text: meta

12 Reasons Why Batman & Catwoman Make the Purr-fect Pair (Updated)

You could write an entire dissertation exploring the merits of Batman’s numerous love interests, as a matter of fact “Batman love interests” has over 20 million google hits. Fans have devoted much debate to whether Batman actually has a true love, other than dark vengeance. Despite both Bruce Wayne and Batman’s many romances and flings with numerous women on both sides of the law in the end Batman has only one, undisputed greatest love. Any guesses who?

Hush said it best:

“It doesn’t matter whom you’re with—diplomat, socialite, or super-powered freak—there’s only been one woman that really held your heart.”

Pencils down children, the test is over and if you answered anything other than Selina “Catwoman” Kyle you answered incorrectly. Many, many, MANY fan blogs (including this one) have been dedicated to this terrific twosome, and in polls and lists of Batman’s greatest love interests Catwoman always comes out on top and there’s a reason for that. Here are my top 11 reasons why Batman and Catwoman make the purrfect pair.

      1. They Are Exactly Alike and Yet Total Opposites

Both Batman and Catwoman had difficult childhoods marred by tragedy. Orphaned or abandoned (depending on which era you follow), with vastly different outcomes. Batman of course became devoted to acquiring justice in his parents’ names, however Catwoman of course didn’t have a loyal friend and a billion dollars to fall back on and turned to a life of crime.  Their continuous attraction to each other is rooted in the fact that they’re both dark, creatures of the night. They contrast in that Bruce is more brooding and Selina is happier, at least a little bit more emotionally well adjusted, and has a touch of evil just to keep things interesting. Plus we all know that good boys like the bad girls. Catwoman’s moral ambiguity makes her a fascinating counterpart to Batman. Their mutual attraction and shared morals draw them to each other, but often times their differences keep them apart.  

 2.       They Really Care About Each Other

In Batman: Hush Nightwing pointed out that all of Bruce Wayne/ Batman’s relationships have failed because he could never share both parts of his life with his partners. Catwoman is one of the few that get to be involved in both parts of his life and the only person who’s gotten involved on a deeper level. They’re emotionally involved, to the point of worrying about each other and their safety constantly, and caring about their general well-being. I love, love, love the fact that when other people aren’t around, whether they’re in costume or not, they always call each other “Bruce” and “Selina” never really “Batman” or “Catwoman” which a big deal for a man as irrationally petrified of intimacy as Batman. They see each other for who they really are.

Yes, Batman, that Batman, was almost in tears with relief after Catwoman had gone missing.

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Meta: Mako's Fear of Emasculation

Back when Book 2 was airing, I remember seeing a lot of disapproval with Korra, at least during the first half of the season. Perhaps the pacing did us a disservice. Having a full week to reflect on how “stupid” Korra was for “still” trusting Unalaq in between the first few episodes may have undercut her characterization a bit, and only highlighted her missteps. But it wasn’t her handling of the Civil War plot that drew the most criticism…it was her treatment of Mako and her romantic actions. I was never a shipper back then, nor did I really find Makorra compelling in any respect, so their fights didn’t bother me. But I did think Korra was being a bit overly antagonistic and making some big fuck-ups in general.

Upon rewatch, however, I’m finding myself very much agreeing with Korra, both in her handling of the WT politics and in her relationship with Mako. I’m not saying there weren’t missteps, but given the information Korra had, she made the best choices she could. And yet every step of the way Mako acted as a horribly unsupportive boyfriend.

I made this post expressing my disapproval at Mako’s behavior, because I didn’t remember just how antagonistic he was in their fights. “Remembrances” focused on their issue being their jobs pitted against their relationship, but it was more than that. Mako was outright accusatory and callous towards Korra. And it’s not to say she didn’t throw some personal attacks his way, of course. Korra’s just as responsible for their fighting and overall incompatibility. But given how insulting Mako’s comments were to Korra, the fact that he is the one who dumps her is just flooring. I guess Mako felt like she was making his job harder, but rather than engaging in any kind of constructive conversation or explaining his own viewpoint/feelings, he opted to screech at Korra about how badly she kept messing everything up. Twice.

It wasn’t until 2x06, “The Sting,” that I began thinking about Mako’s actions in the context of a psychological need for Mako to place himself as the protector and to feel useful. Given his background, this makes sense and is sympathetic. He was orphaned at a young age, having nothing and needing to care for Bolin growing up. “Protector” is a natural role to him. But it seems that it’s also something that feeds his ego. Ego isn’t inherently a bad thing, don’t get me wrong. Yet Mako’s treatment of both Korra and Asami, and how it did happen to play out with very gendered dynamics suggests anxiety relating to emasculation.

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you know what would be great?

if a year or two down the road, fury discovers that it’s STEVE who’s the huge pain in his ass, not tony.

tony’s getting his shit together and mellowing out and, sure, he sasses fury and the government every so often, but most of his real arguing happens with steve

but steve is a nightmare. yeah, he's polite and respectful–if he agrees with you. if he disagrees, he’ll crawl up your ass and set up camp, and he can usually talk the other avengers around to his side. he snaps at the paparazzi and threatens them. he gets in brawls at bars every single time he goes out. he gets in arguments with people on social media and always winds up calling out the hosts of the television programs he appears on, the self-righteous son of a bitch

he comes out as bisexual and pretty much does everything in his power to obliterate the public perception that he’s in any way repressed or old fashioned. one time he even gets in a fight with the president at the goddamned White House State Dinner because of an offhanded comment he makes about women’s pay being equal already

steve’s more trouble than all the other avengers combined.

anonymous asked:

I have a question, so my brother thinks that nine was a bad doctor and he was saying how nine was very mean and cruel and I'm trying to prove to him with various examples that that's not the case but I was wondering if you could give me some more ideas about what to say?

Nine bad, mean, and/or cruel?! Are you sure your brother is thinking of the right Doctor??? I mean, look at this guy!

He’s basically a traumatised puppy in love. 

And more seriously, Nine is so often misunderstood by people who haven’t seen more than a few minutes of his season. He’s scarred and slightly PTSD from the Time War, but he’s also goofy and sensitive and caring. See this post for example, or this one or this one or this one, and how about when he actually apologies to Dickens in The Unquiet Dead for snapping at him?

DOCTOR: Oh, come on, Charles. All right. I shouldn’t have told you to shut up. I’m sorry. 

He’s got a bit of a temper as in when he blows up at Rose in Father’s day, but he apologies there too.

ROSE: I’m not stupid. 

DOCTOR: You could have fooled me. All right, I’m sorry. I wasn’t really going to leave you on your own. 

I’d actually be very interested in hearing why your brother thinks he’s cruel and unkind; I don’t see it. To me, he’s wonderful.

Bumi, Kya, and Tenzin: Analysis

Throughout the Legend of Korra, the myth of the “idealized family” is challenged and torn-down, from Hiroshi secretly working with the Equalists, to the Beifong’s exceedingly complicated dynamics. Yet Katara and Aang’s rather traditional, nuclear family particularly stands out. Going into the series, I think it wouldn’t have been shocking for anyone to say “Toph would be a really weird mother.” But Aang and Katara felt like two characters who could develop into pretty great parents. Learning that things were less than rosey for their children was jarring. This is an attempt to unpack and explore the sibling dynamics of Bumi, Kya, and Tenzin.  For the purposes of this essay, I’ll be referring to their family as “The Kataangs” (why can’t more people have last names). I felt it would constructive to divide this essay by the individuals. For the purposes of our understanding, in Books 2 and 3, when these guys mostly interact, Tenzin is 52, and based on semi-canonical sources, that puts Kya at 55/56 and Bumi at 62.

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Let’s just get a few things straight about the Phantom of the Opera while we have this moment together, hmm?

  • Erik is awkward.  He moves gracefully and swirls his cape and speaks in suave verse, but he’s only imitating things he’s seen on stage and at the Garnier balls, he actually has no idea what the fuck he’s doing.
  • He’s always singing to Christine because he probably couldn’t talk to her for more than thirty seconds without stumbling and sputtering and tugging at those pianist’s fingers all while wishing she would stop looking at him. God forbid she try to touch him; he always shoots up from his seat and starts pacing the room, clearing his throat and asking her how her arpeggios have been.
  • He’s had very limited interaction with people during his lifetime, which makes him unaware of social mores, self-absorbed, and obsessive, but he has had ample experience with abusers, so he’s hyper-sensitive to shifts in other people’s emotions and always expects the slightest sigh or downturning of a smile to result in screaming or violence. This unique social ineptitude makes him process the intentions of others in a vastly skewed way and react to them with preemptive aggression.
  • Hurting Christine is certainly within his capacity and he’s done it before, even though the thought of such a thing makes him sick with self-hatred. He’s never struck her (“Never, Christine,” He whispers hoarsely when she recoils at his outstretched hand. “I would break my body into a thousand pieces before I saw one hair on your head harmed.”) but he’s gripped her tight enough to bruise, clawed at her hair when begging her not to leave, shoved her away from his hideousness and his shame so roughly that she stumbled and fell. Every time he weeps and kisses the hem of her dress and begs for forgiveness. Eventually Christine moves beyond trembling and begins reprimanding him, otherwise he will never learn. She digs her pretty nails into his beautiful hands and forces an apology from his prideful lips. She kisses his brow and tells him to try harder, for her, for his angel.

Bonus: 

  • Erik doesn’t exactly live alone, he has an old elegant she-cat that he rescued from being drowned in the Seine whilst wandering the streets of Paris one night. It has long white hair and he’s always threatening to starve it to death while beating cat hair off his black clothes (which is all of them) but he’s terminally fond of the animal and spoils it with mice and cream. It probably has some god-awful name like Contessa or Nefertiti or Ondine.
Why you should love Huan Beifong, probably.

One of my bigger goals with this blog is to convince the LoK fandom to fall in love with Huan, because I feel like he gets overlooked a bit among all the other great Beifongs. And I also want to acknowledge why I love him so much when he was probably added in as an in-joke by the creators. I mean, I totally get it - I’m in art school right now and I draw cartoons, so I really do feel them on that. And somehow despite all that, Huan became my favorite character.

Here’s a nice organized list of canon facts about Huan that make him pretty great:

  1. Huan is pretty. I just wanted to get this out of the way first, but it is more significant to me than just attractiveness. Most LoK characters are attractive; Huan is feminine. He has long hair, pretty eyes, wears long robes and jewelry - which isn’t unheard of for the men in Zaofu, but his style is distinctly more feminine than, say, the twins’. This is significant to me because it’s relatable. I identify with Huan more than any other character on the show. I can count the number of femme men in LoK on one hand (Tahno and Desna come to mind), but Huan stands apart from them because…
  2. Huan is good. Huan knows the right thing to do. When Kuvira demanded that everyone bow to her, Huan didn’t hesitate to stay standing. He might be a little obnoxious about art, but that’s just superficial to his character. When it comes down to it, he knows what he has to do. (And while I’m not saying Tahno and Desna aren’t good, they did have to struggle to get there.) It’s nice to have a single femme male character who also is a de facto good guy.
  3. Huan is a pacifist. Even though Huan has bending, you never see him getting in the middle of fights. That doesn’t mean he’s useless  (when he babysat Ikki and Meelo, for example), it just means he knows how to play his strengths. Huan doesn’t have an ego or feel the need to prove himself.
  4. Relatedly, Huan is an artist. Maybe a sorta kooky, pretentious one, but benders using their abilities for art is sort of the coolest thing ever. The fact that Huan apparently hasn’t learned any fighting styles and uses his bending solely for art makes him a very unique character. I mean, Kuvira is a metal dancer, and she still tried to take over the world.
  5. Huan is a complex character, underneath it all. I think it’s obvious that the creators didn’t develop Huan’s character as much as he deserved, but they did leave some interesting questions for us. Why doesn’t Huan use his bending to fight? Why isn’t he close with anyone in his family? What happened to him while he was captured? How will the trauma he endured affect his art? There is a lot of potential in his character that the creators left up to us to explore.

So why do I love Huan? Partially out of defiance, because I’m fed up with characters I can relate to being given the short end of the stick. The creators probably never put this much thought into his character and just kept him out of the way whenever they didn’t have the opportunity to use him as a punchline. But I will continue reading depth into his character because for as diverse as the Avatar franchise is, Huan is the first character I could really relate to.

Also he’s just very pretty and angsty.

Philosophical Meta by Anon: Eastern vs. Western Thought in LOK

Hello everyone. I certainly hope you remember the wonderful “Anonymous Asami Admirer,” our favorite LOK fan with a psych and philosophy background who from time to time will drop me beautiful and insightful essays/musings?

Well A^3 is back, this time analyzing the Avatar universe’s philosophical underpinnings in a thoughtful essay that tackles Eastern vs. Western concepts and how they shape the Legend of Korra. Enjoy!

Wan, The First Avatar: Recycling Ancient Wisdom

The Avatar universe borrows very heavily from Asian cultures, mingling ancient thought with more recent western ideas. This fusion of east and west makes for relatively creative storytelling with the added bonus of introducing western audiences to some important concepts from eastern cultures. Exploring these eastern concepts can deepen our understanding of the show and its lessons. 

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anonymous asked:

Hi so, I'm a transman, and in the last few months I've been doing the whole social "coming out" thing, which has gone pretty bloody well. Now I'm wondering about future bottom surgeries. Would you be able to give me some pros/cons meta/phalloplasty?

Zak: So, the pros and cons of the metoidioplasty versus the phalloplasty will not the be the same for everyone. What some people would consider a pro, other people might consider a con (and vice versa). Choosing which procedure is right for you is a very personal decision. Some people also get the meta and then later on get the phallo (this is something I heard about a lot at the Philly Trans Health Conference last year). Here’s a rather general breakdown of the two main procedures (it’s important to note that there are also more specific variations of each of these general types): 

Metoidioplasty

-Typically the less expensive option, with prices ranging from $7,000-43,000. This cost may include the vaginectomy, urethral lengthening, and testicular implants, however you can have a simple clitoral release without any of these other procedures (which according to Hudson’s Guide can cost as little as $2,000).

-Works with your natural growth. Because the clitoris is made up of erectile tissue, you will be able to get erections just as you do now. If you get the urethral lengthening you will be able to pee standing up. Penetration may or may not be possible depending on the amount of growth you’ve experienced on testosterone. 

-Less scarring than the phalloplasty and less extensive a procedure. 

Phalloplasty

-The more expensive option, with costs ranging from $50,000-150,000 (according to Hudson’s Guide). 

-Multiple different procedures are possible, but skin/tissue is taken from another part of the body to form the phallus. This means that you are able to have a much larger penis than with the meta (and visually one that looks more like a cis male penis, though this is debatable and of course depends), but that you will typically have scarring at the site where skin/tissue is taken. 

-Erections are made possible by a penile implant, which may either consist of a malleable rod or an inflatable chamber. 

This is just a very brief overview. For more information I recommend reading Hung Jury: Testimonies of Bottom Surgery, looking at pictures of results over at transbucket, checking out blogs by people who have had either the phallo or meta (or both), and doing some research over at phallo.net and metoidioplasty.net. Hudson’s Guide is also a good general resource. If you’re interested, there are also yahoo and google groups that specifically talk about various bottom surgery procedures, for instance The Deciding Line

anonymous asked:

Hi! You mentioned at some point that you think Crowley has a general larger capacity for empathy than Aziraphale? I was wondering why you think this is, not because I disagree but because I really love character studies and I'd enjoy knowing what you think about it. Have a nice day! (sorry if this is a bother or anything)

Thanks for a fantastic question, anon!  The evidence I’ve put forward for this characterization of Crowley comes directly from the novel; I think this may even be the second or third time I’ve received this question.  As I’m currently at work and don’t have access to either my e-book or one of my hardback copies, I’m going to give you a list of items and quotes from canon, off the top of my head, that point in this direction:

  • In the Beginning, Crowley makes a beautifully foreshadowing remark to Aziraphale: Funny if we both got it wrong, eh? Funny if I did the good thing and you did the bad one, eh?  Pay attention to that sentiment next time you reread; all following instances of Crowley doing the right thing and Aziraphale doing the wrong thing thereafter will seem starkly obvious.
  • During the series of conversations that led up to the Arrangement, Crowley is the first one to bring up how unfair humans have it, that you can’t expect Aziraphale’s (read: Heaven’s) idea that humans are only good or bad because they want to be to work unless you start everyone off equal (You can’t start someone off in a muddy shack in the middle of a war zone and expect them to do as well as someone born in a castle, he says).  He finds Heaven’s lack of mercy deplorable (That’s lunatic, he tells Aziraphale).
  • Aziraphale is too careless to take a living dove’s welfare into account when he shoves it up his sleeve in the first place.  When he finds it dead and squishy in his coat, he’s no more than mildly annoyed; Crowley, on the other hand, gently takes the bird from him and breathes life back into it.  Actions speak louder than words.
  • Crowley’s reaction to the Spanish Inquisition breaks my heart, i.e. once he hears about the atrocities, he goes and gets drunk for a week in order to forget.  Compare this reaction to one of the fleeting thoughts he has while he’s on the M25, having just left the scene of Aziraphale’s burning bookshop (and I need not quote you fragments of that scene from memory, although I swear I’d do it if I thought it were necessary to make the point): Aziraphale’s gone, the world’s going to end, so why not find a nice little restaurant somewhere and just get drunk out of his mind?  That’s so very, very telling.
  • Early in the book, the narrative makes light of Crowley’s dislike of the fourteenth century, but we find out later, in a moment of extreme terror and duress, that he hadn’t felt like this since the fourteenth century.  I’m a scholar of the Middle Ages, so for those of you not intimately familiar with the fourteenth century, I’ll tell you this much: it was a vibrant, fascinating, brilliant time to be alive.  Someone like Crowley would not have found the fourteenth century dull.  No: for my money, he spent the latter half of the fourteenth century terrified because that’s when the Black Death ravaged Europe.  All of the things you love in the world, humans and all their brightest achievements, snuffed out by the millions.  That’s so vast that trying to drink your way through it would’ve been unfeasible even for an ethereal creature like Crowley.
  • Crowley’s boundless optimism, never mind that he’s completely and utterly terrified of his employers.  Think of his reaction every time they contact him over the radio or cutting into what he’s watching on telly.  You cannot convince me that someone whose Fall is pointedly described as just sauntering vaguely downwards is actually evil.  He sides with an angel and humanity and successfully helps them to win a rebellion using only words and ideas.  

Crowley’s core nature is writ large on every page, as far as I’m concerned.  If you ever reread the book, I’d be interested to know if you reach a similar conclusion.

I think the reason why I’m so in love with Bull is because I find him a fascinating study of dichotomy. He’s a spy for the qunari and he’s a loud, brash, unforgiving sort of gent. He’s strong and bold but also loves nugs and pink. He’s confident and secure in his sexuality and person, but his sexuality revolves around giving others pleasure - which gives him pleasure in return. He prefers the simple, direct approach but he’s also very smart and good at strategy (he holds his own against Solas in mental chess.

He’s so complex but it masquerades as simplicity, and my writer’s fingers just want to jump into his character and find his motivations because his entire nature is so full of chaos and contradictions - but it still works. There’s only one fault I’ve ever found with Bull and that was that one bit of dialogue between him and Cole but the rest of him is accepting, comfortable in his skin and his sexuality and genuinely fun, if a little crude. Underneath it all, though, is this other layer, this deeper layer where he is a spy and is spying on the Inq and also using the Chargers as a cover to make people in Thedas more willing to work with him so he can study their political workings. 

And it’s that last bit that fascinates me, and it’s part that you only find out if you actually side with the qunari in Bull’s mission, because afterwards he tells the Inq that his relationship with the Chargers was effectively a lie. Now, I don’t think that’s as true as Bull wants it to be, but I think he definitely wants it to be the truth. 

(More rambling under cut)

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SOMETHING HAS COME TO MY ATTENTION, PEOPLE!!

I had seen Thelma & Louise way before I started watching Supernatural, and this part always made me wonder. I mean, I can see the physical similarities in Thelma and Dean’s facial features (they are both so pretty wow), but for some reason, the fact that Dean associated himself with Thelma always bugged me.

And now I get it.

For those of you that haven’t seen Thelma & Louise, you need to. It’s awesome, and if you read any further there are going to be major spoilers. For those of you that have, get ready for yet another perfect parallel of Dean and Cas’s relationship:

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“Peggy’s fighting style is BRUTAL. It’s scrappy, and incredibly violent and I love it. This is how real people fight. Well trained real people. She uses her elbows a lot, they’re the hardest part of the body and make an excellent weapon, which she clearly knows. She’s uses her environment, fridges, staplers, briefcases, anything she can turn into an advantage. Peggy Carter is a woman in heels fighting large rough men and she wins because she is nasty and rough and smart.”

quote from obsessionexpression ’s text post

The Vampire Diaries: The Difference between Stelena and Delena

I’ve wanted to make this post for so long, after watching one of my favourite shows steadily go downhill over the last few seasons, and I finally found the motivation.

It’s taken me almost a week to compose this post, to find/make the gifs and write everything I felt that was important to mention. There’s still some stuff that I could’ve included, but I’m happy with the end result.


So before you go on and read you should know this is exclusively anti-Delena, it contains lots of gifs, so might be slow to load and most gifs aren’t mine. 

Here are 5 reasons why I will always ship Stelena over Delena:

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On Aziraphale: Sense & Ineffability

As a complement to Tuesday’s Crowley discussion, let’s consider something neat about Aziraphale for a second.​  He arguably has the most dramatic development arc in the entirety of the book, and I do mean even more dramatic than, say, the handful of humans whose worldviews are altered a bit because of the extraordinary events they witness (even if they’re not permitted to fully remember said events).  Adam is a huge potentiality waiting to be shaped, true, and we do watch him undergo said shaping, but the core of who he is, his outlook, remains, at its heart, this: wholly human, capable of enacting any outcome as choice and circumstance dictate.  

Aziraphale, on the other hand, starts out as an absent-minded, largely antisocial, cares-about-humans-in-an-abstract-sort-of-way-because-it’s-his-job, slightly stuffycurmudgeon of an angel who is willing to kill a kid until a human calls him out on it if that’s what it’ll take to stop an apocalypse that will, let’s face it, upset his status quo in a huge way.   Here’s where the something-neat factor comes in: his transformation is most strikingly summarized in the examination of his use of the word ineffable in two different instances.  Let’s put those quotes from the text side by side:

Aziraphale had tried to explain it to [Crowley] once.  The whole point, he’d said—this was somewhere around 1020, when they’d first reached their little Arrangement—the whole point was that when a human was good or bad it was because they wanted to be.  Whereas people like Crowley and, of course, himself, were set in their ways right from the start.  People couldn’t become truly holy, he said, unless they also had the opportunity to be definitively wicked.

Crowley had thought about this for some time and, around 1023, had said, Hang on, that only works, right, if you start everyone off equal, okay?  You can’t start someone off in a muddy shack in the middle of a war zone and expect them to do as well as someone born in a castle.

Ah, Aziraphale had said, that’s the good bit.  The lower you start, the more opportunities you have.

Crowley had said, That’s lunatic.

No, said Aziraphale, it’s ineffable.

Contrast that, Aziraphale using ineffability to justify their employers’ fundamentally flawed and unfair joint model, with this:

Crowley stuck his head in his hands.  “For a moment there, just for a moment, I thought we had a chance,” he said.  “He had them worried.  Oh, well, it was nice while—”

He was aware that Aziraphale had stood up.

“Excuse me,” said the angel.

[Adam, Beelzebub, and the Metatron] looked at him.

“This Great Plan,” he said, “this would be the ineffable Plan, would it?”

“It’s the Great Plan,” said the Metatron flatly.  “You are well aware.  There shall be a world lasting six thousand years and it will conclude with—”

“Yes, yes, that’s the Great Plan all right,” said Aziraphale.  He spoke politely and respectfully, but with the air of one who has just asked an unwelcome question at a political meeting and won’t go away until he gets an answer.  “I was just asking if it’s ineffable as well.  I just want to be clear on this point.”

“It doesn’t matter!” snapped the Metatron.  “It’s the same thing, surely!”

Surely? thought Crowley.  They don’t actually know.  He started to grin like an idiot.

Think about the enormity of this transformation.  With the exception of the first two sections, In the Beginning (4004 B.C.) and Eleven Years Ago (1979 A.D.), this book takes place across five days in 1990 A.D. as indicated by the titles of the remaining sections: Wednesday, Thursday, Friday, Saturday, and Sunday (The First Day of the Rest of Their Lives).  Between Wednesday and Sunday of, oh, let’s call it Apocalypse Week, Aziraphale speed-completes the glacial transition that both Crowley and humanity have been working on him.  He goes from someone who uses ineffability in defense of an unfair system to someone who uses ineffability to upset that very system.  

Now, before you argue that he’s doing it mostly to preserve the status quo mentioned earlier, remember one more thing.  Crowley, in a moment of weakness and terror, will, very soon after the latter moment I’ve quoted above, attempt to flee the scene even though there are vulnerable humans present, but Aziraphale is the one to stay him and say, with the weight of genuine epiphany, no, we helped to get them into this, so we’re bloody well going to stand with them come Hell or high water.  

Complexities, inversions, revelations: these two beings have changed the world, and, in doing so, they have changed each other.

Can I just say how much I love this stupid screencap because of how much it tells us about Hermann?

Basically I notice three things: 

  1. Newt has been given a glass of water. 
  2. Newt has been seated in a chair. 
  3. Newt’s glasses have been carefully folded and placed in his pocket (you can see that they fell off after he drifted). 

See, Hermann is in a truly awful position here. Imagine coming in to see that your partner has already done something incredibly dangerous/life threatening and now you don’t know what to do. Hermann is not a doctor of medicine, certainly not one specializing in drift effects (I read another lovely meta noting that he tries to take Newt’s pulse and basically fails at it). Hermann should seek medical aid. He should retrieve Stacker… as he eventually does. This is potentially a moment of crisis where time is most definitely of the essence. 

But what does Hermann actually do? He takes his time. Newt is very shaky (watch how he lifts the water glass - another reason I don’t think he retrieved the water himself) so how easy do you think it was for someone using a cane to get him off the floor and into a wheeled chair? How long did that take? Before doing that he picked up Newt’s fallen glasses and carefully put them where they wouldn’t be crushed. After both these things he retrieved Newt a glass of water and no doubt admonished him to drink (soothing, but not medically helpful in the grand scheme of things). 

So how long did all this actually take? Probably not that long. It is, however, too much time spent on frivolities when Newt is potentially seriously injured and/or dying. 

Which basically says to me that Hermann–the poor baby–is desperate for control. Newt has already done the deed. Hermann can’t provide adequate support for the fallout… but hell if he’s not going to try. He’ll get Newt to a safe and comfortable spot, he’ll make sure his glasses aren’t damaged, he’ll retrieve his friend some water, he’ll do all the little, stupid things he possibly can… and only then will he run to the one person who can possibly do more–Stacker. 

Theon and Ned Stark: "He is like a second father to me"

I definitly think that Theon wanted Ned to be a father to him. and maybe in certain moments it was possible to consider him one. I think Ned would have made it a point to teach Theon his moral code so in that sense Theon could think of him as a father. But Ned is very… let’s call it pragmatic. He’s all about being cold and rational and avoiding mixing his emotions with his duty. And I think he considered it his duty to do right by Theon and teach him what he is supposed to be taught and treat him how he should be treated. But rational Ned also kept his emotions in check, he knew he might have to kill Theon one day and couldn’t get attached, so Theon got no parental love from Ned, which is what he really wanted and what’s really important. There’s also the thing with the execusions because I think that it was Ned’s idea to treat Theon equally to his own children and that included teaching him how difficult it is to take another person’s life. But he also doesn’t seem to take Theon’s emotions into account in this. And tbh, I have a problem with Ned I think partly because of this (and it’s not about Theon it’s about Ned) because I think that Ned despite meaning well, expects everyone else to do the same thing he does. He expects Theon to also separate his emotions from his rational side. But Theon can’t do this, Theon is always lead by his emotions and they cloud his rational side. So when Theon goes to executions he’s not thinking that Ned has difficulty with cutting off a man’s head, he’s thinking that it might be him on the block next time. And I don’t think Ned can expect Theon to not think that way. either way I’m getting a little off topic here. The point is that Theon wanted Ned to be like a father to him (partially because he wanted to have a place to belong and partially because he wanted to get some love) and I think through the way Ned treated him (with respect but without emotion) Theon was very confused, he couldn’t hate him but he also didn’t get what he really wanted and Theon does with this relationship what he basically does with everything else, he tells himself depending on the situation he’s in either that Ned was horrible to him and he should hate him, or that Ned was like a father to him.