#I could go further too the parallels do not end here

[rowanwithaz]

The Starting Line:

Mha chapter 424 spoilers

So,I actually have a pretty good idea of how dkbk/bkdk will end,and Hori's recent comment is what's led me to this thought process.

Parallels/formula

We're going back to U.A! And this got me thinking of,well,U.A,and how Horikoshi's comment might have a double meaning.

(also,this just backs up my point of Hori doing what he enjoys and how we really shouldn't worry about fan perception effecting his story)

Going back to the title is going back to the beginning in a sense,and with Horikoshi's recent art,and this recent chapter(s),it made me think of a special interaction within the first few chapters. Chapter 11 specifically.

Now,this is the first time Katsuki cries to Izuku,and his words are very important. Or the reason for them. Izuku tells Katsuki the truth behind his power,and how he's going to make it own. Katsuki sees this as a challenge,but not in a positive way.

But,if we look at the recent chapter,424,Katsuki tearfully tells Izuku that he wishes for them to continue their rivalry.

Because Izuku was supposed to make his power his own,so he and Izuku could compete together for a "while" (forever). That's why he's so heartbroken by Izuku being quirkless once again. He and Izuku were meant to be heroes together,one the same level,competing and chasing after each other.

Now,why do I bring up chapter 11? Chapter 119 would work too,right? Or chapter 120? They do. And I'll cover that soon enough,but the thing I want to talk about is where they're at. The title. The beginning. The U.A gates. And,when going back to the beginning,let's consider this panel in chapter 8,

Izuku declaring the new meaning of his hero name. And,what happened in chapter 422?

They cheer for him to do his best. Now,these parallels are quite important when we consider the whole "going back to the title/beginning" thing. And let's remember throughout the fight between Izuku and Katsuki in chapter 8-10,and something very fucking important. Katsuki is taunting Izuku. The whole time. And,let's remember,when Izuku gets mad,he says things like Katsuki. So,when Katsuki tells Izuku to not let him surpass him in chapter 423,he is motivating him to win to save. Pushing Izuku further. But,now those words don't hold the same weight,it goes back to being taunting.

Now,another thing to consider is All Might,since he's always tying them together. All Might seems to always be there when these HUGE moments and development in their relationship happens. We've set up a certain formula,and it's not changed. Now,at the end of chapter 11,All Might pops up. With chapter 120,which parallels chapter 424 once again.

(I'm not sure we'll get a Deku vs Kacchan part 3,since Katsuki might believe he ended Izuku as a hero, it's a possibility,crossing my fingers)

So,we have Katsuki's confession here in chapter 424,and not much of a response from Izuku. What I'm getting at is,Izuku may confess to Katsuki at those gates,chasing after Katsuki to clear things up (maybe even brining up blackwhip/control your heart arc,also we haven't REALLY seen Izuku's feelings on Katsuki's apology/death).

especially considering what Izuku says after he tells Katsuki the truth and after Katsuki's tearful confession.

Buf,why those gates specifically? I'm glad you asked.

The cherry blossoms at the gates

So,I've noticed something,at the U.A gates,they're blossom trees. This is considering the official art like this,and I believe a couple frames in the anime.

But,it's so interesting to me that Katsuki and Izuku have so much official art that involves them and cherry blossoms,(which have pretty romantic meanings in Asian culture).

And that last one is pretty important considering we're going back to the beginning. And with all of the middle school flashbacks we've gotten in recent chapters,the cherry blossoms seem even more meaningful,or where the cherry blossoms are. The U.A gates,the beginning of their hero careers.

So I wouldn't be surprised if there was a tearful and meaningful confession,about his want to chase after Katsuki forever,to be with him. I mean,we have Lisa's song: Datte Atashi no Hero. (About Izuku's feelings for Kacchan)

And,honestly,we've seen some of the lyrics in the manga,like exactly how it says.

(it's also mentioning the beginning with a flashback,which was the whole fucking point of this post,so this just fucking proves my point )

But Izuku gets this newfound motivation when he sees Katsuki,when he's on the brink of exhaustion,when he's losing hope,he holds Katsuki's gaze,then pushes forward,because Katsuki is always pushing him forward.

And let's not forget probably some of the most important lyrics in the song.

Izuku has compared Katsuki to his idol their whole lives,Katsuki has always been a hero to him,a symbol,so if we go back,to the beginning,we see Katsuki is Izuku's hero and vice versa,and then we go back to the title. My hero. This confession,at the hero academia,the gates,the beginning,is where Izuku confesses to Katsuki his feelings,that Katsuki is his hero,and he wants to be with him forever.

(Also,I think we're totally gonna get the crepe date,like,because mha is a comedy,after the confession Izuku asks Katsuki to go on a crepe date with him,like in the lamest way possible,because he's so inexperienced with romance,so then we have the romantic implications cannon,but in a way that's true to the series,y'know?)

#Dkbk #Bkdk #GreeNade #Bnha #Mha #mha spoilers #bnha spoilers #midoriya izuku #Bakugou Katsuki #deku x kacchan #dekucchan #izukatsu #I think I'm reading into this a little too much... #but like #If Horikoshi didn't want me to read into this then why did he set everything up like that? #It was just begging to be analyzed and read into too much #let horikoshi cook #Mha 424 #Bnha 424

[regallibellbright]

If I had a nickel for every iconic Nintendo DS game I played in my teens heavily utilizing the system’s central mechanics, with a wonderfully distinctive artstyle, themes about death and the need for connection, a huge reveal at the very end of the game involving a major supporting character’s true identity that makes them and the true plot impossible to talk about without spoiling, and a spiky-haired amnesiac protagonist who is dead, I’d have two nickels.

Incidentally, I finally got around to tracking down and saving Missile’s “Welcome!” as a reaction image and now I have Ghost Trick on the brain.

#Ghost Trick #Ghost Trick: Phantom Detective #The World Ends With You #twewy #subarashiki kono sekai #I could go further too the parallels do not end here #In a lot of ways I consider these two companions to each other as the Standalone DS Games About Death block #the fact that twewy is no longer standalone does not really change that fact #seriously I consider Neku-Sissel to be a STRETCH comparison it’s just that some of the others go into DEEP spoiler territory #also given how EXTREMELY DIFFERENT the two major supporting characters are I find the fact that I AM comparing them hilarious #but like. that one? not a stretch. for all that their motives could not be further apart their methods are VERY similar indeed #just one involves SPOILERS and is also in a sense combining the role of SPOILER. #… I don’t mind spoiling twewy but because ghost trick I’m pretty sure is comparatively lesser-known I DO care about spoiling that

[licorice-tea]

Could I Be Loved By You?

Pairing: Vinsmoke Sanji x reader, Roronoa Zoro x reader, Trafalgar Law x reader (separate)

Content: pure fluff<3

Word Count: 0.7k (total)

A/N: short head cannons are something i haven’t really written before, so i hope these are still good! im in class rn but i got bored so i just finished writing sanji’s lmao- please enjoy! :)

Part 2

What happens when you ask them; “Do you think we’re together in every universe?”

Vinsmoke Sanji - 0.2k

“Sanji, sweetheart-“

“Yes, love?”

You smile softly at him before continuing. “Do you think we’d be together in every universe?”

Sanji doesn't even take a moment to consider his answer- he simply blurts out; “Yes. Always.”

A giggle escapes your lips, which come to press a kiss to his cheek. “I don’t know what other answer I could have expected from you.”

“I have more to say, if you'd like to hear it of course.”

“Mhm.” You nod.

Sanji clears his throat with a flourish, as if he's about to present some grandeur speech. “You are the love of my life- and of all my lives. Without getting to love you and be loved by you, I don’t think I’d be able to go on. So, naturally, we would be together in every universe. If not; it must be a world where I don’t exist.” Then, he takes your hands in his. “My love, I’d be yours in any universe you’d have me in.”

Your gentle smile grows into a full blown grin and, naturally, your lips are drawn to his.

Roronoa Zoro - 0.2k

“Do you think we’re together in every universe, Zoro?”

He shrugs, and starts fiddling with his swords. They lean against the same wall that the two of you are sitting on, his legs crossed around the spot where they hit the floor and yours pressed up against your chest.

“Doesn’t really matter, does it? We’re together here.”

You simply hum in response. It was unreasonable to except something poetic from him in the first place.

“But I hope we are.”

At this, your ears perk up. You turn to face him with wide eyes.

“I just mean… I hope I’ve done enough to deserve you in other lifetimes.”

The corners of your lips quirk up in a smile, and your arms encircle his much larger and more solid one. “You do more than enough in this one. Don’t worry about that.”

Zoro smiles too- not only at your words, but the tickle of your breath against his neck when you speak.

He really doesn’t care to imagine other universes- not when a mere moment with you is enough to take up all the space in his mind for hours on end- but Zoro will still always indulge your whims.

Trafalgar Law - 0.3k

“Law.”

He looks up from his book at your urgent tone. “Yes?”

“Do you think we’re together in every universe?”

He scoffs. “Yeah, of course.”

You tilt your head, silently urging him to continue. He doesn’t though- and he won’t indulge your curiosity without verbal reassurance. So, you give in.

“Why? I was expecting a full thesis with supporting evidence from you, smartass.”

Law shuts his book. “Ahem; Then, I believe that we would be together in every universe because… well, we’re together now. It’s the natural order of things, so why would that change in a supposed parallel universe?”

He’s such a nerd. You want to kiss him.

But instead, you just shrug. “Things happen.”

“Then I’d like to think that our relationship is still a constant.” He finishes off the topic with that. What reason could you have for wondering if you would still love each other in other universes, anyway? The answer is so glaringly obvious- to him, at least. He continues, this time teasing you. “Now, did you have a genuine question, or are we just proposing hypotheticals tonight?” Law smirks at you, but his cheeks are growing pinker by the second. It’s a futile attempt to cover how endearing he finds the thought.

With a satisfied shake of your head, you turn on your heel. “Nope! That was all.” And when you reach the hall outside his office, you poke your head back in. “Love you!”

Law pulls his hat down further, props his book up higher, and sinks into his chair. His voice is a quiet mumble as he returns the sentiment. “Love you too.” Which, he really does; he’s just a little shy.

#fanfic #one piece x reader #one piece #one piece x you #x reader #law x reader #law x y/n #zoro x reader #zoro x y/n #sanji x you #sanji x reader #vinsmoke sanji #trafalgar law #roronoa zoro

[canmom]

Comics mini-Comints: Dungeon Meshi

reread dungeon meshi through to the end. still such a great manga. here are immediate thoughts - if I end up having time and energy I hope I can write something that goes deeper!

ironically i was only a few chapters from the end when I stopped keeping up, but I was struggling to remember all the characters and context, so reading it through in one go was definitely an ideal way to achieve maximum impact there.

ryoko kui does a very elegant job of handling a transition from 'silly antics' to 'big dramatic fantasy' while still keeping the central thematic throughline - eating and being eaten, belonging to an ecosystem, the significance of sacrificing others to achieve your own desires. a lot of setups pay off in a way that feels meticulously planned - and of course the crux of the final showdown revolves around characters attempting to eat each other, of course the big payoff is a huge feast that symbolically unites all the conflicting factions. it is maybe a bit too neat and happy for my taste, but it's undeniably tightly executed - it never loses sight of what it's about. especially compared to something like Frieren, it's an incredibly coherent serialisation, up there with e.g. Fullmetal Alchemist.

kui's art style deserves all kinds of praise - it feels effortlessly simple, but it clearly communicates all sorts of different shapes and body types and it's really fun to see her play around with remixing the different visual elements when she switches the races around. in general Laius's autistic monster loving ways clearly reflect kui's own deeply felt appreciation for all the ways people and animals live (accentuated further by all the extra sketches the scanlators tuck in). in a way you could kinda call it like Parts Unknown the fantasy manga.

the stakes of the final conflict are interesting - there is much to be said about the framing of 'desire' and its fulfilment, of this occult idea of 'the infinite'. lots you could put in relation to other manga, and also buddhism. (in particular I really want to develop a comparison to Made In Abyss, there are so many parallels, it just might be too spicy for tumblr lmao).

one thing I really like about it is how much its fantasy dungeon-exploring setting owes to D&D and other TTRPGs, rather than videogames. monster ecology has been a fascination of that game since the early days of Dragon magazine, and Kui sharply zeroes in on some of the intrinsic conflicts baked in to that fantasy milieu, notably the lifespan thing, while smartly avoiding the traps of 'evil races'. there's some really fun nods to the weirder monster manual entries. and in a story with so many characters and factions, it does a genuinely incredible job of furnishing everyone with understandable, reasonable motivations, conflicts drawn from their context just like the monsters are explained by their ecology.

and one thing that I particularly appreciate is like... how much it is able to simultaneously understand and sympathise with a character and also show us how and why they'd rub others the wrong way. it's impossible not to like our main group, they're all such charming dorks and the manga leads you along with all the crazy rpg party shit they do, but at the same time you definitely find yourself thinking 'guy's got a point' in the kabru chapters lmao. I'm projecting hard bc i don't really know a thing about ryōko kui but laius def feels like the sort of depiction of having an autism that you can only do if you've lived it.

but yeah, it's a fuzzy ending where it all turns out well. but what's the deeper thrust of it all? there's a funny moment where marcille is like 'maybe in the end our journey is about learning to accept death' and the grouchy old gnome guy completely laughs this off as naive, because death doesn't mean anything. and indeed their big plan pays off, and falin does indeed come back just fine. but still, through all of this it asks you to bite the bullet that being a living creature means eating to survive, at the cost of other creatures, with the other side being that one day you too will be eaten. in contrast to this honest way of being is the beguiling fantasy of infinity, where all your desires are immediately fulfilled - this is shown as a dangerous path of corruption that produces madness and manipulability. having limits and rubbing up against the wishes of others, or 'doing things you don't want to do' as izutsumi's arc puts it, becomes necessary for having some kind of definition as a subject. the thing that makes the demon concrete as an entity is a desire, or appetite, that can't immediately be fulfilled.

of course we can connect this to the idea of narrative conflict. a standard advice for putting together a plot is to ask what each character wants and why they can't get it. wanting something implies movement. and indeed over the course of this story, we see that while having too many desires fulfilled too readily leads to incoherence and callousness, equally a character who is left catatonic as their desires have been eaten by the demon must be reawakened to activity by finding a new desire.

it's kinda Buddhist innit. neither the opulence of the palace nor asceticism. desires are what tie you to the world. but mixed with ecology: what a creature does to find the energy to live is what defines its lifestyle, its form.

this is probably where I'd start talking about entropy gradients and shit if i wasn't typing this on a phone at 1:30am lmao.

but yeah - it's a powerful move to go from 'D&D monster recipe show sendup' to 'living with the inherently violent nature of being an organism fated to live in a finite sum game' and yet Dungeon Meshi makes it feel natural and convincing, while remaining tremendously charming and funny throughout. ryōko kui is definitely some kind of genius, and I can't wait to see what her next act is gonna be. it's all definitely making me appreciate the act of eating a lot more.

next story on my plate is probably The Flower That Bloomed Nowhere, which sounds like it will present a very gnarly thematic contrast.

#manga #dungeon meshi #comics comints

[graylinesspam]

She's never been so close to the front before. Ahsoka is 14 years old. she's been a padawan for a month and on her first day she hid in a box while enemy troops marched over her.

On her first day, she blew up their shields, disabled their communications, and subsequently ended an entire month-long siege that freed a planet of innocent civilians.

Today is not her first day. it's day twenty-eight actually. Twenty-eight days since she became a padawan learner and she has never been this close to death before.

Explosive shells rain down from the sky, striking the ground and throwing dust and debris in her eyes. she doesn't actually know where she is except that its somewhere she probably should't be.

maybe the worst part Is that she is alone. she's seen glimpses of white armor in the chaos, some running beside her or ahead of her. but they were all too far away to speak to. She never did get a comm. they didn't have any that would fit on her wrist. Anakin said he'd ordered a few in her size. they'd come in with the next resupply. but for now, she didn't have any way of contacting anyone.

The explosions seem to be getting closer to her location but with the ringing in her montrals it's hard to tell. She knows that her feet have grown more unsteady but there's no way to tell if that's due to the ground quaking beneath her or the fatigue growing in her limbs.

another shell lands and nearly throws her to the ground. the immediate bloom of heat across her body answers the question of where they are dropping. Before Ahsoka can reorient herself there's an arm wrapping itself around her middle and hauling her backward away from the blast.

"We have to take cover," the trooper yells. it's the first familiar and measurable sound she's heard in hours. and it makes the explosions sound louder by comparison.

He drags her back through the dust somehow navigating to some kind of rock formation. She can't see much of it through all the dust in the air but she can make out where some of the structure has been blasted off, blackened shards left facing her.

"Where are we going?" she shouts back.

"Here," he responds. "Can't push any further. the only way back is through no man's land. can't risk it."

He wedges them into the rock as far from the blackened crater's face as they can push before the path ends at a sheer rock that they're stuck with their backs pressed against.

"So we just stay here? for how long?"

"As long as it takes."

Ahsoka squirms. He'd pressed her down into the far corner and sat between her and the battlefield. His body pressed against her shoulder to hip. His form obscured hers completely.

"Do we have to stay like this? can't I stretch?"

His hand comes up to cover her mouth. The shake of his helmet was distinct against the side of her head. "There's droid patrols. we have to stay low and quiet."

When Ahsoka quieted her breathing and listened she could hear the slightest clanging of droids between the explosions.

A sensation of entrapment washed over her, with the plastoid digging into her side and the rock on the other. with the sounds of explosions in two directions and the clanking of droids between them. And with her own efforts to choke down her breaths as quietly as possible. she could feel the panic spreading through her blood.

It was not her first day, but it was the first time she was in this position. And she didn't know the first thing about how to handle it.

Despite her best efforts, her breath came faster through the cracks in his fingers. His hand grew tighter pinching her skin as the clanking grew closer. She could see them in flashes as the shells exploded and flashed hot light through the filthy air, soiled with dirt and death. the shadows of the enemy were cast onto the stone parallel to them.

His body pressed harder into her crushing her against the rock trying to compress the two of them into the smallest space possible.

She couldn't count her heartbeats through the pounding in her ears. nor her breaths through his hand. Every calming exercise the jedi had taught her was useless in the face of this.

But as their shadows had grown shorter and clearer they again grew tall and blurry as the danger passed. in minutes the hand he'd used to gag her fell back away, the exposure leaving her pallid skin burning.

"Sorry." was all he said as he finally leaned away, the barest space between them now. his helmet fell back against the wall with a sound almost as quiet as his relieved breath.

She gasped in grimy breaths until she could feel her heart slow into a healthier rhythm.

She isn't sure exactly when night falls. only that it swallows the already dark battlefield in an all-consuming blackness. And still the blinking explosions try in vein to burn it away.

The time passes slowly. or maybe not at all. it's agonizing.

All the joints in her body ache from being folded in the same position for so long. And her lungs burn from the smoke and grime. Still, they wait for the battle to wane.

Again the droids come and go their shadows less prominent as the shells slow their rain. but it only makes the sound of their enemy louder and longer. They sit in tense silence as they listen to them.

Sometimes when the clanking gets loud her hand tightens over his arm guard tension turning her fingers to claws. His hand pats her own arm back in a gesture of reassurance.

She begins to nod off despite everything. Not even the stress in her veins was able to keep her system running forever. still, her sleep is light and she's jolted from it at every suspicious noise.

Ahsoka can't tell if he's sleeping at all under that helmet. But her self-appointed guard doesn't move from his spot as her shield. Not for what must have been hours.

As the fight finally wanes, she finally fades into a real sleep. Unsure how much of the night remains. It's blaster shots that startle her awake. She's sure she's not the only one because his body jolts hard into hers. His hand is already over her mouth before she can draw a breath to scream.

There's a droid standing within sight. it scans across the rocks, blaster raised and ready. The metallic thudding of the rest of its party just out of sight.

The two of them scramble up quickly. The trooper raised his rifle and fired back at the droid. the shot echoed loudly off the stone and the droid's body fell with a clamor to the ground.

"Run," he shouted facing back towards the sound of the other droids as Ahsoka booked it from their hiding place.

She could hear the pound of his boots behind her and the sound of the pursuing droids. Shots rang out from two kinds of blasters as they scrambled toward the no man's land. though the explosions had petered off to nearly nothing the air was still thick and the visibility low. Ahsoka counted that a mark in their favor since they'd be crossing a flat wide expanse in the enemies line of sight with zero back up.

The barest rays of the early morning light were her only guide. She knew it rose from the opposite side of their camp. it she simply ran into it, she'd get to safety eventually.

That was easier said than done with the ground pocked with craters and their displaced stone loose under her boots.

Somehow the sound of droids was only growing louder despite the low visibility. Her breaths grew loud and desperate and she could barely hear the trooper's steps behind her anymore. "Keep going!" he shouted.

The sound of blaster fire picked up and Ahsoka threw everything she had into her sprint. Every inch of energy and all the power she had in the force pushed her forward. She struggled to stay upright as rocks rolled under her feet.

She was startled as she broke through the dust cloud and could see the camp coming into sight. Other troopers were already gathered at the edge, craning their helmets to get a look at what was making all that noise. Rifles aimed in her direction.

But as they caught sight of her two broke away from the line and rushed forward with their rifles lowered. They jogged to her and grabbed her by either arm, dragging her into camp and behind the line of soldiers still aiming their blasters into the dust cloud.

Ahsoka dug her heels in when they tried to drag her away. She craned her neck to catch a glimpse between the line of soldiers.

The next figure that broke through the cloud was not the trooper, it was a droid. And it was executed on sight by what had become a firing squad. Another droid went down, then another, again and again.

Ahsoka didn't count them all. She just knew there were too many. too many droids.

Eventually, she was dragged away.

Anakin was relieved to have her back.

when the dust settled down to the ground again Ahsoka walked through the battlefield. But she couldn't tell one set of armor from another.

Ahsoka has been a padawan for one month, and this mission is the first time she has to fill out the casualties section of her mission report. But she realizes very quickly that she has no information to put down.

She doesn't know his rank or his designation number. She doesn't even know his name. There's a whole page of questions asking for identifiers of the clone who lost his life defending hers. And she has to leave it blank.

There is no database that can identify him based on the way he drug her from danger. Or the way he shielded her with his own body. Or kept her calm in the face of imminent danger.

There isn't anyone who can tell her who he was. All that's left of him is a painful memory.

#star wars #ahsoka tano #clone wars #sw tcw #tcw #501st #clone oc #clone trooper #whump #or angst #i barely know the difference

[overleftdown]

farleigh start and racism; oh boy.

(some people are going to find this post really annoying. some people are like felix catton.)

read this.

just some thoughts from the perspective of a person of color who is slightly too obsessed with this character. this movie leaves the viewer a lot of wiggle room to interpret how dynamics such as race and privilege come into play. there are certain parallels between this movie and the real world, and how unnoticeable white privilege tends to be for white people.

lemme lay some groundwork. from what i understand, the most prevalent form of racism and white privilege within upper- and middle-class circles is implicit bias. this is racist conceptualization that subconsciously interacts with one's perception of society and people. implicit bias is often externalized through microaggressions, differences in treatment and language towards a marginalized person, misplaced guilt or pity, and persistent denial of any existing privilege or marginalization. most of these biases are also founded on stereotypes. some racial stereotypes are heightening (e.g. asians are all smart) and some are lowering (e.g. black people are all lazy). all stereotypes are harmful. i'm going to discuss some of the stereotypes that could theoretically interact within the saltburn canon, as well as some things i've noticed within viewers. can of worms, to be honest. boutta get INTO IT.

to use one of my externalization examples, let's discuss (or, more accurately, let me discuss) the denial of existing privilege or marginalization. this is a subconscious way to uphold a sense of morality, effectively avoiding "white guilt," so to speak. as is clearly presented to us, the cattons are very attached to their methods of upholding their own self-righteousness. saviorism is a common theme within both elspeth and felix. in oliver's conversation with elspeth about poor dear pamela, you can see that oliver recognizes elspeth's need to justify her actions in an attempt to preserve her sense of decency. one can only assume that this applies to how they view farleigh's relationship with them. there's more to talk about there, but i'd like to start with the only overt mention of race in this movie.

in felix's confrontation with farleigh, farleigh makes the bold and brave decision to mention his blackness. i call this brave because it's genuinely a terrifying thing to do, and the end of this conversation is proof. "oh, that is... that is low, farleigh. seriously, that's where you want to take this? make it a race thing? i never know our footman's names; the turnover for a footman is notoriously high!" we have felix's intentional or unintentional shaming of farleigh. we have felix's appalled denial of any involvement of race or racial bias. we have felix's diversion away from farleigh specifically and onto his own inability to know his staff's names. felix made no further attempt to recenter farleigh, aside from telling him that the cattons have "done what they can." (which is SO absurd on its own. they are clearly and obviously able to do more. they are disgustingly rich). farleigh does feel ashamed after felix's response; you can see it on his face, and archie says it directly. here is a relevant and prevalent stereotype for all marginalized people: that the discussion of marginalization is exclusively weaponized to gain something or manipulate a situation. this is how felix chooses to see farleigh's implication of existing white privilege. this conversation results in nothing, does nothing, as felix chooses not to confront what he's probably thinking as he repeats the words "begging bowl" to venetia.

now. saviorism, guilt, and pity. felix specifically tells oliver that sir james made an effort to support farleigh out of guilt. i'd like to order some things in a way that i perceive them. frederica start runs from england, which is explained in a condescending way by felix. frederica start marries a so-referred-to "lunatic" who dug through fred and jame's money, although it's farleigh who only mentions fred's financial irresponsibility. out of guilt, james offers to pay for farleigh's education. the specificity of education is compelling to me. perhaps james is simply a patriotic man who strongly believes that english education is better. or this is a mobilized racial stereotype! who can truly know. i digress. james' offer to pay for farleigh's foreign education puts the cattons in an odd position; if farleigh is to attend english schools, he will need to stay with the cattons. if farleigh is staying with the cattons, he will need to be treated as equal to felix and venetia. this is all one long chain of obligations. none of these acts from one family member to another should be considered "charitable," because family should intrinsically create a trustworthy and supportive dynamic.

i believe that the cattons do consider their fostering of farleigh as obligatory. moral obligation, as they recognize that families are intended to have a sympathetic and loving relationship. they cannot, however, escape the truth that they're just guilty. the "begging bowl" and "biting the hand" are more symbolic of a starving dog and its charitable adopter than a cousin/nephew who's staying with his absurdly rich family. see, the cattons are fully and entirely capable of affording another child, of supporting frederica financially, etc. the only way i can rationalize their reluctance to do so is by assuming that they don't feel like farleigh deserves it. is this a crazy assumption? i genuinely don't see why else. of course, i don't think this mentality is explicit or conscious. it's more-so the reality that when farleigh walks in a room, he's not the same as anybody else. aside from background characters at oxbridge, the only on-screen black people are liam, joshua, and james' godson's wife (who gets degraded on-screen). this is the reality of being different in an environment such as the english aristocracy. the cattons choose to see themselves as the hand that feeds the less fortunate, more entertaining, and least inconvenient. the cattons' inclusion of farleigh is not only reliant on how well farleigh performs, but also on their own pity and guilt.

all of this is somehow, painfully mirrored by some takes i've seen on farleigh. maybe this entire post is presumptuous, but you know what isn't presumptuous? saying that certain people hold farleigh to an incredibly odd standard. while the cattons never canonically said anything along the lines of "farleigh doesn't deserve our love and support," mfs on the internet have. the number of times people have referred to this character as greedy, lazy, petty, and malignant is so odd to me. i'm insane, i know. i just don't understand how people can hold farleigh to the backdrop of an english aristocratic family and so passionately say that he, of all characters, is the most detestable. or that he, of all characters, has no reason to behave in the way he does.

is farleigh greedy? greed is defined as a desire for more. farleigh has no desire to climb ranks, no desire to replace or surpass felix, no desire to hold any power over any family member. he is maintaining, upholding a standard that has been set for him throughout his life. is it kind or selfless of him to meddle in other people's affairs with the cattons? no. does he have a reason to be upset that non-relatives of the cattons are a threat to his inclusion in the first place? yes. is farleigh lazy? i don't even need to explain this one. no. if you don't consider oliver lazy, then i really don't want to hear anything. is farleigh petty? pettiness is defined as "an undue concern for trivial matters, especially in a small-minded or spiteful way." farleigh's meticulous attention to trivial matters isn't undue in any sense. a person of color and their meticulous attention to trivial matters is almost never undue. elspeth is a good example of petty. is farleigh malignant? there are a lot of definitions of malignant and i've seen people apply all of them, in some way, to farleigh. that's just wrong. archie madekwe once said, "i was interested in humanizing what, on paper, seemed like a mean character, a villain, or a bully. i don't think he's any of that. he's very self-serving, but i think he's really a heartbreaking character." case closed, this was for my own piece of mind. had to write this section because good lord.

in conclusion to this post that has gone tragically off the rails, i think the in-canon and viewer perspective of farleigh is, perhaps, a little racially motivated. sue me. they are all very centered on this idea that farleigh doesn't deserve inherent respect, support, and love. to remove farleigh's rational position within the cattons family would be akin to removing his right to familial love. genuinely, that's how i see it. the transaction nature of farleigh's actions is responsive. he sees felix as a social shield at oxbridge, he sees elspeth and james as the beholders of his perceived security, and he sees saltburn as a way to escape from his lack of privilege and his lack of stability in america. boom. bam. pow.

#farleigh start #saltburn #saltburn 2023 #i love making it a race thing #took multiethnic lit and racial sociology this quarter #critical race theory is my weapon of choice at any given moment #“erm actually” #the “i love making it a race thing” is a jest #white people b making it a race thing without even knowing it #like hello ur the one who fucking started it #womp womp on GOD on griddy #i tried to explain to someone that i related to farleigh because i'm also half white and my white family is painful to exist around #and this mf said “erm u actually relate to him cuz ur a horrible person and so is he” #hello what #i'm not doing what farleigh is doing like obv i don't live in a fucking castle #but the girls that get it get it #i'm incapable of shutting up #ever #actually #yabbering on at 1am #talking to the voices in my head #the voices r saying “farleigh start u will always be famous”

[general-cyno]

I sort of rambled about this in the tags of a post, but I wanted to make a proper one myself since I find it very fascinating (law backstory flashback you will always be famous). so one of my favorite scenes is this one:

it is a very meaningful moment for these two, a very clear turning point to their dynamic at that time, and it's made even clearer by how law starts referring to rocinante as cora-san afterwards.

now, there are several instances throughout dressrosa arc where the similarities between doflamingo and law are mentioned, with the former going as far as to call them both birds of a feather. and as it's shown in the flashbacks, reading about flevance was enough to trigger doflamingo's traumatizing memories of his and rocinante's childhood, which seems to motivate him to bring law into the family. the way law seeks to lash out at everything then is reminiscent of doflamingo's own worldview and experiences, at least from his pov:

rocinante noticed those similarities as well and though he tried to (questionably) discourage all kids from joining the DQ pirates by scaring them away, law's case in particular prompted him to bring up the topic with sengoku at some point, as seen during sengoku's conversation with law.

sengoku repeats what everyone says about the amber lead disease, that it's incurable, and warns rocinante not to favor law much for it could jeopardize his mission. whether rocinante's agreement here was reluctant or not ig is up to each reader but learning of law's real/full name (his relation to the D clan) reignites his initial worries and some more, considering the historic opposition/threat the D represents wrt celestial dragons and how this could endanger him if doflamingo were to find out.

so there's even bigger reasons for rocinante to not want law to become doflamingo 2.0. though as he later admits amidst his drunken speech, the will of D no longer matters to him when it comes to saving law, as rocinante's journey to cure his disease ends up making him feel genuine sympathy for law beyond that. he's forced to witness first hand how much discrimination and dehumanization law's subjected to time and time again, because of his disease and ties to flevance. before all this, law's mentioned his imminent death more than a few times and does it after too. and during the first disastrous hospital visit, he tells rocinante: see? I'm not even human anymore!

which brings me to this bit of dialogue:

for all of law's similarities and/or parallels to doflamingo, it's worth noting that rocinante experienced the same things his brother did and due to his younger age probably understood even less of what was happening or why they were being targeted in the first place. compared to doflamingo, rocinante also has way less dialogue in their backstory but one he does have is this:

this happens in the part where rocinante, doflamingo and their father are strung up on a wall and shot at with arrows. the villagers all express their anger, grief, the violence and suffering they've gone through because of celestial dragons like the donquixotes. albeit different in nature, along with doflamingo, rocinante experienced a kind of dehumanization as well.

so, again: for all that law might resemble doflamingo the most, I do wonder... how much of himself did rocinante see in law, though subconsciously? a kid who lost his family, subjected to the kind of violence that led him to resign himself to death (seek it, even) and was treated by others as inhuman because of circumstances out of his control? it might've not been what rocinante believed to be his own motivations to help law, likely never actually saw or realized the similarities they shared, but imo it adds some more depth to his kindness and sympathy towards law.

this also marks a stark difference between the donquixote brothers. whereas doflamingo got caught up in a very vicious cycle (which traces back to the existence of celestial dragons as a whole and was further enabled by others like trebol) that he planned to continue with law, rocinante was able to see past law's rage and acknowledge the pain beneath. after all, rocinante knows too what it's like to be hurt by others who've been terribly hurt first and became someone who wasn't exactly keen on returning the sentiment, unlike doflamingo, regardless of whether it was in his nature to be so or if it's something that was nurtured as he grew up. that's not to say rocinante was an endlessly kind saint (he had his own biased views) or that he wasn't capable of violence (he did beat up all those medical staff and burn down hospitals for example), but those incidents weren't caused by a sense of entitlement on his part or such. he didn't blame law for stabbing him or in general for seeking revenge against the world, ultimately chose to protect and save him instead - which, indeed, changed law's life. as law presently insists, he owes cora not just that very life but his heart as well.

lastly - law himself might not disagree with doflamingo insisting they're of the same sort, but law is also the kid who couldn't fathom leaving his dying little sister behind. who softened and lowered his guard after receiving genuine kindness/love/sympathy for the first time in years. who saved a little mink and risked his own neck later on to save a boy who'd just lost his brother in the worst way possible. who didn't even consider putting his crew in danger when he knew (and expected) he might die and his whole revenge plan against doflamingo was rooted in love and grief to begin with, the same upon which the foundation of his crew was built and is a tribute to. last we saw of him, law orders bepo to go back in winner island because can't leave the crew behind, etc etc, so there's that too. how much of it is law's own nature and personality? how much is due to the impact cora had on him? both? would've doflamingo turned out differently or made different choices if his parents had tried harder to school him out of those CD views or if he'd had more positive influences aside from them, instead of the people he ended up surrounded by? would he have become the same kind of person he is rn no matter what? interesting stuff to think about.

#one piece #tp #donquixote rosinante #donquixote corazon #trafalgar law #every day I am plagued by Thoughts abt these guys help me #hope this is somewhat coherent ajdkkgg #also writing this made me realize cora kind of? subtly told law abt his and doffy's relation to the celestial dragons? #probably flew over his lil head tho #long post

[door430]

AvA 6 Theories/Thoughts

It's been a hot minute since part 2 of AvA 6 came out, but the physics video prompted a cascade of thoughts and theories that I could not get out of my head, so here we go. This is gonna be a long one.

Theory 1: The mercenaries are victims of TCO and TDL

This theory has been circulating for a bit, but there are a couple points of evidence that I want to bring up.

1 - The mercenaries look very different from any sticks we've met before, and very different from each other, so it's likely they come from different places very far away from each other. This would line up with this theory if they were forced to evacuate. Their fighting skills also explain how they were able to survive Dark and Chosen's attacks.

2 - All the mercenaries, but Agent Smith especially, seem almost like they're toying with Chosen while chasing them down. It's even brought up by DJ in the AvG Reacts video that Smith could've paused TCO at pretty much any time, as if he was just messing around. Even if the pause button only works at short range, Smith seems competent enough to be able to use it if he wanted to. He chooses to use regular attacks instead of just using pause, or even the lasso or select tools, and that seems to point towards some sort of grudge.

Theory 2: TSC and victim parallel each other

In the physics video, I'm sure everyone saw the yoyo and thought of victim with the lasso. But I'm taking it a step further and saying that they're going to be parallels of each other in AvA 6.

1 - Victim very clearly parallels the Alan we see in the first AvA. He uses the same animator tools, particularly the lasso, and he uses the same tactic of keeping his victim trapped so they can't escape. Additionally, the way he easily creates clones and lets them die seems very similar to Alan's original thoughts about stick figures - not seeing them as living things.

2 - Second also parallels Alan from AvA 1, though he seems kinder than Alan was to victim. He uses the pencil to create life just as we see Alan do with the sticks, and like Alan originally was, he seems unaware/in denial that his creations are alive. However, we see that after the workers erase the eel he created, he looks at the pencil as if contemplating the morality of creating life just to kill it.

3 - Victim and Second are often used as foils to each other in fandom works, and for good reason! Second is everything that victim couldn't have, and victim is everything Second doesn't want to be. Victim was deprived of a good life, friends, family, and powers, all of which are things Second has in spades. Of course victim would despise Second for that! On the other hand, Second is shown to be very heroic, striving to do the right thing, and in part 2, he reflects upon his actions, not just with the eel, but with his powers, too, when he discovers he has them. Victim is not heroic, kind, or self-reflective at all, setting them up as obvious foils.

Theory 3: Victim won't be redeemed

This is more of a hypothesis than a theory, but hear me out.

1 - Second is very clearly set up to be the protagonist and hero of AvA 6. If he goes through an arc of realizing the thing's he's done wrong, just like Alan did, I doubt victim's story will end the same way. Victim actively chooses to be oblivious to the consequences of his actions, and he very clearly does not want to become a better person.

2 - Victim's name is more than just a name; he sees himself as the victim in his story. In victim's eyes, Alan hurt him, therefore he has the right to hurt Alan back. He chooses not to see the horrible things he's doing because that would ruin his picture-perfect narrative where he's just a victim of his own circumstances who isn't responsible for any of the hurt he causes because Alan hurt him first. He believes every lie he tells himself.

#430 rambles #ava theory #ava the box #animator vs animation #alan becker #ava victim #ava the second coming #ava the chosen one #ava alan becker #ava tsc #ava orange #ava mercenaries #ava agent smith #ava shady #ava primal #ava hunter #ava sign #ava hazard #ava ballista #ava pixel

[viablemess]

I have a lot of feelings about the Durin Family, Fili in Particular

---Howdy folks it is that time of year again where i go absolutely feral for Fili Durin. He is underappreciated and tumblr has addressed that but i feel an URGE to add to the discourse so here I am. This post is not done, fyi. I will add more to it later.

It's 10pm/22:00. I just got home from class. I'm waiting for my ramen water to boil. There is a fireplace and some holiday lights. Let's have a (fireside)chat.

First of all, the constant tying of Fili and Kili together?? Like I get it. Merry and Pippin parallels. I love parallels (looking at you, George), but come on. Chill, just a tad. I know Tolkein didn't give you much to go by, but he didn't even write tauriel into the books or Bolg and yall ran with that anyways. Use your creative brains, pls, I'm actually begging you.

ANYWAYS. Have them develop separately even if only a little. Kili is the younger one, literally viewed younger bc he has the smallest itty bitty beard. He is not the heir, he is the spare, and could have some deep rooted personal insecurities about that as a result. He may feel that he deeply has to prove himself to Thorin bc he does not have a set role in the future like Fili does. Kili gets his romance with Tauriel, which--khgf;ushfw;e uneneccary, but I can appreciate the attempt to broaden the target market and appeal to a romance audience even if the previews did not hint at that happening at all so it would not have been a marketable trait per say but I digress. Again with the parallels of forbidden romance, poor Legolas still does not get any, we know, he was not even in the books really either, let's move on.

Kili is babied by the company, needs to prove himself, his mother made him promise to return to him so he is still deeply in the "coming of age" side of things (a lot of the company is, but that's a topic for another word vomit fireside chat). He begins to realize that he might like elves which goes against his family and he was already the spare, might as well go all in and fall in love with an elf. Fine. I can deal with that. But let's see more of Kili messing up, more so than just the trolls. Let's see him make silly goofy mistakes more. The company always tries to keep him out of the line of fire by making him an archer (heh) and keeping him off the front lines. They do everything to protect him, bc Dis is a terrifying woman, ansd if she made Kili promise to return to her, dammit, the company will return him to her if it is the last thing they do. Kili likely spends less time with Thorin and Dwalin than his brother, so here he is, questioning his own self worth and if he belongs in the party and his own abilities while coming of age and sticking out from his family even more, so why not rebel a little? why not be an archer which is not as glorified, why not consider shaving to meet cross cultural beauty standards, why not date the elf (dammit, I'm convincing myself for Tauriel's presence and I hate that). He's trying his best and messing up along the way, and is INNOCENT. Completely. He is aware of his ancestry and what happened, but he and Bilbo are the two being narrated to when telling of the Durin family history, and as a result, the differences in dwarven / hobbit culture could be explored further. Thorin has a little kiddo to watch out for, and maybe is softer around, because even Thorin knows Kili is young, maybe even too young to be here but if they didn't let him come he would have snuck after them, so we get to see a more forgiving, family-man Thorin who we do not see anywhere else (and yes we get that at the end of the movie but I'm getting to my critique of the (I almost called it a keldabe wrong fandom) forehead touch with a name I cannot recall later).

Onto his brother. Fili is the heir, okay. So, that means that he is likely raised very differently from Kili. Whereas Kili may have had some time to play and be a kid (as much as they could in the Blue Mountains as refugees, anyways), Fili likely was given no such privilege. He followed Thorin around like a lost puppy, watching his every move and trying to imitate it, because he knew he would have to do Thorin's job someday. Even if Thorin did get married / have a kid / etc there would likely still be a window where Fili was in charge before Thorin's kid came of age, and as the years went on, the chances of that happening diminished, and so Fili threw himself more and more into his crown-prince-studies. Maybe a little obsessively, just like his uncle, who had practically stepped into the role as father. Because Fili thought he had to be Thorin. Thorin, meanwhile, saw the King that Fili could be, and that King was so much better than him. Fili grew up humble as a result of them all being refugees, something Thorin did not have to learn until much later and even then he never fully got it. Fili was kind, because he saw the suffering of his people, and understood how large of a difference a small act could make. Fili also had the teachings of Thorin drilled into him, because Thorin's problem was that whenever he saw Fili, he also saw Frerin. Frerin was Thorin's younger brother, just as blond as Fili, and (I'm assuming) played a roll in Fili's name (both starting with F). Frerin died at the Battle of Azanulbizar, and Thorin remembers that battle, he remembers losing his little brother. He can understand the fear that Fili feels whenever the company encounters a fight because he has felt the same in the worst of ways. But, because Thorin understands, he pushes Fili to be better than him. Even if that pushing is too much, too hard, too fast, too young--Thorin knows that Fili can be better than him, and Thorin does not want Fili to suffer as he has suffered, so he does everything in his power to prepare Fili for what is to come, and because Thorin loves him, that is all he does. He pours that love out as motivation and pushes Fili to do more, do everything, and do it better than he did. Fili, being young, does not realize this. He just sees it as Thorin preparing him to be king, and quite brutally at that, but Thorin is the closest thing he has to a father, Fili is not going to question it, not for anything, except for his little brother. And that just hurts Thorin, because he knows that, had he had the chance, he would have died to save Frerin at Azanulbizar. He knows Fili would do the same for Kili, but they are both so, so young. Thorin fears he could lose them both in one go, if he is not careful. So he is harsh, he scares them, he is forceful, because they do not have time for care and coddling, that won't keep them safe.

Whereas the company sees Kili as carefree and fun, Fili is cold, like his uncle. He is stone, and observant, and polite. He has to be Thorin, AND everything that Thorin is not. It is an impossible task, but he has to try. That is what is expected of him, not just by his mother and uncle, but by the entire people that is behind him, waiting for him to ascend to be king. He does not get a choice. The only one who can pull him out of that rut is his brother, with whom he actually feels like he can be what he is -- barely older than a kid.

Im gonna let that sink in for a second. They're CHILDREN.

anyways.

So, Kili gets his romance plot. It's cute and it parallels. And I've established that Kili must prove himself, and Fili will bend over backwards to make Thorin happy, which likely also extends to Dis, his mother.

I imagine Dis gave Kili the river rock to come back home, and she told Fili "be safe, don't be stupid, etc etc" but HIGHLIGHTED "take care of your brother", and Thorin does the same in the movies.

So, when Kili galavants up the bridge to open the gate after the party does a little slip and slide down the river, Fili naturally goes with. He sees that Kili is about to get shot. And Fili, who knows above all else he has to be king and he has to take care of Kili, just does the normal heroric thing and jumps in front, and he gets shot.

He is chastized for it, for being stupid, but overall they both are thanked for getting them out of the mess, and there is no time to waste because the company has to leave, and Fili (like what Kili did albeit maybe with more conviction) will not let others help him, or show weakness. So Fili continues on, poisoned, and Kili has the guilt of knowing his brother took an arrow meant for him. Fili must suffer the consequences of being a hero, and Kili must suffer the consequences of being the youngest, and feeling guilty for not taking responsibility for his own actions.

This all boils over to a fight where Kili tells Fili that "I made the choice to go up there, I didn't ask you to intervene!" because dammit Kili wants to be treated like an adult and FIli just took that away from him, again.

Fili, naturally, retorts, "I just did what I had to, because you know what? mom didn't tell me to come home--all she told me, all everyone ever tells me--is to take care of you! So I don't matter, not to this family, not in the same way you do. You're a son. I'm a prince."

Which, ouch. Slap in the face to Kili, and maybe the company overhears. Kili feels slighted, but also maybe is starting to understand, he can be a kid, Fili cannot. And Fili, meanwhile, is about to break from the weight of expectations that feels heavier than the lonely mountain ever could.

So, Kili stays with Fili when they get to Bard's, because it is what Fili would have done for him. Thorin is pissed, but lets it go, because Kili isn't Fili, and ouch, again.

I imagine Bofur helps quite a bit, he has a kind soul and listens better than most, and while Fili is delirious with fever Bofur talks him through it. Kili gets to be more coherent with Tauriel, and we get to see if their relationship actually holds up outside of a "she saved my life I love her" style of interaction which bleh is cliche as all get out.

and PLEASE when the dwarves do get out of Bard's house, they get to actually help Bard deal with the dragon. I read a fic a long time ago (if I find it I'll link it and the author below) where Fili had to be Bard's arrow anchor instead of Bard's son and I just chef's kiss. The dwarves who are left get to help the humans, and they feel more sympathy for them. Maybe they witness more death, and so when the dwarves do turn their backs on the humans later, Fili, Kili, Bofur, Bifur & crew are like "wait wtf they have suffered enough" unlike their future indifference we see in the movie.

and THEN all the dwarves arrive at the mountain, and Fili and Kili actually get welcomed home like the family they ARE, but it's stunted, because something is wrong with Thorin. He is glad to see Kili and Fili, but barely spares them a glance. They've heard the rumors and stories, of gold sickness. They begin to wonder, and we get to see them talk (probably with Bilbo) about the concept in secret where everyone is looking for the arkenstone. We get to see Kili with his hero worship refuse to believe Thorin would fall under a gold thrall. We get to see Fili, who is afraid of becoming like Thorin, too scared to enter the treasury unless immensly pressured to do so, and even then someone is always with him, because he worries. He still holds the ruby Thorin threw at him, and he keeps it in his pocket. He holds it so tight the edges cut his palm, and the pain seems to distract him from the wealth that surrounds him. I always wondered if Thorin gave Fili that ruby because he was the heir, or the only dwarf with so much gold about their person, with his hair. It was what Thorin saw first, not because it was his nephew, but because he looked like the very thing that already clawed Thorin down into his own demise.

AND NOW the war starts. and this needs to be another post bc ffs I'm losing my shit this is much too long.

#the hobbit #durin family feels #tolkien #thorin oakenshield #kili durin #fili and kili #fili durin #kili #fili #hobbit #dwarves #tolkien dwarves #fix it tumblr #fix it fic #fanfiction #lord of the rings #legolas #tauriel #thranduil #bard the bowman #bilbo baggins #the hobbit bilbo #the hobbit thorin #the hobbit fili #the hobbit kili #vias fireside chat series

[fluentmoviequoter]

It Ends Here

Summary: After years of not seeing your childhood best friend, you are reunited and agree to join him in an unimaginable battle. 0.9k+ words (less than 1k? that's a first)

Warnings: reader is Dalton's childhood best friend, fluff, a teensy bit of angst, several time skips, a very open ending

A/N: Depending on your feedback, this may become a series! I edited and proofread but please let me know if I missed anything and what you think! I am currently working on your amazing Dalton requests and they should be posted soon! Enjoy and thank you for reading! :)

While trying to maneuver through the crowds of parents and new students to return to your dorm with the last of your belongings, someone bumps into you.

“I’m sorry,” he says as he turns to continue walking.

“Mr. Lambert?” you call, unsure if you saw him correctly.

He spins around, saying your name as he sees you. “I’m sorry. I’m in a hurry, but I’m sure we’ll see each other around. Bye, kid. Good luck!”

Mr. Lambert hurries away, and you swear you saw tears in his eyes. If he was here, that means Dalton is going to school here. That means you might have a chance to see the one who got away again.

The first week of classes take your mind off Dalton, but as the week ends and you settle into your new routine of college life, he invades your thoughts again. You think about the last time you saw Dalton instead of focusing on where you are going, causing you to run directly into someone. You begin to apologize, looking up to see who you hit.

“Dalton?”

Dalton’s eyes light up in recognition, and a smile grows on his face before he picks you up and spins you around, tightening his arms around you as your arms wrap around his shoulders.

“It’s been so long,” he says as he sets you down.

“Too long,” you agree.

“I’m meeting someone in a few minutes, but we have to meet up. Give me your number?”

You happily oblige, handing him your phone and watching as he enters his number, then sends himself a text so he has yours. His fingers brush yours as he returns your phone, and you feel like you’ve traveled back in time.

He repeats your name before shaking his head and saying, “Man, I missed you.”

“I missed you too. See you soon, Dalton.”

Once you do see him again, you become inseparable. Sitting in his dorm one night, he explains everything that happened since the last time he saw you.

“Wait, wait, wait,” you interrupt, “so you weren’t in a coma? You were in the, uh, Further? Being possessed by some kind of demons?”

“I know, it sounds crazy. As far as I can tell, when I go to sleep I astral project and end up back in the Further,” Dalton adds.

“Yeah, it sounds crazy, but it makes sense; with everything that happened then.”

“You remember it?”

“Of course. My best friend was in a coma then his parents moved him away from me, how could I not remember that?”

Dalton nods, twisting in his chair to give you a hug as he says, “I’m really sorry we lost touch."

“It’s not your fault, D. We were young, we couldn’t do anything about it. I’m just glad we found each other again,” you respond, returning his hug.

The lights have gone out five times since you moved into your dorm. So far, you have not been with Dalton when it happened; he ensures your safety. As his battle with the creatures of the Further progresses and Chris is attacked, he begins to pull back and distance himself from you. Your daily meetups are reduced to once a week. He seems more content to text than FaceTime. Parallel to your life eight years ago, you are losing your best friend and don’t know what to do about it.

“Dalton, I’m not scared of you or this! Please let me in!” you beg through his closed door. “I trust you and I just want to help you.”

The door finally opens, and Dalton lets you inside, running his hand through his hair as he paces.

“It’s not that I don’t want you here, not at all. If anything happens to you, I couldn’t live with myself. This hurts me too, but I can’t let you into this world.”

“Into your world, you mean.”

“No. No, that’s not what I mean. I want you in my life more than anything, but not right now. Let me fix this, then I will come find you.” Dalton begins gathering his things.

“So that’s it? I’m supposed to just let you walk out? Not knowing if I’ll ever see you again?”

“I promise that I will fight to come back to you,” he says, grabbing your hand. “But that’s all I can do right now. This isn’t goodbye.” He leans in and kisses your forehead as he releases your hand and turns to walk out.

You feel tears building in your eyes as you realize begging Dalton to stay isn’t working – not without an explanation.

“I can’t do this again,” you admit quietly, closing your eyes. You can’t watch if Dalton keeps walking.

“What do you mean?” Dalton asks.

You open your eyes and see he stopped, but his back is still to you.

“When your parents moved while you were in the coma, or whatever that was, it broke my heart. I don’t think I can survive losing you again.”

You let your tears flow freely, crying harder as Dalton walks to you and wraps his arms around you. Your arms raise to circle his waist, and you cling to him, continuing your whispered begs for him to stay.

“Hey,” Dalton says, gently grabbing your chin with his thumb and index finger, encouraging you to look into his eyes. “I’m not leaving you. Ever.”

“But?” You press, knowing there had to be more to his statement.

“But I have to figure this out. And close the door, I guess.”

“I know you do. I would never stop you from figuring this out, but I can’t handle not knowing if you’re ok or not.”

“Then come with me.” He pushes a piece of hair out of your face and leans over to look into your eyes. “I need you,” he murmurs.

You stare into his eyes before nodding. “It ends here?”

“It ends here, with us,” he confirms.

#dalton lambert x reader #dalton lambert #dalton lambert fic #dalton lambert fluff #insidious #insidious the red door

[reginarubie]

When HotD got out everyone was like Oh, Daemyra is the new, improved Jonerys with good storyline

And I didn’t give it too much attention, you know I stay mostly in my line and don’t mess around with shit that doesn’t interest me (like Jonerys) but now that I think of it…

I’ll do you all one better (and maybe I am late at the party as always, because I can’t be the only one noticing this)

Jonsa is the reversed, evolved, less entitled (both Jon and Sansa start as spoiled characters but have their entitlement beaten out of them pretty soon, and we love them for it), more duty-oriented (thank you Ned) Daemyra.

I mean all signs point in that direction and I see you 👀 GRRM pushing the Jonsa agenda further on!

And now I’ll tell you what sources I have to base my logic on (and maybe I am wrong ey, but I think it fits Jonsa more, as of now, though Martin could totally disprove me going the other way confronted to the way the show concluded knowing his ending).

So, at the beginning of the story, Robb becomes king in the North by popular demand.

In the first episode Viserys becomes heir (and later king) by popular demand.

Both Robb and Viserys inherit their position by their much beloved predecessor (Jaehaerys and Ned) and both are ‘named/appointed’ by a conclave of lords/ladies in the Riverlands ffs.

Both Viserys and Robb end up planting, with their own politics, the seeds of the shit storm that almost threatens to destroy their family after their death.

Robb marries Jeyne (Talisa in the show) instead of the Frey betrothed thus snubbing the Freys and going back on his word. He dies without an heir leaving the North in shambles when he had been a step from winning the war.

Viserys names Rhaenyra heir and then — instead of marrying the Velaryon girl — marries Alicent and has more children knowing that if they were male it could cause disrupt with the line of succession.

Both are idolised after their death — Viserys taking the name of The Peaceful thanks to the ruling and politics of his Queen and council and Robb by being sanctified by his siblings and lords even tho he was the one causing most of the problems who caused his death and almost destroyed the North — both Viserys and Robb loose their heirs.

Viserys loses his sons by Aemma

Robb dies childless and his heirs (Bran, Rickon, Sansa and Arya) are to his knowledge lost (Bran and Rickon presumed killed, Arya presumed dead and Sansa married to a Lannister).

The heir that remains them, their younger brother/sister (Daemon and Sansa) is not considered worthy of inheriting after them — Daemon for his character and Sansa because she has been married to a Lannister — so both do the same thing, they disinherit their lawful and rightful heir (yes Bran and Rickon and Arya are alive but Robb doesn’t know it; Viserys will have Aegon, Aemond, Daeron and Helaena but he doesn’t know nor care) to name another as heir someone who, by law, should pass after the rightful heir.

It seems to me like some pretty big parallels here.

Daemon = Sansa

Daemon and Sansa are the second born children of a couple who love each other and apparently their mother’ fav.

And you know what’s sick? Daemon and Sansa both supported their brother’ right to any extent.

Daemon readied men-at-arms and sworn swords to defend Viserys’ claim when people rumoured Corlys wanted to assemble a fleet to defend Laenor’ right after Rhaenys.

Sansa bled for the northern independence when in KL and then later — and this is only show for now — Sansa gathered the northern army and put KL under siege to defend her brother. Sansa is the one who decided to rally the lords of the North behind House Stark once again (Jon was done fighting) and she was the one to offer Bran the role of Lord of WF when he returned from Beyond the Wall.

Despite being loyal to their family in their own way, both Daemon and Sansa are disinherited by their king in favor of someone they love but that by law should have come after them.

By succession tradition and law the brother of a king becomes before the daughter of a king — unless women can inherit the throne which was not the case in Westeros at the time — so Daemon came before Rhaenyra in the line of succession, yet Viserys disinherited him to name Rhaenyra heir.

By law and tradition of succession Sansa as the trueborn eldest surviving daughter of Ned and Cat in the evenience of Robb dying without heirs (Bran and Rickon are both presumed dead) comes before Jon, the base born son of Ned Stark. (Jon himself says so “by law Winterfell belongs to my sister, Sansa”/“Winterfell belongs to my sister, Sansa”, even though Sansa is a Lannister, a murderess and apparently dissolved in thin air) yet Robb with his will disinherit Sansa to name Jon heir.

Everyone expected Daemon/Sansa to be angry at Jon/Rhaenyra because of it — Rhaenyra herself and the viewer when Jon was named KitN — instead what happened?

Daemon became Rhaenyra’ stauncher supporter and Sansa became Jon’s. Daemon supported Rhaenyra and Sansa supported Jon. When people expected Daemon to lash out when the terms of surrender were issued, he obeyed Rhaenyra order without issue; when the northern lords unsatisfied with Jon’ stay in Dragonstone offered the crown to Sansa, Sansa refused and defended Jon’s claim. All she did in s8 was to defend Jon’s claim to the North and the Realm.

And you know what else is incredible?

Daemon is suspected to have “caused” his first wife’ death and his second wife died in childbirth. Rhea Royce died after a fall from horseback — in the show Daemon kills her, but in the book she dies of the wounds later on, as the hit to the head might have caused her delayed death. Still Daemon is suspected to have caused it — the horse to unseat Rhea — and tried to inherit his wife’ keep.

Sansa “caused” her first betrothed, Joffrey’ death, by telling the truth to Olenna and Margaery which spurned them to have him killed at his own wedding feast. Sansa escapes and her first husband is almost killed for the crime — almost making her a widow.

Both Daemon and Sansa are more skilled than their counterpart in their competence. Daemon is the most skilled warrior of his time, Sansa has learned politics from the best and worst in it.

Daemon finds himself at odds with his brother with the war of the stepstones and Sansa finds herself at odds with her brother whilst in KL as she has to navigate and survive the southern court and Joffrey.

Yet both return to their brother in the end, Sansa by remaining true to her Stark identity (“I am not your daughter, I am the Lord Eddard and lady Catelyn’s daughter. The blood of Winterfell”/ “what if it is truth he wants and justice for his lady?”) and Daemon by winning and giving the crown to his brother.

Sansa wins the battle of bastards through her alliance with the Knights of the Vale and lets her brother take the crown.

Sansa and Daemon are both described as beautiful, charming and dashing. But Daemon is mercurial and Sansa is called a witch for her apparent part in Joffrey’ death.

Both Daemon and Sansa are advisors in their capacity to their brother/king though they have to clamor to be recognised any degree of validity. Sansa has to fight to gain the right to be Jon’s advisor even if he chooses Davos as chief advisor as Viserys chose Otto.

Daemon’s children are the one who inherit the Iron throne after the DotD. Sansa’s children will inherit WF and the North after asoiaf is done.

Jon = Rhaenyra

Jon and Rhaenyra are the odd ones out of this.

Rhaenyra knew her place, she prayed for a brother to inherit the Iron throne just like Jon would have died to defend Robb or any of his siblings (and in the book he does die for fakeArya). But both are ambitious.

Rhaenyra accepts she will be queen and makes of it her identity; Jon dreamed of become Lord of Winterfell before he knew what that entailed.

Both Rhaenyra and Jon expect that their orders — despite their intentions — will be followed, even when they go against hundreds of years of tradition. Rhaenyra as Queen and Jon believes the NW will follow to war against the Boltons when the NW has been neutral for thousand of years. And both pay the ultimate price for it. Death.

Jon is killed by his sworn brothers, Rhaenyra is killed by her brother’s dragon.

Both Rhaenyra and Jon have the temper of their family but they control it for the most part. It takes really big things for it to be spiked. Luke’s death for example.

Both Rhaenyra and Jon are intertwined with fake relationships. Both cause the death of their first lover/spouse.

Rhaenyra marries Laenor to keep the Velaryon in her corner, Laenor who is a gay man — in the book she is much less understanding of it btw — and their relationship is fake and her children aren’t his. In the show she loves him platonically, though I don’t remember that being the case in the book. In the end, whether his death is faked or not, Rhaenyra causes that. Either by having him killed — as they say in the book — or by having him fake his death to marry Daemon to strengthen her claim.

Jon has a “fake” relationship with Ygritte (you know what I think of her in the book) to make sure his undercover mission is accomplished. In the end Jon’ mission is accomplished and even though he “fell in love with her” he still left her and the war between them ended up claiming her life.

After the death of the heir — Balon and Bran and Rickon — Rhaenyra and Jon are both raised to the role of heir by their king with a decree that disinherited/snubbed the previous law-ful heir (Sansa/Daemon).

At the same time, Viserys/Robb have other heirs. Viserys marries and has sons (who have sons), Rickon and Bran are both alive though presumed dead who could end up threatening Jon’s claim once the will becomes active after Jon’ return from the dead.

They have sexual tension with the snubbed heir and value them as advisors though they don’t always agree with their politics.

Jon feels that Sansa’ opinion demeans him before the Lords — tho he names her regent — and Rhaenyra distrust Daemon not to declare war without her say-so.

And yet both Jon and Rhaenyra gain the ripe of Sansa and Daemon’ loyalty.

Even if Jon and Sansa don’t always see eye to eye, Sansa loyalty to Jon is what gets him out of KL alive, without Daemon’ skills as warrior Rhaenyra’ war would have ended long before it started.

Sansa and Daemon both are against Jon and Rhaenyra to surrender their crown, and work to keep the other half in their role.

And you know what? There’s more.

Gifts giving — belonging to a House

Daemon and Sansa both have something that defines their belonging to House Stark.

Sansa’s wolf-bit and Daemon’ sword — which, do I have to go down the sexual metaphor about Sansa’ bosom and Daemon’ sword? — and both whilst speaking of heirs/reading to war to defend the claim to the crown gift the other half something that signifies their belonging to the House as well.

Rhaenyra’ necklace and Jon’s cloak. Both items which Rhaenyra and Jon puts on and basically keeps on for ever — like it was a fucking joke how long Jon kept the cloak on even on Dragonstone —also Rhaenyra necklace resembles a chain (chain of command) and same with Jon’s cloak stripes (which resemble a chain of command).

Rhaenyra confronts Daemon about her being named heir — and perhaps we’ll have something similar in the books for Jon and Sansa. Tho we have something akin to that when Arya confronts Sansa about Jon having the crown and Sansa liking the attention.

Yet both Sansa and Daemon stand strong in their loyalty to Jon above anyone else.

Protecting — destroying some of the earliest and greatest threats the other claim

Vaemond is one of the earliest threats to Rhaenyra rule, just as we know LF has been playing against Jon all along, yet both Sansa and Daemon defend the other half by killing the offender.

Arya and Bran serve as the Viserys in the comparison, because it’s Sansa who passes the sentence (as Arya herself points out) the same way as Daemon is the one who decided to kill Vaemond instead of letting Viserys order of having his tongue removed to be carried out.

Thus removing the earliest threat to the other one’.

Also, both Daemon and Sansa destroyed indirectly or directly another threat to Jon and Rhaenyra by killing Aemond and Daenerys who had the attitude (both of them) of destroying the Realm to take the Iron throne if needed. Aemond would not have taken Aegon’ claim from him but if Aegon had died of his wounds before Rhaenyra was executed, with Maelor and Jaehaerys dead Aemond stood the greatest threat to Rhaenyra. Daemon killed Aemond and Sansa plotted to have the truth about Daenerys uncovered and indirectly causing her death through Jon.

Supporting the other as ruler

Daemon becomes Rhaenyra supporter just as Sansa becomes Jon’s. Even as snubbed heirs they love the new heir and when the time comes they are there, by their side, defending them.

Also, never forget that Sansa/Daemon are always on the side of the consort when it comes to Jon/Rhaenyra whilst that is not true for other characters, who are always afforded place of importance, but not that of the consort.

When Corlys comments on Viserys lack of action in the Stepstones Daemon replies that he can speak of his brother how he well wishes but that is not the truth for others. Similarly Sansa defends Jon (“he’s our king, he’s doing what he thinks best”) even tho she shares the lords preoccupations.

Despite not always seeing eye to eye with Daemon, he is a trusted advisor to Rhaenyra who listens to him. In the same way, despite feeling the need of Sansa’ validation, Sansa is his trusted advisor to the point Jon entrusts the whole of the North to her.

So, yeah, I raise you the Daemyra is the Targaryen version of Jonsa, with Daemon and Rhaenyra being worse people than Jon and Sansa are combined. By ey, there’s a dark streak to the Starks not to be underestimated.

#Jonsa #Jonsa agenda #Jonsa fam #Jonsa parallels #daemon and Rhaenyra as the Targaryen version of Jon and Sansa #Jonsa vs Daemyra #reverse Daemon and Rhaenyra #daemon = Sansa #Rhaenyra = Jon #I mean it’s right there #I cannot be the only one to see this #Jonxsansa #Daemyra is serving Jonsa vibes #I mean… Jon killed his “lover” for Sansa (we know D was threatening Sansa) just like Rhaenyra killed/had killed her lover to be with Daemon #I mean Daemon used his skills to keep Rhaenyra on the throne and Sansa used her skill to keep Jon alive and safe #If that ain’t peak Jonsa vibe I don’t know what they’re supposed to be doing #And if I am right then Sansa’ children should be Jon’s — like Daemon’ sons who inherited the throne were with Rhaenyra

[ineffable-baker-street]

Metatron's Evil Plan

Starting with Gabriel's trial. Metatron said, "No speeches Gabriel you're not going to Hell.

He then adds "which there isn't."

It would obviously be an issue if Heaven were to be viewed as problematic and out of control, with fallen angels left, right and centre. So they tried to manage Gabriel, make it so he just faded from his place of power, but he outsmarted them. And suddenly there were two former high-up's down on earth, and we all saw just how desperate they were to get Gabriel back. It's clearly A Concern.

So unfortunately Gabriel has escaped from their clutches, with a Prince of Hell no less.

Very much not a good look. So Heaven needs to act and it needs to be now. Mere minutes after Gabriel and Beelzebub leave together, Metatron is on earth.

Then he goes to the coffee shop. He asks Nina, "Do people ever ask for Death?" and the subtitles were capitalised which I do think further supports my point. We already know that seeing Death is a bad omen, since at the end of Season One right after they saw him they were both dragged away to their would-be permanent discorporations.

There is also something to be said for the mirroring of the first season and second season. I've seen theories, as well as noticed myself that many things line up. I can't find the post that laid a lot of things out but here's a few that I've noticed.

The mention of Death in the final episode, right before something bad happens (they both get taken to be punished/Aziraphale leaves Earth.)

Aziraphale and Crowley both holding someone's hands with the person in between them (Adam in S1E6 and Jimbriel in season 2, episode one or two i can't remember which)

The Nightingale reference. Pretty obvious, but ending the season on that song holds significance. I think most people have seen the theory that that's a message from Aziraphale, but I won't go into that here or this will never end.

The nightingales plus the plans to go to the Ritz being gone I think is definitely symbolic of the fact that they've lost something. Again, an obvious option, but it's an important place for them, so the fact they had similar plans, that were then interrupted, reflects Season One while also telling us that things are clearly not going to be good.

But then you also consider that it's perhaps exactly what the Metatron wanted all along, for Crowley and Aziraphale's relationship of love and trust to completely fall away, symbolised by the hopes of dining at the Ritz disappearing.

Therefore I think a pretty reasonable conclusion from the mention of Death - and the parallels with last season - from someone as sinister as the Metatron is that something is going to happen to most likely both of them. Metatron is also almost surprised that people never ask for death, as it is "so predictable." There was definite intention in that scene, and makes me wonder if he thinks whatever he's trying to make happen will make them wish for death?

This next point is a big one. At first you might think its coincidental but if you go back and watch the scene I think you'll be convinced. When the Metatron enters the bookshop, the lamps with the candle looking bulbs and the glass decorations jingle and move. I can't find a good GIF to show it but if you rewatch I promise you'll notice it. And yes, since the door has just closed and there's potential wind they might move for a few seconds, but they continue moving the entire time Metatron is in the bookshop. This scene goes on for approximately 2.5 - 3 minutes, definitely too long for them to be moving. But, I suppose you never know, could be coincidental. Until he leaves the shop with Aziraphale. They move more vigorously on his way out, but by the time (about three seconds) Crowley walks towards the window to watch them go, they've completely stopped moving. Not a coincidence. Metatron has some sort of energy that's powerful, or influential enough, that it cause material objects to move vigorously when he's near them. They didn't even move nearly as much when literal demons entered the shop, at the beginning of episode six.

Considering the fact that those lamps were completely conjured by Aziraphale for his ball, I have a strong suspicion he's particularly influential over magical objects... or magical things (entities) in general. (This is important later)

Metatron also says, "just you and me, Aziraphale, eh?" which is honestly something that sounds more like enemies facing off in a battle, than friends going out for a chat. It's like when a murderer is alone with their victim, and while Az and Metatron are talking there are no witnesses. I definitely think this is foreshadowing for next season when Aziraphale has to face off with the Metatron.

When they're leaving the shop the Metatron is all lovely smiles while Aziraphale is looking, and he seems a bit like a harmless old man, but as soon as Azi's back is turned he gives Crowley the most hateful, sinister, conniving glare, with [tense music playing] according to the subtitles and also my ears. He is up to something. This is a very strong piece of evidence that the Metatron Does Not Like Crowley.

He tells Aziraphale, "you are just the angel for the job." It could be an ordinary thing to say, but no I don't think so. I think the Metatron has been carefully considering this for quite some time, and I think this is all about Crowley. He says there are "huge plans afoot, enormous projects," and he's so careful to be extremely vague, while talking Aziraphale up. Then he uses a tactic knows will work, which is playing with Aziraphale's heart and using Crowley.

"I've been looking back over a number of your previous exploits, and I see that in quite a few of them you formed a de facto partnership with the demon Crowley."

He has done meticulous research, and it's made clear earlier that he hates Crowley. But, he knows that Aziraphale loves Crowley, and that he wouldnt be able to resist the chance to try and do what he thinks is the right thing. Metatron mentioned that he was a 'Prince of Heaven' and that it could be seen as an 'institutional problem'. Well Heaven can't really been seen to have problems can it? And Crowley has been doing whatever he pleases for six thousand years, not on the side of Heaven or Hell, and I think that they're sick of it. He's already 'corrupted' one angel, who knows what's next? They don't want someone to hold that kind of knowledge and power over them, and Crowley holds a far greater knowledge of earth than any of the rest of them do.

And so the Metatron offers Aziraphale something he knows he won't refuse:

And I have to ask, why, why would he ever have Crowley reinstated to "full angelic status?" Two seconds ago he just described him as a demon?? The answer is that he wouldn't. Somehow I don't think heaven makes a habit of restoring fallen angels. He has a master plan, and that involves getting to Crowley, which means getting Aziraphale out of the way. Eventually I think they'll attempt to use them against each other, but the first thing for them to do was gain some control over Crowley. The Metatron had offered for Crowley to come to Heaven, which does of course provide easy access to him and if Crowley had chosen to do that it probably would've worked for them. But I think the Metatron was counting on Crowley not wanting to go back, and that Aziraphale suggesting it would even drive a wedge through their relationship (which it did).

And now Aziraphale is off somewhere busy working, they aren't speaking to each other and Crowley is alone on earth, no one is going to notice if something happens to him or he goes missing.

Aziraphale also really isn't that special to Heaven, he's just another angel, and one who doesn't always do as he's told, which begs the question of why Metatron would make a whole trip to earth, just to give him Gabriel's job. It could go to pretty much anyone honestly. So when Metatron says 'The Job,' I'm certain he does not mean taking over Gabriel's position. He means the job of getting demon Crowley back in order and control, so he stops causing problems for Heaven. Because wherever there's a problem, Crowley is at the centre of it.

Finally. Aziraphale's insane smile in the elevator.

DO YOU SEE HOW CREEPY THAT IS?? It's so off putting, and given he's just effectively broken up with Crowley you wouldn't expect him to be too cheerful. That is the least genuine smile I have ever seen, like it does not even look like Aziraphale anymore. At first I thought it was just him trying to make himself feel okay about everything, and it technically could be, but I'm not convinced of that. There's obviously the theory that Metatron put something in Aziraphale's coffee, but I just don't buy that (no hate to the theory ofc, definitely still a possibility). It's so simple, so human, and this brings me to my point about Metatron having influence over objects, particularly magical ones, and potentially entities as well. I think it is far more likely that Metatron is either brainwashing Aziraphale or simply has an element of control over him, but isn't entirely controlling him. Could be persuasive power, which he uses to influence Aziraphale, but technically if Az fought really hard he could fight him off. My mind influence theory is supported on multiple occassions, where Aziraphale seems to want to change his mind, or act a certain way, and then suddenly snaps back to acting like everything is okay. Examples of that are:

- Aziraphale straight up says he doesnt want to go to Heaven. He tries to play it off as a bit of a joke but he looked pretty damn serious when he says it. He looks so doubtful, but between then and speaking to Crowley, his attitude does a complete 180 flip

- "Well obviously you said no to Hell, you're the bad guys." Aziraphale would NEVER say that if his mind was completely his own. He has spent almost their entire existence saying that Crowley is nice and good and kind. He doesn't think for a moment that Crowley is grouped in with Hell anymore, but that's certainly what the Metatron would think

- Metatron walks in right after Crowley leaves and isn't at all surprised by the fact that Crowley refused, more evidence that it was what he'd hoped and planned for. "Ah well always did want to go his own way. Always asking damn fool questions too." Which is a tiny bit of further background into fallen angel Crowley.

- When Aziraphale is heavily considering changing his mind, Metatron keeps talking as though Aziraphale is saying different words. "It should be in safe hands." "Anything you need to take with you?" He's suddenly really pushing Aziraphale, even though he said there was no need to answer right away.

And that is all I have for you!! If anyone has anything to add I would LOVE to hear, this is my theory, definitely not the only possibility but I do think it's a candidate. Please let me know if there's any major points I've missed, I'm sure there probably is 🤍

@a-hearts-a-heavy-burden let me know what you think!!

#good omens #crowley and aziraphale #aziraphale #crowley #aziracrow #ineffable husbands #neil gaiman #good omens meta #good omens theory #metatron #i hate the metatron

[ecoamerica]

Watch the 2024 American Climate Leadership Awards for High School Students now: https://youtu.be/5C-bb9PoRLc

The recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by student climate leaders! Join Aishah-Nyeta Brown & Jerome Foster II and be inspired by student climate leaders as we recognize the High School Student finalists. Watch now to find out which student received the $25,000 grand prize and top recognition!

#ACLA24 #ACLA24HighSchoolStudents #youtube #youtube video #climate leaders #climate solutions #climate action #climate and environment #climate #climate change #climate and health #climate blog #climate justice #climate news #weather and climate #environmental news #environment #environmental awareness #environment and health #environmental #environmental issues #environmental education #environmental justice #environmental protection #environmental health #high school students #high school #youth #youth of america #school

[tequiilasunriise]

Annabel Lee & Fears: A Short Essay Based On Ep70

Here it is, folks, the truest crux of Annabel’s character, her deepest fears is not going mad or even people discovering she’s not as put together as she tries to appear, but rather:

Was that gambit of constant scheming and using others worth it, Annabel? Was always trying to think ten steps ahead and always keep yourself in a position of power and control truly worth it, because how can you ever be trusted when all you do is play 5D chess with everyone?

There is is, folks!!! Just like her greatest strength- her cunning willpower- is centered around a certain bright moon, Annabel’s greatest fear is rooted in Lenore. The deepest, darkest trenches of her soul, the one thing that would shatter her heart and send her lungs choking fer breath? The killing blow that would end her and make all these charades worthless? It’s Lenore seeing her constant conniving and asking Annabel, “Why would I be any different? You already have no problem using everyone else as a pawn, how could I ever possibly trust you, Annabel Lee?”

The way Annabel is SUCH a great morally grey character, y’all tell me you love hot villains yet many a time I’ve seen people calling Annabel too heartless. She’s the opposite! She cares!! SO MUCH!!! She would burn the world down if it meant kissing Lenore one last time, to the point where her deepest fear is losing Lenore in the process of trying to protect her. All Annabel knows is using manipulation to gain the upper hand because simply being born a woman in the Victorian era she was so throughly disadvantaged by such a horribly misogynistic society that girlypop had to scrape together any form of control she could. Annabel wants so badly to protect Lenore but all she knows are her own methods of protecting herself, which involves plausibility deniability and facades and sometimes sheer cruelty, and that’s where the conflict arises. From the start Annabel assumed Lenore and her had the same understanding of this ‘fake enemies’ ploy going on but surprise surprise babygirl, not everyone is overthinking four parallel universes ahead like you do. This boils over into her lover having doubts on what’s real and what’s not, which then culminates into Lenore asking if Annabel is using her affections as empty currency to get what she wants, and Annabel’s first move to tell Lenore to fucken kill her????

“To you alone, I have left myself completely defenseless.”

The drama of it all!! The shattered facade leading to exploding vulnerability of it all!! The dim sun sparking out into a heat death just to prove her sincerity of it all!!! The exposed innermost organs ripping out my heart with my bare hands and begging you, “Do you see it now? Do you see the way it beats for you and only you? Tell me you see it, tell me you see me…” of it all!!

Oh baby the way Annabel still retains this deep fear of Lenore not truly believing in the “only thing that’s real” to her, the way her lover’s ghost still lingers and haunts her and is then ripped up from her innermost psyche like a desecrated grave and given form by Ada’s power. The way, after all this time- and I mean all this time from Lenore’s constructed resurrection, to their relationship blossoming into a wedding, all the fucking way up to that bell tower scene, the fucken way Annabel still never truly let go of her fear that Lenore doesn’t see her, doesn’t see how she alone bashed through all of Annabel’s walls and made a home where her heart laid. I’m sure during their living relationship all the way until the wedding Annabel’s fears were greatly settled, but it’s the fucken way these panels implied that this wretched heartache never completely left Annabel’s guilt-wracked soul.

I just know, okay I just KNOW, that even up until she was putting her wedding dress on Annabel still questioned if she even deserved this happy ending because she still feel phantoms of guilt fer this betrayal. This comic only furthers this implication of unabsolved guilt when it’s made clear as day that Annabel’s biggest fear is Lenore not believing in her love. And before anyone argues how Annabel can currently feel guilt fer betraying Lenore when she hasn’t recovered the memory yet, I’ll argue back that from the very beginning of the comic these two were inexplicably drawn to each other even when they had NO memories. Therefore, even if she doesn’t have the explicit memory, I highly doubt Annabel’s subconscious would ever let go of something as huge as deeply hurting the one person she truly cared about in such a wretched way.

Fuck, dude, I mean Annabel’s greatest fear wasn’t even Lenore dying- which was already a huge thing if y’all remember her tearstreaked, panicked, “What is left? If she’s not here, what’s the point?”- no her greatest is Lenore!!! Not!!! Believing!! Her!!! Like yeah losing Lenore physically definitely would’ve cut so deep even her bones would bear the scars, but losing Lenore in the form of the other woman walking the same ground as her but choosing to stay away?? Call her fucking selfish because some people would rather have their other half still be alive even if they’re not by their side, but Annabel ain’t one of them that’s fer sure. Babygirl has spent a lifetime perfecting the craft of deceiving others fer her own gain, but the ONE TIME she’s genuine her heart is to be called nothing more but empty??? Oh babbyyy that’s gotta fucken hurt.

The thing is, I don’t think Annabel really loves herself all that much. I really don’t. A huge focus on self-preservation doesn’t necessarily mean one really loves themselves, and when we add the aforementioned guilt she carries? Plus, the fact that Annabel being forced to swallow down her anxiety attacks from a young age could easily lead to her having a rather sour view of her 'not normal' self? Yeah no yeah, I truly don’t think Annabel loves herself that much, if at all. So really, this line is adding immense insult to already grievous injury. Not only does Annabel deeply fear Lenore not believing her affections to be true, she also fears the New Yorker misconstruing her as nothing more but a shallow as hell, prissy, little pampered damsel, a role pretty much everyone else regulates her into whether she wants it or not (right from the beginning, before she even set her schemes in full effect, Annabel was already explaining, “Ada wanted a queen, so I gave her one”). Lenore, the only one Annabel had believed to ever really see her fer her, is now discrediting Annabel’s vulnerable affections AND seeing her as that unloving ice queen like everyone else?? Horrible terrible horrible!!! She may have a ribbon threatening to strangle her right now, but it’s clear that ghost!Lenore’s words are what truly cut her down to size. Y’all seeing that fucken pain in Annabel’s eyes? Her worst fear is just so… personal.

Which actually leads me to my next point, which is how just before Annabel’s worst fear is revealed in stark, horrifying detail, we see Prospero’s. Lemme just preface this by saying what Prospero went through is n o t any less terrible and is a super fucken mega valid fear/trauma, but let me cook y’all just hear me out. Prospero’s fear seems to be about medical malpractice and/or being conscious during a painful operation that likely went south (aka ‘oh shiiitttt he fucken DEAD-‘), and that’s fucking tragic as all hell. Yet, okay let me cook here, it’s more… I don’t want to say general, because that does NOT mean his fear is any less significant but it’s like. Way back when, death via medical bullshit was more or less fairly common, especially during wartimes (which is the era I headcanon Prospero to be from); meanwhile, Annabel’s fear is so uniquely hers, it’s borne of a culmination of specific experiences tied together by her relationship with Lenore.

By contrast of a more common fear vs something so deeply personal and specific to this one person- because it’s not just unrequited love, it’s being so vehemently denied and misunderstood by the ONE (1!) person who you wholeheartedly trusted in your entire life who also oops mega died on you- this distinction gives way to an almost more raw, more visceral feeling to Annabel’s fear sequence. Again!!! I am not undermining Prospero’s own trauma, I promise!!! But you have to admit that there’s something, from a narrative standpoint, that hits so much harder with how deeply personal Annabel’s fear is. The contrast is even more great when you look at how Prospero’s involved a buncha bloodied hands not really tied to any faces or even any indication of personhood like accessories, scars, etc etc. It could’ve been a group of anyone holding him down hurting him; on the flipside, Annabel is being restrained by one very specific person we see in full view. The faceless crowd who could’ve been anyone at anytime vs the lone perpetrator whose history you know like a second name. It’s just!!! So personal!!!

In conclusion, on the surface level, one would think a character so deeply ingrained in using deceptions and manipulation would have her greatest fear tie into having her true nature revealed to everyone she’d fooled, but then it turns out it’s the complete fucking opposite. What homegirl fears the most is her truest, innermost self not being believed and accepted by just one (1!) person. The way it’s framed is just so heartstabbingly personal, especially when you parallel it to a previous fear sequence just a few panels preceding it. This is it, your honor, this is Annabel’s deepest driving force broken down to its bare essentials. To hell with whatever reputation she’s carefully crafted! Who cares what anyone else thinks of her if she doesn’t believe her, if she doesn’t SEE her. Really, truly see her. Lenore is the defining point that Annabel has revolves around so wholeheartedly, and there’s no point to anything anymore if Annabel loses her. This crux of her character, OHHH BBAAABBYY it’s just so well done because we, as the audience, have been given clear evidence to build up this narrative of Annabel’s characterization fer so long now and to finally see it come together in a fiery explosion of lesbian angst with this latest chapter??? Gods, the writing of Nevermore will never not drive me absolutely insane in the membrane.

#if yall think this essay went crazy i need yall to kmow i once wrote a legit MLA cited college research paper about mf Bumbleby #and I got a high grade and everything yall heard me it was 12 pt new times roman and had literal academic sources to back up my points #i had to cut it down from 15 pages to like 10 bc of a max word count my prof set it was so sad #so yeahhhhhhh your girl may or may not just go crazy on the fictional analysis #which makes sense when u know that imma character-driven writer #anyways in conclusion i be clocking in to fight fer annabel as an amazingly written character like its a 9-5 job #to all the ppl who doubted her how yall feeling rn hmmmmmmm #annabel lee whitlock ur just so much fun to dissect like a lesbian lab project #nevermore webtoon #white raven #annabel lee whitlock #lenore vandernacht #prospero nevermore #<—i swear i care fer the rat man guys i rlly rlly do #but man. the way annabel’s shit was just to personal. it rlly got me okay???

[nightswatchdisbandmentera]

Randomly struck me how Arya's first trip down to the Winterfell crypts seems to parallel Jon's recurrent crypt dreams on one particular motif - a dead king rising.

Robb took them all the way down to the end, past Grandfather and Brandon and Lyanna, to show them their own tombs. Sansa kept looking at the stubby little candle, anxious that it might go out. Old Nan had told her there were spiders down here, and rats as big as dogs. Robb smiled when she said that. “There are worse things than spiders and rats,” he whispered. “This is where the dead walk.” That was when they heard the sound, low and deep and shivery. Baby Bran had clutched at Arya’s hand. When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs, and Bran wrapped himself around Robb’s leg, sobbing. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. “You stupid,” she told him, “you scared the baby,” but Jon and Robb just laughed and laughed, and pretty soon Bran and Arya were laughing too.

Arya IV, AGOT

Last night he had dreamt the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he’d heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. Even when Ghost leapt up on the bed to nuzzle at his face, he could not shake his deep sense of terror. He dared not go back to sleep. Instead he had climbed the Wall and walked, restless, until he saw the light of the dawn off to the east. It was only a dream. I am a brother of the Night’s Watch now, not a frightened boy.

Jon VIII, ASOS

In Jon's dream, he's a witness to the Stark kings rising to confront him. But in Arya's POV, Jon is the dead rising from a tomb to confront them.

It's just funny because a common theme in Jon's crypt dreams is how he doesn't belong. He voices the rejection to himself - he's not a Stark, he has no place.

Jon shook his head. “No one. The castle is always empty.” He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. “Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don’t want to. I’m afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it’s not them I’m afraid of. I scream that I’m not a Stark, that this isn’t my place, but it’s no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream.” He stopped, frowning, embarrassed. “That’s when I always wake.” His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf’s shaggy white fur. “Do you dream of Horn Hill?” Jon asked.

Jon IV, AGOT

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. “Father?” he called. “Bran? Rickon?” No one answered. A chill wind was blowing on his neck. “Uncle?” he called. “Uncle Benjen? Father? Please, Father, help me.” Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. “Ygritte?” he whispered. “Forgive me. Please.” But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark …

Jon VIII, ASOS

Yet Arya's POV shows that Jon does have a place. Not only that, but he becomes a resident of the crypts as a ghost. There's the implication too that he spends more time in there than all his siblings as he waits for them to arrive. Then when they do, he rises out of his own tomb like the dead Kings of Winter rise out of theirs in his dreams.

Bran's POV also says that only Starks belong in the crypts.

After that, oddly, Rickon decided he liked the Walders. They never played lord of the crossing again, but they played other games—monsters and maidens, rats and cats, come-into-my-castle, all sorts of things. With Rickon by their side, the Walders plundered the kitchens for pies and honeycombs, raced round the walls, tossed bones to the pups in the kennels, and trained with wooden swords under Ser Rodrik’s sharp eye. Rickon even showed them the deep vaults under the earth where the stonemason was carving father’s tomb. “You had no right!” Bran screamed at his brother when he heard. “That was our place, a Stark place!” But Rickon never cared.

Bran I, ACOK

It seems that Snow or Targaryen, bastard or trueborn, it doesn't actually matter. At the end of the day, Jon will always be one of them: a Stark son, and a true King of Winter.

#hehehe back on the king of winter propaganda #we cheered!! #agenda posting #asoiaf #jon snow #valyrianscrolls #arya stark #bran stark

[likeadevils]

is there a specific order you like to listen to the red vault tracks in? i’ve been thinking about this a lot ever since 1989 tv came out because the 1989 vault tracks tell such a cohesive story so i’ve been trying to figure out how to do that with the red vault

YES ITS LIKE. THE ALBUM TO REARRANGE FOR ME I GENUINELY HAVENT LISTENED TO THE ORIGINAL TRACKLIST IN YEARS NOW

i think i’ve run through it before but here’s my thoughts on the mains tracklist

state of grace: perfect opener no notes

22: this is and holy ground can switch for me, i think either makes a fantastic track two, but it’s hard to pass up 22 track 2. also i like how the second song and the second to last song parallel each other

treacherous: building off of 22’s “you look like bad news, i gotta have you”

i knew you were trouble: it’s the obvious mirror of treacherous, and also i think it’s important to establish the emotion->exact opposite emotion flip of the tracklist, and treacherous and ikywt are a really obvious example of that

all too well: i mean what else can you choose. also it’s a good flip of ikywt because it’s all the moments where it DIDN'T feel like trouble

wanegbt: “i remember it all too well 😔” -> “I REMEMBER WHEN WE BROKE UP 😡🙄” is just an insane whiplash. ALSO track sixes are such a hard landing to stick and can easily be overshadowed by the track five, and having a song that’s already been released kinda lets the song simultaneously have its moment beforehand and let you kinda check out on your first listen through while you recover from atw

come back be here: i think cbbh really just deserves a main album slot, mostly cause it deserved to be played on tour, but i also think it’s a great whiplash from wanegbt and a great lead in to…

the last time: it takes the more crush-focused aspects of cbbh and plays them out to the bitter end, just that cycle of always leaving and coming back and leaving again. also it’s the end of the first half of the album

red: it’s a great pick me up in the middle of three mellow songs, also i can’t separate this from run which i can’t separate from sad beautiful tragic and i can’t put sad beautiful tragic right before all too well so it needs to be further down the tracklist

run: “loving him was like driving a new maserati down a dead end street” -> “give me the keys, i’ll bring the car back around” makes me go CRAZY

sad beautiful tragic: THE AMOUNT OF PARALLELS WITH RUN IS INSAAAAAAAANE

holy ground: again this is a bit of a floater like i could see an argument for this being track two. and the argument is it goes hard at the start of the red tour

better man: this just needs to be by the end of the album for me. it feels like the start of the summary, wrapping up what we’ve learned and starting the hard work of moving on that the last few tracks will continue

i bet you think about me: that first verse really stretching out the betterrrrr’s after better man is funny. also, after an album of one sided pining in one way or another, it’s just like hey. fuck you. also, at first it kinda bugged me how the last few tracks starts at 4am, then 3am, then the middle of the night, but then i started seeing them as just slowly losing less and less sleep over it, which i kinda love now

nothing new: here is the damage i am left with. even if i move on from this relationship, here is the mindset that will whisper in the back of my mind forever— that i am valuable because of my youth, that my happiness is mockable and my sadness is quaint. this is the thing that led me to the relationship and this is the thing that i will be left with after it

begin again: and then… begin again. choosing happiness, choosing maturity, choosing childlike joy. like, you all know it’s an amazing closer, but after nothing new it just sings

+ forever winter: i think this does add important context to her general mental state? like 22 mentions how everyone is miserable, but really focuses on the highs of being 22. forever winter adds to it, how your peer group is falling apart and even when you are at your worst, you are being someone else's shoulder to lean on. it's not Needed to tell the story, but it is a good bonus.

+ starlight: more good context, especially in taylor's personal life-- as far as i can tell, this is the first song she wrote for red that Wasn't about crash and burn heartbreak, and it really kicked into high gear an obsession with vintage fashion and mid century celebrities that she ended up building part of her personality around. she's not just trying to find her old self again, she's building a new one

+babe: what am i supposed to do, not end the album with this is the last time i'll ever call you babe?

+ state of grace (acoustic), the red demo, and all too well (ten minute version) to get the tracklist to 22 and also fun bts context!

#asks* #claire's versions*

[destiel-wings]

I've gathered some of my thoughts about The Winchesters season finale and here's why i think it gave me some peace

(yes, this does contain a destiel interpretation, too 💚💙)

Did i want to see Cas in it? Yes.

Was i disappointed that he wasn't? Actually, no (more on that later).

But I loved it. I was so stunned as I saw it and I felt like somehow it healed some of the wounds from the spn finale... but i couldn't quite understand why.

Here's why.

We basically watched Supernatural. Jensen reopened the finale and went further with it. What we saw in The Winchesters felt like a continuation of 15x20, even if it technically happened in between the last two scenes of the finale. But we got Bobby, we got Jack. They all actually talked, in a way that felt alive and real. Jack broke his rule of no interfering, showing that he still cared for Dean (just like he had broken his own rule off screen by saving Cas from the Empty). The Winchesters wasn't a prequel, but a sequel.

Dean got his own story, got to make something for himself (instead of just waiting for Sam on a bridge), and it's something that he wanted to do. He went back to look for hope and love, for a version of his parents where they could have a real chance.

We learn love (or we don't) and how to be in a happy relationship as kids by watching our parents, and Dean was doomed that way. He never had that example, to learn how to build a relationship and let himself be loved. He never learned that. So when he gets to heaven and he has the chance, before getting on that bridge, before meeting up with his family, with Sam... and yes, with Cas (even if we haven't seen him yet), he just needs a freaking minute. He needs a little time to himself. To reconnect. To understand. To reflect on love and what it means to love and be loved.

So he does what any fond child would do... he looks up at his parents. Only his parents that are right there in heaven didn't exactly have a happy ending (or even a happy middle), so he explores further, searching for a chance, a hope, a version of his own legacy where love was possible. Because if his parents can make it... so can he.

And we see all that through his own lenses (the weird use of the camera lenses with all those flares and glow resembles the aura of Dean's drive in heaven, thinking about it in retrospect).

screencaps of the glowy amber look and those camera flares, there's probably better examples but these are some of the best ones i could find

Dean's mission might have been the Akrida, but the reason he went looking, the real quest he was after, was hope. Hope for a happy ending. Hope for love, where said love was doomed from the start.

And it's not surprising that there were destiel parallels everywhere, because that was Dean's POV, and he's processing his own feelings. Which is something he needs to do before he sees Cas again.

And personally, I think Dean loves Cas back and he knew that before dying, but still, that doesn't mean that he's not afraid of messing it up. That he knows how to approach him, or face Cas, after all that's happened.

He may not even be doing all of this thinking consciously, but the Castiel subtext we've seen in The Winchesters, from a narrative POV, is Dean's.

We're seeing the parallels because he's seeing them, making them, it's his way of processing. Of seeing what he and Cas had, and what they could have. Looking for hope.

And, as he himself said before leaving again... i think he found it.

So i don't know how things are going to go on from here. I can't imagine how we could have Dean in a season two. I've been saying all along that The Winchesters might open the story for a SPN revival/s16, and i think it is perfectly possible that this might happen here.

The Winchesters might not have Dean anymore, becoming its own show (but still having lots of references and guest stars from Supernatural) and *as Jensen loves to say* when we get the revival, there will be the space to address Castiel's confession and give his character the importance that it needs.

It wouldn't have made sense to see Cas here in a little cameo, it wouldn't have been enough. But what we saw here, was the confirmation of Jensen reopening the finale, and his willingness to bring Dean back (as he's always stated), for whatever more he's allowed to do.

I love the way they handled it, we still got peace and hope (even if there were to be no s2), and i feel like we're all more confident that the bridge scene is not an ending, but a beginning of something more. Dean has said he's gonna go look for his family. That's not just Sam.

Of course he's gonna see Cas too. But i don't think any of us would've been satisfied to see him pop up randomly for a couple of minutes in TW, with little to no mention of what happened between them.

Also, i want to point out that this was supposed to be the midseason finale but they had to adapt it when they found out they didn't get a full season, we could've had much more (like more narrating voices as Jensen had teased) or even seeing more of Dean, instead of just seeing him in the pilot and the season finale. They even asked Misha to be there (and he refused for scheduling conflicts since he was busy filming Gotham Knights *but said he's absolutely willing to appear later*).

So i think there's still so much story to tell here and i am absolutely hopeful and trust that we will love it.

I think they did an amazing job in 13 episodes, and I can't wait to see what's next 💖

#the winchesters #the winchesters season finale #the winchesters comments #my commentary #the winchesters theories #the winchesters prequel #the winchesters 1x13 #the winchesters season 1 #renew the winchesters #spn #supernatural #destiel #dean winchester #deancas #castiel #the winchesters cw #getting castiel back #dean winchester is coming back #i am so emotional

[ecoamerica]

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

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