#I don't know why this quote makes me emotional

[querkynchaotic]

Obliviate

mary macdonald microfic - canon compliant

(quoted choices by messermoon for dumbledore's first line)

The first time she thought about it was when Marlene died.

It had been months since she had used magic and years since she had stepped foot into Diagon Alley. Actually, after Hogwarts ended, the only time she had seen a wizard or a witch who wasn't one of her friends was in St Mungo's, when Lily had given birth to Harry.

The problem is, once you think about something, there is no unthinking it. The more she tried to get that idea out of her head, the more she thought about it. And as things got worse, that little voice in the back of her mind became more and more oppressive.

"What if you just forgot about it all ?"

Forget about the bullying in school, the glares, the insults, the double standards, the spells behind her back. The death eaters who had already killed so many of her friends. The attacks on Muggles she felt were directed against her. Knowing who had done it, knowing why, and having to hear the explanations the muggle news gave. Knowing the truth.

Knowing became too much. And she understood why they all wanted to fight -- James Potter wouldn't be James Potter if he wasn't risking his life to make the world a better place -- but she just. Didn't have anything to fight for. The wizarding world didn't mean as much to her as it did to them, and she didn't see why she would fight for a place where she was so unwelcome.

So she thought about it. Forgetting everything. But there was too much to forget. And Lily was still here, Sirius was still here, and they needed her. She couldn't be that selfish and let them down.

So, she only thought about it. As something to calm herself in the middle of the night, the kind of horrible thought that weirdly brings you comfort, thinking "if everything goes to shit, I'll just forget about it."

She just never imagined it would get that bad.

Because after Marlene died, Dorcas went a bit crazy. And then she died. And then Lily disappeared. When Harry was 6 months old, her and James went MIA. Sirius wouldn't tell her anything, they mostly talked about Remus, and the more they did, the more Mary wondered how they would ever come back from that. But she never wondered if they would come back from that. I mean, they were Sirius and Remus, for goodness' sake.

And then.

And then.

And then Lily died. And James. And Sirius had betrayed them. And he had killed Peter. And the world fell apart.

She's in Dumbledore's office with Petunia Dursley, ready to leave, when Dumbledore says :

“You will leave Harry Potter where he is. You will not speak to him, you will not write to him, you will have no contact with him at all.”

She feels like she's in a dream. She's outside of her own body, watching herself in that office, with that man. Right now, she doesn't see a war hero, or a rebel, or a headmaster : she sees the reason why so many of her friends are dead. No, not "so many" : all of them. Because the two who are left might as well be.

"He can't..." Her voice sounds weird, like she's hearing it on tape. Like it's someone else speaking. It's completely void of emotion, as well. It catches her off guard. But maybe she doesn't have anything left to feel. "He can't know I exist ?"

The old man smiles, all trace of coldness gone. "I'm glad we understand each other."

"Then I want you to obliviate me".

The voice in her head isn't a voice in her head anymore. It's not an intruder telling her "you could forget about it" ; it's her thinking "I'm going to forget everything". It's her saying it out loud.

"I beg your pardon ?"

"You heard me. You want me to leave Harry alone ? That's the thing I ask in return." Her voice is mechanic, daring, like her emotions are turned off. Usually, that's not a good thing, because it's even more of a mess when you turn them back on. Hopefully, this time, she won't have to go through that.

"I don't understand. What are you asking ?"

God, she had forgotten Petunia was here.

"Obliviate. It's a spell that erases your memory." She doesn't bother waiting for Petunia's reaction, turning her attention back to Dumbledore. "You said I'm reluctant to being involved, right ? Well, this is me not getting involved. With any of it, actually. I don't want to remember the war, I don't want to remember how it ended, or why it started, I don't... I don't even want to remember your stupid school. I want to forget that magic exists."

A surprised gasp comes out of Petunia's mouth, and then the mask is back on, and she looks full of disdain once again. "I understand that. I always told Lily it was better to be normal than a freak."

Mary wants to tell her she's wrong. She wants to tell her that magic can be beautiful. But right now she doesn't remember why. Magic is beautiful when it's someone's magic, and everyone magical Mary loved is dead.

For Lily's sake, for all the times Mary held her while she cried missing her sister, she wants to tell Petunia she's wrong. That she loves being a witch. But she's so tired. And right now, she really doesn't.

She wishes she had someone on her side, to argue with Petunia so she doesn't have to. To jump into the fight for her.

But isn't that what they did ? Jump into the fight for people like you ? And where did that get them ?

Absolutely fucking nowhere.

"How far back are we talking about ?" Dumbledore's voice snaps her back into reality. He's looking at her with piercing blue eyes. God how she hates him. But she's also relieved, like this man is finally gonna take away some of the pain he caused her.

"Everything. Just erase everything from when I was eleven years old."

"I would not recommend that. You would wake up with ten years of your life missing, and you would start asking questions. Trying to fill the gaps."

"Can't you..." She sighs. She's so fucking tired. And more than anything, she wants to go to sleep. Physically and metaphorically.

"Can't you leave some stuff then ? So I don't wonder and get nosy about my own life ?"

"One simple way to do that would be for you to extract your memories from your brain. That way we could choose which ones..."

"For you to have them ?" She cuts him sharply. "And keep them in little bottles and look through them whenever you like ?" She scoffs "That's not bloody likely. Aren't you supposed to be a good wizard ? Like, really talented ? Can't you manage to... I don't know, make your obliviate a little selective ?"

"I could leave some memories of school, the ones that don't imply magic, but it would be very blurry. You wouldn't have much. And I can't let you keep any memories that date from after school. That would leave too many blanks you would want to fill."

She sighs. Closes her eyes. Lets that sink in.

He's going to do it. He's actually going to do it. This is it. This is where her pain stops.

What a bastard though, she thinks with a chuckle. She opens her eyes.

"It's fine. Just... Imply that we fell out of touch after school. I have a lot of memories that don't include them. I'll be fine."

"Very well. Mrs Dursley, if you would like to step back."

And suddenly, she sees everything. Like she's going to die and her whole life flashes before her eyes. All her magical life, anyways. It's like her brain knows what to focus on, in a last desperate attempt to keep it.

She's going to forget Lily's wedding. She's going to forget Harry. She's going to forget Sirius' and Remus' flat. She's going to forget Marlene's 19th birthday party. She's going to forget the trip they all made to France.

She's going to forget about Quidditch. James flying on his broom, Marlene and Sirius throwing bludgers at each other, Lily cheering them on, Remus reading in the stands, Peter with a red and gold scarf and pink cheeks.

She's going to forget how it feels to fly.

She's going to forget about potions. Lily giggling when they made Amortentia. Marlene mortified when hers smelled like Dorcas, Sirius and Remus thinking theirs didn't work because they were brewing it together.

The classes. The spells. Peter's magical chessboard, the owls, running in the Forbidden Forest, enchanting objects so they would dance, getting back at the boys and pranking them, getting drunk with Firewhiskey in the Leaky Cauldron, ...

She's going to forget Hogsmeade.

Trying to do magical make up. Sirius' magical moon phase tattoo. The first time she saw a unicorn. James' elf Minnie. The magical fireworks on New Year's Eve.

She's going to forget how it feels to cast a Patronus.

All there, in a second, she sees Lily smiling and Marls dancing and Remus...

"Obliviate"

When she comes home from university, she finds pictures of her school friends on the floor. She doesn't remember taking them out of the boxes, but she's feeling a bit light headed and really, really tired, so that must be it.

She picks up a picture of her and the girls. God, she hasn't seen them in ages. She smiles. She wonders what they're up to now. Mentally tells herself off for not having made the effort to stay in touch. It wouldn't make much sense to seek them out now, four years later.

Isn't it crazy, how you can spend your entire time with people, live with them, and then... They all went to different universities and fell out of touch, or at least that's what she assumes because right now she can't remember discussing their future, or what Lily wanted to study.

Oh well. She's ready to bet one day she'll turn on the sports channel and see Marls on TV, though she can't remember which sport it was she was really into. Or she'll stumble across a book written by Remus at the library, though she thinks she would remember if he had gone on to study Literature just like she did ?

"I really need to sleep" she mumbles to herself.

She picks up the photos, puts them back in their box, and goes to bed.

[gayofthefae]

Let's do a major contrast I've somehow overlooked. Let's talk WILL'S confession versus Mike's.

Mike and El both express self doubt as prompting for Will and Mike to tell them their feelings to make them love themselves.

But Mike tells Will he feels like El doesn't need him. In response, Will tells him that he lights up the people around him and is their guiding light. In conclusion: he is needed. He says this after "of course she'll need you, she'll always need you" fails.

On the other hand, El tells Mike that she feels like an unlovable monster and he responds that she isn't unlovable and isn't a monster. Essentially, the same direct response that failed for Will (so it's a good thing she already got to self love before he got there).

Mike said he felt unlovable and Will described the definition of love in great detail with him as the subject and concluded by pointing out that what he just described was love. El said she felt unlovable and Mike said that he did love her. He didn't include a personal story - No. He didn't. He included a length of time.

Read that again

Mike absolutely did not tell a story of loving El. He dated his love for. He said 'I have loved you since that one time you looked sweet in that big t shirt'. That was a memory identifier. Even shippers know the shirt isn't what MADE him fall in love with her, it was just endearing.

Mike never told El a story. He did not use a SINGLE EXAMPLE.

Will's speech breakdown was:

You bring light [my life]. You brighten [my] days when [I'm] feeling sad. Being without you is a burden for [me] but having you back is such a joy - so much so that the idea of losing you is terrifying and can make [me] impulsive and avoidant. All that has a name. It's love

Mike's speech breakdown was:

I love you. You think that I don't but I do. I couldn't say it because I was scared but you're more important now. I do love you. I have for two years. Remember two years ago? I do. You're wonderful so please please don't die on me you're so important to me.

And when you see them next to each other like that. Mike's is just the bare bones of Will's...just without any deepening of it. He doesn't describe the emotions he experiences once. But he does go "your self doubt is wrong, compliment, personal story, I was scared, I love you", which is what he got from Will's. Whether he believes himself to be copying Will's words or copying El's, he's taking a speech he was as romantic and mimicking it.

We've seen the van scene a hundred times but Mike hasn't. Will said "you're the heart" and it gave him an idea. So he reapplied the details and quoted a long speech said to him 12 hours prior to the best of his ability of the top of his head.

Because people in real life don't remember monologues said to them like that. Mike probably remembers the most important phrases to him like "you're the heart" but besides that he remembers "you're wrong, personal story, compliment, I was scared, I love you - and when he said I felt really loved".

He's got an emotional memory and because of the recency a pretty clear memory of the speech's structure. He remembers the exact structure and he remembers that it worked, so he uses it. Will reminded him of a love confession that worked to cure self doubt so he uses it.

His confession isn't just plagiarism. It's his best regurgitation. But the only feeling behind it was the desperation for it to work, so it lacks everything it needs to because unlike Will, he doesn't know why he's saying each piece. He doesn't know the story is supposed to be an example of what loves feels like, he just knows there was a story and it worked on him so he thinks of a story and puts it in cliche romantic wording.

Mike's speech is Will's speech if you asked someone who didn't know the justification for any part of it to recite it back to you technically.

"Wrong, story, compliment, scared, love"

[bed-lam]

Ng Kok Song, Group Chief Investment Officer, GIC, 2007-2013

[frodolives]

The way this is the first time Hornblower ever displays any love for anybody

[lacunasbalustrade]

"i never knew just how much i liked being needed. just how much, you understand? i knew i wanted it but not how much. until two years later i went back anonymously to visit and watched how the trains had stopped running and the ground had stopped shaking under the tremors of music and i saw. how everything was splitting apart at the seams without me. and i smiled hopelessly. finally i found permanence in how no one will ever forget my name, the one they cursed and gossiped and talked about when i was too exhausted to let go. well, now i have. and if you don't, well, I like that."

[sensitivegoblin]

Vent

[captainfantasticalright]

In 1985, one of the only persons interested in an interview with a “new” writer called Terry Pratchett, after his publication of the Colour of Magic, was one Neil Gaiman. Neil Gaiman was writing for Space Voyager at the time. "The Colour of Pratchett" was the name given here:

It ran exactly one page inside the June/July issue of that year. The interview took place in a Chinese restaurant in London.

Here is Neil many years later holding that issue. You can see it here if you want. Warning: extremely emotional video.

Neil arrived wearing a grey homburg hat. “Sort of like the ones Humphrey Bogart wears in movies” he later wrote. (Before saying that in fact he did not look like him, but like someone wearing a grown-up’s hat). Terry Pratchett, photo courtesy of one @neil-gaiman, was in a Lenin-style leather cap and a harlequin-patterned pullover. At this point, Terry was already a hat person, although not that hat.

Terry offered Neil this : "An interview needn't last more than 15 minutes. A good quote for the beginning, a good quote for the end, and the rest you make up back at the office"*. (Terry Pratchett had worked many years in journalism by this point ).

But the meeting went terribly well. The two of them realized they had "the same sort of brains". So well indeed, that in 1985, Neil had shown Terry a file containing 5282 words, exploring a scenario in which Richmal Crompton's William Brown had somehow become the Antichrist. Was a collaboration in the cards as of that moment? Not really. But Terry found in Neil someone to whom he could send disks of work in progress and to whom he could pick up the phone sometimes when he hit a brick in the road of his writing.

Terry loved it and the concept stayed in his mind. A couple of years later, he rang Neil to ask him if he had done any more work on it. Neil had been busy with The Sandman, he had not really given it another thought. Terry said, "Well I know what happens next, so either you sell me the idea or we can write it together". **

On collaborating together:

Here is a video of Sir Terry saying why he chose to collaborate with Neil, another video talking about the technical difficulties of writing a book when the two of them where miles apart ,and some pages from Interzone Magazine Issue 207 published December 2006:

An Interview with Sir Terry Pratchett and his works- and Neil Gaiman, where he shortly addresses the process of writing Good Omens.

Terry shortly mentions,

“Neil doesn't rule out another book with me and he was good to write with...yep, it could happen. With anyone else? I don't know, but probably not.?”

Neil says,

"Terry took that initial 5,000 words of mine and ran it through the computer (because I’d lost the files in a computer crash) and made it the first 10,000 words, and it was definitely Good Omens at that point. Neither one thing nor the other, but a third thing.”

"I think Terry could do a very good impersonation of me if he needed to, and I could do a very good impersonation of him; so we knew the area of the Venn diagram in which we were working. But mostly the book found its own voice very quickly. It helped that we were both scarred by the William books when we were kids...”

And as you know, unless you’ve been living in Alpha Centauri, the rest is history. That was the beginning of what would become William the Antichrist and later would get the name Good Omens:The Nice and Accurate Prophecies of Agnes Nutter, Witch. (Title provided by Neil Gaiman and subtitle by Terry Pratchett).

More about the writing process:

Terry took the first 5,000 words and typed them into his word processor, and by the time he had finished they were the first 10,000 words. Terry had borrowed all the things about me that he thought were amusing, like my tendency back then to wear sunglasses even when it wasn't sunny, and given them, along with a vintage Bentley, to Crawleigh, who had now become Crowley. The Satanic Nurses were Satanic Nuns.

The book was under way.

We wrote the first draft in about nine weeks. Nine weeks of gloriously long phone calls, in which we would read each other what we'd written, and try to make the other one laugh. We'd plot, delightedly, and then hurry off the phone, determined to get to the next good bit before the other one could. We'd rewrite each other, footnote each other's pages, sometimes even footnote each other's footnotes. We would throw characters in, hand them off when we got stuck. We finished the book and decided we would only tell people a little about the writing process - we would tell them that Agnes Nutter was Terry's, and the Four Horsemen (and the Other Four Motorcyclists) were mine.

From the introduction to William the Antichrist:

“In the summer of 1987 several odd ideas came together: (..)I found myself imagining a book called William the Antichrist, in which a hapless demon was going to be responsible for swapping the wrong baby over, and the son of the US Ambassador would be completely undemonic, while William Brown would grow up to be the Antichrist, and the demon would need to stop him ending the world. The unfortunate demon, whom I called Crawleigh, because Crawley was a nearby town with an unfortunate name, would have to sort it all out as best he could.

It felt like a story with legs.

Terry took the 5,000 words, and rewrote them, calling me to tell me what he was doing and what he was planning to do. The biggest thing he was going to do, he told me, was split the hapless demon into two characters – a would-be-cool demon in dark glasses (which was, I think, Terry’s way of making fun of me, a never-actually- cool journalist in dark glasses) who had renamed himself Crowley, and a rare-book dealer and angel called Aziraphale, who would embody all the English awkwardness that either of us could conceive.”

William the Antichrist being a direct inspiration of the 1976 film The Omen. If the baby swap had just been a little bit messier and the kid had gone off somewhere else he would have grown up as somebody else. “And then there was a beat and I thought, I should write it, it will be called William the Antichrist” says Neil. ***

“The first draft of Good Omens was a William-book. It was absolutely in every way it could be a William book. It had Violet Elizabeth Bott, it had William and the Outlaws, it had Mr. Brown”.

Over time they realized that they would have more creative freedom if they in their own words filed off the serial numbers. William and the Outlaws becoming Adam and the Them.

But the spirit of Just William was never far away.

The joy for Neil was to construct “perfectly William sentences”. The one when Anathema tells Adam that she has lost the Book, and he tells her that he has written a book about a pirate who became a famous detective and it is 8 pages long… that’s “a William sentence”.

If you want to read more details about William The Antichrist, here are some slides I made.

Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta and John le Carre's spy novels. (Neil’s ask)

 Then I was reading The Jew of Malta by Kit Marlowe, and it has a bit where the three (cartoonishly evil) Jews compare notes on all the well-poisoning and suchlike they’d done that day, and as a Jew who never quite gets his act together, it occurred to me that if I were the third Jew I’d just be apologizing for having failed to poison a well… And suddenly I had the opening of a book. It would be called William the Antichrist. And it would begin with three Demons in a graveyard… (x).

“When we finished the book we estimated that the words were 60% Terry’s and 40% mine, and the plot, such as it was, was entirely ours.” -Neil Gaiman

"Neil and I had known each other since early 1985. Doing it was our idea, not a publisher's deal." "I think this is an honest account of the process of writing Good Omens. It was fairly easy to keep track of because of the way we sent discs to one another, and because I was Keeper of the Official Master Copy I can say that I wrote a bit over two thirds of Good Omens. However, we were on the phone to each other every day, at least once. If you have an idea during a brainstorming session with another guy, whose idea is it? One guy goes and writes 2,000 words after thirty minutes on the phone, what exactly is the process that's happening? I did most of the physical writing because: 1) I had to. Neil had to keep Sandman going -- I could take time off from the DW; 2) One person has to be overall editor, and do all the stitching and filling and slicing and, as I've said before, it was me by agreement -- if it had been a graphic novel, it would have been Neil taking the chair for exactly the same reasons it was me for a novel; 3) I'm a selfish bastard and tried to write ahead to get to the good bits before Neil. Initially, I did most of Adam and the Them and Neil did most of the Four Horsemen, and everything else kind of got done by whoever -- by the end, large sections were being done by a composite creature called Terryandneil, whoever was actually hitting the keys. By agreement, I am allowed to say that Agnes Nutter, her life and death, was completely and utterly mine. And Neil proudly claims responsibility for the maggots. Neil's had a major influence on the opening scenes, me on the ending. In the end, it was this book done by two guys, who shared the money equally and did it for fun and wouldn't do it again for a big clock." "Yes, the maggot reversal was by me, with a gun to Neil's head (although he understood the reasons, it's just that he likes maggots). There couldn't be blood on Adam's hands, even blood spilled by third parties. No-one should die because he was alive." -("Terry Pratchett : His World”)

(Here are some slides of mine where I go into some other details concerning the origins of Good Omens).

Another wonderful insight with Rob Wilkins in "The Worlds of Terry Pratchett".

*Quote: from Terry Pratchett A Life With Footnotes by Rob Wilkins, but said by Terry of course.

** All the quotes, facts listed here : see above.

***all other quotes by Neil Gaiman from various interviews and asks I’ll link.

[dalliancekay]

Aziraphale does NOT need to suffer MORE

Can't believe I have to say this. TW: grief, mourning, death (sorry) I have, since falling into the fandom 6 months ago to escape real life, seen many takes on how Aziraphale needs to (or at least should) suffer in S3 to match Crowley's suffering. As the counterpart to the moment Crowley thinks he lost Aziraphale as he's looking for him desperately in the burning bookshop....

...after this he drinks, we suppose, to dull his pain, waiting for the Armageddon. Or, for the way Crowley suffers at the bandstand argument, the 'I Forgive You' moments, which many people find utterly devastating and incredibly heartless from Aziraphale. Not to mention when he doesn't react in the 'right way' to Crowley's confession in the Final 15. And then on top of that, 'abandons' Crowley. For Heaven. Oh and also for, and I quote: "The smug and entitled way Aziraphale went around in S2 assuming Crowley would love and follow him everywhere." And so for all this pain that Crowley endured for him, Aziraphale should suffer in S3 (to I assume) even out the scores. Or... to deserve Crowley. Some people also want to see him lose it, show his emotions, to cry or beg or otherwise show how much he misses Crowley and how very sorry he is for what he has (so thoughtlessly) done.

Now for the TW grief content I motioned above. You can skip to the next sentence in bold.

I was on holiday late September last year, visiting my mum, stepfather and my two younger brothers. We went to a cousin's wedding. It was great. The day after, as I was hanging out reading a book, my mum got a call. The kind of call every mother fears. My youngest brother (he was 27) died in an accident. We needed to speak to police and the coroner. She cried and cried. She's still crying. She asks questions. She gets no answers. I...did not cry. I talked to the police. I googled a funeral home. I bought my brother his last set of clothes. He lived in a hoodie and torn black jeans. Mum wanted a suit. I texted a lot of people. I bought snacks for the many friends who came to the funeral and wanted to speak to us after. My grief feels like a vice. I am not sad. I do not appear sad. Contrary to what people expect. But I am ANGRY. I am furious. But nobody can see this. I am not fine and I wish no one would ever* ask how I was again. TW/Personal content over. WE ALL SUFFER DIFFERENTLY Since I was small (because I am weird like that) I genuinely wondered if, finding myself in danger, I could scream like people in films do. I don't think I could. I cope with hard situations, fear and stress and anxiety by shutting down, sometimes by retreating as well, and by furiously (but quietly) trying to find a way out. And I think Aziraphale does the same. And that's why I love him so much. And why I feel I get him and understand that people sometimes can't tell how much he's actually feeling. I also express love the way Aziraphale does - by organising things for people, inviting them places, making plans. When Crowley said you call me for three things (and it's basically any old reason) I felt SO SEEN. This is what I would do with a friend who I know is feeling unmoored, sad, stuck (Crowley's 'What's the point of it all' at the beginning of S2). I'd text them with any old thing. I'd never actually say I love you, but I would try to get them to talk, meet me, go somewhere. Aziraphale does not express emotions the same way as Crowley.

But his emotions are valid nonetheless. He is worried for Crowley from around 3 minutes into their acquaintanceship. And he NEVER stops worrying from then on.

And are we quite sure he has never lost Crowley?

How many times did Aziraphale's heart freeze in horror when he realised Hell has taken Crowley and he had no idea if he'll ever come back and what is happening to him?

How did Aziraphale spend the night after vanquishing the demons and starting a war? He had no idea where Crowley was. What happened to him. He was probably sick with worry that Hell just took him away. We didn't see him drink and cry, but surely, the worry must have been overwhelming. The wait for what will happen now.

ALL his worries over the Arrangement. Was he worried for himself? Do we really think that?

Crowley thought he lost Aziraphale in S1, yes, we saw that. And what happened to the angel then?

He got blown into atoms which I bet wasn't pleasant and when he arrives in Heaven he limps. Why is he hurt? And why is he quickly pretending he isn't? Why is he always hiding how he feels? Also, he immediately deserts, wants no part in the Holy War and quickly finds an extremely unconventional way to get back. It's not a grand gesture, he doesn't deliberate, doesn't worry that he will Fall (although surely that must have been what he thought will happen if he survives this), there's no pomp around it, he thinks it and then does it. No hesitation.

Is this coming from an angel who just can't leave Heaven behind and longs to be a part of it? Who loves to follow rules? And let's not forget in those moments Aziraphale thought Crowley was most likely gone. That he probably left for Alpha Centauri. Last he heard from him he was told he was talking to an old friend and had no time for him. Why we NEVER talk about how that might have felt for Aziraphale? About his sadness?

Things are not as simple as Aziraphale has been supressing his emotions and lying to himself about how he feels and he should get over it and become free. That's not how this works. First of all, he was suppressing his emotions OUT OF LOVE. His main goal was always to keep Crowley safe. They simply couldn't run away or hoodwink Heaven and Hell. They had nowhere to go. They had no hope and yet they kept loving each other. That's courage. I know we all grew up with Romeo and Juliet and Heathcliff and Cathy and we FORGOT that those were CAUTIONARY tales. And this is not what Aziraphale wants for them. He would never allow himself to go so fast he would hurt Crowley. He feels guilty enough for agreeing to the Arrangement and for meeting Crowley at all when he knows they can be discovered and punished at any point. And Crowley knows it and RESPECTS it. He does not tolerate Aziraphale's decision to not go on a date and to hell with circumstances. He understands Aziraphale's reasoning and he respects Aziraphale's decision. Don't forget, they have NO POWER. They can't change Heaven and Hell. They can't stop believing in God and work on their religious trauma. Their Heaven and Hell are real places with real power and they both BELONG to them. Aziraphale's trauma and his personality are deeply intertwined and he'd probably never be the kind of person who is open in showing their grief or stress like Crowley does. He will learn to be more open, I'm sure. With his love especially, we see him reaching for and touching his demon in S2. Openly being with him, looking at him without guarding himself. They got a little bit of freedom for themselves despite ALL odds. So. Just because Aziraphale is not crying and screaming and I dunno, tearing his hair out or whatever some people would have him do, does not mean he isn't overflowing with pain, fear, uncertainty, doubts, worries, and so much anxiety that if he let it all out, half of the solar system would turn to ashes.

Aziraphale does not need to suffer in S3 to level out Crowley's suffering. They are, unfortunately, equal in their pain as they are in love. If there is one thing Crowley would never abide, it'd be this take from the fandom. * One more note on grief: (obviously from my personal experience) As initiated by @anthony-crowleys-left-nut in a comment

It's not that I mind to know people care and worry etc, not at all. But asking how I am can only end up in me lying (fine, thank you) and both of us knowing it's not really true and feeling awkward or not lying (I feel like shit, mostly cos I can't sleep and think the world is a stupid, unfair place) and both of us feeling awkward anyway. Does that make sense? I wish I could tell friends/colleagues to ask what I've been up to or something similar instead. What I've been reading (um, AO3, but I'll make something up), watching, do I want to go see some spring flowers bloom (I do). I think...this would probably work not just for someone who is grieving but also for someone who you know is dealing with depression for example or a serious illness etc. Edit 2. It's now almost (in 15 days) a year since my brother died. The random attacks of pain and grief have lessened and I have started to do more of the things I enjoyed before... and I am able to answer how are you questions without feeling like they are trying to mock me (the questions, not the people). So I suppose things do get ... lighter? More diffused? I'm not sure. Because it's still exactly as unfair that my brother has not lived this past year as it will be however many years I will be here without him I expect.

[celeste444spacey]

Why be private and why celebrities chose to be private

thanks to kpop anon for the beautiful post rec

Hello loves, i know we are here and we are manifesting that fame and all that shit. The fame and noticeability is certain. Is the way you can handle it certain too?

We all know branding is so freaking important, not just as a person but as a celebrity??? You HIRE people for it. It's undeniable at this point that socials are practically key promoter of brand for famous people. But in the era of oversharing and overposting, even the most A-list of celebrities can quickly lose their allure. Plus, it's not cute if your whole life is on show just for everyone to know.

I will be the first to say (don't quote me), the statement "if it's not on social media, it didn't happen" is not true.

WHY?

Literally each and every thought of a person lately is somewhere on social media. And it's kind of bad. Cause like where's the mystery of an individual now??? And people are forgetting about digital footprint (god knows some of y'all need to remember it exists).

WHY WOULD A CELEBRITY CHOSE TO BE PRIVATE

Simple. It's not anyone else's business.

Why the fuck would Beyonce want the world to know that she had eggs for breakfast? Or that Blue Ivy did something funny? It's not the public's business.

That adds to the allure of Beyonce as well. Why do you think she's the celebrity for celebrities??? Let me explain with the word

UNATTAINABILITY

That woman is not available to just anyone. She doesn't go to every party there is, isn't posting all the freaking time, not letting us know every move she makes; just the ones we need to know.

And that adds to her charm. Humans like unattainability. Mystery draws people in. Proof? Why do you get excited when someone is telling you a secret? Nobody else knows it, so you feel exclusive. The exclusivity makes you feel connected and stuff, and humans crave connection.

And where do you get that connection with Bey? Through her music. That's where relatability comes in. Her feelings, her raw emotions, her struggles and her vulnerability.

WHY RELATABILITY AFTER A CERTAIN POINT LOSES ITS CHARM

Fans love relatable celebrities. But there should also be a line to that. Why? after a certain point, it's pretentious

Yes okay you binge watched that show and reacted the same way to the plot twists like other people. But you don't have to constantly remind us that you do embarassing things like normal people. YES WE GET IT YOU'RE HUMAN AND JUST LIKE US- wait but you're NOT JUST LIKE US!

At the end of the day you are still famous. You're wealthy and privileged to a certain extent. You're living a better life in many ways than the general population.

Do not confuse being humble with downplaying your pedestal.

Being humble is recognizing where you come from and being grounded and grateful for your oppurtunities and platform and still acknowledging your success. Not reminding your 11 million followers that you have chips everyday.

AND YOU SHOULD BE PRIVATE TOO

It's fucking alluring. that's why we love Alexa Demie. Do you know anything about her??? Exactly. And it's hot.

Don't make your life so available to people, it's exclusive xx

LOVES AGAIN TO KPOP ANON

i could make a part 2 or "spin off" of this post, it was so fun

[ennn]

Re: “Rio's goal is to kill Agatha so she can be with her forever”

My brother in Christ, if Rio's ultimate goal this series was to kill Agatha we wouldn't have gotten past the first episode.

Okay okay, I get how it can be confusing because Rio literally says she wants to see Agatha dead in episode one and tells Agatha she'll let the Salem Seven (who do want Agatha dead) know where she is.

But it is noteworthy that Rio tells Agatha what she is going to do and when the Salem Seven are expected to arrive. Rio is usually surprisingly fair in how she deals with Agatha.

Rio has always met Agatha at her power level

In episode one, even assuming Agatha was protected by Wanda's spell and Rio couldn't harm her there, once it was broken Rio went "full analog" – to quote Hahn – with her knife, the only magic she used being the wind blasts.

Guys, that's not a serious murder attempt, that's foreplay to them. Violent, bloody, sexy foreplay.

Also Rio has healing powers. That's a thing they have very clearly shown.

To be clear, my read is that Rio can't actually kill anyone before their time ("You can't kill me, it's not allowed") just hurt them really really badly until they maybe choose to die ("I can make you wish you were dead"). Which you could argue equals killing I suppose, just slower.

But this is Agatha Harkness: all she really needs to survive is a bit of time to scheme and manipulate and do her usual girlbossing, gatekeeping, and gaslighting – and I think Rio also knows this. Agatha keeps surprising her, for better and worse.

Yes, Rio gets BIG MAD in episode 8 because Agatha says possibly The Worst Thing to her but the first part of their confrontation is technically physical torture, not murder attempts.

I know it sounds like I'm splitting hairs here but my point is that having Agatha dead isn't Rio's ultimate #1 goal. It's not so clean and easy.

There's something to be said about how the wounds Rio inflicts speak to how Rio sees herself hurt by Agatha emotionally in the relationship i.e. death by a thousand cuts, the severing of her Achilles tendon.

There’s probably something also be said about the relationship a being like Rio has with physical pain. Trees feel pain. Everything living does. Rio mocks Agatha for dulling herself to it using dark magic.

But I digress.

Anyway, note: it's only after Agatha gets magic back that Rio starts throwing magic blasts – and even then she seems to be holding back.

These two are possibly the worst two witches to fight each other directly like this because Agatha can't absorb Rio's magic or she'll die. She has to actively block or avoid all hits. And I bet this isn't something Agatha is used to dealing with considering she had no issues taking Wanda's magic.

And Rio is aware of this because she’s just lobbing quick little green blasts Agatha's way. It's not a torrent of magic like what Agatha is gleefully unleashing.

It's also the Watsonian (in-universe) explanation as to why this fight is so short. Because you literally can't straight up fight Death. Rio is a hard counter to Agatha's special siphoning ability just like how Agatha was a hard counter to Wanda's magic (insert your scissors-paper-stone visual of choice).

Rio doesn't want Agatha dead, she wants Agatha to want her

It's clear that Rio is grieving when Agatha dies. This isn't the outcome she wants. They're also both crying during the kiss it's great.

Rio wants what Agatha specifically tries to deny in the deal Agatha proposes: she wants to keep pursuing Agatha, to keep seeing her, provoking her, to be shocked and surprised by her. To keep loving her but also, to keep hurting her.

Because Agatha also hurts her right back. And Agatha knows she has Rio constantly on the emotional backfoot, that Rio – despite centuries of hatred thrown her way – still humours her more often than not and what levers to push.

I don't think this can happen with Agatha dead and gone.

To be fair, we don't know what the rules are in this world's afterlife. The only insight we get into Rio's job is her scene with Alice and that still leaves a lot of things unanswered: Does Rio just escort souls to a destination or does she have more control beyond that, like a domain? Can souls refuse to go with Rio? How do ghosts happen?

I had previously assumed Rio needed to allow it but Schaeffer says that her vision in that moment has Agatha's using an evolved form of the power to take Rio's magic by touch.

And with that, it's telling that it's Agatha who ultimately ensures that she dies (with the "calculated risk" of becoming a ghost), siphoning Rio's death magic energy.

Agatha embraces death, embraces Rio, but she also doesn't – Rio's clever witch got away again.

[ponderingmoonlight]

Quote and character request. Levi Ackerman. "You don't have to love everything about me; that means you're actually looking at me"

Beneath the Armor

Pairing: Levi x fem!reader

Word Count: 1,2k

Synopsis: You searches everywhere for Levi Ackerman. But when you finally find him, he acts cold as eyes, doesn't even want to talk to you. Word after word his true intentions reveal...

Warnings: Levi is very self conscious in this fic due to how the war left him - if that's too negative for you or simly not your style keep on scrolling. Hurt to comfort, fluff fluff fluff

The room is tense, thick with the lingering echoes of your argument. You can’t believe it. You traveled for what felt like ages, turned the whole planet upside down in order to finally see that man again. And him? He avoids you at all cost, ignores you while you’re standing right in front of him.

You clench your fist, gleaming eyes staring at him through the thick silence. All of that, after you spent one night together, after you finally started trusted another human being fully.

The air feels heavy, each of you standing on opposite sides of a dark hallway that only seems to widen with every passing second.

Levi’s clenches his jaw, his arms crossed over his chest. His eyes, normally so calculating and composed, flash with a rare anger. It’s not often that you two fight like this. But when you do, it feels like the world is tilting off its axis. You’re both too used to being strong, too used to being in control. And now, that strength is clashing, neither of you willing to yield.

Can’t you understand that he did all of this to protect you?

“You don’t get it,” you spit at him, voice trembling with frustration.

“You shut me out, Levi. You push me away every time I try to get close. And that after I searched the whole fucking world for you.”

He doesn’t immediately respond, his silence only adding to the tension. When he finally speaks up, his voice is low, almost dangerous, like the calm before a storm.

“And maybe you’re better off that way. Maybe it’s easier if you don’t get too close.”

The words sting like a flat-palmed slap, causing your heart to tighten in your chest. It’s as if he’s trying to push you away on purpose, as if he’s testing to see how far he can go before you finally give up. But you’re not ready to let him off that easily. Not when you spent weeks trying to find him over here.

“Why?” you demand, taking a step closer, your voice rising with emotion.

“Why do you keep pushing me away? What are you so afraid of?”

Levi’s eyes flash again, but this time, there’s something else there - something darker, more vulnerable. He turns away from you, as if he can’t bear to face you head-on, his shoulders tense and rigid.

“I’m not afraid,” he mutters, but there’s a crack in his voice that betrays him.

“Then what is it?” you press out, not willing to let this go.

“Why do you keep trying to make me hate you? Why are you running away from me?”

He spins back to face you, his expression torn between anger and something else, something raw, something painful.

“Because if you don’t hate me, you’ll see me for what I really am,” he says, his voice rough with emotion.

“And I don’t know if I can handle that.”

The words hang in the air, heavy with the weight of his confession. Who he really is? You eye him up and down, take in his blind eye, his missing fingers, his overall worn-out figure. Is he really talking about how this war changed his appearance? No, he can’t believe you’re that superficial, right? Did he really push you away because he thought you’d stop loving him now? For a moment, you’re both silent.

“You believe I don’t love you anymore”, you finally speak up.

“I can’t believe you think that-“

“You don’t have to love everything about me,” he says quietly, his voice barely above a whisper.

There’s a softness to his tone now, a tenderness that wasn’t there before as well as a new-found fragility. His hand reaches out, hesitant at first, before resting on your arm.

“That means you’re actually looking at me. Seeing me for who I really am. But I understand that…You might not want me anymore.”

You feel like giggling and breaking down at the same time. Why would that man ever think that he isn’t good enough for you anymore, that you’d throw him away like trash? But he’s letting his guard down, exposing a side of himself that he rarely shows, a side that’s scared and unsure, but also hopeful. Hopeful that maybe, just maybe, you’ll see him and still choose to stay.

“I’m not perfect,” he continues, his gaze never leaving yours.

“I’ve done things… things I’m not proud of. I look even worse than I did back then. And I don’t expect you to love me. I just want you to know that I’m trying. Trying to be better, trying to be the man I was before, for you. I just…can’t change that shitty body.”

His hand moves from your arm to your cheek, his touch gentle, almost reverent. But still, he doesn’t dare to look you in the eyes, his voice still muted and covered in agony.

Is this the reason why he never tried to reach you, never tried to find you? Because he thought you’d never look at him again the way you did before all of this? Humanity’s strongest losing his whole confidence over something so minor, something that actually makes you admire him even more.

His thumb brushes over your skin, wiping away a tear you hadn’t even realized had fallen.

“I want you to stay. But if you can’t love me like that, I’ll leave right away” he whispers, his voice thick with emotion.

His words hang between you, raw and unfiltered. That lack of self-esteem, all the horrible things he had to endure while you were gone. What did he see? What did he feel? With each passing minute, your heart swells up more and more. For that man who risked everything including his precious life for a world you’d be safe in. For that man who know stands in front of you and thinks he isn’t good enough for you.

“I see you, Levi,” you say softly, your voice trembling with the weight of your own emotions.

“I see you, and I’m not going anywhere. Those scars,”

Gently, you allow your finger to wander over the faint scar that covers the skin around his blinded eye.

“Those hands that hold my entire world,”

You take his hand in yours tenderly.

“Do you really think I’ll leave you over something like this when I searched the world upside down just to see you again?”

A flicker of relief passes through his eyes, and for the first time in what feels like forever, Levi allows himself to hope. And for the first time since he can think, he’s glad to see your tears paired with that loving look in your eyes. Will you really…stay with him?

“Please don’t push me away. I still need you in my life”, you mutter before lunging yourself at him.

Like countless times before, you rest your head against his shoulder, wrap your arms around him in fear that you’ll lose him any given minute. That precious but stoic man who drove you insane more than once, that man who never failed to argue with you.

That man, humanity’s strongest. The love of your life.

“Fine, brat”, he grumbles before stroking through your hair.

“But I’ll leave if you make fun of me.”

“I’ll always make fun of you half-pint.”

Tags:

@lees-chaotic-brain @sanicsmut @levislegislation @istglevi-gotmesimping

[anxious-witch]

I think the reason why there are so many amazing ships in Dead Boy Detectives is because the show manages to show different versions of love/lust/devotion through different relationships all characters have.

Like, love triangles have been doing the whole "a girl has to choose between two guys who each being out a different side of her" for over a decade in popular media, some more, some less successfully. But the pitfall they often fall into is that those differences seem very shallow and often ignore the other aspect of the main person who have to choose between the love interests.

Dead Boy Detectives makes sure to not do that.

When we look at how Charles is with Crystal vs how he is with Edwin, we can clearly see the difference. In the beginning of his and Crystal's dynamic, he is flirtier and puts more if a bravado, but he pretty quickly opens up to her. Because he sees that she very quickly sees past his facade he puts up with his constant happy-go-lucky persona. Only when he starts opening up to her and showing his emotions does their relationship progress. Because after David, Crystal needs someone who can be emotionally vulnerable with her and in turn, Charles offers her the same, and offers her a safe space.

In contrast, we see that Charles is more at ease around Edwin. They know each other deeply, and are also woven into each other at this point. It's easy, like breathing. One thing it doesn't do is challenge either of them from the status quo they have built over the years. But there is a sense of ease there, and such devotion. There is no question about what they would do for each other because the answer is everything.

That said, while they both bring out different sides of Charles, those sides of him feel intricately linked to one another! Which is why Crystal coming into the pictures begins changing Charles' relationship with Edwin as well! It brings to light things they have ignored. And in turn, Charles' clear and unwavering devotion and loyalty to Edwin prompts Crystal to learn it herself. To quote Jenny in ep 8, "you were about to leave and never see these boys again, but now you are going to save them"? And yes, she does exactly that.

This even has influence on Edwin and Crystal's rs directly, which I can't recall ever seeing in a love triangle before, at least not in a positive sense. But it's so clear that Charles loves both of them that the other learns to love them too, and they realize their own similarities through it, too!

As for Edwin and his many love interests, well. I know there has been a lot of debate, especially around Cat King vs Charles dyankics with Edwin, but the thing is-you are comparing apples ajd oranges here.

The Cat King is enamored, fascinated by Edwin, and yeah above all, attracted to him. This dynamic serves to challenge both of their characters' beliefs and shake up the power dynamics between them. Whenever you like the Cat King or not Edwin clearly reciprocates the attraction part, at the very least.

Charles loves Edwin and is devoted to him and Edwin to him turn, as discussed above. What is difficult about their relationship is that it became stagnant due to lack of communication, which is why they needed other relationships to shake up that dynamic.

But to address the most prominent comparison I saw, which is the Cat King saying he'll wait for Edwin vs Charles going to Hell to save him.

Both are types of devotion, is the thing. A profession of love, if you will. To this day, we consider Penelope a faithful, loving and devoted wife for waiting for Odyssey for 20 years. Cat King saying he'd wait for Edwin isn't any small confession, given he is aware it could take decades, if not more.

Don't get me wrong, Charles going to literal Hell to save Edwin and succeeding where Orpheus and Eurydice failed is an enormous success and a way to show you love someone. I am not minimalizing that at all.

I am just saying that, for who these characters are and given their rs with Edwin, they did exactly what they were supposed to. They expressed in which ways Edwin had influenced them and what they can offer him if that dynamic becomes romantic.

Cat King represents experience, patience. As an immortal he has all the time in the world to wait for Edwin to return from hell, because he believes Edwin is strong enough to return on his own.

Charles represents love that breaks all obstacles in their way. He goes to save Edwin because he believes Edwin deserves to be helped in the way he helps others. He deserves to be saved.

My point is, there is no better of worse way of loving someone. The character in the love triangle choose the person that better alignes with who they are and who they wish to be as a person. So yes, you are absolutely allowed to say "I think this character would choose person a because it alignes better with their character development" but comparing the two as one being superior is kinda pointless imo? Exploring different dynamic of a character is the goal here, right? Either through canon or fanon.

...I was gonna talk about Crystal/Niko and Edwin/Monty too but this post got away from me to uhh. Might do another one if anyone is interested but in their way! I adore the way DBDA explores different sides of characters while still making them feel like a fully rounded person and doesn't shy away from letting one rs influence other rs character has.

[alltimefail]

Can we take a second to talk about Niko's connection to the Principal?

Because I think we all moved on a little quickly from that!

General disclaimer before we begin: this is just my own theory and my personal interpretations. <3

As a refresher, The Principal is the Night Nurse's "Superior." We see her for the first time at the end of season 1, episode 8. In this theory, I will be analyzing the potential role The Principal plays in DBDA, especially where our beloved Niko Sasaki is concerned.

A connection between The Principal and Niko is undoubtable to me for two reasons: the first reason being that they intentionally focused the camera on The Principal zero-ing in on Niko's case card, and she has a visible emotional reaction to seeing Niko's name.

The second being that, before departing, she quotes what Tragic Mick told Niko before the face-off with Esther which ultimately resulted in her death.

One popular theory I saw floating around in the first few weeks after DBDA released was that The Principal is Niko herself, and while this is a fun concept I can't get behind it because, well, Niko is "alive" at the end of the season. Yuyu has confirmed that she's the one in the igloo with the sprites, and Steve has confirmed that Niko is not dead/off the show as well. While we have no clue where the igloo is for certain, or what state Niko is in, it's safe to say that Niko has not moved on to her afterlife, so she can't be the Night Nurses' superior in the Lost and Found Department.

My theory doesn't reinvent the wheel, but I personally think The Principal could be Niko's mother.

From a non-storyline standpoint, The Principal looks to be a perfectly appropriate age to have a 16 year old daughter. From a casting standpoint, Yuyu and Tamlyn also are a convincing mother/daughter pair. I think their mannerisms (body language and expressions) are even a bit similar:

But most importantly, from a writing and storyline standpoint, Niko's mother is mentioned multiple times throughout the season but we never actually see her or hear from her - not in a phone call, a voicemail, or even in a picture in Niko's meticulously decorated, aesthetic bedroom. This is what leads me to believe that the persistent mention of Niko's mom is an example of Chekhov's gun being fired.

Emphasis here on: "If it's not going to be fired, it shouldn't be hanging there."

From the persistent plotline surrounding...

Niko's grief not just with her father's death but also with her mother who sent her to school across the world literally the day after her father's funeral to "escape the sadness,"

to the pile of letters from her mother that she couldn't bring herself to respond to,

to the response letter she finally writes to her mom but we don't learn the fate of,

to Niko telling Crystal that her mom would always say "A mother's intuition is very strong," (which could be why The Principal reacted to Niko's case card in the way she did...)

to even Jenny mentioning Niko's mom in the finale

... and so on, the writers seem to mention her as often as they can, even up to the very end. This makes Niko's mom a sort of looming figure in the narrative, a thought persistently brought back in a "Hey, remember this?" kind of way to the viewer, and that kind of intentional presence needs to serve a purpose or have some kind of payoff later. After all - if it's not going to be fired, it shouldn't be hanging there... if we aren't going to get some kind of closure regarding Niko's family, especially her mother who is still alive, it shouldn't be brought to the viewer's attention again and again.

Also, The Principal being Niko's mother would make Niko at least half supernatural being (we don't know much about her father, but considering the fact that he's dead we can assume he was likely fully human). Niko being half supernatural-being would explain a few allusive plotlines such as:

Why Angie the fish does not try to tempt Niko into the water.

Why Crystal tells Niko that she should stay behind and not fight Esther because Niko is "Just a human."

Why we don't see Niko's spirit separate from her body at any point, nor do we get Death's blue light.

How the Principal knows Tragic Mick's last words to Niko and why she quotes them to the boys who were not even present at the moment the sentiment was delivered the first time.

Starting with Angie, it's obvious why the boys are not affected by her call: Charles and Edwin are incorporeal spirits, they have no physical body and Angie's call is sent out with the goal of finding food to eat, plain and simple. Niko not hearing Angie's call, considering the fact that she's flesh and bone just like Crystal, is noteworthy to say the least. After all, we can safely assume Angie's call can beckon more than one person at a time because the group is worried about the populated kite festival becoming an all-you-can-eat buffet, essentially. They need to figure out the case and only have 24 hours to do so before area is filled with bodies for Angie to tempt into the water, that's the whole time-constraint conflict that adds pressure to an already delicate situation. The first time Crystal hears the call she is with Charles at the top of the lighthouse with Niko nowhere near Angie, but the second time Crystal hears Angie she and Niko are standing literally right next to each other. Niko then confirms that there's "No voice" coming from the water after they save Crystal, but considering how Niko's grief surrounding the death of her father is such a huge part of her characterization - in the same way Crystal not remembering her parents is critical to hers - it makes no sense that Angie wouldn't try to lure in Niko as well by using the voice of her deceased father.

But let's consider what we learn from the Night Nurse: trans-dimensional beings don't die when they're swallowed by a giant fish, so they do not satiate Angie's desire for food. This is why everyone assumes Kashi is not human because he, like The Night Nurse, is alive inside the stomach of a fish. So if Niko's mother is like The Night Nurse, a trans-dimensional being, that would explain why Angie's call would not effect Niko, because Angie just wants to eat... and ghosts and immortal beings (even if only semi-immortal) do not count as food.

As for Crystal telling Niko to stay behind because she's human: this line felt so... strange to me the first time I watched the series. After thinking about it though, I couldn't help but compare it to Charles' line in the pilot episode right before they enter Esther's house. He tells Crystal that "She still has a life to lose" and they want to "Protect it while they can," and while the sentiment is the same, the dialogue feels vastly more natural and understandable being delivered from the mouth of a ghost - a dead 16 year old boy - to an alive 16 year old girl. On the contrary, Crystal citing Niko being a human when she is also alive and very much a human just as capable of dying as Niko is, feels out of place. There's simply no need for Crystal to clarify that Niko is a human as the audience has already assumed that and been given no reason to believe otherwise. It's a small detail, but the only way for this line to make any sense is if it serves an ulterior motive - perhaps with the intention of getting the audience's gears turning and/or serving as the framework for a future plotline. Again, if Niko is related to The Principal, this would make her half supernatural at least... so, ironically, less human that Crystal is and less likely to face a typical human death...

which also might explain the "Outlook not so good" on the Magic 8-Ball. It's not the worst response you can get, it's not a critical failure or natural 1 in DnD so to speak... but it's also not great. Niko's not alive, but she's likely not as she once was either (but that's an entirely different can of worms).

As far as explaining how The Principal would know what Tragic Mick told Niko, I feel like an infinite trans-dimensional being who works as a higher up in the afterlife's Lost and Found Department would have no issue accessing their own child's file. We know the Lost and Found Department is nothing if not rigid, specific, and detail-oriented, and the files they have include the details of every child's death - it isn't so far-fetched to believe that Niko's file (and all the files, really) would also include insight on what Niko's last day on Earth (interactions and such) were like. Not to mention the fact that The Principal tells the boys she can pretty much do "Whatever she likes..." so she's powerful, she has resources and abilities that might even surpass those of the Night Nurse (who can literally dig around in people's minds and choke people with a snap of her fingers). If she is Niko's mother and she just lost her child and husband in a short amount of time, it would make sense for her to allow Charles and Edwin to keep doing what they do because they are helping people like her daughter, and maybe they could help her daughter again.

Lastly, I can't help but acknowledge how there is some kind of recognition, spark, or tenderness on The Principal's end when she first appears before the boys. I've seen other people say they feel similarly, almost like she seems disappointed or a bit taken aback when they ask who she is. She especially lingers on Edwin for a beat, and we all know how important Edwin was to Niko! Again, this is all just my own theory, but if The Principal is Niko's mother, her sparing the boys of being taken by the Lost and Found Department with the tenderness she does - by using Tragic Mick's words, the ones offered alongside a good luck charm (the last kind act toward Niko before she died) at the boys who loved her daughter and saved her once and could very well save her again - feels tear-jerkingly poetic to me. The Principal seems choked up before she goes, almost as if she's repaying them a favor they didn't know they were owed - the boys saved Niko once, and now that good fortune is coming back around to them.

So what would that all mean for next season? Where might Niko be? Who knows for sure! Perhaps she is imbued with Dandelion Sprite magic, or is currently an "Undead," a zombie, like the kind mentioned in the Night Nurse's book in Episode 6... but whatever she is, I have a feeling the boys and Crystal will find her again.

But all this to say, whether The Principal is Niko's mother, a reincarnation of Niko's father, an estranged aunt or family member we haven't met yet, a complete rando with invested special interest in Niko's case, or shit - even Niko herself somehow - I can confidently say that episode 8 won't be the last time we see The Principal, and that we're meant to draw a connection between her and Niko.

Now we just need a season 2 so we can get some answers @netflix!!!!!

[moonie-moon-o7]

Big Mom Pirates Incorrect Quotes

Imagine being so unpredictable and random that not even Katakuri's observation haki works on you 💀

Katakuri: Stop thinking whatever you're thinking. You: Huh? Katakuri: You always make that face when you're about to say something stupid just to piss me off. So cut it out- You: I love you. Katakuri: You: You: Also, cereal qualifies as a soup. Katakuri: I KNEW IT!!

You: It's not like I try to blow things up, exactly. It just sort of happens. You've got to admit though, fire is fascinating.

You: I hate you with every inch of my body! Katakuri: That’s not a lot of inches.

Big Mom: That’s the key slice of truth we need to complete the entire truth pie. You: Ooh, can we get some actual pie? Big Mom: I like the way you think.

Brûlée: Bottling up negative emotions is bad for your health, so you shouldn't do it. You: I know, that's why I bottle up all my emotions, both positive and negative, so it cancels out. Brûlée: Th-that's not how that works-

Pudding: How the hell are you still alive? You: Honestly, I’m just as confused as you are.

Katakuri: Would it be discrimination to only hire employees at my doughnut shop who have the same name? You: Legally, I don't believe that breaches any discrimination laws. Morally though... I don't know. Katakuri: I believe god is on my side when it comes to Duncans' Doughnuts.

You: Can I ask a dumb question? Katakuri: Better than anyone I know.

Pudding: My expectations are low, but they can always go lower.

You: What’s up? I’m back. Katakuri: I literally saw you die. You died. You were dead You: Death is a social construct.

You: Why don't humans have a specific noise that means "there are bees here, let's leave immediately." Why are elephants more advanced than us. Perospero: We do have a specific noise for it. It sounds like this: Perospero: "There are bees here, let's leave immediately."

You: How many vampires do you think have been hit by a car backing up in a parking lot because the driver couldn’t see their reflection? Big Mom: I’ve never considered it but you’re really shining light on what’s probably a very serious issue.

[ravens-two]

Mini-PAC: Your Person's Love Language

This one is a smaller reading, and it has no extended version. It includes your person's love language and how they express their love/feelings/emotions.

Disclaimer: this is just for entertainment purposes, and as a pick-a-card reading it may not resonate for everyone.

TIPS | BOOK A READING WITH ME | PATREON | LINKTREE | SUGGEST A PAC TOPIC

Pile 1

Five of Pentacles, Two of Wands, Gratitude

"All that I am and all that I'll be, forever in gratitude I'll eternally be."

Words of Affirmation/Acts of Service

Hi, pile 1, this person has been through a lot and knows that life can be incredibly hard. That's why they do their best to make it easier for you. That's their love language, making life easier for you. They are quick to show their support and to offer help whenever you need it. They don't have any problems with saying thank you or apologizing when they're wrong. They might have in the past or they might still struggle in other relationships (with people they aren't as close with), not with you though.

They know what it's like to not have anything, including support from others, and they never want to see you there. They could have become the type of person that tells you to get it together and pull yourself by your bootstraps, but they're not. Again, this comes from a deep sense of empathy. (It actually reminds me of that Doctor Who quote "All that pain and misery, and loneliness, and it just made him kind".)

They're the type of person to do the whole "I love you, no I love you more" game. I also see them telling you that they love you as soon as they wake up or before falling asleep. They just really like to say it. They have no problems with expressing their feelings, although I'm getting that they're also private people (this side of them is just for you). I also see them being like "do you need me to listen or do you need advice?" whenever you have problem. They are quite selfless when it comes to you.

Pile 2

Seven of Cups, Judgment, Bear Medicine

"There is no tomorrow without the healing of the past for in stillness you shall find yourself right where you are."

Acts of Service/Quality Time

Understanding is the word I keep getting for your person, pile 2. I get the feeling that your person is quite silent. They remind me of a cat actually, they love spending time in the same room as you while each one does their own thing. They enjoy just reaching out a hand to you and hold hands while doing something else. In general though, I see a lot of silence. This is a comfortable silence, though, there's no awkwardness here. I also think that they're deep thinkers, so when they share their thoughts with you you'll know that it's something important for them. I don't think that saying "I love you" comes easy for them, but you'll know that they really mean it when it comes out.

A bit similar to pile 1, is that when you have a problem your person is ready to step in and help however they can. They're the type to silently act, instead of talking about what they would do. Where I really see the Acts of Service thing though, is them just doing things for you without you having to ask. Like offhandedly mentioning that you need to change your tires, they'll just do it without even saying anything (always respecting your boundaries of course). Or you might mention that you really like a certain brand of chocolate so they always keep that brand at their house so that you can have some. Your person is really thoughtful and they pay a lot of attention to what you say - and what you don't say too.

I get the feeling that they like to be left alone whenever something's wrong, so I feel like they'll do the same for you. Instead of asking what's wrong or try to cheer you up, they'll just sit beside you and keep you company.

Pile 3

Tower, Ace of Pentacles, Cardinal Medicine

"Thy self bleeds of sacredness, an honor fit for the Gods. You are worth all the seas and all the skies and all the desires you hold inside."

Gift-giving/Quality Time

Your person wants to give you the world, pile 3. Their love language is definitively gift-giving, but it's not just about big gifts or luxury (although it could be the case for some of you). For most of you I just see your person being like "look at this cool rock I found today" or "I saw these flowers and they reminded me of you". They just love giving you little trinkets. Especially things that they find unique or special in some way. They think that you deserve something that no one else can possibly have. This can even include commissioning art work or jewelry just for you.

On a more day to day level I also see them just buying your favorite treats. They just want to get home with something special for you, be it your favorite meal or candy. They are very giving in general, and if you say you want something they won't hesitate to buy it for you. Also, I get the vibe that they're incredible gift-givers. Your birthday presents are always incredibly thoughtful.

They might also enjoy creating things for you or singing/playing music for you. They like to have a good time, so having enjoyable experiences is also a love language for them. This could be a dedicated date night where you try new stuff (food, places, activities), going on vacation to new places (just the two of you), or even going to the cinema to watch a new movie. They want to spend time with you while you both do something that you enjoy.

Pile 4

Three of Wands, Emperor, Ringing the Bells

"Ring thy bell to cast them out, ring thy bell and dance about. Swirl the sounds amidst the winds, nowhere to hide, for all will ring."

Physical Touch/Words of Affirmation

Right away I can tell that this is a physical touch kind of person, pile 4. They are very fiery and might get too handsy at times, but it's not just about that for them. They just love to feel your body against theirs. They love to hold hands, wrap their arms around you, and for some of you they love biting (gentle and playful bites on your hands, arms or shoulders). They're not embarrassed by other people and just really love PDA. They like to be touching any part of you all of the time, I feel like it gives them a feeling of safety and comfort. For some of them, they were a bit touch starved for a long time, and now they're making up for it.

I also get the feeling that this person gives the best hugs! It's probably their go-to to comfort you. They'll have no problems telling you that they love and how much you mean to them (although I feel that they crave more to hear you say it, rather than saying it themselves), but their way of showing you how they feel is through touch. They might kiss you to show you that they love you or to communicate their anger or frustration with a problem. This also means that for them sex is also a way of showing you how they feel. They expect you to pay attention to the way they behave during sex to know how they're truly feeling.

When it comes to Words of Affirmation, again I don't think that they struggle to tell you that they love you - in fact I think that they say it rather often - it's more that they struggle with expressing their emotions. Again, they also prefer to receive love this way. They want to hear you say that you want/love them.

[luckykiwiii101]

FEEL LIKE OVER-CONSUMING?

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💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗

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(Remind yourself of these facts whenever you feel doubtful, frustrated, stressed or like over consuming)

💕Do NOT focus on the 3D. Just focus on the 4D

💖The 3D is just the old state/assumptions manifested

💗I KNOW that I have everything I want no matter what the 3D shows

💞I Fulfil myself every time I think of my desire (surrender to the 4D)

💓I NEVER identify with the 3D unless it’s desired

🌸I KNOW that i’m not waiting for the 3D to conform. I am only making my desire natural to me. I am getting used to always having it.

🌺I am only REMINDING myself that I have what I want.

🌷Logic doesn’t exist

🎀I am NOT lying to myself!!!

💄NOTHING can “ruin” my manifestation

💐I Only see/hear what l want to see/hear

🩰I Only focus on the FEELING of having what I want, I return back to that feeling every time I think of my desire. I satisfy myself until i no longer need the feeling of satisfaction.

💗I don’t need to affirm or visualise etc all day.

🍬I only look for confirmation in the 4D. NEVER the 3D.

💘Creation is finished. It’s done.

💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗

Quotes from @loasuccessarchive from anons who manifested their dream lives:

💗 “I've manifested so much physical changes when i stopped thinking about how the 3d needs to change. i focused on how i feel (state of already having your desires) and sustained that feeling.”

💓 “I did absolutely nothing but focus on my desires/the 4D. I was delusional, I was detached from whatever bullshit was happening in my 3D and I was basically in love with my 4D.”

💞 “the only reason why you fail, is because you haven’t accepted that imagination is the only reality, everything stems from imagination. the longer you focus on getting it in the physical world, the more stress you’ll have. you only want the feeling such desire brings you, so give it to your inner man.”

💕”All i did was fulfill myself in my imagination, and stopped looking for confirmation in the outer world, whenever i felt the urge to “look for it in the 3D” i would close my eyes and see it in my imagination. That’s all i did, the first days i felt a little anxious but then everything was okay, and i was EXTREMELY calm.”

💖 “I started focusing on the feeling of having everything I wanted, without being specific because my subconscious/ god knows what it is, it’s when things started happening, and let me tell you it’s was so quick.”

“I didn’t work on my self concept, I didn’t do methods (however I tried SATs and it did work for me once but I stopped since I got lazy) I didn’t focus on time or logic, I didn’t do anything but focus on what was happening in my imagination.”

🎀 💋 “your only job in here is to think from the perspective that you already have it baby. don't stress yourself, everything will change because if it is in your imagination and you accept that it will reflect in the 3d, thats literally everything everything and everything . you don't need to change your thoughts, only your state, you want to get into the void this night? imagine however you want that you are waking up with everything you wanted, it is not a desire, it is the reality. you want proof? go to your imagination. everything is there.”

💋”the wish fulfilled isn’t something over exciting (although it may be at first) its just a natural and normal.” —> https://www.tumblr.com/etherealkissed88/737821647378284544/the-state-of-the-wish-fulfilled

P.S Ily 💗 XOXO

- gossip girl