Prompt 271
“Grandmother is visiting,” Damian suddenly said with no warning and with his usual not-quite demanding tone.
“Who?” Tim wasn’t the only one to startle, seeing as Bruce had practically froze, a downturn to his lips in a silent show of confusion.
Damian scowled. “Are you deaf Drake? Grandmother is coming to Gotham to, quote, make sure I am being properly cared for.” None of them had known that Ras was with anyone actually. At least Tim was pretty sure that would have been in the files.
“Oh?” Dick didn’t quite crouch to Damian’s height but it was a near thing. “She-” “He,” Damian corrected, interrupting him. They all exchanged a glance before Dick continued.
“Is he coming to the Manor or…”
Damian scoffed again, a tiny bit of a flush against his face. “No, Grandmother will most likely be staying with Akhi-”
Now wait one moment-
“YOU HAVE ANOTHER BROTHER?!”
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can we talk about Phil and Jaiden today and their interactions after Jaiden finally shows her wings because I’m going crazy.
Jaiden showing off her wings for the first time to Phil, and Phil both happy for her and also insanely jealous, because why did she get to keep her wings, while his got clipped so badly he needs his backpack to counterbalance the weight he lost - or at least the weight he looses having to keep them close to his back.
and the whole time they’re talking in a group, hanging around spawn, Jaiden is perched somewhere above the group. up in a tree, moving from branch to branch, or against the wall, or right on the top of that lamppost. Phil, on the other hand, stays sat on the bench the entire time. grounded.
and every time Jaiden hops from perch to perch, he looks specifically at her. zooms in whiles she’s sat on the lamppost even as he continues conversation. its such a small detail but really helps punch in just how much Philza can’t let it go, can’t stop wishing that he could do the same.
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Randomly thinking about “tolerate it” (narrator voice: it was not random) and how under the cloak of fiction it is ostensibly inspired by works like “Rebecca” (which Taylor said she read during the 2020 lockdowns I believe?), with the line of “you’re so much older and wiser” indicating that the speaker is significantly younger and inexperienced compared to the person she’s speaking to and a pretty direct reference to the plot of the book.
But I saw something somewhere once that stuck with me about how it might not be referring to relative age between the characters but chronological age as in the passage of time in a relationship. And that made me think about how in a contemporary context, it might not necessarily be referencing an actual age gap between the two characters, but rather a sarcastic or cynical response to the man’s claims that he has matured (“you’re so much older and wiser [than you were before/than you were when we met/etc.]”), which then made me think about that line in relation to the woman. And that it could be taken like, “you act like you’ve matured so much in our time together and like you know everything, while I’m supposedly still stuck as the girl I was when we first met.”
Which then made me think of the “right where you left me” of it all and did you ever hear about the girl who got frozen time went on for everyone else she won’t know it and the bit in Miss Americana where she talks about how celebrities get frozen at the age at which they got famous, and how she’s had to play catch up in a lot of ways not just in her emotional growth but kind of in general. (Which also made me wonder if she’s ever been called out for immaturity/lack of curiosity/lack of education about things in her life…)
Which then made me think about the rest of the song, and @taylortruther’s posts yesterday about “seven” and “Daylight” and the way Taylor idealizes her youth yet contrasts it with an almost sinister reality in its wake, and the line, “I sit by the door like I’m just a kid,” because the discussion raised that her relationship let her recapture some of the childlike joy and wonder she’d lost. So this line is a double-edged sword: the speaker sits by the door with childlike hope that the person will come home and cherish her, but on the darker side, feels like the child dealing with the monsters she doesn’t have names for yet and the feelings of isolation she felt as she aged.
I’m not saying the song is necessarily autobiographical; like most of the songs on folkmore, it’s clearly a fictionalized story based on media she’d consumed and created, but we know a lot of the fictional songs were infused with her own feelings and experiences and… This idea swirling in my head picked up steam and now I kind of can’t stop thinking about it. Sorry but I’m a little obsessed now.
Like maybe it might start to shed light on why she identified so strongly with the novel in the first place…
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thinking about what a wild 24hrs bo katan has had. like, it’s #sadgirlhours when the shiny guy who accidentally stole the dark saber from her and is inadvertently responsible for the aforementioned #sadgirlhours waltzes into her house with his green wizard baby and is like, hi, i took off my helmet and people saw my big, beautiful brown eyes so now i must bathe in ~special water~ or else i won’t ever be allowed to go to family reunions again. and she’s like, ugh. fine. whatever. and she thinks that’s it, but then his ship shows up again, so she can’t even continue sulking on her throne and listening to all by myself (max rebo version) in peace, and right when she’s about to tell din off for interrupting her depression era, it’s revealed that his space hot rod is actually being driven by a droid with anxiety issues and a baby. and bo katan is ABSOLUTELY not becoming a parent rn, thank you very much, so she has to go get baby his dad back, trust said baby - who does not talk - to guide her through the creepy ruins of her ravaged home while fighting off various aliens and droids popping out at her like she’s in a video game, and save damsel-in-distress din djarin from being roasted like a rotisserie chicken. THEN this guy still insists that he must bathe and be redeemed, so bo’s like, i might as well go with you to save myself a trip back because i KNOW you’re going to need my help again. which he does. and she doesn’t even get to see any mando beefcake for her troubles, because this guy insists on going swimming in full body armor, BUT she does see a mandalorian cryptid, which was definitely not supposed to even EXIST, so there’s that. mind blown. and then a bunch of idiots she stole from blow up her castle. and she accidentally joins a cult. bo katan and the terrible, horrible, no good, very bad day.
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I keep thinking about this discussion I was watching the other day where two people were talking about tattoos and how people say younger people shouldn't be allowed to get tattoos because "they might regret them later."
One of the people spoke up and said something along the lines of that if she got a tattoo when they were younger and regretted it later, they didn't think that meant they shouldn't have been allowed to get the tattoo.
Because her younger self deserved the right to get that tattoo and enjoy it, even if they didn't like it 100 evolutions of character later. Their younger self still deserved the right to make that choice, just like her [insert age] self deserves the right to get tattoos their 90 year old self would despise. It would be a disrespect to claim otherwise.
Your younger self deserved the right to your body just as much as you do now, even if you don't like or agree with what they did with it.
What a beautiful mentality that applies to so many things.
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sits up in bed. so lana and ema definitely thought they were responsible for edgeworth "choosing death", right?
(the rest of this post was supposed to go in the tags, because it's not very well organised or written, but it got too long so. here are the slightly edited tags for your reading pleasure (or otherwise)):
i was going to make this solely about ema because she's the obvious one with her open adoration of edgeworth, but the thing about rfta is that it goes to great lengths to emphasise the connection between lana and edgeworth as well.
the sl-9 incident showed that lana grows attached to people deeply, hence angel starr's comment on how, when neil marshall died, 'she (lana) felt like her own brother had died.' with edgeworth, i think it was similar but worse. because he's not just a coworker or subordinate who's dear to her. he saved her life. and it cost him his own.
at the beginning of the case, edgeworth says he was mistaken for thinking that lana was always looking out for him post sl-9 (a statement interesting on its own because that's when everyone else says she grew distant), and, later on, he brings ema fingerprinting powder because lana asked him to. then, of course, there's the 'lady luck' comment he makes.
similarly, on lana's side, you obviously have the end of the trial when she says he did well, but there's also that additional moment post-trial where she's the only one to notice — in a group comprising her, ema, phoenix and gumshoe — that he's 'hiding', listening to their conversation. point is, there's enough to suggest that she might have been the nearest thing edgeworth had to a mia; his 'chief prosecutor' to phoenix's plain 'chief'. they're as close as two people can be in a relationship where one of them is constantly lying and the other is von karma's star pupil.
rfta is pretty straightforwardly depicted as the case which solidified edgeworth's resolve to do what he did; i don't think i have to prove that. rumours about him have reached new heights, his car and knife were involved in goodman's murder, he makes an unprecedented mistake in court by failing to connect the evidence room and carpark incidents, thus forcing the chief of police to enter the trial to do so himself, and he's publicly revealed to have relied on falsified evidence to secure a conviction in the sl-9 case, all of which only happened because of lana. jake marshall even claims that from the beginning — that if you trace edgeworth's rumours back to their source, you end up meeting one person: lana skye.
and it gets worse because at the end of rfta, she thinks he's fine!! she literally says, 'i was afraid the pressure would break you, but you rose above it,' and reminds him he's nothing like gant because he's not alone. she leaves the case thinking he will be okay. and then, what, like a week passes, and she finds out that he wasn't, and that he's gone, and it's her fault. even after she was freed from gant's control, even after she had finally stopped lying, she couldn't prevent herself from claiming another life. so much for 'lady luck', i suppose.
and the game reiterates this multiple times. gumshoe states at the start that edgeworth's ties to those higher up in the department have made him the subject of constant rumours, and phoenix says (in front of ema) that he shouldn't be held responsible for the forged evidence because that was all lana's doing, which then leads to edgeworth commenting (again in front of ema) that he feels as though 'something inside him has died.' it all goes back to lana. we can argue and say that it was technically gant's doing that caused all of this, but lana still took actions that led to it. even her complicated friendship with edgeworth isn't spared; it's that closeness between them that exacerbated those rumours. how could she not feel responsible in some way?
and with ema, it's rather obvious, isn't it? if she hadn't gone poking her nose into things, none of this would have happened or come to light. and, of course, she'd never choose anyone over her sister, not for anything in the world — it's simply not a question, but that's the problem, isn't it? it's not a question. it's not some hypothetical moral dilemma. it just is. she may not have killed neil marshall, but she still has one king of prosecutor's blood on her hands. and now she has to live with that. she just. has. to live with it. no matter if he chose otherwise.
moving on from that a little, i think it's actually wild how much of ema's journey to becoming a forensics investigator is paved with bad memories. neil marshall's death and her subsequent inability to testify are what drives her to begin pursuing it, her first proper investigation results in her idol's "death" and when she finally graduates, the person who saved her sister has been disbarred, and she can't even help because she isn't allowed to. all that pain and constant pursuit of her goals, and she's still the same ema skye, still that girl shrouded in darkness, always one step behind the truth, one step a little too late. no wonder she was angry in aa:aj. i would be furious.
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thinking about turn left and ten sitting across from donna in that alien bazaar and donna offhandedly saying she’s not special and ten arguing yes, you are without a single moment of hesitation, like it’s a solid fact. how the alternate universe version of ten in turn left doesn’t even get to talk to donna but his words reach her anyway when rose tells donna that he thought donna was brilliant. the way one of the first things tentoo the metacrisis doctor does is tell donna she’s special like it’s so blatantly, wonderfully obvious when she can’t even see it herself. and then fourteen comes back with the same unending love for his best friend and looks her in the eye with such raw honesty and says i care about you and when donna dares try and think she’s no one, he shouts no. she’s not no one, never no one. the doctor really said every iteration of me will love you and every life i get lucky enough to meet you in, i will tell you you’re amazing and worth the world and i won’t stop until you believe it.
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