celebrating elena gilbert’s sexuality: a study in screencaps. season two: part two.
( 213 ) daddy issues. ”you totally blew her off,” says elena, after gazing rather curiously damon’s way, when he blew off the aforementioned andie. “it’s in the best interest of women everywhere,” replies damon, and then this happens. this look. because elena knows what it is damon’s referring to: how much he wants her, his heartbreak over katherine. the realization of that; that she can have an impact on someone like this, be wanted and to have her rejection have consequences like this, moves her. (and makes it a little awkward.) this is also a little glimpse at how territorial elena can be over the people she considers hers. buttons of interest: elena has them.
( 214 ) crying wolf. elena is playful and enjoys playfulness. the episode begins with her asking stefan when they can have a sleepover of their own; then they make out on a kitchen counter; then he puts on her grandpa’s jacket and she is very appreciative of his hotness in it. then they make out in her parents’ closet. it’s kinky, okay. basically: elena gilbert flirts, she likes being a little kinky, she smiles when kisses you, and she enjoys every second.
( 218 ) the last dance. the fact that damon will always choose her? that’s inconvenient, difficult, and not something she wants. not really. hearing him say it still brings about this reaction: this awe because if she had to choose, it wouldn’t be herself. the tension in the room is only exacerbated by elena glancing at his bed before she leaves. not because she really, truly wants what he’s saying, or because she wants him - but because it’s powerful, and she’s affected. damon affects her, and she is drawn to him.
celebrating elena gilbert’s sexuality: a study in screencaps. season two: part one.
( 205 ) kill or be killed. this is an amazing scene because it explores elena’s connection and love with stefan and also her sexual curiosity. this is after she’s admitted to herself that stefan needs to drink human blood, and so she offers her own: and the look on her face as stefan feeds from her is one of captivation, love, and dare it be said, arousal. not because of the act of someone taking blood from her - the mechanics of it, the purpose of it, have probably often disturbed and/or disgusted her. (most of elena’s experiences with vampires and blood have been badbadbad and not sexy at all.) but this: because she loves stefan, because it’s stefan, it’s sensual. it’s sensual, and they share a pretty intense kiss afterwards.
( 206 ) plan b. elena was gazing, not staring. and it’s romantic, not creepy, thank you very much. this is a thing with elena: she gazes. she can love to admire, and to want, because that’s what she does. it’s part of her enjoyment of loving someone, being with someone, and just enjoying her own desires, too. the ensuing playfulness is also adorable. and the fact that apparently they were very loud in their love-making, especially considering jenna says later that episode they woke her up. another example of elena being unabashed about her enjoyment of sex.
( 210 ) the sacrifice. this might seem like a strange example to celebrate, but it’s an example of elena’s maturity, acceptance, and positivity when it comes to sex. another person might make a big deal about discovering her aunt is fooling around with her history teacher - but elena is only justifiably startled since it’s the middle of the night. and then let’s them get right back to it.
celebrating elena gilbert’s sexuality: a study in screencaps. season one: part two.
( 118 ) under control. can we all just celebrate the fact that this scene starts with them talking, and saying they miss each other with subtle sexual implications, and them comforting each other - and then elena reaches to rub his shoulders, because elena is a care-giver; she cares and she shows she cares through touch. and she wants through touch too, and what she wants here is stefan. (and can we also just talk about how stefan loses it for her - and while elena is startled, she is excited to continue just as he needs it, too. our girl also likes it rough and all-consuming.)
( 118 ) under control. elena’s challenging of damon’s personal space is a glorious thing. she gives it as much as she gets it; she might have been afraid of him and had many reasons to be, but she doesn’t let that stop her from making a point. she is comfortable challenging the uncomfortable. and staring at his lips while she does it.
( 122 ) founder’s day. all hail elena gilbert, who will curtsy at damon and stefan’s awestruck faces with an oh-so-pleased smile. ending up between two brothers you love and who love you so much probably sucks most days because of feelings, but it doesn’t change the fact that she loves them. they’re her murderous, gross, awful vampire brothers, thank you very much. anyway, this is a good moment, because unfortunately due to the aforementioned things, elena rarely enjoys what’s enjoyable about being in love and lust with both of them, and this moment is one of the first and few her affection is unweighted by guilt or shame. (can you hear elena thinking ‘oh look at my boys looking at me’ because that’s what her face is saying. threesome y/y?)
celebrating elena gilbert’s sexuality: a study in screencaps. season one: part one.
( 103 ) friday night bites. this is elena’s dream before damon screws with it, so hell yeah, it’s going to count. it’s the first time we get a hint about elena’s sexuality: how she is tactile, dominant, and fully enjoys herself through her partner. yes, please.
( 103 ) friday night bites. guess who has a right hook and is going to control her own choices and tell the story of her own sexual narrative? this girl.
( 110 ) the turning point. this is a morally dubious princess who looks a vampire in the eyes and says ‘don’t hide from me.’ this is a someone who tells a vampire she knows what she wants, and what she wants is a mass-murdering monster knowing he’s a mass murderer and a monster. she doesn’t want to lose the way she feels about him - so this is going to be on her terms.
elena-centric, damon/elena, zombie apocalypse au, vignettes
→ i woke up this morning and decided i wanted to finish this. it’s a character/relationship exploration and quite disjointed. i hope it’s enjoyed! if i let it sit any longer i’d never have posted it. the title is a lyric from two small deaths by wye oak.
✇ features: all the character death, lots of death period, sex and sexual scenes, biting/blood play, elena’s moral ambiguity, damon being a lovesick asshole, damon/elena/survival, and elena/guns
Every morning the same big
and little words all spelling out desire, all spelling out
You will be alone always and then you will die.
← “litany in which certain things are crossed out,” richard siken
you are jeff; richard siken
the dislocated room; richard siken
caught between this cold and the waves
my heart beats up, again
are you my trouble