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Rotterdam quarrel


“I’m not even gonna bother talking with you, before you haven’t caught up on the past 100 years, you prick! You have no idea what you’re talking about! Make sure to look for the words Germany and World War I and II! While you’re at it you could look up the consequences as well!”

Holland: “You… you don’t mean an actual book..? With… words and… I… uh… t-that’s going to take a while-..“

Holland: “Pap made so many changes in the words, grammar and spelling that I can’t read it anymore– 



Jonsa: Trojan War AU

After being severely wounded in battle and believed dead by his comrades, the bleeding Greek warrior Jon manages to make it back to the beach before collapsing. A mysterious redheaded woman in a cloak finds him and helps him limp to the abandoned temple of Apollo, where she proceeds to wash and dress his wounds. She tells him that she is a Trojan woman who lives outside the city walls and was once a priestess at the temple, before the Greeks arrived and slaughtered their high priest. Joking that Apollo wouldn’t appreciate his raven hair and masculine strength that rivals the gods in his temple, she stands to leave after bandaging the wounded man, who asks for her name; she only replies that she will return in a day.

True to her word, she returns the following night and the night after and even the night after that, bringing food and water and tending to Jon’s wounds by candlelight. They speak of their respective homelands and families and their wishes for peace, slowly falling in love with one another. Each night, Jon asks the woman her name, but she refuses.

On the fifth night, Jon surprises the woman when he rises to greet her. Assuming he is well enough to no longer require her care, the woman bids him to return to his camp. Jon interrogates her and asks her why she saved him. She finally breaks down and quietly replies that she watched him in battle from the precipice of the city walls, revealing her identity as Princess Sansa, a daughter of Troy. After seeing such a handsome warrior fall in the fight, she snuck out of the city to find him and heal him, and had been sneaking out every night since. Overcome with love and gratefulness, Jon kisses Sansa, passionately, and she reciprocates. They make love on the makeshift bed on the stone temple floor.

The following morning, Jon leaves before sunrise, telling Sansa that he can’t allow her to risk her life any more to be with him. She disagrees, and tries to convince him that they can run away together, but lets him go regardless.

It’s another two weeks before Jon is well enough to return to the fighting. Each day, Sansa is the first one at the wall at the crack of dawn, eager to see him again, worried for his safety and wellbeing, their secret tryst unbeknownst to anyone but the pair of lovers.

When the sack of Troy begins, Jon’s only thought is Sansa. He rushes through the burning city, looking in every home and shop for the princess. He finds her cornered in the courtyard of the palace, and slays the two Greek soldiers who are tearing at her gown with bloodied hands with his sword. A crying Sansa embraces him, wailing about the loss of her parents and her brothers, and they share a kiss before she informs him that there is a secret tunnel below the palace that they can take to escape, away from this horrible place.

The tunnel lets out onto the beach near the temple, where Jon helps Sansa into a small boat with supplies; the city falls in flames behind them as they sail away to find their own land, a place free from the suffering of war.

Technological troubles

North Holland: “It’s technology! That was super expensive a-and my data-..!”
Holland: “Good thing all your belongings are mine huh? I ain’t paying for a new one.
North Holland: “RUBEN!!!


The Kings and Queens of Winter (original)

Their father once said that in winter, they must protect one another, keep each other warm, share their strengths.  So they shared their strength, and their crown as well.

Brandon, King of Winter
↳ King Brandon was King Robb’s true heir, and Lord Eddard’s before him.  When the crown passed to him, it was he that bade his siblings share its responsibilities with him.  Though some of the lords bannermen of House Stark thought this meant that Bran–a cripple since the age of seven–was weak, they soon learned the strength of the decision.  A true king of winter, Brandon said, is one who prepares for winter, not just endures it.  And the best way to prepare for winter was to make sure that all needs were being met, and thus that each was given the full attention of a member of his house.  (It is also said that when there was strife in the North, King Brandon knew about it long before word officially reached Winterfell.  He was blessed by the Old Gods, it was said, with magical sight and hearing, and understood the language of brooks and trees.)

Arya, Queen of Justice
↳ Queen Arya took it upon herself to protect the smallfolk.  She had seen, she told her brothers and sister, their suffering and lived it during the War of the Five Kings, when Lannister and Stark warred in the riverlands.  She had seen what evil men could do when left unchecked and found such evil intolerable in the lands of her blood.  When justice was needed, it was Queen Arya who rode out from Winterfell.  Though songs are sung of Queen Arya’s justice, it was known that her mercy was far more powerful.  Justice, she had been known to say, was nothing without mercy–true mercy, the gift of mercy.  Though far more celebrated for lives she took in the name of her house, her justice was not merely the enforcement of the law but the weighing of it.  If she heard a man’s final words and thought he did not deserve to die, he did not die by her blade.  (Though there were songs sung of Arya’s justice and her mercy, the more celebrated songs are ones of magic.  The most creative of these songs are ones that say she wears the skin of a direwolf and heads a pack of thousands.  Such songs are songs, however, and should never be misconstrued for fact.)

Jon, King of Peace
↳ King Jon was not a Stark, though when the doom of the world was nigh, the lords of the North crowned him king.  He gave his crown to Brandon, Lord Eddard’s trueborn son, when the war ended, and King Brandon shared it with him in return, calling him brother though they shared neither father nor mother.  King Jon fought for the living, and fought for peace, and though he was known as the king in the north who led armies in battle, he knew success by how infrequently he was called upon to fight.  When Jon was home, the realm knew peace; when he rode forth, it would know peace again soon.  (There were whispers that King Jon could not be killed for he had no beating heart inside his body.  Any wound he took remained with him until the time of his passing.  Such tales, however, could not possibly be true for what man can live without a heart?  And while it is known that King Jon rode a dragon into battle at least once in defense of the North, that he had no heartbeat could not possibly be true.)

Sansa, Queen of Prosperity
↳ Queen Sansa learned coin from Lord Baelish, who helped her return to the North following a period of captivity in King’s Landing.  If Lord Baelish was one of the more clever masters of coin that the realm had ever seen, under his tutelage, Queen Sansa came to know the power of gold and markets–vital to the recovery of the North following a long war and a longer winter.  Queen Sansa knew when sternness was required, but the realm knew her to have a generous hand, and through her guidance the North came to know prosperity again.  Artisans flocked to Winterfell, for Queen Sansa dearly loved music, and bakers competed in making the best lemon cakes for her.  (Rumors plagued Queen Sansa for most of her days that Lord Baelish’s untimely demise–an illness that tore through him and slew him in his sleep–was wrought from poison she slipped into his glass of Arbor Gold.  Rumors of poison have followed Queen Sansa ever since the death of Joffrey Baratheon, and thus cannot be trusted to hold any merit at all.)

Rickon, King of Reaping
↳ King Rickon was the youngest of his siblings, and barely more than a babe when his parents died.  He lived his early days among the people, and in fear that Boltons or Greyjoys would find him and slay him in his sleep.  Though many believed that he had died at Theon Greyjoy’s hands when the Prince of Salt and Rock took Winterfell, it soon became known that Greyjoy had slain two farmer’s boys and passed them off for the young princes of Winterfell.  Though King Rickon was likely too young to remember such an event, he was known to mention it often in his work, for he turned himself to the reaping every autumn when the harvest moon rose, making sure that no farmer felt unable to tend to his fields, and that the North was prepared for the oncoming winter.  (As with his brothers and sisters, there are flights of fancy that have entered the realm of myth for King Rickon as well.  If Queen Arya headed a pack of a thousand wolves, it is said that King Rickon wore the skin of a great black wolf that would use his size and strength to protect the smallfolk from smaller packs who would set their eyes on livestock.  Such tales are merely tales, though, for no man can wear the skin of a wolf.)


Here is the Metallica “Nothing Else Matters” intro section to 13x01 Lost and Found (and the season’s opener) thanks to Wayward Winchester on YouTube.

These season openers often narrate the thematic arc and its threads to come, and this one does so beautifully.

Firstly, there is an extended sense of family here. So when Metallica croons “Nothing else matters,” that is, thanks to the image juxtapositions, clearly a reference to family, but that family includes Bobby, Jodie, Eileen, Cas, Jack (ambivalently of course)  and even (for Dean) Crowley, as well as Mary, Sam and Dean. 

Family don’t end in blood = a key season theme. And one that also nicely sets up Wayward Sisters, as we get both Jodie and Claire shots.

We see first of all what has been lost and found (the episode is, after all, called “Lost and Found”).

Firstly, Dean finding Mary thanks to Amara’s resurrection, at the start of the previous season:

Then Castiel, also from 12x01 Keep Calm and Carry On, crashing to earth through the mystery spot sign after an angelic banishing.

These are the key figures who have been previously found (both resurrected after death, Castiel several times, Mary once) and are now presumed dead again, but will, of course, eventually be found by Sam and Dean once more as S13 progresses. 

Losing and finding Cas and Mary = emotionally central to the season.

“So close, no matter how far” croons Metallica, as Dean and Mary embrace.

 Yes, we know about Dean’s special connection to his mother and all the changes that connection has been through following her return from the dead, as Dean has had to confront her as a living person, not an idealised memory, but how he loves her still no matter what, and now longs for her once again.

This theme about growing emotionally through revisiting family trauma as an adult, a key theme last season, will continue to be key this season.  

“Forever trusting who we are,” sings Metallica as we get first a Sam/ Eileen hug and then a Dean/ Cas hug immediately following. 

Subtext alert - this direct parallel positions the two relationships as equivalent and therefore equally coded as romantic. Although, hello heteronormativity, this relies on the previous textual signalling of a Sam/ Eileen romantic interest, which took all of 5 seconds for the general audience to get and it’s 9 seasons and counting for Dean/ Cas subtext. However, the parallel is edited in here deliberately. Carefully juxtaposed with the words, “Trusting who we are,” which have a special meaning for LGBTQ+ people, because… that’s always a journey.

This Metallica song is, by the way, a love song, written by James Hetfield whilst on the phone to his girlfriend (see the Wiki page). 

Dean/ Cas continues as a subtextual thread this season (no surprises there, and no promises it will do anything except remain subtextual, but hey, I’d rather have you, cursed or not).  

“And nothing else matters,” Metallica continue as we get Winchester family photos, Sam, Dean and Mary hugging at the bunker, and both Sam and Dean helping Cas to his feet after he almost died following the stabbing with the Michael lance. 

Family is what matters and Castiel is included in the Winchester family. 

Metallica continues, “I’ve never opened myself this way,” as we look straight into Dean’s face.

Uh huh. This both references Dean’s “profound bond” with Cas, and his bond with his mother. The textual covers the sub-textual, as the next shot we get is of Mary. 

Sam’s grief at losing Eileen, is once again paralleled with Dean’s grief at losing Cas, as the song continues, crooning, “Never cared for what they say,” as we see Dean yelling “Nooooooo” at losing Cas to Jack’s power and then Eileen dead with Sam leaning over her sorrowfully.

We also see Cas’ death at the hands of Lucifer and Dean yelling “Nooooooo” again…

Key takeaway - the subtext is strong with this season… (although isn’t it sad that the trope of grief for a dead “buddy” as a permissible way to show masculine love persists, whilst a simple, living, reciprocated declaration remains so hard). 

The final shot of Jack, immediately follows Dean kneeling by Cas’ body, making it clear that, as far as Dean is concerned he lost  the love of his life his best friend and all he got was a shitty Nephilim in exchange: 

This places Dean, of course, in John Winchester’s shoes, who lost the love of his life, Mary (however much their relationship was full of fault lines) and had to become a sole parent to two traumatized boys. Dean is filled with resentment towards Jack, just as John clearly was about his situation, which, as we know, led to some bad parenting. 

So, the Sam and Dean parenting dichotomy - another key theme of S13  - is clearly set up here too and carries on as the episode progresses, with Dean wanting to kill Jack and Sam wanting to give him the benefit of the doubt. Because being parents themselves is bound to bring up A LOT OF OLD STUFF, such as Dean having had to be Sam’s parent and Sam feeling “tainted” with demon blood, hence his empathy for Jack as Lucifer’s son.

Overall, this is going to be an emotion focused season… 

Oh balls, here we go…..! 


“…This plushie blob fish from Dan, which I think is an accurate representation of my soul”

ugh i’m sorry for the basic banner i have to do all of my edits on my phone

hey everyone!

i recently hit 150 followers (and i may or may not be at 165 now heh my bad) so to thank y’all i thought i’d do a follow forever!

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entreat me not to leave thee, or return from following after thee – for whither thou goest, I will go, and where thou lodgest, I will lodge, thy people shall be my people, and thy God my God, where thou diest, will I die, and there will I be buried the Angel do so to me, and more also, if aught but death part thee and me. 

Alec, please don’t leave me. 
I can’t feel him. He’s dead.

1 | Freak



series warnings: mature themes, violence, blood and gore, murder, emotional manipulation, bullying, mental health deterioration, eventual smut and substance abuse. this chapter contains strong language. 

Originally posted by bapsae-monsta

masterlist | ask | next

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Hit the Books

Summary: jealousy is no one’s friend || prof!//college au

Pairing: professor stan & evans // evanstan x reader

Word Count: 1.2k

Warnings: flirting, sexual innuendos

A/N: uhhhh there might be a part 2? if y’all want it? let me know

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