she manipulates him into

Friendly Reminder

that while you can make jokes about Feyre manipulating Lucien in ACOWAR by using his mating bond with Elain, that will not make him change. It will make him worse. His condition will get worse as the female he saw as a friend, manipulates him again and again. Just as Tamlin did to him.  

4

those fluttering eyelashes are killing me… and that tiny smile at the end…

Fandom vs Canon (Diabolik Lovers)

Fandom Shu: Lazy closet pervert who loves music and his s/o, likes bathing with his clothes on

Canon Shu: Lazy open pervert with PTSD who wrestled a fucking polar bear and can probably kill everyone in the room if he wanted to. Scared to death of loss. Extreme sadist, cuts you with a knife because your blood tastes better when you’re scared.


Fandom Reiji: BDSM mom friend, likes collecting plates

Canon Reiji: Pessimistic sadist with a sibling oriented inferiority complex. Had no problem murdering his own mother and even wanted to resurrect her so he could kill her in a more painful way each time. Burned down a village to kill his brother’s best friend. Could kill you in your sleep and wouldn’t blink twice.


Fandom Ayato: Lovable and confident dork who likes memes, boobs and takoyaki.

Canon Ayato: Do-S with an extreme superiority and inferiority complex. Abused and pressured to beat Shu as the heir to the vampire throne. Thrown into a lake to drown by his mother, ended up murdering her out of hatred and smiled the entire time. Sleeps in a fucking iron maiden. Will probably snap your neck if you don’t call him Ore-sama.


Fandom Kanato: Smol screaming child, bipolar, will like you if you make him deserts

Canon Kanato: Neglected sadist, quite possibly with Aspergers, with severe distrust towards other people, bordering on paranoia. Has sex with you more than any guy in the game, eats the ashes of his dead mother when he gets panic attacks. Might stab you in the throat with a fork if he doesn’t like your desert.


Fandom Laito: Macaroon fedora pervert, constant boner, “Bitch-chan~”

Canon Laito: Confuses love with lust due to being sexually abused by his own mother, was thrown in a dungeon by his father when he found out. He killed her so she could “be with him in eternity.” Manipulative and incredibly clever, voyeuristic with a degrading kink. His personality can turn dark in less than a second. Will use your fears to break you.


Fandom Subaru: Angry emo trash but is actually a cinnamon roll. Likes Blink 182, MCR, and punching wall-chan

Canon Subaru: Extreme sadist who ended up being an incest child because his dad used him as his mom as an experiment. Was called a filthy abomination by his mother who he loved more than anyone, now has a distrust towards women and constant suicidal thoughts.


Fandom Ruki: Hot mysterious book worm who’s into BDSM. Secretly cares about you and loves you.

Canon Ruki: Hot mysterious book worm who has been abusing people since he was seven years old. Was abandoned by his mother and his father killed himself, forcing him to live in the street. Warped perception of companionship, fear of abandonment, treats you like livestock because he was branded like cattle.

Fandom Kou: Prancy dancy idol-chan, sweet but manipulative, listens to BTS


Canon Kou: Abandoned at birth, turned into a sadist due to the amount of abuse he endured as a child. Ripped out his own eye to escape border line slavery and tried to commit suicide multiple times. Manipulative, will always expect something in exchange from you, capable of a 180 personality flip and won’t hesitate to kill when he’s angry.


Fandom Yuma: Giant gardening teddy bear, sugar-chan~ rebellious in a hot way

Canon Yuma: Can and will snap you in half. Beaten by his parents for not praying to God. Watched his parents burn alive and joined a gang, living on the streets. Sold himself as a slave to just to make enough money to survive. Sadistic, perverted, hot headed and can go on a total rampage. Kills you or someone else in almost all of his dark ends.


Fandom Azusa: Sweet masochist cinnamon bun who collects knives, doesn’t say much

Canon Azusa: Extreme masochist and sadist who enjoys self harm and harming others. Cuts you because he “wants you to feel good.” Enjoyed getting beaten as a child. Pain keeps him alive and gives him purpose, borderline suicidal.

(I might do more of these for other fandoms as well~)

Honestly, Katara and Zuko could’ve gotten together if Aang died in The Crossroads of Destiny. Who needs dumb spirit water deus ex machina, anyway? It is a poor plot device, just like the rock that suddenly, magically made Aang into the Avatar. If Aang died, we would have the arc where Zuko fully gets to realize his love for Katara. Katara will learn to reciprocate and deal with the loss of her friend who was like a little brother to her.

It would be healthy and advance the plot in so many good ways. Aang was abusive to Katara, and she needs to move on from the mindset he forced onto her. Aang always goes into the Avatar state without considering how he would affect/hurt Katara. He tries to force her to go to the Northern Water Tribe with him. He is always pushing his ideas onto her whenever he can. Not to mention the Southern Raiders, where he keeps shoving his dumb ideology down her throat. Aang pressures the shit out of Katara, and she is constantly being manipulated by him.

After Aang dies, Zuko will go join the Gaang (except Aang is dead so now it will be the Zukrew). He will support them through the time where everyone is mourning, thus proving his loyalty to their cause against his own father. Zuko’s plot has always been much more compelling, and in a perfect world, his redemption arc will end with him killing his father. In the end, Zuko will Agni Kai with Azula, and while Katara defeats her, and Zuko and Katara kiss, then Zuko will run off and go to fight his father as it is his destiny.

While fighting Ozai, Zuko will be thrown onto the rock and his eye scar will hit the rock, and Zuko will become the Avatar. And Defeat Ozai. It is the redemption he deserved, and Aaron Ehasz planned it out from the beginning. And we the audience would get our lovely Zutara make out at the end and Katara will say, “I love you. I always have because you are NOT an abusive, midget twelve year old who is bald.” And Zuko will say, “I know baby”

And then the credits roll as they passionately kiss a lot.

Jake English is the most intelligent character in Homestuck. And he hides it deliberately.

For a given value of “intelligence”, anyway. I don’t hold that much truck with the concept in general–there are different kinds of intelligence that run the gamut of human skills, and reducing that to a single concept is reductive, to say the least.

However, it’s hard to deny that there are real cultural forces in our society that do treat intelligence as a monolithic descriptor of skill and worth, and it’s a cultural idea as pervasive in reality as it is in Jake’s character arc.

For that reason alone, I’ll be using “intelligence” as a term referring to Jake’s awareness of and competence at identifying and solving problems throughout this sequence. The term as I am using it here is only relevant in the context of the themes and language Homestuck sets up. 

Intelligence, competence, and awareness are key parts of Jake’s relationship with the people around him, and particularly with the way he is dehumanized, taken for granted, and abused. 

In fact, almost every character Jake is close to in canon questions his intelligence at some point:

And this dynamic isn’t just present in the characters. It’s in the fandom as well. 
Fandom perception of Jake English often considers him comically unaware of his surroundings and reality, dense and slow or even straight up unable to pick up on ideas that come naturally to many of the other characters.

This is true across the board of opinions of his character: Some consider Jake a self-absorbed, thoughtless asshole, others still consider him a helpless victim who isn’t quite quick enough on the uptake to keep up with how he’s manipulated by others.

It’s hard for us–the fandom, I mean–to be sure of just how much Jake understood about how badly Lil Hal treated him (and by association, Dirk, in much of the fandom’s eyes). Or that Jane liked him. Among other things. It’s part of the general air of helplessness and incompetence that surrounds Pages, I guess, and air set up around Jake for quite a lot of his narrative:

(Note: This is Brain Ghost Dirk specifically questioning Jake’s intelligence.  
I hope you’ve got some good note taking pens, because this is going to be important later.)


It’s pretty much accepted that the degree and reach of Jake’s intelligence is, at the very least, a matter of debate. I am here to say that it is not. At all. And I can prove it. By allowing ourselves to doubt Jake’s intelligence, we–the fandom– have performed the equivalent of deciding Dave’s cool guy act is the real deal. 

We have fallen for Jake’s bluff. I’ll explain. 

Plenty of people are aware that Knights, as a class, tend to act out personas that reflect ideas about how they think they should act. 
For Dave, that’s the stoic Cool Guy archetype, which he eventually grows out of:

For Karkat, it’s his ideas of being a Ruthless Big Shot Leader, which he also outgrows by the end: 

And Latula has the thing about being a R4D SK4T3R G4M3G1RL!!! I don’t really think we need a quote to establish that–Dave and Karkat prove my point well enough, and this is pretty much common fandom knowledge. 

What I don’t think is common fandom knowledge is that Pages do the same thing, but for a different purpose. Pages and Knights both set up Personas that they project into the outside world. And both of them do it to control how other people perceive them. But for different reasons.

Knights do it because they want to be perceived as capable, in control, and unflappable, basically. Karkat wants everyone to rely on his executive ability as a Leader. Dave wants to be admired and validated by his friends, or. Well. Anyone. In essence, Knights want to be relied on by others. 

Pages, on the other hand, develop this fabricated identity for themselves. At this point, I should mention I’ve come to agree with Tex Talk’s view that Knights are a passive class and Pages are an active one. 

Knights use their aspect to benefit others. Pages use it to benefit themselves.

Horrus develops a strangely blank persona, so conspicuously fake it is hard to tell if he even reacts to input–so it’s easy for him to just pretend he didn’t hear it when Rufioh tells him he wants to break up–again, I don’t really feel like going through all of Openbound to get all the screencaps and I don’t think they warrant that much space on this post. 

Tavros does the same thing, enveloping himself in his games and fantasy so much that he veers away from almost any responsibility in the session, and does only what he wants to…unless Vriska is stealing that ability from him. However, even through her abuse,  Tavros manages through sheer presentation of his person to encourage the other trolls to help take care of him. 

Specifically, by giving him increased mobility–mobility and freedom of movement being concepts closely related to Breath. It’s worth mentioning Tavros is able to inspire this care not just in Kanaya, but in Equius, who looks down upon lowbloods and whose culture would have encouraged him to KILL Tavros for his weakness rather than help him. 

But because of Vriska’s exploitative and cruel influence on him, I’m not sure to what extent he really lives up to his full potential. That said, he DOES manage to completely live out his own personal fantasy, coming to embody both his childhood image of Peter Pan…

BUT ALSO being the only one of the Alternian trolls to accomplish his original childhood goal: Becoming a Cavalreaper.

Get it? He’s literally cavalry. Ha ha. Is this kind of a fucked up victory? Maybe, yeah. But it’s fitting that the character obsessed with the Peter Pan fantasy of leading a troupe of “Lost Boys” never really grows up with the goals he sets for himself. Maybe it says something about Tavros, or about the nature of Ghosts–either way, it definitely seems intentional. 

Anyway, the Ghosts are another essay for another time. Time to talk about the kid I actually want to talk about:

Jake English has a fabricated persona, too. For Horuss, it’s nothingness. For Tavros, it’s endless childhood and Peter Pan. But Jake’s persona is a contrast to Dirk’s (and Dave’s) Cool Guy persona. Personas that, for each of them, sit at the dead opposite end of the spectrum from who all three characters actually are. 

And for Jake’s constructed persona is that of the Hot-Headed Hero.

And like Horrus and Tavros, Jake indulges this fantasy version of himself even when he actively knows it makes no sense to do so, simply because it’s the fantasy about his life he wants to live out. 


But like Dave and Dirk’s presentation of themselves as cool guys unphased by anything, this persona is a complete lie.

Jake is demonstrably extremely nerdy…

He collects pointless minutiae about his favorite movies and comic books. He looks up to comic book heroines so much he wants to dress up like them. 

And also intelligent, curious, and good at evaluating the potential consequences of his actions–traits he literally willfuly holds himself back from. 


His Modus is by far the most complex of all the kids. He uses a Puzzle Modus that allows him to fit any amount of items he wants in it’s storage space…so long as he can successfully spatially fit every single object within a finite space. 

And Jake captchalogues a LOT of shit. Meaning he has to keep all of this inventory and know how to spatially navigate it to fit everything he wants at all times. And he does this casually, as a part of his daily interactions with the world around him. 

But perhaps more telling than that is how Brain Ghost Dirk describes his own creation: 

Brain Ghost Dirk implies that he is a Dirk splinter, but specifically a Dirk splinter that exists entirely through the ideas Jake has about Dirk. 

In other words, Jake knows and understands Dirk so well that he can pretty much perfectly remember his body, movements and mannerisms on command. Again, not even actively, it’s just kind of how Jake English rolls-thinking about Dirk all the time is the status quo. 

And Brain Ghost Dirk claims to be Jake’s literal brain, talking back to him.

Which means when Brain Ghost Dirk calls Jake out on something, he is forcibly communicating important information to Jake that Jake is actively choosing to ignore. It’s Jake talking to himself, not Dirk giving Jake information he doesn’t have by talking to him through Brain Ghost Dirk.

We have reason to believe the Ghost about this, since Dirk never expresses having any awareness of Brain Ghost Dirk’s existence. 

So what important information does Jake willingly ignore? Well, earlier we saw him justify beating up a random alien girl even though a part of his brain knew she wasn’t actually Sea Hitler, and he kind of just wanted to play the part. But surely we can do better than that. How about everything about his friends’ feelings about him that makes him uncomfortable?

Callmearcturus wrote this brilliant thesis outlining why she thinks Jake deliberately manipulated Jane into failing to confess to him
, but I’m gonna run over it real quick to ground it in this context and sell you on the idea that this is, in fact, not a theory and explicit canon.

Because we don’t need to guess at this by reverse-engineering Jake’s well-established feelings for Dirk. Roxy literally tells him Jane has these feelings before Jane herself does:

Jake recognizes what Roxy is saying, and guesses what she was alluding to on her own. Roxy doesn’t deny it by any measure, and when she asks Jake to drop the issue, Jake says he understands the dilemma this puts her in with Jane. 

To stress: He received this information in confidence and knows it for a fact. And he trusts the information he receives so much that he then ACTS on it. After talking to Roxy, Jake messages Jane himself, OPENING by mentioning Roxy told him Jane was going to be contacting him.

And then he himself broaches the subject of their romantic feelings for each other:

But when Jane outright asks him if he has something he wants to say to her, Jake expertly dodges the question, keeping his options open while putting the onus of taking the first step and revealing her feelings on Jane again. 

And then, once he’s got her trying to answer…

He KEEPS asking her, interrupting her several times while she starts to try sorting out her thoughts. He puts Jane under a LOT of pressure here, which…considering Jake literally KNOWS the answer, is a pretty shitty thing to do! Even if Roxy hadn’t LITERALLY TOLD HIM mere minutes ago, Jane’s reactions here would have confirmed Jake’s suspicions beyond a reasonable shadow of a doubt. 

Unless, of course, one has a reputation for not thinking things through or being aware of their surroundings. 

Once Jake has his answer, he doubles back, making sure to ask her AGAIN while she’s off balance….

And he then shuts her down when she tries to take the initiative on taking it back and being honest, quickly following up by IMMEDIATELY letting her know he’s relieved about this–signaling his disinterest BEFORE she has a chance to reveal she actually does have a stake in the matter.

He then uses his goofy, unaware, trusting persona to set up a status quo where Jane continually helps him by acting as a sounding board for all his thoughts about Dirk–essentially, putting Jane inside a gender-flipped version of the laughable stereotype of The Friend Zone.

But wait a minute. Jane is one thing. But if Jake is actually this smart, aware, and capable–then it kind of has ramifications across all of his character interactions. What else changes if we read Jake this way? I know I said my next post would be on Roxy, but, uh…yeah. This one kind of got away from me. 

In our next entry, we’re going to talk about Why Jake does what he does, and Why he seems so genuinely confused about it later into his narrative. We’re also going to look at some of the other consequences his Jake’s approach to his friendships has for his friends. 

We’ll also make a case for Why exactly Jake ultimately falls in love with Dirk Strider, how and when Jake demonstrates and acts on that love, and if I can manage to squeeze it in–maybe even uncover the way the Heart aspects’ two different themes of  Souls and Romance/Shipping are conceptually connected.

And on that note, it’s worth pointing out that there’s one notable exception to the list of people fooled by Jake’s presented persona. One character who not only never talks Jake’s intelligence down…

But instead talks Jake’s intelligence UP when he talks badly about himself. 

Dirk Strider.

See you again soon, everyone. 

Until then, Keep Rising. 

Who you are doesn’t matter.
— 

“Mary Morstan”, Murderer, Gaslighter, and Abuser (The Final Problem)

Gaslighting: a definition: 

A form of abuse that centres around destabilising the victim’s perception of reality and devalues said person’s experiences and feelings. This can be done in private or in front of other parties. In the latter case, the victim is also humiliated and devalued in front of someone else. 

Typical statements of gaslighting: 

Victim: I’m cold. 
Gaslighter: It’s not cold in here. 

Victim: It’s been about fifteen minutes. 
Gaslighter: No it hasn’t. It’s only been three minutes. 

Victim: I’m really upset about this! 
Gaslighter: No you’re not. 

Gaslighter: It doesn’t matter how you feel. It doesn’t matter what you want. Who you are doesn’t matter. What you perceive isn’t real. 

Mary gaslights John in the majority of their canonical interactions. I’ve posted about this before, but their opening scene in HLV is classic gaslighting. 

John: Look, is it Sherlock Holmes you want? Because I’ve not seen him in ages.
Mary: About a month. 

Correcting his perceptions in front of a third party.

Kate: Who’s Sherlock Holmes?
Mary: (To John): See? That does happen.

And again. 

Mary: Seriously?
John: Why not? She’s not going to the police. Someone’s got to get him.
Mary: Why you?
John: I’m being neighbourly.
Mary: Since when?

Questioning his motives. Then there’s this lovely bit: 

Mary: Why are you being so…
John (while physically trying to leave the scene): What?
Mary: I don’t know. What’s the matter with you?
John (yelling): There is nothing the matter with me. Imagine I said that without shouting.
Mary: I’m trying. 

Now Mary has belittled John to the point of anger, leading to him attempting to leave the scene, and with her last line here, makes it seem as though John is the aggressor. That’s another classic move. She hasn’t succeeded in getting him to apologise yet, but that’s the eventual aim: to make John feel as though he was in the wrong all along. Then Mary makes it clear that John isn’t going to be permitted to leave without her and tries to expressly forbid him from going. He gives in and Mary not only comes, but drives - she takes over. If that isn’t enough, she then points and laughs at the tyre lever John gets out of the trunk. 

Mary: What is that??
John: It’s a tyre lever.
Mary: Why?

Why indeed, Mary? Why would John Watson want to arm himself upon going into a smack house? Why ask that, except to belittle John still more, make him feel ridiculous? This behaviour continues throughout Mary’s actual life. She doesn’t feel, upon having shot John’s best friend in the heart, any need to apologise, and she feels completely justified in castigating John over not having spoken to her in months (again, the aggressor turning the tables on the victim here). She refers to John and Sherlock as a dog and a pig at various times. She insinuates that their friendship is only possible with her there to broker it. She traps John into a pregnancy that was clearly a surprise to him. She uses her own death scene to manipulate John into feeling guilty, citing that her alias of “Mary Morstan” was her favourite one ever, while still owning ninja assassin outfits, firearms, and drug-infused papers like a Cold War spy. She literally tells Sherlock to get himself killed or kill himself, “go to hell, Sherlock”, she snarls in a video that magically pre-dates her death. 

“Go to hell, Sherlock.” - “Mary Morstan”, The Six Thatchers

And now, not only does Mary Morstan claim credit for having “created” a friendship that managed to survive despite everything she did to them both, but the creators of this monstrous character have validated it, as @constancecream posted here. Who they are doesn’t matter. Who they were before Mary ever came into their lives doesn’t matter. They’re whatever she says they are. The creators are gaslighting the audience through their precious ninja assassin/mommy in turned-up jeans/Mary Sue. 

We observed: a woman who shot Sherlock in the heart, who lied to John from start to finish, who uses gaslighting and reverse psychology (”if you read it, you won’t love me anymore”) to bend him to her will. We were told that consequences don’t matter when you’re Mary Morstan; they only matter when you’re Sherlock Holmes. We were told that Sherlock and John being on the side of the angels doesn’t matter when it comes to the women they “need” to be with - someone who murders for personal gain, and an employee of Moriarty’s who betrayed her nation for personal benefit. We were told that being evil only matters if you’re male; otherwise it’s sexy or cute or both. We were told that our observations were wrong: Mary was never a villain - hey, nobody’s perfect! Mr & Mrs Psychopath it is! This isn’t the only place they did this to us. We were shown a tarmac scene so starkly sober and heartbreaking that we barely batted an eyelash at Moriarty’s seeming return. And then they told us it was all a silly drug trip, whee, are those ginger nuts????, and it left a flat taste in our mouths. Because we were told that what we saw wasn’t what we had really seen after all.

What we saw isn’t what we saw. What we observed doesn’t matter. Who Mary really is doesn’t matter. Who Sherlock and John already were doesn’t matter. Listen to nothing but Mary’s voice; that’s all that matters. 

They gaslit us. 

Nesta could feel the grey light of dawn pressing against her eyelids, but she refused to open them. Last night had not been what she’d imagined. It had not been what she’d dreamt of or longed for…

But it had been perfect nonetheless.

She’d been sad and angry again, and Cassian had stayed with her, had walked her home after the meeting. He’d not gone to many meetings in the year since the war’s end, and they’d not spoken much in the weeks since Starfall—when he’d left her, crying and alone and hollow in the entryway of her small apartment.

But yesterday had been the anniversary of her mother’s death. A date Feyre was too young to recall, a date Elain was too medial to look back on, a date Nesta was too old to forget.

So Nesta remembered. Because Nesta always remembered. Because Nesta remembered everything even if she wanted to forget.

Because someone had to remember.

Keep reading

MORE LANGST I SEEK VALIDATION DESPERATELY AND THIS IS THE ONLY WAY I GET IT. pls i dont want to be seen as whiny but i would love it if you left nice comments if you have any

-lance and his siblings learned to sing a bunch of duets and songs that needed 3 or more people together (lots of songs from Heathers and Hamilton and assorted pop songs). now that he’s in space, no one can sing with him.

-lance somehow?? starts crying out quintesscence, and he gets so sluggish and tired that eventually he falls over during training. allura has to save him (she has an affinity for manipulating quintesscence). (a title for this one could be- you had stars in your eyes … but you cried them all out)

-lance can freaking draw so well, so so well. lately he’s been flirting a lot with allura and annoying everyone, and when he wants to give everyone drawings he’s made of them everyone turns them down (not hunk tho, he knows his friend’s talent). 

-shiro went missing, and since slav can see into alternate realities, he can see shiro talking to him in them, and he relays the messages to the others. not once does shiro mention lance.

-lance has to climb/fly up a tree to escape a troop of galra. when his branch gets shot and he starts falling from a 100 metre height, he suddenly remembers all the summers he spent climbing trees with his siblings. 

-during a mind meld session, allura looks around in Lance’s head and sees images of his sister. the distinct longing to see her makes her stumble back, and she accidentally shapeshifts into lance’s sister in her haste to understand his feelings. chaos ensues.

anonymous asked:

we played this at a classics crew date so, fuck marry kill with the first & second triumvirates maddie

first triumvirate: 

fuck caesar. i feel like any longlasting relationship with him would’ve resulted in my death and also i’m really extra about caesar so this is the way it has to be. remember when he crossed the rubicon and started a civil war like a boss ass bitch? i’m into that. being stabbed 23 times? not as much.

marry crassus because the dude was so fucking loaded, he was buds with caesar and he hated pompey which are good qualities in a husband. 

kill pompey. friends with cicero which is straight up unforgivable. seemed like a tool. started a civil war. also not that i frequently jack off to busts of roman patricians but his bust is fucking ugly. a two at best.

second triumvirate (ho boy): 

fuck mark antony. if anyone is surprised by this, you haven’t been around my blog for long enough. my boy and i have a lot of things in common, mainly being drunk sluts with suicidal tendencies. plus, he possibly married cleopatra and she manipulated him into killing himself so i don’t think that would work out very well. 

marry lepidus… u know what… i feel like he’s the sort of guy that u could walk all over. u could get away with doing whatever the fuck u wanted to do and he’d probably just leave u alone before dying peacefully. dream marriage. 

obvs i would kill octavian because there is nothing i like about him, he was a limp fish of a man and used other peoples’ successes for himself (i mean i understand this is ancient rome and everyone did this but he took it to an all new level). dedicated like ten years of his life to demolishing mark antony into the dust. he was also devious af so i feel like you’d always have to watch ur back if u were anywhere near him, and u’d probably slip up one day and he’d kill you so. no thanks.

Moriel Meta - in which Moriel is actually a healthy and respectful relationship, who knew?

I dislike the ‘Mor has to fix the Cass/Az/Mor situation/Mor should just talk to Azriel about everything/Mor has to be the one to change things and convince Az that he’s worthy of her’ for a number of reasons, most of which I’ve whinged about before (largely that it’s…kind of gross that all the emotional responsibility for this triangle is placed on..the only female character involved in it which is…deeply unfair) but apart from that I think it just shows a lack of understanding as to these characters and how they work and why Mor hasn’t said anything after all this time? 

And people say she should just get on with it and she should just say something and stop all of this but…I don’t think they consider the more problematic aspects of that? Azriel is in love with her and has been for a very long time and she knows this. I think that…In a way if she confronts him about it it’s like telling him that he has to be with her now. She puts him on the spot and forces him to approach a subject that she knows he’s not ready for

“So if he were ever interested would you … ?”
“The issue, actually, wouldn’t be me. It’d be him. I could peel off my clothes right in front of him and he wouldn’t move an inch. He might have defied and proved those Illyrian pricks wrong at every turn, but it won’t matter if Rhys makes him Prince of Velaris—he’ll see himself as a bastard-born nobody, and not good enough for anyone. Especially me.”

 This scene has been approached in a whole host of different ways from people thinking that Mor is flat out wrong to assuming that this has happened before and she knows this from past experience but…I always just kind of read it as it was written. Az doesn’t think he’s good enough for her. It doesn’t matter what she does. It doesn’t matter if she tells him that she wants him. It doesn’t matter if she peels her clothes off and offers him every inch of her. This isn’t a question of want. It never has been. The problem isn’t desire, it’s not even love, it’s worth. 

We’re talking about the person that Mor spent four hundred years convincing it was okay to take a break from work every now and then and go to a club. We’re told Az’s dedication to his work and the lengths he push himself to border on sadistic. This is not someone who takes what they want. This is someone who struggles hugely with self-esteem and self-worth. This is someone who was locked in the dark as a child and set on fire by his brothers as a game because he was that disposable and that insignificant and had that little value. This is someone who is terrified of ever being in that position again and who therefore works ceaselessly and denies himself the things that he wants, even small things like rest or leisure time, because he cannot let himself not be useful again for even a moment because what if they lock him away again because he doesn’t matter? 

So, fine, let’s say Mor does what everyone says she should do. She goes to Az, tells him how she feels, tells him how she knows he feels, tells him what she wants, puts him on the spot, forces him to do something about it. Either: he does as Mor (who’s known and loved him for 500 years) believes and simply does nothing, freezes up, doesn’t move, doesn’t act. Or, okay, maybe he gives in to her because this is the woman that he loves, you know? The woman he’s devoted to. The woman he would look up from a pool of his own blood and snarl at the king who controls the poison running through his veins in order to protect. So maybe he yields. Maybe he says okay. Maybe he accepts her because well this is what she wants. 

For a start that…Doesn’t change anything? Mor going to him and telling him she loves him and wants him and peeling her clothes off in front of him isn’t going to change a damn thing. Rhys making him prince of Velaris isn’t going to change a damn thing. There is nothing that can be done externally to change Az. (And Mor is not under obligation to change him just because she’s a prospective partner that’s a seriously damaged way of thinking too) Az has to change Az. Az has to decide within himself that this relationship is something that he wants, something that will be good for him (and Mor), something that he deserves, something that he can have. Mor cannot do that for him. 

You can’t fix someone’s insecurities just by telling them that you love them/want them? That’s…Not the way this works, especially not for someone like Az where it’s such a deep rooted thing. This is something that he has to work himself through and in the meantime Mor (and Cassian who is…in this almost entirely for Az) will make damn sure that he has the time and space that he needs. However much of it that might be. 

And for a second thing her doing that would be…really unhealthy? Think about it. She’s essentially going up to this insecure, damaged person who’s deeply in love with her and saying: right, I love you, I’m tired of waiting, I’m making an executive decision here, one that isn’t really mine to make (it’s not Mor’s decision/up to Mor to say when Az is ready) and I’m telling you we’re doing this. That’s…Not okay? Like that’s borderline emotionally manipulative? She knows how Az feels. She confronts him about it and she uses that to get what she wants? And it’d be damaging for him. No matter how much he wants this. He. Is. Not. Ready. For. This. Relationship. 

And so many people call Mor out for this? As though it’s her fault? As though it’s a bad thing that she respects his boundaries, respects his insecurities, doesn’t try and force him to change for her because it would give her what she wants? She waits for him. She has waited five hundred years for this man to be ready. She has never pushed him. She has never pressured him. She never will. 

Because this is Mor. And is it really so difficult to understand why Mor, who suffered horrendous abuse of her own as a child, which shapes her just as much as it shapes Az, would wait? Is it so difficult to imagine her refusing to put Az on the spot and pressure him and control him the way she was controlled? Because oh well everyone around you expects you to do this so you should.

 Is it really difficult to imagine her refusing to tell Az who he should love and when he should be with them even though he’s not ready? The way her family told her that she should be with a prince of the Autumn Court, even though she wasn’t ready and didn’t want that? 

Is it really so difficult to imagine Mor, who spent her early life being broken by the demands and expectations and pressures of others - her family, those who were supposed to be closest to her, love her, protect her- refusing to put similar demands or expectations or pressures on another? Especially someone she loves so much.

 Is it really so difficult to imagine Mor, who was shown so little respect that once she was no longer of use or value she was treated like an animal and cast out to die, to be someone else’s problem, would be able to muster up enough respect to let the person she loves so much make their own choices in life? The things that were denied her? 

Is it so difficult to imagine that Mor wants to allow Az a choice? That she feels he should be allowed to choose what he is ready for? And not have her decide for him? Not have her step up to him and say, this is what’s best for you, this is what you want, this is what I’m deciding that you should have?

Is it really an indication that Mor doesn’t love him that she waits? That she’s waited for five hundred years. That’d she’d likely wait the same again, that she’d likely die before feeling like she’d forced him into a relationship with her because she decided that it was time and he was ready and that this was what was best? And therefore that gave her the right to strip away his choices because she knows what’s best? 

Is it really such a terrible thing for one partner to actually respect the other, their history, their situation, their insecurities and understand that they can’t just make these disappear with ~the power of love~ because that’s not the way that mental health works? And that maybe the best thing they can do is not put any extra pressure onto them and give them time and space and support to work through things in their own time and way? 

And is it really so difficult to believe that this is actually the healthiest and best thing that Mor could do both for Azriel and her relationship with him? And that anything else is unfairly pressuring him and manipulating him and forcing him into accepting something that he himself isn’t ready for? And that an emotional abuse victim doesn’t want to emotionally abuse the person that they love? And that that really isn’t a bad thing, you know; that anything else would be toxic and one-sided and selfish and unfair?

Is it? 

TL;DR: Mor is actually capable of respecting Azriel and demonstrates her love for him through that respect in allowing him space, time and a choice in his own life and the relationships he feels ready to pursue. Her keeping her distance from Azriel, the man she loves, for over five centuries is selfless af and I am tired of seeing it twisted around to make her appear to be the opposite. She’s actually dealing with this situation in the best, healthiest way possible and if you’ve got an alternative to what’s happening that doesn’t involve a fukc tonne of coercion and emotional manipulation backing Az into a corner and forcing him to deal with something he’s not ready to face I’d love to hear it :) 

6

#here we see two different times where we hear more about mon-el as a child #where we see how much he loved his mother #so much that he would cling to her leg if she wanted to leave a room  #she has manipulated mon and abused him #she uses his love for her to manipulate him even as an adult #he loves her and it’s clear just how much he has since he was a little boy #and then people call him a coward because he couldn’t kill her #he couldn’t pull the trigger because once again he became that little boy who would grab her legs whenever she tried to leave him #or who told her he would always love her #he couldn’t do it #he isn’t a coward #he’s a daxamite who loves this woman even if she doesn’t deserve it

When Quiet Is Violent - Part 3 (End)

Masterlist  -  Part 1  -   Part 2

Summary: You’re retired, living a quiet and secure life when your ex, Steve Rogers, turns up on your doorstep with his best friend, seeking refuge. (bucky x reader, enhanced reader)

Prompt(s): Okay I know I already wrote Night Walks with these prompts but I really wasn’t happy with it, so here is attempt #2. @pandarositarequest: 93 and 94… but Reader being upset rather than Bucky?

93.“I’m telling you. I’m haunted.”
94. “I had a bad dream again.”
Plus anon request: 64 “Here, take my blanket.”

Warnings: swearing, fighting, deathy stuff and the aftermath.

Word Count: 3671

Author’s Note: The angst train’s brakes aren’t working. Prepare for a trainwreck. :) Remember that I love you.

Originally posted by dewiedawn

 Tony finally made it to the end of your long drive and stepped out of his car. Pieces of polished red metal immediately shifting into place around his body as you stepped down from the porch, looking casual and unassuming.

“Y’know most people call first,” you called to him, testing the waters, “and it works out for everyone, see, because then I can tell them to rent an SUV with snow tires, not a…” you paused, leaning to the side to peer around him at the flashy car that was just so Tony. “Bugatti?”

“Really? I thought you liked surprises?” he fired back, walking casually to the front of the car, face mask open, holding his hands out to the side in mock surprise.

“Is the car the surprise?”

Keep reading

Amara and season 11 just don’t work without Destiel

Based on my thoughts and seeing a lot of others thinking the same I went through and rewatched season 11 focusing heavily on Amara’s scenes, in the end putting them back to back to really look in detail and wowzers, that was eye opening.

As well as all the huge amounts of subtext throughout the season as usual, if you watch all of Amara’s screen time and follow her interactions with Dean and her overall storyline (which is the whole of season 11′s overall storyline, just saying) it just does not function without Dean and Cas’s bond. Without Destiel this whole season just… doesn’t work.

So, just looking at the obvious parts (I won’t go into too much detail as I wrote a whole other post about Amara as an exposition for Dean’s feelings here….).

Originally posted by nino-possy

The real ‘upping the game’ in the exposition of Dean and Cas’s feelings towards each other and, coincidentally, the overall arc of the season, comes from THIS POINT, where Amara is textually and visually put forward as a love interest for Dean. There is a clear parallel of Dean/Amara and Dean/Cas throughout the season 11 narrative and it is from THIS point that both Amara and Cas are portrayed romantically, directly mirrored and used in each others’ narratives. This is not a coincidence. 

If it were more referenced beforehand perhaps I may be a little more forgiving and allow more of a ‘platonic profound bond’ reasoning but it is precisely because of this clear move into a love interest role for Amara that Cas and Amara are then clearly portrayed as ‘good bond/love’ and ‘bad bond/love’. One is forced on Dean against his will and he clearly rejects it, one is at its core based on free will and he clearly is doing everything he can to save Cas, even going up against Amara to do this, a very well done full circle of parallels leading into each other… *ahh narrative tie-ins and mirrors - sighing with contentment*.

SO… Since the midseason finale and this scene:

We have the Amara/Love monster who tells us textually that she can “feel the love that you feel”, she uses the particular and relatively precise and uncommon word ‘longing’ which we all now clearly associate with Cas and praying, she talks about his feeling shame… Then moves onto Amara, reminding him of Dean’s way ‘out’, of the ‘bliss’.  For me although this isn’t Amara, the love monster does actually use the words “who I am doesn’t matter” and therefore it’s clear that the information she’s giving us is what is important. This is a clear exposition.

Dean then clarifies to Sam that “to call it desire or love…it’s not that”. So the love monster from Love Hurts - who was talking about Dean’s love and longing and shame… She uh, wasn’t picking up on love for Amara as Dean has explicitly told us that is not what he is feeling. So…. who might it have been referring to? 

The attempting expelling of Lucifer. Is just so much Destiel and has been covered so many times. All I’m going to say here is that despite “God’s freaking sister”, one of the two most powerful beings in the universe, being right there, Dean’s main concern is Cas to the point that he calls out for him in front of everyone else and reveals his weakness, not a particularly restrained or smart move for a trained hunter. Amara and Lucifer both notice this and we are meant to notice them noticing
Why is this important? To clarify that Dean’s bond with Cas and his worry for him outweighs his bond with Amara.

The longing scene. Again, much meta-d. Basics being, Dean is longing for Cas (while actually muttering ‘where are you Amara’ clearly worried for Cas as it is Cas not Amara he is talking to Sam about around this scene. Amara has an actual real, substantiated ‘bond’ with Dean through the mark, sure, but it IS NOT AS STRONG AS HIS BOND WITH CAS (which as far as I’m aware doesn’t actually have any real basis unless the hand mark or something has a role but hasn’t been touched on for 8 years so I’m going with no), ergo Amara has to use Cas to find Dean. Then yes, she totally manipulates him into coming to rescue Cas/Lucifer because Dean is such a good friend

After this we get another very interestingly subtextual scene where Dean and Sam are interviewing Donatello and it is only once Sam mentions the word ‘Angels’ that Amara again immediately finds and comes to Dean.

Again proving that Dean’s bond with Cas is stronger than his bond with Amara.

I particularly love the near-finale narrative, after she expressly tells Dean she cares for him and wants him to be happy, to have bliss - the sandwiching of Mary and Cas in her story which is so relevant to season 12 - how Amara shows that she is capable of just de-materialising Metatron in an instant because she is attacked and angry, she then notices Mary’s picture, she then is again attacked and angry but ‘saves’ Cas, essentially ‘resurrecting’ him from Lucifer’s control, then of course resurrects Mary.

( #Narrative parallels and tropes are a thing is one of my favourite tags).

These are all writing/directing/production choices that were made to show these scenes one after the other and revealing her choices here. Are we not supposed to wonder why she made these choices? 

Are we not supposed to wonder why Amara, all powerful being, is incapable of contacting Dean without going THROUGH CAS (who Dean expressly states is “small fry” in comparison to her), or having a conversation with him where Cas isn’t in some way referenced once she is herself portrayed as a love interest? 

Or why the writing/directing/production team made these choices? 

There is a clear narrative being told here.

If you watch all of Amara’s screen time throughout this season it is just so clear what she is exposing, what her interactions with Dean are based on, how her storyline does not function without Dean and Cas’s bond. I’m not saying her story is pointless, it clearly isn’t, just that it rests on their bond so this shows how extremely important to the whole story their bond is.

Any why? Why are we being shown all this, why are we being encouraged to question all this? I was just reading @charlie-minion’s excellent overview and loved this post with great insight: “The question in season 9 was “who do you love?” Whereas I think the questions in season 10 are “what kind of love do you feel?” and “whose heart are you gonna break?”. 

There is a clear and ever evolving question about Dean’s feelings throughout the seasons which has now kept on into season 12. I think these questions have been more or less answered now, the questions for season 12 and moving forwards are “is this love reciprocated”, which has already been answered textually, “will you be able to admit to this love” and “what are you going to do about it”…

Originally posted by sooper-dee-dooper-natural

You Trust Me, Right?

Prompt: You’re a friend of Jacob’s–you’re basically his PA, like Harrison is with Tom. You’ve been able to hang out with them a lot and after a while, Tom started to develop feelings for you. Debating continuing this. Let me know what you think

Warnings: fluff, some language, (nothing sexual–I used NEIKED’s song title for reason’s you prob. already know)

A/N: Requests are open! I will basically write anything (good luck finding something I won’t) and I can write for any of Seb’s characters (except Jack and Carter–I haven’t seen those yet) I can write Tom fanfic, Harrison fanfic, any marvel character. 

FEEL FREE TO MESSAGE/ASK/ANON


Part Two


When one of your closest friends asks you if you want to be his bagel bitch for six months in Atlanta on the set of Spider-Man: Homecoming and be paid for it, you say yes. (Y/N) had been by Jacob’s side since his nerve wracking process of auditioning for Ned Leeds began: she helped him go over his lines, set up meetings with the casting directors, and basically took over the role of his manager, so when he was given the part, the most obvious way to thank his Marvel obsessed best friend was to bring her along as his ‘bagel bitch,’ also occasionally, but lesser known as ‘coffee cutie.’

Since Jacob had so many scenes to run with Tom, the pair became fairly close as well as their PAs. Wherever Tom went, Harrison went, and wherever Jacob went, (Y/N) went too. It was never awkward for (Y/N) though. She had always found her guy friends to be more genuine, interesting, and just more fun to be around than her female friends, and Harrison and Tom were just just as accepting of her as she was of them.

After the filming for Spider-Man wrapped up, (Y/N) decided to take a quick visit to her parents’ house and see her family before the chaos of press tours began. She had been ‘off-duty’ for a couple of months before Jacob called her back into action.

“Ready for Singapore?” he asked the instant she opened the taxi cab door.

“Not ready for the flight,” she muttered in reply and crouching into the car.

“At least Tom and Harrison are flying out with us,” Jacob added. (Y/N) furrowed her eyebrows together in confusion.

“You didn’t tell me they were coming,” she stated.

“Does it matter?” he teased. The pair had known one another for a long time prior to the Spider-Man experience and Jacob had survived the months of filming without letting slip the weird fascination/fetish his friend had for English accents.

“I supposed not,” she said in return, keeping her head held high. “Gosh I hope you don’t run your big mouth.”

“I’ve made it this far without telling anyone your secret,” he replied.

“Jacob, you are the worst at keeping secrets from people you know.” It was true. He was the type of person to call up a friend to brag about how they’d never guess what he got them for their birthday and then immediately tell them what he bought.

“I’m not the worst at keeping secrets,” he protested. “I still haven’t told you that Tom had a crush on you.” He immediately covered his mouth and his eyes widened behind his glasses frames. “Damn it! Shit, I didn’t say that.”

“If my point hasn’t been proven, continue keeping secrets from me,” she sneered. “But what do you mean Tom had a crush on me?” Jacob could see that they were approaching LAX and figured that since the secret was out he’d catch her up on the details before they were around Tom and Harrison.

“Well, during the few weeks, I think both of them had a crush on you or thought you were cute or whatever–I told them they were crazy because you will forever be brace-face Urkel to me. Tom came up to me the second week asking for your number; he told me not to tell you he was asking for it and then started talking about how pretty you were and how nice you were and I was like: ‘we’re talking about her right,’ pointing at you, ‘the bagel bitch?’ It was funny because he didn’t know how chill we were with that name and kind of got defensive about it.”

“So Haz and Tom both have a crush on me?” she asked, certain he was holding back information.

“No, Harrison had a crush on you. Gosh, (Y/N), not everything is about you, you know,” Jacob laughed as they pulled up in front of LAX.

“So Harrison had a crush on me and Tom has a crush on me?” she asked pretending to be confused to get Jacob to spill.

“That’s what he told me a month ago. I still have the messages if you don’t believe–” Jacob continued before gasping, holding a hand over his mouth and using the other to point at her face accusingly. “You sneaky little witch!” he cried out as she shuffled out of the car and made her way toward the trunk to grab her luggage.

“I’m not going to say anything, Jacob. Odds are Tom isn’t going to act on anything so why would I bring it up and make this awesome trip to Singapore awkward?”

“Just go out of your way to be one of the guys, okay?” Jacob whispered as they rolled their bags into the airport to meet up with Harrison and Tom.

“Wouldn’t that raise suspicion?” she asked under her breath, intentionally screwing with Jacob’s logic just as she was trying to manipulate information out of him.

“Well then don’t do anything too girly,” he continued.

“Why the hell would I do that?”

“I don’t know!” he muttered as the blonde and brunette Englishmen came into sight.

“How about I just act natural?” she suggested.

“That sounds like a good plan!” he called in return as they met up with the other pair voyaging across the world with them. Harrison had on a pair of jeans and a t-shirt whereas Tom wore black sweats and a black t-shirt. Jacob had on athletic shorts and a t-shirt and (Y/N) wore leggings and a big t-shirt. She didn’t bother too much with doing anything with her face or hair since they were going to be on a plane for the majority of the day so her hair was tossed into a ponytail and barely applied concealer. She honestly thought she looked like the grim reaper.

“Jacob! (Y/N)!” Tom and Harrison greeted in unison. 

“Hey,” (Y/N) responded while putting her arms around Harrison in a warm hug before moving on to Tom. “I’ve missed you!”

“Are you ready for this?” Tom asked in an excited voice as they made their way toward their gate.

“Shit’s about to go down in Singapore!” Jacob stated, filling the position of hype-man. The four of them made their way onto the plane, placed their carry-on bags in the compartment above them, and started to settle into their seats.

“Oh, Jacob,” Harrison called out just before the seatbelt sign flicked on. “I forgot I had a video to show you! (Y/N) do you mind switching me seats?” (Y/N) was hesitant to move. She had already strapped herself into her seat as tightly as physically possible and was begging her body not to betray her as she faced her fear of flying for the millionth time–each ride more terrifying than the last.

“Um, sure,” she said and hurried past Harrison. Of course, she thought to herself. He would be sticking me in the window seat. She awkwardly inched past Tom, who was already seated and strapped in, and settled into the seat Harrison traded her. She pulled the seatbelt tight across her hips and dreaded the second the plane began to move. “Shitshitshit,” she muttered to herself.

“Is everything okay?” Tom asked as he pulled his headphones off his head and looked at her.

“Everything’s fine,” she lied.

“You hate flying don’t you?” he questioned her as she closed the window Harrison left open and dug her nails into her skin.

“Maybe,” she chuckled at her own irrational fears.

“There’s a reason humans were created without wings! If we were meant to fly, we would have them,” she grumbled as the pilot lined up with the runway.

“I wouldn’t have pegged you as someone who was afraid of flying,” Tom said with a smile playing on his lips.

“What makes you say that?” she asked in response as his voice and eyes distracted her from her pounding heart and quickened breaths.

“You look fearless and have an intimidating personality,” he explained while turning his body in the chair to face her.

I’m intimidating?” she scoffed. 

“Hell yeah you’re intimidating,” Tom huffed. “Look at you!”

“Is it my resting bitch face?” she asked quickly. “I’ve been told I have that.”

“Well,” he paused for a moment. “Look straight for a moment,” she complied and he surrendered to her observation, “yeah, you do.”

“Damn,” she huffed playfully, trying to avoid Tom bringing up his supposed feelings for her. Just then the engines of the plane started to roar and she tugged violently against the seatbelt one more time, preparing for take off.

“(Y/N), you trust me, right?” Tom asked as her jaw clenched. All she could do was nod and he smiled at her, feeling as though her sharing this vulnerability with him was proof of her trust in him. He grasped her hand and she held his just as tightly as the plane began to propel itself down the runway. “You’re going to be okay,” Tom said softly as he opened her window. She looked at him in pure horror, wondering how a person could ever do such a thing, and then quickly shut her eyes. 

Once they were in the air and the plane leveled off, the grip she had on Tom’s hand lessened and their ears popped from changing altitudes. (Y/N) was humming ever so quietly that he had to stare at he throat to see whether or not it was her before speaking.

“Are you humming Metallica?”

“It calms me!”

anonymous asked:

Do you think any little part of Azula ever loved Zuko? While manipulating him in season 3 did she ever enjoy his company? Playing volleyball and getting him from the old family house in "The Beach", encouraging him to go to the war meeting sans formal invite and hiding his secret Uncle visits? All those years ago she warned Zuko about Ozai's plan to kill him and tried to get him to spy on Azulon and Ozai. Wishful thinking?

Yes, Azula loved Zuko. You can see her genuinely happy about playing with him as kids, before their mother disappeared and their father started to put more pressure on them both:

I think she still does care about him, in her own way. She’s genuinely concerned about him, here:

 
Azula: I thought I’d find you here.
Zuko: Those summers we spent here seem so long ago. So much has changed.
Azula: Come down to the beach with me.  Come on, this place is depressing.

And here:

Azula: So…I hear you’ve been to visit your Uncle Fatso in the
prison tower.
Zuko: That guard told you.
Azula: No, you did. Just now.
Zuko: Okay, you caught me. What is it that you want, Azula?
Azula:  Actually, nothing. Believe it or not, I’m looking out for you. If people find out you’ve been to see Uncle, they’ll think you’re plotting with him. Just be careful, dum-dum.

(Listen to the voice acting if you think she’s just being manipulative.)

But that doesn’t mean necessarily mean she won’t try to kill him. When she shot lightning at Katara in the Agni Kai, she accepted the risk that Zuko would take the bullet for her, metaphorically speaking, and didn’t bat an eye. When it comes to maintaining her grip on power, she is absolutely merciless.

One argument I’ve seen flying around the fandom that I disagree with is that Azula’s willingness to use persuasion on Zuko in “The Crossroads of Destiny”, rather than fight against him when she didn’t truly need his help, showed that she cared about him and wanted him home. But here is what many people forget, and the reason why she HAD to get Zuko to come home, regardless of how she personally felt.

Fire Lord Ozai: Iroh is a traitor and your brother Zuko is a failure. I have a task for you…

Does Azula want to capture the Avatar as a big middle finger to Zuko? Of course. But that is NOT her ultimate mission as revealed in the Season 1 finale. She was tasked with hunting down and capturing Iroh and Zuko and bringing them back to the Fire Nation. And unless she returned with both in hand, she would have failed her original mission from her father, even if she’d defeated the Avatar. (And we all know how Ozai deals with failure.)

Now by the end of Season 2, Azula had tried to take Zuko and Iroh prisoner twice before, and each time, they’d escaped because they were a formidable team. They’d had each other’s backs for years in exile, the way we see them in “Winter Solstice, Part 1.” Remember, when Iroh and Zuko fought together in “The Awakening” and again in “The Guru,” they beat Azula plus the highly skilled Royal Guard, and Azula plus the highly skilled Dai Li, all on their own. The reason Zuko got captured in “The Guru” was because he separated from his uncle when the temptation to challenge his sister became too great.

From this, Azula learned that Zuko and Iroh were too much to take on as a united front. However, if she could prey on Zuko’s weakness and get him to abandon Uncle, then Iroh would be a) without combat support and b) less of a flight risk. Sure, it helped to have Zuko as a fall guy in case Aang wasn’t really dead, but that was just icing on the tactical cake. “Divide and conquer” was her surest way of delivering Zuko and Iroh back to her father, just as the Firelord commanded.

ok so I promised viktuuri baby headcanons and I’m here to deliver

this is pretty much a thread on twitter, but I’ll consolidate it here for convenience:

  • I hope Viktor and Yuuri become really embarrassing co-coach dads to their adopted daughter one day.
  • They’d probably name her Lyuba, because she’s the embodiment of their life and LOVE. Plus Lyuba Katsuki sounds really cute.
  • Viktor is a fan of L words after all, so I’m like 99.9% sure he’d give his kid a name beginning with L.
  • Nicknames: Lyubochka, Lyubov (thanks @3ubra).
  • I feel like she’d somehow have Viktor’s exact personality and heart-shaped smile despite being completely adopted.
  • Physically, she looks like Yuuri’s mom (which is part of the reason why they adopted her).
  • ((but her hair ends up wavy as she gets older, she has multiple beauty marks scattered on her face, and a tooth gap. She’s an absolute charmer))
  • Anyway she’s a horrible, spoiled heathen that makes Yuuri go prematurely gray because he is definitely the overprotective hover dad.
  • Meanwhile, Viktor is the free spirit papa that interprets her brattiness and tantrums as “self expression” and spoils her ten ways to Sunday.
  • ((they both spoil her though, let’s be real. Yuuri just tries to be subtle about it))
  • (((he isn’t)))
  • Obviously when she’s a kid, she clings to Viktor and favors him while saying awful things like “I don’t like daddy, he’s sooo boring.”
  • Yuuri’s heart breaks a lot but Viktor is there to pick up the pieces and Lyuba has him wrapped around her finger so he doesn’t mind being walked all over… :,)
  • ((tbh the only reason she’s so callous is because kids are kinda cruel until they learn other people have feelings too))
  • Because she’s a lot like Viktor, she also picks up on Yuuri’s moods really easily (which is why she’s so good at manipulating him into getting what she wants)
  • But my point is, when Yuuri has bad days and Viktor isn’t there and even Makkachin can’t help, Lyuba kinda just crawls into his lap and cheers him up…
  • She’ll push a picture she drew of their whole family into Yuuri’s face or yank at his face and ears until Yuuri gets out of his head and looks at her, and she just grins this huge ol’ smile that reminds Yuuri of Viktor so bad his heart melts and he can’t help but return it…
  • Then when Lyuba knows Yuuri is giving her his undivided attention, she babbles stories to take his mind off the bad thoughts……. :,,,,)
  • Later when Viktor comes home, he finds Yuuri asleep on the couch with Lyuba sprawled on his chest and Makkachin curled over Yuuri’s feet.
  • (Also Lyuba definitely has a Swar*vski crystal tiara tangled in her hair because you know she would)
  • This is Viktor’s phone lock screen if this wasn’t already obvious.
  • Lyuba goes on to skate and be a world champion and makes her dads proud, both as coaches and as parents
  • (Yuri is probably her ballet instructor)
  • Speaking of Yuri, he babysits occasionally when he’s not busy and is a terrible terrible influence, teaches her how to prank her fathers and push the other kids into the sand lol.
  • Yuri is the favorite uncle. Yuuri thinks it’s cute up until he realizes how bad of an influence Yuri is.
  • Viktor is like “but Yuuri they’re getting along so well!” And Yuuri is like “This is not the kind of getting along I wanted!!”
  • Yuuri has a three page list in small font of recommended activities for them to do while he and Viktor go out. Yuri chucks it in the trash.
  • Mila babysits too, and she’s the only one Yuuri knows he can actually trust with his child (hell if he could raise Lyuba with Mila, he would).
  • Georgi tried to babysit once, but Lyuba bullied him about his hair so much, the he cancelled early an went home crying.
  • Yakov and Lilia are the only two “babysitters” that are stern with her, and Lyuba actually behaves herself around them.
  • Yakov is also convinced that Lyuba is Viktor’s secret love child because she is far too much like him to be just adopted.
  • He tells all his conspiracy theories to Lilia, who finds holes in all of them.
  • Yuuri’s parents adore her to pieces: they insist they bring her to Japan for the coming of age ceremonies, and dress her up for every holiday.
  • Mari looks after her if everyone else is busy, and Lyuba really likes her aunt Mari’s piercings.
  • Minako wants to immediately raise her into the next skating prodigy, which Yuuri protests.
  • Chris and Phichit mail her extravagant gifts all the time.
  • In general, Lyuba grows up pretty well known in the entire worldwide skating community as the child of two of the greatest male figure skaters in history.
  • Of course when she’s older, Lyuba’s affection is a lot more even, she loves both her fathers equally and if she approaches one individually, it’s just because he handles the problem better than the other one would.
  • She’s actually really embarrassed by how bratty she was as a kid. Yuuri and/or Viktor often recount stories while she screeches at them to stop.
  • Even Yuri tries to embarrass her sometimes. “You may be a world gold medal champion, but I changed your diapers.”
  •  Yuri, tossing back a flask: “I let you vomit on me so your dads could go on a date and get some action at a hotel, as if they were still in their honeymoon period.”
  • Lyuba, covering her face: “Oh my god please stop.”
  • She apologizes to Yuuri for being such a jerk as a kid and Yuuri is like, “I married your papa, I signed up for this.”
  • MEANWHILE, VIKTOR,
  • Viktor: oh Lyubochka don’t worry, your daddy likes being bullied and bossed around ;)
  • Lyuba: I want to die immediately
  • Yuuri: *already ascending*
  • He’d be the horrible parent that drops hints about his sex like with his husband now that their kid is an adult 
  • Though let’s be real; why wait until she’s an adult? Viktor is shameless and Yuuri is constantly covering their Lyuba’s ears.
  • “VIKTOR SHUSH, LYUBA IS RIGHT THERE!!!!" 
  • "Yuuri, our daughter is one and a half, she has the memory of an earth worm. We can have sex while she naps as long as we don’t wake her up.”
  • Poor Yuuri, between Viktor being himself and their daughter’s rebellious years he has so many gray hairs.
  • Yuri comes over like "oh my god I thought Asian people aged well.”
  • What Yuuri wants to say: “I’m kinda trying to raise the literal spawn of Satan, with the Devil himself”
  • What he does say: “not when they’re married to Viktor Nikiforov they don’t!!”
  • Viktor just kind of shrugs and tries to look innocent while cradling Lyuba.
  • It was in that moment that Yuri decided he would never ever get married.
  • He tells this to Mila, who’s engaged to Sara, at practice the next day and she laughs in his face and says “give it time.”

Anyway, that’s all I have so far, I’m probably going to eventually write a mini series about Viktor and Yuuri retiring and then adopting/raising Lyuba.

The Problem with BBC Sherlock – of Terrible Themes, Abuse, and Tragic Gays

Here’s my first essay on my thoughts on S4.

I’ve been digesting the shock and sense of “wrongness” after THE FINAL PROBLEM, and I’ve come up with some ideas on why it bothers me so deeply. It has to do with themes. Every good story has a theme. It might be “love conquers all” or “the bad guys always lose” or “truth always comes out”. The themes of the show after S4 are truly repellent.

1.       The THEMES after S4:

a.       No matter what you do or sacrifice, it’s never good enough and you won’t win your heart’s desire in the end.

b.      It’s okay to abuse to your loved ones, it’s completely forgiveable, and, in fact, the most abusive people win.

c.       Lying and killing people is okay and you can still be a good person.

HOW THIS IS DEMONSTRATED:

2.       SHERLOCK sacrifices himself over and over for very little reward and a lot of abuse.

a.       First, Reichenbach Falls. He jumps in order to save John, Lestrade, and Mrs. Hudson from snipers.  He goes off to dismantle Moriarty’s network, in part to keep them safe. Yes, he hurts John terribly. And yes, it was a mistake. But ultimately, Sherlock still did it for his friends. This is never explicitly discussed or acknowledged in the show between John and Sherlock after Sherlock returns. John never learns what Sherlock went through or says thank you. In fact, the “bomb” scene in S3.E1, Sherlock tricks John into forgiving him only to make a joke out of the whole thing. This is too serious a situation to joke about, yet a real resolution of this conflict is never shown. By S4.E2, it’s clear John still harbors anger over it. Never resolved.

b.      Sherlock plans John’s wedding and is his best man. If you read that Sherlock is gay and in unrequited love with John, this is a tremendous self-sacrifice. Even if you don’t, it’s still a sacrifice—Sherlock is not a party type. He hates social gatherings. Yet he does this for John. John never appears grateful. At the end of the wedding, we have Sherlock walking away alone and (probably) heartbroken.

c.       Sherlock is shot by Mary—and then forgives her, for John. This is almost incomprehensible, but nevertheless,  Sherlock catches John’s wife, Mary, in a lie, offers to help her, and she shoots him in the chest. He dies on the operating table. He comes back through superhuman effort. Mary threatens him again, twice. Yet he forgives her and tries to patch things up between her and John. Why? Because that’s what self-sacrificing friends do? Is this Stockholm Syndrome? Self-loathing? Never explained.

d.      Sherlock kills Magnussen to protect Mary. This was basically an act of suicide. But he did it – for his friends. Neither John nor Mary ever acknowledge this. In fact, in S4.E2, John tells Greg they should have known Sherlock was psycho because “he shot a man in the face” (yes, John, to save you. asshole)

e.      Sherlock again tries to help Mary when her past comes after her (S4.E1), and in the end, Mary throws herself in front of a bullet for him. Ok. Weird but OK. Afterwards, John blames Sherlock for it and casts Sherlock out of his life in a hateful way (again, breaking Sherlock’s heart when Sherlock did nothing wrong).

f.        Sherlock goes back on drugs and nearly dies confronting serial killer Culverton in S4.E2. At the end we find out it was all done to “save John Watson” from his grief. So once again, Sherlock nearly dies for John. And during E2 John treats Sherlock horribly, even going so far as to beat and kick him in a brutal attack.

g.       S4.E3 – Sherlock  battles with Euros to save John. There’s really no appreciation or recognition of this in the end.

SO – what does Sherlock ever get for his repeated sacrifice and pain? For getting shot, tortured, and beaten? For having his heart ripped out and watching the man he loves choose someone else?  He gets a John Watson who seems oblivious to what Sherlock does for him, is in love with his wife and cheating with another woman, is furious with Sherlock and treats him like shit after his assassin wife dies, and beats Sherlock. John finally does come back to Sherlock, but only in the capacity of a friend. More on this below.

3.       MARY – the lying assassin gets all the rewards and a Mary Sue make-over

a.       She pretends to be a nurse at a clinic, befriends John Watson at his lowest point after Sherlock’s death, and he marries her.  Given what he know about her past, surely she didn’t’ just coincidentally end up in John Watson’s path, yet it’s never explained by what deceit and plotting she found him.

b.      She has a secret past as a freelance assassin. Though it’s played up that her past was “very naughty” (Magnussen S3.E3), later in the show she’s whitewashed as being part of a mercenary team that did things like extract hostages. She lied to John about who she was and used a fake name.

c.       She shoots and murders Sherlock – and gets away with it completely. Both John and Sherlock  forgive her! She faces no prosecution and no penalty even from Mycroft or Lestrade, two of Sherlock’s protectes. This is never explained. She never even  says “I’m sorry” or justifies the shooting, not until long after she’s been forgiven and everything’s been swell for her.

d.      Sherlock remains “bffs” with her after this, calling her “his family” and trying to help her when her past comes back to haunt her.

e.      Even in her best moments, she’s manipulative and selfish. For example, she insults John’s value to Sherlock and refuses to let her husband have any say in naming the baby. In fact, she names the baby after herself and announces the name to a room full of friends without discussing it with her husband first. There are a lot of instances like this.

f.        She has an extremely implausible redemption arc when she throws herself into a bullet for Sherlock. Not only does it defy all logic and physics, it’s just dumb and corny.

g.       John is grief stricken for a whole episode. Mary constantly appears as a sort of “Yoda” ghost, uttering words of wisdom and continuing to be whitewashed as some sort of wise woman who retains the role of arbitrator over John and Sherlock’s relationship, as if it’s up to her to validate it. 

h.      SHE NEVER PAYS FOR HER ASSASSIN PAST, LYING TO JOHN, OR KILLING SHERLOCK. The audience is expected to continue to welcome the cloying presence of this killer. And so much about her remains unexplained.

 4.       JOHN WATSON LOSES HIS CHARACTER ARC AND HIS AGENCY

a.       Despite the promising claims that “he’s smarter than he looks” in TAB, John Watson in S4 continues to be clueless. He keeps refusing to see how good Sherlock is and how much Sherlock is trying to help him and Mary. 

b.      John’s wife shoots Sherlock in S3 and John forgives her? How is this possible for a “strong moral principle” man who shot a stranger to save Sherlock in S1.E1? Who punched a police chief who insulted Sherlock in S2.E3?  He’s a doctor, he knew Sherlock’s wound from Mary was basically fatal! On top of this, we have a man who goes to a therapist for “trust issues” who forgives his wife for lying to him from day 1, and he’s okay with not ever knowing her real name? Honestly?

c.       John is bored but seems complacent in his marriage to Mary in S4.E1. But it’s not clear. Does he not notice the way she manipulates him, such as with the baby’s name?  He certainly seems grief-stricken after her death. If he’s really not happy in his marriage, why not make that explicit? Or vice versa? He never says “I love you” to Mary and yet, there’s no reason to withhold it since he never ends up saying it to Sherlock either. It’s just super confusing what he feels for her or for Sherlock. Basically, he seems grief-stricken. Mostly.

d.      Trashcan John. The first time another woman flirts with him, he begins a sexting affair, despite having a wife and infant at home. This is John who is “unfailingly loyal?” If it would have been a plot point, such as him being miserable with Mary, it would have been more justified. But he did it and then he’s also grief-stricken when Mary dies. Inconsistent.

e.      After Mary dies, John treats Sherlock abysmally, shuts him out, insults him, calls him a monster, accuses him of tricks, etc. to the point of physically beating Sherlock when Sherlock is drugged up and ill. This is the man who has repeatedly sacrificed himself for John. And Sherlock did nothing to deserve this abuse since he was not responsible for Mary’s death.

f.        In S4. E3, The Final Problem, John is used as more of a set piece than anything real. He helps solve the “puzzles” at the fortress, but on an emotional level there doesn’t seem to be much there.

g.       A real arc for this story would be that John finally sees/ acknowledges all that Sherlock had done for him, and/or sacrifices himself in return (like a 3 Garridebs moment). But this never happens. There is no satisfying resolution to this relationship plotline. Yes, at the end of S4.E2 John and Sherlock finally talk, John seems to forgive Sherlock, and there’s a hug. But that’s pretty minor stuff compared to all that Sherlock has done for John and feels for John and all John and Mary did to hurt Sherlock. 

h.      Even though John is technically “back at Baker Street” at the end of S4, it’s only in the capacity of a friend. In addition, John basically “defaults back” to Sherlock because he no longer has Mary.  There is no moment where John has to actively “choose” Sherlock, over Mary or even at all. THIS IS LAZY WRITING, NOT A SATISFYING RESOLUTION.

5.       GAYNESS REMAINS “TERRIBLY UNSPOKEN”

a.       This is one of the biggest crimes of the show. What we get in the end of S4 is a gay Sherlock in unrequited (desperately unspoken) love with John, a love that will seemingly never be returned. Is this 1998? Why do we have a tragic anti-gay ending like this in 2017?? It’s nearly as bad as just killing off all the gays. (Or making them all villains, which the show has also done – Irene, Moriarty, Magnussen in the hospital, and Euros).

b.      It could be argued that Sherlock is not gay, that he’s asexual, or even in love with Irene. Yet the show planted many, many clues that Sherlock is gay and in love with John.

                                                               i.      In ASiB, Sherlock repeatedly ignores or pushes off Irenes heavy advances. When he ‘wakes up’ at one point when she’s sitting across from him, his first words are “Where’s John?”

                                                             ii.      Janine says several times “I know what kind of man you are”. Even in “faking” a relationship with her, Sherlock never had sex with her (he jokes “I was waiting until we were married.”)

                                                            iii.      Sherlock’s horribly pained look at John after the wedding , and then he leaves the wedding early.

                                                           iv.      TAB, in which Sherlock confronts very gay-acting mind-palace Moriarty, facing his own homosexuality.

                                                             v.      See Sherlock’s many sacrifices for John. If that isn’t love, nothing is.

                                                           vi.      Sherlock spirals into despair and drugs whenever John abandons him.

                                                          vii.      Mary says on the DVD in S4.E2 that John is “the man we both love”.

                                                        viii.      Many, many other instances.  

c.       John is ambiguously bisexual earlier in the show then becomes strictly hetero. He flirts with Sherlock in ASiP, is horribly jealous of Irene and Janine in ASiB and HLV. Irene, whose specialty is “knowing what people like” tells John he and Sherlock are a couple. John has an implied intimate relationship with his former male commander, Sholto. In a deleted scene, he flirts with a soldier at Baskerville. There’s some drunken knee-groping during the bachelor party in TSoS. However, during all of S4, any sign of this flirty and possibly-bi John has been removed and his heterosexuality is “doubled down”. Why? To avoid any hint that he might get together with Sherlock at the end? 

d.      Sherlock never even admits outloud that he’s gay, not even obliquely. Why? Is it something to be ashamed about? Do we not deserve a gay hero? If they really intended to leave it open-ended what Sherlock was, why did they plant so much of the above evidence that he was gay? If he is gay, why not have him admit it!

 e. This all amounts to a huge queerbaiting exercise, given how many subtextural and textural clues we were given in S1-S3 that this was ulimately a romance. 

These are my thoughts on the story so far. I’ll try to update this with some pics later.

XA

anonymous asked:

omg I had a v strong feeling that jin was like fake confident/had some personal issues nd that interaction with fem jimin made me scream bc I was right!!! fuck my dude I love jin so much I'm kinda sad he didn't get a whip tbh but that's another post for another day

Jin is the sweetest broken bad guy and he deserves all the handmade lion plushies.