#Grace Alone for Justification

[thinkingonscripture]

The Spiritual Life and the Walk of Faith

The spiritual life is inseparably connected to the walk of faith, for to “walk by the Spirit” (Gal 5:16) is to “walk by faith” (2 Cor 5:7). The former assumes the latter. God the Holy Spirit inspired the Scriptures (2 Tim 3:16-17; 2 Pet 1:20-21), ensuring the written text is God’s authoritative revelation, the very “Word of God, which performs its work in you who believe” (1 Th 2:13b). It follows…

[thepopoptic]

[kdmiller55]

Man-Made Means to Earn Grace-Based Salvation

1 Finally, my brothers, rejoice in the Lord. To write the same things to you is no trouble to me and is safe for you. 2 Look out for the dogs, look out for the evildoers, look out for those who mutilate the flesh. 3 For we are the circumcision, who worship by the Spirit of God and glory in Christ Jesus and put no confidence in the flesh — 4 though I myself have reason for confidence in the flesh…

[renthony]

Nimona: a Story of Trans Rights, Queer Solidarity, and the Battle Against Censorship

by Ren Basel renbasel.com

The 2023 film Nimona, released on Netflix after a tumultuous development, is a triumph of queer art. While the basic plot follows a mischievous shapeshifter befriending a knight framed for murder, at its heart Nimona is a tale of queer survival in the face of bigotry and censorship. Though the word “transgender” is never spoken, the film is a deeply political narrative of trans empowerment.

The film is based on a comic of the same name, created by Eisner-winning artist N.D. Stevenson. (1) Originally a webcomic, Nimona stars the disgraced ex-knight Ballister Blackheart and his titular sidekick, teaming up to topple an oppressive regime known as the Institution. The webcomic was compiled into a graphic novel published by Harper Collins on May 12, 2015. (2)

On June 11, 2015, the Hollywood Reporter broke the news Fox Animation had acquired rights to the story. (3) A film adaptation would be directed by Patrick Osborne, written by Marc Haimes, and produced by Adam Stone. Two years later, on February 9, 2017, Osborne confirmed the film was being produced with the Fox-owned studio Blue Sky Animation, and on June 30 of that same year, he claimed the film would be released Valentine’s Day 2020. (4)

Then the Walt Disney Company made a huge mess.

On December 14, 2017, Disney announced the acquisition of Twenty-First Century Fox, Inc. (5) Industry publications began speculating the same day about Blue Sky’s fate, though nothing would be confirmed until after the deal’s completion on March 19, 2019. (6) At first it seemed the studio would continue producing films under Disney’s governance, similar to Disney-owned Pixar Animation. (7)

The fate of the studio—and Nimona’s film adaptation—remained in purgatory for two years. During that time, Patrick Osborne left over reported creative differences, and directorial duties were taken over by Nick Bruno and Troy Quane. (8) Bruno and Quane continued production on the film despite Blue Sky’s uncertain future.

The killing blow came on February 9, 2021. Disney shut down Blue Sky and canceled Nimona, the result of economic hardship caused by COVID-19. (9) Nimona was seventy-five percent completed at the time, set to star Chloë Grace Moretz and Riz Ahmed. (10)

While COVID-19 caused undeniable financial upheaval for the working class, wealthy Americans fared better. (11) Disney itself scraped together enough to pay CEO Bob Iger twenty-one million dollars in 2020 alone. (12) Additionally, demand for animation spiked during the pandemic’s early waves, and Nimona could have been the perfect solution to the studio’s supposed financial woes. (13) Why waste the opportunity to profit from Blue Sky’s hard work?

It didn’t take long for the answer to surface. Speaking anonymously to the press, Blue Sky workers revealed the awful truth: Disney may have killed Nimona for being too queer. The titular character was gender-nonconforming, the leading men were supposed to kiss, and Disney didn’t like it. (14) While Disney may claim COVID-19 as the cause, it is noteworthy that Disney representatives saw footage of two men declaring their love, and not long after, the studio responsible was dead. (15) Further damning evidence came in February of 2024, when the Hollywood Reporter published an article quoting co-director Nick Bruno, who named names: Disney’s chief creative officer at the time, Alan Horn, was adamantly opposed to the film’s “gay stuff.” (16)

Disney didn’t think queer art was worthy of their brand, and it isn’t the first time. “Not fitting the Disney brand” was the justification for canceling Dana Terrace’s 2020 animated series The Owl House, which featured multiple queer characters. (17) Though Terrace was reluctant to assume queerphobia caused the cancellation, Disney’s anti-queer bias has been cited as a hurdle by multiple showrunners, including Terrace herself. (18) The company’s resistance to queer art is a documented phenomenon.

While Nimona’s film cancellation could never take N.D. Stevenson’s comic from the world, it was a sting to lose such a powerful queer narrative on the silver screen. American film has a long history of censoring queerness. The Motion Picture Production Code (commonly called the Hays Code) censored queer stories for decades, including them under the umbrella of “sex perversion.” (19) Though the Code was eventually repealed, systemic bigotry turns even modern queer representation milestones into battles. In 2018, when Rebecca Sugar, creator of the Cartoon Network series Steven Universe, succeeded in portraying the first-ever same-sex marriage proposal in American children’s animation, the network canceled the show in retaliation. (20)

When queer art has to fight so hard just to exist, each loss is a bitter heartbreak. N.D. Stevenson himself expressed sorrow that the world would never see what Nimona’s crew worked so hard to achieve. (21)

Nimona, however, is hard to kill.

While fans mourned, progress continued behind the scenes. Instead of disappearing into the void as a tax write-off, the film was quietly scooped up by Megan Ellison of Annapurna Pictures. (22) Ellison received a call days before Disney’s death blow to Blue Sky, and after looking over storyboard reels, she decided to champion the film. With Ellison’s support, former Blue Sky heads Robert Baird and Andrew Millstein did their damnedest to find Nimona a home. (23)

Good news arrived on April 11, 2022, when N.D. Stevenson made a formal announcement on Twitter (now X): Nimona was gloriously alive, and would release on Netflix in 2023. (24) Netflix confirmed the news in its own press release, where it also provided details about the film’s updated cast and crew, including Eugene Lee Yang as Ambrosius Goldenloin alongside Riz Ahmed’s Ballister Boldheart (changed from the name Blackheart in the comic) and Chloë Grace Moretz as Nimona. (25) The film was no longer in purgatory, and grief over its death became anticipation for its release.

Nimona made her film debut in France, premiering at the Annecy International Animation Film Festival on June 14, 2023 to positive reviews. (26) Netflix released the film to streaming on June 30, finally completing the story’s arduous journey from page to screen. (27)

When the film begins, the audience is introduced to the world through a series of illustrated scrolls, evoking the storybook intros of Disney princess films such as 1959’s Sleeping Beauty. The storybook framing device has been used to parody Disney in the past, perhaps most famously in the 2001 Dreamworks film Shrek. Just as Shrek contains parodies of the Disney brand created by a Disney alumnus, so, too, does Nimona riff on the studio that snubbed it. (28)

Nimona’s storybook intro tells the story of Gloreth, a noble warrior woman clad in gold and white, who defended her people from a terrible monster. After slaying the beast, Gloreth established an order of knights called the Institute (changed from the Institution in the comic) to wall off the city and protect her people.

Right away, the film introduces a Christian dichotomy of good versus evil. Gloreth is presented as a Christlike figure, with the Institute’s knights standing in as her saints. (29) Her name is invoked like the Christian god, with characters uttering phrases such as “oh my Gloreth” and “Gloreth guide you.” The film’s design borrows heavily from Medieval Christian art and architecture, bolstering the metaphor.

Nimona takes place a thousand years after Gloreth’s victory. Following the opening narration, the audience is dropped into a setting combining Medieval aesthetics with futuristic science fiction, creating a sensory delight of neon splashed across knights in shining armor. It’s in this swords-and-cyborgs city that a new knight is set to join the illustrious ranks of Gloreth’s Institute, now under the control of a woman known only as the Director (voiced by Frances Conroy). That new knight is our protagonist, Ballister Boldheart.

The film changes several things from the original. The comic stars Lord Ballister Blackheart, notorious former knight, long after his fall from grace. He has battled the Institution for years, making a name for himself as a supervillain. The film introduces a younger Ballister Boldheart who is still loyal to the Institute, who believes in his dream of becoming a knight and overcomes great odds to prove himself worthy. In the comic, Blackheart’s greatest rival is Sir Ambrosius Goldenloin, with whom he has a messy past. The film shows more of that past, when Goldenloin and Boldheart were young lovers eager to become knights by each other’s side.

There is another notable change: in the comic, Goldenloin is white, and Blackheart is light-skinned. In the film, both characters are men of color—specifically, Boldheart is of Pakistani descent, and Goldenloin is of Korean descent, matching the ethnicity of their respective voice actors. This change adds new themes of institutional racism, colorism, and the “model minority” stereotype. (30)

The lighter-skinned Goldenloin is, as his name suggests, the Institute’s golden boy. He descends from the noble lineage of Gloreth herself, and his face is emblazoned on posters and news screens across the city. He is referred to as “the most anticipated knight of a generation.” In contrast, the darker-skinned Boldheart experiences prejudice and hazing due to his lower-class background. His social status is openly discussed in the news. He is called a “street kid” and “controversial,” despite being the top student in his class. The newscasters make sure everyone knows he was only given the chance to prove himself in the Institute because the queen, a Black woman with established social influence, gave him her personal patronage. Despite this patronage, when the news interviews citizens on the street, public opinion is firmly against Boldheart.

To preserve the comic’s commentary on white privilege, some of Goldenloin’s traits were written into a new, white character created for the film, Sir Thoddeus Sureblade (voiced by Beck Bennett). Sureblade’s vitriol against both Boldheart and Goldenloin allowed Goldenloin to become a more sympathetic character, trapped in the system just as much as Boldheart. (31) This is emphasized at other points in the film when the audience sees Sureblade interact with Goldenloin without Boldheart present, berating the only person of color left in the absence of the darker-skinned man.

The day Boldheart is to be knighted, everything goes wrong. As Queen Valerin (voiced by Lorraine Toussaint) performs the much-anticipated knighting ceremony, a device embedded in Boldheart’s sword explodes, killing her instantly. Though Boldheart is not to blame, he is dubbed an assassin instead of a knight. In an instant, he becomes the most wanted man in the kingdom, and Queen Valerin’s hopes for progress and social equality seem dead with her. Boldheart is gravely injured in the explosion and forced to flee, unable to clear his name.

Enter Nimona.

The audience meets the titular character in the act of vandalizing a poster of Gloreth, only to get distracted by an urgent broadcast on a nearby screen. As she approaches, a bystander yells that she’s a “freak,” in a manner reminiscent of slurs screamed by passing bigots. Nimona has no time for bigots, spraying this one in the face with paint before tuning in to the news.

“Everyone is scared,” declare the newscasters, because queen-killer Ballister Boldheart is on the run. The media paints him as a monster, a filthy commoner who never deserved the chances he was given, and announce that, “never since Gloreth’s monster has anything been so hated.” This characterization pleases Nimona, and she declares him “perfect” before scampering off to find his hiding place.

It takes the span of a title screen for her to track him down, sequestered in a makeshift junkyard shelter. Just before Nimona bursts into the lair, the audience sees Boldheart’s injuries have resulted in the amputation of his arm, and he is building a homemade prosthetic. This is another way he’s been othered from his peers in an instant, forced to adapt to life-changing circumstances with no support. Where he was so recently an aspiring knight with a partner and a dream, he is now homeless, disabled, and isolated.

A wall in the hideout shows a collection of news clippings, suspects, and sticky notes where Boldheart is trying to solve the murder and clear his name. His own photo looks down from the wall, captioned with a damning headline: “He was never one of us—knights reveal shocking details of killer’s past.” It evokes real-world racial bias in crime reporting, where suspects of color are treated as more violent, unstable, and prone to crime than white suspects. A 2021 report by the Equal Justice Initiative and the Global Strategy Group compiled data on this phenomenon, focusing on the stark disparity between coverage of white and Black suspects. (32)

Nimona is not put off by Boldheart’s sinister media reputation. It’s why she tracked him down in the first place. She’s arrived to present her official application as Boldheart’s villain sidekick and help him take down the Institute. Boldheart brushes her off, insisting he isn’t a villain. He has faith in his innocence and in the system, and leaves Nimona behind to clear his name.

When he is immediately arrested, stripped of his prosthetic, and jailed, Nimona doesn’t abandon him. She springs a prison break, and conveys a piece of bitter wisdom to the fallen knight: “[O]nce everyone sees you as a villain, that’s what you are. They only see you one way, no matter how hard you try.”

Nimona and Boldheart are both outcasts, but they are at different stages of processing the pain. Boldheart is deep in the grief of someone who tried to adhere to the demands of a biased system but finally failed. He is the newly cast-out, who gave his entire life to the system but still couldn’t escape dehumanization. His pain is a fresh, raw wound, where Nimona has old scars. She embodies the deep anger of those who have existed on the margins for years. Where Boldheart wants to prove his innocence so he can be re-accepted into the fold, Nimona’s goal is to tear the entire system apart. She finds instant solidarity with Boldheart based solely on their mutual status as outsiders, but Boldheart resists that solidarity because he still craves the system’s familiar structure.

In the comic, Blackheart’s stance is not one of fresh grief, since, just like Nimona, he has been an outsider for some time. Instead, Blackheart’s position is one of slow reform. He believes the system can be changed and improved, while Nimona urges him to demolish it entirely. In both versions, Ballister thinks the system can be fixed by removing specific corrupt influences, where Nimona believes the government is rotten to its foundations and should be dismantled. Despite their ideological differences, Nimona and Ballister ally to survive the Institute’s hostility.

The allyship is an uneasy truce. During the prison break, Nimona reveals that she’s a shapeshifter, able to change into whatever form she pleases. Boldheart reflexively reaches for his sword, horrified that she isn’t human. She is the exact sort of monster he has been taught to fear by the Institute, and it’s only because he needs her help that he overcomes his reflex and sticks with her.

Nimona’s shapeshifting functions as a transgender allegory. The comic’s author, N.D. Stevenson, is transgender, and Nimona’s story developed alongside his own queer journey. (33) The trans themes from the comic are emphasized in the film, with various pride flags included in backgrounds and showcased in the art book. (34) Directors Bruno and Quane described the film as “a story about acceptance. A movie about being seen for who you truly are and a love letter to all those who’ve ever shared that universal feeling of being misunderstood or like an outsider trying to fit in.” (35)

When Boldheart asks Nimona what she is, she responds with only “Nimona.” When he calls her a girl, she retorts that she’s “a lot of things.” When she transforms into another species, she specifies in that moment that she’s “not a girl, I’m a shark.” Later, when she takes the form of a young boy and Boldheart comments on it, saying “now you’re a boy,” her response is, “I am today.” She defies easy categorization, and she likes it that way.

About her shapeshifting, Nimona says “it feels worse if I don’t do it” and “I shapeshift, then I’m free.” When asked what happens if she doesn’t shapeshift, she responds, “I wouldn’t die-die, I just sure wouldn’t be living.” Every time she discusses her transformations, it carries echoes of transgender experience—and, as it happens, Nimona is not N.D. Stevenson’s only shapeshifting transgender character. During his tenure as showrunner for She-Ra and the Princesses of Power (Netflix/Dreamworks, 2018-2020), Stevenson introduced the character Double Trouble. Double Trouble previously existed at the margins of She-Ra lore, but Stevenson’s version was a nonbinary shapeshifter using they/them pronouns. (36) While Nimona uses she/her pronouns throughout both comic and film, just like Double Trouble her gender presentation is as fluid as her physical form.

Boldheart, like many cisgender people reacting to transgender people, is uncomfortable with Nimona. He declares her way of doing things “too much,” and insists they try to be “inconspicuous” and “discreet.” He worries whether others saw her, and, when she is casually in a nonhuman form, he asks if she can “be normal for a second.” He claims to support her, but says it would be “easier if she was a girl” because “other people aren’t as accepting.” His discomfort evokes fumbled allyship by cisgender people, and Nimona emphasizes the allegory by calling Boldheart out for his “small-minded questions.” While the alliance is uneasy, Boldheart continues working with Nimona to clear his name. They are the only allies each other has, and their individual survival is dependent on them working together.

When the duo gain video proof of Boldheart’s innocence, they learn the bomb that killed Queen Valerin was planted by the Director. Threatened by a Black woman using her influence to elevate a poor, queer man of color, the white Director chose to preserve the status quo through violence.

Nimona is eager to get the video on every screen in the city, but Boldheart wants to deal with the issue internally, out of the public eye. He insists “the Institute isn’t the problem, the Director is.” This belief is what also leads the comic’s Blackheart to reject Nimona’s idea that he should crown himself king. He is focused on reforming the existing power structure, neither removing it entirely nor taking it over himself.

Inside the Institute, the Director has been doing her best to set Goldenloin against his former partner. Despite his internal misgivings and fear of betraying someone he loves, Goldenloin does his best to adhere to his prescribed role. As the Director reminds the knights, they are literally born to defend the kingdom, and it’s their sacred duty to do so—especially Goldenloin, who carries Gloreth’s holy blood. This blood connection is repeated throughout the film, and used by the Director to exploit Goldenloin. He’s the Institute’s token minority, put on a gilded pedestal and treated as a symbol instead of a human being.

Goldenloin is a pretty face for propaganda posters, and those posters can be seen throughout the film. They proclaim Gloreth’s majesty, the power of the knights, and remind civilians that the Institute is necessary to “protect our way of life.” A subway PSA urges citizens, “if you see something, slay something,” in a direct parody of the real-world “if you see something, say something” campaign by the United States Department of Homeland Security. (37)

The film is not subtle in its political messaging. When Boldheart attempts to prove his innocence to Goldenloin and the assembled knights, he reaches towards his pocket for a phone. The Director cries that Boldheart has a weapon, and Sureblade opens fire. Though the shot hits the phone and not Boldheart, it carries echoes of real-world police brutality against people of color. Specifically, the use of a phone evokes cases such as the 2018 murder of Stephon Clark, a young Black man who was shot and killed by California police claiming Clark’s cell phone was a firearm. (38) The film does not toy with vague, depoliticized themes of coexistence and tolerance; it is a direct and pointed allegory for contemporary oppression in the United States of America.

Forced to choose between love for Boldheart and loyalty to the Institute, Goldenloin chooses the Institute. He calls for Boldheart’s arrest, and this is the moment Boldheart finally agrees to fight back and raise hell alongside Nimona. When Goldenloin calls Nimona a monster during the ensuing battle, Boldheart doesn’t hesitate to refute it. He expresses his trust in her, and it’s clear he means it. He’s been betrayed by someone he cared about and thought he could depend on, and this puts him in true solidarity with Nimona for the first time.

During the fight, Nimona stops a car from crashing into a small child. She shapeshifts into a young girl to appear less threatening, but it doesn’t work. The child picks up a sword, pointing it at Nimona until an adult pulls them away to hide. When Nimona sees this hatred imprinted in the heart of a child, it horrifies her.

After fleeing to their hideout, Nimona makes a confession to Boldheart: she has suicidal ideations. So many people have directed so much hatred toward her that sometimes she wants to give in and let them kill her. In the real world, a month after the film’s release, a study from the Williams Institute at the UCLA School of Law compiled data about suicidality in American transgender adults. (39) Researchers found that eighty-one percent have thought about suicide, compared to just thirty-five percent of cisgender adults. Forty-two percent have attempted suicide, compared to eleven percent of cisgender adults. Fifty-six percent have engaged in self-harm, compared to twelve percent of cisgender adults.

When Boldheart offers to flee with her and find somewhere safe together, Nimona declares they shouldn’t have to run. She makes the decision every trans person living in a hostile place must make: do I leave and save myself, or do I stay to fight for my community? The year the film was released, the Trans Legislation Tracker reported a record-breaking amount of anti-trans legislation in the United States, with six hundred and two bills introduced throughout twenty-four states. (40) In February 2024, the National Center for Transgender Equality published data on their 2022 U.S. Transgender Survey, revealing that forty-seven percent of respondents thought about moving to another area due to discrimination, with ten percent actually doing so. (41)

Despite the danger, Nimona and Boldheart work diligently against the Institute. When they gain fresh footage proving the Director’s guilt, they don’t hesitate to upload it online, where it garners rapid attention across social and news media. Newscasters begin asking who the real villain is, anti-Institute sentiment builds, and citizens protest in the streets, demanding answers. The power that social media adds to social justice activism is true in the real world as it is in the film, seen in campaigns such as the viral #MeToo hashtag and the Black Lives Matter movement. (42) In 2020, polls conducted by the Pew Research Center showed eight in ten Americans viewed social media platforms as either very or somewhat effective in raising awareness about political and social topics. In the same survey, seventy-seven percent of respondents believed social media is at least somewhat effective in organizing social movements. (43)

In reaction to the media firestorm, the Director issues a statement. She outs Nimona as a shapeshifter, and claims the evidence against the Institute is a hoax. Believing the Director, Goldenloin contacts Boldheart for a rendezvous, sans Nimona. From Goldenloin’s perspective, Boldheart is a good man who has been deceived by the real villain, Nimona. He tells Boldheart about a scroll the Director found, with evidence that Nimona is Gloreth’s original monster, still alive and terrorizing the city. Goldenloin wants to bring Boldheart back into the knighthood and resume their relationship, and though that’s what Boldheart wanted before, his solidarity with Nimona causes him to reject the offer.

Though he leaves Goldenloin behind, Boldheart’s suspicion of Nimona returns. Despite their solidarity, he doesn’t really know her, so he returns home to interrogate her. In the ensuing argument, he reverts to calling her a monster, but only through implication—he won’t say the word. Like a slur, he knows he shouldn’t say it anymore, but that doesn’t keep him from believing it.

Boldheart’s actions prove to Nimona that nowhere is safe. There is no haven. Her community will always turn on her. She flees, and in her ensuing breakdown, the audience learns her backstory. She was alone for an unspecified length of time, never able to fit in until meeting Gloreth as a little girl. Nimona presents herself to Gloreth as another little girl, and Gloreth becomes Nimona’s very first friend. Even when Nimona shapeshifts, Gloreth treats her with kindness and love.

Then the adults of Gloreth’s village see Nimona shapeshift, and the word “monster” is hurled. Torches and pitchforks come out. At the adults’ panic, Gloreth takes up a sword against Nimona, and the cycle of bigotry is transferred to the next generation. The friendship shatters, and Nimona must flee before she can be killed.

After losing Boldheart, seemingly Nimona’s only ally since Gloreth’s betrayal, Nimona’s grief becomes insurmountable. She knows in her heart that nothing will ever change. She’s been hurt too much, by too many, cutting too deeply. To Nimona, the world will only ever bring her pain, so she gives in. She transforms into the giant, ferocious monster everyone has always told her she is, and she begins moving through the city as the Institute opens fire.

When Ballister sees Nimona’s giant, shadowy form, he realizes the horrific pain he caused her. He intuits that Nimona isn’t causing destruction for fun, she’s on a suicide march. She’s given up, and her decision is the result of endless, systemic bigotry and betrayal of trust. Her rampage wouldn’t be happening if she’d been treated with love, support, and care.

Nimona’s previous admission of suicidal ideation repeats in voiceover as she prepares to impale herself on a sword pointed by a massive statue of Gloreth. Her suicide is only prevented because Ballister steps in, calling to her, apologizing, saying he sees her and she isn’t alone. She collapses into his arms, once again in human form, sobbing. Boldheart has finally accepted her truth, and she is safe with him.

But she isn’t safe from the Director.

In a genocidal bid she knows will take out countless civilian lives, the Director orders canons fired on Nimona. Goldenloin tries to stop her, finally standing up against the system, but it’s too late. The Director fires the canons, Nimona throws herself at the blast to protect the civilians, and Nimona falls.

When the dust settles, the Director is deposed and the city rebuilds. Boldheart and Goldenloin reconnect and resume their relationship. The walls around the city come down, reforms take hold in the Institute, and a memorial goes up to honor Nimona, the hero who sacrificed her life to reveal the Director’s corruption.

Nimona, however, is hard to kill.

Nimona originally had a tragic ending, born of N.D. Stevenson’s own depression, but that hopelessness didn’t last forever. (44) Though Nimona is defeated, she doesn’t stay dead. Through the outpouring of love and support N.D. Stevenson received while creating the original webcomic, he gained the community and support he needed to create a more hopeful ending for Nimona’s story��and himself.

The comic’s ending is bittersweet. Nimona can’t truly die, and eventually restores herself. She allows Blackheart to glimpse her, so he knows she survived, but she doesn’t stay. She still doesn’t feel safe, and is assumed to move on somewhere new. Blackheart never sees Nimona again.

The film’s ending is more hopeful. There is a shimmer of pink magic as Nimona announces her survival, and the film ends with Boldheart’s elated exclamation. Even death couldn’t keep her down. She survived Gloreth, and she survived the Director. Though this chapter of the story is over, there is hope on the horizon, and she has allies on her side.

In both incarnations, Nimona is a story of queer survival in a cruel world. The original ending was one of despair, that said there was little hope of true solidarity and allyship. The revised ending said there was hope, but still so far to go. The film’s ending says there is hope, there is solidarity, and there are people who will stand with transgender people until the bitter end—but, more importantly, there are people in the world who want trans people to live, to thrive, and to find joy.

In a world that’s so hostile to transgender people, it’s no wonder a radically trans-positive film had to fight so hard to exist. Unfortunately, the battle must continue. As of June 2024, Netflix hasn’t announced any intent to produce physical copies of the film, meaning it exists solely on streaming and is only accessible via a monthly paid subscription. Should Netflix ever take down its original animation, as HBO Max did in 2022 despite massive backlash, the film could easily become lost media. (45) Though it saved Nimona from Disney, Netflix has its own nasty history of under-marketing and canceling queer programs. (46)

The film’s art book is already gone. The multimedia tome was posted online on October 12, 2023, hosted at ArtofNimona.com. (47) Per the Internet Archive’s Wayback Machine, the site became a Netflix redirect at some point between 10:26 PM on March 9, 2024 and 9:35 PM on March 20, 2024. (48) On the archived site, some multimedia elements are non-functional, potentially making them lost media. The art book is not available through any legal source, and though production designer Aidan Sugano desperately wants a physical copy made, there seem to be no such plans. (49)

Perhaps Netflix will eventually release physical copies of both film and art book. Perhaps not. Time will tell. In the meantime, Nimona stands as a triumph of queer media in a queerphobic world. That it exists at all is a miracle, and that its accessibility is so precarious a year after release is a travesty. Contemporary political commentary is woven into every aspect of the film, and it exists thanks to the passion, talent, and bravery of an incredible crew who endured despite blatant corporate queerphobia.

Long live Nimona, and long live the transgender community she represents.

_ This piece was commissioned using the prompt "the Nimona movie."

Updated 6/16/24 to revise an inaccurate statement regarding the original comic.

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Notes:

1. “Past Recipients 2010s.” n.d. Comic-Con International. Accessed June 10, 2024. https://www.comic-con.org/awards/eisner-awards/past-recipients/past-recipenties-2010s/.

2. Stevenson, ND. 2015. Nimona. New York, NY: Harperteen.

3. Kit, Borys. 2015. “Fox Animation Nabs ‘Nimona’ Adaptation with ‘Feast’ Director (Exclusive).” The Hollywood Reporter. June 11, 2015. https://www.hollywoodreporter.com/movies/movie-news/fox-animation-nabs-nimona-adaptation-801920/.

4. Riley, Jenelle. 2017. “Oscar Winner Patrick Osborne Returns with First-Ever vr Nominee ‘Pearl.’” Variety. February 9, 2017. https://variety.com/2017/film/in-contention/patrick-osborne-returns-to-race-with-first-vr-nominee-pearl-1201983466/; Osborne, Patrick (@PatrickTOsborne). 2017. "Hey world, the NIMONA feature film has a release date! @Gingerhazing February 14th 2020 !!" Twitter/X, June 30, 2017, 3:16 PM. https://x.com/PatrickTOsborne/status/880867591094272000. ‌

5. “The Walt Disney Company to Acquire Twenty-First Century Fox, Inc., after Spinoff of Certain Businesses, for $52.4 Billion in Stock.” 2017. The Walt Disney Company. December 14, 2017. https://thewaltdisneycompany.com/walt-disney-company-acquire-twenty-first-century-fox-inc-spinoff-certain-businesses-52-4-billion-stock-2/.

6. Amidi, Amid. 2017. “Disney Buys Fox for $52.4 Billion: Here Are the Key Points of the Deal.” Cartoon Brew. December 14, 2017. https://www.cartoonbrew.com/business/disney-buys-fox-key-points-deal-155390.html; Giardina, Carolyn. 2017. “Disney Deal Could Redraw Fox’s Animation Business.” The Hollywood Reporter. December 14, 2017. https://www.hollywoodreporter.com/news/general-news/disney-deal-could-redraw-foxs-animation-business-1068040/; Szalai, Georg, and Paul Bond. 2019. “Disney Closes $71.3 Billion Fox Deal, Creating Global Content Powerhouse.” The Hollywood Reporter. March 19, 2019. https://www.hollywoodreporter.com/news/general-news/disney-closes-fox-deal-creating-global-content-powerhouse-1174498/.

7. Hipes, Patrick. 2019. “After Trying Day, Disney Sets Film Leadership Lineup.” Deadline. March 22, 2019. https://deadline.com/2019/03/disney-film-executives-post-merger-team-set-1202580586/.

8. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

9. D’Alessandro, Anthony. 2021. “Disney Closing Blue Sky Studios, Fox’s Once-Dominant Animation House behind ‘Ice Age’ Franchise.” Deadline. February 9, 2021. https://deadline.com/2021/02/blue-sky-studios-closing-disney-ice-age-franchise-animation-1234690310/.

10. “Disney’s Blue Sky Shut down Leaves Nimona Film 75% Completed.” 2021. CBR. February 10, 2021. https://www.cbr.com/nimona-film-abandoned-disney-blue-sky-shut-down/; Sneider, Jeff. 2021. “Exclusive: Disney’s LGBTQ-Themed ‘Nimona’ Would’ve Featured the Voices of Chloë Grace Moretz, Riz Ahmed.” Collider. March 4, 2021. https://collider.com/nimona-movie-cast-cancelled-disney-blue-sky/.

11. Horowitz, Juliana Menasce, Anna Brown, and Rachel Minkin. 2021. “The COVID-19 Pandemic’s Long-Term Financial Impact.” Pew Research Center’s Social & Demographic Trends Project. March 5, 2021. https://www.pewresearch.org/social-trends/2021/03/05/a-year-into-the-pandemic-long-term-financial-impact-weighs-heavily-on-many-americans/.

12. Lang, Brent. 2022. “Disney CEO Bob Iger’s Rich Compensation Package Revealed, Company Says Bob Chapek Fired ‘without Cause.’” Variety. November 21, 2022. https://variety.com/2022/film/finance/bob-iger-compensation-package-salary-bob-chapek-fired-1235439151/.

13. Romano, Nick. 2020. “The Pandemic Animation Boom: How Cartoons Became King in the Time of COVID.” EW.com. November 2, 2020. https://ew.com/movies/animation-boom-coronavirus-pandemic/.

14. Strapagiel, Lauren. 2021. “The Future of Disney’s First Animated Feature Film with Queer Leads, ‘Nimona,’ Is in Doubt.” BuzzFeed News. February 24, 2021. https://www.buzzfeednews.com/article/laurenstrapagiel/disney-nimona-movie-lgbtq-characters.

15. Clark, Travis. 2022. “Disney Raised Concerns about a Same-Sex Kiss in the Unreleased Animated Movie ‘Nimona,’ Former Blue Sky Staffers Say.” Business Insider. https://www.businessinsider.com/disney-disapproved-same-sex-kiss-nimona-movie-former-staffers-say-2022-3.

16. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

17. St. James, Emily. 2023. “Mourning the Loss of the Owl House, TV’s Best Queer Kids Show.” Vanity Fair. April 6, 2023. https://www.vanityfair.com/hollywood/2023/04/loss-of-the-owl-house-tvs-best-queer-kids-show.

18. AntagonistDana. 2021. “AMA (except by ‘Anything’ I Mean These Questions Only).” Reddit. October 5, 2021. https://www.reddit.com/r/TheOwlHouse/comments/q1x1uh/ama_except_by_anything_i_mean_these_questions_only/; de Wit, Alex Dudok. 2020. “Disney Executive Tried to Block Queer Characters in ‘the Owl House,’ Says Creator.” 2020. Cartoon Brew. August 14, 2020. https://www.cartoonbrew.com/disney/disney-executives-tried-to-block-queer-characters-in-the-owl-house-says-creator-195413.html.

19. Doherty, Thomas. 1999. Pre-Code Hollywood : Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press. 363.

20. Henderson, Taylor. 2018. “‘Steven Universe’s’ Latest Episode Just Made LGBTQ History.” Pride. July 5, 2018. https://www.pride.com/stevenuniverse/2018/7/05/steven-universes-latest-episode-just-made-lgbtq-history; McDonnell, Chris. 2020. Steven Universe: End of an Era. New York: Abrams. 102.

21. Stevenson, ND. (@Gingerhazing). 2021. "Sad day. Thanks for the well wishes, and sending so much love to everyone at Blue Sky. Forever grateful for all the care and joy you poured into Nimona." Twitter/X, February 9, 2021, 3:32 PM. https://x.com/Gingerhazing/status/1359238823935283200

22. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

23. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

24. Stevenson, ND. (@Gingerhazing). 2022. "Nimona’s always been a spunky little story that just wouldn’t stop. She’s a fighter...but she’s also got some really awesome people fighting for her. I am excited out of my mind to announce that THE NIMONA MOVIE IS ALIVE...coming at you in 2023 from Annapurna and Netflix." Twitter/X, April 11, 2022, 10:00 AM. https://x.com/Gingerhazing/status/1513517319841935363.

25. “‘Nimona’ Starring Chloë Grace Moretz, Riz Ahmed & Eugene Lee Yang Coming to Netflix in 2023.” About Netflix. April 11, 2022. https://about.netflix.com/en/news/nimona-starring-chloe-grace-moretz-riz-ahmed-and-eugene-lee-yang-coming-to-netflix.

26. “’Nimona’ Rates 100% on Rotten Tomatoes after Annecy Premiere.” Animation Magazine. June 15, 2023. https://www.animationmagazine.net/2023/06/nimona-rates-100-on-rotten-tomatoes-after-annecy-premiere/

27. Dilillo, John. 2023. “’Nimona’: Everything You Need to Know About the New Animated Adventure.” Tudum by Netflix. June 30, 2023. https://www.netflix.com/tudum/articles/nimona-release-date-news-photos

28. Reese, Lori. 2001. “Is ‘“Shrek”’ the Anti- Disney Fairy Tale?” Entertainment Weekly. May 29, 2001. https://ew.com/article/2001/05/29/shrek-anti-disney-fairy-tale/.

29. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 255. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

30. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

31. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

32. Equal Justice Initiative. 2021. “Report Documents Racial Bias in Coverage of Crime by Media.” Equal Justice Initiative. December 16, 2021. https://eji.org/news/report-documents-racial-bias-in-coverage-of-crime-by-media/.

33. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

34. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 259-260. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

35. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 7. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

36. Brown, Tracy. 2019. “In Netflix’s ‘She-Ra,’ Even Villains Respect Nonbinary Pronouns.” Los Angeles Times. November 6, 2019. https://www.latimes.com/entertainment-arts/tv/story/2019-11-05/netflix-she-ra-princesses-power-nonbinary-double-trouble.

37. Department of Homeland Security. 2019. “If You See Something, Say Something®.” Department of Homeland Security. May 10, 2019. https://www.dhs.gov/see-something-say-something.

38. University of Stanford. n.d. “Stephon Clark.” Say Their Names - Spotlight at Stanford. https://exhibits.stanford.edu/saytheirnames/feature/stephon-clark.

39. Kidd, Jeremy D., Tettamanti, Nicky A., Kaczmarkiewicz, Roma, Corbeil, Thomas E., Dworkin, Jordan D., Jackman, Kasey B., Hughes, Tonda L., Bockting, Walter O., & Meyer, Ilan H. 2023. “Prevalence of Substance Use and Mental Health Problems among Transgender and Cisgender US Adults.” Williams Institute. https://williamsinstitute.law.ucla.edu/publications/transpop-substance-use/.

40. “2023 Anti-Trans Bills: Trans Legislation Tracker.” n.d. Trans Legislation Tracker. https://translegislation.com/bills/2023.

41. James, S.E., Herman, J.L., Durso, L.E., & Heng-Lehtinen, R. 2024. “Early Insights: A Report of the 2022 U.S. Transgender Survey.” National Center for Transgender Equality, Washington, DC.

42. Myers, Catherine. 2023. “Protests in the Age of Social Media.” The Nonviolence Project. February 11, 2023. https://thenonviolenceproject.wisc.edu/2023/02/11/protests-in-the-age-of-social-media/.

43. Auxier, Brooke, and Colleen McClain. 2020. “Americans Think Social Media Can Help Build Movements, but Can Also Be a Distraction.” Pew Research Center. Pew Research Center. September 9, 2020. https://www.pewresearch.org/short-reads/2020/09/09/americans-think-social-media-can-help-build-movements-but-can-also-be-a-distraction/.

44. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

45. Chapman, Wilson. 2022. “HBO Max to Remove 36 Titles, Including 20 Originals, from Streaming.” Variety. August 18, 2022. https://variety.com/2022/tv/news/hbo-max-originals-removed-1235344286/.

46. Iftikhar, Asyia. 2023. “Netflix CEO Slammed by LGBTQ+ Fans over Cancellation Comments: ‘They Are NOT Allies.’” PinkNews. January 24, 2023. https://www.thepinknews.com/2023/01/24/netflix-ceo-ted-sarandos-cancelled-shows-lgbtq-fans-reactions/.

47. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

48. “Wayback Machine.” n.d. The Internet Archive. Accessed June 10, 2024. https://wayback-api.archive.org/web/20240000000000.

49. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

[autolenaphilia]

Edit: as hoshi9zoe pointed out, the original version of this post needlessly berated other transfems like Jennifer Coates, for which I do apologize, and I have toned it down in this edited version. The original version survives in reblogs.

Some months ago, I was searching through this transandrobro blog to see if they posted a callout of me, and i found this reblog, which I couldn't really write about for months, because what do I even write. I recently wayback machined it for posterity, and I guess this is my attempt to write a post about it.

It's saint-dyke himself, the coiner of transandrophobia, saying that the infamous (at least for me) article "I am a transwoman. I'm in the closet. I'm not coming out" is what made him coin the fucking word. It's literally bolded and underlined: "Reading this article is what made me coin “transandrophobia”.

The reason I put off writing this post is that reading that article makes me feel like i'm drinking poison. And it is poison, make no mistake, it's internalized transmisogyny brainworms dripping out of the writer's brain and onto the page.

It's a justification for why the author, known by pseudonym Jennifer Coates, doesn't want to transition, despite knowing she is a trans woman. And it's the exact kind of internalized transmisogyny that keeps trans women in repression and not transitioning. "I'm not going to pass, i'm forever going to be an ugly freak who will at best be humored by other women, the closet is uncomfortable but at least it's safe"

It's the same exact bullshit a lot of represssed trans women tell themselves because it's what society tells us about trans women, that we are freakish parodies of women, that we will never pass, and if we don't pass we have failed and are ugly freaks. It's all to scare us into staying in the closet and make others hate and fear us. Transmisogyny permeates our society, and the majority, maybe all transfems will absorb and internalize some of it.

Coates says that it all is just applicable to her, but again so many transfems believe this shit before transitioning and realizing it's a pack of lies. If this bullshit was in any way valid, a lot of trans women shouldn't transition, because before we actually transition many of us believe it word for word. And "it's only true for me" is how we justify it to ourselves. We tend to be way harsher on ourselves than others. This kind of self-hating transfem tends to think: "Other trans women are beautiful graceful goddesses, earthly manifestations of the divine feminine, always destined to be women, while I'm an ugly forever male ogre who just has a fetish."

It's all bullshit, it's poison, it's internalized transmisogyny.

And the rest of the article is bullshit too. It is not some insightful mediation on gender as some people say, it's the author confusing and mixing up actual transmisogyny with an imagined problem of misandry. She does this because she has gone full repression mode, and decided she has no other choice to live as a man, so her dysphoria and experiences of transmisogyny are actually men's problems.

It's a bad article, excusable because as Coatas points out, it's "essentially a diary entry." that was meant to be a way to "vent frustration" and she "did not intend for anyone else to actually read it." It is clearly not the product of a healthy mind.

I hope the author sometime in the past seven years eventually did transition, and that for whatever reason she didn't want to publicly repudiate her own article. Maybe she lost access to the medium account so she can't delete it.

Far worse than the article itself is the response to it. I've seen it passed around as some insightful commentary on gender by the "feminists are too mean to men, misandry is real" crowd. I have argued against this before. And other people have made insightful comments about it.

And learning that saint-dyke claiming that he was inspired to coin the word "transandrophobia" because of this article is the cherry on top of this shitcake of transmisogyny. For my thoughts on "transandrophobia" theory and how transmisogynistic it is, see here.

Of course, Saint-dyke absolutely could be bullshitting here. Claiming that Coates's article is what inspired him to coin the word might be a lie to claim that transandrophobia theory is not transmisogynistic because it came from listening to trans women.

This is why "listen to trans women" doesn't work. Because TME people will always choose a trans woman who confirms their prejudices. Blair White has made an entire career out of this. And Coates article is popular because it says that misandry is real and trans women's issues are partly caused by it, misgendering herself and other trans women.

And it's popular for another reason. Coates has thoroughly internalized transmisogyny, and thus her article presents a trans woman that is exactly as transmisogynistic patriarchal society wants her to be. She is suffering, but ultimately accepts her assigned role. She truly believes that her biological sex dooms her to forever be male. She literally "manages her dysphoria by means other than transition" as conversion therapy advocates want us to do. She never makes an social claim on womanhood by actually transitioning, so she doesn't invade the sacred women's spaces. Yet she performs the role of woman perfectly by serving men, by defending them from supposed feminist misandry. And she fulfils the ritualistic role that the rhetorical figure of "trans women" sometimes serves in progressive spaces, of giving a blessing to TME people's pre-existing views and actions, all while actual flesh-and-blood trans women are destroyed by those same deeply transmisogynistic spaces. This time it's a blessing for the same "misandry is real" soft-MRA bullshit that has infested the online left and created the transandrophobia crowd.

That is why this article and the positive response makes me sick, makes me feel like i'm drinking poison. This is what its fans want trans women to be like. I'm acutely aware this kind of self-denial is exactly what transmisogyny wants from me and tried to indoctrinate me into doing it. And I want none of it. I want to live, I want to be a woman.

[jamespotterismydaddy]

Lord Husband (Chapter 10)

cregan stark x reader

A/N: I keep forgetting I exist. Sorry this is short oopsies

WORD COUNT: 982 words

series masterlist

You hardly see him for weeks. Any new wife would expect her husband to impress his needs upon her frequently after the wedding night in hopes of creating an heir but you almost knew he wouldn’t. There’s something so strange about Cregan Stark; he’s empathetic. It’s not a trait you knew any man could hold. In reality, you should be pleased that your husband doesn’t wish to rape you but you’re more frustrated. He shall want for a son eventually, won’t he? This is only delaying the inevitable and you are a ‘get it over with’ kind of woman.

You arrive at his chambers with little more than a knock on the door. “Do you not wish for an heir, Lord Stark?”

“Good morning.” He murmurs, looking up from the papers on his desk.

“An heir? Is it your wish or not?” You say, disregarding his greeting.

He sighs, already stressed from reading over land disputes and not wishing to be stressed over his petulant wife. “Of course I want for a son.”

“You haven’t visited my chambers in weeks.”

“I did not think you wanted me to.” He looks at you, confused and a bit sorrowful.

“There is only one way to make a child.”

Gods he thinks you look so like a child when you stand there with such false assurance. It makes him feel wretched.

“You weeped the last time I took you to bed. I have been trying to give you time so that you might… recover?” The words don’t feel right to him. “I don’t want to cause you pain.”

“Lying with you caused me no feelings of importance.”

Cregan counts to ten in his head but only makes it to five. He then stands abruptly.

“You will watch your tone when you speak to me!” He says, fed up with your lack of decorum.

You gape at him like a fish. He went from so pitiful to angry so quickly.

“I have done all I can to make you comfortable, all I can to make you feel welcomed and at every turn, you insult me! You have spent your entire life as the spoilt daughter of the Queen and for that, I do not blame you but I can only be so lenient. You will no longer take liberties with how you speak to me. I am your husband and you will learn to treat me as such.” He breathes heavily after letting all his emotions go. “Even princesses don’t speak to their spouses in the way you speak to me.”

“I’m not your wife by choice. I didn’t want this.” You protest in justification of your own cruelty.

He scoffs. “And do you think I did?”

“You asked for my hand.”

���Her Grace offered me your hand.”

“You could’ve said no.”

“Is that truly what you think? Are you really so naive as to believe that? Everyone of our station marries for advantage. I am no different and neither are you.” Even when he shouted at you only moments ago, he never sounded as hateful as he does right now.

“And you’re happy with this standard?” You ask with level headed contemplation.

“Of course I’m not but it’s what is done.”

“It isn’t fair for you to fault me for wanting something more when you’re also unhappy with it… especially when you know it’s more difficult for women than men.” You desperately want him to understand you. You just want somebody to understand.

“We all make sacrifices for the people we love.” He says dutifully.

“I make the sacrifices while my brothers marry for love. How is that fair?”

“So you’re bitter? Prince Jacaerys will be king one day. That’s a much greater sacrifice than marrying for advantage.”

The tears prickle in your eyes. You should’ve known.

“At least he won’t be alone.”

You don’t want to argue anymore, or rather be scolded like a dumb child so you leave, striding back to your room.

You stare into the mirror when you arrive. Would your mother be disappointed by how disagreeable you are, how disobedient? Daemon wouldn’t. But you aren’t Daemon Targaryen. You’re just a girl, a girl that might ruin an alliance if you can’t make nice with your husband. Should you care? Your stepfather wouldn’t. Dragon riders don’t obey societal norms… but you do care… ever so slightly.

~~~

A voice at the door. Does he want to be let in only so he can say a hundred words that mean so little?

“Enter.”

Your husband, tall and strong walks into the room, reminding you of someone you used to know. He’s kind and brave like him.

“I should not have shouted at you. I just feel as though I’m not heard when I’m quiet but that is no justification.” He stares at the back of your head. You don’t turn to face him, looking out the window instead of at the mirror. This is your home now. He will become your home - he could become your home.

“If I walked out the door right now and never came back, would you try and stop me?” You aren’t angry about his shouting; you’re used to fire.

“No.”

“It would destroy the alliance. You could side with the Hightowers or simply just watch as they take my mother’s throne.”

“You could walk out that door, get on your dragon and never come back and I would keep my oath to the Queen.”

Gods he really is decent.

“Where would you go?” He asks like you haven’t just said you might run out on your marriage.

“Old Valyria.”

“You would die.”

“I would.”

“I’m not sorry for making things difficult for you but I acknowledge that I have.”

He smiles a bit woefully. “I wouldn’t expect anything less, princess.”

“Any woman in Westeros would consider herself lucky to be your wife.”

“Hmm… almost any it seems.”

Comment to be added to taglist

[firelxdykatara]

I have a weird question: When I talk about kya and bumi’s childhoods, I’ve had a lot of people saying to me “Aang tried SO hard to teach his culture to Kya and Bumi but they weren’t interested and ignored him”

Is there any episode of TLOK that I’ve missed where that’s stated? I’m so confused

No, there isn't. It's purely headcanon, in an attempt to make it seem like Aang was portrayed as less of a neglectful father to his non-airbending children, which wouldn't necessarily be such a huge problem.... except that a) Aang fans are extremely invested in making it out as if this is somehow canon to the text of the show, and b) it requires ignoring things that are actually stated in the show itself.

Such as Aang taking Tenzin--and only Tenzin--on fun vacations to places that have no Air Nomad or airbending significance, but do in fact have great significance to the gaang as a whole. What, exactly, was he teaching Tenzin about airbending, or even Air Nomad culture, when he took him alone to Kyoshi Island to ride the elephant koi, or to Ember Island to build sandcastles?

Kya says it herself:

"Bumi and I weren't on those great vacations. It was always just you and Dad."

In fact, Bumi says they never saw the place, meaning that it isn't even a case of "Well, Tenzin was the youngest, so maybe they got taken on vacations of their own and by the time he was old enough to go they had other fun things to do."

Imagine, never taking fully two thirds of your children to Ember Island, because... what, it never occurred to him that maybe his wife might like to reminisce about the past with him and their children?

Because that's the other implication here: he never took Kya or Bumi on these great vacations, they were left home with their mother, who presumably had to figure out how to explain to them why their father didn't think to take them to fun places as a family that didn't involve telling them outright that they just weren't as important to him because they couldn't bend air. (Now, yes, that is editorializing on my part--but the difference between this and 'but he tried to teach Kya and Bumi about their Air Nomad heritage, they just weren't interested!' is that my supposition fits perfectly within canon, while their attempted justification is contradicted by the show.)

And if that weren't enough, we also get explicit textual confirmation that Aang never even talked about having other children to the people whose entire purpose in life was to idolize the Avatar and attempt to revive his nearly extinct culture. The Air Acolytes assume that Kya and Bumi are Tenzin's servants at first! And they are shocked to discover the Avatar had other children--and then disappointed when they realize those other children were not airbenders. And Bumi himself has to tell a statue of his dead father that he hopes he's finally proud of him... because he was granted airbending, entirely outside of his control, not because of any of his actual accomplishments, which we have no indication Aang gave a shit about.

There's just really not a lot of room in there for 'the kids were just a little jealous that Tenzin got extra airbending teaching but he wasn't that bad' when the actual text of the show gives us this.

Now, I don't know if the comics tried to retcon it with some nonsense like that, but even if they did, it is not remotely indicated in the show. And given how bad the comics are right now about trying to like, retroactively fix things because of criticism, I am not particularly inclined to give canon grace here.

[the16thtower]

Wyll Ravengard fucking undoes me because while a lot of fans and the BG3 writers do him dirty, there's so much going on with his character that just isn't explored or elaborated on that is so fascinating.

I have a parent who functions as a pillar of the community in my hometown, who is incredibly competent and admirable, and who judges me harshly for supposedly making choices that ruined my life. It's really difficult trying to wrap your head around all the different layers of that kind of relationship and Wyll never gets to really address it properly.

If we think about what happens after he gets kicked out of home:

What does he get to take with him? Does he even get a chance to pack any belongings? He looks like a normal human for the most part when we first met him, so what did Ulder tell people? We don't know about his mother's side but is there any family or family friends he could stay with? Did Ulder poison the well with everyone Wyll knew by being upfront about the pact or did he lie and make up another equally damning excuse for exile? God, just the idea that Ulder looked his son in the face (freshly injured) and immediately threw him out is devastating. Wyll is so certain about the prudence of his father's decision when we met him but either:

This is a perspective he's eventually made peace with

His conviction in his father never waned

which both suck! Either his idol, his father, screwed up massively or he has so little concern for himself that it never occurred to him that Ulder's justification was shit. Ulder is the Duke of Baldur's Gate, with all the resources that grants him, and he didn't even try to contact an expert on demons to try and get more info on his son's situation? What the fuck! There's the whole bit with the Trials of Balduran about appropriate punishment that Wyll agrees with that he doesn't even think to apply to his own situation. It can really fuck you up having your hero, who you admire for the good they do for others, decide you're not worthy of that same good.

Wyll tries so hard to be a good person and to lead by example but never seems to see himself as an acceptable recipient of the grace and kindness he shows others.

Does Mizora just immediately whisk him off to different parts of the Sword Coast to start acting the part of the Blade of Frontiers? He's seventeen, homeless, no support network, and fighting monsters - I'm going to lose my fucking mind. That's ridiculous. That kid was already dealing with his father's intense expectations (from what Wyll describes, Ulder was raising Wyll to follow in his footsteps, which is a steep ask). He then suddenly loses everything, on top of the stigma of demon association - Wyll's mental health must have tanked at some point. Depression, anxiety, and PTSD are definitely on the table (plus phantom pains from the prosthetic eye).

Just thinking of this teenager learning how to drink properly with no one looking out for him, trying to numb things a bit, and just becoming a sad wreck every time. Just... there's so much there with Wyll having to grow up very quickly in very lonely circumstances. We know he has some acquaintances, like the tieflings, but who actually knows what's going on with him? Is he still shouldering his burdens alone? Is MIzora around bothering him or does she flit in and out of his life? He's in exile for seven years.

And he's still a romantic and an idealist! Unflinchingly, genuinely, with his chest! He endures! He becomes a hero. It's beautiful. He survives and cultivates his best qualities in the face of awful circumstances. Wyll has this intense sense of morality and will (pardon the joke) that never permits him to sway from the right thing, even with everything stacked against him. And it routinely costs him! It's so, so hard to do the right thing and he still does it because he simply can't see another outcome worth living through.

It upsets me a little that Wyll ends up doubling down on what a good person his dad is when they reunite - as if Wyll hasn't demonstrated infinitely more empathy and compassion for other people, even when it actively impedes him. He's good because he chooses to be good and seeks to understand, not because he's able to follow the standards set by other men.

This is not a particularly organised discussion but fuck, I love Wyll Ravengard.

(UPDATE: I've just made some edits for clarification since I didn't express myself well. Also, this is a game that requires hundreds of hours of gameplay so be kind if I don't know everything.)

[kokomos]

 ✴    new habits die hard     ࣭     ๋  𖥔 ݁  ˖  ‏☽

— starring    AU!  LUKE CASTELLAN !  ♆

  ⤷     ⅱ. new habits die hard

MDNI 18+

warning : weed! suggestive themes (not explicit)

alternate universe : takes place in an au! where there are no gods, or demigods for that matter. luke lives with his mother, alone, and takes care of her full-time when he's not off doing odd jobs for the locals.

description : after moving several states away from his home in suburban connecticut, luke found himself in unfamiliar territory and in need of a new plug. lucky for him, you're the town's resident drug dealer.

tags : fem! reader, dealer! reader, loser! luke, au! luke; dom! reader if you squint, subby! luke; luke and reader are both heavy stoners, reader is high during the exchange.

how luke got this once-in-a-lifetime opportunity was beyond him. a girl dealer. after a year or so of nothing but egotistical and overly competitive men—luke needed this, needed you.

there he stood: in the confines of some shabby little trailer, on the outskirts of town, that you called home. his cheeks were flushed, tints of red betraying him as he tried his best to remain stoic in your presence. despite the fact that you were obviously high, luke still couldn't bring himself to meet your gaze for more than a few seconds at a time.

not that you noticed, or at least you didn't at first; you were too busy leisurely packaging his eighth. your eyes were trained on the scale as you weighed the strain of his choice out, shifting focus to neatly tuck the nugs away into a tiny, pink baggie. a heart embellished the shimmering plastic, a signature that this was from your supply. luke wondered for a moment if there was anyone in town who actually didn't prefer using you—for dealing purposes, of course.

your arm extends out towards your new (favorite) customer. “here you go,” you chirp jovially with a smile. in your hand holds the eighth, sealed and stuffed to the brim.

maybe you gave him more than he paid for, just a bit. but what further justification did you need other than the fact that he was cute, and kinda shy—you liked that in a guy.

he freezes for a moment before reaching out to procure the package, meeting your gaze momentarily before dropping his attention to your hand. a smirk graces your face, delighted, or more accurately amused, by the realization dawning on you.

once the product's out of your possession, he hastily stuffs the eighth away in the pocket of his sweatpants. luke tilts his head up to thank you, but seems to freeze yet again when he finds your eyes scanning his form.

“if you were my boyfriend,” you start abruptly and he watches your eyes slowly meet his, “i wouldn't let you walk around like that.”

his cheeks heat up exponentially, the color darkens against his skin, and he has to stop himself from crumbling entirely when he observes that teasing look you've got plastered across your face. shameless and cruel, by his regard. still, he couldn't deny that he was enjoying every second of it.

he did look pretty slutty, to be frank. a black, tight-fit shirt hugging his abs and those gray sweatpants—they looked amazing on him, but you'd argue they would look even better on the grotty floor of the trailer's one bedroom. your master suite.

following your titillating remark, he swallowed his next breath and let his eyes travel down to survey the clothes he so carelessly threw on hours before. “like… what?” he asked, seeming so nervous that it wouldn't be too far-fetched for someone to misidentify him as utterly terrified.

you chuckle lightly prior to indulging in his curiosity, “like you wanna fuck.”

his eyes instantly snap to yours and his cheeks flare an even deeper maroon. “what?” he nearly chokes on the word. “that's—not,” he stutters, “i was working out before and—”

you cut his pitiful excuse for a defense short, “you've got pretty eyes.” sincerity bleeds through the drug-fueled haze, “it's a shame you don't let me see ‘em too much.”

and without another word, or glance in his direction, you reach for the pre-roll on the table to your left and spark up. he watches intently as you take the first pull, how your plump and glossy lips wrap so delicately around the end of the joint. when your eyes flicker to him, as you exhale some of the smoke, he looks away.

“you gonna pay me or...?” you trail off, keeping a flirtatious tune in your voice. he fumbles around for what he owes in his other pocket, and hands the cash over with a ‘thank you’ and a rather bashful smile.

he leaves the encounter with an eighth in his pocket, your mellifluous voice engraved in his memory, and the feeling that this would only be the start of a new (bad) habit.

ᡣ𐭩  with love , honey

[heartfullofleeches]

A healer takes care of their stalker in a completely sane and normal way.

Yandere Stalker + Healer Reader Drabble

Summary: As the title says.

Warning: Violence and Injury, spit mentions, and themes of masochism.

-

They meet you at the batting cage - kust like your note said.

How their twisted heart flew seeing that little piece of paper tucked under your pillow. They always made an effort to act with caution, but it soon became apparent that you were fully aware of all activities taking place within your own home.

How could you not with all the love that they give? Words of endearment left on your bathroom wall. Fresh meals in your fridge. The best way into someone's heart is their stomach, and a greater way to know them better than anyone else is watching their every move. Considering you scheduled this encounter, you must be as enamored with them as they are obsessed with you.

That tiny heart at the end of your letter told them so.

You're alone in the field with they arrive. Muscles glimmering with sweat, eyes focus as you unleash heavy swing after swing into the unrelenting night. Your stalker came an hour early to arrange a surpise, but it seems you beat them to it. It didn't bring their spirits down by much. The rope could be used another time. You must still be in the middle of practice. They've never seen you on a team, but with your recent outings to this location you had to be searching. Your form has gotten well. Not to mention how intimating, yet graceful you look deep in focus. Everyone would look your way. Since you'll be married so, they wonder if they can get you to avoid seekingq depth this new found hobby.

Your arms fall to your sides as the door to the cage opens, hand relaxed around the metal handle. They make sure to shut the gate behind them.

"My love..."

"So... you're the person who's been stalking me?"

Your stalker tugs on the strings of their hoodie. Stalking is such a harsh word to use. How can one stalk the love of their life?

"I...Don't make such a harsh accusation, darling."

Your skin crawls. "Only reason you would be here now. Watching me sleep, harassing my neighbors...friends."

The devotion they've withheld bubbles over as they step towards you. "Everything I've ever done I do for you and our future, Dearest. I'm sorry for the way I've treated those we know, but they get too comfortable around you for my liking."

You let them talk, get closer - adding justification to what you are about to do. Your hand tightens around the bat's leather strap.

"Sweet angel, you're too perfect for your own good. I've tried before to stay away from you, but I struggle to breath if I am not by your side."

They draw closer. You can smell their clothes and the scent they wear. The same fragrance that has haunted your home and bed for months. Your other hand wraps around the bat, feet and shoulders squared.

"So yes, I have watch you, but I have never nor would ever caused you harm. I need you more than life itself. From your letter, you feel the same, no? Let's become one-"

They've crossed the line. Literally. Their fingers brush your elbow as their arms rise, feet planting on the mark you drew in the sand before they arrived. It's too late for them to realize yours were already clocked back and swinging forward as they dive for an embrace that would never could. There's the sharp whistle of metal flying through the air, followed by a hollow, wet thud - then silence.

"I had to buy a lock for my trashcan because of you."

Everything is dark. They can barely hear; muffled rants of your angelic voice grounding them in a gradually fading reality. The bat connected directly with their left temple, rattling their bludgeoned brain in their skull and leaving them concussed on the dirt floor. Their heart beats in tune with each gush of blood out of side of their head, hairline dyed a deep maroon.

"D-dar...."

Bleeding out, they still call to you. Still desperate for you - the person who's made an attempt on their life. Like most they feared the end, but if this was how it came they could see no exectioner they'd prefer. The memory of their battered body and crimson blood would forever been engraved in your memory. There was no honor creator than that. Scowling, you kick their hand off your shoe and drag themself onto their knees by their hair.

"I'm not going to kill you. Stay still."

Collecting a mass of fluid on your tongue, you spit in their face. The shot narrowly missing their eye and gets into the wound. They twitch, tongue drooping from their mouth from pain and the need to collect the excess drool mixed into the trickle of red down their cheek. A wave of relief overcomes them as your saliva mixes into their blood stream. The gash in their head closes in on itself and the brain numbing headache throbs to extinction. Its effect lingers and they stare up at you in puzzled awe.

What just happened?

"Don't say a word. You don't get to speak, or ask any questions. If you come near me again, I'll bash your brains in until there's nothing for me to fix."

You roughly drop them on the ground, gather your things, and leave. Your stalker stares up at the sky; love born anew and stronger than before. You let them live. You really are an angel. How ever would they leave you alone now?

[racefortheironthrone]

Why was queens pardoning prisoners seen as good? Like murders and sexual assaulter ect? Wouldn’t the public be against that?

This is an area where I think Foucault was actually right:

"...The public execution is to be understood not only as a judicial, but also as a political ritual. It belongs, even in minor cases, to the ceremonies by which power is manifested.... The public execution, then, has a juridico-political function. It is a ceremonial by which a momentarily injured sovereignty is reconstituted. It restores that sovereignty by manifesting it at its most spectacular. The public execution, however hasty and everyday, belongs to a whole series of great rituals in which power is eclipsed and restored (coronation, entry of the king into a conquered city, the submission of rebellious subjects); over and above the crime that has placed the sovereign in contempt, it deploys before all eyes an invincible force. Its aim is not so much to re-establish a balance as to bring into play, as its extreme point, the dissymmetry between the subject who has dared to violate the law and the all-powerful sovereign who displays his strength. Although redress of the private injury occasioned by the offence must be proportionate, although the sentence must be equitable, the punishment is carried out in such a way as to give a spectacle not of measure, but of imbalance and excess; in this liturgy of punishment, there must be an emphatic affirmation of power and of its intrinsic superiority. And this superiority is not simply that of right, but that of the physical strength of the sovereign beating down upon the body of his adversary and mastering it by breaking the law, the offender has touched the very person of the prince; and it is the prince - or at least those to whom he has delegated his force - who seizes upon the body of the condemned man and displays it marked, beaten, broken. The ceremony of punishment, then, is an exercise of 'terror'... The sovereign power that enjoined him to kill, and which through him did kill, was not present in him; it was not identified with his own ruthlessness. And it never appeared with more spectacular effect than when it interrupted the executioner's gesture with a letter of pardon...The sovereign was present at the execution not only as the power exacting the vengeance of the law, but as the power that could suspend both law and vengeance. He alone must remain master, he alone could wash away the offences committed on his person; although it is true that he delegated to the courts the task of exercising his power to dispense justice, he had not transfered it; he retained it in its entirety and he could suspend the sentence or increase it at will." (emphasis mine) Michel Foucault, Discipline and Punish, ch. 2

Unlike a modern conception of criminal justice, which is premised as an objective, rational, truth-seeking process in which precise identification of the right suspect and their level of guilt and the appropriate nature of their punishment, criminal justice systems in premodern Europe (although not necessarily limited to the same) were meant to emphasize the terrifying arbitrariness of royal power. With rituals put in place in order to ensure guilt through public (often coerced) confessions, the point wasn't whether the sheriff and the judge had "got the right man" or whether "the punishment fits the crime," but that the king could either enact public displays of bodily obliteration or public displays of mercy at their sole discretion.

In a sense, the pardoning of the guilty was a necessary justification for the deliberately disproportionate brutality of a pre-carceral system of punishment. This promoted the logic of submission to the guilty and innocent alike: if the king could sentence you to the ultimate physical dehumanization whether or not you were guilty, the only hope was either the mountain and forest refuge of the outlaw or the hope of a pardon as a quasi-divine act of unearned grace.

[thinkingonscripture]

Justified in God's Sight

At the moment of faith in Christ, God’s righteousness is gifted to the believer (Rom 5:17; cf. 2 Cor 5:21; Phil 3:9), and he is at once made right with God and declared just in His sight. Divine justification is not by human works at all, “for there is none righteous, not even one” (Rom 3:10), “for all have sinned and fall short of the glory of God” (Rom 3:23). Rather, Paul reveals we are…

[mychoombatheroomba]

Razor's Edge

Between the Bones (Leon x GN! Reader) - Chapter 18

If you've learned one thing, it's that moments of peace never last long.

(Cross-posted from Ao3)

Previous Chapter | Next Chapter

Chapter Index

TW: PTSD, angst, terrible coping mechanisms

There wasn’t much sleep to be found that night, and Leon was glad it was for a different reason than seeing ghosts dance in the dark. No, that night, he lay awake with only you on his mind. He found himself peering through the shadows, looking towards where your bunk was - one row up and two to the left - wondering if, maybe, you were having trouble sleeping for the same reasons. 

It made him feel a little ridiculous, that he was so excited to feel your touch, but he didn’t have it in him to feel embarrassed by it anymore. He was still young and now, for the first time in months, he actually felt it. 

He felt like a person again, instead of a cog in a machine, being crushed and reforged into something he wasn’t. 

So, however silly it was, he let his excitement keep him up long into the night, and when he finally slept, he dreamed of you. Only of you. His mind graced him with your touch, your taste, and Leon was all too happy to let the dream overtake him.

In the morning, he wondered if you knew what he was dreaming about, because as you and the rest rose from bed, your eyes found his instantly. The sweet torture began then and there. The anticipation. He wasn’t sure then how he was going to endure the countdown until evening, not when you were so close to him all day. Just out of reach. He glimpsed the skin of your back as you got ready, sliding your shirt on. Keeping your back to everyone. Hiding your scars. Then he caught you looking his way as he pulled his own shirt over his head. 

You grinned - so small that only someone who knew to look for it would catch it - and Leon wished he could grab time and push it past him. He wanted the day to blur by, to skip ahead. 

When you all formed up for morning drills, though, and Leon saw more of a storm than a person when he looked at Major Krauser, he knew that the day would, in fact, be a long one. 

It wasn’t the running with munitions cases that clued Leon in to the fact that Krauser was angry, or the way he timed each person at the firing range. Hell, even the doubled punishments for mistakes weren’t too out of the ordinary. It was the fact that Krauser was so quiet through it all. Never once did he make a scathing remark, or give one of his cruel, crooked smiles. He would just give corrections and dole out discipline with a tight-lipped frown, pointing out each and every misstep. Every moment of weakness. He wasn’t sure if he was frustrated or grateful that the struggle of it all forced him to focus on something other than you. By the time lunch rolled around, Leon was well and truly grateful for the extra hours he’d put in with you - Williams, Alenko and the rest of the cadets that had moved up with him were boneless as they slumped into their seats. He, at least, only felt like he was going to pass out a little. 

Even you looked winded, your shoulders slumped forward a bit and as you steadied your breathing. Still, you offered Leon a look - one that he’d come to know as encouragement. The day wasn’t over, after all. 

But god, he wished it was. 

He wished the two of you were alone, somewhere else where he could act on his desires. All the exhaustion in the world wouldn’t change that, he was sure. He decided then and there that even if this day sapped all his strength, he’d still drag himself to your side. So, he would endure whatever he had to, if he could escape to your touch when evening fell. He would push through the training, even if Krauser seemed to have a bone to pick with each and every one of them. 

“What did we do to piss him off?” Williams asked from down the bench, draping herself over the table only for Alenko to shove her away from his food. 

“I think us existing is justification enough for him,” he huffed. 

Leon wasn’t so sure - and if your expression was any indication, neither were you. Krauser was an asshole, sure, but never without purpose. At least, that was what Leon had seen of him since he started training with the Major. So, if he was pushing this hard . . . “He always has reasons for what he does,” you said, and both Williams and Alenko seemed surprised you were speaking to them at all. Leon couldn’t blame them - it wasn’t often that you engaged with the other members of the squad, even those that you had trained with for longer. He almost laughed at the fact that you were doing it now to defend Krauser’s brutal teaching style. But then, he saved your life once, hadn’t he? Leon could understand your loyalty, even if sometimes he disagreed. 

“I know he’s trying to prepare us but damn,” Williams said after a while, shaking her head. “Feels like my legs are gonna fall off.” 

“You’ll be fine. He picked you all to be here for a reason,” you insisted. It wasn’t a reassurance delivered with an abundance of compassion, per se, but Leon could hear the sincerity in your voice. It made him smile, and even through her surprise, Williams almost did the same. 

Then, she grimaced again. “Yeah, well, kinda wishing I got left back with the old squad, right about now.” 

“What?” Leon grinned. “And miss out on all the fun?” 

“It’s only fun for you because you’re getting one-on-one instruction with the fucking Terminator, Kennedy.” Williams glanced over to you as soon as she said the words, wincing as she realized she’d spoken them out loud. “No offense.” 

You just shrugged, taking another bite of your food. If anything, Leon swore you might have liked the nickname. “None taken.”

“Which reminds me,” Alenko butted in, looking towards you and Leon. “If you ever want a break from sparring with just each other, I wouldn’t mind getting a few pointers. Can’t let you outclass us in everything.” He gave Leon a friendly, challenging grin, and Leon wanted to return it. He did his best to, but the idea of other people joining in the evening training the two of you had been doing . . . it was selfish of him, but he didn’t like it, to say the least. 

Especially today of all days, when you had all but promised him what he’d been dreaming of for weeks. 

“You almost had me in the assessment,” you said to Alenko coolly, even if Leon thought he saw a bit of tension creep into your jaw. “You’re doing well already.” 

“Yeah, but we all could be doing better. Maybe that’ll give Krauser less to be angry about, if we’re all pushing ourselves.” 

“There’s pushing and then there’s punishing,” Williams said, then added, “again, no offense.”

“And we’ve been getting our asses kicked every day for the last week,” Alenko shook his head. 

“All the more reason for us to put in some extra hours. Less ass-kicking sounds good, don’t you think?”

He was right, but even so . . . Leon glanced between you and the other soldier, trying to think of what to say that wouldn’t give anything away-

“Alright,” you said, and Leon nearly jumped out of his skin until you went on. “Tomorrow, if you want to join, you can. Don’t think fighting today would do you or me any good,” you said, glancing at the way Alenko’s body was slumped in on itself, and Leon could kiss you then and there for the evasion. 

Alenko huffed a little laugh and nodded. “Fair point. Think the mandatory sparring will be enough for me today.” 

Leon almost agreed with him. He couldn’t help but feel that the worst of Krauser’s trials that day had yet to come. So, as the squad formed up in the training yard that afternoon, he tried to prepare himself. Everyone was paired off, and Leon found himself standing across from none other than Valeria, the soldier giving him a wicked smile. She didn’t say anything - not while Krauser was giving instructions - but Leon could almost hear her taunts anyway. He glanced over at you, seeing you rolling your shoulders back, standing across from Alejandro. It almost made him laugh; after last night, you likely had some frustrations to vent with the man, even if Alejandro didn’t know it. 

That urge to laugh died in Leon’s throat when Krauser started to speak, his words more serious than Leon had ever heard them. “Come arm yourselves. We’ll begin when I give the word and not a second before,” he said, gesturing to his side, to the table where sunlight shone bright off of steel. 

Leon followed behind the other recruits, reaching the table just as you and Alejandro reached for the knives . . . and then paused. It didn’t take Leon long to realize what had made you both hesitate. He had become intimately familiar with the practice blades over the last few weeks. All blunted with cheap grips, designed to take a beating and to imitate the real thing closely enough for practice’s sake. 

The knives on the table were not the blades you all have been using so far. Rather, they were pristine, their handles seemingly untouched and their blades brand new. 

Being brand new wasn’t the only thing that caught Leon’s eyes about those blades, and he felt his heart speed up.

They looked . . . 

 “Are these edged, sir?” Alejandro asked first, and Krauser just gave him a look. 

“They are,” the Major nodded, and Leon felt his stomach drop. “Now go, you’re holding up the line.” 

Leon hadn’t known Alejandro long, nor did he know him well, but he could see the normally intense man waver before he reached for the weapon. There was confusion in his eyes as he stepped to the side, and he carefully thumbed the edge of the knife, like he was sure that Krauser had been lying. By the knot that formed between his brows, Leon could see that the Major had been telling the truth. The weapons they were going to be using today were edged. They would cut skin and muscle, if they weren’t careful. It was enough to scare Alejandro and the rest. Even Valeria stiffened at his side, a look of disbelief crossing her face. 

Leon was scared, because he’d never felt the bite of a knife before. He’d never known what it was to have steel part his skin like that. Not in a fight. Not when it was against someone trained to go for the kill. Even so, he couldn’t think too long about his own fear. 

The only person he could think of was you, because he saw the way you froze at the table, a knife clasped in your hand and your gaze fixed down on its blade. “We don’t have all day,” Krauser said, and the words forced you to move. When you turned so Leon could see you, you didn’t look at him. Even as you walked past him to join Alejandro, you didn’t spare him a glance. You didn’t spare anyone a glance. You just moved through the crowd with that unreadable expression, knife clutched tight at your side. 

He knew you weren’t seeing the world as it was, then. You were seeing that night, just as he had seen Raccoon City when Krauser had sent your squad after his in the dark, during his assessment. He knew, as you looked over at Alejandro’s knife, that you weren’t here, but rather, you were fighting off a memory. 

And he knew that, in this moment, there wasn’t anything he could do to help you. 

But he was going to try, anyway. 

“Sir, I don’t think we should-”

He didn’t even get to finish the sentence before Krauser fixed a cold glare on him. “Take the goddamn knife, rookie,” he said, before Leon could even make his point. “I have a lesson to teach.” 

The threat implied in his tone was not lost on Leon. He knew Krauser would make his life hell if he pushed this issue. He knew that he would probably just be removed from the exercise at best. At worst . . . he wasn’t sure what the worst case scenario would be. Didn’t really want to know what Krauser’s “worst” was. Not when he’d been willing to tear gas Leon and his squad for a training exercise, and not when he was going to make them fight with edged weapons now. 

He wasn’t going to do himself any favors, and at the end of the day, however you felt about what was happening, you weren’t backing down. You never would. 

So, Leon set his face in stone and reached for a blade. 

It weighed no more than the practice knives, but somehow, it felt heavier. That was all Leon could think as he and Valeria made their way to their own space, each of them eying the weapon that the other held. 

Were he elsewhere, he might have been awestruck - his mind might have assured him that this wasn’t happening. 

He knew better, though. 

He knew the blade and the threat it represented were very, very real. 

“You’ll start and stop when I give the word, understood?” 

There was silence for just a moment too long. 

“Understood?” Krauser demanded. 

“Yes, sir.” The responses were all strained. Some of the recruits, Leon included looked between each other, trying to determine if this was all some sick joke. Others just raised their blades into their preferred guards, silently preparing. Whatever the response, everyone had one thing in common: fear.

And that fear didn’t matter to the Major. “On my mark,” Krauser’s voice was the tolling of a bell across the churchyard, looming and mighty and inescapable. Leon could only bend his knees and raise his weapon, his mind rushing and his eyes wide. He and Valeria looked at each other, eyes, hands, blades, trying to determine what was about to happen. Trying to divine who would move first. Where the blades would fall. 

This was the first time he’d seen the soldier across from him afraid, but even in that moment, there was no doubt in his mind that she would attack him. That she would not hesitate. 

Krauser began a countdown. “Three-”

Control the blade-

Use the attack-

More than just your knife-

Smaller arm movements-

Everything you and the Major had told him, every lesson, flooded him so fast he could barely pick out details. He suddenly came to doubt the steel in his hand, even after all the hours spent training with you and the others. Even if he knew he was skilled, because even skilled people made mistakes. Even you made mistakes. 

Even Valeria could make mistakes. If either of them made a misstep, if either of them missed a dodge? Or cut a little too deep? 

“Two-”

He knew what pain was. He’d survived explosions. The crushing strength of a monster twice his size. A bullet. 

He could do this. 

That was what he thought as he gripped his knife tighter, the knowledge of what he’d lived through waging a brutal war against the fear of being cut. 

He didn’t have to win. He just needed to protect himself. 

“One-”

All went still. Leon felt his mind retreat to a safe distance when he needed it most. He could only stare at the knife across from him, and the woman who held it. He knew his heart was pounding in his chest. He knew fear throbbed in time with it, but he couldn’t feel it. He couldn’t feel anything but a heaviness that could kill. 

Oh, god.

Oh, god.

Oh, god-

Is this what you’d felt-

“Hold!”

Leon flinched, because he’d been ready to retreat. Ready to guard. Ready to bleed. Instead, he found himself staring ahead at an equally confused Valeria, the two hesitating to breathe because they wanted to make sure they’d heard the Major right. 

“You can all drop your guards,” Krauser said, and Leon felt something flash through him. Not anger, not frustration, but white hot fury. 

What the fuck had that been for?

He’d let them think they were going to cut each other to pieces in the name of practice, and for what? 

Krauser must have known to expect such anger, and such questions, because he spoke again before a slew of curses threatened to explode from Leon’s lips. “Nothing quite like the threat of real steel, is there? Sobers you up. You can have all the training in the world, but if you don’t respect the threat those knives pose, then you will get bled, someday. Going forward, when we’re using our practice knives, I want you all to remember how this felt today. And I want you all to work past that fear, because if you freeze up out there, if you give the enemy a second to act, then you will die.” His eyes, a cold blue searched the faces of the recruits before him, and Leon swallowed when he saw him glance your way. “You have to be ready. Always.” 

There was something in his voice. A frustration. A fear. 

Leon noticed it, but he didn’t much care. Didn’t feel sympathy. Because, as the squad was dismissed, he saw your face, haunted and distant, more frightened than he’d ever seen you. Alejandro noticed too, placing a hand on your shoulder. You shrugged him off, and Leon saw you fight to get your mask back on - that expression of impassiveness you hid behind so often. 

It was a failed effort. 

⧫⧫⧫

You’d failed. 

You’d seen a knife in front of you, a real, edged knife, and you’d failed.

You thought of that moment over and over again as the evening crept in, watching Alejandro’s blade as you waited for Krauser to tell you to begin. Only, you hadn’t seen Alejandro standing in front of you. No. You’d seen a dark room, and snow outside, and-

You should have known-

“What are you-” 

The knife went into you once. Twice. Three times-

You heard more than felt the bone break under the steel-

Red lenses where eyes should have been-

The gas mask hid his face, but you could feel no pity in his gaze-

Someone screaming your name-

The pain of it seemed so recent, then, and as you’d looked at that blade, you could remember with perfect clarity the agony of it. The pain that burned you from the inside out, that drove you to be what you’d become today. 

All those months spent vowing you would never feel that pain again, and you hadn’t even been able to face it here. 

How could you ever hope to survive in the real world again, if you froze when facing down a squad mate? One who wouldn’t have even gone for the kill, if the fight had actually happened. 

How could you protect anyone if you were this weak? 

Weak. 

Weak. 

That was the word that plagued you that night. When you heard Leon say your name softly, like he was afraid you were going to break, you couldn’t help but whirl on him, your anger flaring because you weren’t breakable. He didn’t need to treat you like you were. 

Then you saw his eyes, the concern there - concern and support, but no pity to be found. 

He’d never pitied you. 

You didn’t know if you could thank him for that, but you should have, maybe. 

You saw his eyes and that anger faded. Got pushed far enough back that you could almost think clearly, even as your chest felt full of hot air and your hands were clenched tight at your sides. 

“What do you need?” Leon asked, and you wanted to hate him for being so considerate, for knowing exactly what to say to you in that moment. You wanted someone to be angry with other than yourself, but it couldn’t be Leon. This wasn’t his fault. It wasn’t even Krauser’s. 

The blame was on you, for not being ready. For being too weak to escape the past. 

So, when Leon asked that question, you knew your answer, even if you were sure it would confuse him. Even if you’d promised him a night of soft touches and gentle sighs. 

“Training yard.” You grunted more than spoke the words, looking away from his eyes. 

You couldn’t look into his eyes for too long. Not now. 

There was a moment of hesitation, but you saw him nod in the end. “Okay.” 

He followed you there after dinner - a meal spent in near silence. The rest of the squad had seen your reaction to the knives. They’d seen your scars, most of them. They knew better than to ask, and they knew better than to approach you today. You were grateful for the peace, if it could be called that. Then again, with the way your thoughts assaulted you, “peace” was perhaps the wrong word. Still, you wanted to be alone with those thoughts. You wanted to try to get them under control, so that by the time you and Leon reached the training yard, you would be at an equilibrium again. 

It was no great surprise to you that your plan failed, and your mind was full of troubles when you handed Leon a practice knife. There was no music playing that night.

“You’re going unarmed?” Leon asked, and you nodded without hesitation. 

“I need you not to hold back,” you said, watching as Leon’s face shifted. “I need you to come at me like you want me dead.” 

The words made Leon’s expression shift, and he took a step forward, about to protest. You stopped him. 

“Just do it,” you said, more forcefully this time. 

You hoped he could see all that you couldn’t say in your eyes. You needed this. You needed to prove to yourself that this was something you could do. You needed to be ready, so you wouldn't ever feel a blade parting your flesh again. You needed to put the past behind you at last, and maybe, just maybe, overcoming this fear was the way to do that. 

All of that was a lot for just one silent moment of eye contact. You knew Leon couldn’t read your mind. He wouldn’t know your reasons unless you told him. 

Still, it seemed that moment of eye contact was enough - and you knew as he nodded that he didn’t need to know your reasoning. Not when he probably had similar shadows biting at his heels. Leon nodded then, swallowing as he did it and raising the blade in front of him. 

“When you’re ready,” he said. 

“Don’t give me a warning,” you shook your head. Leon grimaced but nodded. 

He went for your heart first. 

You moved out of the way, your eyes flaring and any counter you would have normally performed absent.

It’s real, you tried to convince yourself, clinging to the utter and complete terror you’d felt during Krauser’s lesson. That knife is real, and if it touches me, it will draw blood. 

Leon lunged again after a moment, clearly still hesitant. “I said not to hold back,” you growled, knowing full well that you were being selfish. That you were asking him to do something he was uncomfortable with. 

But he was obliging you.

He was obliging you because he wanted to help, because he was sweet. Kind. 

If he stayed with you, would you get him killed the way you’d gotten everyone else killed? Would you be too slow, and he just fast enough to stop you from dying while forgetting himself? Would you have to watch him turn into something because you failed? 

No.

No, because you were going to be stronger than this. The past had you in a strangle-hold, and you were going to spit blood up in its eyes, kick it between the legs and overpower it. You were going to win through spite and skills and sheer power. 

Leon’s knife found its way to your neck before you could even register it, and you realized you’d been lost in your thoughts. Too focused on what you wanted, you forgot what was in front of you. 

It made something dark and deadly claw at your stomach, and you clenched your jaw. 

“Again,” you said, more forcefully than you maybe intended. 

Leon looked at you for a moment, but again, he did as you asked. 

And again, after just a few moves, you found yourself dying to a move that you should have been able to stop. He’d come at you with a feint - one you used on him more times than you could count - and the knife stuck just below your armpit as you tried for a block too slow. Bleeding you out. It made heat rise to your face, anger with yourself coming with it. You should have been better than this. 

You were better than this. 

“Again.” 

It’s real.

This time the knife slashed across your throat when you fumbled a disarm. 

“Again.” 

The knife is real.

He caught you in the stomach-

“Again.”

It’s not Leon attacking you. 

The side-

“Again!”

Red lenses where eyes should have been-

The heart. The knife hit right above your heart, and for a moment you thought you’d pulled the edged knife from your memory and into reality, because your chest hurt. You backed away, grinding your teeth together so hard your jaw ached, your throat constricting. It was anger. Anger was bringing about this reaction in you.

It didn’t matter, though. You had to keep going.

“Again-”

Leon spoke your name, and you stopped because you had never, in all these weeks, heard him sound so forceful. His eyes, normally so soft and blue, were unyielding as he looked at you. Unyielding, but compassionate in a way that only he could manage. He put the knife in his pocket and stepped towards you, reaching a hand up towards you slowly. You stilled, letting him come closer, expecting him to rest it on your shoulder. Instead, it came up to cup your cheek, and something in you began to chip and shatter. “You’re not there,” he said simply, seeing through you and into the memory you’d conjured up around you. “You’re here, with me.” 

His touch was a reminder of that, so soft against your face - a gentleness you’d not known before, completely alien next to the life of grit and gunmetal you lived. 

“Breathe.” 

It was enough to pull you back to the present, enough to make you feel the shoes you were standing in, the cooling evening air, and the beating of your heart slow a touch. 

You did as he asked, breathing slowly. In, then out. The pain in your chest made it hard, but you did it anyway. All the while, Leon kept his gaze on you, as much as part of you wished he would look away.

You stared into the sky of his eyes, searching for something you couldn’t place. Somethings, maybe. All of them unknown and out of reach. And he let you look, holding your gaze and looking for the same things in you. It was a moment that may have lasted seconds or hours, and you wouldn’t have known. Once your breathing steadied, there were still so many emotions left simmering beneath the surface, and chief among them was shame. You shouldn’t have had to rely on Leon for this. You shouldn’t have had to be doing this at all. 

“I’m sorry-” you croaked, speaking to the living and the dead alike.

Leon just shook his head, looking at you from under that ridiculous sand-blond hair. “Don’t be.”

It didn’t stop the shame from pooling in you. It didn’t erase the fear or the memories, but it did let other things rise to the surface. Things like gratitude, for him being there, fear, for him being so selfless and caring and, most of all, affection. Affection so strong it was almost staggering. 

That affection nearly knocked you to the ground when, after a moment, Leon’s hand fell away from your face and reached for the knife in his pocket. You watched him spin it around his fingers the way you so often did, giving you a soft smile before he spoke. “Again?”

That’s a dangerous game you’re playing, you’d said to Leon. Again, your own words bit into you, and you were feeling too much else to care.

“. . . Again.” 

He moved just too fast the first time around, and you were just regaining your focus. The knife ended up pressed against your neck, and you felt those thoughts encroaching again, but you brushed them off. 

You were here. You were with Leon. 

Another win for him came after a longer fight, and you could feel yourself getting tense again. 

You were with Leon, and he would never hurt you. 

And therein lay the problem, and thinking of it had you breathing heavy as you lost once again, after you nearly managed to disarm him. 

He cared for you too much. You knew what happened to people that cared for you.

You bared your teeth, blocking attack after attack. Then you grunted as a slash found your arm, but you weren’t done yet. 

If anything happened to him-

He attacked your leg, and you realized just in time that it was a feint. You blocked and struck his stomach with your free hand. He retreated just in time to avoid you taking the knife from him. 

If he died protecting you, as so many others had-

A cry of exertion escaped you as you moved to the side, seeing the knife flashing towards your gut. Towards where your scar lay. The motion made your dog tags smack against your chest. 

You would never forgive yourself. 

Your hands moved fast, trapping Leon’s hand and the knife in it against your stomach, against the rough scar tissue hidden beneath your shirt. 

You had to be stronger.

The knife came free of his grip as you twisted it loose, yelping in pain as you strained his wrist in doing so. 

You had to be able to protect him.

You bared your teeth in a yell, moving the knife so fast it could barely be seen. It landed at his windpipe, and he inhaled sharply. Eyes wide, lips parted, he looked at you then, and you saw fear in him. Not fear of you. Fear for you. 

You wouldn’t lose him, too.

You let your knife fall to his chest when you crashed your lips against his, the world around you be damned. You wanted to forget. You wanted that happiness you’d pushed away for so long. You wanted him. 

You’d made him a promise, after all. 

After a moment, he kissed you back, his free hand coming up to your shoulder as his lips moved against yours, trying to keep up. No easy feat, because you were all fire. Maybe you weren’t going to burn for long, but while you did . . . you were going to burn bright and burn strong. As you parted from him, the two of you breathless, you saw in Leon’s eyes that he was going to burn with you. 

But he was Leon. He was considerate and kind, even when his eyes were dark with desire. “Are you sure-” 

Your jaw tightened, and you realized then the pressure in your throat. It hurt as you nodded, choking your words so they were quiet. “I’m sure. If you are.” 

He looked at you then, and you thought for a moment you were going to break because no one should look at you, wretched as you were, with such care. Such adoration. “If it’s what you want - if it’ll help - then I am.” 

And then you kissed him again, letting the knife in your hands fall to the ground so you could hold him instead.

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Chapter Index

A/N: Soooooo next chapter will be NSFW!

[zvtara-was-never-canon]

https://www.tumblr.com/mokkamicci/708045503336775680/kataang-vs-zutara-a-small-chat

This accidentally came up on my dash so I thought I’d give it a read and you know what? They were so close - so gosh darn close - to making a couple of really good points, but they kept losing it. I was willing to hear them out, but they lost me when they started talking about Aang’s character traits.

Honestly, I think you're being too kind. I see someone who is not okay with harrassment, but that is perfectly happy living in an echo-chamber where the only thing that exists is their alternative version of Avatar in which Katara never liked Aang and he was terrible, and, more importantly, an alternative reality in which the poor zutarians are just "fighting back" against the evil Kataang fans by *checks notes* accusing them of pedophilia, rape apologism, racism, and misogyny for shipping Kataang instead of zutara, and thus using that as justification for doxxing and sending rape/death threats.

(Seriously, the dick sucking and constant "BUT I DO LOVE OUR OBVIOUSLY SUPERIOR SHIP" after the tiniest criticism is the biggest proof of the zutara fandom having some serious issues. Even zutarians are scared of speaking out against their so-called friends because they KNOW these fuckers are unstable and impossible to reason with).

Aang is a child that wants to have fun instead of fighting a war - a responsibility that he never asked for and has no way of rejecting. He feels trapped because he is, and that upsets him. That's his only "immaturity."

The most selfish we've seen him be was when he hid the map to their dad from Katara and Sokka, because he was afraid THEY were going to leave him - because they were the only 'family' he had left, and he was scared of being all alone. He still realized what he did was wrong and confessed. He wasn't caught, he decided, of his own free will, to tell the truth and suffer the consequences.

And I gotta laugh whenever Zutarians pretend AANG was the character that had trouble putting people's needs before his own, not their "perfect", beloved Zuko, who literally let his uncle go to prison just so he could be on Ozai's good graces again - Ozai is literally the ONLY person Zuko always put before himself, and that's why he ended up trapped in that abusive situation for so long: he was constantly distancing himself from people that could help, because they weren't saying what he wanted to hear.

The only thing that's funnier is their insistence that Kataang is one-sided despite plenty of evidence that Katara liked Aang back, meanwhile they insist zutara is canon when neither character was explicitly stated or implied to have feelings for the other.

So much for "Zutara fans criticise the Kataang ship with logic and facts." If that shit is logic and facts, I don't even wanna know what lies and nonsense would look like.

[gabessquishytum]

This is not a justification or a place to talk about it with excuses -- but well Dream is very much in trouble.

He was forced to marry someone he didn’t even like, let alone love, but his parents and circumstances forced his hand. His husband/wife is fine, whatever, they both went into it knowing the score.

The trouble started when Dream took what he knew was shit advice from Desire on how to make the best of it --- go out have meaningless hookups/one night stands to get the even half way decent sex he's been missing in his loveless marriage. According to Desire is wasn't about falling in love or catching feelings it was about Dream getting his dick wet, and taking back some control over his life.

Dream knew, knew, he was not built for serial cheating. And if he was being honest, Dream guesses it kinda worked for a little while......then Dream met Hob Gadling and all bets were off.

It not even like he lied to Hob, Dream fell so hard, so fast, that he seemingly couldn't be anything but honest with Hob. AND HOB. WAS. JUST. AS. BAD!!

Hob had taken, after only a few meetings,,,, DAYS,, to sucking marks all over Dream's visible skin. Dream thinks Hob is following him; Dream knows that he's seen Hob standing on the street corner across from Dream's office. Dream isn't even scared,,,,because he would do the same -- follow Hob around if people didn’t look for him in his office.

It is getting harder for Dream to leave Hob and go home, because Hob is home. The other day - listen Dream has taken to having long lunches at Hob's apartment - Dream caught (which implies "hiding," which Hob was NOT) Hob looking at plane tickets for two to the states. Dream might have started stock piling bricks of cash at Hob's apartment, in response.

Oh. God. They're going to run!

IDIOTS!! THEYRE IDIOTS!!! and I love them. They literally cannot be normal about anything else and i am so here for that.

Cause like. The point has come where Dream could totally just get a divorce. His parents wouldn't be thrilled, but they already lived through 3 of Desire's messy divorces. They'll survive. The reason they wanted Dream to marry in the first place is now long gone and forgotten.

But... these idiots are enjoying the drama, ok. The secrecy, the illicit phone calls, the mild level of stalking... its all a fucking turn on. They're INTO IT. Nothing gets Dream hard like knowing that Hob is watching him at work from the cafe across the street with a pair of binoculars. They have a fucking code so they can sext each other. They write love letters in cypher.

Dream's spouse checked out of the marriage years ago at this point. But Hob and Dream are just having such a good time with their elaborate affair roleplay, you know? And the only saving grace of the whole thing is that they are genuinely (and quite adorably) head over heels in love.

The sooner they leave the country the better tbh. For the sanity of everyone who knows them!

[canonizzyhours]

@ 342

i would have a much easier time with letting bad takes slide if izzy fans didn’t also—

a) harass cast and crew (spewing vitriol en masse at david jenkins on twitter for killing izzy, DMing gypsy taylor to call her a psycho etc)

b) infantilize con o’neill by insisting that he’s heartbroken/angry that his character was killed off and he’s just being SO POLITE/BRAVE ABOUT IT (because everyone in the canyon is a body language expert and they just know him so well they can tell he’s hurting)

c) come into my mentions and admonish me for “stirring the pot” ie posting rants about the canyon UNTAGGED to my own blog that nobody reads

d) tolerate/defend/protect a known sexual abuser in their community (and demand proof from victims of the severity of their abuse so they could decide if it was serious enough to even care about)

e) engage with a racist artist who made edward an unapologetic domestic abuser of izzy in their comic before s2 even aired, who also harassed other fans for outing aforementioned sexual abuser (who they vouched for)

f) extend more grace and humanity to izzy hands, a fictional white man, than to the actual flesh-and-blood human beings who worked on the show (“I’m glad the show was cancelled because they ruined my favorite characters”—meanwhile lots of queer POC are out of a job and you’re celebrating that)

g) call jes tom a “fucking idiot” for saying ed’s rejection of his leathers a trans allegory (which was a scene that he wrote that was informed by his own experiences as a trans person)

h) enable eachother to behave poorly because “there’s no right or wrong way to grieve” (I guess a fictional character death on a tv show you never really liked is ample justification for the mistreatment of people around you, even six months after the show ended?)

“gentlebeardies” largely want to be left alone but izzy fans NEED to be morally correct, and they NEED to be victims. they need to reinsert themselves into the discourse day-in and day-out but they also need to be handled with kid’s gloves because if their feelings get hurt or they experience any level of discomfort then they just HAVE to fight back.

sometimes I think the canyon so vehemently denies that izzy is abusive/manipulative and an antagonist (at least in season 1, less so in season 2) because they cannot (or will not) reckon with their own capacity for harm. it’s much easier to weaponize your identity to deflect any criticism at all, in good faith or otherwise.

#354.

related posts: #342