greater plan

/ˈdignitē/ noun

1. The moment you realize that the person you cared for has nothing intellectually or spiritually to offer you, but a headache.

2. The moment you realize God had greater plans for you that don’t involve crying at night or sad Pinterest quotes.

3. The moment you stop comparing yourself to others because it undermines your worth, education and your parent’s wisdom.

4. The moment you live your dreams, not because of what it will prove or get you, but because that is all you want to do. People’s opinions don’t matter.

5. The moment you realize that no one is your enemy, except yourself.

6. The moment you realize that you can have everything you want in life. However, it takes timing, the right heart, the right actions, the right passion and a willingness to risk it all. If it is not yours, it is because you really didn’t want it, need it or God prevented it.

7. The moment you realize the ghost of your ancestors stood between you and the person you loved. They really don’t want you mucking up the family line with someone that acts anything less than honorable.

8. The moment you realize that happiness was never about getting a person. They are only a helpmate towards achieving your life mission.

9. The moment you believe that love is not about losing or winning. It is just a few moments in time, followed by an eternity of situations to grow from.

10. The moment you realize that you were always the right person. Only ignorant people walk away from greatness.

—  Shannon L. Alder
Calm down about Bellarke and Clarke, let’s talk.

Here goes the meta…..

It’s honestly hard for me to even know where to begin with this cause it seems like the writers are touching so many plots at the same time with 4x11 that I’m a bit overwhelmed.

But we can start with this: what Clarke did (betraying the grounders) is not shocking, and it’s not character retrogression OR stagnation.

And it’s not the end of Bellarke either,if the plot from the entire show is anything to go by.

(this is not the “me romanticizing the gun scene, meta.” So stick with me as I try to go through Clarke’s and Bellarke’s plots and explain what I’m thinking )

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Highlights from the FBG Reddit AMA (02/03/2017)

Here are some highlights from today’s FBG Reddit AMA. If any more questions are answered tomorrow I will add to this post!

  • Elections will come back for Fallen London this year too! (x)
  • The Mr Eaten Storyline won’t be specifically addressed in SSkies but “However, there are some practices, rites, and mysteries in Sunless Skies that followers of the Mr Eaten story will find resonant. For now, we’ll just say that the Masters weren’t the first beings to come up with the idea of throwing their enemies into wells…” (x)
  • Not ruling out DLCs for SSkies (x)
  • “The Martyr-King’s Cup? Nothing to worry over; it is just the folly of those who’ve read so many books their brains have all dried up. Lunatic dreamers who speak in silly thee’s and thou’s and oblige themselves to esoteric codes, because they think it brings them closer to some cosmic truth, some greater glory.” (x
  • The plan is to not have a logbook at all and have the flavor text for the locations appear on screen, similar to the trailers (x)
  • “I’ve just started writing one of our ports. I hope you lot like bees. (And if you don’t, all the better!)” (x)
  • “Parabola is not welcome in the Judgements’ sight. Parabola is the realm of Is-Not. The heavens are the arbiters of what Is. Yes, we will be learning more about [Parabola].” (x
  • “In Sunless Skies we’ll meet the Scorn-Flukes, who grieve for lost Axile.” (x)
  • “Can confirm devils in Sunless Skies. Look for a port called Carillon” (x)
  • [on the dragons reacting to the Judgements’ murders with military force] “You will no doubt be completely unsurprised to hear that it’s rather more complicated than that. The few snippets we’ve learned about the ‘dragons’ have all been depicted from very specific points of view. It’s not the whole story.” (x)
  • “(We have certain priorities when inventing new Correspondence sigils, which we do sparingly. Every one has to be sound like it can refer to two different specific things, which I won’t elaborate on because spoilers)” (x)
  • “We’ll be on Windows, Mac and Linux for full launch in 2018.” (x)
  • Consoles are being considered for the future. (x)
  • “You can certainly choose to support certain Judgements’ goals!” (x)
  • Neath inhabitants aren’t immediately killed upon exposure to the HW because there aren’t many Judgements around these days (x
  • “When players start a new game, we’d like to give them several options to customise their game to create a level and type of challenge that’s right for them. If fine motor control challenges are not really your thing (or just something you happen to be bad at), you should be able to adjust the degree of auto-aim, so that your projectiles automatically arc towards their targets.” (x)
  • “At present, I can neither confirm nor deny the presence of a train whistle.” (x)
  • More options to interact with neutral vessels other than fighting (x)
  • Ships and resources will be more varied and viable to obtain for early players (x)
  • [on the topic of if there will be another “build your kindgom” ambition] “It’s early days (Disclaimer! Disclaimer!) but one of the planned ambitions is currently called “a throne of your own” in the design documents.” (x)
  • “ There will be at least one significant quest involving the Correspondence in Sunless Skies.” (x
  • “I think we’ll be seeing rather more Red Science. Hey, I wonder how London got the gate at the Avid Horizon open?”  (x

Also not really a piece of info but I feel like sharing this because it was very sweet: 

(link to that to read better)

My own personal take on the signs as the major arcana: (I assigned everyone 2 cards; and again, just my opinion - the major arcana cards all have zodiac signs associated with them but I didn’t necessarily go along with that)

ARIES: The Fool [beginnings, spontaneity, optimism, impulsiveness, quests, openness] + The Chariot [self-assertion, willpower, victory, perseverance]

TAURUS: The Empress [abundance, sensuality, the physical world, nature, fertility] + The Hierophant [belief, religion, structure, society, conformity, commitment, sacrifice, slow-moving]

GEMINI: The Tower [upheaval, change, liberation, downfall, revelation, release, disaster]  + The Magician [willpower, knowledge, confidence, communication, creation, work, activity]

CANCER: The Empress [motherhood, femininity, warmth, nurturing] + The Devil [instinct, the subconscious, deep emotions, self-indulgence, obsession]

LEO: Strength [compassion, endurance, patience, strength, control, materialism, pride/confidence] + The Star [hope, generosity, lightness, inspiration, creativity]

VIRGO: The Hanged Man [sacrifice, reversal, responsibility, perseverance, circumspection, discernment] + Temperance [health, moderation, patience, diligence, healing]

LIBRA: The Lovers [choices, relationships, values, love, beauty] + Justice [cause and effect, decisions, justice, morality]

SCORPIO: Death [transformation, extreme change, destruction, renewal, morality, the end, loss, revolution] + The High Priestess [intuition, mystery, the unconscious, feminine power, secrets, obscurity]

SAGITTARIUS: The Hermit [introspection, reflection, philosophy, guidance] + Wheel of Fortune [changes, destiny, luck, chance, movement, personal vision]

CAPRICORN: The Emperor [structure, authority, severity, control] + The World [accomplishment, fulfillment, achievement, leadership, success, involvement]

AQUARIUS: Judgement [inner calling, absolution, beliefs/values, the greater good, revelation, plans and ambitions] + The Sun [enlightenment, vitality, creativity, brightness, opportunity, acceptance]

PISCES: The Moon [illusion, imagination, fear, divination, intuition, illness, obscurity] + The Lovers [kindness, belief, trust, the soul, divinity, harmony]

King and Reaper

Read on AO3 Here

Allura had told them once that Voltron was their destiny.

If anything, Keith thinks, Lance had proven that while finding the lions might have been on the dime of some greater plan, compliance to their supposed fate was not strictly required in any remote sense of the word.

In fact, by Lance’s standard of doing things it was all rather bullshit.

(Or: The story of the destruction of Earth and its aftermath, feat. questionable science in regards to weapons of mass destruction, gratuitous Star Wars references, theoretical chess games with the emperor of most of the known universe, explosions, the greatest bromance of all time, the worst romance of all time, far too many guns, concussions, extreme misuse of the French language, awkward flirting, and Lance in an overly-dramatic trench coat.)

Fandom: Voltron: Legendary Defender

Relationships: Keith/Lance, platonic Lance & Hunk and Keith & Hunk

Characters: Keith, Lance, Hunk, Allura, Shiro, Pidge, Coran, Nyma, Rolo

Written for @klangst-week‘s Day 7 Prompt: Destiny/Choice. A couple days late, but in my defense, this was a nightmare to power through.

Full thing + content warnings are under the cut.

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Fact: Pansexuals are able to change colours to blend into their background, much like chameleons. In fact, it is believed that chameleons learned this ability from observing the Pansexual Pantheon. Pansexuals primarily use their camouflaging activities to sneak extra cookies and play pranks on their friends, though some have greater plans of world domination.

i. over and over i’ve told myself: i can’t find a home in a person.
i’ve thought it and whispered it and howled it so much
that it had become my own personal mantra:
i can’t find a home in a person.
it’s too dangerous.
i will break.
or you will break.
or we will break each other
and we won’t be able to put the pieces back together—
not in the same way—
we’ll both come out different than we were,
before we decided that “love” was a good idea.
there’s not much we can do to prevent that
other than stop it from happening in the first place.
so i don’t find homes in people;
in fact, i don’t find homes in much of anything anymore.
my cousin comes along and i think,
“he can’t be an exception. he’s family but he’s not
because he’s been absent for seventeen years.
but i still can’t hurt family, even if i’ve never seen them before,
because they’re family and you don’t fuck with family.
don’t get close. don’t take refuge in that.”
and it works. until it doesn’t.
some drunk assholes threaten my cousin’s safety
and the next thing you know,
i see red and i’m locked in juvie.
except: i’m fine with that.
anything to keep my distance, right?
anything to stop myself from finding a home in somebody.
but then my brother comes along and i think,
“he can’t be an exception either. he’s not me, 
but he is at the same time,
and that’s worse than loving a stranger
because i can’t stand to see myself shatter twice.
keep him away. make him hate me. make him despise me.
anything, anything–
just don’t get close. don’t take shelter in him.”
and it works. until it doesn’t.
we’re the same but we’re not
and we’re more alike than we’d care to admit. we grow close.
we get attached. family is suddenly more than just an empty word
in the dictionary of my life.
except: i’m fine with that.
at least i got to delay the heartache, right?
but then YOU comes along. and i think,
“now he really can’t be an exception.
he’s nothing. no— less than nothing.
he’s just a boy — albeit a problematic one — but at the same time,
he feels like falling and i’m terrified of heights.
i’m not ready for this — for him —
for somebody who can make a difference in my life.
he wasn’t part of the plan.”
and it doesn’t work.
i find my home.
i’m pushed off that cliff,
and i fall
(i knew finding a home in a person could be a dangerous thing– that it would hurt, that i would break or you would break or we would break each other.
but i wasn’t aware that it would hurt this badly.)

ii. we had both disappeared in the modern age:
fell into nihility,
became nullity.
you had dropped your name and dropped yourself in the process:
practiced shrinking; mastered not-existing;
took up muteness and swallowed down your clamors.
while you were running away from the life you never had,
i was busy taking refuge in myself,
and grasping the technique of speaking without talking.
i stayed holed up in bedroom after bedroom,
juvie cell after juvie cell,
closing my eyes and pretending i was anywhere but there.
you stayed on the road,
i stayed in my head.
until the people we once knew forgot our names and faces,
until we were both a distant figure
in the rearview mirrors of their lives.
until “andrew” and “nathaniel” weren’t people.
until nobody cared.
until nobody asked.
we were gone.
we were ghosts.
we were lost.
we were lost.
we were found.

iii. i don’t believe in god,
but i swear every time your hips
meet mine,
i feel so magnificent and blessed and ethereal,
i think that maybe we are something holy and good:
apart of a greater plan
that we cannot even begin to understand our place in.
i will scream your name like a invocation to god himself,
and summon a convocation
of everything sacrosanct and divine,
until all the heavens knows your goddamn name.
neil, neil, neil, neil, god yes, neil, neil, neil
neil, neil, neil,
neil, neil,

iv. a lament for icarus:
i look at you and sometimes wonder,
“how did icarus not see it coming?”
he loved the sun, sure.
she’s bright and brilliant and so impossibly blinding that it’s hard
not to bestow yourself to her.
but you’d have to be stupid not to see how dangerous she could be;
how easily you could be taken advantage of;
how easily you could get burned.
it’s an ever-present threat, looming just over the horizon.
and yet– icarus crashed and burned and died and now poets can’t stop singing his song.
sometimes i think that,
sure, icarus loved the sun,
but maybe that was the point.
maybe he was tired of breathing without living—
tired of inhibiting a body that he felt like a house-guest in.
maybe icarus didn’t forget his wings were constructed of wax.
maybe he just didn’t care.
maybe he saw the sun and saw everything else the world had to offer,
and decided that ‘everything else’ just wasn’t good enough.
because I, too, look at you and think,
“yeah. i’d burn for you. any day, any time, i’d burn for you.”
'everything else’ is just an afterthought.

v. love
1. background noise
2. too many emotions, not enough words
3. valentine’s gimmick
4. hallmark card
5. stay.
6. don’t go.
7. welcome home.

—  3/? Five Things Andrew Wants To Tell Neil (And Eventually Will) Part One, Part Two (via deadravenkings )
Thoughts about Spn 12x19


First of all TRIGGERWARNING FOR A GRAHPIC DEPICTION OF SUICIDE! If you are sensitive to see such content skip the first minutes until 5:30 (basically what happens is Dagon keeping Kelly as a prisoner, telling her again that she will die and that her son will kill the world. Devasted Kelly kills herself in order to prevent this from happen). The suicide is mentioned again later in dialogue, but I consider this less problematic than actually showing it.

Overall I really liked the episode, mostly because it was Cas-centric. And as many others speculated before this episode was all about Cas future, while 12x10 was about his past and 12x12 about the present. I liked the directing, Amanda Tapping gave us some great shots (though I still think you don’t have to show a suicide simply because it is a trigger to many folks). I am really curious now where the nephilim story is headed and I wasn’t before. They definitely took a spin on it that makes it more ambigious and will now be a huge part of Cas’s fate as well, so we will see.

Speaking off.


Even though the episode is titled “The Future” Castiel reminded me a lot of the past, namely season 6 and 8, with him ignoring the Winchesters and going behind their backs in order to do what he thinks is the right thing. The reason he is doing it is because he thinks he fails at everything and that as well is nothing new. Cas is depressed and commits acts out of desperation since… I dunno, season 8? The difference is that in the past he tried to fix heaven and redeem himself as an angel. Now he tries to redeem himself to his family, the Winchesters. The episode made a point to confirm again what he said in 12x12: Sam and Dean are his family now. He corrects Kelvin that what he is doing is for them, not heaven and later when he tells Kelly that he betrayed his friends he adds the word “family” as well, as though he still gets used to this idea. The problem of course is that for Sam and Dean there is no need for Cas to prove himself to them. What they want is to have him around and be honest with him. What Cas sees as his failures is stuff Sam and Dean never blamed Cas for.

In that regard it is interesting to see the interactions of team free will and how different yet again Dean and Sam’s reactions are regarding Cas. (And speaking of team free will: I know this is a popular fandom term, but Dean said it once, 7 years ago in 5x13, and now he uses it again? Or does he think of them like this all the time?) Sam is just glad Cas is back, Dean is not. He is angry, he is pissed and just as in 12x10 he lets Cas know that his anger is born out of worry. Still, he tries to offer Cas an olive branch here, reminding him that they work better together. Just for Cas to leave again and on top of it, to steal the Colt. And sure, not good, but on the other side it gave us Dean slamming Cas into a wall and I myself will be forever gratefull for that scene.

I found the Cas/Kelly-dynamic interesting as well, and before anyone asks, I don’t think there was anything romantic about it. Cas wanted Sam and Dean out of the mission to spare them to kill an innocent woman, but of course in the end he couldn’t do it either. What a surprise.

Originally posted by gifsforthemasses

If anything I think Cas saw himself in Kelly. First when she mentioned that she was desperate enough to kill herself. The pain on Cas’s face… takes one to know one. And then of course Kelly’s believe in a plan, in fate, in destiny. I think it is no coincidence Dean mentioned team free will again, because right now the conflict of season 5 (or rather the whole Kripke era) comes back again: fate vs free will. Cas is our poster boy for free will and he learned it the hard way. He tries to spare Kelly the pain to learn that there is no greater plan and that her human life doesn’t have any value to the forces of heaven and hell. He also offers her a painless death, which reminded me a bit of Dean offering the vampire in 12x14 a painless death. Also, the fact that no human can walk through the gates of heaven without dying… I think this might become relevant again in one way or another this season.

Kelly on the other hand… I think she already trusted Cas before her child gave her a vision of the future. He had the chance to kill her but he didn’t. He listened to her. He cares about her. And the moment Cas asked who is gonna take care of the child if Kelly dies I knew the answer. Real talk: if I had a child I would totally make Cas the godparent. Also “What would Cas do?” is a question I ask myself every day. I think Kelly’s trust in Cas was a reminder to the audience why we fell in love with this character in the first place: because he is the epitome of goodness and kindness. Kelly saw that. And I think her child somehow too. If this episode was about Cas’s future than it told us what Cas’s purpose on this world is: to save it. To make it a better place. (Which of course the Winchesters do as well, but in a different way) And maybe to guide Lucifer’s child to use his powers for something great. Because power itself is neither good or bad, only the ones who use it. And Kelly said herself, no one is born evil. Also:

Originally posted by darkslayer092

The Nephilim

So how sure are we if this child is evil or not? So far we only know it wants to survive. Did he heal Kelly because he still needed her, as he is not ready yet to be born? Or did he heal his mother out of love? Was there ever a chance to kill this child? Would an abortion even have worked? Also, if nephilims are so powerfull why did Lucifer didn’t create on earlier?

Speaking off Lucifer: what is the plan here? He wants to rule over heaven, hell and everything in between with the power of his child? And as it seems the help of Dagon. I dunno if it was just me, but did it seem to anyone else that Dagon and Lucifer had a thing once? I can’t really picture Lucifer with anyone, especially not a demon, as he always looked down on them (well he looks down on everyone, so). He needed her to make sure Kelly is okay and of course to bring his child to him once it is born. But after that? And what was in for Dagon? Was it just that little power fantasy or more? And why did Lucifer had such power over her, when he was trapped in heaven and has no access to his powers? With her dead now we probably won’t get any more answers regarding their relationship.

The nephilim sure wasn’t a fan of Dagon. And that makes me wonder… of the child just wants to be born, he wouldn’t care about Dagon killing Cas or how Dagon treated Kelly as long as she was still alive. But the nephilim took care of both Kelly and Cas and killed the one thing that was a threat to both of them. He chooses his parents in a way. Now the question is if the child can really show the future. Kelly was so convinced she made sure her vision would happen, driving to the sandbox. And now I wonder what Cas saw. Or is the nephilim manipulating both of them? Remember how Sam thought he was talking to God in the beginning of season 11? Just to learn it was Lucifer all along. And Cas behaviour in the end of course gave me massive Godstiel vibes. We will see.

Some other things:

1. THE MIX TAPE!!!!!! You know who does mixtapes for each other? Boyfriends! This was right out of a fan fiction. And just “It’s a gift. you keep those”. Maybe I’m reading too much into this (arghhh who am I kidding here?) but it felt to me as if Dean was talking about something else as well. As if he wanted to say “I gave you my heart, you can’t give it back to me”.

2. Apparently Cas has a room in the bunker. *makesexictednoises*

3. Once again we are reminded that the Winchesters try to find a better way, that this is not the past repeating itself and even though we had a lot of references to past seasons the outcome might be different. And the grace extraction solution might became relevant again.

4. The Colt is gone for good. I’m not really surprised. It has always been too much of a deus ex machina, too good to be true. Not sure if it could have killed a nephilim but even if not every other hunt would have become way more easier and for this show more boring, so the thing had to go.

See you next week!

x-toad  asked:

Do you think Savage's name and its weird pronunciation were meant to hammer home the point that this was the culture Asajj was born into? Because their names sound a lot alike.

I definitely don’t think it’s a coincidence. I think the story is trying to tell us something, not just linking Ventress and Savage together because the story demands it, but also because it indicates something about Dathomiri society.  Asajj and Savage are inextricably linked,  mirrored in one another. Both of them become apprentices of Dooku, both of them are given up as sacrifices to a greater plan etc…but also, despite the strong emphasis on the dichotomy between male and female, I think what’s particularly interesting about Dathomiri culture, is that the separate facets, male and female, embody a balance between both. 

The nightsisters are women but they are women who are avatars for the power of their male god. The character designers specifically made the nightsisters aesthetically similar to the Son. I mean,  the Son (who is, according to Legends, The Fanged God) looks like this:

While the nightsisters look like this:

Conversely, the nightbrothers, while being male, are meant to embody the selfless qualities of the Daughter (re. The Winged Goddess). Remember what the daughter says?

The Daughter: It is not his fault. My nature is to do what is selfless, but my brother’s will always be to do what is selfish.

Hence, the nightbrothers’ emphasis on service and serving the nightsisters. Ventress calls Savage her servant: not her slave or her equal, but her servant. That is the nightbrothers’ role and their society cannot exist without this complex interplay between the masculine and feminine, between the balance of light and dark . The nightbrothers are men, but they embody the feminine aspect of their dual deities. Once again, most of this is communicated through character design and color palette.

The Daughter:

And the nightbrothers:

I would also like to point out that The Daughter is not a passive character. She is selfless and obligated to serve, but she is also prideful and strong, and a fierce warrior who is not to be trifled with. Like the nightbrothers.

And despite the fact I have gone on a bit of a tangent, I hope that I have in some small measure answered your initial question and if not…

Originally posted by robotjedi

Birds in cages, stray dogs, and a god’s doves.

Children having fun at a playground would evoke a comparatively more lighthearted ambience than the usual, if that’s all that there is to it.

The “dog” stands beside the “bird,” together opposing the “dove.” Beneath the veneer of a simple role-playing game is an illustration of the profound absurdity of a war that continues to entangle even the most innocent.

Touka seeks Akira out not solely for a semblance of resolution, but for the understanding that she knows only Akira can provide as a human on the other end of the bridge, whose father she had killed in a way reminiscent of how, in her mind, her own was killed at the hands of CCG investigators. The loss of the family they loved to monsters left them with indelible scars, as vessels of hatred and willpower that did not inherently belong to them — a painfully familiar motif. The juxtaposition of the children beginning to crack and the adults that are long broken is jarring. Akira, Touka, and Hinami were small and vulnerable once, exactly like the children in front of them here.

Children start as pure, unwritten, not yet able to fully grasp the phenomenally dismal world around them. They’re blank slates waiting to be stained through to the core with fresh blood, enslaved by the machinations of the hypocritically self-serving and self-destructive. Unfortunate victims on all sides undergo a systemic brainwashing as shown with the newly introduced Oggai, as well as the other Quinx, Garden children, and orphans like Amon, Juuzou, and the Yasuhisa twins. There is no safety anywhere for anyone.

A mother struggles in vain to protect her child as the reapers close in jeering and cackling, and the two are sliced apart in an instant. No mercy, no remorse, no thought. The blindfolds are there to emphasize their place as corrupted parodies of knights of justice, eyes shut to the death and destruction they mechanically spread. To see in shades of grey is an act that demands clarity, but their saviors were demons who stole their souls in exchange for one purpose — and this was it.

Dogs on the hunt, dogs on the run, dogs to the slaughter. The wheel keeps turning wherein one is pinned under and crushed, and another rises to the top. Is the past always fated to be the future?

Most of the characters are vessels regardless of whom they fight for, thoroughly reliant on trapping another’s will within their own transient bodies to mask their fear of losing something they cherish or getting lost again, to move in any direction at all even it ruins them, to stay alive. They’re amalgams of doubt and distortion and no one knows what they want for themselves; they’ve never had to think about it.

In the original series, Kanou spoke of a perfect world as he envisions it, one free of the twisted birdcage. He is relentless in his pursuit of artificial ghouls that can fly higher and faster than the rest of the crippled birds, because he sees them as a metaphorical transcendence of their stagnated world, and ultimately as extensions of himself, a man ascended.

I have already let go of any desire to carry on in the human world.
(TG, ch. 99)

The series can be interpreted from an alternative perspective as an abstract religious parable. Kanou is the didactic hand of god, deceitfully giving and taking life in accordance to his whims and greater plans, with Furuta as his false prophet. The doves move by their commands, pitifully playing into the belief that they are the rightful arbiters of peace, that only their way is true and just, so they fail to comprehend beyond that which is dictated to them by their progenitors.

Spend too long hopelessly believing, and you lose the ability to think.

Two keyholes sit as the barrier between oppression and deliverance, one above and one below. The cage can’t be dismantled without two groups uniting against a common enemy such that future generations would never again have to serve as instruments of a chaotic cycle. Kaneki can’t save anyone if he can’t save himself first, and to do so he needs to forsake his refuge of misguided attachments. What he assumes to be his responsibility due to Eto and Arima’s influence was actually never meant to be one man’s task, king or not; there is no Messiah bearing the single solution to their world’s ills.

Unlocking their rotting prison is the monumental undertaking of two entire warring factions, together, as they attempt to reach mutual understanding one person at a time. That’s why the recent chapters have been focused on these isolated conversations. For unlikely people to be given each their chance for closure, even though it’s still quite the far way off.

The answers to these questions rest on ambiguous, subjective factors. Should they hate themselves for, as Rize once put it, the inability to make the correct choices, thereby creating their own disadvantages? What would the correct choices have been for their circumstances? How would they have arrived at those conclusions on their own?

In essence, to hate unilaterally is to lay blame and misdirect anger, unable to realize the weight of one’s own role in the disaster. Hatred, while a potent motivator, is not a necessary means to an end. Even with the CCG out of the picture, the problem concerning coexistence would still persist. (Unless synthetic human meat and/or ghoul reversal become feasible, but that’s a tangent for another time.)

Steady steps. Eradicating the CCG means removing a large cog in the wheel, and with it the linear transference of will that has long overwhelmed the fragile vessels with torment that they should never have contained.

*obligatory pre-premiere post*

before we get cracking on 7x11… let’s review the basic tenets of this particular blog. A list of things I have been carrying around as very solid suspicions, and feel strongly about happening.

1.Lucas is obviously A team. I got a feeling about him actually being the one who held Hanna prisoner in the shed. 

2. for the actual millionth time, let me reiterate that Ezra is A. 

3. 6x10 was full of intentional lies.

4. Caleb and Mona killed Charlotte. (Or one of them did it, but the other, is helping. “For Hanna”. 

5. Lucas has 100% being surveying Hanna through his “security system” at the loft. He’s also responsible for Aria’s burn from the fire place. 

6. Hanna will absolutely regret going into business with Lucas, and there is DEFINITELY something in the contract that she signed with him that is going completely screw her. She’ll wish she had had a lawyer look at it. 

7. Mona will ultimately be a hero. (Like I’m sorry, I still don’t excuse all her transgressions. She’s definitely still playing a game, but…) She will probably sacrifice herself, for real. 

8. There’s as good a chance as anything that Ali was just pretending to believe that she was losing her mind. She went to the psychiatric hospital as part of a greater plan, either as A, or to draw Archer out in to the light. 

9. Still think that Ezra may have been working with Ali from the beginning to fake her death.

10. Mary has at least one more child. So, 3 or 4 kids?

11. Toby is not as innocent as he is portrayed to be. He also did play a major role early on in the series. earlier than they say. 

12. A “tragic love story” is somewhere at the root of this story. There are too many references to doomed romance for this show not to have something planned that’s tragic on like a Shakespearean level. 

13. Aria will finally stand up for herself, and it’ll be epic. 

14. We are going to learn that a lot of what we’ve seen is actually staged and fake. I’m talking the Dollhouse, The entire NYC thing, The school for the blind… obviously the entire Star Trek set from 6x10. 

15. Ezra’s shooting was staged.

16. It’s not just a coincidence that Ezra has had 2 girlfriends disappear. Or that he has a ‘type’. 

17. CeCe is not the real Charlotte. There is a Charlotte, but it’s not CeCe. (maybe the real Charles and Charlotte were twins?)

We can never completely understand everything he does. And yet, he does everything at just the right time.

God doesn’t expect us to understand His plan, but He expect us to trust Him for His plan is greater than ours. You may think everything is supposed to happen now, but God is not pressured by time nor people, for He knows exactly the right time to reveal His will. So trust Him, for God will never lead you wrong.

Why I Can’t Defend The Flash Writers This Time Around

Prefacing this post by noting it is tagged, but also under a cut since it contains criticism of The Flash writing. If you don’t want to read, scroll away, but I wanted to put my thoughts out there for my own sake, because otherwise it’s just going to stir inside me and I want to let it out once and for all.

Keep reading

I never wished for a rich man, a perfect prince or a knight in shining armour— all I wished for is a man who fears God. A man who’s not just concerned about my physicality and mentality but also with my spirituality— and then I met you. I didn’t meet you in a magical way like those written in novels. It was just an ordinary moment of a girl meeting a boy for the first time and vice versa. And I guess that’s part of God’s greater and better plan. You were my ideal man— scratch that. You are my ideal man. You’ve set the bars so high and I don’t know if that would ever fall down. I love your voice; the way you share your testimony and sing praises to Him. I love your laugh; how it reflected His wonderful grace in your life. I love your eyes; the way it expressed happiness and contentment. I love your warm embrace; how it gave me comfort at my gloomiest and disheartened moments just like how His words gave me help and reassurance. You see, I love everything about you— even your changes. I love you with every broken pieces of me and loving you turned me into this.
—  awesomebella

A Conversation with Royla Asghar

Recently, I had the pleasure of interviewing our May Poet of the Month, Royla Asghar. Royla is a 20 year old student who was recently accepted to Malmo University, where she intends to study human rights. She is half Romanian and half Aghan, and she was born and raised in Romania. She currently lives in Denmark. In her free time, Royla enjoys cooking, reading, and learning how to be patient. She spends much of her time exploring Copenhagen and visiting her friends and family. Royla plans to publish a collection of her poetry in the near future, so stay tuned!

Jennifer: Hi Royla! I have been following your poetry blog on Tumblr for a few years now. I’ve always been attracted to the brutally honest nature of your style. Your writings are so paradoxical - heartbreakingly realistic yet sweepingly romantic at the same time. Have you always been so upfront in writing about your emotions?

Royla: Hello Jennifer, I am so flattered and so happy that you feel that way about my poetry. It is always so delightful knowing someone can feel like that about my poetry. It’s amazing. But to answer your question, no… I haven’t. And honestly, sometimes even now I feel like I can be more upfront, so when I write a poem, it’s always to make it more honest, rawer than the last. I used to dress many of (my) poems in great metaphors - you can see that in my Astronomy Series. Everything is written behind a metaphor, and even though it can make the poem delicious, it takes away the “up fronting.“ Now I am very focused on less metaphors, more nudity in my poems.

Jennifer: What inspired you to begin writing? Are your current inspirations the same?

Royla: I have always been writing. Since I was a little girl. Not poetry, at first, but I always had a journal writing in it. And then I got into quotes. I read a lot of those and then I kept a scrap book with all of my favourite quotes - I still got them, haha! And then I remember at school in 6th grade, we had a modern poet visiting our class and “taught” us poetry, and then I got a crush on a boy and he did not like me back. I wrote him a bad poem and then I wrote him many bad poems cause I was mad, and suddenly everybody knew I was poet. And it stuck with me. And then I wanted to get very serious with my poetry and I made my Tumblr. And I’ve been publishing my poems since 2013 or 2014 maybe.

My inspiration came from everywhere, but love and the city, Copenhagen, were always the main themes in my poems, and not to forget. My sense of narcissism has always been the mastermind behind most of my poems. Like the poems Boys Are Dogs and I Want Fame And Your Tears. And also my girlfriends’ lives and troubles have played major roles in my feministic poems. I get inspired very easily and so I am always writing

Jennifer: You incorporate lots of religious imagery and political themes in your poetry. How does your personal faith or spirituality influence your writing?

Royla: I am Muslim, but I haven’t always been religious. I guess when you are young, you kind of take God for granted. It’s only recently, that I felt like I need to be more close to God. Now more than ever. With that being said, I’ve always had a special relationship with God. I used to get in trouble a lot, and I knew that my religion would save me. And it did. Indeed, it did save my goddamn life. The way my religion affects my poetry is like this: because we (muslims) believe that everything happens for a reason. Everything is a part of a greater plan. Therefore, my poetry always reflects my submission to that belief. I think a lot about God. And it makes me aware of life and the people I have in my life. I love in the name of God, and my poems are pious in that way. The only time my poems are humble and pious are when I think of God and my love.

I have also written many poems with a political content, like The Immigration Series. I think you get inspired, if you like it or not, the madness that happens in the world - it inspires you to write about it

Jennifer: Are there additional themes you haven’t yet explored and would like to dive into in your future pieces?

Royla: I would love to write a whole series about marriage, and just in general to (in)corporate the concept of marriage into my poems. I haven’t really read poems with that theme. And I don’t mean it to make it sound cliché, cause marriage and getting married is so much more than white dresses and cooking breakfast. It’s a very complex theory. I want to expose the raw sides of marriage, you know? That side that makes you want to marry someone who gives you a headache, and the way you love and forgive them endlessly. Many poets, I believe, are running away from commitments, and it seems to me that they are hopelessly in love with someone they can’t have. Or, they have multiple lovers and so they never commit. But I want to write about what happens when you are loved by the person you wanted the most, and how that can still break your heart from time to time

Jennifer: As a writer, I feel that each piece I write makes me vulnerable. I have struggled with writing honestly in fear of exposing what I believe to be the rawest parts of myself. Have you ever experienced the same feeling? If so, how do you deal with it and what motivates you to be vulnerable regardless?

Royla: I have definitely experienced that feeling, I still do. It is terrifying every time I write a poem. I know true poets will scold me, but I do care about how people would react to my poetry. Especially the people I am writing about - I don’t want to hurt them. And sometimes I want to write very honest and hurtful poems, but I have a conscience. It is always a battle within myself and sometimes I publish the most outrageous pieces and I don’t think about it twice. A poem that has been hard publishing was my “Sex Tape” poem. It is the most personal poem I have ever written. I can never talk about that poem. Never. But right before I published it, I said to myself, “You know what? You deserve that poem. They need to read it.” Sometimes it feels right, even though it’s terrifying - you get impulsive and do it. I think what motives me to write recklessly is that I feel entitled to my own madness. I never feel vulnerable when writing my poems, but powerful.

Jennifer: If you could give your younger self some advice, what would you tell her?

Royla: I would tell her she has a good heart. I needed to hear that when I was younger.

Jennifer: Some writers hope to achieve a mission - political, social, etc. through their writing. Many writers aim to open readers’ minds to issues and perspectives they have only experienced in dreams. What are your long-term goals as a writer?

Royla: I am a true romantic. And so my long-term goals are to leave a legacy of love poems that make people gasp for air. I want people to love like I love. Fiercely.
I don’t want to get involved in politics and all that, but if I do, I want my poems to make refugees and immigrants proud of who they are. Simple, like that. I want love and culture to live side by side

Jennifer: I notice that much of your writing focuses on infusing, or clarifying a pre-existing state, depending on how you look at it, women with omnipotent, goddess-like characteristics. Yet, some of your other pieces feature women who are so deeply in love that they are rendered powerless. Do you identify with one of your “narrators” more than the others or do you see pieces of yourself in all of them?

Royla: It’s a very difficult theory to explain. I will try anyways. When I started writing poetry, I swore to myself that I would never write about suicide, bad self-esteem or self-harming and depression. Because I did not want to make that a ‘’thing.“ Growing up I saw a lot of girls having trouble with themselves, and I never understood why. They were so beautiful, but there was always something “ugly” about them. I never saw that in myself. I was raised in such matter, that my parents never allowed me to be insecure, ever. They would actually scold me out if I did. Therefore, I would always, as my friends said, give confidence out from myself to other people. I got very good at make people confident, and so I think that reflects a lot in my poems. When I got into Tumblr, back in 2012, there were a lot of poems about suicide and depression, and I felt like the poetry community on Tumblr needed a fresh empowering theme, and that was self-confidence. It got very hard to swallow all those posts of young girls cutting themselves. I am not sure what the purpose of all the suicide posts needed to do, bring awareness maybe? I felt like maybe those girls, with low-self-esteem would read my poetry, and feel powerful, and hopefully change their view of themselves. And this is how I created the goddess-like character in my poems. She is a huge part of me. She is dangerous if not tamed, so that’s what love does to her.

The other woman, as you said - she is deeply in love so therefore she is weaker maybe. I love her, because she is so full of love, you would drown in her. She spills love all over the place. And let me tell you what I found out about her: she is actually stronger than the “goddess-like” character. Because, my good God, it takes real strength to love a person the way they deserve to be loved.

I don’t think I identify with one of them more than the other, I see pieces of them both in myself. And it’s a struggle to keep them in balance. But I manage.

Jennifer: How has your point of view as a woman impacted the way you experience the world?

Royla: Being a light-hearted woman, I’ve always chose to see the beauty in the world. At times that makes me really naïve, but I am like that. I cannot help it. I notice details about the world most people don’t. The little things like the stars (in) the night sky. For some reason they are very important to me.

And being a light-hearted woman, I usually suffer a bit more than I should. It’s a price I am glad to pay.

Jennifer: What are you in love with?

Royla: My husband. Truly.

Jennifer: Onism, the word this magazine derives its meaning from, is defined in the Dictionary of Obscure Sorrows as "the frustration of being stuck in just one body, that inhabits only one place at a time, which is like standing in front of the departures screen at an airport, flickering over with strange place names like other people’s passwords, each representing one more thing you’ll never get to see before you die–and all because, as the arrow on the map helpfully points out, you are here.” But what does this definition mean to you? Does it have any special significance to you as a writer?

Royla: Oh, I love that definition. Beautiful.

I know the feeling, I feel it often…Recently, I have this fantasy I cannot escape, but I want to take the next flight to whatever and change my name and change everything and live carefree. And just be there for a while, I don’t know where, but there. Especially when I am not loved. This fantasy can be very overwhelming

Her Bed Was a Kingdom by Royla Asghar

She was romantic,
perhaps perverted
Love was pouring
from her eyes
She was too beautiful for her
own good.
She was vivid with
her mouth,
and her body
a powerful thing.
She denied every culture,
and cried holy tears
to God.
She was terrifying.
When I would kiss her
it felt like God
created the world in her mouth.
I did not know
how to touch her.
She was a wet woman
on fire.
I did not know how the
hell to love her.
She was too much
and I hated her for that.
She was too much,
and I loved her for it.

In her presence I would die.

Royla’s Poetry Blog: