

BY DANIEL RILEY / PHOTOGRAPHY BY RENELL MEDRANO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Definitely the first.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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hamliet · 3 years

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Metals and Heavenly Bodies: Why There Is So Much Metal in RWBY

So, why is RWBY so metal?

RWBY uses metallic symbolism to explore the alchemical process (the refinement of metal into gold via the creation of the philosopher’s stone). Alchemy has seven metals that are ordered in terms of refinement: three base metals, one that is the most refined of base metals, and three refined metals. RWBY has been associating each metal with certain characters. It’s also been giving these characters their ultimate focus in the precise order of refinement.

Metals in alchemy are also associated with heavenly bodies, or planets (well, plus the sun and moon, because we’re dealing with ancient astronomy here). The planets, of course, are named after Roman gods, so they too can be associated with the metals, and RWBY directly correlates them.

NB: It’s very valid to critique tropes and subtext. This isn’t intended to invalidate any criticism but rather to offer a symbolic reading of the metal motif.

So, let’s dive in.

Base Metals:

Lead-Saturn

Associated characters: Qrow Branwen, Ruby Rose, Mercury Black

While I can’t think of any specific reference to lead in RWBY, there are a ton of references to the mythical Saturn.

Saturn's father (Uranus) was a piece of work who hated Saturn’s mother and so took his son (and other children) and imprisoned them in a cave so that they could never see the sunlight. Saturn’s mother eventually persuaded Saturn to take a sickle and castrate his father. He then wasn’t a particularly great dad himself, becoming more like his father than not.

In alchemy in particular, we have images of Saturn with a prosthetic leg (see: above). This is where Mercury begins his arc. He’s abused by his father, who steals his semblance and refuses to allow Mercury to be his own person (effectively rendering him a prisoner). So, Mercury kills him, and then is taken in by Cinder and Emerald to be an assassin for them, an assassin just like his father. You can see the parallels.

Saturn’s sickle is also often drawn as a scythe, which Death holds in the above image. A scythe is of course the weapon used by Ruby and by Qrow--specifically, Qrow is the person Ruby imitates and admires. But we know (and Ruby now does to) that Qrow is a flawed human himself; Ruby is better of becoming her own person rather than continuing to stay like her father-figure in Qrow (her own dad is great, but that doesn’t mean Qrow isn’t also a dad figure to her!)

Qrow, of course, is self-destructive, believing his semblance is to bring bad luck wherever he goes. His name is “crow,” the bird symbolizing the first (black) stage of death and rotting in alchemy. His own upbringing can also be compared to Saturn’s.

But, you see, Saturn isn’t actually a sign of doom and death. It is one of the symbols of the prima materia, the lead to be transformed into gold by the end of the alchemical process. It shows where the characters can grow, and indeed all three of them are along their path towards growing.

Tin-Jupiter

Associated character(s): James Ironwood (maybe Weiss Schnee)

Well, I’m actually going to talk more about Ironwood and his arc in the next section. But in Ozpin’s circle, in which characters are based on The Wizard of Oz (a blatantly alchemical story), we have Qrow as the scarecrow, Lionheart as the Cowardly Lion, and Ironwood as the tin man. Jupiter is also associated with the Sublimation stage in the process of alchemy, which is where we are now.

In case we didn’t get the allusion, RWBY has helpfully placed artwork of tin men on the walls in the background of Weiss’s room this season.

I’m aware that this screenshot isn’t from this season but it gets the point across. I also feel tin might well have an association with Weiss and where she was at in her arc after the fall of Beacon.

Additionally, Jupiter is actually Saturn’s son in mythology, and is saved from being eaten by his father (look Saturn really wasn’t awesome). He returns to force his father to regurgitate his siblings, and Jupiter and his rescued siblings (yes they were still alive; it’s mythology) fight to dethrone their father. They succeed with the use of lightning, among other things. Saturn was then imprisoned in tartarus. You can see the parallels.

Do note that the glowing sun above the head of the tin man on Weiss’s wall, showing Weiss is destined to become refined like gold. The golden sun is in sharp contrast to Ironwood’s allusion to the Dark Sun, but there’s a lot more to say about Ironwood in the Iron section.

Iron-Mars

Associated characters: James Ironwood, Marcus Black, Mercury Black

First, let’s continue with Ironwood. I’ve noted before that iron is associated with war:

Iron in particular is ruled by Mars, the god of war, meaning it is associated with violence. It’s not a coincidence that pretty much from the second Ironwood is introduced, the concept of war comes up, and his entire character has gone on to be the embodiment of the military and violence.

In addition to seeing himself as a sort of be-all-end-all Jupiter figure, Ironwood of course is always expecting war. His arc is one of reverse alchemy, which is a thing. It means that instead of becoming refined, he’s corroding from Iron to Tin. I don’t see good things for him.

Mars in mythology also becomes obsessed with Venus, which... you’ll have to read the next section for that ;)

Marcus Black, of course, is an assassin, hence it makes sense that his name literally means “dedicated to Mars.” Mercury (our Mercury) becomes more like him in taking over his role as an assassin. He’s so broken from his father’s abuse that he refuses to become his own person and just falls into his father’s role. It’s tragic.

So is Mercury’s arc reverse alchemy? No, I don’t think so. There’s more (of course) later on, but if we look at the stages of his development, we see he has moved from Lead to Iron. It’s progress. His leg is a focus for the early arcs of the story (he uses it, along with Emerald’s semblance, to trick everyone into turning against Yang), and only later did we learn his history with his father. Even if the events of course did not happen in succession, the story revealed the allusions one after each other. He’s also made progress in that he’s clearly emotionally attached to Emerald even if he pretends otherwise. Also... (see below)

The Most Perfectable Base Metal:

Copper-Venus

Associated character: Penny Polendina

As I also mentioned previously, Penny’s name references copper (a “copper penny”). The Summa Perfectionis, a thirteenth century alchemical text, calls copper “the most perfectable of base metals.”

Venus in alchemical imagery is almost always wearing (or surrounded by, since she’s also often, well, not wearing anything) green.

Green is in alchemy the color of the prima materia, the raw, immature material that will eventually be refined into gold, because green is of course symbolic of the earth, fertility, growth, etc.

As I wrote previously, in mythology Mars had a thing for Venus. I’m certainly not suggesting Ironwood has a thing for Penny in a romantic/sexual sense, but he does seek to control her, and like the Mars of myth, his pursuit of Penny/Venus leads to his humiliation (the Mars of myth gets caught in a trap--no literally a net--by Venus’s angry husband).

In contrast to Ironwood, Penny, who is originally made entirely of metal, becomes human, while Ironwood becomes more metal--not necessarily literally, but in his spirit. He’s lost his humanity, or rather, gave it away, while Penny found hers. It makes sense to me that a story with spiritual alchemy at its core (which focuses in the Jungian sense on individuation/self-actualization, or fully coming into an understanding of the self) would have Penny literally transform into what she has always been: a final product, a real girl, the philosopher’s stone.

Refined Metals:

Now these are going to be a bit more predictive. The allusions are clearly there, but how exactly those will play out I don’t know because if we look at these metals as steps in the process, we’re not quite there yet.

Mercury-Mercury

Associated character(s): Mercury Black, (maybe Emerald Sustrai)

I think the name says it all.

Kidding. Mercury as a metal is also known as argentvive or quicksilver. It, along with sulphur, form the basis of the alchemical process. They must be united to achieve the Philosopher’s Stone (it’s one of the reasons I am wondering if we’re going to get an important, Mercury-related event in a place named for sulphur or its other name, brimstone, in Vacuo; all the places we know of in Vacuo are named after types of stones including several that are sulfuric in nature). Mercury himself unites the two principles of the work, sun and moon (for who those are, read below). Mercury is the metal from which all other metals come from--he’s way more important to this story than we’ve seen yet. Most likely, he will eventually turn on Salem as well, and in a pivotal moment.

As a god, Mercurius is the author of alchemy. He’s the mythical author of the Emerald Tablet (which Emerald’s name alludes to; I actually don’t personally think Emerald alludes very much to Aladdin. Instead, I think her allusion is the Emerald Tablet and her Egyptian design is based on Thoth, Mercury’s Egyptian counterpart). Mercury is the spirit that gives life.

Lyndy Abraham notes that Mercury is “both destructive and creative” (oh look at the relics of Atlas and Vacuo) and that “the elusive, duplicitous Mercurius who consorts with the devil is at the same time a redeeming psychopomp” (”psychopomp” means spiritual guide) “The fact that he can freely participate in both light and dark worlds without taint makes Mercurius the perfect mediating bridge.” Jung calls Mercury “a symbol uniting all the opposites.” So yeah, Mercury should have a redemption arc that will probably be pivotal in the story.

If we follow the self-actualization endgame of spiritual alchemy, with true life and wisdom as the metaphorical philosopher’s stone here, I think it’s likely Mercury becomes more himself--going from being Lead to Iron (as he’s clearly spiraling right now, but also has a connection to Emerald) to Mercury. I would also suspect he’d get his semblance back to establish that he’s his “own person” (a major recurring theme of RWBY), and while, like with Yang and her arm, I don’t think he’ll get new legs, I think it’s pretty likely his semblance will enable him to fly (since mythical Mercury, you know, flies).

Silver-Moon

Associated character(s): Ruby Rose (also Weiss Schnee, Blake Belladonna, Oscar Pine, Jaune Arc, and Summer Rose).

The most important character here is Ruby, obviously. She’s our MC and titular character! But Weiss, Jaune, Blake, Summer, and Oscar are all addressed here. But I think it’s obvious that Ruby’s defining trait is her silver eyes. They got her noticed by Ozpin and sent to Beacon early, they’re the reason Salem is targeting her, they’re what could destroy her (turning into a Grimm) or save the world (what’s going to happen). Silver is noted to be “pure” which is what other characters constantly comment Ruby is.

Gold-Sun

Associated character(s): Oscar Pine (also Sun Wukong, Yang Xiao Long, Tai Xiao Long, Ruby Rose, Pyrrha Nikos, and maybe Jaune Arc)

The most important/obvious character here is Oscar. Oscar’s first name is a shade of gold and a type of fish that is most often brown or gold. He’s facing a similar dilemma to Ruby: the threat of merging forever with Ozpin (which clearly won’t happen; he needs to be his own person, as Ruby said).

Both Ruby’s and Oscar’s individualizations are somehow instrumental to defeating Salem.

#rwby #rwby meta #rwby vol 8 #oscar pine #mercury black #emerald sustrai #rwby theory #alchemy #james ironwood #weiss schnee #penny polendina #qrow branwen #ruby rose #ozpin #rwby volume eight

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mittensmorgul · 3 years

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As Above, So Below

I’m still trying to pinpoint exactly why the focus on “heaven is fixed and actually a paradise now!” is just so deeply unsatisfying to me. And I think I need to preface this with a bit of backstory about me, because I think that gives the rest of this essay some relevant context.

I know this isn’t relevant to my main point here, but this is a metatextual and thematically identical example of the exact thing I’m gonna lay out, because context is always helpful. So please forgive this seemingly irrelevant detour, because I promise it will be relevant by the end.

(plus, would it really be an Essay By Mittens™ without at least one baffling tangent? no, it would not!)

Tangent time!

I think everyone that follows me knows how skeptical I was... or should I say how WARY I was of the way Eileen was returned to the narrative this season. We were warned in the PREVIOUS EPISODE how much Chuck was attempting to interfere in their lives. I was accused of some very nasty things, of hating the ship, or hating the character of Eileen, or of hating Sam and not wanting them to be happy. No amount of pointing at obvious warning signs in the text, no amount of yelling about Sam’s God Wound or the absolute klaxon warning that the wound had become “quiet” and his Chuck-O-Vision Nightmares had apparently stopped seemed to matter. I was declared “wrong” and told to shut up.

And then 15.09 happened, and basically everything I’d been wary of was shown to be what actually happened, but there were still unresolved issues. Eileen doubted her own feelings and walked away. She doubted what was actually real. And at the time, I said many times that I would be thrilled to see those issues resolved by the end of the season, and for her to truly know that what she’d felt growing between her and Sam was real. And by the end of the season, despite my personal horror at her previous situation (and having that personal horror compounded by the fandom literally gaslighting me and attempting to bully me into ignoring this basic actual plot detail of this specific growth process which... in the context of what my personal objection was to accepting her return at face value in the first place having been personal trauma associated with gaslighting and manipulation...) by the time 15.18 aired, I was 100% convinced that Sam and Eileen had fully chosen each other, and felt the traumatic pain Sam suffered during that text conversation with her during the snap. She NEEDED to come back, because she had been set up to be part of Sam’s Win. They were clearly each other’s future.

The show literally put in all the work to make even *me* feel this to be True and Right and Good. And then after that point we never even hear Eileen’s name again. We never were told that she was even returned at the end of 15.19. Sam, who had been so entirely devastated by her disappearance in the previous episode that he couldn’t even process it was apparently hit with an amnesia hammer and just... never even thought about her again through a long greyscale life with a blurry baby Dean factory vaguely in the background of a single scene of his life. I can’t credit or justify how after an entire year invested in making us all truly care about Sam and Eileen and the happiness they found in each other if only the cosmos would allow them to choose each other in the end would just... erase all of that in the series finale.

Which brings me to the second tangent, which is specifically about *me,* and how I feel about the cosmic order in the television show Supernatural. Because I feel a lot about it. Probably more than most people ever did. And this is also important to understanding the main underlying point I need to make here.

Something I’ve been most looking forward to, for YEARS, about Supernatural eventually ending someday was writing a book, or a thesis, or even just organizing and compiling all my observations into a cohesive narrative specifically about the cosmology of the Supernatural universe. I’ve been cobbling together my observations and realizations about the nature of heaven, hell, purgatory, the empty, the alternate universes we’ve seen, and yes, even the cosmic function of the mundane level of the story as told by events that transpired on Earth. So of everyone watching this dumb show for the last 15 years, I don’t actually know anyone who cared more that I did about finding a satisfactory resolution and transformation of every plane of existence-- the mortal world AND the “afterlife realms” we’ve experienced on this show. And in the wake of the finale, I feel cheated out of that. Because in the end, it wasn’t about the triumph of free will and a flip of the script, it was just more of the same.

And now that I have those two preliminaries out of the way, I’ll finally get to the point. :’D

(hooray, it didn’t even take 1k words to get there for once!)

The “main stage” of Supernatural has always been Earth. It’s always been “Humanity.” At the very start, we meet two men whose lives had always been dictated to them by higher powers. At first, that “higher power” was their father who raised them in his vengeance mission, who trained them to hunt the supernatural. It was the inciting incident of the entire series, after all, their realization that forces outside of their control had irrevocably altered the course of their lives. It had forever torn down what they’d trusted in family, in personal safety, and would become something they couldn’t outrun or fight back against for long before another wave of cosmic discord would settle over them once more.

We watched this story play out in ever increasing spheres of cosmic significance, until Gabriel laid it out on the table for them in the simplest possible terms (in 5.08).

GABRIEL: You do not know my family. What you guys call the apocalypse, I used to call Sunday dinner. That's why there's no stopping this, because this isn't about a war. It's about two brothers that loved each other and betrayed each other. You'd think you'd be able to relate. SAM: What are you talking about? GABRIEL: You sorry sons of bitches. Why do you think you two are the vessels? Think about it. Michael, the big brother, loyal to an absent father, and Lucifer, the little brother, rebellious of Daddy's plan. You were born to this, boys. It's your destiny! It was always you! As it is in heaven, so it must be on earth. One brother has to kill the other. DEAN: What the hell are you saying? GABRIEL: Why do you think I've always taken such an interest in you? Because from the moment Dad flipped on the lights around here, we knew it was all gonna end with you. Always. A long pause. SAM and DEAN look down, then at each other. DEAN: No. That's not gonna happen. GABRIEL: I'm sorry. But it is. GABRIEL sighs. GABRIEL: Guys. I wish this were a TV show. Easy answers, endings wrapped up in a bow...but this is real, and it's gonna end bloody for all of us. That's just how it's gotta be. ***

And isn’t that all even 1000x more painfully ironic that it all still happened even 10 years later? It was always going to end with them. And lol, “I wish this were a TV show” because if it was then it wouldn’t have to end bloody.

But this… was a Major Acknowledgement that the meta level of this story was consistent, and was telling us something important. It demonstrated that the Cosmic Structure Itself was the cause for Sam and Dean’s “destiny” in this story. But that’s not what the point of this story has ever been.

Nobody (including me, who is literally obsessed with this aspect of the story) has ever invested themselves in the narrative of Supernatural because they cared about the fate of the cosmic order over and above the fate of the characters who had committed to overthrowing it all, to “tearing up the pages” and writing their own destinies. I mean, we became invested because Sam, Dean, and Cas as characters took us by the hand and invited us to come along with them as they battled against fate for the good of EARTH and HUMANITY.

And certainly, Heaven being a horrific sort of eternal replay of the “highlights” of individual souls greatest hits, where free will didn’t apply as everyone was just boxed away into their individual holodecks to serve as some sort of giant Heaven Battery powering the furtherance of this narrative, this “cosmic order” that had become so powerful it dictated the events and manipulated the lives of people who still existed in the ostensible realm of free will and human life on Earth… that couldn’t stand in the end. But what the narrative (and people I’ve seen attempting to justify the finale as narratively sensible) seems to have forgotten was that all of that was Chuck’s construct to begin with. That without Chuck holding his kingdom in Heaven together, the walls of all those soul cubicles ceased to even be relevant.

After spending their entire lives to this point constantly fighting their way to the absolute pinnacle of the As Above, So Below narrative and pulling the plug on the original creator himself, Humanity should’ve triumphed. And I’d argue that it DID, through Jack restoring the missing essential “humanity” to the divine condition. And, silly me, I thought they’d achieved the promise of “paradise” heralded by Jack’s birth at last, and truly “flipped the entire script of the narrative.”

Ever since they thwarted the original apocalypse, I had hope that they would continue to achieve the same result right up the ladder. Metatron trying to fill the role of Chuck Junior hit his own narrative wall in TFW, while Dean’s battle with the Mark of Cain, and Cain telling him he was “living my life in reverse” and would succumb to destiny by killing his loved ones in the “reverse order” to Cain’s own path to downfall cemented this for me. Dean not only failed to kill any of his loved ones (you didn’t kill your own brother. why?), he SAVED them. He didn’t fulfil the prophecy in reverse, he subverted it. He UNMADE it.

Perhaps I was thinking on too grand a scale, that the ultimate inversion wouldn’t be “God is overthrown and replaced by more of the same,” but “God is overthrown and the entire order of the universe is restructured from the bottom up rather than the top down.

I’d hoped against hope that the conclusion of the narrative would be “As below, so above,” with the fundamental power of human love becoming the new foundation of the cosmic order. It never even occurred to me that “taking back the narrative to rewrite it for ourselves” was not the ultimate goal of Team Free Will, or the ultimate expression of their biggest win.

This whole “well heaven really needed to be rebuilt, there was still work to be done!” seems… irrelevant to me if they’d truly won free of the cosmic narrative. The entire structure of the universe-- including Heaven and Hell-- should’ve defaulted to the paradise state that Jack was literally born to bring to fruition. Wasn’t that the point of his entire role in the story, ultimately?

And if that wasn’t the case in the end, why did we never learn the fate of Hell? Was it just… irrelevant and unchanged after this? Or just… abandoned as a concept entirely? It’s just strange to me to put such a focus on heaven being the sole sphere of import in the end that it undercuts the essential humanity of the narrative for me.

The story itself had kept Heaven on a back burner for years, only occasionally mentioning that the structure of the place was falling further and further into disrepair with a dwindling force of angels struggling to keep the walls in place at all, that it seems like it could’ve been an afterthought at the end of the series rather than a focus so large it required the death of both main characters to make sure we all understood that Heaven Had Changed Now. Because TFW had never been fighting to make Heaven right. They’d been fighting to save the world itself, for humanity to all have a chance to live their lives as their own.

And we didn’t need to see that in the final hope they might get their own lives on Earth to explore. In the end, the fundamental narrative that Life On Earth was dictated by the cosmic structure of creation was never fully subverted. And for me, that’s the main reason I just… can’t accept the finale. It wasn’t a victory of free will and humanity, in the end it was just more of the same.

I appreciate the attempts to take the essential bones of the story we did get and apply a different polish to the surface of the skeleton, but to me it still feels like we’re looking at completely different beasts in the end. Like… to me this was as jarring a revelation as those drawing of modern animals reimagined as dinosaurs entirely based on their skeletons. Like, all along the narrative told me I was looking at a swan. They told me this skeleton they’re building out from is definitely a swan, without a doubt. I know what a swan looks like-- a graceful feather-covered bird with magnificent wings. I trusted that in the end it would be at least remotely swan-looking. And then the finale ended up looking like this

and I just don’t even know where everything went so wrong. Or maybe all along I just assumed they actually knew what a swan looked like, but weren’t sure they could actually pull it off and settled for whatever the heck this is instead. Either way, I’m actually kinda grateful to the finale for being so entirely disappointing on every level, because otherwise I probably would’ve tried to adopt the monstrosity of it anyway. And I’m really, really glad I don’t have to.

#spn 15.20 #spn cosmology #heaven hell purgatory and the empty #and this is why no amount of narrative defense of the finale is capable of making me feel any better about it #i admit i thought too big... but it was all right there in the narrative to see #oh well at least all i have to do to hold on to my grandest notion of the universe is throw out the finale :'D

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