also known as the worst parallel to ever happen to me

It’s probably not a secret that I’m madly in love with Lucien. I’ve written and read plenty of meta about him to gather a general insight on what the ACOTAR fandom thinks of him. Often I find that people see him as a tragic character that’s going to either rise or fall to the occasion— and I can relate to that method of thinking. However, I’ve begun to notice that a lot of these comments about Lucien are, in fact, very misleading and are almost always full of double standards. For instance, these are a few of the classics:

  • “I want him to succeed but not until he repents.”
  • “Lucien should just leave Tamlin. He’s a High Lord’s son, right? He’s should be able to just walk out spewing fire everywhere.”
  • “He’ll ally with the Nigh Court after Feyre uses Elain as bait.”
  • “Lucien isn’t as damaged as Feyre, and she managed to escape.”

And on, and on…

It’s disgusting.

I’m going to try to keep this as calm and educational as possible (even though on the inside I’m typing in caps and being bitter) so let me address the first issue with the above statements: they’re all unrealistic, contain harmful representation of a person suffering abuse, and are brimming with double standards. Lucien doesn’t need to repent. I’m tired of seeing this as a scapegoat for readers to think that “after character does X they will be deemed good enough and receive Y at the ending.” Lucien doesn’t need to be forgiven for trying to survive. He’s a victim of immense abuse (*see horrific references below) and he’s only ever acted accordingly to what would keep him alive. I realize that the main scenario readers want Lucien to apologize for is the scene in ACOMAF where he tries to take Feyre back to the Spring Court. Let me break this down for you all.

While the event was definitely one portraying him as an antagonist, Lucien still believed that the Night Court was evil and manipulate— especially where the mind is concerned. Rhysand literally can place claws inside of a persons mind, and he once threatened Lucien to step aside or have the Autumn Court and his mother executed. (We all know it was for show, but did Lucien? Of course not.) So when this girl, who was deeply in love with his only friend, disappears and is found with a new, wicked attitude that matches Rhysand’s to an extent and Illyrian wings to boot…hell, if I were Lucien I’d probably think some mind control had come into play as well. This is where things get a bit tricky, however. Lucien does realize that Feyre looks healthier and seems to be better off in the Night Court, but he’s not certain if it’s real or a compulsion. Given that he has no way of knowing the truth, and that believing Rhysand had truly helped Feyre get better after Rhysand’s last encounter with Lucien had been full of threats, I’m lead to believe that Lucien was trying to help Feyre escape, even if it meant brining her back to Spring. We also have to consider that Lucien, although having shown signs of being wary of Tamlin’s behavior,  still loves Tamlin because he offered him a home when his own brothers chased him out of his court. So if Tamlin orders him to do something, Lucien will do it out of loyalty and fear. Loyalty, for what he thinks he owes Tamlin because he’s never known what it’s like to be free, and fear because he knows Tamlin will lash out violently if he doesn’t get his way.

The second and third points I’ve stated are probably the worst I’ve seen. Lucien is the seventh son of the High Lord of Autumn, so he more than likely has magic that can rival other High Fae and, possibly, even High Lords. However, we have to consider that Lucien never reveals his magic for a few reasons. He could not know how to control it because no one may have bothered to show him. He could be terrified or disgusted with it, because fire (and let’s assume it’s fire magic) can cause devastating destruction. Or he simply doesn’t have enough power to rival Tamlin’s, and he knows this so he doesn’t try because the one time he DID stand up for himself, when he announced that he would leave his family’s court, he was hunted down.

Much like using one person’s love for another is a prominent motif in this story, Elain could potentially be used as bait for Lucien to “behave” himself in the Spring Court because he probably knows Feyre is up to something. This is wrong and deceitful for so many reasons. If Lucien is to have a character arc that rivals the main character’s own development (which I firmly believe he will) then he needs to come about this revelation on his own terms, not because of someone else— not matter if they’re his mate. If Elain were to be used against him, that would only further his abuse. This would be manipulating and traumatizing a PTSD and abuse survivor. He’s already lost one person he loved, and to dangle his mate in front of him for his cooperation won’t make him realize he’s more than he believes himself to be— it will only continue to make Lucien think that he’s worth less than those around him. Also, Elain doesn’t deserve to be treated like a piece of meat, much less by her sister (so I doubt this will happen, but it agonizes me to continuously see this theory).

On the topic of which character faced more abuse than the other, it’s nonexistent. We should never compare two characters’s trauma for the sake of figuring out who deserves the most sympathy. That’s so incredibly offensive and WRONG.  This applies to all situations, books, and real life events, but for this rant I’m applying it to the concept that Feyre suffered more than Lucien and therefore calling Lucien an abused character like Feyre doesn’t mean anything. It’s important to note that I strongly disagree with this, and that I think their suffering is equal in that they’ve felt it both so strongly that it’s ruined parts of their lives they can never get back. No suffering can be measured, for everyone feels it differently. That being said, Feyre and Lucien DO contain many parallels together—mostly that Lucien is exactly in Feyre’s position, stuck between loving Tamlin and fearing him, but he doesn’t have a Rhysand to help him escape.


  • He was treated like dirt in his homeland. 
  • His lover was murdered right in front of him as he was held down by his family.
  • When he stood up for himself and told them he was going to leave Autumn, his brothers hunted him down and tried to murder him.
  • He’s never had real friends aside from Tamlin, so he doesn’t understand how a real friend should treat their friends. 
  • Tamlin helped kill one of his brothers, and Lucien feels indebted to him.
  • Lucien is known as the drunk, flirtatious courtier/spy that isn’t stable and cannot remain in a single court. This has definitely effected the way he thinks about himself and his self worth.
  • Amarantha used Lucien as a flogging board when Tamlin didn’t obey her.
  • Lucien’s eye was ripped out because he once again tried to stand up for himself on a task that wasn’t even his own.
  • No one has even tried to help him battle his PTSD, so it’s only festered
  • Ianthe pursued him and tried to rape him but he managed to escape her
  • Lucien has never had someone to talk to about these things.

Bottom line, treat Lucien better. He deserves so much more.

Essays in Existentialism: Monarchy II (Preview)

The wedding was a celebration that didn’t want to end. The halls were decked and the church was set with al manner of ancient allies and long forgotten grudges. For a week, the entire thing was all over the news, all over the world, in fact. It was a party akin to a United Nations summit, and it had the makings of an infamous reception.

Keep reading


Favourite Acting Scenes – Isak and Even meet in the schoolyard (9.10 part 4)

Also known as that post in which I make use of my English lit degree to overanalyse everything.

So here it comes: the scene, in which everything is laid bare and has been episodes in the making. You get the script, but as far as you can see, there is only one line for one of you. That means that the rest of the scene hinges upon you, the actor, your eyes, your body movements, your energy. Throughout the series, you’ve had moments in which moments of quietness were needed, but none as long as this one. To really make it work, it’s all about you and your fellow actor. As mentioned in @softnorwegianslovely post  the trust has been established: you know what you’re both comfortable with and what you can do without breaking the scene. You can challenge each other, and you have each other’s back; so you can make this as intense as possible. We as an audience have to keep in mind; it could be that the music was played during the filming of this scene, but it’s not the only sound they would’ve heard. 

So how is it possible that this scene feels so particularly intense, even when you disregard the music? I think that one of the reasons that makes you feel it so deeply is because of its use of the five senses in order to focus on feeling. Feeling that you’re not alone is so different from knowing that you’re not alone.

Regardless of whether Even was really going to take that final step or not, Isak is scared out of his mind after receiving that text message. As a person who has the tendency to assume the worst, as evidenced by his inability to see that people aren’t always mad at him for stuff he does, for Isak to see that bench to be empty has to be the most horrible feeling in the world. You feel that his heart just sinks right into his stomach; until he remembers Even’s ridiculous towel dispenser flirting move – maybe he’s to be found there. And then, as if the stars aligned for just that moment, Even is there.

The tiniest hint of a smile is found in Tarjei’s mouth and eyes, and he makes the relief feel tangible; Even is shocked into a motionless state, his depression clearly has taken a heavy toll on him with his red-rimmed eyes. But still, they walk towards each other. Both in different mind-sets; Even terrified and maybe unable to comprehend what’s going to happen here, while Isak is slowly taking in the fact that Even’s still here. They keep looking at each other.

Now, the first time I saw this scene I was confused as to what Isak was doing here; he’s not kissing his cheeks but seems to be ‘nosing’ them. But rewatching it a few times, one edit with regular street sounds in particular, made me realise that Isak slowly wants to make sure that Even physically and emotionally feels that he’s not alone. And even for himself, this is the case: Isak needs to feel Even is there, he isn’t gone yet again, he’s right there. We need to see this in close-up.

So first are touch and smell; cheeks upon cheeks, noses upon noses as they are so fond of doing. Can you feel me, Even? How close we are to each other? There’s no space between us. And when he’s sure Even feels him – because Even leans into him in small increments, brushing his nose ever so slowly over his cheek – then he moves on to touch and sight and hearing. His hands make sure Even looks up, into his eyes. Can you see me, Even? I’m still here. See me here so close to you.

And then he mentions a few of the most wonderful words you can hear in this universe and all the parallel ones.

You’re not alone.

What a beautiful reaction from Henrik here: he listens, takes it in, and closes his eyes as if it’s too good to be true. Ever so slowly, they move on to touch and taste. Isak takes the initiative, kisses Even very carefully and only twice. I’d like to kiss you so much more. If you’ll let me. But that’s all they need for this moment. Then there’s the eye contact again; Isak already almost falling against Even, seeing his face and those wonderful eyes again. Until now they’ve only given the barest touches to each other, but now that’s not enough anymore.

Tarjei and Henrik’s amazing chemistry, trust and ability to show the feelings and emotions behind this scene without saying anything made this such a special scene. Lesser actors would not have been able to convey such intensity in a scene without dialogue.

So Isak envelops Even into his arms, and Even reaches around him to tightly hug him back. And isn’t that one of the most wonderful feelings in the world? When you’re completely surrounded by someone’s smell, and touch them by taking them in your arms, and hear their breath pushing out in relief? Now you not only know you’re not alone, but you can actually feel it.

What a Helga Natt indeed.

Previous parts: here.

Review of 13x16 “Who is He? And What is He to You?”

So, this is the first time I have written down my analysis of an episode.  There was just so much to think about in this episode because of how well it was written, directed, and performed that I needed to write it down, even if I am the only one who ever reads it.  

Thoughts on the opening scenes:First, I love that Jackson had the narration and that he talked about being unable to say what you really want to.  This has been a recurring issue not only with Japril but across the show.  So many times I yell at my screen, “Just talk to each other!” So at least the lack of communication was somewhat acknowledged.  

It seems that Catherine knows Robert Avery is in Montana which surprised me a bit.  I would like to know how long she has known, but I doubt we will ever get an answer to that.  Either way, she knew and sent April because as controlling and manipulative as she is, she is also wise.  I saw a lot of people wondering why April came in a cab and if Japril are still living together.  To me, this was just another way to show how divided they are going into this episode.  

I also was surprised to see the ongoing theme of April replacing Meredith was still present in this episode.  I like that April is getting more recognition and credit because she deserves it, but I expected them to drop this story once Grey came back from suspension.  I will be interested to see if it continues.  

Jackson’s snarkiness with April caused a lot of eye rolls as well, and as much as I would prefer he not be this way with her, this allowed us to see that April chose to put up with it.  She easily could have said, “You’re being a jerk.  I’m out.”  several episodes ago, but she knows him well enough to get that something more is going on.  She lets him be angry because he needs to be and she deals because that is what we do for the people we love.  We love them even at their worst.  

The real story: In my opinion, one of the most impressive things about the writing of this episode was how well Elisabeth Finch paralleled Japril’s story with the surgery and Jackson meeting his dad.  This story has two children in it, one boy and one girl.  Let’s start with the boy.  When we meet Dr. Cordon he seems cowardly for forcing Jackson and April to tell that father his son has no chance and they want his organs.  I think this scene is supposed to parallel losing Samuel for Japril.  They were, in a way, forced to lose Samuel.  They could not save him, and although they didn’t want to, terminating the pregnancy was the best thing to do.  So, although they don’t want to tell this father they cannot save his son, they must.  And then they must convince him donating his organs is the best thing he can do.  Jackson bringing up Samuel in this scene was the first time we have really heard them mention him besides JTM.  This loss is still very real and present for both of them.

Then we meet the girl.  To me, this girl, Caroline, represents Harriet in a way.  Caroline needs her parents help.  She cannot speak so they must be her voice and try to make things better for her.  Of course, Harriet is too young to speak and completely depends on Jackson and April.  She needs them to make things better for her as well, but in both situations, they don’t quite know how.  Again, this is why Jackson mentions to her mothers that he is a dad.  He understands needing to advocate for his daughter and wanting the best for her.  He doesn’t always know what that is, but he will always try to figure it out.

 The “I don’t make promises that I don’t keep” line is of course a reference to April telling Jackson, “You are not a person who makes promises he doesn’t keep” in JTM.  And for the most part this is true. Jackson keeps his word to everyone, except April.  Regardless of whose fault the divorce was or whether it was right or not, it happened because Jackson pushed for it.  And even though the show has done a poor job of showing him acknowledge that he realizes this, I believe he does.  From big things like April and Harriet almost dying in 12x24 to little things like his loss of appetite when April went on her date, he still feels that pull to April and he must at least consider that he made the wrong choice.  

Caroline’s first plan of treatment is a throat transplant.  This will get rid of her biggest problem, the tumor, and still allow her to speak.  But it falls through.  In the scene where April talks to the mothers alone, she says, “The best way to help your daughter is to do the laryngectomy…At this point, I really think it is her best chance.” So here is the thing about fixing major issues in our life.  No one can do it for us.  Caroline losing her donor throat represents the idea that no one can fix the issues Jackson and April are dealing with besides Jackson and April.  Caroline will survive with the laryngectomy, but she will be no better off really.  The tumor would be gone but she would lose her voice.  Trading one awful thing for another.  Just as Japril would survive if they didn’t deal with their issues.  If they just left things as they are, they would both survive, but it would leave them with a permanent whole in their life just like the one Caroline would literally have.  

(Unimportant Info - beautiful scenery, loved April’s breast pump scene, loved the Chinese food with extra fortune cookies)

Jackson finally sees his father.  This demon has been haunting him for years.  We have seen hints of it, but I am so glad Jackson finally confronted him because he was projecting all of his abandonment issues on to April.  The scene where April finds Jackson at the diner is so good.  Jackson is so hurt and Jesse played that perfectly.  April, of course, takes his anger because she knows him so well, and above everything she is just worried about him.  It is heartbreaking and beautiful at the same time.  And then that line, “I didn’t bail on anyone!”  That is really what this is all about for Jackson.  As much as he wants to know his dad, he is also scared as hell that he might be like him.  And here is the one person he thinks he might have bailed on telling him he is bailing on a patient.  Like I said, heartbreaking and beautiful.  

I like that we got the small moment between Robert and April.  Of course it was put there so April could realize that he is Jackson’s father, but regardless, I like that they met.  They are both incredibly influential to Jackson for very different reasons and they should know each other.

In the scene where Jackson wakes April up early, the first thing he says when she opens the door is, “We still need to find a way to help Caroline.”  The first thing he thought of that morning is that he and April have things they need to fix.  He says they need to figure out how to fix Caroline, but again I think this line is about them still needing to find a way to fix their relationship.  And I also love that even though he knows he was pretty awful the night before, he doesn’t even hesitate to knock on her door.  He knows she will answer and help him.  Because she is April.  He knows her as well as she knows him.  And I actually love that he walked into her room as he told her to get dressed.  It shows that their comfort level with each other is still there.  Maybe she changed in the bathroom or maybe she didn’t.  I’m sure she probably breastfeeds in front of him, especially right after getting out of the hospital.  She would have needed his help for absolutely everything, so maybe undressing is not a big deal to them.  Either way, the fans certainly caught this moment.

Let’s move to the first scene in the lab where Jackson and April are bickering.  It starts with Jackson saying “I hate this.  I don’t see how we can do anything but the laryngectomy, but I hate the laryngectomy.”  Of course he does.  With the laryngectomy, Caroline loses her voice and the parallel here with Japril is that the laryngectomy means they don’t figure out a way to really heal or fix things.  They settle.  They take the easy way, probably stay co-parents, maybe friends, but really they hate this option - they hate the laryngectomy.  But there don’t seem to be any other options.   The scene in the lab, to me, was them going over the obstacles in their relationship.  They start by acknowledging that they do not want to do the laryngectomy, but also, they are running out of time.  Jackson saying he was drunk is a substitute for him saying he needs to deal with his dad, which is a huge obstacle for them.  April says that Jackson doesn’t want her there, which I don’t think is true, but her saying this acknowledges the divide that has strengthened between them recently.  Then Jackson brings up April’s friendship with Catherine, and we all know Catherine has created many problems for them.  She may be helping now, but that has not always been the case.  April argues that her relationship with Catherine started before Japril became romantic, but even when they were friends Jackson wasn’t comfortable with April and his mom’s relationship.  "Stop facebooking my mom!“  Then their differences in financial status and upbringing are brought up. “Your mom says the difference between you and I…” As much as these two are meant to be together, they come from very different worlds and see things differently.  This line reflects those issues..  But the conversation is cut short because of the 911 page.  Time is almost up.  If they are going to fix this, they must do it fast.

So Jackson gets the 911 page.  Caroline’s parents want more.  They want their daughter whole and healed and not just the easy fix.  April tries to tell them, “We’ve gone through every possible alternative.  There comes a point when you have to hear…We’ve been down every road.  Every one.  There are no other options.  We do the laryngectomy, Caroline lives.  It’s that simple.”  I can only imagine how many times Jackson and April must have went over every alternative for their relationship in their own heads.  But since they refused to talk to each other, none of the options seemed like they could work.  The easier choice was to choose to settle for less than what they really wanted.  Luckily Caroline refuses to do that.  She wants her voice, and Jackson promises that he and April will find a way to get it back for her.  

Outside of the hospital April finally tells Jackson he made a promise he can’t keep.  Jackson can’t possibly come up with an idea to save her voice and they should do the laryngectomy.  He is confident they can until April tells him she knows about his father.  “He’s the whole reason we’re here!”  And she’s right.  Not just in Montana, but in this frustrating, difficult place in their relationship.  Jackson’s father and his trust issues and inability to let go of his abandonment are what led them to this moment  - completely in love but so alone.  He is the whole reason we are here. 

The transition from Facetiming with Harriet to sitting in silence could not have been directed any better by Kevin.  The shift in tone was almost tangible.  I felt physically uncomfortable watching them sit in silence.  And then finally Jackson told April everything that he had been holding on to for years.  And she responded perfectly.  She listened, which was all he needed.  And then she pushed him to go confront his father.  No one else could have done this for Jackson.  No one.  

Jesse’s acting in the scene where he confronts Robert was some of his best.  His little decisions like not lifting his arms to hug him and the absolute shattered look in his eyes when Robert says he couldn’t be torn away from his diner in Montana were fantastic.  There was no remorse or apology.  Jackson had waited years for this moment, and this man was still able to let him down even more than he already had.  But he also gave Jackson some things to think about.  “Are you happy?”  “I was born into this life, but she was born for it.”  There is no way those lines didn’t instantly make him think of April.  

One of my favorite scenes of the whole episode begins with the coffee apology.  Kevin’s camera angle was perfect.  We hear Jackson say, “Hey” in that voice he only uses for April.  The camera focuses on the coffee in Jackson’s hand and then transitions to April smiling up at Jackson.  While we all would have loved a great speech from Jackson, somehow this was enough.  It has been awhile since we have seen such a sweet gesture from Jackson to April but this was all she needed to know he was sorry.  The way the writing weaves the discussion of Caroline’s surgery seamlessly with Jackson’s explanation of what happened with his dad is some of the best writing of the entire series, I think.  The two are completely intertwined. Jackson must let go of the past in order to move forward, as the tagline said.  He must let go of his anger with his father to move forward with April, but how do they get there?  How do they fully heal Caroline without just settling for the laryngectomy?  “Her guts for her throat,” he realizes.  “Then she’d be her own donor…You think it will work?”April asks.  “No, maybe, yeah.”  “Well which one do you wanna go with?”  They have to heal themselves.  Not even Jackson meeting his dad can heal them.  They have to fix things from within, together, just as Caroline is essentially fixing herself. Will it work?  They aren’t entirely sure, but they decide to go for it.

Dr. Cordon argues that this has never been done before.  And it hasn’t.  When Shonda wants to end a couple, she ends them.  Japril are divorced.  The papers are signed.  So to put them back together is new and different and never been done.  And we all love it. 

Jackson steps up and accepts the Avery name.  The shadow of his father not being able to handle being an Avery is not looming over him anymore.  He is not his father.  He does keep his promises, and he certainly doesn’t bail on his family.  He realizes that now, even if it took him awhile to get there.

The surgery scene.  The music.  The looks.  The silence. “I’ll see it.”  Jackson and April are literally healing Caroline and figuratively healing themselves.  They work together to use Caroline’s body to heal itself and they work together to heal their relationship as well.  And that camera angle over April’s shoulder where Jackson is watching her.  That moment is when he realizes that he could not have done this without her.  Talking to his dad, saving Caroline - it all happened because she was there.  She is and always has been exactly who he needs.  At the end of the surgery, April asks, “This is gonna work right?” And Jackson confidently replies, “We did it.”

The hotel scene.  The parallels to the hotel scenes in San Francisco were perfect here.  As a fan, I appreciate that they put in details they knew we would catch.  I also appreciate that neither Jackson or April show any hesitation.  They have both grown so much that they are completely sure at this point of what they want.  And those looks. The chemistry with these two is unbelievable.  I can’t say enough about how great this scene is.

The next morning was almost more satisfying to see as a fan than the hallway scene (almost…).  Again we saw that they had no regrets with their choice to be together.  The lighting, the bed sheets, their emotions - everything is light and bright.  Everything is hopeful and positive.  And this is April’s apology scene the way the coffee cup was Jackson’s.  April telling Jackson he is a good father and that he never bailed on her and Harriet, is everything Jackson needed to hear to 100% let go of his fear of becoming his father.  These few, important lines allowed Jackson to go back to Robert and tell him that he doesn’t need him.  He met him, and now he can move on.  The shot of Jackson’s back walking confidently out the door of the diner into the sunlight was another really nice addition from Kevin.  Jackson is literally leaving the past behind him and moving toward his future.  

In case they had any doubts about their decision, Caroline is completely healed.  They go to check on her and she has her voice.  And we get another adorable scene of them communicating with only their eyes.  

The episode ends with Jackson narrating, again, about how important it is to speak up.  “We lose our words because the stakes are so high”  The camera shows Jackson and April looking at each other.  “And we have so much to lose” And we see the Avery family, Catherine, Jackson, April, and Harriet, reunited.  April asks for a ride home, to her home with Jackson, to signify that there is no more division between them as there was at the beginning of the episode.  

And this is why when Jesse and Sarah have been giving their scripted answer that Japril could go in several different directions, I don’t believe them.  If they were going to just stay friends after this episode, Caroline would have had the laryngectomy and lost her voice.  If they were going to split up completely, Caroline probably would have died.  But she was healed completely, and so were they.  And it wasn’t just their friendship that was healed.  That was not a good-bye night together.  So, when they tease that it could go any way, I think that is just to keep us on our toes until the end of the season where something else is waiting for us.  Could I be wrong?  Of course!  Shonda has definitely surprised me in the past.  But if they stay true to the writing and meaning behind this episode then I believe I’m right.

Personal Captain America Civil War fix-it fics rec list

First of all, kudos to lovely @the-vorkosigan, who motivated me to actually put together a list of post-CW fics, without her I wouldn’t manage to do it.

Secondly, this list is entirely personal & based on my personal preferences. I’m sure there are lots of great post-CW fics out there besides those mentioned here.

Thirdly, I’m Tony Stark Defense Squad to the core, and I guess this list made it obvious, so… idk, be informed & prepared? :)

Here we go (in no particular order):

And In The Silence That Follows by lazywriter7

19,5k words, M

It’s not fully-fledged Stony, but it’s absolutely brilliant, full of hidden gems though angsty. Worth reading 100%. Kinda like «Captain America: Civil War theoretical justification of consequences 101». Idk how to put it better, so… just read it, it’s truly beautiful though bittersweet. Oh, and Hawkeye is awesome, as always. And T’Challa is awesome too. And everyone is apparently wiser than Steve (figures) :) And FRIDAY is so sweet & …. oh my I don’t even know why I’m still talking, just go & read it already :)

“He should have an Avenger with him.” Steve murmured, too quiet to be heard.

Evidently not. For Sam smiled next to him, lips twisted, voice filled with a queer, bitter compunction. “Which one? The android or the cripple?”

“Sometime during that battle, the fight stopped being about freedom and the Avengers’ ability to save the world when it needed them, and became about protecting Bucky Barnes instead. And while I’d never back down from saving a man’s life, Captain.” Clint’s eyes flashed, from things brighter than emotion. “We damn well should have had the right to make that choice for ourselves.”

I said to call me when you need me (But it is I who need you now) by rz_jocelyn

Gen, 2k words

Sam Wilson is awesome. And basically every phrase is gold.

‘I was angry, you know, so angry when he kept Ultron a secret from all of us.’ Steve’s laugh was an ugly sound. ‘I was so mad at him. Even though Bruce was also involved, I could forgive him. Even after I found out that it was Wanda who had pushed Tony into such desperate measures through her mental manipulations, I still forgave her. But Tony, I was still so angry with him. Something that big, I trusted him to tell me about it. Instead, he kept it from me, lied to me and only told me the truth when it blew up in our faces.’

‘He didn’t think that we would listen; that we would understand. Sam, he only wanted to protect us.’ ‘I only wanted to protect him.’

An Infinite Number Of Monkeys At Typewriters (Or, Steve and Tony Finally Get It Right) by JenTheSweetie

M, 19k words

Doctor Strange saves the day :)

Now usually I’m not all that interested in parallel universes, dimensions-traveling and all that jazz, but this was like a fairytale, so…

«Steve, come on, it’s not a fairytale»

«Isn’t it?» Strange said, stepping into the office. «And here I was all ready to play the fairy godmother.»

Like a Postcard Phrase by isellys

T, 5k words

Texting. A bit of humor, a bit of reminiscing, a bit of starry-eyed Wanda, a bit of daddy!Clint, Sam is once again awesome, no super angsty angst, and really, really sweet & warm.

Have you ever seen an android powered by a magical alien stone pine? It’s sad. It’s like seeing a normal person pine, except he glows sometimes.

Unknown Number by @copperbadge

Starring: The One And Only Tony Stark, Sullen Surrogate Daughter, Bird Costume & Angriest Bird.

It’s just some excerpts, not the complete fic, but as brilliant as anything copperbadge writes.

In Case of (Coronary) Emergency by @veldeia

T, 1,3k words

He doesn’t expect Steve to pick up, so when that actually happens, Tony almost drops it. His hand is shaking. His other arm, the left, aches fiercely.

“Tony?” Steve’s voice cuts through the ringing in Tony’s ears.

“Steve. I’m sorry,” Tony says. “Also, fuck you.”

Hope for the Hopeless by @owltype

Really, really short series, just ~4k words in total, but so sweet. Post-CW fluff, even.

“How do we always wind up here?” Steve asks.

Tony’s voice catches in his throat. “Because we’re idiots,” he answers, his voice soft, afraid that if he speaks any louder it’ll shatter this tender moment between them.

It’s What You Choose That Counts, In The End by @the-vorkosigan

T, 8,5k words

The whole family is back together, and it’s Halloween and it’s Harry Potter references and it’s perfect. I couldn’t even pick up a favorite quote, it’s just… Fuck it, it’s absolutely perfect.

Never Eye To Eye by @the-vorkosigan

M, 26k words.

As good as you can possibly imagine & even better. Angst, chemistry & tension, sooooo many emotions and, of course, happy ending. This one is imperative to read. It’s classic, and it’s gold, and it’s EVERYTHING.

“Tell me,” Tony said quietly “how is it that I always get the impression you expect the worst from me, in advance, and then, afterwards, you still manage to be disappointed in me somehow, every fucking time?”

Clint is Allergic to Feels by @fangirlingmanaged 

Hawkeye saves the day :) Just a cute one-shot to warm up one’s heart amidst all the post-CW angst.

Our Shared Mutual Destruction by GreenLoki

M, 3,5k words

After all, who did he value more – a few friends who had gotten him through a world he couldn’t even recognise, a few friends who he had fought with, had drinks with, respected, laughed with? Or the one friend he had known since he was just a kid in the early forties? Who had been through everything with him, who had followed him through anything? A friend that he had lost and mourned and found again?

Tusk by @laudatenium 

M, 6,5k words

Beautifully written angst.

Tony knows what he’s doing, he knows what he’s saying. He knows he probably shouldn’t. But for once, he just wants to have the freedom to burn everything. It’s been his job to preserve, to clean up, to repair, to fix. The sour, stinging center of him just wants to be expulsive like he used to be, to blow everything up and leave it behind for everyone else. He wants to rip Steve to shreds, because Steve doesn’t care that he ripped Tony to shreds.

Maybe he can’t burn everything, but maybe he can burn the man who left him the smoldering shell of what they’d built.

Made Of by @killaidanturner 

T, 4k words

Beautiful, poetic even.

I knew it was Bucky and I was selfish, I was too selfish, I wanted them both. 

And by keeping it from him I lost him and I lost Bucky. I lost the Avengers. I lost everything.

Riving Metal and Melting Ice by brown_recluse

E, 22k words

Are you telling me Germany lost a perfectly good airport because you didn’t think my jokes were funny, Rogers?

Running Down a Dream: The Definitive Guide

So. Back in January of this year, when I was about eh, twenty hours into FFXV, I started a fanfic on Ao3. I thought it would just be a nice place to sock away little drabbles or short fics, here and there, that might be inspired by my playthough. I had no intentions of doing more than maybe ten of them, and I thought they’d all be too small to be stand-alone fics. So I made them chapters, though they weren’t really meant to tell any kind of overarching story. I called it Running Down a Dream, because too many things were already called Life is a Highway, and I liked the Tom Petty song better. I didn’t expect it to amount to much, really.

…The current collective word count for my FFXV works on Ao3 is 106,074 words. (My FFXV game save is about two hundred and thirty hours.) Slightly more output than I planned. Probably more than anyone expected when reading the first chapter of this five months ago! (The fact that this comes after two years of painful block following the publishing of my first novel is just the cherry on the sundae.)

So, I realize that some people might not have read RDD, because the main fic and the B-sides are marked as unfinished. That’s because they’re a collection of stand-alones and the whole thing probably won’t be finished ever– I want to leave it open so I can go in and write something whenever. Someday, I may go in and mark them as finished. Probably about thirty minutes before the Earth crashes into the Sun. But each ‘chapter’ of RDD and the B-sides is complete as is, and while there is some continuity from chapter to chapter–mostly in the form of in-jokes and relationship status–you can still go in and read any one of them, at random. But who wants to plunge into a thirty-chapter mess that’s part of a series which also has multiple-chapter fics and some of them are marked finished and some aren’t and there’s a crossover?? and what? Especially since this Tenshi no Korin person never puts in summaries that actually tell you anything and it’s always a song quote or obscure movie quote I mean, the hell?

Don’t worry. I’ve got you covered. Because I’m here with the……

DEFINITIVE GUIDE TO TENSHI NO KORIN’S RUNNING DOWN A DREAM FFXV ARC SO FAR (as of 5/12/17). With links. Buckle in. Here we go.

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a sort of continuation of this.

he’s been at it for hours and hours.

it rings in his head like an endless bell: my life would be better without mentally ill people around me, my life would be better without mentally ill people, my life would be better, it would be better

my life would be better without you.

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Class 1-A should really learn to stop letting Bakugou baku-off

(when stuck for the most appropriate and to the point title just give up and use shitty puns, 10/10 it will pass….I think :P)

One of the things that caught my attention when reading the manga for the first time was Bakugou’s behavior after the sludge man incident: when dealing with complicated/conflicted emotions he doesn’t know how to process, he has a tendency to just back off from the problem altogether for an indefinite amount of time. 

(This is all going under because this really got out of hand, so if you wanna have a read please do when you have the time or are bored, I take both)

Warning: A tad disorganized so read at own risk

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Tom Hiddleston on why his Night Manager character could be the next 007

The BBC’s devilishly enjoyable adaptation of John le Carré’s The Night Manager premiered last Sunday and immediately announced itself as event television. Take the credits sequence – all morphing Martini glasses and crashing chandeliers, it was a mere Shirley Bassey solo away from stealing James Bond’s tux and making off with his audience.

Tom Hiddleston, in the title role of soldier-turned-hotelier-turned-spy Jonathan Pine, certainly scrubbed up impeccably, giving us a smoother (and younger) hero than the one who slinked through the pages of Le Carré’s 1993 novel.

It wasn’t just a matter of cutting a dash, though. The 35-year-old Englishman, a Shakespeare veteran best known to global film fans for his role as Loki in the Marvel comics franchise, hasn’t skimped on his homework either. He never does. Every close-up shows him thinking his way carefully into this part, turning the whole enterprise into a cunning chess game.

“The opening paragraph of chapter two of the novel is emblazoned on the inside of my brain,” says Hiddleston, looking supremely dapper as usual in a Berlin hotel bar. “It says, ‘Jonathan Pine, graduate of a rainy archipelago of orphanages, foster homes, half-mothers, cadet units and training camps, sometime army wolf-child with a special unit in Northern Ireland…’ So you get the sense that Pine’s wasn’t an upbringing of enormous privilege, but his service in the Army and hotel management has given him this access to the manners and the milieu of the very wealthy.”

The crucial upshot of this is gaining the trust of arms dealer Richard Roper (Hugh Laurie), “the worst man in the world”, and using this to report back on his nefarious activities to British intelligence. Roper is part Bond villain, part mirror image of Pine – both are interlopers in the English class system drawn to each other’s opportunism and drive. It’s a lot of fun, of course, but Hiddleston takes the role a little more seriously than that – he’s happy to think through the real-world implications of this plot, which has been extensively updated from Le Carré’s book, for instance by moving the timeline to just after the Arab Spring in 2011.

“There must be people like Pine,” he decides. “I remember being fascinated by the debate last November on whether the UK should join air strikes against Islamic State. All we got was that intelligence had come from the 'highest level’. I’ve listened to John le Carré talk about what happens in those meetings. There must be people who are truly hidden from society, gathering intelligence about targets, about numbers of troops, about weapons and so on.”

Early reactions to The Night Manager have found it hard to shake off the James Bond parallels, even going so far as to suggest that it feels like a virtual audition piece for Hiddleston as 007.

“I’ve been getting a lot of that,” he admits. “There are similarities insofar as Pine and Bond are granted a licence above and beyond the law to do bad things for the greater good. Bond has a 00 licence to kill. I don’t know if Pine is a 00 just yet…”

“Nobody would say no to Bond!” interjects Hiddleston’s director, the Oscar-winning Danish filmmaker Susanne Bier, who is making her first inroad into long-form drama with this series. “Even if you ask Olivia Colman, she’s going to want to play Bond. Or any director. It’s part of the air we breathe.”

The glorious Colman, hiding a pregnancy bump under some heavy jumpers, plays Angela Burr, the spymaster who recruits Pine and installs him at the heart of Roper’s operation. In the book, Angela was a Leonard, but Bier leapt at the chance to do a gender switch.

“Part of my worry about a contemporary spy thing,” she says, “was that you’re going to alienate the entire female audience. Because you’re gonna relive that world of men having been to public schools, having more or less got the same education. And I think it’s slightly dusty. The real world is somewhat more diverse, and we have to reflect that.”

You won’t catch her implying that Le Carré’s worldview is sexist, however. “He has a very contemporary mind,” she explains. “I think he was pretty adamant to make it current.”

The process of updating the book while also satisfying Le Carré’s legion of fans was helped by the writer’s own input – Bier says that keeping him happy was a high priority. “Through him we actually got access to a whole network of spies, of people working within the weapons industry. To me as a director, almost the most frightening aspect is that people who deal with weapons might as well be dealing with luxury cars. Can it be this easy not to be found out? Apparently it is.”

Hiddleston does a pretty spot-on impression of Laurie, tilting his head with a “Well, I, erm…” that conjures pure Bertie Wooster. He calls his co-star “an extraordinary mixture of deep seriousness and irreverence” who is “painfully honest” with himself. Bier says that a resolute loathing of hypocrisy unites both men. She’s curious to know if Hiddleston ever contemplated being a spy when he was younger. “I thought about it! But I just thought my personality is too visible, in a way. I’m not disposed to secrecy.”

An actor who doesn’t like camouflage? Here Hiddleston finds himself playing a character who goes by four different aliases, and conceals his true identity from almost everyone.

“That was the challenge and the thrill of it. In every scene I had to hide sufficiently that Roper and Co aren’t smelling a rat, but not hide so much that I’m hiding from the audience. I liked the idea that there is anonymity in uniform. He finds security in the silhouette of someone who is of service. But then you scratch behind that, and what is his centre?”

The truly laughable thing about Bryke hating Zutara is that all those negative things they thought wouldn’t make it work they put into their own canon relationships.

Putting it under the cut since this might be kind of long, and it does involve some ship bashing. I will try to avoid character bashing though since I like both Aang and Mai as individuals.

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this is a psa…

PLEASE if you love pokemon and suffering do yourself a favour and play the pmd games

they’re roguelike/rpgs (YES U HEARD THAT. THE POKEMON RPG U ALWAYS WANTED. IT ALREADY EXISTS) that take place in the ‘pokemon world’. you are, per game tradition, a human that’s been transformed into a pokemon for a reason beyond your knowledge. the world is populated by things known as 'mystery dungeons’ - randomly generated labrythns full of wild pokemon that you must battle your way through to complete requests or find bosses!

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Time for some “Mills” meta.  I’m just trying to make sense of why would they choose to make Zelena, Regina, and Cora share not just parallels BUT love interests (Rumple, Leopold, Robin) as well, because it’s really messed up.

1. OUAT puts a lot of emphasis on “Choice.”
2. The concept of “Fate; Soulmate vs True Love.”
3. Finding your “Happy Ending.”
4. Fake identities / coercion.

It’s SUPER long.

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a steve/bucky fic rec list (◡ ‿ ◡ ✿)

written or existing pre-ca:tws

  • baby baby baby come back by gyzym: “You and me? We’re not the war.”
  • timestamp series by what_alchemy: *series is non-ca:tws compliant, but touching and riveting nonetheless.
  • Gravitation by Odsboskins: “He couldn’t remember when he first started feeling the pull. Perhaps it was too long ago, or perhaps it had been gradual, something that crept up on him. But by the time he was sixteen, Bucky knew that the axis of his world spun around Steve Rogers in the worst possible way." Inspired by finding out that in the prequel comics for Captain America: The First Avenger, Steve and Bucky are in art class when the news breaks about Pearl Harbor.
  • we share our mother’s health by tigrrmilk: “I didn’t ask for you to do this,” Steve says, as he cleans Bucky’s back, a few minutes before Steve’s mother will come in and take over. And no, this, this is the most offended Bucky has ever been, because he knows, and nobody needs to tell him what he should or shouldn’t do because he knows, he’s always known.
  • Wanderings by sariane: With their names at the top of SHIELD’s Most Wanted lists, Steve takes Bucky - the Winter Soldier - and runs to save him.

    Bucky isn’t sure why he goes with Steve, especially after everything he’s done, or why Steve is giving him a second chance. He only knows that he owes it to Steve to try.

written and existing post-ca:tws

  • lethe by black_nata: ”‘Do it,’ he goads. 'Do it or come back home with me and let me help you. But you gotta do it now, Buck, because I can’t take another moment of this hell.’“
  • we did not ourselves make by M_Leigh: ”It is like steel, the determination inside of you that tells you you will achieve this, that you will find him. Nothing will stop you. You are two sides of the same coin, you and he: he cannot escape you forever. Bucky runs. Steve follows.“
  • your favorite ghost by augustbird: "It’s harder than Steve ever expected to bring Bucky home.”
  • Parallel Constructions by freshbakedlady: “In the absence of orders, the man wearing the face of Bucky Barnes must figure out who he will be. The answer, mostly, is "somebody Steve Rogers can love.” Nothing so easy should ever take this much work.“
  • The Steven G. Rogers Guide to What You Missed the Last Few Years by what_alchemy: "Steve’s got the hang of this 21st century thing.”
  • Mistake on the Part of Nature by idiopathicsmile: “Steve takes in Bucky’s betrayed look and Sam’s confusion, follows Sam’s gaze to the pile of mangled fruit in the trash can. Sudden comprehension fills his face.

    'Oh,’ he says. 'Bucky found out about bananas.’”

  • Steve Rogers at 100: Celebrating Captain America on Film by eleveninches, Febricant, hellotailor, M_Leigh, neenya, tigrrmilk: “’Heil Hydra,’ the enemy agent shouts.

    'Heil this, motherfucker,’ says Captain America, shooting off a rocket.

    Steve and Bucky find out Hollywood has been busy since they went away. A historical survey, including but not limited to: one set of exploded genitals, a brief interlude in France, Mel Gibson and other masterworks of casting, eight Academy awards, several dinosaurs, and something Tony Stark has ominously dubbed 'the masterpiece.’ Art included.”

  • this is a back alley by Febricant: “Here is the only thing you know: the body remembers.”
  • the nightmare from which i am trying to awake by Speranza:“"You gotta bring him in, Cap.” Tony Stark, distant: on speakerphone. “You can come in to me, or you can go to—well, I don’t know who else is left. But you gotta bring him in.”“ 
  • Close to the Sun by thebrotherswinchester: ”Steve’s known Bucky his whole life.“
  • I Didn’t Know What Time It Was by MoreThanSlightly: ”It’s been two days now. He knows it would be logical to get out of the city, but he’s waiting for something. Against everything he knows about hiding, he went to the exhibit on Captain America at the Smithsonian and looked at a photo of a stranger who might have been his twin from seventy years ago. He’s not sure what he wanted. An epiphany of some kind, a feeling of doors opening and light flooding in; whatever it was, it never came.“
  • My Brother, The Hero by Odsbodkins: Becca Barnes is eight years old, and her big brother can do no wrong.

    The events of the two Captain America movies, from the perspective of one of the sisters Bucky leaves behind.

  • your homecoming will be my homecoming by lupinely: This is what Bucky thinks he remembers. Writing a letter to Steve in the trenches, muddy footprints, impressions of army boots on the ground. So cold his fingers ache. He’s writing the letter but it doesn’t make sense. He’s writing the letter but he wants to go home. It’ll make sense then, he thinks—it’ll make sense when they both come home.

  • the gravedigger’s handbook by idrilka: ”Sometimes it’s the most difficult thing, coming home. They both learn that, in their own ways. (In the end, Bucky comes back to Steve. In the end, it is all that matters.)“ *new
  • the thing that drives the wolves away by caughtinanocean: ”The thing about Bucky these days is that, while he might be a semi-mythical assassin, he’s also vulnerable—the kind of vulnerable that makes total strangers want to drape a blanket over his shoulders and take him to safety. The problem is, of course, that Bucky is already safe.“
  • Wait for the Word by sara_holmes: "He’s still not sure how Steve does it, even after ten years of knowing each other, how he can be so bullheaded and stubborn and irritating, yet simultaneously so good and kind and earnest. He’s hopeless, is what he is, but he’s still the best goddamn thing to ever happen to Bucky.

    Bucky’s sure there’s a word for it somewhere, a word to describe how Steve is all of those things at the same time, but he hasn’t found it yet.” *new


  • Hotel Service by Odsbodkins: “The one where Bucky is one of the reception staff in an upmarket hotel and Steve’s a wealthy businessman who stays there regularly. They’re involved in a heavy flirtation but neither of them have quite gotten up the courage yet to take the next step.”
  • our golden age by augustbird: “Wherein Bucky is the crown prince and Steve still becomes a hero. A series of fics/media set in the same universe.”
  • Flying too close to the sun by viverella: “In which Steve is a flight attendant and Bucky keeps showing up on his flights and they fall in love without meaning to.”
  • A Gentle Thaw by godofpancakes: “AU in which there was no Dr. Erskine and no serum, Steve never got the chance to go to war. The years pass and Bucky finally comes home, no longer the man Steve remembers.”
  • You Were Standing There by thebrotherswinchester: “Bucky accidentally breaks into the wrong house while drunk. The wrong house happens to belong to Steve Rogers.” aka a very sweet 'neighbours’ au
  • patterns of love in peoples of diaspora by buchanan: “Impossible things happen all the time” (time loop/groundhog day au) 
  • The Shape I’m In by radialarch: “[AU where Bucky never fell.] They win the war. Steve and Bucky come home and deal with their feelings." 
  • the poem which I do not write by viverella: ”See, here’s the thing: Steve has a problem.

    His problem is embodied in almost six feet of cocky smiles and toned muscles and tattoos and it starts three weeks into the school year when his life drawing professor announces that they’re finally moving onto studying the human form and says, “This is James. He’s going to be our first model.” And the guy steps up onto the platform in the middle of the room and undresses without a lick of self-consciousness, smirking all the while, and Steve thinks, Oh, hell. 

    OR: Steve is an art student and Bucky is a figure model and a lot of pining happens. 

  • Middletown: A Study of Suburban Life by M_Leigh: “Or: the story of the year Bucky Barnes finally learned how to talk to at least one other human being, discovered J. D. Salinger, started to try in school (kind of), got a haircut, landed a punch, almost got arrested, and kissed a boy on the mouth." 

  • What a Wonderful World This Would Be by mambo: ”Steve Rogers isn’t about to let some frat boy jerk like Bucky Barnes show him up, even if it means having to kick Brock Rumlow in the balls.“

  • On The Cusp by thebrostherswinchester: ”Bucky is a rich kid. Steve is his butler. It doesn’t stop them from being best friends.“

*i will update this as I see fit*

anonymous asked:

Hii! Could you help me find a fic? Basically stiles and derek are together in an alternate universe, but not irl? And when they get back to reality they decide to move in together. I dont remember that much im sorry!

you are looking for:

  • Where The Inevitable Isn’t by Survivah (M, 41k) Stiles has a magical thingamajig that’s supposed to get him out of danger. Trouble is, it took him really, really far out of danger. Like, to the point where he isn’t in the same universe anymore. “A part of Stiles had been thinking that he’d come home, and just go, ‘hey, Derek, are we mates and you just haven’t said anything about it?’ and Derek would reply, ‘now you mention it, we are indeed! Now come to my bedchamber, where we will have super hot sex and then cuddle after!’“ 

and more recs with alternate universes, parallel universes, universe travel

  • Play It Again by metisket (T, 63k) In which Stiles goes along with one of Derek’s plans and ends up in an alternate universe as a result. He should’ve known better. He did know better, actually, and that means he has no one to blame but himself. “Laura wants to lure the kid in with food and kindness and make a pet of him, like a feral cat. Derek wants to have him arrested for stalking. They’re at an impasse. (And the rest of the family is staying emphatically out of it in a way that suggests bets have been placed.)” 
  • inside these arms series by rufflefeather (T, 18k) Stiles is having the worst day of his life and it keeps happening./ Derek’s worst nightmares didn’t prepare him for this.
  • Misfire by unpossible (T, 29k) “The debt must be repaid,” she says, and it has the weight of a vow. The words resonate through him, ringing through his ribcage and the bones of his jaw, and Stiles loses his breath and maybe his grip on reality because she draws herself upright and where there had once stood a supermodel-level MILF now there is Galadriel’s much hotter older sister, a Presence of unmistakable power in their ordinary, smells-vaguely-of-Thai-takeout hallway. “Oh shit,” Stiles says.

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hilary’s smartass guide to the episode: 5x10


I’m not going to lie, that was painful af, and I’m glad I spoiled myself, because that would have been ROUGH to sit through if I didn’t know what was coming (even though, as I said many times beforehand and tried to warn everyone about, I WAS EXPECTING THE ABSOLUTE WORST FROM THIS EPISODE and for things to look really horrible). To that end, it was actually…. not quite as bad as I was braced for, to be honest. Bad. Definitely bad. But if you were actually going to write an episode where you randomly destroyed your main character, your main romantic lead and your main romantic relationship after three years of careful building, this is exactly how you would NOT do it.

Let’s take this piece by piece.

First off, and most obviously: Dark Hook. There are two ways this is going to play out, and I honestly think either is just as likely at this point, because there is canon evidence for both. We’ll find out for sure next week, but the options are pretty simple.

1) Hook is playing a long con on the darkness, has decided to do exactly the same thing as Emma, and is carefully manipulating everyone to get to the point of destroying the DOs for good. He’s hurt and angry and acting out, but essentially still himself and aware of who he is and what is at stake.

2) Hook has genuinely given into the darkness and is working with it for its purposes. But at the eleventh hour next week, we will see him come up for air, resist it, and choose to die to save Emma and destroy the darkness for good, earning himself the right to be rescued as a hero from the underworld.

For option 1, you have PLENTY of actions of Hook’s that do not fit with his stated desire (to kill Rumple and have his revenge on HIM). You have him emphasizing multiple times to Rumple that Excalibur can kill him, you have him completely throwing the swordfight (I’m sorry, there is NO WAY that the most powerful Dark One yet, armed with magic and Excalibur, on his own ship where he’s fought for hundreds of years, let powerless Rumple win and then leave with Excalibur, the one weapon that could kill him and which he made sure to explain that it could, to be handed over to the heroes!) you have him making it blindingly easy for everyone to find the dreamcatchers (lbr, he also knew the squid ink was left over and left it behind to be used) and hence get back their memories, you have him following up Merlin’s voicemail tip (remember, EMMA STILL HAS NOT HEARD THAT NIMUE IS SUPPOSED TO BE THE ONE TO DEFEAT THE DARKNESS!) and bringing the DOs to Storybrooke, and you have him once more being a lot of bark, hitting Emma where she and he both know it hurts with verbal assaults, but very little bite. He makes no attempt to harm her. He just knocks out Merida. He doesn’t even TRY to kill Rumple. And he says, “You’re only a pawn if you don’t know you’re being used.” Really. Tell me that Killian Jones, after three hundred years, doesn’t know exactly how the Dark One operates.

If Dark Hook thought the others were his enemies, he would have done a lot worse than that. Instead we have a montage of him reliving the worst moments of his life that the DO was responsible for, as he became it. He wants revenge, yes. But he wants it ON THE DARKNESS. We heard over and over how much he hates it and how much it’s the one thing he knows he has always fought. IT IS HIS ENEMY. THE OTHERS ARE NOT.

Next, Killian is turned into a DO something like… three weeks into their Camelot stay. They come back six weeks later. He’s just out there that whole time, and Merlin has a Dark Curse brewed and ready to go when he gets back. Kind of like he wants it to be used. Honestly, I don’t know how you explain this other than that Merlin knows this is going to happen, and wants to make sure it does. As I said in my earlier posts, we see baby Killian next week. The season opened with Merlin appearing to baby Emma and telling her something shady and cryptic. I am willing to bet a lot of money that Merlin has appeared to baby Killian and done likewise, and that Merlin/his plan to defeat the darkness is connected to the reason Killian was abandoned by his father. Elliot Knight has hinted at a further connection with Merlin and Hook. Merlin has been acting weird around Hook this entire time. Watching him, reacting differently to him, so forth. There is more to this story. That is just a fact. We do not know everything yet.

Ergo, as I mentioned: this entire thing reeks of “Snape kills Dumbledore.” Killian and Snape are not the same character, nor are Merlin and Dumbledore. I have written before, however, about the parallels between Emma and Harry. And what you had with Snape was a situation where he performed the ultimate act to make the darkness trust him, because he had planned it out and was working in concert with Dumbledore all along, and Dumbledore ordered him to do it to ensure the darkness was defeated at the proper time. The action that made Harry hate him and believe he was a Death Eater, that he couldn’t be redeemed, that he wasn’t a hero. And yet, it was because Snape ultimately sacrificed himself for love, a love that he never once doubted, gave up on, or turned away from, no matter anything else, died as a hero, and helped save everyone from Voldemort because of it. (And I was just writing some Snape metas the other day. How interesting.)

Once again: Killian and Snape are not the same people. But in terms of the narrative roles they’re fulfilling, if it’s Door #1 and Killian IS conning the darkness, this is what just happened. You cannot tell me Merlin didn’t know this was coming and prepared (AGAIN, KETTLE OF READY-TO-GO DARK CURSE!) for it. If the darkness could have been destroyed in Camelot, it would have been. But Killian AND Emma are both bound to it, and right now, it kills them both. Killian point-blank refused to kill Emma when the darkness suggested he use her heart for the curse. DING DING DING. Her life is the one thing he’s not going to pay. He has to get her free of this somehow before it’s time.

(Again: Snape kills Dumbledore. “You’re keeping him alive so he can die at the proper moment?”)

Next, I can’t even believe that I seriously have to defend the fact that Killian loves Emma as much as she loves him, and that what he said as the DO was not him. I don’t like Rumple, but I recognize that the writers want me to look at him differently as the Dark One, and as himself. That that is the magnitude of this evil which warps and distorts people past anything they would do or be themselves. We have never known Rumple as not-the Dark One, except for some very brief flashbacks, in five seasons of the show. Hence we have nothing to compare him with. We have known Emma and Killian as NOT THE DARK ONES. WE CAN TELL THE DIFFERENCE. Of course Killian doesn’t think Milah was “soiled.” Of course he doesn’t think Emma is a “pretty blonde distraction” and “will always be an orphan.” THIS IS THE MAN WHO FOUGHT THREE HUNDRED YEARS TO AVENGE MILAH, AND HAS GIVEN UP EVERYTHING FOR EMMA. I DON’T CARE WHAT HE SAID. HE IS LASHING OUT AT HER AND TRYING TO PUSH HER AWAY, JUST LIKE SHE HAS SO OFTEN DONE TO HIM. IT DOES NOT MEAN HE DOESN’T STILL LOVE HER.

When I heard all that from Killian, when he finally gave it to Emma raw about how her treatment of him has hurt him, it made me ever more convinced we are about to get the ultimate fulfillment of him as a character, AND NOT JUST EMMA’S “LOVESICK PUPPYDOG.” Over and over, he has been patient and understanding with her and let her put up those walls and push away himself and everyone else. He knows why she does it, but that doesn’t make it all right. We were all frustrated as HELL with Emma and her behavior in 3B, her apparently deliberate attempts to hurt and isolate him even when we knew she had feelings for him, AND SO WAS KILLIAN. But he NEVER SAID IT. AND BY GOD, THE MAN NEEDS TO SAY IT. HE NEEDS TO EXPRESS THAT HE IS WOUNDED TO THE CORE BY HER NOT TRUSTING HIM TO CONTROL HIMSELF, LYING TO HIM ABOUT EXCALIBUR, AND SO FORTH. DID SHE HAVE A GOOD REASON? OF COURSE. BUT IT HAS HURT HIM AND WITH THE DARKNESS IN HIM, HE’S NOW FINALLY GOING TO SAY IT. HE NEEDS TO STAND UP FOR HIMSELF AND I’M GLAD HE DID.

Honestly, as much as it hurt, I almost cheered when he gave Emma the speech about her destroying her own happiness over and over. Because this is the ultimate challenge for her not to do it anymore, when his life and his soul is at stake. Because she absolutely cannot pull back or turn away or try to do it alone (as she still wanted to do, as late as talking to Gold in the shop pre-him leaving for his duel on the Jolly). As the Dark One, Emma has made terrible mistakes and is acting selfishly and continuing to undercut him and them and everything she has become and could be. SHE IS ACTING LIKE OLD EMMA SWAN AND HE JUST TOLD HER STRAIGHT THAT SHE CANNOT DO THAT ANYMORE.

So…. you know… he’s still HIM. It’s the worst version of himself, lashing out at her and using her weak points, but he’s doing what he’s always done, to refuse to let Emma hide behind her walls and insecurities and isolate herself. HE IS FORCING HER TO DO IT WITH EVERYONE – AND WHAT DO YOU KNOW, EVERYONE COMES TO THE UNDERWORLD TO RESCUE HIM.

(Psst. We know Hook was right to tell her this because Henry, EMMA’S OTHER TRUE LOVE, told her the same thing. He called her out to her face for her selfish behavior and said he wasn’t going to trust her if she was just going to try to do it on her own again. Henry is hurt and upset with her, but he comes around to her, and they work together to defeat the darkness’ plan. WHAT DOES THIS REMIND ME OF. THREE GUESSES, FIRST TWO DO NOT COUNT.)

That’s why, while I still wish Snowing and Regina had been a bit more accommodating when the whole situation came out, I do not think they were wrong to react to Dark Emma the way they have. I think there is some backslide in their writing, yes (THOUGH CAN WE GIVE A GIANT AMEN TO SNOW STANDING UP FOR EMMA CHOOSING HOOK!), but the point remains the same. Emma has been pushing them away and lying to them and misleading them and stopping them from helping fix the situation she created. I don’t care how much you love Emma (and I ADORE HER possibly more than ever) that is not good or healthy or admirable behavior that she should be reinforced in. This is not about “Snowing and Regina are so mean to her omg.” THE POINT IS THAT SHE PUT HERSELF IN THE SITUATION WHERE THEY HAVE TO SAY IT NOW WHEN EVERYTHING IS LITERALLY GOING TO HELL! THAT IS OLD EMMA’S WORST BESETTING FLAW AND IT’S WHY HER PLAN AS DARK SWAN WAS NEVER GOING TO WORK! How could they help her save Hook and fight for her happy ending WHEN SHE NEVER GAVE THEM THE CHANCE? She didn’t trust Hook and she didn’t trust them. It may be because of the darkness, but that’s exactly why SHE can’t be trusted.


Now, as I said, it’s still also possible that Killian has genuinely given into the darkness and is still (at this moment) planning to help them snuff out the light. (Although after watching this episode, I think it’s somewhat less likely than I did before going in.) In which case, he is still going to give up the darkness and die to save her. She goes after him with Excalibur in the promo; he just poofs away. He has dark one magic. So does she. They are equally matched. Short of slapping the cuff on him and tying him up and whatever else, SHE CANNOT FORCE HIM TO SACRIFICE HIMSELF (AND AFTER HAVING NOT GIVEN HIM THE CHOICE BEFORE, SHE’S NOT GOING TO MAKE THAT MISTAKE AGAIN). SO WHEN HE DIES, IT IS BECAUSE HE HAS MADE THE DECISION TO DO SO.

Plus, the promo just… tells you what happens? That he’s evil and Emma kills him? With no twist? In the biggiest, twistiest, angstiest arc the show has done to date? In his flashback episode, where we see him both as a child (where once again, I am expecting to see Merlin pop up and say something cryptic and unhelpful and ominous) and as an adult with his father? Where we learn what made that good man, Killian Jones, become Captain Hook, the darkness he ultimately put aside for the sake of true love?

Honestly, I think Killian may well kill his own dad in the flashback. Rumple killed his dad in his midseason finale sacrifice episode. The parallels with these two were turned up to mad level today. They are not the same character, but they are foils. Their behavior reflects on the other. And if that happens, I think it is because Brennan Jones’ abandonment of his sons has to do with dark magic, with Merlin’s manipulations, with everything that led Killian to that point. And it will contrast with him, in the present, making the choice to die HIMSELF. That he cannot defeat the darkness (as I think Merlin’s going to have something to say about; why stay SO COMMITTED FOR THREE HUNDRED YEARS?) by killing his father or Rumple or whatever. But that HE, KILLIAN JONES, HAS TO DIE AS A HERO TO DO IT. AND HE WILL. THE CULMINATION OF HIS ENTIRE DESTINY.

Plus as I keep saying. The family is going to the underworld to get him, IMMEDIATELY, after not trusting him and thinking he could destroy everything in this episode. Why does that happen if nothing changes?
If he dies as a villain (and once again, for the people in the back, EMMA CANNOT FORCE HIM TO DIE! SHE CANNOT FORCE HIM TO DO THE ONE THING THAT IS AT THE CAUSE OF ALL THEIR STRIFE RIGHT NOW: NOT GIVING HIM A CHOICE!) why do they do that? Why do they risk everything if it’s terrible to lose him but what had to happen?

Answer: They don’t.

This is still Once Upon a Time. This is still Captain Swan. One dark episode where Killian and Emma are literally conduits for the most terrible evil of all time and acting as their worst selves does not change that. If you think otherwise, I honestly have no idea what to tell you.

I said, again, several times, that this was the “darkest before the dawn” moment. I tried to warn everyone it was going to be bad. I was right. And once again, I’ve been pretty consistently right throughout this entire arc. So there’s that to think of when I say I am utterly, absolutely, completely convinced that it plays out in either Door #1 (Killian conning the darkness, deciding to do what has to be done, dying as a hero) or Door #2 (Killian working with the darkness, changes his mind, fights it when everything’s at stake, dying as a hero). Because that is where this entire thing is LEADING.

Like. I get needing a hug after that. And I am your fandom grandmother, who is here to do that for you. It was rough to sit through and to hear Dark!Killian say some of the things he did. But at the same time, that is the entire point. You’re not supposed to go, “Oh yeah, this is totally how Killian would react to Emma and what he’d say to her and how he actually feels for her and Milah and everyone.” YOU ARE SUPPOSED TO REALIZE HOW GROTESQUELY NOT HIM THE DARK ONE IS.



And there is no way in cotton picking, roller-skating, Jesus Christ on toast that this arc ends with Captain Swan’s true love not being strong enough to destroy the ultimate darkness.

It just doesn’t.

The end.

Chin up, shipmates. There be clearer waters ahead.

Grandma loves you.

Some Things I Need Explanations for:
  1. Individual lights over each of the saline bags
  2. Nurses dressed like they are about to either strip or go trick or treating
  3. The parallel between Billy Kincaid (the best man Sherlock ever knew- philanthropist, worked with children, keys to hospital) and Culverton Smith (worst man hes ever known- all the same things as Billy Kincaid except he also kills people)
  4. Drawing attention to America A LOT- Mrs. Hudson’s got more to come
  5. Speaking of Mrs. Hudson, she’s got an awful lot of “lines” this episode. Funny, that.
  6. The gun shot fuckery
  7.  Crazy drug trip that makes him think he is deducing things in the street within in his mind palace but also able to show “Faith” his window deduction. Except they really were together that night. Even though Billy says he hadn’t left. 
  8. The foreshadowing transitions where everything Culverton is doing in those flashes corresponds with what the other person on the opposite side of the scene is doing…could be style…but its weird as fuck.
  9. Sherlock says his deductions “just sort of happen.” You know what else, “just sort of happens”? His tea in the morning from Mrs. Hudson. Both things he takes for granted?
  10. Anyone. What the hell is anyone. “He’d rather have anyone but you.” “I need to kill anyone.” “There isn’t anyone else.” Marys says that last line and I feel like its such a weird phrase. Isn’t it clearer to say, “There is no one else?” Like, is it just a play on the fact that no one can help or love John the way that Sherlock can because yeah, we know, but its also a strange way to put it.
  11. “Sherlock’s blog” No one seems to know John even has one. What the actual fuck.
  12. John slapping Sherlock and saying “WAKE UP”- um, hes awake. hes literally standing there with his eyes open. Hes awake my friend. Except he totally isn’t, is he?
  13. “Really? I correctly deduce people I know well in scenarios I devised.”
  14. How was that text message supposed to be damning to Culverton in anyway? Like, his daughter was going to show up and Sherlock would be like, oh, i got it. Daddys a serial killer? WTF?
  15. Mrs. Hudson “inadvertently” delivers the Miss Me DVD twice. She tells Sherlock it was mixed among her things and then she leads John into watching it…oh she wanted John to see that he needed to go save SHerlock. She saw the video. She knew needed John needed to see it. Clever girl. 
  16. Mycroft tells John that SHerlock “Spent all night talking to a woman that wasn’t even there.” But she was there. Right? Mycroft surely would have gotten visual on her at some point. Unless she wasnt, for him. 
  17. Speaking of mycroft. Since when does the queen get booty? Never. Unless of course, (being Sherlock’s representation of his own mind) it means SHerlock is looking to allow himself the kind of pleasure he has denied himself for so long
  18. We are really supposed to believe that Sherlock knew John would return his cane to SHerlock in his hospital room three weeks in advance? Yeah. IM sorry, no.

Thats it for now. Probably more later.

There is a death flag above Juvia’s head.

Warning: The following content is merely fan speculation, and does not constitute canon material whatsoever.

Hey guys, did you have a great day? Today’s latest chapter was absolutely beautiful, right? I was squealing and screaming on my bed today, hugging my pillows tight to my chest as I tried to relish in a page– a beautiful wonderful Gruvia filled page that looks something like this: 

and was continued with a page that kinda looked like this: 

Beautiful pages, right?

Beautiful pages fit for a beautiful morning.

It’s amazing to watch Gray’s character development from the start of Fairy Tail to where he is now. I can still remember him shedding tears (it was a moment I was extremely surprised to see) when Lyra (one of Lucy’s celestial spirits whose voice is really beautiful) sang a song that reminded him of his childhood with Ur. 

Within the pages I received in the early morning of the twentieth of September, however beautiful, kind, and hopeful–

there is a forebodding I refuse to ignore. 


It happens a lot in Fairy Tail – there are a lot of parallels that we didn’t expect to to occur. An example of this _may _be Natsu dressing up as a demon in Edolas. He turns out to be (spoiler) Zeref’s most powerful demon, Etherious Natsu Dragneel, also known as Zeref’s brother.

In my last post, which you can see here (, I’ve mentioned the similarities between Gray and Zeref, and Juvia and Mavis – and how this can foreshadow their final battle.

Nothing’s going to be fine and dandy.

Mavis’ smile may look as if everything is going to be alright, and that they’ll win the battle with the right amount of friendship, and family, and lots of love and love and more love all around– and the power of nakama that Natsu seems to believe in so much–

but no.

Lucy mentioned something about death flags. 

((her cleavage is beautiful. I just needed to say that. HAHAHA))

“Talking about the possibility of a happy future before a big fight,” is exactly what Gray Fullbuster did.

As many have pointed out before I, this is positive. Why would he tell Juvia to wait if he was only going to reject her? It would be pointless, and I’m sure Gray’s smart enough to know this.

His feelings with her are mutual, and he has decided that he’s not going to stand around and push her over like he always does. He’s going to finish everything, and he will finally let her in.

He doesn’t want her to end up like Ur.

He doesn’t want her to end up like his father or his mother.

He doesn’t want her to die like the people who gave up their lives for him.

But sadly, there’s one more thing.

I don’t believe that Gray has fully mastered his powers. No one can master new magic at a mere six months–there’s bound to be some kind of instability in his body that continues to repel the magical elements or components within him.

what if he becomes unstable?

which leads me to my title.

The Alvares Arc– a battle led by Zeref, the most powerful dark wizard there is. Those who are under him are strong–extremely strong, and contain large amounts of magical power in their bodies that I’m surprised they haven’t exploded yet.

He says he’s gonna tell her after the battle.

It’s a wonderful moment, but my trust in Mashima has been destroyed and wrecked and battered and beaten and broken ever since he played trolls and tricks on my damaged heart.

What if she doesn’t even live to see the end of the battle?

Gray’s already died once to save her.

Who’s to say Juvia won’t sacrifice herself to save her Gray-sama?

She’s willing to put herself in the middle of death and danger. This is why Erza told Gray not to tell Juvia about his super secret Avatar mission. This is why Gray pushed Juvia away in the post GMG party. 

He’s scared to lose her.

And he’s basically just declared her death in this chapter.

Now of course, I don’t want Juvia to die, lol. She’s my favourite character, and I love her so much because she’s natural and somewhat realistic (she’s a fangirl placed inside an anime/manga, I’m pretty sure I would act exactly like her had I been graced with the presence of Gray Fullbuster). 

I’m sure she’ll meet death for like, five minutes or something then come back fine and dandy. 

Gray can’t lose another one of his loved ones. 

If he does, the worst may occur.

rieriebee and squisherific and kanarenee are amazing, their fan theories have inspired me to start theorizing as well, hahaha


I’ve been working on this theory for a while now, but since the finale is approaching I figured I would post what I have and split this theory into different parts. I’m so convinced at this point that Spencer is A that this is my endgame theory. If you watch the series from season 1 with the thought that Spencer is A you will be shocked at how many clues point to her and how many diversions Spencer has been a part of! Keep in mind that this theory isn’t finished, but I would love to hear your thoughts! So if there is anything you question, don’t agree with, or want to add to, just send them to me in an ask so I can look further into them! Here we go!

-Spencer is and has always been the LEAST suspected person in Rosewood to be A. Possibly because her involvement about “that night” has been shown candidly, so we as an audience think its too obvious to be Spencer, but in reality, we still don’t know what truly happened that night between Spencer and Ali since Ali’s version of the story does not line up with the first scene of the whole series where Spencer claims “I’ve looked everywhere”

-“Maybe it’s been simple all along and we’re just making it complicated” - Spencer (season 5)

-Marlene recently gave out a clue on twitter that Big A has something to do with seven letters. Also, the most recent promo for PLL there is an A message spelled out in toy blocks which says “I am A” but if you look at it from the right angle, the blocks also say “I am 8”

7 letters = Spencer
‘I am 8’ A message = Hastings

-Let’s start with the obvious clue. When the show first aired we all excitedly put on our detective caps and were ready to solve this mystery. Who was the FIRST person we ever suspected to kill Alison? Spencer. Why? Because when the girls woke up Ali was missing and so was Spencer. Only Spencer came back and Ali did not. That initial suspicion against Spencer sets up the entire series.

-Recently Keegan Allen did an interview where he states that PLL viewers will be able to go all the way back to the first episode and be amazed at what we picked up on. Wouldn’t we all be shocked if we just dismissed Spencer as A or the killer only to find out that our initial suspicion was correct!? The writers surely would have known that as we get to know Spencer’s character we would never suspect someone that we care about.

-There are HUGE flaws in Ali’s version of what happened with Spencer that night. The dropping her drugs thing, sure it’s believable, but we still have no explanation of why Spencer walked back to the barn and told the girls she looked everywhere for Ali if she supposedly just met with her.(Ali never asked Spencer to lie to the girls or anything like that according to the flashbacks) Surely the girls didn’t just go back to sleep after they realized Ali was missing. The whole thing is a confusing mess, but I think Spencer may have had much bigger motives for leaving the barn that night and lied to the girls as a part of her plan. What plan you ask? Proving that she is better than Ali by controlling everybody around her.

-Spencer has an intense need to be in control of EVERYTHING. The fact that she couldn’t control Ali is what caused a lot of the tension between them. I think Spencer may have snapped and became obsessed with proving that she is better than Ali. She hated that Ali could control her and the group, so she made this plan to control Ali in the worst way possible and become the real leader of the group by controlling everyone and forcing them to do the right thing even when it hurts them - Just like Ali did. THIS IS SPENCER/A’s MOTIVE

-Spencer’s personality, habits, and tendencies are all parallel with A’s behavior. Being OCD about cleanliness and organizing is something that has always been seen in A closers. Like the scene where A has all 5 black hoodies perfectly hung and spaced out in the exact same distance. Spencer is the same way, a perfectionist. This connection has been severely overlooked imo and mannerisms are KEY in solving this mystery.

-Not to mention A has every plan thought out to a T. A accounts for every possible situation and sets up accordingly. Making sure all angles are covered, while concealing their identity, yet making sure they get credit for it in the end. Besides Mona, I feel the only person who is truly smart enough to pull this off time after time would be Spencer (Or Melissa, but I have ruled her out since her confession video)

-The big fight that Ali and Spencer have before the sleepover is probably what set Spencer over the top

-When they find Alison’s body in 1x01 literally everyone in town is crowding around trying to get a closer look at the scene, but Spencer suspiciously stands very far off in the distance as if she already knew what was happening. None of the other girls knew so why wouldn’t Spencer be in the mix trying to get answers as well? It just seemed very odd to me and if you look at her face in this scene she seems horrified and scared, maybe scared that someone would find out what Spencer really did that night?

-Spencer is ALWAYS the first to figure things out. When the girls find a lead or a clue she’s the first to speak on it, and since the girls all look to her as “the smart one” she literally tells them what a clue means and then makes the plans to find more answers and makes sure the girls follow through. Its very easy for her to abuse her position as “the smart one” she implants ideas into the girls heads and they believe Spencer because they trust her.

-We have seen A drink vodka numerous times. Spencer attempted to order a vodka soda in 1x2

-There has been many clues/instances that point towards the fact that A has an enemy that is working against them. If you pay attention very closely, in the Halloween train episode Spencer is acting VERY suspicious throughout the whole night. It’s been made clear by various clues that A and the NAT club are working AGAINST each other, and guess who was there that night - two suspected NAT club members Melissa and Wilden, and confirmed NAT Garrett. so Spencer had no idea Aria would be trapped by Wilden and she got attacked by the Queen of hearts because A and the NAT’s are basically enemies. Maybe they have been onto Spencer for a while now (need more work on this theory)

-In the 5x20 'A’ closer in Mike’s room, A has a wrench that is the exact same as the one Spencer handed to Johnny when they broke into the art gallery. The person in the black hoodie is also very thin and feminine looking like Spencer. Later we find out someone rigged Mike’s lifting equipment to break down and potentially crush him. Maybe Spencer as Big A was the one to make the deal with Mona, and is now punishing Mike for telling Aria the real story.

-Spencer is an EXPERT at picking locks, which explains why it has always been so easy for A to get what they need. She basically has access to every house/business/storage shed and any other place with valuable information or objects to use against people. It also makes it easy to leave A messages in places where it is seemingly impossible.

- This clue isn’t as prevalent in recent episodes, but all the the French references that A uses could easily be Spencer. She knows French fluently.

-One of the most famous clues in PLL history is in Season 3 when Spencer talked about a woman who wrote a murder mystery novel in order to cover up for the crime she was about to commit. Spencer thought it was brilliant. I’m sure if you’re reading this theory you’re probably thinking “but Spencer joined the A team when she was in Radley” well, what better way to cover up for her being Big A than to act as if she’s just one of A’s minions. It is a smart move by Spencer and the writers to keep all suspicion off of Spencer. Also, how exactly did Spencer join the A team then just get out all of the sudden with no consequences??? Suspicious.

-I think Toby was working for Mona and at this point Mona was working against A, this would explain Spencer’s reaction when she thought Toby was dead. It also explains Toby’s excuse that “everything I did was to protect you” By protecting Spencer he is also protecting her position as A.

-Season 3B was a very important part of the series and I believe it holds all the answers. Especially in explaining why and how Spencer is A. Her whole “downfall” when she found out Toby was A was very overplayed and almost too dramatic. Spencer wasn’t just sad or mad like when Aria thought Ezra was A. She literally went insane. I think this is because Spencer is Big A so she doesn’t understand how Toby could be dressed in a black hoodie and doing A-like activities(he was actually working for Mona who was NOT A at that time). Because she knows the truth and it doesn’t make sense. Also it probably drove her to insanity because she realizes that whatever Toby is doing is out of love for her, but all the while she’s been doing things to hurt Toby and her friends.

Thats all for now! Parts 2 & 3 will be coming your way very soon! I know most of this is from older episodes, so the next posts will have more recent clues.

Send me your thoughts here!

xoxo Guru-PLL-Obsessed

carolpeletieristhequeen  asked:

Hi Sanja. I'm a bit worried right now..I think I did a mistake going on the b*thyl tag. It made me upset and sad :( do you think caryl is going canon this season? I feel like the writers are unpredictable and could totally change caryl's story arc..

Dear Friend,

Venturing into the other ships tag is one of the worst things to do if you experiencing a little slump in your CARYL feels but to do so during this terrible “shipping antagonization” period had to have been a very disheartening experience to say the least.
The premiere and the intensity of Daryl’s reaction to Carol’s return is something the other tag didn’t want to see happen BUT even more poignantly they also didn’t believe it actually could EVER happen for CARYL.
That reason alone is enough to stay away from their tag and their posts because their main focus will either be denial and anger or they will be looking for any way to discredit what happened and explain it away to feel better.

Believe me I do understand how you feel, the uncertainty, the waiting, the constant baiting and the petty snarkiness has certainly reared some of the worst hatefulness in this fandom and after the confusion that was Season 4 Carylers have certainly known better days BUT there is still so much hope and unresolved potential left that I simply can’t and won’t give up on….especially after Sunday night.

The many CARYL scenes we have illustrate, validate and acknowledge Carol and Daryl’s gradual closeness and no matter how you look at it they just seem to gravitate towards each other naturally, building up a relationship that is quite unlike anything else shared with the other characters.

Daryl’s reaction to Carols return was irrefutable and yes, even CANON, evidence of just that - whatever CARYL is, there is no denying that their connection is on a completely different level than what Daryl shares with his “brother” Rick or his “buddy” Michonne.
There has always been something “special” and unique about the moments that Carol and Daryl have shared and even the shortest interaction, whether it be a look or a casual touch or even a “surrendering to relief kind of tackle hug”, it all speaks volumes about not just how they feel but how easy it is to leave things unspoken and yet be understood by now another.

Dialogue suddenly becomes irrelevant and unnecessary to communicate!

The best part is that we have four seasons worth of canon scenes and canon evidence to not just validate and acknowledge CARYL but to link Carol and Daryl together as a “unit”, which is insinuated repeatedly by the other members of the group (Dale, Glenn, Rick etc.)
The impenetrable bond between these two has been built up slow and steady, the parallels between them are jarringly strong and their interaction has shown time and time again that not only do they bring out the best in each other but that their connection is what’s had the most positive impact on the development of their own person.
The CARYL dynamic provides both Carol and Daryl the opportunity to explore what they were never given the chance in their past to do and be, it provides the unconditional acceptance and understanding they’ve never been given before and it is exactly through that freedom to feel without fear of rejection that they allowed themselves to truly-deeply care about another person again.

The fact that the Carol and Daryl relationship is so complex and so intricately planned to flow across seasons, has a great deal of reassurance when it comes to the end of the CARYL story not just because they kept it going for so long BUT a connection with such intensity NEEDS and DESERVES to be resolved at some point.

There is definitively an end game in play here and believe it or not season four actually gives a big piece of evidence that CARYL romantic realization might not be as unlikely as some would like to believe.
Let me explain before you run away from me!

The mere fact that the Carol and Daryl bond was building up through the “slow-burn” approach ultimately created a situation where their dynamic had become a tad bit “too comfortable” and as such the motivation to change that aspect of their relationship or take a leap of faith to the next step might have become less of a priority, especially during the uncertainty and death surrounding them everyday. There were more pressing matters they both knew needed their attention more.
In order to “jump start” or shift gears in their connection, a situation was needed where they would have to confront and examine their feelings towards one another and facing a reality that threatened to separate them permanently, accomplishes that beautifully.

TWD thrives on uncertainty, chaos and unpredictability and season 4 CARYL definitively fits that criteria very good.

If TPTB indeed wanted to end CARYL then there was no need to delay the conversation between Rick and Daryl, no need to identify Daryl as the one that needed telling about Carols banishment, no need to remind the audience that Carols loss would weight heavily on Daryl in the wilderness and no need to delay the CARYL reunion in the finale cliffhanger.

Why continue with the ambiguity of what they share and why the subtle hinting that Daryl was devastated about Carols loss - twin tragedies, anyone?

Instead they created a situation where Daryl and Carol are not only separated but also convinced that the other is either dead or lost forever which combined with the mental and physical anguish they went through on their own creates an emotional pressure cooker ideal for a reunion where they will be forced to examine and feel their relationship on a whole new level.
One way or another the emotional build up over CARYL and Carol herself promises clarity once they are reunited because a shift in their own dynamic as well as the one with the group is unenviable after the events that shaped season 4.

In terms of your concern over B*thyl and AMC TPTB gradually trying to let us down I personally don’t think anything of that sort is going on or at least not any more than what they did with other ships that never went canon in spite of their “clues”.

There have been so-so many pro CARYL quotes out there that we celebrated that ultimately didn’t materialize so the ambiguous statements that the other ship is using as “proof of Canon” are not worrisome one bit. It’s the same old crap!

There are so many reasons that have me pretty much convinced that the B*th and Daryl dynamic will remain platonic;

- The Writers went out of their way to portray B*th very-very young through both behaviour (first drink, flipping things off, drinking game) and emotional responses (naïveté, attitude etc.)
- The language used by both Daryl and B*th - she calls him Mr. Dixon and a Chaperone and he clearly refers to her as a “girl” more than once
- The physical contact between them is mostly initiated by B*th who is very physically affectionate with everyone and we know that Daryl has become more receptive to “touch” with others at this point but especially children (Patrick, Judith, Carl and now Beth)
- The “opening up” Daryl gave to Beth was important for him to be able to find it within himself to keep going without continuing with the “catatonic” state but what he gave was lost on B*ths level of emotional comprehension - she continuously prodded him with what he feared the most and that was being the “last man standing”!
- The huge age gap - Sophia was 12 when Daryl was looking for her as a “little girl” and B*th was merely 4 years older than her when they all met which makes her 18 now.

*If the writers wanted to show her ready for a romantic and essentially sexual relationship with an much older man (late 30’s at least) then they certainly took a wrong turn by portraying her so YOUNG and so INNOCENT. Even people who aren’t opposed to the age gap so much are uncomfortable because she seemed so young in the first place.

The time and outcome of the time they spent together only highlighted the importance Daryl’s character found through having a strong hand, a strong presence and the right purpose to guide him through surviving the world they are all facing.
Where Beth relaxed him to a point of recklessness in her child-like faith in the goodness of others, Merle-reminiscent individuals wound him up to the exact opposite - hyper-vigilance, rage and distrust towards the whole world and its inhabitants.

The best and truest version of Daryl comes out and shines with his chosen family or more specifically Carol Peletier herself! She calms and centres him BUT at the same time has always been there to make it clear to him that he needs to be with others, to belong with others and to care about the others in order to really live, to really survive.
That has been Carols greatest gift to Daryl and it’s something she alone saw in him back at the Greene farm AND to me that is the true meaning of “I LIKED YOU FIRST”.

I can’t promise you anything and I certainly can’t guarantee a realization of a CARYL romance just like I can’t tell you that TPTB are not going to explore the other ship dynamic BUT I can tell you that I personally have a lot more reasons to hope than to worry.
Daryl realizing that there might be still good people left in the world because he sees goodness in B*eth doesn’t mean that he is suddenly deeply in love with her.
She is special to him because she was there when everyone else was lost and gave him a reason to not give up BUT why is a romance the only outcome of all this?

If you are looking for a bit of empirical reassurance then it’s definitively worth noting that Melissa and Norman have been filming Season 5 together almost exclusively together while EK was only confirmed to have been on set once or twice and Norman’s presence at the time of her filming wasn’t substantiated at all.

There are also a lot of other filming and media spoilers that suggest that EK has been focusing on other aspects of her career and whether that means she “died” or is simply “gone” it’s an indication of ambiguity BUT since romantic connections require time (especially with Daryl) the B*thyl “love” simply isn’t realistic based on schedule alone.

Especially when Carol and Daryl seemed to be attached at the hip, film alone and are engaged in various emotionally taxing moments designed to bring them even closer.

Regardless of what happens the reunion itself proved that Daryl “needs” Carol and while I can see a lot of CARYL angst coming our way, what we need to remember that angsty interactions between them have always brought them closer together.

There is much to be explored behind that embrace and questions about its intensity that need to be addressed BUT seeing how the “hug” was most certainly designed as “over the top” the emotion invested in it is not one the “other ship” can quietly or successfully sweep under the rug.

They will try no doubt but every time they see Daryl basically tripping over himself to gather Carol into his arms and cry in her neck and chest the realization of the strength of that bond will be harder and harder to deny.

I hope I was able to give you some hope about CARYL and what it means to me! Hopefully some of our fellow Carylers can offer up some more in the notes because at the end of the day we came together to celebrate something we all love and believe in and that includes each other!

CARYL ON as much as your little can heart muster!



Why Rey is not a Kenobi

Like ya’ll are nitpicking the smallest details which were not even a handful in the movie and then saying she is Kenobi’s granddaughter. Like I get that you all want a non-Skywalker to be the lead of Star Wars but that just aint happening. Star Wars is the story of the Skywalkers and Episode 7 parallels the original so well that we have extremely good reason to believe that she is a Skywalker. 

But the chest in Kaz Manata’s castle with Luke’s saber looks just like the one that Kenobi had with him in Episode 4!

They’re not the same chest. When the blurays come out I can probably upload a decent picture but that chest is not Obi Wan’s

The one is Kaz’s castle is hella small. 

Also even if it was the same  chest that isn’t proof that she is a Kenobi. In fact it just further proves that she is a Skywalker because both times that the chest was open a lightsaber came out. And you know what Kaz Manata said? “THIS FUCKING LIGHTSABER WAS CALLED TO THE SKYWALKERS NOW IT’S CALLING YOU!!!!!!!!!!!!!!!!!!” 

Then Explain her british accent

WHY THE FUCK IS THIS EVEN CONSIDERED PROOF!?!?! ACCENTS AREN’T FUCKING GENETIC. And there is no way in hell Ben could’ve raised a child and/or a grandchild because him having children would go against everything about his character. Obi Wan’s character has always been the symbolism of how a Jedi should be. 

Yeah, but remember Satine? Obi Wan could’ve had a kid with her.

See, I would remember Satine but most people who would go “Who the fuck is that?” if they ever mention her name in the movies. The show is supposed to be an addition to the series. Sort of like DLC to a Main Game. (Idk how to use analogies) If they do use Satine then she’s have to be introduced, her relationship with Kenobi needs to be introduced as well as his children which makes it really unlikely for them to fit it into a movie (well). 

Obi Wan still could’ve had a kid

Nah. With the Empire fucking everywhere, and the task of looking after Luke it’d be really hard to raise a kid. Obi Wan would have a hard time. Also if he doesn’t know that he has a kid, then how the fuck is Rey supposed to know!?!?


But Rey was good with Jedi mind-tricks. Just like Ben did in Episode 4!

Holy fuck this is the worst one. Right next to the British thing. Like Jedi mind tricks are so fucking common among Jedi that they are known for it. Like are you people serious?

But the mystery of her parents!


It’s unlikely that she’s a Skywalker 

Actually it’s highly unlikely that she’s NOT a Skywalker. Like who fucking says that Luke can’t have kids!?!? Casuals. Yoda even fucking told Luke “when gone am I the last of the Jedi will you be. The force runs strong in your family, pass on what you have learned.” Also Luke isn’t bound by the Jedi Order anymore. We’ve seen him have interest in Women in the new Canon stories. Luke makes his own path from now on.

There’s symmetry of a Kenobi training Skywalkers to a Skywalker training a Kenobi

The symmetry is with the Skywalkers and not just the training. Also what fucking training symmetry?!? We haven’t seen Luke train for shit. Actually the only trained pupil we’ve seen of Luke’s is Kylo Ren, and he’s a Solo! 

Originally posted by starwarsgethyped

You hear Ben’s Voice in the Flashback


Originally posted by bisexualanakln

You know what I think? I think you all want it to not be a Skywalker so bad that ya’ll are seeing things and morphing them to fit your own thoughts. 

(I didn’t proofread so if I missed anything or whatever just msg me)