My personal headcanon is that Splint is Albert's older sister, but only Splint knew.
Splint left and became a Newsie a little when he was only two, and knew deep down that she recognised the name and bright red hair when she first saw the little kid selling with Jack Kelly on his first day as a Newsie.
Meanwhile, Albert's been under the influence he's been an only child all his life as he has zero recollection of his sister, and their parents certainly won't bring it up.
But despite him never knowing the truth, the two were always extremely close, always having a laugh and goofing off together whenever Manhattan and Brooklyn had to work together.
Albert wasn't entirely sure why, but he couldn't seem to stop crying when he got word of Splints death.
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An independent Courier would actually hate being in charge or enforcing standards in New Vegas. At least in my mind.
They made Vegas independent but I feel like that playthrough/style so clearly makes it apparent it isn't for them. They are making Vegas a place where people can live freely, like how House genuinely didn't care what people did but without the behind-the-scenes Big Brother surveillance he did. Having every family, faction, and other influence group or person comes to them about alliances or rules would be draining, and boring, one note.
In an independent Vegas, The Courier is also Independent. They like getting rid of lines and borders that impede freedom, they like to help give people the tool but I don't believe they want to be the one to shape it.
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i dont think the comic version's end of nimona is negative specifically because the villain she happens to attach herself to is a villain by label only. blackheart is pretty much the kindest and most noble character in the book, if she happened to associate with anyone else, she probably would have been different, her killing everyone in the beginning wasnt exactly fake and i think she couldve easily been influenced to actually be worse if it was an actual villain, lol.
but a big thing in the comic is that no matter how many times nimona is evasive, lies, threatens him, gets aggressive, whatever, blackheart still forgives her and unconditionally supports her and thats what helps her in the end. him keeping this attitude
and her being able to reflect on all his actions, even if he did end up hurting her in the end, is what helps her go on a new path thats not focused on fearing the possibility of being hurt because shes different
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As if I'm gonna let the skull noodles tell me what to feel
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Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
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My favorite interaction with an Eve stan has to be with this one guy I met back when I was in tdt who always said that the only canon MVs were the ones that had Hitotsume in them and if he wasn’t there then it didn’t count as canon which annoyed me so I told them that if we followed that logic then Hakugin is canon bc Hitotsume appears in it and that made them so mad they never spoke to me again
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just thinking about how lucerys and aemond are really the sons that define rhaenyra and alicent as mothers; both of their eldests are kinda non-entities to them -- jace because he's perfect and aegon because he's a lost cause -- but these second boys are really their foils and their hearts and the embodiments of their worst fears: Luke, with a weak claim and a weak dragon, always shown in positions of uninvited pressure and powerlessness and while hiding behind his mother holding her hand and all the things Rhaenyra was afraid to be in Viserys' eyes; Aemond, a royal Valyrian in command of virtually unchecked power -- all the agency and authority and implicit safety that unwillingly pregnant fifteen-year-old minor noble Alicent could have only imagined, with all the cruelty and resentment that Alicent was always horrified to find in her own actions, that she fought (and prayed) to drive from her own heart; i think it makes sense so much of the audience is taken by these characters. and it's also why aemond's killing (however unintentional) of lucerys is so tragic. the strong side of alicent killed the weak side of rhaenyra. just like when alicent married her father. just like when alicent crowned aegon king
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Ya know. I respect if you wanna HC a female character who's shown attraction to other female characters but has no canon defined sexuality as a lesbian
But some of y'all are very incredibly annoying and biphobic about it
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tbh as a six fan i feel so bad for thirteen fans
bc there are a lot of thirteen fans who are willing to defend shitty writing and poor decisions bc thirteen's their favourite doctor and there's no other way to say she's their favourite bc thirteen has only been off the air for 2 years at this point. thirteen also has the bonus problem of being the first female doctor which means a lot of her criticism is clouded by misogyny and other icky incel alt right shit
meanwhile with six, a lot of his problems had the benefit of the wilderness years, big finish, the expanded universe, and even people looking back at his doctor and realising that there was some good in his episodes. a lot of his fans didnt become his fans until recently and even most of his haters are quite clear that they hate the writing decisions and not the actor himself
like until jodie gets some good material - maybe big finish? theyre doing fugitive doctor and dhawan master stuff that might improve the problems with those - a lot of thirteen fans are going to be clutching at straws and trying to figure out why they like her and how to say so in a way that won't upset the predominantly male fandom, as well as won't disagree with common and very bloody obvious criticisms of chibnalls era
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OKAY OKAY I SAW YOUR MOST RECENT ART POST
AND I LOVE IT
BUT BUT
I'M SORRY BUT
SUNNY LOOKS LIKE HE'S PROCESSING THAT THIS BLONDE GAYASS GUY LIKES HIM
HE GOT NO THOUGHTS
AT ALL
BEHIND THOSE EYES
I'M SORRY DON'T KILL ME PLEASE
Sunny's like "oh shit when he said he liked me he meant it"
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Genuinely hoping they don’t give Ichiban a love interest or something. I just detest focusing on romances with some exceptions like whatever Nanba and Saeko keep doing tbh 💀 And I do not have high hopes after the things they kept doing with Kiryu in different games. Actually that’s one of my fears with 8 😭😭
if it's any consolidation, i doubt they'll give ichi a love interest- or it won't be a main plot point anyhow
rgg's never really handled romance with tact, and i think as the series went on they kinda realized that and had romance plots sort of fizzle out (Y1's climax was Certainly a love triangle, and while Y2 had kiryu and kaoru romance is never a major prevalent thing again. closest we get is akiyama and yasuko but it's about as relevant as akiyama's part, then it's not really brought up again)
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Begging people to think about narrative choices that upset them rather than dismiss them entirely. Please. Use your brains. Ask yourself "Ok why did the writers add this? What choices have the characters made for this to make sense? What events led up to this situation? Is there another way this could have worked out? Is that other way as compelling for this story?"
Sometimes the story is supposed to make you upset there. Sometimes it's supposed to challenge what you know about the character. Sometimes it's supposed to hurt.
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I’ve said it once, I’ll say it again, but if you’re characterizing Jellylorum as the strict, no nonsense, bossy mom figure when Jennyanydots is literally *right there*, I don’t trust your judgement.
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What happened to Sonic in the future that caused him to get those scratches on his face?
to be honest: ¯\_(ツ)_/¯ i just thought itd look cool lol
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Chakotay/Janeway/Tuvok relationship is about uncrossable lines and things not said out loud (because they don’t have to be? because you don’t want them to be? because it’d make it real?)
It’s about loving someone who you know is looking past you at someone else. A relationship that’s haunted by people that’re still alive somewhere. It’s about knowing that someone you’ve never met has a hold on this person you love and that you’ll never compare - how can you measure up to memory?
It’s about drowning in guilt, about asking forgiveness from someone who can’t grant it to you (because even if they said those words “I forgive you” they’re not the person you need to hear it from, it wouldn’t make a difference). It’s about whispering the wrong name as you let yourself lean into them (just this once) and being met with a silence heavy with acceptance. A hand on the back of your head. Steady breathing in a dark room.
It’s about trusting someone you’d never in your life trust, let alone love, under any other circumstances but because of some terrible miraculous trick the universe pulled on all of you (because of the deliberate actions of that hand, the hand that doomed you, that pulled you away from all that you knew, now threading its fingers gently through your hair) - you do. You trust this person with your life and it’s only in this specific circumstance that that could ever be possible. Should you be grateful for this? Would you trade it, to have your old life and loves back?
It’s about gazing across the room at two people who look like they’ve known each other forever, talking softly, eyes fixed on one another, and feeling a panic you’ve never known before. Because who do you have besides them? What are your other options?
It’s about loving people who you know could and would die at any moment. Out of duty, out of necessity, out of a love for something greater - there’s always something greater pressing down on all of you.
It’s about feeling very small under it. And very silly. This doesn’t matter, none of it does. Sometimes it doesn’t matter in the best way and you chase that feeling until it eventually runs out. And then, even when you’re drowning in wherever that leaves you, at least it’s better than being alone.
Seventy years is a terrifyingly long time.
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