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#many MANY thoughts
ghouljams · 5 months
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Feral König thoughts this morning. He's so big it's hard to physically say no to him, he's not taking anything by force(of course) unless you ask him to, but he's also such an addict when it comes to you. Definitely has a free use kink too which just makes it so much worse(or better) living with him. I mean the amount of underwear you're losing to him is just astonishing, you can't wear it in the house. He presses you against any surface, picks you up to pin against walls, and tugs your underwear to the side, or rips them open, or cuts them off, or any number of things that shouldn't be as hot as they are considering this is the 10th pair this week. (It's barely wednesday) and if you thought it would be easier to live your daily life sans underwear you are absolutely mistaken, König just takes that as an open invitation. Now he's not just bending you over to fuck you, he's on his knees for you, he's carrying you around bouncing you on his cock, he's absolutely insatiable. You're always late leaving the house, and you're starting to get in a habit of bending over every time he touches you. Probably should stop doing that, lest you get fucked somewhere less private.
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jahanmp4 · 7 months
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“Help”
“Why did you do this to me ?”
“I just want a peaceful life”
All of this written in broken/glitchy French, looted on the code disguised as Pomme
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cissa-calls · 3 months
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Rewatching Crimson Peak & Things of Focus and Notice:
As a child at her mothers funeral, Edith wears butterfly/moth earrings
Is the pen her father gifts her the one she later uses to stab Lucille? He describes the importance of having “The right tool for the job,” is that foreshadowing for gifting her the tool to begin her escape from Crimson Peak?
Is Edith wearing a butterfly hair clip when she dances the waltz with Thomas?
Lucille’s iconic crimson red gown is so detailed, so beautiful. It represents the skeletal ghosts with its spinal column along the back, crimson peak itself in color, the carapace of a bug on the sleeves and structure, and the upper bodice has trim that blooms outward (present similarly in her blue gown) but is bisected by buttons…creating a familiar shape…a moth?
The candle they hold during the waltz is held at the same level Edith holds her iconic candelabra, a subtle parallel
The trim on the collar of Lucille’s black dress references the spikes and trims of gothic architecture - which is very heavily featured in Allerdale Hall
Lucille says that: “At home we only have Black moths, formidable creatures but they lack beauty.” Knowing the parallel between her and moths, it implies that she sees herself as a survivor and powerful, but something no longer beautiful because of it
Lucille places the butterfly she holds directly into the ants, an action that’s brutal but quick. Is it foreshadowing to her execution of Edith’s death? Something quick for such a beautiful thing, done by her hand?
The LOOK Lucille gives Thomas when they realize Edith’s father knows their past. THE LOOK (JESSICA CHASTAIN YOUR ACTING)
“You seem the more collected one my dear” Lucille is called this. She always holds the mission undetered in her mind, as opposed to Thomas who seems more easily swayed by emotions
When Thomas breaks Edith’s heart by ripping apart her book. He says: “What do you dream of? A kind man? A pure soul to be redeemed? A wounded bird to be nourished?” He is telling her exactly what he is. None of those things, none of the dreams she has built of him in her mind. Not with a past and life such as his.
The significance of gramophones and wax cylinders: it is what plays when Edith’s father is murdered, it is also what saves her from meeting the same fate
I want to know more about Lucille!! Her character is so rich, so so complex, she needs more screen time!!
Need a prop replica of the ring NOW
[the house] “is a privilege we were born into, one we can never relinquish” METAPHOR ALERT METAPHOR ALERT metaphor for the cycles of abuse and trauma they could not break
HOW THE FRICK did I MISS the fact that Thomas’ workshop is in the attic when that was where him and Lucille were locked up as children. SO MANY IMPORTANT SCENES HAPPEN THERE. So many significant to their past we never see, so many ghosts not visible but are so real and present to have caused this
The trail of smoke like red essence that emanates from the ghosts as they walk, like they are still bleeding
Lucille’s hair looks black in darker lighting, but a dark brunette in others. It’s provides a black, dark shroud when she’s in America, and catches more light when she’s in Allerdale Hall
“I like to think she can see us from up there. I don’t want her to miss a single thing we do.” UM MA’AM
“…in time, everything will be right” LUCILLE QUEEN OF FINAL OMINOUS STATEMENTS IN SCENES
The amount I WISH to explore this set. To pry apart each detail and pick apart each piece, so much of it had to be handcrafted pieces for the movie or vintage pieces sourced for it. LET ME IN
THE LIGHTING MUAH
The ghost in the hallway has a rope dragging behind her…is this a gory detail, or an allusion to how she may have died (if not by poison)?
The ghost in Edith’s dream is pointing, though it is never shown to what. Is it to the exit, her warning to leave as all the other ghosts try to do?
The children’s laughter after the presumed scream of their mother’s ghost as she is stabbed, is it just for creepy effect, or did Lucille and Thomas actually laugh after they murdered her?
The scar on Lucille’s lip? Never noticed it before!
Not the first time I’ve noticed it, but the act of her clutching hot steaming food with her bare hands is chilling every single time
Were the bodies of Thomas’s wives left in the vats of clay? I don’t know HOW I didn’t make that connection before, originally i thought it was merely for creepy effect.
Many people villainize Lucille and try to make Thomas out to be solely a victim. But as stated in the wax cylinder, he was fueled by his desire to pay for and make his machine. Him and Lucille are both complacent in using their victims money for their own gain
We need to bring Chatelaine’s back into fashion. That is all.
The scrape of the spoon over the porcelain cup, it screeches and is a subtle way that shows Lucille act of caring has a harshness to it, an unpleasant sound resulting from an otherwise pleasant action: tending to Edith
Such an interesting camera choice to have the camera focus in a circular inwards and outwards
also also Lucille has a temple scar on her forehead?
The small amount of glee Lucille takes saying Edith “thought [she] was was a writer” as she throws the pages to her novel in the fire.
The absolute deadpan, matter-of-fact-ness Lucille has to Edith when she signs the papers “you have nothing to live for” & “mercy killings.” This is a familiar repeated cycle
“Sign your name! Sign your bloody name!” Bloody is not just for emphasis. Edith’s name is soon to be nothing but blood
Lucille’s night gown sleeves as she flies down the stairs in pursuit - like a moths wings fluttering towards its prey
Lucille and Edith fought each other with bare feet on the stone and in the snow
Lucille is the only one of the two who knows how to start Thomas’s machine, because she was the one who witnessed it working
It is only the stab wound on Thomas’ face that bleeds and smokes when he is a ghost, perhaps because it is the wound that bears his betrayal by Lucille, reminiscent of tears of his lingering pain
Edith now has a facial scar, gifted to her by Lucille, who bore ones of her own. It is a passage, a continuing of the cycle, but it is its finale. It is Edith’s souvenir from Lucille, who took her own souvenir (her hair) from the other like a prize
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tomlinfonda · 11 months
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the closet was glass. or something like that
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guildling · 6 months
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i appreciate him very much
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miiyumei · 6 months
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picture this: the ED finishes up, but there’s still time left in the episode. we cut back to meursault where we find chuuya grumbling as he carries dazai to the exit. he stops, eyes grow wide; we hear the words “chuuya-sama, would you like to hear an android joke?”
cut to black as the sound of chuuya’s laughter builds in the background and the words “to be continued…” appear.
then the stormbringer adaptation gets announced !
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eyelessfaces · 4 months
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sweetie
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Plans, Plural
Summary: A Bengals athletic trainer gets a drink after work, with a few new friends. 
Word Count: 2.1k
A/N: This is, if nothing else, a two thousand word build up for an uber pool joke. Is this turning into a series? Am I mentally ill like that? Maybe. A fluffy, funny bit of filler to get us where we want to go. Part one’s here. 
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“Yeah, two Blue Moons,” Joe’s voice catches as he looks at you.
“Guinness.” Your voice is quiet, hardly a whisper. You’d gotten water last time, so exhausted and dizzy you wouldn’t have been able to keep anything else down even if you’d wanted it.
“And a Guinness for her.” He turns his eyes back to the waitress, flashing a pearly white smile.
This is nice, and for a moment you forget the events that have led you here. For just a second it's only about the way he orders for you, the way he drove you three here, and how he’ll drive you home after. How Sam will walk you up to your apartment, hand in yours. You shake your head, fighting off the sense of familiarity.
It’s dizzying, how well orchestrated it is, how predictable they’ve made it feel. You’ve only been here once with them, after they’d teamed up on you in your exam room—but you feel absolutely certain that this will end the same as last time. They planned it that way. You shake your head. They planned it that way?
They must have, what with the way Sam was waiting for you tonight, standing outside your exam room, holding his bag in one hand, the other out to take yours. And the way he’d walked you out of the stadium, fingers intertwined with yours as he led you through the parking lot. And Joe with the way he had pulled his car into the west parking lot, just how he had the first time, sitting under the only broken light, waiting for the two of you.  
You can hear the boys talking, kicking each other beneath the table while they wait for their beers to arrive, but its background noise, a faded sound. Your mind is racing. They planned this.
Joe had dropped you at the bar's door, with Sam at your side. He’d park the car and then he’d be right in, he’d said. And when the three of you had left last time, and you asked to be taken back to the stadium, Sam had laughed, and held you by the back of your neck. You were tired, and now you’d been drinking. They’d get you home, you could worry about your car tomorrow.
But I work early, you can hear yourself slurring as the memory plays. I’m in early tomorrow too, Joe says to you, rubbing his hand on your thigh. You just send me a text when you’re ready in the morning, and I’ll be by. Is that how they’d gotten your phone number?
There’d been a group message the next morning when you woke up. Joe was on his way, Sam wanted to know if they could stop for Starbucks. Want us to get you anything?
It had seemed like dominoes at the time, the eventuality of progressing circumstance. But they had planned it, hadn’t they? You want to be worried, to hesitate, to ask them why, but you’re cornered anyways, and it’s so nice to let someone else be in control for once, to have a plan at all.
“And a Guinness for you honey. Can I get y’all anything else for now?” You blink slowly, reaching out for the beer that's been placed in front of you.
“I think we’re set, thank you.”
“So Guinness, huh?” With the waitress gone, Sam puts a hand on your knee, leaning over to look closely at your drink.
“They taste good.” You look up at him, very aware of how he’s pinned you inside the booth by taking the outer seat.
“Oh is that right?” He leans against you, pressing a kiss to your cheek. “I’ll find out later then.” So he’ll kiss you goodnight this time too, then?
“Have you always liked stout?”
Why does every guy always ask? “My dad—” And why are you giving him your practiced response? You fall short, letting your mouth quirk into half a pout.
“Your dad what?” They’re both looking at you, eyes wide with interest that must be real because it’s too intense to be manufactured.
“My dad always had some, uh, growing up. My first beer was Guinness.” You laugh, when Joe quirks a brow with curiosity. “Some friends and I had some at a sleepover after my parents had gone to bed. Spent the whole night puking in my bathroom.” You don’t tell people that part, and you’re not sure why it comes so easy in front of them.
“I threw up my first time too. Half a case of natty lights.”
You and Joe both groan loudly at the thought of it. You glance at him briefly, wondering if he is also tasting every cheap college beer and the memory tied to it. When he pretends to gag, you decide that he must be.
“Bringing back memories Joey?” Sam grins, swigging from his glass quickly before sliding it to the end of the table, empty.
And suddenly, that's it. Whatever you’ve been holding onto in your mind simply slips from your reach. Before you know it, you are sliding your glass to meet his at the end of the table, leaning over Sam’s lap as you try not to spit up your last sip—overwhelmed with laughter as Joe recounts the worst college party his memory has to offer. What had you wanted to ask earlier?
It doesn’t matter, you decide, feeling a sense of finality about it. Sam is kissing you on the forehead, and you are vaguely aware that beneath the table, he has Joe by the hand. This is nice, this is good. And Joe’s getting you another beer, so now’s not the time to interrupt anyways.
“And he’ll take another Blue Moon, too.”
“Sounds good, can I get y’all anything to snack on?” She’s chipper, the young woman standing at the end of the table.
You shake your head at Joe, almost instinctively. Why are you letting him speak for you?
“No, we're all good. We’ll close too, if that’s okay.” He turns away from you, speaking to the waitress with a pointed voice you didn’t know he could manage. There's control in his tone, in his affect. That’s why.
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“I’m gonna hit the bathroom, and then I’ll go get the car.” Beneath the table, Joe pats your knee firmly before sliding out of the booth.
“Alright, we’ll walk your way when we’re done here. You on 17th?”
Already walking away, Joe nods, back turned to them.
“Better drink up then baby, we’ve got some walking to do.” Sam lifts your glass from the table, holding it out for you to take. There's half a pint left, most of it warm now after how much the three of you had talked. Better that way, anyhow.
Grazing his hand you take the glass from him, breathing in through your nose as you sip the last of it quickly. With the back of your hand you wipe your mouth, slamming the heavy cup onto the table, back into the ring of condensation it had left behind.
“Wanna race?” You’re grinning, holding back a hiccup as you stare him down.
“I think I’ve had dreams about you.” He’s breathless, looking at you with vague wonder before pressing a kiss to your lips. He slides away from you on the seat, letting you follow the kiss right out of the booth until you're both standing on the sticky bar floor, you with your back pressed to the column dividing your booth from the one before it, and him with a knee between your legs, daring you to move against him.
Eyes closed, you sink against the narrow wall, sighing against his mouth as he slips his tongue over your lips. He’s scratchy today, having let his facial hair grow out since the last time. It’s ticklish, the rough sensation kind of—
“Boo!” You freeze, eyes wide when Sam lets go of you, spinning on his heel. In front of you, Joe is looking delightfully guilty.
With a quick hand, he pats Sam on the backside, before making off on quick feet for the door. “Last one to the car loses!”
“Absolutely not.” Sam turns back to you, face set. “You and I will race another day, okay?”
Before you can answer or even think, he’s got you off the floor, slung over his shoulder with your feet in the air. With one arm on your back and the other wrapped around your thighs, he sprints for the door with heavy steps. It takes everything in you not to shriek as the night air hits you, whistling in your ears as he runs. 
He’s not fast, at least not fast enough but it's shocking how uninhibited he is by the weight of you in his arms. Shrieking and squealing, you are tossed around as he covers the first city block, and then the second.
You know you’ve lost, before he even begins to slow down. The heavy sound of him breathing, and the growing volume of Joe’s laughter as you get closer is telling enough.
“Shut up.” Sam is fully gasping as his steps become shorter. At a slow walk, with his chest heaving, he maneuvers you, bringing you down to brace against his chest for a moment before holding you out. “You take her, dick.”
Laughing loudly, Joe appears beside you, arms out to catch you. “We gotta get your cardio up, goddamn.”
With a grunt, Sam drops you against Joe, stepping back to catch his breath fully. The transfer is awkward, and you’re trying to find a reason for it at all—the car is right there.
Sensing you squirming in against him, Joe turns his attention to you, coughing on the last bit of a quiet chuckle. “You think you got it?” He lets you slip slowly from his arms. That’s why.
The ground feels shaky beneath you, and Jesus, your head is pounding. Stumbling, you reach for something to grab, coming up with a fistful of Joe’s shirt. You cling to him, hiccuping and shaking. It feels as though you’ve just been spun in a blender, or rinsed out on a spin cycle.
“I gotcha.” He’s laughing again, head tossed back as he takes you by the forearm. “Let’s get you in the car.”
With your eyes shut, you let him lead you around the car. Staggering blindly, you feel for the passenger seat of his Porsche, sinking into it as slowly as he’ll let you. Safely inside, with your hands gripping the leather, you brace against the headrest.
Pulling the belt across your shoulder, Joe presses a kiss to your forehead, wearing a smirk you can feel. And with the belt clicked into place, you feel him move away. “I’ll be right back.”
“Mmm.”
Minutes later, after the muffled sound of them play fighting outside the car has ceased, and Sam is safely crumpled on the backseat, Joe returns, this time to sit beside you. Hand on your thigh he looks at you sideways, curious.
“I’m good.” You try for a smile, wondering if the silence from the back is any indication of how much worse off Sam must be.
“Let’s get you home then. Sam, seatbelt, please.”
A grunt comes from behind you, followed by a loud fumbling and then finally, the click of the belt as it locks into place.
“Excellent.” Joe lets his hand run up your leg before settling his hold at the top of your thigh, where your own hands are now folded in your lap.
“Uber pool is crazy, huh?” He deadpans, jaw set.
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“This is me.” You say it over your shoulder, fumbling with your keys as you consider the fact that he already knows that, having brought you to your door the last time. If he does remember, he doesn’t say.
Standing beside you, he leans against the wall when you get the door open finally, hand out to touch your waist.
“I’ll see you tomorrow?” It’s phrased like a question but if the tone of familiarity is anything to go off, you know it's not. You nod anyway, lingering against his touch.
He pauses for a moment, looking at you with a glint in his eye. Before you can second guess it, his mouth is on yours, brief and sweet. He’s trying for gentle, it seems, fingers ghosting over your hip as he steps back from you.
“In the morning?” Just like last time?
“That’s the plan, pretty girl.” That’s the plan. That’s the plan.
You’re still rolling the words around in your mouth when you finally lock the door behind yourself, sinking against it with a blush on your face and a girlish squeal threatening to break loose. They planned it. 
A/N: Part three is right here. 
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purpleghoul87 · 5 months
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HAPPY HALLOWEEN!
here's my vampire au!!
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ashtonsunshine · 8 months
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The 5SOS Show Chile x
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He/she/they/it is so fucking fine for real.
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koifishanonymous · 1 year
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now i NEED parkowner!scar and scientist!grian to date and for grian to not know about scars hotguy identity and for him to team up with hotguy as cuteguy and for them to fall in love all over again and the emotional angst of feeling like theyre betraying each other by emotionally cheating on eachother with eachother
but also the conflict of hotguy, while being an agent of chaos, still working the government and grian's conflict with it.
and how the lore would play into this, with mumbo, the rift, the landscaping your mind, all just adding to the pressure
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skoulsons · 1 year
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Analyzing?? :) This is a long one again. And their second scene at the end of episode is really just gonna serve as a second parter to this bc there’s CONNECTIONS. I was going to make a cut and put this all below it, but tumblr was like deleting it so..no cut
“Ah, fuck, fuck, fuck, fuck.”
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Immediate reaction to her applying pressure to his wound is to grab her, hard. She reacts to it, hence her swears because he’s hurting her. But she would never tell him to stop because he’s in a lot of pain and can’t get it out any other way, so she lets him. But I think Joel recognizes he is hurting her. When it cuts to Joel’s face (possible continuity thing, but we’ll say no for the sake of overanalyzing bc this is my blog), he just has the side of his hand pressed, albeit hard, against her arm as opposed to gripping it. He recognized he was hurting her and tried to change to keep from continuing. He’s also trying to be quiet despite his very obvious need to scream about how much pain he’s in because he’s bleeding out with no medicine, no clean materials, and nothing to even try and disinfect his wound with.
“Come on, you gotta help me. Come on!”
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baby, he is in a lot of pain. I don't know how much more pressure he can add. But I also think, in a way, she’s saying this to keep him awake and giving him something to do while she goes upstairs to look for something. She can’t have him passing back out, not with a life threatening injury, so she tries to give him something to do.
And something else (and I’m not the first person to recognize this), he’s trying to be quiet still. He could scream blood murder because he wants to because this hurts, but he’s trying to
“Leave. Leave.’
“Shut up, Joel.”
“Take the gun-”
“Joel, shut the fuck up!”
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He is begging her to leave. Pleading with her as much as he can muster to get out. To leave him. To grab the rifle, because she can shoot, and go. He was just trying to leave her last episode because he was terrified for her and her safety because he knows he’ll kill her. And now, he’s begging her to leave him because he may kill her like this. It’s a harsh winter. She is giving him their warmth, food, and water. She is not taking care of herself the whole time because his life is on the line, and he is what matters. And knowing there is infected out there and people who she is all alone to defend herself against? She is capable to an extent, yes, but not to a group. Him being out like this could kill her, and he can’t risk that, not a single chance of it, so he tells her to leave him. Because he can’t fail her again, and dying while she’s still with him and not safe with Tommy is yet another fail.
And she tells him to shut up because what else is she supposed to do? She knows he’s trying to push her away because he just did it like a week prior to this. He can’t let people care about him, let alone letting them in in the first place. And this tiny, little girl was let in (with a little shove against that hard exterior of his) and she cares about him, more than he understands. That feeling being mutual and oh so complicated. No one since Tess has cared about him like this. But it goes deeper than that because this is a kid. His kid, now. She shouldn't ever need to do this or want to do this, but that’s the circumstances of their world, and he can’t help that. He can’t help the size of her heart or the fact that she cares so much about him because he did first. Through his protection, reassurances, and selfless caring in how he treated her, she grew to, too. And he never wanted that. Even now, the two of them being a ‘we’ now, she still shouldn’t have to because he’s the caretaker, and he’s failing.
“You go. You go. You go north. You go to Tommy. You go.”
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This. This is a father’s anger. The absolute certainty and seriousness and the listen-to-me attitude. He needs her to leave. Because, like we’ve all discussed on a number of occasions, she is his weakness and he is her strength. And he does not believe he is that to her, especially not on the level he truly is. But beyond this, he needs her safe, as I already mentioned. So he grabs her and pulls her to him so she sees and hears him. He shakes her his second “you go” because he needs her to listen to him. He needs her gone, as much as it kills him to. But her safety is his first and highest concern, even if it means separating. He is willing to be separated from her and die alone in a cold basement if it means she gets to safety and is able to fulfill her journey.
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This is after he shoves her and there’s already the glimmer of a tear in the corner of his eye. He does not want to send her away. He wants to be responsible for her. He wants to stay with her. He wants to hold her and he wants them to be okay. But he has to, for her safety. He reacts with force and he shoves her away, rejecting her care. Rejecting her help. And he just shoved her. Joel “ever so gentle with his little girl” Miller just shoved that little girl away from him, and that hurts.
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Even after being shoved away from him, she doesn’t walk away in anger. No. No, she stands and lets her hand fall to his, just to brush against his. Despite being angry, upset, fearful, and pretty amazed at the fact that he’s still trying to get rid of her and won’t let her just take care of him, she lays a brief hand on his. Comfort? Reassurance? “You’re an asshole, but I still love you”?
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And she moves to his coat, which I imagine she took off to better access his injury, and lays it across him. She evens it out across is abdomen and brings it all the way up to his chin to keep him as warm as possible. And Joel (pedro you mastermind I hate you) looks in…disbelief? Absolute unparalleled love at her that she loves him just the same? He just physically shoved her away. He has been nothing but physically gentle with her their whole journey, and now he just grabbed and shoved her away to reinforce his point. And in response, she quickly touches his hand and then lays his coat over him, covering him up to the chin. She is kind to him even after what he did, what he’s trying to do, and it’s almost insane to him. He’s used to violence. He’s used to using force and being given force back. And when he uses every ounce of power he has to use that force against Ellie to push her away, he is met with her kindness and unending care for him
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They watch each other for a minute, no spoken words, and Ellie walks away. And he sheds a tear watching her go. His breath gets rapid and shaky, in part because he’s cold and losing blood and dying, but he’s watching her walk away and thinks she actually is going. That she is leaving. That they’re done, for good. That this little girl that is so important to him and that he loves way, way too much is leaving. And he watches her, thinking she’ll be the last thing he gets to see before he dies. He burns her into his memory, so that even after she’s gone and safe, a part of her is still with him. That he can picture her clearly in his mind to keep coming back to as he fades away.
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And Ellie waits at the top of the stairs, but only for a moment. She waits. Does she think about what he said? Maybe for a split second, but no more. She needs him, but more than that she wants him. She wants to keep going with him. And, as much as he may hate it, that means suffering through it at his side and freezing through the nights just so he has a chance of surviving. She sits on what he told her, but she won’t listen because It’s him. Because It’s them. And that connection, that relationship, is worth it all
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cissa-calls · 4 months
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The song sang by the Covey “Nothing You Can Take From Me” is so important to the finale of the movie.
“You can’t take my past,
You can’t take my history.
You can take my Pa,
But his name’s a mystery.
Nothin’ you take from me was ever worth keeping.
Oo nothing you can take,
Was ever worth keepin’”
At first it was sung at the reaping by the Covey and Lucy Gray directed to the Capital, but then it was sung towards the end of the plot and in front of Snow. Though Lucy Gray and Snow still had a chance then, it’s a reminder that as hard as Snow and the Capital and Dr. Gaul will try to erase Lucy Gray and her winning the 10th Hunger Games from the history books, they can never take that win away from her.
Lucy Gray was never going to be able to compare or be worthy of the presence of the capital, as much as Snow fantasized about taking her with him to perform. He can’t take away her heritage, who her Pa was.
And by the end, Snow decided that his career as an officer (and eventual student of Dr. Gaul) was more worth keeping than Lucy Gray and the life up North she wanted for them. To him, her love wasn’t worth keeping.
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beanghostprincess · 4 days
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trans girl vivi? t4t namivivi?
WAIT I LOVE THIS????????? Trans Vivi my beloved. Trans Nami my beloved. They are both trans and they are in love and--
Okay, but making Vivi trans is so good because you have to keep in mind that she is the """prince""", after all. It's somehow even more dramatic like this because Cobra knows that she is a girl and everyone is very supportive of that but-- You know. It's a kingdom, after all, and she doesn't want to cause trouble even if her father says they should announce it to the citizens. Vivi is a sweetie pie and she doesn't want to create more conflict and if what her people need is a prince then she will be one.
THEN she does the whole Miss Wednesday thing and she has so much gender euphoria 😭 Everything goes like, normally in the show but when she tells the crew who she is she's like "okay so I'm a girl but I'm the prince and people actually don't know this so it'd be great if you. Kept it to yourselves?" and Luffy is genuinely so confused because "why don't you just. Say you're a girl??" and she tries to explain it but he doesn't get how a change of gender could actually affect politics and royalty and so she kind of gives up in trying to explain it to him.
But he keeps insisting in the fact that if her kingdom needs to be freed then she does too!!!!! She deserves to be herself publicly!!!!! Vivi is having a crisis but she doesn't pay much attention to it because she wants to focus on her duties. But Nami is trans too and she understands. Like. Not to that extent because her gender wouldn't affect any population but. But she understands what it feels like to hide who she truly is. She basically tells Vivi the same things Luffy says but in a more approachable, soft way. Because they're down bad for each other btw that's another thing. They're pining hard. And Nami tries to help her while she is blushing giggling kicking her feet because pretty princess is looking at her with heart eyes too.
But Vivi is stubborn af and she is like "no, it's alright. I don't mind as long as my people are okay" and Nami is like "yes!!!! You mind!!!! You should mind, actually!!!! You should be yourself too!!!!". That makes them grow closer along the story too!!!! Vivi isn't that used to wearing more fem clothes publicly but Nami lets her wear hers and she is having the most gender-affirming moment of her life. Not to mention Sanji is there trying to flirt with her. THAT'S gender-affirming. She's a lesbian tho so sorry Sanji (not to make this about transfem Sanji but this plot gives us the opportunity for Sanji having another trans realization sooner in the story).
Long story short I think she ends up saying it publicly when everything ends and the crew reads it on the paper and they're so so so so proud!!!!! So Alabasta gets a princess and Nami gets a girlfriend. Everybody wins!
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nnato · 7 months
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