#* out of character ┊ plotting call.

[fumifooms]

Omg guys he just genuinely likes bugs and mollusks and critters 😭💘💔 Forced to noble when he just wanna crouch and watch things skitter in the dirt…

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

[inkcovens]

something that rlly annoys me is shannon being both aware of the fate of the "tech guy" character and then proceeding to do exactly that to dex lmao. like he LITERALLY says he doesn't want to be a technopath because he's going to be excluded from the action. how he's afraid he'll only be relevant when he's useful. and then!! thats exactly what happens in the plot!!

[caput-medusae]

redditors have the slightest amount of media comprehension challenge (impossible)

the amount of people who still cannot grasp that the Stranger is Gandalf truly baffles me. they have given us every visual and narrative clue possible and nerd ass fanboys are crying in the comments that he’s definitely a Blue Wizard because the actor has not yet turned directly to the camera and said: “I, Daniel Weyman, am playing the character of Gandalf in Amazon’s The Rings of Power.”

“but it doesn’t happen that way in the books!” they sob. No one cares!! it literally does not matter!!! this is the middle earth cinematic universe for god’s sake! it’s middle earth-616! it’s different from the books just like the PJ trilogy were different from the books!! go outside!!!

And then worse than that, they whine and cry about it being a “mystery box” or a “guessing game” - brother it can’t be a mystery box because it’s not a mystery!!!!! they already told you who the character was in the first season!!! they expected you to have the two brain cells needed to figure it out from the obvious narrative clues!!!!

i know it’s my fault for being on reddit in the first place, but i am genuinely going to lose my mind!!!

[mumblesplash]

the hotguy comics contributor sona inserts still kill me because almost all of them are like ‘we added the team's writer as background extra #482’ and then i’m out here ‘hello kaze my beloved page illustrator slash era cover artist you are now my oc you have a criminal record and a head injury and you’re lowkey kind of an asshole but you come around at the start of act 3 in a heartwarming moment that hints at the slowly rekindling trust between our heroes and the city they’ve sworn to protect’

[axolotlclown]

So I finished Moominvalley season 4 and here is my review:

Of course, spoilers ahead! It's long. It's detailed. It's a bit much, and I spent hours writing it.

I greatly disliked this season, not just from one particular angle. When Moominvalley first came out, it was advertised as the first narrative-style adaptation. This would imply one concrete story that ran throughout the show. They said the story would take time and required patience, but there was a larger narrative story. What was that story exactly? In the beginning, each character was established with certain flaws that they needed to grow from.

For Moomintroll, throughout season 1, we see him struggle with his father's expectations. He never quite makes his own decisions—either doing what he's told or what other people in his life would do. In the last episode of the season, Midwinter Ancestor, Moomintroll is told by Too-Tikky to not open the closet door. Going against her wishes, he does so anyway. This is the first instance of Moomintroll making a decision for himself. In the end, it was a bad decision, and he regretted it, but it still was a big moment. We understand the importance of this journey when he changes out the picture by his bedside table. It was a baby photo with his parents; now, it's a photo of Moomintroll fully grown. This was meant to denote a journey of independence.

We see him continue with this struggle in season 2. The Hobgoblin's hat adds to the internalized identity crisis. During the lighthouse arc, Moomintroll is mostly doing his own thing, somewhat. Although, I think that cutting out his glade from the book sort of hurt this theme of independence. I hoped that they would revisit that somehow, but they never did. In season 3, Lonely Mountain, we see a sort of regression with Moomintroll. (Ignore how this affected Snufkin, I'll come back to this later.) When Moomintroll unpacks his things, we see a collection of items that represent Moomintroll's past. One of these items was the old baby picture. Aside from this episode, we don't see any notable growth from Moomintroll this season.

In season 4, we watch Moomintroll fall right back into his father's shadow. He continues to struggle to carve his own path. The set up for Comet in Moominland was promising, but ultimately did not deliver. When Moomintroll goes against his friends to make a decision for himself, it turns out to be a bad decision that he regrets later, and someone else has to guide him out of the situation.

Moomintroll ends from the same place he started as a character. All growth is erased and ignored. While this is the most egregious example—with him being the protagonist—he is not the only character that this happens with.

Snufkin probably upsets me the most, as he had so much potential to be the most interesting character in the series. In season 1, The Spring Tune, we see where Snufkin is starting as far as his strengths and flaws go. What particularly intrigued me was his relationship to attachment. We see that Snufkin ultimately fears abandonment, and he copes with this in conflicting ways. He wants to be with Moomintroll out of fear of being left behind, but he is afraid that he feels this way. He tries to create distance between him and Moomintroll in an attempt to ease what he experiences as pain. This is demonstrated further in the next episode, The Last Dragon in the World, when he frees the dragon. We see his struggle with responsibility and commitment in Snufkin and the Park Keeper.

In season 2, The Hobgoblin's Hat, Snufkin is explaining to Moomintroll what the King's Ruby is. The ruby functions as a metaphor for love throughout the season. Moomintroll imagines that the Hobgoblin must love this ruby, while Snufkin argues that he only wants to possess it. While both may be correct in their own ways, they fail to understand each other. As a result, Snufkin decides to leave Moomintroll out of fear of being possessed himself under the false pretense that he is helping with the hat (he did not). We never visit this plot point again.

Snufkin has some large developments in season 3. In the Lonely Mountain, we see Snufkin break down his walls and let Moomintroll in. He acknowledges his responsibility to him and his longing to see him. Unfortunately, this aspect of his character is completely abandoned in season 4.

Back to season 1, Snufkin and the Park Keeper, we get a flashback in which Snufkin is enjoying a party with Moomintroll until he is overwhelmed by the presence of others. He winds up abandoning Moomintroll and the valley. He does this again in season 2, The Hobgoblin's Hat, as discussed above. In season 3, Snufkin and the Fairground, Snufkin chooses not to abandon his responsibility to Moomintroll or the valley. When faced with an uncomfortable challenge, he chooses to stay and support Moomintroll.

In season 4, The Great Cold, when faced with a crowded challenge, Snufkin abandons Moomintroll again. While he appears later in the episode, it felt disingenuous to me. The original problem had already been solved. In Comet in Moominvalley, Snufkin does not abandon Moomintroll. In fact, he makes an active effort to stay by his side. But it feels strange, almost undeserved? We saw so little of Snufkin this season, and when we did, he spent his screen time backtracking his progress.

In season 3, Lonely Mountain, Snufkin has a small monologue about listening to the campfire as the sparks dance and fly. Well, the whole episode was about listening. Anyway, that was a call back to the season 1 episode, The Invisible Child, in which Too-Tikky tells Moomintroll that there are many lost souls in Moominvalley that needed to be heard. The screen then cut to Snufkin leaving the valley. It would have been really cool to find out what that meant!

His abandonment issues never really get addressed. Refusing to let Snufkin meet his father was just baiting the audience. It was also just bad writing! What's his deal—where's his lore?? Who made him like this? Why is he so afraid of intimacy? Why are basic fundamental questions about this main character being left unanswered?

It really is disappointing. Every adaptation (and the books, if we're being honest) treat Snufkin like a stoic hero. He doesn't want to be looked up to, yet he's always painted as a character that you should. This is the first adaptation that gave him flaws. He felt like a character that needed growth and time. He was never given either.

I won't spend so much time on Snorkmaiden, even though she was robbed, too. She never grew to be more independent apart from Moomintroll. In the same vein as Moomintroll and Snufkin, her character ends exactly the way she started. All of her character growth vanished in seasons 3 and 4. I love this version of Snorkmaiden. I certainly prefer it to her other portrayals. But the writers screwed her over so bad, it's heartbreaking.

None of the characters actually learn or change. Everyone sort of becomes a static character, which makes any semblance of a plot impossible to write. For the fun of it, I will try to decode a plot, anyway.

So, you're not crazy. Moomintroll and Snufkin were set up to be endgame. There was a way to make Moomintroll and Snorkmaiden endgame in a satisfying way, but the writers chose against it. It's a very suspicious backtracking that reeks of queerbaiting, but let me explain the narrative romance angles first.

I feel unsatisfied with the ending Moomintroll and Snorkmaiden got. Throughout seasons 1 and 2, they would frequently lie for each other's approval, and jealousy was a common player. They would ignore each other when someone more interesting came along. Ultimately, what led to the break up in season 2, Farwell Snorkmaiden, was the understanding that Snorkmaiden was just more mature than Moomintroll. In her own way, she was ready for a serious committed relationship, and Moomintroll was not.

However, there was never a formal conversation of them getting back together. They just sort of were? And all of the problems in their relationship were never resolved. They still lied to each other and ignored one another for something shinier all the time. It was irritating. These two became no better than Sniff in the end. I'm standing on business with that.

I'm also not convinced that Moomintroll and Snorkmaiden can have a healthy relationship after the finale. They will definitely break up again. They haven't resolved any of the issues that led to their original break.

Okay, so Moomintroll and Snufkin. Let's chat about that for a while. The first three episodes establish Moomintroll, Snufkin, and their relationship together (in that order). We, as viewers, are led to believe that their relationship (either romantic or platonic) is the key to understanding the story. Throughout seasons 1 and 2, every single motif for love (lanterns, fires, the ruby, etc.) that is introduced is done with Moomintroll and Snufkin. Regardless, different expressions of love and intimacy were the focal point of the show. That was almost completely abandoned in seasons 3 and 4. While turning the focus on the greater community could have added depth, it ultimately detracted from the close personal relationships that were driving the narrative.

So, the Groke. She does not just represent fear, she is a reflection of each character's own fears. I loved this! I thought it was a really cool concept, and the ways that she was portrayed in seasons 1 and 2 were excellent. Here's the thing. In her introduction in season 1, Night of the Groke, we are also introduced to lanterns/fires as a motif about love. The Groke is chasing love and craves acceptance. It's not quite something you can catch, and trying to is a failed endeavor. Brilliant episode. We saw what Snufkin's greatest fear was earlier in the season (loving Moomintroll), but we needed to pay more attention to see Moomintroll's fear. I think it was complex. On one hand, with the lanterns, Moomintroll could also be afraid to love Snufkin. However, as we saw at the end of Moomintroll and the Seahorses, he needs to learn independence before he can love someone. This was also reinforced through Snorkmaiden in Farwell Snorkmaiden. The fires and lanterns were constant reoccurring motifs (not just for Moomintroll and Snufkin, though that's where the focus is right now). Rewatch the season 3 episode, Lonely Mountain, and that one monologue that Snufkin gives will start to make sense.

By abandoning these important motifs, the Groke's conclusion feels unfinished. It just felt wrong. In the end, she did just represent fear. This completely erased the layer of depth that she had to start.

For Moomintroll to learn to be more independent and self-reliant, he needed to learn from Snufkin. For Snufkin to learn to accept love and responsibility, he needed to learn from Moomintroll. They were the keys to each other's growth. When they were together, the plot moved. When they weren't, the episodes felt like filler for the most part.

Also, small detail, despite the change in one photo (the baby photo to grown Moomintroll) the photo with Moomintroll and Snufkin never changed. Which narratively makes no sense.

The writers originally set this up for them to be romantically involved. Which, given the context of their dynamic in the books and comics, makes sense. It's not as much of a stretch as people are trying to gaslight themselves into believing. These characters were originally heavily queer coded. However, the original text is sort of a tragedy. No matter what happened, Moomintroll and Snufkin could never truly be together—no matter how much they tried. This mirrored Tove Jansson's relationship to her first fiance Atos Wirtanen as well as her relationship to her own queerness. However, it looked like Moominvalley wanted something different. Queer people had enough tragic stories told already. This one would tell queer kids that it was going to be okay, and that they were going to find love. Tove Jansson's original message about love and freedom was finally going to be understood.

Instead, not only was this potentially beautiful story abandoned, it was mocked. In the season 4 episode, Midsummer Meddling, there was a scene I found quite shocking. Sniff had convinced himself that he was to fall in love with somebody. One of his "love interests" was a male scarecrow. This is the only openly queer semblance of romance that we got and it was played off as a joke. In the final season. They didn't even backtrack Moomintroll and Snufkin, they just completely ignored everything that was set up.

In the final episode, Comet in Moominland, there was an incredibly brief exchange between Moomintroll and Snufkin about who looked up to who. This would have been a fantastic place to give these characters some sort of conclusion, but we don't get that. In all of the 45 minute special, the characters are never prioritized. In the whole season, even. Really, not a single character got a satisfying conclusion, but Moomintroll and Snufkin were the most important.

This is a powerful and historic piece of queer media. Tove Jansson's queer legacy was so iconic that she was directly cited as an influence in the legalization of same sex marriage in Finland. Her work proved to further the queer community. Despite sodomy laws and fear of incarceration, Jansson continued to do what she could to tell her own queer story. That is what Moomin is. That is its legacy.

I was prepared to defend Gutsy if Snufmin didn't go canon. At the end of the day, it's usually TV execs threatening to pull the whole show off the air. The show was too costly to risk any interesting writing. However, the writers didn't recover, and some of the writing just felt downright melicious at times.

Anyway, if you love slice-of-life content, you probably loved this season and the show's conclusion. It is such a shame that the creators promised something completely different from what the show turned out to be. It's no surprise that viewers are disappointed.

I do have one more thing to say ☝️😀. This is going to hurt Moomin's mission to expand to the US. It's been very obvious that they have been trying to expand to North America. Brave and bold writing would have caught the attention of new viewers. Instead, few Americans are going to recommend this show to others. Aside from that, the next logical move is to make an American adaptation. Good luck trying to find a competent YA cartoon creator that won't threaten to walk off the project if they can't have Snufmin. That being said, they'll have better luck making that canon here anyway. (Everybody say, "thank you Rebecca Sugar and Pendleton Ward.")

Well, in the end, I don't think the fight to make Snufmin a real, transparent queer story ends with Moominvalley. I can say, though, that the prioritization of profit over respect and love for others is not at all what Tove Jansson would have wanted.

Seasons 1 and 2 were peak, and season 3, episode 8, was batshit insane. That is all.

[utilitycaster]

The thing about Otohan is that she had an awesome mechanical build and she served a narrative purpose in that the party lived in fear of her for nearly 60 episodes but she truly did die as she lived, with a personality replaced by frogs and murderous intent. And the thing is I suspect there's plenty of interesting stuff about there. I've been there as a DM, having built a super cool NPC with worldbuiding ties that the party simply did not give a shit about, and I think that's the same situation here.

Legend of the Peaks isn't particularly meaningful since only two party members have any recollection of the Apex War and neither show the slightest interest in the politics thereof and they haven't really been relevant to the story. We don't know why she worshiped the Raven Queen once nor what happened to make her stop while still using that symbol...and it hasn't really been relevant to the story. We don't know if the backpack came from her or was from Ludinus...but it's not really relevant to the story other than tracing the potions of possibility back through Treshi and Jiana. We don't know what specifically drove her towards the Vanguard other than lacking answers as a Ruidusborn - which may have simply been enough - but again. Not relevant. We have Liliana to represent the perspective of a Ruidusborn who went through the Omen Archive study and whose motivations warped and twisted from a place of genuine worry and fear, and we have Ludinus to represent the centuries-long architect of this entire plan (plus he can't stop monologuing about his motivations, and that is a compliment). That's plenty.

And so Otohan consistently fails the Sexy Lamp With A Gun Attached Test, and it doesn't really matter, and I'm sure there was a backstory there but there's quite literally been no reason to care about it at any point, and I think most people do not. Her entire purpose within the narrative was that of a sentient evil Jersey Barrier that ultimately had to be blown up. I'm infinitely more interested in the loot drop that resulted from her death (and obviously the emotional ramifications of FCG's sacrifice) than any of her repetitive zealot bullshit.

[kismetconstellations]

@sockdooe, This is the full original image:

According to the Tumblr post I originally snagged it from, it's an early piece of promotional artwork, meant to depict Keith as the series's central character. Shiro is shoved into the background, presumably to illustrate that he was intended to fulfill a Doomed Mentor role.

[waterlinkedgirl]

Musical Touken Ranbu: Michinooku ~ Hitotsu Hachisu (Michinooku ~ A Single Lotus)

Here we go! Only a few days after the archive release and toumyu's ninth anniversary (congratulations!)

Michioku, or Michihasu, is a myu I have many conflicting feelings about, both positive and negative. However, I do believe that with the right amount of care in the next Mika-related story myu, the negative can still be cleared. Plus, I'm glad about a lot of things being re-established. The writer does need to step up her game a little on the plot-writing side of things, as well as the understanding-and-respecting-past-myu side of things, but as long as she does, this can still be given a proper place within what was already established.

Keep in mind that these are only the subtitle files, timed and tled to the DMM senshuuraku and the bluray respectively. The archive version will have a talk at the start, so the starting times of the subs will have to be delayed accordingly.

You can find the subtitles and my TL notes document here!

[mwagneto]

a thing about rtd's era that i really really love seeing again is how he will usually wrap up the plot 10 or even 20 minutes before the episode ends and then the rest of that time is just dedicated to the characters talking to each other and dealing with their emotions and situations. like instead of a last minute win and a two minute goodbye they always get these massive spans of time to really get into everything emotionally and it always makes the episodes hit even harder

[grandpakronos]

tbh is alison even real???

idk like the vibe of alison feels like bait made by some news company to get us talking...and where are they even getting this all from? rick posted the casting call last season on his website and there's nothing like that now.

but even if it is real...let's all calm down and take a second. the books and show are separate, made differently and will have different interpretations. if you don't like the show, stop watching and go read the books again. i'm willing to take a chance :)

[moeblob]

Right and his work menaces (Brent and Karen).

I don't remember last I mentioned it but apart from crude nicknames to people (except Chris), he also just puts them in his phone really weird (except Chris, who is literally in his phone as Chris). And I bring this up because in Right's phone, Karen is saved as "Lawful Obligation".

[fromtheseventhhell]

I'm not sure how to get it into people's heads that Arya is a female character. She's not a boy, not nonbinary, trans, agender, or genderless. I don't intend this in a way to be negative or wanky, but her girlhood is imbedded within her character. The problem isn't that Arya stans are missing the point by overemphasizing her femininity and wanting her to be a barefoot tradwife baby making machine, but that we're stating it exists when the majority of fandom and the show itself have gone out of the way to minimize the relevancy of her gender. I'm fully convinced there are a lot of people who think Arya would be the exact same character had GRRM created her as a male character named Arry instead, perhaps they'd do a better job at acknowledging her importance.

What's most ironic to me is how these same fans will gush and coo over the sisters being more alike than we think, but only if it involves giving Arya's characteristics to Sansa. Well acktually, Sansa likes to ride horses just as much as Arya does! They're so alike uwu! But dare acknowledge that Arya has traits and aspects commonly associated to Sansa then not only does that get accusations of wanting Arya to become Sansa, but that it's solely about showing Sansa up and wanting her to grovel in Arya's shadow and superiority 🙄 Hypocrisy and projection showing itself.

Somewhat of an aside, but I recently saw a post on reddit complaining about the fact that all four of Daemon's children survived the Dance specifically focused on the fact that both Rhaena and Baela lived. According to the OP, one of them should've died and their post-war roles in the story should've been given to only one of them. Which at its core is really the main conflict between Sansa and Arya stans, no matter how much the Stansas want to cover their ears and play dumb. It's not about Arya stans projecting their sibling squabbles onto the two of them but simply the fact that it's not possible for two characters to fulfill the same role in the story, specifically when it involves two female characters. The existence of two Stark sisters is an inconvenience for the people who want the story to revolve around Sansa.

I have to believe there's some bubbles that they don't want to admit will burst if TWOW will ever be released and that's why they cling to the idea that Arya stans are the delusional ones. They have to believe that the parts of Sansa's seasons 5-8 storyline they like came from GRRM instead of D&D or else their Jonsa and QITN fantasies will fall apart. I have no idea how someone can watch the scene where Sansa tells Arya she couldn't survive what she had while Arya can only sputter out that she was training and believe 1) it makes sense for their book characters and 2) D&D didn't blatantly favor Sansa and Sophie over Arya and Maisie.

This ask came literally seconds after I drafted a post talking about this exact topic and it's so wild to me that we were both up thinking about Arya + her girlhood and wanting to discuss it 🥹

As for this ask, you really hit the nail on the head. Arya's gender is an essential aspect of her journey but fandom ignores that because they've decided that there's only one "right" way to exist as a female character. Arya's self-esteem issues stem from her being a non-conforming Lady in a misogynistic society, she has to disguise herself as a boy in part because of the threat of sexual violence, in Harrenhal she is assigned gender-specific tasks/labor, political matches are made without her knowledge/consent, she is threatened with sexual violence multiple times, and even her role within the FM is influenced by her gender. Her being non-conforming doesn't mean she's the complete antithesis of everything feminine. The obsession with propping up Sansa has ruined people's ability to perceive complex female characters, ironically including Sansa herself. They genuinely would've respected Arya more if she had died passively rather than fight for her life and you can't tell me that isn't misogyny.

That Reddit post is a great example of how people genuinely can't (or refuse to) comprehend the idea of two female characters occupying the same space. Cause you're right, that is the root of the issue. I think the only reason they bother with the fake "Stark sisters uwu" crap is because they've backed themselves into a faux-feminist corner and they don't want to look hypocritical for disliking Arya. So instead, they pretend to care all while rewriting her to serve as Sansa's prop. This is also why so many Queen!Sansa truthers are also anti-Dany + think that Sansa becoming Queen depends on Dany's downfall. They desperately cling to the show as canon, when D&D have openly admitted they changed the story because they favored Sansa/Sophie. They're fine with how show!Arya is written because to them, that's exactly how she should be; a subservient lapdog for Sansa. TWOW is definitely going to ruin that illusion, and one of the reasons I'm optimistic about it being released is getting to see fandom's reaction.

[t-errifier]

LIKE THIS if you would like to engage in a bit of plotting with me & are alright with me invading your dms ! it can be a relationship dynamic of any kind, by liking this you are not promising anything, just that we will have a fun little chat about how our muses can best interact !

[beaconfeels]

@like-lazarus kindly tagged me in a “Messy Draft Monday” and even though I’ve been too stressed to be actively working on anything right now, I wanted to share something. So have a little bit of one of the random steter stories floating around in my brain:

Peter finishes loading the last bag into his car and leans against the trunk for a minute. Overall, he feels satisfied. His revenge is complete, plus he’s an alpha, which is a nice little perk.

It’s a little galling to have to leave the Hale territory instead of ruling it, but if he stays here his nephew and that merry little band of budding psychopaths will kill him eventually. He’s lucky, but he’s not that lucky.

The sound of rapidly approaching footsteps catches his ear first, then a quick heartbeat. He knows that heartbeat. He memorized that heartbeat one night that seems so long ago, but really wasn’t that long ago at all.

He turns around.

“Stiles,” he says, low, dangerous. Because he likes Stiles, but Stiles is most likely to come up with a murder plot that will actually work, so he’s not to be trifled with.

The boy pulls up short, staying well back from Peter. He’s breathing hard, and those pretty pink lips are parted, his cheeks flushed. He really is very lovely, Peter thinks.

Stiles has a large duffle bag weighing down one shoulder, his grip on it white-knuckled. “Take me with you,” he says.

Peter blinks. He thought he was beyond being surprised.

“You want me, right?” Stiles goes on. “You wanted to turn me. I can’t let you bite me, but I can be pack. Just take me with you. Let me stay with you and I’ll be pack. I’ll cook too, and clean.”

“Can’t let me bite you?” Peter asks. It’s not the only question he has, but it’s the one that sticks out the most in what Stiles has just laid on him.

“I don’t think so. Maybe? But right now it’s a no.” He bites his lip, taps his fingers on his leg. “Yeah. Definitely a no right now. Maybe forever. But humans can be pack, right?”

Peter doesn’t know why he’s even still standing here. Of course he’s not going to take Stiles with him. “You don’t even know where I’m going,” he says instead of what he should be saying, which is obviously no. It’s definitely not happening.

“I don’t fucking care,” Stiles says, and he sounds suddenly weary. “As long as it’s not here, I’m cool.”

Peter tilts his head. Stiles is such a mix of scents it’s always been hard to get a read on him, but Peter has noticed the anguish that radiates off the boy in waves. It’s a layer that runs under everything else— a steady, overwhelming sadness. “And what would your father have to say about that?” He still doesn’t know why he’s even engaging in it, why he’s giving the boy any hope.

Stiles snorts. “I left him a note that he’ll find whenever he finally realizes I’m gone. He won’t come after me.” He looks down and to the side, his hand clenching into a fist.

“Listen,” Stiles says, and he raises those big brown eyes to look right at Peter, “I can’t stay here anymore. Please. Just please, take me with you. I know I can’t promise not to be any trouble, you’d never believe that, but I can be useful. I can be good for you. I can be pack.”

He’s desperate, and that shouldn’t matter. If it were anyone else it wouldn’t matter, but this is Stiles. Stiles is unusual. He’s interesting. Now that he’s had his revenge, Peter is at a bit of a loose end. Not without plans, never without plans, but the future already looks a little boring. Stiles is many things, but boring isn’t one of them.

Plus, Stiles is the Sheriff’s son, and absconding with the son of the sheriff sounds like a delightfully mischievous, if misguided, end to his run in Beacon Hills. “Alright, you can come along.”

[kingsragesqueal]

stolas asking blitz "have u ever apologized to anyone?" is literally so fucking wild because yeah, yeah he has actually?? have *you* ever apologized to anyone? i can only think of two times u've apologized and both of them were to octavia, after you fucked up majorly and ignored her needs and made her feel unloved and alone. also did u ever apologize to blitz for *takes out comically long scroll*

coercing him into a sexual relationship (he admitted it was wrong, but never apologized)

using him as an object in more way than one, including putting out a cigarette on his horn (99% sure that imps have feeling/sensation in their horns. he didn't seem to be in any pain but tbf we know he's into some freaky shit....but STILL)

calling him an "impish little plaything," "itty bitty imp," "blitzy," etc

embarrassing him in public and dirty talking to him on the phone with your daughter in the same room

treating his entire race as a whole like complete and utter trash then denying it and basically saying "UM i don't see color (species) uwu~"

trying to make him feel guilty for not rescuing you when he was taking his daughter to get a very important shot that literally prevents her from dying which she is five years overdue for already, a daughter who is also terrified and needs his support (being a supportive dad? what's that lol)

so many other things i can't even think of rn

no? no. then shut the fuck up u ugly ass bird