but i like their potentional relationship

aries rising: pushes personal boundaries in search of experience, confrontational and assertive in expressing talents and weaknesses

taurus rising: uses resources and beauty as an extension of personal identity, reflects viscous charisma and appeal, personal desires become decorum

gemini rising: zig-zagging through multiplications of duality and resolution, and to reconcile these oppositions through communication

cancer rising: to give a resting place to the identity to express, drawing from waters of ancestors, emotions, and memories

leo rising: a creative expedition of every portrait and experience from life, enveloping material, heart, spiritual, and emotional into a gallery

virgo rising: expressing soul and body, synthesising mind with material, the needs of the self with other, exhibiting the mechanical talents of the intellect

libra rising: playing with other personalities gives sparkle to the marble identity, a synthesis of social experiences, understanding ‘i’ to become ‘us’

scorpio rising: potent desires surface through the immediate expression, an erotic display of continual transformation, conflict, and obsession

sagittarius rising: a cinema size projector is raised to create a life exhibition displaying experience, relationships, and meaning, learning is the sixth sense

capricorn rising: attempting to escape the parent’s moulding the individual summons talent, material, and applicable creative resource

aquarius rising: the possibilities expand far and wide, capable of being anyone, identification with higher forces and reflection of the self in everything

pisces rising: sensitivity and vagueness diffuses like melting mist, the empathy extends beyond containment, the identity is an exhalation of everythingness


anonymous asked:

Hey I was wondering if you could analyze lucrezia and cesare relationship in the Borgia ??? Thank you!!

Ah, Cesare and Lucrezia. This will be so long.

I need to preface the analysis by saying I usually hate the inclusion of incest in anything that isn’t a Toni Morrison novel but The Borgias handled Lucrezia and Cesare’s situation with so much nuance and Holliday and Francois have outstanding chemistry that I got sucked in to that ship.

The progression of Cesare and Lucrezia is actually quite interesting because the underlying tension between the two of them is there from the pilot. The first time we’re introduced to their relationship, Lucrezia is spying on Cesare having sex:

and then he chases her around the courtyard but there is a balance between playful innocence:

and very potent sexual tension:

They spoke like lovers:

their gazes were always charged with this tension that clearly made the other feel something but I think that something remained unrealized between them:

and yet Cesare’s protectiveness of Lucrezia was very much a protection of her innocence:

He disagrees with the marriage to Giovanni Sforza and wordlessly warns him against consummating their marriage during the wedding ceremony because he doesn’t want Lucrezia to grow up too quickly, it’s a very brotherly concern.

Even when Juan has to kill Djem who Lucrezia was infatuated with

and Lucrezia is devastated, Cesare is devastated for her, there is no sense of jealousy, there is no sense of possessiveness, he’s just hurting because his sister who he loves dearly is hurting.

At the same time, as one of the aforementioned gifs suggest, there was always a sense of who would be a priority in their hearts, there was always this knowledge that no man or woman would ever be able to inspire in them such strong feelings even though at the time, Cesare had this dark infatuation with Ursula.

When I think things begin to turn for Cesare and Lucrezia is after Lucrezia has been repeatedly abused by Giovanni. Cesare is devastated by the loss of Lucrezia’s innocence (and previously stated he would cut out the heart of the man who dared hurt her)

But I think her loss of innocence:

(compared to pre-Sforza)

is what sort of catalyzes Cesare into starting to view Lucrezia as a woman to avenge and not a little sister to protect.

While with Cesare, well Lucrezia found a safe space with Paolo and she loved him dearly and she knew he loved her, but I don’t think she felt, like, wholly safe (which she says in season 3) or completely herself unless with Cesare no matter how much she loved Paolo. You see her relax with Cesare in a way she couldn’t even do with him:

Her entire body exhales. I think after the ordeal with Giovanni, she truly began recognizing that. So the end of season 1 is the beginning of realization for the both of them.

In season 2, Lucrezia has been hardened first by the rape and abuse she had to endure during her marriage to Giovanni and then by Paolo’s death at the hands of Juan.

In season 1 Cesare was concerned with preserving Lucrezia’s innocence but this season Cesare wanted to make Lucrezia happy and he wants to do so himself:

And the above moment between them is also a turning point for their relationship because Lucrezia asks Cesare if he can make her happy as they talk about Paolo, “Could he make you smile?” “Can you?” and he delivers her a moment of levity:

Which re-establishes this theme of Cesare and Lucrezia knowing each other’s hearts better than anyone, thy actually don’t spend much time together in season 2 but when they do, they’re knowing each other and seeing each other:

which is a mixture of ferocious vengeance, like when Cesare makes good on his promise to kill the man who harms her:

and then gives her the knife he killed him with:

as well as a mixture of peace and lightness and comfort, no longer playful innocence, but a breath of fresh air:

and the realization between them grows:

that by the end of the season, they joke about marrying one another

while Lucrezia’s betrothed, who she does care for, notices the tension when they dance:

And then season 3 happens and their relationship gets even more complex while at the same time simpler because the realization is, well, fully-realized, which I think is because of Alfonso. The way Lucrezia cares for Alfonso is almost piteous, like she finds him endearing, she finds him innocent, she finds him to be something to protect and cherish platonically while Cesare disdains Alfonso because he finds his love for Lucrezia weak, he isn’t fierce enough for her, he isn’t severe in his affection, which in a way creates a situation where Lucrezia has to ask this question again:

to which Cesare responds:

so they both know that only they can provide for each other what they need, they’ve experienced that repeatedly by this point:

and because they both aren’t running from that realization anymore, they’re getting bolder:

but of course there’s shame:

which only intensifies the knowledge that they both want something that they shouldn’t want and then they finally give in once Lucrezia discovers once again on her wedding night that she can’t get from Alfonso or from anyone else what she can get from Cesare:

But what I actually enjoy about The Borgias is that the torment between Cesare and Lucrezia doesn’t stop after they finally give in and have sex, it’s not like things get easier, in fact things get so much more difficult because there is such a profound embarrassment and shame that they both feel after what happened:

Lucrezia describes it as a cloud descended upon her and she can’t consummate with her actual husband after what happened:

But those feelings don’t disappear, they eat away at the both of them to the point that Lucrezia breaks down when Cesare tells her that Alfonso’s uncle wants to see them actually consummate their marriage and starts hitting him, saying she loves him:

they’re both tormented by this in a way that’s not just about familial protection, Lucrezia doesn’t want to sleep with her husband especially not in front of his uncle and Cesare doesn’t want her to and that’s why Lucrezia gets her revenge by saying that Cesare has to watch

And when he actually watches her and Alfonso consummate, that is one of the scenes that was hardest for me to watch because it was so layered and so uncomfortable in how layered it was because Cesare is experiencing both pleasure and self-disgust at the same time. Lucrezia and him stare at each other as she has sex with Alfonso, its in fact the only way Lucrezia can even experience pleasure and Cesare is clearly turned on but hes crying at the same time

which leads to more embarrassment and more shame and more running away

but the fact that they’re abstaining from something just further intensifies the attraction/chemistry/love that they make a point of not fully giving in to:

and then that spawns a resentment but also an acceptance that they cant run from but that they can’t do anything with:

Until, once again, Alfonso.

While Alfonso never actually sees them do anything, the tension between them literally drives him to drink and he’s maddened by it,

which essentially causes him to fall on Cesare’s sword. And it isn’t until a further step in Lucrezia’s loss of innocence in which she reveals to Cesare that she knows how to kill Alfonso to end his pain that Cesare stops running from her and embraces the depravity of their bond and Lucrezia accepts that embrace literally with Alfonso’s dead body next to them:

All in all, I find them a very fascinating dynamic. Hope this did what you wanted!

The Bad Trip - Dally Winston Imagine

A/N: In case you can’t tell by the word count, I got really into this imagine and was really anticipating it and I am really proud of this writing. That said, while I want people to read it, I do not want anyone that could be triggered by reading about drugs, suicidal thoughts or feelings of hopelessness to read about this. Take care of yourselves and if you do choose to read it, I hope you love it! (Also, a quick PS, I ended this so that if people want a part 2, I can definitely write one)  

Word Count: 1565

Warnings: Suicide mention, death mention, drugs mention, hallucination mention

Pairing: Dally Winston x Reader

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anonymous asked:

What are the things you love most about Robert?

Anon, do you realise what you have just asked? Do you fully comprehend the gravity of this question? I hope you’re ready, because this could well be my longest answer yet!

1. I love his bravado. I love his cocky, smug, arrogant, self-absorbed, vain, egotistical side with a passion that blazes like the sun. I love how sure of himself he is on the surface, how confident he appears in front of others, how it exudes off of him in waves. I love that shit-eating grin he gives when things are going exactly his way and everyone else has just realised he’s the winner. I love that he rubs every victory in the faces of those he hates. I love that he gloats about his triumphs, that he won’t let it slide even when he’s made his point, because there is nothing better than success when it’s served with a side-order of retribution.

2. I love Robert’s determination in all things. He is focused to the point of tunnel-vision, goes after what he wants with a ruthlessness that borders on obsession. He’s driven, calculating, dogged when it comes to going after what he wants. And I love that Robert wants everything. Everything he can have, everything he can’t have, everything in between. He’s greedy and lustful and, like a magpie, he like to hoard all the prettiest and shiniest things. He can be completely materialistic, but his gluttony extends to perceived wealth as well as the objects themselves. He wants the image of success, he wants the flash car that goes along with the promotion, he wants the new Rolex that goes hand-in-hand with a new business contract. He’s a blatant show-off, and I love his extravagant tendencies all the more because he’d rather have the praise of doing well than the reward of an expensive gift, but is willing to settle for the latter because he never expects to receive the former.

3. I love his controlling and manipulative side. How easy it is for him to read people, to work out what makes them tick, and use it to his advantage. He can twist people in knots, have them dance to his tune in mere seconds if it takes his fancy. He knows which buttons to press, and he can take an immense amount of pleasure from knowing that just a few, carefully crafted remarks can be enough to undo someone completely. And I love that that manipulative streak goes hand-in-hand with his desire to control everything. He can’t stand to let go of the reins, because that only adds to a far greater risk of things going wrong. Everyone else is incompetent, only he can spin so many plates without a single one dropping. And I love that the one person he’s rarely ever been able to control is Aaron, and that now he doesn’t even try because Aaron has and always will be the exception to all of his rules.

4. I love his intelligence. His cunning, articulate, shrewd brain is a thing of beauty and awe. He is always three, four, five steps ahead of everyone else, always able to trip off another lie when need be to get himself out of a sticky situation or protect someone else. It’s all just a game of chess and Robert checkmates the entire world every time.

5. I love how spiteful and vindictive he can be, how much pleasure he derives from twisting the knife in that little bit deeper. He’s had it done to him so many times before, been made to feel so small and inferior, and he rejoices in inflicting the same damage onto someone else, someone he feels is far more deserving of such cruelty. Vengeance is not something he shies away from, but he is willing to bide his time in order to perfect his plan (for examples, see Debbie finding out Ross shot Robert, or Robert leaving Lawrence to die of a heart attack. The latter is even more poignant when you think that Lawrence cried wolf so many times in order to come between Robert and Chrissie, including ruining his mother’s memorial).

6. I love his twisted sense of logic. Robert knows he has done some terrible things, he can hardly be ignorant of what he’s done, but sometimes he has an incredibly skewed perspective on whether this makes him immoral, far less guilty. He continually punished Chrissie for kissing Cain, despite having been cheating on her with Aaron for months; he repeatedly brought up Andy killing their mother in order to absolve himself of any blame over Katie’s death; and he kept telling himself he was a good man despite the fact he had Aaron tied to a radiator and had just shot Paddy in the arm. As much as a lot of this was just a way of coping with his guilt, I think a part of him still clung onto the belief that everything he had done was somehow able to be explained and justified, that he wasn’t as bad as he seemed.

7. I love how jealous and bitter Robert can get. He has been eternally bogged down in his hatred over Andy and Jack and the father/son relationship they shared which Robert could never quite manage. It runs through him like a stick of rock, eats away at him till every nerve ending inside him is exposed and raw. Jealousy is such a potent mixture of hatred and longing - Robert can’t stand the idea that Andy was loved more than him, accepted more than him, is considered family more than him… but Robert also desperately wants to be just like Andy, wants to have what Andy had with Jack. It kills him to know that it’s the one thing he can never get, no matter how hard he tries.

8. I love the loyalty he has for those he cares about, and the indifference he feels for everyone else. The intensity of his feelings for those he loves is so strong that it leaves nothing leftover for those outwith his inner-circle. His need to protect them is almost terrifying, the lengths he would go to in order to keep them from harm straddling the line between loving and dangerous. As much as he sometimes crosses into villainous territory, he so desperately wants to be the hero who swoops in and saves the day, who makes those he loves feel safe.

9. I love how vulnerable Robert can be. I’ve said before that he’s akin to Peter Pan in many respects, a lost boy shackled to his childhood, unable to escape. That vulnerability stems all the way back to when he was a boy, and the uncertainty and fear which goes along with it has only intensified with age. He is afraid of being rejected, of being shunned, of being unloved, but more than anything, he is terrified of being alone. He can’t stand the idea that he may be isolated from those he cares about again, having had to endure being banished once before. All Robert wants, all he has ever wanted, is to belong.

10. More than anything, more than any other facet of his character, I love how loving Robert is. His capacity to love is overwhelming, all-consuming, fierce and compelling and demanding. It requires to be felt, there is no way of ignoring it. When Robert loves you, there is no hiding from it. And while that love can often lead him to making irrational choices, those decisions are always done for the right reasons, no matter the consequences of his actions. It is a terrifying thing to be loved by him, because that level of intensity is unparalleled. You will never be loved harder or deeper or longer than you are by Robert Sugden. 

anonymous asked:

D&D killed SanSan the moment they casted RMC. I find it hard to believe that he's the same age as Aiden. The neckbeard is a total cringe. Sandor is not meant to be handsome, but show Sandor was a) disproportionately aged up and b) despite his impressive size, he's in a horrible shape. D&D know that the majority of their viewers are shallow as hell. If SanSan was a thing that was meant to happen, they'd have never casted Rory. Just compare this to show Dany and Drogo.

I’ve given up on the show.  After Sansa’s rape, I was done.  I did have some hope in the first two seasons before I read the novels.  I didn’t quite get what Sansa and the Hound had going on, but there was the tender protection he offered her.  It did not play like a grand romance, but “there was something there.”  After I read the novels, I was put off completely by the show version of the Hound.

No offense to Rory, but he’s no Sandor.  He may have understood that there is a gentle and tender side to the angry man, but I don’t think he brought any great depth to the portrayal of Sandor Clegane.  He plays the Hound angry, but it’s a petty, hateful, world-weary kind of hatefulness.  In the novels, the Hound boiled with true rage, a fury that had not burned itself out. Also, he is very old for Sophie’s Sansa.  Even with her now being a boss badass after all the rape and murder (barf), he looks ANCIENT in the new promo pic.  I’m in my 40s and man, he looks too old for me!  

There are some who like the lumberjack look.  That’s fine and all, but that is not Sandor Clegane to me. I do think you may be right that D&D never had any intention of making Sansa and Sandor have a relationship anything like their book counterparts.  Didn’t Jason Momoa try out for the Hound?  He would have been so much better than Rory for the part. 

Book Sandor is badly scarred, but he simmers with rage and testosterone and very potent masculinity.  He turns Sansa on.  That’s a fact.  In the show? Sandor was nice to Sansa once or twice.  The Blackwater scene came closest to having tension, but it pales in comparison to everything it could have been.

Also, he’s gross.  Shave the freaking beard, man, or at least the neck.  Brush the teeth.  Stop saying “fuck” and “cunt” all the time.  Ugh.

Here is where my Saturday Crafting has ended up!

Love Salve and Potion 😍❤️

Note: I am not a fan of trying to convince someone to love you using magick so this is not meant to create feelings, only empower them! However, I will not judge you in what you do in your craft and how you decide to modify it!

You will need:
Any herbs or oils you associate with love. I used rose petals(pink and yellow, the pink to help with love and the yellow to make the relationship happy), lilac, salt, sugar, vanilla, B-12 (a natural energy booster much like coffee), cinnamon, orange and lemon.
Some water
A solidifying oil that you would be ok with using on your skin (coconut is usually best)
And containers to put things in

I put the herbs all in the pot with some water (all except cinnamon, vanilla, and the citrus) and put them on low heat for many hours. In the last 15 minutes, I added the rest of the herbs and the zest and juice of the citrus because I wanted those scents to be very potent. I took the potion off of the heat at 2 o'clock (because 2 is a pair and I’m weird like that) and started melting the solid oil.

I made a sigil using the phrase “I will find true love.” Dipped it in the potion and stuffed it at the bottom of the chapstick container. Add the tiniest bit of the potion to the oil, as these will not mix and too much will create and awful separation, and pour the oil into the chapstick container. Take this straight to the refrigerator so it can solidify quickly! Use this on your pressure points and on your lips if you’d like!

The rest of the potion is what is in the other bottle. Mine ended up looking a pretty blood red color and smells amazing so I will be taking this with me all over for a boost of love, confidence, and energy!

My only regret with this is not starting with oil so that the separation wouldn’t happen. If you do this, please start with oil so it is a much more pleasurable experience! I hope some of you do this and put your own twists on it!!

Here Is The Thing About Bonkai

I respect the fact that there are antis to this ship but the antis that I’ve been coming across don’t seem to be able to wrap their heads around what the BK dynamic is. They were essentially at war with one another, which means that they were opponents and they were opponents on the same level.

Caroline was Damon’s victim because he had power over her. When they first meet, he preys on her insecurity and loneliness, feeds on her when they sleep together for the first time, then doesn’t allow her to leave the room the next morning. He compels her to be silent, to be compliant, to do whatever he tells her to do while also emotionally abusing her and raping her and when he’s finished with her he tries to kill her:

Stefan was Klaus’ victim because Klaus had power over Stefan. He used Damon’s cure as leverage so that Stefan would essentially enter indentured servitude to Klaus and then he compelled away Stefan’s free will:

But Bonnie and Kai were adversaries, which is an entirely different beast. Kai originally wants to work with Bonnie on getting out of the Prison World:

but once Bonnie realizes who Kai is, she makes it clear that she isn’t going to let him out:

so Kai responds by siphoning her magic:

and explains that siphoning it all will just kill her.

During the escape plan Bonnie finds out what Kai knows and after getting what she needs, she kills him:

When Kai is resurrected he shoots with her with a crossbow:

Bonnie responds by sending Damon away:

And so on and so forth.

This is what opponents do. They thwart one another’s attempts at getting what they want in the effort/goal of winning. The fact that Kai stabs Bonnie and leaves her in the Prison World is undeniably shitty, no one is saying that it isn’t but what I’m saying is that that occurrence didn’t just happen in a vacuum. Bonnie sent away her magic so Kai would never get out because hello, opponents, and so Kai played his final card, which was stabbing Bonnie and leaving her in the Prison World instead because HELLO, opponents. It’s war, they were at war with each other, using force:

and manipulation:

which is also why I don’t mind at all and in fact enjoyed it when Bonnie brings Kai back to 1903, stabs him and leaves him for dead because she won that round. It’s not about seeing things through Kai’s perspective, it’s about looking at what that relationship was and it was one between two adversaries, it’s why BKers like this ship because we thought their chess game was entertaining to watch and there was unexpected but incredibly potent chemistry between Chris and Kat and it could’ve been a relationship interesting to Bonnie’s development as a character. It’s really quite simple.

*none of these gifs are mine*

Detailed SNK Ship Analysis: Aruani (ArminxAnnie)

This is the first part in a series of very detailed SNK ship analysis. In this, I will explore the ArminxAnnie (Aruani) pairing, the canon moments between them, how they feel about each other and present evidence to support all these points I make. Essentially, this will be an in-depth look at various facets to Aruani because, believe it or not, this is a very strong ship with a lot of previous interaction and future potentiality, depending on how upcoming events in the manga play out.

I know it is a common theory that Annie is dead in the crystal, but the fact is, we have no reason to think that is the truth. Ymir survived for eighty years in her Titan without food and air. For all we know, Annie is in a coma that shuts off her needs to breathe and eat. So, the fact she may be dead doesn’t reduce that ship’s potential in my eyes, because we don’t know if she’s dead or not. Now, Aruani is nowhere near “officially” canon and may not have have the greatest outlook for the future, but the potential is definitely there, and it can’t be ignored.

Also, just a note: I am disregarding the second OVA in this analysis. It was entirely filler, and none of it was canon. Annie and Armin had some cute moments, but I can’t consider them for this post.

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appreciation for how hard jared is trying to go in for hiatus beard when he only has a mini hiatus to do it

I make music to make my friends feel good, and to make myself feel good. I don’t make music to get along and be a rock icon. I believe that the relationship somebody has with someone - as an idol - is such a beautiful relationship, and it brings out the spiritual life of the person. When you sit and absorb something - like a movie, or a beautiful song - you’re very spiritually potent at those moments.
—  John Frusciante (Total Guitar, 2001)
Maybe a Dim Sun: An Analysis of Blake and Sun

*tries not to think about dim sum*

Ahem, where was I? Ah, that’s right-

Blake and Sun. Yeah, let’s talk about Blake and Sun for a bit, shall we?

Now, for what it is worth, I’m not writing this from a shipping perspective. I don’t have a preference for either Bumbleby or Blacksun. This post isn’t meant to be in support of Blacksun, nor is it advocating that Blacksun become canon, nor is it predicting that Blacksun will become canon!

I just want to explore and analyze the relationship between Blake and Sun, and I don’t mean their potential romantic relationship. Regardless of whether romance occurs between Blake and Sun or others, I think that Vol 4 Ep 5 pointed us towards a potent dynamic between Blake and Sun that could shape their relationship for the better. So, let’s get into it.

I think that this scene is incredibly important, and I think it is more nuanced than it seems. It might make sense to brush off Sun as “not getting it,” like Blake says herself. He’s overwhelmed by the beauty of Menagerie, and, to be fair, he does dip a little too close to idealizing it. When he says, “Why would anyone ever wanna leave,” Blake’s response is justified. Menagerie is a reminder that the Faunus are still not equal; it is living proof that the Faunus were cast out of the realms that humankind dominated. 

But that is not all it is.

Sun’s response, that “this guy is feeling pretty at-home,” actually brings up a critical issue: that of recognizing one’s achievements even when under an oppressive system.

Menagerie is beautiful; it is an incredible accomplishment of the Faunus, who welcomed each other, united in a hostile environment, and started building. The Faunus have built something extraordinary for themselves here, and they built it by themselves. Menagerie may be a product of oppression, but that does not mean that it can only ever be oppression. 

Blake has forgotten to appreciate that. Watch her reactions, listen to her tone- she’s somewhere between bitterness, shame, and frustration. This is fair and understandable, as she has been fighting against oppression for her entire life. The fact that she returns home and just sighs in sadness makes sense. Blake has had an incredibly difficult life and struggle, and she’s trying to stop herself from losing her way and totally giving in to despair. She’s trying to find her reason and resolve to fight again. She’s trying to find hope.

That’s why Sun’s reaction is so important. Sun can actually see the beauty of Menagerie, and even if he overlooks part of its grim reality and history, he sees it more fully than Blake does. Blake sees Menagerie through eyes made bleary from years of conflict, whereas Sun sees it from another, more hopeful, perspective.

Even as Menagerie serves as a reminder of the past, it functions as a true, welcoming home in the present, and in the future- well, maybe, just maybe, it can serve as a model for a just and peaceful society.

I think that Blake forgot this, until, right around 4:08, right when Sun affirms that he feels like he’s at home, and she- 

She smiles, because she begins to see her home as he does. 

Their two perspectives begin to converge.

I think that Blake’s relationship with Sun could help show her how to see again, how to be joyful, how to be free, how to hope. And she can show him how to see injustice, how to struggle against it, how to live with purpose and direction.

Whether they end up romantic or platonic, I think that they will be extremely good for each other.

2nd Place Winner!

For: @ask-mer-blair
Pairing: Gaara x ask-mer-blair’s Kaori (such a joy to write :D)
Word Count: 1119
Rating: Teen
Type: Fluff+Angst - Establishing Relationship

I hope you like it!

Originally posted by reika-flowers

As armed as she was, Kaori Wakahisa was not ready for this fight. Poison darts and kunai and shuriken dipped in her potent poisons only went so far, and Kaori was running low on energy, her actions beginning to slow down.

Gaara was expecting her in his office any minute now, with a quick mission debriefing, sharing a minute or two of silence, listening to only the other breathe as Kaori helped Gaara through his paperwork. She didn’t think she could make it this afternoon.

Backing up on a cliff, Kaori felt half her foot press down on nothing, seemingly running out of ground. She brushed her red hair out of her blue eyes, focusing on her surroundings, but unable to find an opening to get away. Her attitude was dropping, slowly getting more and more frustrated with these random ninja blocking her path.

Wait… There was an opening, but it was most likely going to lead to her death.

“Look here miss,” The first one spoke up first. Kaori turned her attention to him, but she wasn’t about to comply to his request. “We just want those poisons in your choker, there.”

“Not happening.” Kaori pushed herself off the cliff, pressing her first two fingers on her right hand against her eyebrow, raising them in a sarcastic salute. She was fairly certain she was falling to her death.

I’m sorry, Gaara.

*          *          *

Gaara paced the office. She should be here by now. Where is she? Is she alright?

His mind was swirling a thousand miles a minute, Kankuro’s eyes on him the whole time, wise enough not to tell him to calm down. Little grains of sand picked up in the room from Gaara’s increasing frustration. Kaori had grown on him, he’d come to care for her, making sure she was alright, and if anything happened to her…

The knocking at the door, however urgent as it was, barely caught Gaara’s attention.  His mind was swarming; where was she? Why is she late? Is she alright? Gaara knew he had sent her out on a particularly difficult mission, but he didn’t think it was that difficult. No. No! She was fine. If she ran into trouble, she could send word.

“Gaara!” Temari’s voice was pretty much the only thing to snap him out of his ruminations, the negative fog slowly leaving his mind. Even if she was shouting, her voice was still too quiet for him. “Gaara.” Temari ran in front of him, her hands pressing down on his shoulders, green eyes staring into sea foam ones.  “We can’t find the team that we sent out at all. Kaori, anyway.” As Gaara’s older sister, Temari saw the glances that Gaara was throwing at the girl, and the looks she sent Gaara’s way when neither of them were looking. She knew Gaara had a soft spot for Kaori. “The ones she was with… They’re dead.”

“Then she’s…” Gaara’s voice held little hope, but it was just enough to make him look for her. “I mean, that’s…”

“Go, Gaara. I’ll keep watch here.” Kankuro finally spoke up in defence of his brother. “Bring her back safe, little brother.”

Gaara offered no verbal thanks, only a mere nod.

Gaara moved as fast as possible with Temari following him. He wanted her to stay behind so Gaara could do this alone, but Temari’s plan was to keep her brother safe. Gaara wasn’t really thinking right; he just wanted Kaori here, at home, nice and safe. This was his chance to act on it, to come to terms with the way he was feeling. He knew she was alive, she had to be.

Gaara hoped she would be.

*          *          *

It felt like an eternity before Gaara had reached her last known location, directly on the boarder between the Sand and River countries, and travelling on his sand wasn’t helping his speed. Sure, it was fast, but it wasn’t fast enough for his racing nerves, which were moving ten times the speed he was. Once they had reached the area they last heard Kaori was, Gaara and Temari only saw the scattered weapons coated in the poisons that Kaori worked on, that she used with her weapons during a fight. They had found the bodies of her team-mates, covered in scars and gashes cut deep across their throats and chests.

There was no sign of Kaori, none but her headband that must have fallen off during the fight. Picking it up, and holding it tightly, only one question floated around in his mind.

“I don’t know, Gaara.” Temari answered her brother’s question before he even bothered to ask. Sea foam eyes scrutinized the area, looking for locks of Kaori’s red hair, anything at all. He needed to know she was here, and not just her headband.

Gaara found himself walking up to the edge of the cliff, feeling the power of the river beneath him, the winds gusting up, pushing Gaara’s hair out of his eyes.

“Damn it…” Gaara’s hope had been dwindling, slowly fading, fading to the point where the only thought both of them were thinking that Kaori had died, her body unrecoverable.

“I’m sorry, Gaara.” Temari offered words of sympathy to her brother, and while she couldn’t relate, she still offered words of comfort.

“Yes… Me too…” Gaara trudged his way back to the office, his life beginning to dull once more.

*          *          *

It had been a week since Gaara and Temari had searched for Kaori’s body, deeming her dead, but not wanting to accept it.

His head perked up at the sound of shouting, Kankuro’s and Temari’s voices the loudest amongst them. Voices overlapped one another as…

Gaara all but hopped over the desk to hug her, thankful that Kaori was back right where she belonged. His sand closed the door behind her, quietly.

“I’m sorry…” Gaara’s voice was quiet, his face all but pushed into her hair. Kaori was trembling, she was tired.

“No need to…” Her voice shook, her right arm moving to show something in her palm. “It took me a bit, but I got the stuff-”

Gaara cut her off by smashing his lips on hers, letting out a silent plea to whoever was listening, a silent prayer, words unspoken but still screaming volumes. Don’t let her go… I need her, I love her, please let her stay.

“Forgive me for saying this, but I love you, Kaori.” Gaara’s voice was still quiet.

“Forgive me, my lord, but I love you too.” Kaori felt her lips turn up in a smile, allowing herself to relax with Gaara, where she was cool and indifferent with other. With Gaara, she was happy.

Lapidot, mercury toxicity, and power imbalances

Being a series heavily oriented around romance, it should be no surprise that the fandom of Steven Universe loves it some ships, and in terms of size and popularity Lapidot is a fucking aircraft carrier.

At the moment, I firmly believe that Lapidot is the direction the writers are going in, but whether it will be a stable relationship or a toxic one is something that we should all be concerned about

Before I get to my concerns, let’s talk about actual evidence at hand that makes me think this will happen. As we saw in Barn Mates Lapis and Peridot got off to a very rocky (pun not intended) start. Their persistent disagreement may make it look to some like the pairing was dead on arrival, but in the end they did agree to live together, and based on Peridot’s twitter account, things are starting to turn in a different direction

These tweets were posted immediately following the airing of Alone At Sea after the Jaspis ship both metaphorically a literally sunk, and Lapis was put in one of the most emotionally stressful situations she’s been in this season. Now, this could be taken a few ways, but given who’s writing these tweets, I assume the implication is that Peridot is trying to comfort her.

Who is writing these tweets? Well, as you can see from the mention in her profile on the right, Peridot’s twitter is being run by writer and storyboard artist Lauren Zuke. Zuke is famous for producing ship-heavy Peridot episodes, having paired her not only with Lapis but with Amethyst and Jasper as well, but more often than any other, her art features Lapis and Peridot together, watching baseball, watching stars, or singing Sweet Home Alabama together at a karaoke bar, she’s also responsible for Log Date 7 15 2 the infamous Camp Lonely Hearts episode

But in my mind, the most damning evidence that this is going to happen (and conveniently, the perfect segway into the next section) is compatibility: I think Lapis and Peridot were created by the writers with the explicit intent of fitting them together like puzzle pieces.

Think about it, I don’t think there’s anyone else in this show who loves themselves as much as Peridot does, nobody else has that amount of self-esteem, but she’s weak and helpless and she lacks a lot of the most basic social skills. Lapis on the other hand is one of lacks the same ability to feel anything but shame and pity for herself, but where Peridot is weak Lapis the strongest gem on earth, and where Peridot is socially clueless, Lapis was in some way designed for a diplomatic purpose, having been present at the Blue Court along with the diplomatic envoy in The Answer. Rebecca Sugar has confirmed in an interview with Buzzfeed that blue gems are designed to have diplomatic skills

RS: “If Connie were a gem, I think she would be a gem that is teal…she has the diplomatic skills of blue gem, but she also is able to take action…she would be a gem that would be between blue and green.” 

Their “compatibility” extends beyond their personalities, but to their powers too.

Lapis’s weapon, her ability to manipulate water is more a power than anything else. When she fuses, neither that nor her wings merge with Jasper’s helmet. Hell, they don’t seem to be able to merge with any gem weapon at all, but here’s the thing: While they can’t fuse with a weapon, as we learned from Garnet, powers can merge with other powers to create something new in the same manner, like How Ruby’s heat and Sapphire’s cold become electricity. It just so happens that Peridot has a power that’s compatible with Lapis’s hydrokinesis: Her metal bending

Now, there are two possible ways these powers could combine. One I mentioned in a previous post was the possibility of them making a Ferrofluid, but for reasons I’ll describe soon I think think the more likely combination is the ability to create a manipulate mercury.

Why mercury? Well, it all comes down to a mineral called Cinnabar,

Cinnabar is a bright red ore from which mercury could easily be extracted. Like Lapis Lazuli, Cinnabar was used in antiquity as a potent dye known as Vermillion. Now, as strange as it may seem to suggest, I think Cinnabar, not some teal colored gem will be the outcome of a Lapis and Peridot fusion. The color wheel is a wheel after all, and technically speaking, red is directly between blue and green.

However, there’s a much darker reason I chose Cinnabar as their possible fusion. See, there’s a reason we don’t use it as a dye anymore. Much like Malachite, Cinnabar is an incredibly toxic mineral, and as close as Peridot and Lapis are getting, there is still a major issue with their relationship that could create some serious instability between them: Power

Power imbalances between potential partners is rarely a good thing, and while I could go on a rant about how these hurt people in real life, I think it’s more important to focus on how such things are treated in the show. Look at the way the power imbalance between Lapis and Jasper is manifested in Malachite, or the way Amethyst and Garnet are twisted into a crazed Sugilite, or how Pearl became addicted to the strength she felt inside when she became Sardonyx.

It’s clear that the creators don’t like the idea of individuals with differing positions of power fusing, and one way or another such fusions can end up monstrous, addictive, or both in the case of Malachite. Peridot and Lapis have a greater difference in power than any pair of gems we’ve ever seen before, and with Peridot’s pride combined Lapis’s power, that spells out for us that if Lapis and Peridot fuse into Cinnabar or any other gem, the results could be disastrous.

So, will their fusion be a toxic mess, or will Cinnabar end up being a Cinnamon Bun after all? The world may never know.

People just love the relationship between Sherlock and John. They’re both very self-aware and affectionate, but also very truthful with one another. There are a really complementary team. John humanises Sherlock, and Sherlock gives John a shot of adrenaline and adventure and the chance to live a life less ordinary. That’s a very potent combination. The relationship with John draws Sherlock back to the human realm, from which he has been distanced for a big portion of his life. It makes him a better detective and a better human being. I don’t mean that Sherlock is suddenly interested in holding babies or eating frozen yoghurt. The great gift that Watson gives him is to make him more human. And if you’re a better human being, the more likely you are to empathise and therefore be a more skillful detective.
—  Benedict Cumberbatch, The Independent (x) 29.12.2016
Viola Davis Just Called Out Hollywood For Ignoring Dark-Skinned Women
Viola Davis is on a crusade for more "sexualized" black women on screen.

“When the actress removed her makeup and wig on an episode of “How to Get Away With Murder” last year, it was a powerful and poignant moment, not just for her character Annalise Keating, but for black women on TV. Over the 15-episode season of the hit Shonda Rhimes drama, Davis’s performance challenged stereotypes about black women by simultaneously displaying vulnerability and strength.

But the 50-year-old Davis has been most vocal about her character’s unapologetic sexual nature, as conveyed through volatile relationships with her husband and lover. In a new interview with Entertainment Weekly, Davis points out that before playing Annalise, she had never seen black women who looked like her – dark-skinned and middle-aged – allowed to be sexual in movies or television. She said:

There were lot of things that people did not allow me to be until I got [the role of] Annalise Keating. I was not able to be sexualized. Ever. In my entire career. And here’s the thing that’s even more potent: I’ve never seen anyone who even looks like me be sexualized on television or in film. Ever. When people say they’re tired of hearing that, I always say, ‘Okay, well, you give me an example and then I’ll stop talking about it. But I’m gonna talk about it until you hear it.’

Read the full piece here

Note to readers: I routinely post about the sexualization of women in an objectifying manner. Here Davis isn’t asking for black women to be objectified, but rather to be shown as empowered sexual agents.


When the bae tells you that they low key love you.

[2x08] [3x06] [3x13]

In all seriousness, Hannibal elucidating the fact that love is too banal a word to describe how he feels about Will Graham is why I adore their relationship. Love simply doesn’t sum up how they feel about each other. This is a relationship of conflicting extremes, an adoration of the purest and most destructive order, the kind that is fuelled by the darkest and most potent of feelings, love and hate being just a few. Each moment of intimacy is preceded by some horrific act of violence, each hushed argument blurring the lines between threat and reverence, every look they give the other mirroring the same uncertainty and puzzlement as to exactly why they feel like this. Anyway. This wasn’t supposed to turn into a meta but hey ho. If you need me I’ll be in the nearest trash can.

serialkillingyou  asked:

Tell me, if Sansa lost her usefulness to Littlefinger tomorrow, how would he treat her? What would he do with her? ( In your perfect world)

A perfect world scenario? they would leave all this throne game crap behind, move to a smallish but prospering piece of land, heal from their various and extensive mental/emotional injuries, establish a healthy dynamic, have kids and live happily ever after. The very concept is laughable, I know, so I try not to think too much about happy “what ifs” or the fact that LF’s original willing-to-risk-everything dream was to have a family of his own and live a peaceful, normal life. “Normal” is not really an option for these characters, imo, not even by Westerosi standards.

But I think Sansa’s importance is so potent, interwoven and multi-layered that she could never become “disposable” for LF/Petyr the way every other person around him does (eventually).

She is not just a means to an end (like Lysa) but part of that “end” itself (maybe even literally, too, as in she will be the actual or figurative death of LF, imo). Their relationship is exploitative, no question, and Sansa is a valuable piece to possess (and LF is a formidable asset to have), but that’s not all she is and that’s not all this relationship is. He needs her on a visceral level too bc she nurtures a vital part of him that’s been starved to the brink of death (the part called Petyr). And for better and worse, he becomes a source of twisted support for her too, nurturing part of her that’s essential for her survival. In other words, in various ways and by various means, they keep saving each other.

It’s not pretty, it’s not romantic per se, but it is something primal and human and yin-yang-ish that flows between them. Currently - and esp after that confrontation at Mole’s Town - I honestly cannot envision any scenario where he would “discard” her for any reason. If she got stripped of all “strategic importance” and/or rejected him for good, I think he would “simply” retreat and keep trying to scheme his way back into her life - or die trying - bc she’s not just a piece anymore, so - imo - she will never not be wanted/needed as far as LF/Petyr is concerned.

Hyde and Jackie (and Eric) and Antagonism

Jackie and Hyde’s friends claim throughout the series that Jackie and Hyde hate each other, but Jackie and Hyde never show each other outright hatred. Jackie is judgmental about Hyde’s parental and economic background, and this is what fuels a large part of Hyde’s dislike.

Hyde’s annoyance at Jackie’s presence is different, particularly during season 1. Jackie is relatively new to the basement (according to cut dialogue from the pilot, Jackie and Kelso have been dating for only three weeks), and she changes the dynamic there. Her likes and interests don’t fit in with the gang’s, and she often tries to force her opinions onto everyone else. She insists Eric say that the Fonz could beat up Bruce Lee. She replays one part of a Peter Frampton song so much that Hyde tells her to put on headphones then mutters, “Now wrap the cord around your neck,” which might be the most outright bit of hostility toward Jackie we see from him (discounting season 8 since I don’t consider that season canon).

Hyde clearly resents that Jackie monopolizes Kelso’s time. While Eric palled around with Donna, Hyde and Kelso were getting into trouble together, as we see in “The Keg” (106). Hyde has Fez in season 1, but that friendship is relatively new compared to the eleven years he had with Kelso.

Jackie often doesn’t purposely try to make Hyde feel badly about himself. For instance, she tries to correct her visceral reaction to learning who his mother is in “Career Day” (i.e. “Your mom is Gross Edna? Ew!”). When Hyde calls her on that response with his facial expression, she says afterward, “I mean, cool!” while giving him a thumbs-up.

Alongside Hyde’s annoyance at and dislike of her, however, exists a small but potent amount of affection. In “The Keg,” Hyde is miffed and slightly pissed that Eric lies to Jackie. He says to Donna, “[Forman’s] lying to Jackie, man. I lie to Jackie! You know, it seems to me that the scrawny little neighbor boy is willing to engage in criminal actions for that saucy red-head next door.”

Yes, the obvious interpretation is that Hyde’s annoyed that the relative goody-goody Eric is acting more like Hyde in order to make Donna, Hyde’s current love interest, happy. But taken in the context of Hyde’s full relationship with Jackie over the course of the show, we can also read some possessiveness in this scene of his role in Jackie’s life.

Jackie and Hyde’s relationship is complex from the get-go, and characterizing it with, “They hate each other!” is both an oversimplification and a misunderstanding. Unfortunately, that’s how the season 8 showrunners interpret Jackie and Hyde’s early interactions, and it leads to the out-of-character crapfest that ends a mostly excellent series. 

Even before “Prom Night” (119), Jackie trusts Hyde in season 1. She hugs him in “Ski Trip” (113) and cries in his arms over Kelso. Donna is sitting right there, but Jackie goes to Hyde instead. We don’t get any grounding for this initial trust, so we have to make up the reason for ourselves, but that trust keeps on building throughout the early seasons.

Her choice of Hyde as her Prom date, on the other hand, has more grounding. In “The Best Christmas Ever” (112), we learn that Jackie doesn’t find Hyde unattractive. She tells him, “If you want to make out with me, the answer’s probably no.” She clearly finds him appealing enough to consider kissing, despite that she’s already in a relationship with Kelso. 

In “Prom Night,” Jackie says to Hyde, “I bet you clean up real good!” meaning he’d be handsome in a suit (and maybe a hair cut). Her combination of trust in and physical attraction to Hyde makes him the perfect choice as her Prom date.

Two characters who do show genuine hostility to each other are Eric and Jackie. Their relationship lacks the complex subtext of Jackie and Hyde’s and is far more simple: Jackie and Eric don’t respect each other. The end.

Okay, not quite the end. Whenever Laurie isn’t in an episode, Eric’s sibling hostility tends to transfer onto Jackie. He calls Jackie “the devil,” which is what he often calls Laurie. He also extends the devil analogy, as he does with Laurie: “You only think [Jackie’s] hot because she’s made out of hellfire,” “[I]f you were to cut off one of [Jackie’s] hands, it would probably grow back into another Jackie”.

Unlike Hyde, Eric has a hefty lack of respect for Jackie. He often talks about her as if she’s less than human – same as with Laurie – and it’s one of his least endearing qualities. He should have been more kind toward her, considering she defuses a lot of Donna’s anger toward him. The writers, though, weren’t great at exploring the complexity they themselves wrote into the characters.

Jackie’s feelings toward Eric are more varied. She trusts him, within limits, probably because of how good he is to Donna. But she also consistently talks about how he isn’t masculine (enough for her) and expresses her physical revulsion toward him – without a hint of subtext. She’s being utterly honest; he’s not her type. She might not like Hyde’s “pork-chop sideburns” until later on, but despite them she still finds him physically attractive.

As someone who has distanced themselves from the 100 post- lexa death, I am sincerely shocked at how many fans of the show on here attach themselves to the Bellarke relationship. I vividly remember the reaction of the queer fanbase and how appreciative and passionate they were in response to the clexa storyline. To see this reaction now unfolding is baffling and really presents heteronormative standards in a extremely glaring perspective.