#I just wanted to share my perspective cause I thought it would be relevant? Hope it didn't come off wrong

[dunmeshistash]

What I find really interesting is that Marcille has all these ideals of elven beauty and elven idea of what "masculinity" looks like (also her comment about how she thinks that tall-men playing elven characters clashes aesthetically in that little extra comic about going to the theatre with Falin) but she didn't grow up among elves? Beside her mom people around her in her childhood were tall-men

And then she was a researcher at tallmen-gnome academy

I wonder if this is her way to connect with her elven side.

Unfortunately beauty standards don't always make sense. Speaking from experience as an older person from Brazil I still remember when my senses of beauty where mostly based off white people, cause that's what was presented to me as beautiful. It was only after I grew older and started seeing more diversity labeled as beautiful too that I realized the beauty in my own traits. External influences might convince you the people around you aren't the "ideal"

Marcille probably was influenced by her mom and by her ancestry, I still remember kids in school being sad their parents/grandparents had blue eyes but they got "lame dark eyes" even tho that's whats the most common here. So she probably has idealized her Elf ancestry when it comes to aesthetics since even Tallmen in some areas idealize elves. I think it might be the same/similar for Thistle.

About how she cringed at the tallmen playing elves I've unfortunately felt that way before, when I was a kid I would cringe at seeing other brazilians cosplaying light-skinned characters (mostly as self shame tbh) but I got better✌️Marcille still needs to mature.

I'm talking about this with the lenses of my own experience but I just wanted to say that your aesthetic taste can be influenced by the "first world" even if you live surrounded by beautiful people that don't match it.

And on a side note I love that we have more representation nowadays, when I was a kid I remember latching onto to every single darker skinned character I saw in cartoons cause they looked like me lmao.

[jeonscatalyst]

https://www.tumblr.com/jeonscatalyst/760242773222883328/this-all-of-this-and-every-single-bit-of-this?source=share

I do agree with this person's analysis of Jimin and Jungkook personalities, and I also agree that to some extent Jungkook's affection being rarer than Jimin's does make it more special to some fans, but where I disagree is that I don't think that's the main reason why fans seem to put more weight in what Jungkook does than what Jimin does.

Because while some fans will put this much thought on the differences in jikook's personalities, I don't think it's the majority that does. It's kinda of a problem we have actually. If people realised that Jimin and Jungkook are two different people with different ways of showing affection, then we wouldn't have to keep seeing the same stupid takes on their relationship over and over again. It's people expecting jikook to always do to the other the exact same thing the other did to them that causes so much annoying discourse.

But you know what a lot of shipper do love doing? Competing with one another. Competition is one of the main things in every k-pop fandom and sub-fandom, shippers are no exception. And when it comes to jikookers we all know the competition is with taekookers. We're always at each other's throats, let's be honest. And some spend just as much time taking about the rival ship as they do talking about their own ship.

Which leads me to what I believe is the real main reason why both sides (not just jikookers) view Jungkook's actions as more important. It's because he's the in-common person to both ships. He's like the main character in a love triangle. He's the one that ultimately decides who gets together in the end, not the two love interests, so their actions don't matter as much.

The point of contention with shippers has never really been whether or not Jimin or Taehyung like Jungkook, that's already assumed to be the case. With solos it's definitely an argument, but jikookers and taekookers focus more on each other than in solos. No, the real question has always been who does Jungkook like more: Jimin or Taehyung?

If Jimin declares his love for Jungkook jikookers will of course love that, but if Jungkook is the one who does it it'll matter more because it can be used against taekookers. Taekookers don't care if Jimin loves Jungkook or not, what he feels doesn't matter to them. Nothing Jimin says can prove anything to them. The confirmation has to come from Jungkook, that's the only way they'll care about it. And jikookers do care about one-upping taekookers. If we didn't we wouldn't spend so much time trying to prove to them that we're right.

There's been plenty of times when I've seen something that used to not matter suddenly become important the moment people realize it could be used in the shipping competition. It's a sort of 'I didn't care that much about that thing I have until I realized it could make the other side jealous'. Or 'I didn't want that thing until the other side got it and now I want it too'.

Things naturally hold more importance to people when those things have not only their own inherent value but also when they have the added bonus of pissing off someone you don't like. Jimin's love for Jungkook is important by itself but Jungkook's love for Jimin is seen as more important because it will also piss off taekookers.

I'm pretty sure that if the two biggest ships were jikook and vmin instead, then the most important thing suddenly would be Jimin's affection, regardless of how affectionate he is with everyone.

Again, I do agree some fans do consider jikook's differences and that that does influence how they value their actions, it's just that I think there's a bigger reason here.

I hope this didn't come across as me being a contrarian for the sake of it, I just wanted to add a separate perspective on the subject because I've had this opinion for a while and it seemed relevant to the topic. I also hope I was not to harsh on my opinions of other jikookers, but no fandom is without it's flaws and I think it's important to acknowledge them.

Anon, I owe you a cold beer right now because it seems like you read my mind.

This is exactly what I think too. It’s just mostly about the competition, the shipwars, the fights and the need to “win”. That’s really why people think Jungkook’s actions hold more meaning that Vmins. It’s like Jungkook is the prize that Vmin are desperately trying to win and every action or word of his is used as an affirmation or debunking. “Jungkook did this with Tae but didn’t do that with Jimin so Tae is his boyfriend”….just an endless cycle of bullshit.

Anyone who is mature and experienced enough understands that Jimin and Jungkook don’t have to express themselves exactly the same for things to be mutual. Jimin could say “I love you” to Jungkook and Jungkook wouldn’t say it back but would prefer to make a video of Jimin. So many people would say Jungkook didn’t reciprocate just because he didn’t do things exactly the way Jimin did when the truth is that he did, just in his own way.

When I see people coming up with useless takes or comparisons about their bond it pisses me off to no end because it’s the little things that Jungkook does. People would get pissed at Jungkook and say that he doesn’t show love to Jimin as much as Jimin does just because Jimin would constantly touch him, ask him to eat alot and is very vocal about his affection but Jungkook remembering that Jimin likes his food spicy and trying to make it just how Jimin likes it apparently means nothing because Jungkook wasn’t shouting on a roof top or Jungkook thinking of what to cook in Jeju and knowing that Jimin would love it doesn’t matter because he didn’t stand on a podium and announce it or Jungkook quietly getting water for Jimin and giving him to drink without him asking doesn’t mean a thing because he didn’t carry Jimin on his head. Sometimes I don’t even have the energy to argue because if only people understood Jungkook they would know that Jungkook doesn’t treat anyone the same way he does Jimin.

I personally can see how someone might naturally value Jungkook’s actions more because Jimin is a natural caring, nurturing and loving person to everyone so sometimes it is hard to tell if his actions mean more or it is just him being himself but with Jungkook, he tries as much as possible to be impartial but he just cannot help it when it comes to Jimin. He is pretty kind and caring towards everyone he loves too but not the same way Jimin does it plus Jungkook tends to go big when he expresses his affection for Jimin. So with Jimin we get little bits of love and affection more frequently than we get from Jungkook but once we get one from Jungkook, it is usually news worthy and kinda exclusive to Jimin so it hits harder.

I dunno. I might have gone off topic but like I said, I 100% agree with you.

[annabethandpercylove]

“So it’s starting again?” she says. “Like before?”

I’d like to see Sunrise of the Reaping focus on the “before” Mrs. Everdeen and Haymitch are alluding to when they talk after Gale’s whipping.

Haymitch was a significant player in the Games’ history. He used the arena to win (the second act of survival by a District 12 victor that would have sparked rebellion; he was the first victor (at least that’s what I interpreted from the text in Mockingjay) that was propositioned by Snow; and he was likely the reason for the “before” I mentioned. I’m sure propaganda and manipulating the history of the past increased after his Games, which would go along with what Collins has said about the theme of SOTR.

I never post here and I am not an experienced theorist on this platform, but I figured I would try my hand and share some possibilities that have come to my mind about how this story might play out.

THEORIES

Multiple POVs: I’ve seen a lot of people suggesting that SOTR won’t be from Haymitch’s POV and I agree… to a certain extent. I am not the biggest fan of books with multiple POVs (I feel like the stories are often stretched out too far and can be a disservice to the story) and I know we haven’t seen Collins do this with a THG book, but I think it would be a useful tool to show the effect of propaganda. So here are the people I think we should hear from and why: 1. Caesar Flickerman — propaganda from the source 2. Mrs. Everdeen — propaganda witnessed by an audience member 3. Haymitch Abernathy — victor that caused a new influx of propaganda and government control

The Plot Now that I’ve introduced the POV idea, I’ll do a play-by-play for how I might make the story go: We start from Caesar’s POV. It’s Reaping Day, the first big moment for the Games. Through Caesar, we would see all (or at least ones that are most relevant to the themes of the book) the districts’ ceremonies. There would be a range in the style of the ceremonies and the audience reactions especially between Career and non-Career districts. (I don’t want to make things too cluttered so I don’t think I would do an audience perspective for the Reaping, too. If there was, I’d want Mrs. Everdeen to see her reaction to Maysilee Donner being chosen, but that’s a personal hope to see her and it may not be a service to the theme really.) Still with Caesar, we cut to the beginning of the Games. I don’t think it’s necessary to see the trains, training, or interviews, necessarily. I think things would’ve transitioned from what we saw in TBSOAS to something more akin to how things work with these things in THG. So Caesar is prepping for another Games. Maybe we hear some conversations he has with Gamemakers and sponsors in addition to his own personal dialogue. Is he still becoming the charismatic host that we know in THG? Does he have any moments where he questions what he’s doing? But he gets to work. The announcements are made, the bombs go off, and the Games begin. Disclaimer: I’ve been debating this POV since the announcement for SOTR came out. Like I said before about multiple POVs, this might stretch things too far (unless we’re lucky to get a book that’s 1,000+ pages!!), but I thought I’d put it out there. Mrs. Everdeen lives in horror watching her best friend fight for her life in a death arena. While she’s watching we could see Capitol commercials promoting sponsors, bets, and special promotions for different companies that are themed on the Games (like seeing commercials that are themed for the Super Bowl or Christmas). We would witness what an audience member would be seeing (not just the glimpses we get of Snow watching out for his tribute for his own selfish reasons). Now this might be a distraction from the plot, but I’d love to see some Mrs. Everdeen/Mr. Everdeen/Mr. Mellark moments. From what we’ve heard and seen, they’re all against the Games. But I think it would be interesting to see Mr. Everdeen’s little acts of musical rebellion, Mrs. Everdeen’s fear of his being caught and her fear for Maysilee, and maybe show a contrast between Mr. Everdeen’s behavior and Mr. Mellark’s. I think there’s a multigenerational theme that could be explored here with Katniss/Peeta/Gale and the parents. We could see how Mr. Everdeen was Seam like Gale but compassionate like Peeta; Mrs. Everdeen didn’t see a way to change things like Katniss; Mr. Mellark was content to settle with Town life and endure the Capitol’s threats but maybe lacked Peeta’s passion for the preservation of personal morality. Different responses to the earlier mentioned commercials, etc? (I’m Team Everlark/Peeta all the way, BTW!) This would happen after Mrs. Everdeen’s POV (or maybe another audience members POV from a Career district) or right after Caesar’s. Cut to Haymitch’s POV. It’s his final fight in the Games. We see him bleeding out, throwing the axe, and becoming the victor. He goes home and has to face Snow’s propositions, the deaths due to his refusals, and the resulting depression and the beginning of the jaded drunk man we meet in THG. Witness what “like before” entailed, an erasure of Haymitch’s “act of rebellion”, radical people on the Victory Tour if we go that far, etc.

I know that was a bit long-winded and not necessarily the clearest plot, but those are some thoughts I’ve had. I’m no author, just a passionate fan of The Hunger Games series and the lessons it seeks to teach its readers. Suzanne Collins will create an amazing story that will be profound and special and I can’t wait to witness it.

[imaaa]

i surprised myself today by smiling softly when i came across something associated with you. i no longer view you with resentment because now i think i understand your perspective. i believe i understand why you stopped enjoying my company as much as you did in the beginning. i think i now know why you wanted to be distant from me. maybe i was not entirely what you thought i would be, and the revelation of some parts of me that were unknown to you before might not have sat well with you. i won't say i was a particularly annoying person, but now that i think about it, i can agree that i was being one towards you. i can empathize with you now that i have somewhat of an idea about the bothers i caused you. i know we cannot go back to the way we were, so i will just cherish what i had without wishing for more.

you are someone i will always associate with music. elation used to be evident whenever you talked about the artists and songs that held meaning to you. i believe i started viewing music with a passionate angle only after meeting you. maybe you do not remember all the songs you shared with me, but i have them all stored in a playlist, and i still listen to them on some days. you were the one who introduced me to my future favorite songs and artists. it's insane how much my listening activity altered after you started sharing songs with me. i wish i could tell you one more time that out of all the people who have ever shared songs with me, yours have stayed with me the longest. i will be stealing more of your favorite artists in the near future, but you need not know that.

i recently discovered a new band, and i plan on listening to their entire discography. on the second day of listening to them, i realized that a few weeks ago your spotify activity also reflected the band's name when you were on a listening spree. of course, you were listening to them, your favorite artist is part of it. i have been listening to one of their songs on repeat for hours now, and my heart swells when i think of you while listening to it. a few moments ago, while watching the song's music video and going through the comments, i felt this giant painful sensation because of the realization that i can't just go and text you about how much i am enjoying the experience of listening to a song for the very first time. i wanted to ask you things about the band; i have so many questions, and i know you would have already done your research (you are such a nerd, it’s adorable), and you must have all the answers i am looking for. i wish i could share my favorite lyrics from the album and ask about yours. i can always write about my experiences and share them with the world, but having a friend whom you can bombard with texts exuding boundless joy and have them reciprocate it is an experience that writing can't fully substitute.

i still use your vocabulary at times. sometimes when i am texting other people, i am suddenly reminded of how your texting style somehow became mine. and then i shake my head and move on with my life. i still remember why the word 'lovely' holds relevance for you, and i hope you remember why 'sweet' held for me. i hope you don't feel ashamed when you hear my name. anyway, you became a stranger. however, 'scott street' is still a friend to me. i miss you, but the goodbye still remains.

[correctfullmetalalchemist]

Hey genuinely, I kno it wasnt about the Iraq war, but when FMA was first on air was 2003, and FMAB around what, 2010? Being a teen in America, it totally felt like it was anti-war propaganda about the way the US was in the middle east. I dont think its that unreasonable for a teen, with no historical context about Japan, would see brown-skinned people being treated shitty by a pseudo-European nation and go "huh that reminds me a lot of whats going on in Iraq and Afghanistan"

It wasnt until I was out of college, nearly a decade after my first watch of the show that I even found out there was Japanese context for Ishval. Idk I just think its weird to say "what an idiot that person is" when they may just be missing some historical info.

You dont have to post this, its "discourse" or whatev, I just wanted to share my POV

This has been sitting in my drafts for like a week? week and a half? I meant to respond to it right away, ended up getting into a several hours long conversation with friends in regards to it. Was exhausted by the conversation afterwards and wasn't able to formulate a coherent final response.

I will start off with saying with saying thank you for your earnest response I hope to give you one of the same.

I hear what your saying and I respect it.

One of the incredible things about media is that we can read context and meaning into everything. There isn't a right or wrong way to interpret works. How we see and perceive things is going to be influenced by the current events and the lived history of those consuming that media. This makes consuming all content a truly unique experience for everyone. The people making the media also are able to add influences of their own thoughts and experiences into the work they make.

Maybe people in the early 2000s when watching FMA were able to see the current stresses of the Iraq war being reflected back into the media. It is also possible that when Arakawa was making FMA, or people in the production studios, that maybe they were influenced in certain regards to the Iraq war that was currently unfolding and as a result was influencing Japan as well. Understanding and interpreting media like this is wonderful and allows us deeper connections with art.

That being said, while I understand this perspective and agree with it, that hadn't really been connected to the point I was initially trying to make. That point had originally been "I think it's silly for someone to say this piece of media is definitely about the Iraq war when there are so many obvious overtones to it being a parallel to Nazi Germany." Which I hadn't made clear in the post but was my thought process none the less. A character is trying to be named Fuhrer after their country caused a horrendous war and genocide. Conqueror of Shamballa literally takes place in Germany in the lead up to World War II. That had been the start and end of that thought, just a meaningless argument on the surface level interpretation of an anime.

But that argument I think has lead into a bigger conversation that I think is worth having. I don't want to dismiss peoples ability to relate media with what's relevant to them, but I would also make an argument against people who make definitive claims of how a work should be read and the meaning behind it.

"I think Fullmetal Alchemist can be read as an allegory to the American experience in the Iraq war."

Is a different statement to,

"Fullmetal Alchemist is about the Iraq war."

Maybe its semantics, maybe its not.

I will preface this conversation with the fact I am a young Canadian who was never directly impacted by the Iraq war, the propaganda machine propagating it, nor have any memories of it in general. I simply wasn't a teen in the early 2000s and wasn't experiencing media in that context. I don't fault anyone for being influenced to view media under those circumstances. But I do want to make an argument that if you were one of those teens taking in media in that time and formulating world views and meaning in literature and came out with the perspective that Fullmetal Alchemist is about the Iraq war, maybe its time to expand your thought processes. I'm not trying to say that to be an asshole or argumentative, just a suggestion to challenge the way you interpret works. You can take the broad anti-war messaging and apply it to any war anyone has fought, it doesn't have to be specific.

It's not about knowing about Japan's colonization and its actions against the Ainu people. Many people don't know about that. But like I think we all sometimes get bullheaded into thinking very self focused and forget that sometimes things can be generalized. it doesn't have to be about Iraq, about WWII, about the Ainu. In all likelyhood all of these things contributed some way in the messaging of FMA which has lead to it being the incredible story it is. But that doesn't mean that it is about any of those things in particular. Sometimes it can just be about broad strokes themes that war is bad, you have to take actions to fix your mistakes.

So like to be clear, you are right there is a variety of reasons why people would interpret FMA in that way. I don't begrudge them for that, but I do what to challenge them to maybe think about media a different way, and to grow their understandings of the work. The Iraq war happened in the early 2000s, its the 2020s now, lets see what different ways we can grow, learn, and develop our understandings from content. We all view media differently and that it important but we should also be realistic in this regard and understand that just because we interpret a work in a certain regard doesn't make it correct either.

I want to be clear how I read and derived meaning from FMA isn't better than how anyone else does. At the end of the day, how you read/watch FMA is entirely your choice and that doesn't affect me, just same how I do it is not relevant to you.

I just wanted to kinda of explain my thoughts a bit regarding that post I made. I don't necessarily disagree with it, I think my original point remains to an extent. But this was a really good opportunity to expand the thought into something more worth discussing.

So thank you for your response and thoughts which forced me to think of media in a different perspective. Thank you for your patience as I formulate a worthwhile response. And, sorry for the wall of text.

TLDR: My original point was that I thought it was silly to make a broad stroke argument about how FMA was about the Iraq War when surface reading analysis shows a heavy emphasis on an alternate universe Germany-centric retelling of the World Wars. Upon deeper thought I think there is a lot of ways we can interpret and draw meaning from the media we consume. How we interpret media is a heavily personal decision and ultimately only relevant to ourselves, but I also think we should continue to push ourselves into evolving our perspectives to be more diverse and reflective of other points of view.

[blushing-titan]

My reasons to ship Erehisu

About two weeks ago, I got an anonymous ask that reads:

what made you ship erehisu? I don't ship anyone in the series (and defo not eremika lol) and I want to understand the reasons

...but when I tried to answer it on my app, it turned out that I can only post 10 pictures per post, so I decided to make a longer, regular one with my thoughts on this topic 😄 Erehisu remains one of my favorite ships in the series (...with the other ones being Yumi/hisu and Levi/han), so I really enjoy talking about it (...well, at least I did, before I started moving away from the series after that mess of a finale). Without further ado, my reasons to ship Erehisu are under the cut (just a quick warning: the pictures are obviously not mine, and there are some anti-eremika themes in this post).

They had an actual developement

As we know: in the beginning, Historia was pretending to be this good, selfless girl Krista. Later on, we learn that Eren was not particularly fond of her façade (...keep in mind he was the only person who noticed that she was acting off, too - obviously excluding Ymir, who was Historia's closest person and knew about her secret). As Historia chooses to embrace her identity and stop pretending, his opinion on her changes - he reassures her and appreciates the real Historia.

You’re just normal. Just a normal girl who’s absurdly honest. (Eren, ch. 54)

Eren...that day...the time you called me...normal. That made me really...happy. (Historia, ch. 65)

Later on, after Historia saves Eren in the Reiss cave, his thoughts on her change even further. There isn't just something that he likes about her anymore - instead, he starts to actually admire her strength and actions.

(ch. 68)

(ch. 70)

Even further on, he prioritizes her safety and hides an important piece of information that could help Paradis' cause - only because it could potentially put Historia in harm's way.

(ch. 89)

(ch. 90)

(ch. 106)

Keep in mind that there was a time skip in between these chapters, which means Eren kept this secret for years. He hid it even from Armin and Mikasa. After it's finally revealed, he strongly disagrees with, and fights against Historia becoming a titan for the sake of the island. Eren’s sentiment towards Historia is even noticed by Hanji on a few different occasions - it’s something that Hanji brings up while questioning him, later on.

(ch. 107)

Eren also meets Historia in secret, warns her of danger, and downright doesn't let her sacrifice herself - even when she assures him that she's ready to do it. 

(ch. 130)

She's also one of the only people with whom he shares the information about the rumbling. He also brings up her own words that she said to him back in the Reiss cave.

(ch. 130)

I believe he doesn't fight for her just because she's one of his friends. It's a natural progression that comes from the shared experience they had in the Reiss cave. Eren got to know and appreciate the real Historia, so whenever she reverts back to the Krista persona, he's there to remind her that she should live for herself and don't let others use her - just like Ymir told her, and just like Historia told him in the Reiss cave. When Eren stands up for Historia in ch. 107 and blatantly refuses to let her get sacrificed, she's actually touched to the point of tearing up.

Their relationship changes and deepens with time, and it's actually shown in the manga - not just as symbols or small hints, but actual, full-fledged conversations/actions. In my opinion, this should be the base of any well-estabilished ship. We have quite a few one-on-one moments with these two that illustrate this progression. There are also panels in which we can peak into Eren's thoughts on Historia, which makes for an unfiltered source of his opinions on her.

They can relate to each other

Something I find really important as well is that Eren and Historia can find each other very relatable, and therefore - understand each other's struggles better.

Both were used by their fathers, and both caused their demise. Both were fiercely protected by someone. Both felt like the world would be better without them, at some point. Both had a big role to play, despite having doubts if they can do it right (Eren, being humanity's titan; Historia, being the queen). Both wanted to sacrifice themselves for their people's sake - and both intervened, saving each other from actually going through with this decision.

Their relationship is well-balanced

Eren and Historia don't clash when it comes to their personalities. As their relationship grows, they mutually admire, protect and motivate each other, while still remaining two separate characters - with their own goals and traits. They freely talk to each other about their struggles; they also care about each other’s actual feelings on them.

(ch. 54)

(ch. 70)

I can easily see them as partners, which is something I've always had troubles with when it comes to EM. It's just hard not to make this comparison, since Mikasa's character has always been pretty much fully centered around Eren, which - in my eyes - made their relationship look unbalanced and toxic. I've already spoke about my issues with EM in depth in this post, so I won't elongate this one with repeating the same arguments - still, one of the reasons I started shipping Erehisu in the first place is the fact that I immediately saw it as a much more normal, healthy, and well-balanced alternative to EM.

Parallels and relevance to the story’s themes

Parallels are something that, for some reason, make a lot of people mad. I have no idea why - these things appear in the manga, so why not talk about them?

Aside from parallels between Eren and Historia (...please, keep in mind that I didn’t list all of them in this post), there are also a lot of obvious parallels between Historia and the founder Ymir - to the point, when the entire Requiem der Morgenröte ending revolves around this theme:

I've also already spoke about how Ymir/Historia parallels could possibly be tied to Eren in this answer.

(Historia on the cover of vol. 16/Ymir in ch. 122)

Aside from that, there are a few subtle Grisha/Dina and Eren/Historia parallels, as well. Historia is a royal, hiding as a regular person - just like Dina did, before joining the revivalists. Dina also tears up when Grisha stands up for Eldians, just like Historia does when Eren stands up for her.

(ch. 68)

(ch. 86)

(ch. 67)

(ch. 86)

(ch. 56)

(ch. 86)

(ch. 107)

(ch. 86)

Quite interestingly, in a lot of these parallels Historia and Eren act in an opposite way as to previous generations. While Frida teaches Historia to be a good, selfless girl, Historia ends up abandoning this persona to save herself and Eren in the Reiss cave. She doesn’t want to devote herself to fate - instead, she’s prepared for a showdown with it. While the founder Ymir’s children are ordered to eat their own mother to ensure her power’s succession (...and a few hundred years later, Grisha fights to return the founder’s power back to his wife - Dina), Eren does everything he can to ensure Historia and her children are safe and never even titanised in the first place. 

As the story unfolds, we learn about it’s leading themes - some of which are: oppression and fighting for freedom, desire to change history, the mechanism of circle of hate, and how it affects children who are a part of it. In my eyes, Erehisu just perfectly fit with these themes, especially considering how later on Historia’s pregnancy was handled in the manga.

There were countless ways to answer the who’s the father question? immediately, without even starting up conversation about it - for example, I don’t understand why it was needed to bring up the fact that Historia didn’t marry the farmer in the first place. What was it’s purpose, aside from stirring up theories - especially considering how in the last chapter it’s revealed that they are married, after all? Why end up the Eren/Historia flashback on the What do you think about me having a child? question, when the whole conversation they had beforehand was literally about Eren disagreeing with Historia wanting to get pregnant just to save herself? It doesn’t make sense, and led me (and many other readers - judging from opinions I read online and chapter reactions on youtube) to belive that there were other reasons, and that there was more to this conversation then was initially shown.

If the conclusion to this plotline was always supposed to be that she got pregnant just to save herself...then what was this mysterious built-up for? Why show this conversation in the first place, and in such a weird manner, too? Why not have Historia just say it out loud in ch. 130: yes, I got pregnant to save myself in the beginning, and spare us this whole I will not allow it talk...you know, instead of ending the conversation on the What do you think about me having a child? when the whole previous talk was about Eren fighting against it? Where’s the logic?

The truth is - from my perspective, Erehisu had a lot of logical build up that would benefit the story, and stay true to it’s already established themes and both characters’ previous developement. On top of that, I also think they simply had great chemistry.

That’s all from me today 😄 I apologize you had to wait so long for this, anon...life got in the way, and as I said - I think I’m just getting over this series. Hope you’re doing well anyway 😊

[queenshelby]

The Nanny – Part Two

Featuring: Cillian Murphy x Virgin!Reader

Words: 5798

Warning: Smut, Age Gap

Tag List: 

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A Small Surprise

Another week had passed since your encounter with Cillian at the theatre and you missed interacting with him, especially now that you broke up with Darcy once again.

Once again, Darcy had become verbally abusive towards you and you were devastated and upset about his behaviour. You became to realise that, most probably, he won’t ever change. You often thought about Cillian’s words. You were too young to be wasting your time on someone like this.

But, despite your breakup, Darcy called you at least ten times a day, trying to apologise. You ignored his calls, but, unfortunately for you, you still had to interact with him at theatre practice and art school.

At least, Anita was there for you and tried her best to prevent you and Darcy from having arguments while dealing with each other in a professional capacity. But it wasn’t easy.

Since your latest and hopefully final break up, Anita had also tried to hook you up with her brother, but you really weren’t interested in dating anyone after what you have encountered with Darcy.

Despite your disinterest in dating, you struggled to get one man out of your head and this was Cillian.

Since you became to know what he was doing for a living, you could evermore so understand his reluctance to get involved with someone your age. It would almost be cliché for an actor to date someone half his age. The backlash would almost be ridiculous.

In the same vein, you were really not keen on dating an actor. The ridiculous filming schedules, the gossip and the fact that people would look at you differently would certainly upset you and make you uncomfortable.

Yet, you couldn’t forget about him and the kiss you shared. The kiss he initially returned and which felt so amazingly good.

There was something about him that you hadn’t found in any man before. It was almost like you had known him for years and yet, you barely knew him at all. You felt comfortable in his presence and it felt natural to be around him.

With these thoughts on your mind, it was easy for you to let go of Darcy this time around eve though you knew that you could never have Cillian. Or could you?

It was a Sunday afternoon that Craig came home after spending some time at the pub celebrating a friend’s birthday.

He looked somewhat tipsy when he walked inside and Ella became rather frustrated with him. It was almost too funny to watch.

You noticed him carrying a paper back.

‘Y/N, this is for you’ Craig said as he handed the bag to you.

‘Uhm, thank you’ you said, surprised by his gesture.

‘Oh, don’t thank me. Cillian asked me to give this to you so thank him’ Craig said, unsure about what was in the bag. He believed Cillian’s gesture to be odd but didn’t dare to question it.

You walked into your room, curious about what was in the bag.

Unsurprisingly, it was a book entitled ‘The History of Irish Theatre’.

You and Cillian had talked about this book following your little incident at his house.

He thought that it was very educational for anyone who is interested in Irish literature and play writes and he said that, when he goes back to his house, he would get it for you so that you could read it.

You opened the book, very keen to read it.

To your surprise, Cillian had left you a note inside which, amongst other things, contained his mobile phone number and an offer to help you with rehearsing the play if you needed it and wanted an outsider’s opinion.

He also was kind to tag the pages relevant to your play in the 350 page book.

You took out your phone and saved his number before texting him to say thank you.

He responded almost immediately. His response was short but that is what you would have expected from a man in his 40s.

About an hour later, you received another text message from him.

‘I have four tickets to a play at the Abbey which I think you might like. You could go with some friends from your theatre group and your boyfriend. Unfortunately, it’s for a Sunday night though’ he texted.

You responded by thanking Cillian for the offer and telling Cillian that you had broken up with Darcy before taking the courage to ask him whether he would be interested to come with you to see the play.

An hour after your text, you still hadn’t received a response and you regretted asking him. After what happened between you, you thought that you must have taken it too far.

Another twenty minutes later, as you were in the shower, the phone rang.

You quickly jumped out of the shower and answered your phone while the water was still running in the background.

‘Hi, Cillian’ you said shyly as you shivered, still being wet from the shower.

‘Am I calling you at a bad time?’ Cillian asked, observing the background noise through the phone.

‘No no, not at all’ you said.

‘What’s that noise?’ he asked.

‘Uhm, I was just having a shower’ you said and, just after you said this, you realised how inappropriate your comment was once again. There was an awkward silence on Cillian’s end following your comment.

‘Right’ he said before taking a pause.

‘About Sunday, I have seen the play already with some friends but I am happy to take you if you want’ he said before taking another pause. ‘As a friend that is’ he added, qualifying his offer.

‘Of course, yes’ you said shyly.

‘I think that, if we go together, I should probably invite Craig and Ella and suggest that you come with them’ Cillian suggested, being mindful that, otherwise, this might awkward.

‘Yes, sounds good’ you said.

‘Great, I will let you get back to your shower then’ Cillian said with a laugh.

‘Alright…and thanks’ you said.

‘You are welcome’ Cillian responded before hanging up.

To your surprise, a day later, Cillian told you that Craig and Ella weren’t interested in the play but had no problem with you going to see it with Cillian and some other friends.

You felt somewhat awkward about Craig and Ella knowing that you were going to see a play with their mutual friend. But Cillian assured you that they didn’t think anything of it. In Ireland, everyone was friendly and welcoming and interactions like this weren’t suspicious. In fact, Cillian had even told Craig that he had offered to help you with your theatre project and that he believed that the play you were going to see would really help you with your perspective on contemporary Irish theatre. With Cillian being double your age, Craig simply thought that it was a nice gesture and Craig also knew that Cillian could do with some friendly company after yet another fight with his fiancée.

Instead of Craig and Ella, Cillian ended up inviting his youngest sister Janet and her husband John. They both enjoyed theatre and had recently returned to live in Dublin after spending five years together in London.

You met Cillian and his sister and her husband at the theatre and they were very welcoming. You thought it was going to be strange, meeting Cillian’s family, but it wasn’t at all. His sister was in her late twenties and you could relate to her.

You talked about many things before the play started and she was surprised when she learned that you were only 20 years old. According to her, you appeared very mature for your age.

Change of Mind

‘You know she’s nice, smart and very pretty’ Janet said to Cillian about you after you excused yourself to go to the bathroom right before the play started.

‘And she is 20 years old and I am still in a relationship’ Cillian chuckled in response to her comment.

‘And here you are, choosing to attend this play with her instead of your fiancée’ Janet giggled.

‘Because my fiancée and I are taking a break and Y/N is just a friend’ Cillian chuckled.

‘I think you already made up your mind about your fiancée. I know you brother. I am not blind either. I can see the way you look at Y/N. You like her a lot’ Janet said.

‘Janet, she is 20. Now can we change the topic please’ Cillian said firmly.

‘So what if she is 20?...I like her. She seems nice’ Janet said before her husband John had to comment just like a man would.

‘Just count yourself lucky Cillian. Not every man your age has a shot with a young woman like her. Also, you wouldn’t be the first actor who goes there trust me’ John said, causing Cillian to chuckle.

‘Enough now, please’ Cillian said just as you returned from the bathroom.

When you returned to the table where Cillian, Janet and John were standing, you finally heard the theatre bell. Cillian seemed somewhat relieved that the play was about to start and you made your way inside, taking your seats.

Just as you sat down, you saw Darcy with his parents and brother. Your heart sunk and you hoped that he would not see you. But he did, almost immediately.

The situation had officially become awkward and, just as Darcy saw you, his father spotted you and Cillian as well.

He came over to greet you and Cillian which, instantly, raised a lot of questions.

Cillian explained to Darcy’s father that you were a friend and, just as he did, the bell rang again, telling everyone to take their seat.

This was lucky, preventing Darcy’s father from asking more questions.

Darcy’s father excused himself and, luckily for you, Darcy was at his best behaviour with his parents being around.

During the interval, Darcy greeted you politely and that was it. He didn’t acknowledge Cillian, Janet and John and there weren’t any further interactions from his side.

After the play had finished, Janet suggested that you all go to Cillian’s house for a drink and some pizza. After all, you hadn’t had dinner yet.

You agreed and picked up some Pizza and a couple of bottles of wine on the way.

To your surprise however, Janet excused herself pretty much straight after dinner and a glass of wine.

‘Well, John and I have to get up very early tomorrow’ Janet said.

‘We do?’ John asked.

‘Yes darling, don’t you remember the thing at your work?’ Janet asked, giving John a nudge.

‘The thing at my work?....Oh right, the thing at my work. I forgot’ John said.

‘Well, we will be going, but you two should really finish this bottle of wine’ Janet said and you observed her winking at Cillian.

Cillian sighed before giving his sister a kiss on the cheek and saying goodbye.

‘Uhm that was strange’ you giggled just as Janet and John left. ‘I just finish this and will call a taxi’ you said, pointing to your full glass of wine.

‘Yes, my sister is strange indeed’ Cillian chuckled, knowing exactly what his sister had in mind.

‘So how did you like the book?’ Cillian went on to ask to change the topic.

‘It’s fantastic. In particular the actor’s notes on the scenes. Although, there is one thing no one really talks about and I have been trying hard to find material on it’ you said.

‘And what is that?’ Cillian asked curiously.

‘How do you act a scene where you have to kiss someone. I mean, do you actually kiss them on stage? How about on screen? I mean, you would have the answer to this wouldn’t you?’ you said.

‘I do’ Cillian laughed.

‘Well then please enlighten me. I am curious’ you said.

‘On screen, depending on the angle of the camara, you most often don’t get around kissing. Your lips touch. It’s as simple as that’ Cillian said.

‘But is it different from a normal kiss?’ you asked.

‘Not really’ Cillian said. ‘But, in saying this, for theatre, no one from the audience will be close enough to see what you are doing so just give the guy a peck if you feel too uncomfortable to kiss him’ Cillian laughed, knowing that the play you were doing included a scene just like this.

‘I am glad you can laugh about it’ you said sheepishly.

‘Well, I know for a fact that you’ve kissed a man before so I think you will be fine. Just don’t think about it as a kiss. Think about it as an act. I guarantee you that, when you are in character with a complex script like yours, it will just come naturally’ Cillian said.

‘I suppose you are right. I mean, at least it’s not Darcy who I have to kiss on stage’ you laughed.

‘Well, there you go’ Cillian said just as an awkward silence erupted between you again.

‘Speaking of which, I have actually been thinking about our kiss more often than I should have’ you said shyly.

‘Y/N, we agreed that we would forget about what happened that morning’ Cillian said.

‘We did. But I can’t’ you said before taking a pause. ‘Can you?’ you asked.

‘I’ve been trying’ he chuckled, causing you to smile.

‘Perhaps you should stop trying and kiss me again. Just once more and I will never mention it again’ you said as you walked over towards him.

‘I am twice your age Y/N. You do realise that, right?’ Cillian said as you took his hands suggestively, indicating that you wanted him to stand up.

‘Yes, I do and I like it’ you giggled before biting your lip. Your comment made Cillian raise his eye brows and laugh.

‘You could be with someone your own age Y/N. I am sure you get plenty of offers. So why me?’ he asked as he stood up in front of you, running his hand over your cheek and moving part of your hair away from your face and behind your ear.

‘Because you are intelligent, kind and not afraid to be yourself. I like that. Despite, I also think that you are incredibly attractive’ you whispered shyly.

‘But, if you don’t like me then just tell me and I accept that’ you added after Cillian didn’t respond to your comment.

‘I like you alright. But I know that it would be a very bad idea if were to get involved with each other’ Cillian said quietly.

‘Maybe. Maybe not’ you said and, just like this, Cillian leaned forward and pressed his lips on to yours.

The kiss was gentle and Cillian caressed your face with his warm hands while his soft lips explored yours. Your lips moved in sync with his for a moment until he pulled away slightly.

‘We should not be doing this’ Cillian said and, just after he did, you decided that, this time, he wouldn’t get away that easily and you crashed your lips back onto his.

He accepted the kiss, giving into you for what felt like an eternity until he pulled away again.

‘Are you sure this is what you want? Because there will be implications if…’ he said and, before he could finish his sentence, you interrupted.

‘I know and I am prepared to deal with these implications as they arise’ you said before pressing your lips back onto his. You knew that, most likely, you would have to keep your interactions with Cillian a secret at least for a little while and you knew that, later down the track, this might cause issues with Craig and Ella.

Despite these intrusive thoughts, you managed to switch off and get lost in the moment and kiss between you soon became heated as Cillian gently slipped his tongue in between the opening of your lips.

You gave in and let his tongue dance with yours as if it was the most natural thing to do. He was such a good kisser. Gentle and passionate.

‘Now do you want me to stay for the night or call a taxi?’ you asked as, after at least ten minutes, your lips drifted apart.

‘If you were to stay, what would you be telling Craig and Ella?’ Cillian asked.

‘That I had some drinks after the theatre and ended up staying at a friend’s house’ you said, causing Cillian to laugh.

‘I guess you are staying then’ he said as he ran his hand over your cheek again before giving you another kiss.

‘Alright’ you said shyly. ‘I will go and have a shower then’ you said nervously.

It felt different this time around and you didn’t know how far he wanted to go. You had never had sex before and intimacy didn’t come naturally to you.

After you both had showers, separately, you met in bed just like the last time when you stayed at Cillian’s house.

Just this time, neither of you bothered getting dressed for the occasion.

Bed Time

Cillian was lying there, under the doona, wearing nothing but his black Calvin Klein briefs as you walked into the bedroom.

You, on the other hand, wore even less. A black thong. That was it and you could see the appreciation on Cillian’s face as you walked into the bedroom.

But, in addition to your naked body, your tattoos and piercings, he could also see the nervousness on your face as you climbed into bed next to him.

‘You are beautiful’ he said as you got under the doona.

‘If you say so’ you smiled shyly before giving him a kiss.

It wasn’t long until he gently pulled you closer towards him and began running his masculine hands over your body, including your breasts and all the way down to your naked ass.

His lips never left yours and you enjoyed the warmth of his body pressed against yours. The little amount of his chest hair brushed against your breasts and, as he held you close, you could feel his erection grow beneath his breaths.

You knew he wanted you, all of you and, whilst you wanted to be with him, you weren’t quite ready to take this step yet.

‘Cillian, I am…I never had…’ you said and, before you could finish your sentence Cillian withdraw his hand from you.

‘You are a virgin?’ he asked somewhat surprised, causing you to nod. Whilst you hinted on this previously when you talked with him about Darcy being pushy when it came to your relationship, you never actually told him that you never had sex. It all made more sense to him now and made him dislike how Darcy had treated you even more.

‘I am sorry. I didn’t realise’ Cillian said.

‘Are you disappointed?’ you asked, noticing Cillian’s reluctance to touch you again the same way he was before you told him.

‘Why would I be disappointed?’ he asked, running his hand over your cheek.

‘Not sure. Perhaps you expected something else tonight?’ you said shyly.

‘Well, the truth is that I didn’t expect anything tonight. Not kissing you, not lying next to you or getting to touch your beautiful body. So, I am getting way more than I had bargained for’ Cillian said.

‘You are so kind Cillian. What I meant was that, once you got a woman into bed, you probably didn’t expect this’ you said somewhat embarrassed.

‘At my age, probably not’ Cillian laughed. ‘But, I am not disappointed Y/N. We will just take things slow, move at your pace, alright? Despite, there are so many things other than sex in the conventional way that are enjoyable and I am just happy to lie here with you and kiss you all night’ Cillian said before pressing his lips back on to yours.

‘Things other than sex in the conventional way?’ you asked curiously after your lips drifted apart.

‘Yeah, you know, like other things’ Cillian chuckled. He clearly was out of your comfort zone having to give you a sex ed lesson.

‘Hmm, like what?’ you said cheekily. ‘Can you show me?’ you asked nervously. Whilst you weren’t quite ready to take things all the way, you felt an overwhelming desire for this man and you trusted him and you certainly wanted him to continue to touch you.

Cillian chuckled at your comment but reluctantly agreed. After all, he just promised you to take things slow and what he was about to do didn’t exactly fall into the category of taking things slow.

‘Alright, but you are in charge. Promise me that you will tell me if you want me to stop, ok?’ Cillian said reassuringly.

‘I promise’ you said before he leaned in and gave you another kiss before guiding your back down on to the mattress.

After you lied down comfortably, Cillian kissed you once again before his lips began trailing down your neck, kissing all over it, while his hands wandered over your naked breasts.

In this moment, you felt somewhat vulnerable. You weren’t exactly blessed with a large bust but Cillian seemed to like what he saw as he kissed down your beautiful body, his lips and tongue exploring and enjoying the sweetness of your flesh.

Eventually, his lips found their way to your perky breasts and lingered at a taut, pierced nipple, the tip of his tongue rolling around it, over the tiny bumps on your areola. He drew it into his mouth, eliciting a soft sigh from you as he sucked.

It felt amazing, much unlike what anyone else had ever done to you before and you could feel an unexpected tension build up in between your legs. The moisture within you was building and you trusted Cillian even once his lips began to trail further down your body.

His lips soon found the swell of your belly, and he showered it with soft kisses. His tongue played a moment in your pierced belly button before he continued his downward journey.

Then, suddenly, his lips touched the top of your lace panties causing you to let out a surprisingly loud moan.

No man had ever been this close to your mound before with anything else but their fingers.

With his fingers, he hooked into the ream of your lace panties before sliding them down all the way past your knees and then down over your feet before letting them drop over the bed.

There you were, completely naked, in front of the man you were so desperate for.

With his head moving back in between your legs, you felt vulnerable and excited at the same time.

The scent of your hot sex was now filling his nostrils, making him crave the taste of you.

His lips first touched the inside of your thighs, sending shivers of pleasure down your spine. Again, you couldn’t help it but moan unexpectantly loud at the sensation.

Your reaction made Cillian smile against your thighs and he moved his head slightly inwards.

You could feel his warm breath on your vulva just before his lips touched your naked mound for the first time.

‘Oh god’ you inhaled sharply, making him smile again. He clearly was doing all the right things and took it slow, much slower than he would usually take it.

After kissing your most intimate body part a couple of time, he finally let his tongue lightly trace down the folds of your flesh.

It felt insane and you moaned loudly before you started to squirm when his tongue ran through your folds for the second time.

Cillian soon felt your fingertips caress his hair as he teased you.

He ran his tongue up and down those lips, enjoying the wetness between them.

‘Oh god Cillian’ you moaned just as you gripped his hair tighter as he pushed his tongue inward in between your lips, savouring the sweet taste of you.

By this point you were dripping wet as his tongue went as deep as it could, his face awash with your warm juices.

Then, Cillian pulled back slightly, moving his tongue up and down, side to side, not wanting to leave any part of your sex untouched.

At the top, he found that sensitive nub of flesh, now fully extended. As his tongue flicked against it, he felt you give a little shiver of pleasure. His tongue swirled around and around, and then his lips engulfed it, sucking it gently as you began to moan even louder.

‘Cillian, fuck’ you moaned as you let your body take in the fullest extend of this sensation and closed your eyes.

Just as you closed your eyes, you could feel one of Cillian’s fingers run over your wet slit while his tongue continued to swirl around your clit.

You took in a deep breath but tried to relax as much as possible, thinking about what he might be doing next.

And, just like this, he carefully slipped a finger into you, watching your cues closely for any pain.

‘Oh god, fuck’ you moaned again at the sensation. To your surprise, it felt nice, very nice.

After your body relaxed again Cillian began moving his finger in and out in a slow, steady rhythm as his tongue played a staccato on your pulsing clit.

He loved your taste, your scent, your sounds, he was in his happy place, and your pleasure was his goal.

He kept going, making love to you with his lips and tongue and fingers. Your sounds intensified in volume; the grip on his hair tightened; your hips rose as you squirmed beneath his ministrations.

After several minutes of pure extasy, Cillian carefully inserted a second finger while he gentle sucked on your clit.

You tensed up once again at the intrusion but, following some mild discomfort, were able to relax again. The slight amount of pain quickly turned into pleasure and your breathing was becoming heavier.

You felt full, just by his fingers and they moved in and out of you in the perfect rhythm.

With your moans becoming louder and louder and your walls becoming tighter around his fingers, he could tell that you were close. He pushed his fingers into you deeper, hooking them slightly upward and touching that other magical spot you never knew existed.

Your moans turned into screams of pleasure and your hips bucked as he pushed you over the edge.

Cillian lifted his eyes so he could look up at you and see your head thrown back, eyes closed, and mouth open with your moans and screams of pleasure filling the room.

You were totally lost in the ecstasy of the moment. His tongue was still dancing against your pulsing extended clit.

Your hips bucked one more time, and then you grasped his hair and pulled him away. It was too much, too intense.

He would have kept going for as long as you would let him, but your body had reached the point of pleasure saturation, and you needed to catch your breath.

While you were breathing heavily, coming down from your high slowly, Cillian kissed his way up your body until your lips met, and you shared one long deep kiss.

‘Are you alright?’ he asked as he could see small tears building up in your eyes. You looked completely exhausted and somewhat confused.

‘Yes, it’s just… I think I just had an orgasm’ you laughed.

‘Well, that was the idea’ Cillian chuckled. But you didn’t laugh at his joke. You were entirely overwhelmed.

‘Have you not had one before?’ Cillian asked somewhat surprised by your reaction.

‘What, an orgasm? No…But I read it’s normal for women not to have orgasms’ you said shyly.

‘If that was true then that would be pretty disappointing’ Cillian chuckled as he took you into his arms.

‘How about you get some rest alright?’ Cillian said with a smile as you seemed somewhat besides yourself which he thought was cute.

It didn’t take long for you to fall asleep in his arms. You felt so safe and secure next to him.

But for Cillian, it took a little longer. Whilst he promised you to take it slow and was prepared to stick to his promises, deep down inside, he wanted you, all of you.

Good Morning Mr Murphy

The next morning, your alarm went off at 7am. You had to attend art school which was due to start at 9am.

You would have rather stayed in bed with Cillian, but this wasn’t an option.

When the sound of your alarm ripped you out of your dreams and your eyes shot open, you noticed that Cillian wasn’t lying next to you.

As you got up to look for him, you heard the shower running in the bathroom. He was up early and it surprised you.

‘Can I come in?’ you asked as you knocked on the bathroom door.

‘Uhm, yes sure’ Cillian yelled out. He clearly was still in the shower.

‘Good Morning’ you said as you walked inside, not being able to see Cillian through the steam covering the door of the shower.

‘Good Morning… I will be out in a minute’ Cillian said, his voice sounding somewhat hasty.

‘No need, I just come in’ you said.

Without asking permission, you opened the shower door and stepped inside.

Your lips instantly met Cillian’s lips as you stepped closer towards him. But he seemed somewhat uncomfortable with your quick approach.

As you went to press your body against his soapy chest, you could feel something in between you and, just as you did, you looked downwards.

This was the first time you saw Cillian’s most intimate part and it was quite a sight.

‘Sorry’ Cillian said with some embarrassment as his erection pressed against you. He had struggled with it on and off since the previous night.

‘Now I am no expert, but I think that your reaction down there tells me that you like me, a lot’ you giggled as your hand reached for his hard cock.

Cillian moaned at your touch and you slowly began stroking him.

‘Now, I have never done this before so just tell me if I do something wrong alright?’ you said as your hands moved to either side of his hips.

‘Done what?’ Cillian asked and, just as he did, you dropped down to your knees right there in front of him.

‘This’ you said as you took hold of his cock again and guided it towards your mouth.  

You could hear a soft moan come out of Cillian as your tongue touched his shaft for the first time.  

You first licked the side of his shaft tentatively. Your heart was pounding as you did and you continued licking the sides and worked your way to the top of his cock.

Swirling your tongue around the head of Cillian’s cock and then working your way back down the shaft, you felt like you found yourself in another world, one you had never been in before.

Cillian groaned again and you felt his hands on your head as you continued licking his cock and then finally taking him into your mouth as far as you could go.

You didn't have a clue what you were doing, never having done this before, but you started bobbing up and down his shaft.

As Cillian’s moans became louder and steadier, you started bobbing up and down his cock even faster. You could taste his per cum on your tongue and then felt his hands hold on to the hair on your head even tighter.

You were in control but it was almost like he needed to hold on to something, grab something with his hands.

‘Fuck Y/N’ he moaned and you could tell he was getting close.

Before he could say anything else, you looked up at him.

‘I want you to come in my mouth’ you said before taking him back inside your mouth.

He looked surprised but didn’t dare to argue and, after a few more head bobs, he let go.

You could feel his cock begin to throb in your mouth and, just as you did, his hot sweet cum began to flow steadily from his shaft into your mouth.

You stopped bobbing your head as he came down from his high and let go of his cock before looking up at him and opening your mouth.

He could see his cum in your mouth and the disbelieve on his face made you laugh for a second, causing you to spill some but swallowing the rest.

‘Are you sure you never done this before because I never had a woman do this last bit’ Cillian chuckled as he helped you up.

‘No…never’ you said. ‘But, I’ve watched porn before’ you laughed as you wiped your mouth before giving Cillian a kiss.

After your intimate encounter, you both cleaned yourself off and got dressed before Cillian gave you a lift to art school.

Unpleasant Surprise

Your day at art school was good but you couldn’t get Cillian out of your head that day.

You went as far as to cancel your date with Anita that same afternoon so that you could surprise Cillian at his house later.

It was probably for the better you thought as Anita had many questions for you that day after Darcy had told her that he saw you at the theatre with Cillian.

At 4.30pm, after picking up some food and clothes from at home, you made your way to Cillian’s place.

You knocked on the door and, eventually, Cillian opened.

‘What are you doing here Y/N?’ Cillian asked surprised. You came by unannounced and thought that, maybe, it wasn’t a good idea after all. Perhaps he didn’t like surprises.

‘I am sorry, I should have called. I just wanted to surprise you’ you said before asking Cillian whether you could come inside.

‘It’s not a good time Y/N’ Cillian said and, in this moment, you could hear a female voice from inside his apartment.

Through the crack of the door, you could see a blonde woman. She was pretty, probably in her late thirties, wearing a black dress and heels. It was obvious to you that Cillian and her were close.

‘Can I call you later?’ Cillian asked.

‘Right, sure’ you sighed as you handed him the bag with the food and walked off.

As you walked towards the elevator, tears were building up in your eyes and you felt overwhelmingly anxious and upset. Perhaps he wasn’t different than other actors and you were just another quick fling.

You didn’t pick up his calls that day. You’ve been hurt enough by men in the past.

[sixteenthshen]

post-finale stuff

Possible spoilers. Beware

Last night, I happened to check the scriptwriter's Weibo and saw that she had liked this fan's post. It's the only non-work related Weibo post that she had liked, so of course, I went to read it. 

The fact that this is the only fan post she's given her approval to must mean that it is on point and she agrees with the characterisation. I thought it's pretty good, so I've gone ahead to translate it here. I own 0 rights to this. I just thought it's a good perspective that may help others like me who struggled with the ending. 

I think I've mostly made my peace with it now, and to sum it up:

Just because someone doesn't love you the way you want them to doesn't mean they don't love you with all that they are. 

A-Xu never once blamed Lao Wen for how things turned out because he understood that. And he’s clearly a better person than I am (lol).

Let me be clear about my stand - the real victim of how the drama unfolded in the last six episodes is WKX. When we feel our hearts ache for ZZS, it's because the show let down WKX (the character). If your heart is only hurting for WKX during episodes 33-34, you should try to ship WKX with someone else, ok? If you think the last six episodes were great and that WKX was very romantic (and only romantic), then I honestly don't know what to say. 

I ship wenzhou. That means I like both Wen Kexing and Zhou Zishu. I want them to love each other, be good to each other and live happily ever after. And I want them not to be OOC. 

The rest behind the cut. Spoilers for the whole drama. 

------- 

First, the source. Here is a link to that Weibo post, by 爱吐槽的栗小姐. I will delete this if requested by the OP - because this is really in a grey area imo. But I think the intention of a public post is for it to be shared? (especially something like this, which argues a point) 

Secondly, the poster does try to be fair in her post, but as the problem here is WKX's ruined characterisation, ZZS's character is analysed primarily concerning this issue only. There's quite a bit left to ZZS's character and backstory that isn't relevant. I believe that's why the post doesn't elaborate on it, or so I hope.

-------

Ever since WKX faked his death, I received three to four waves of fellow sister fans' mournful wails: "Lao Wen actually faked his death; does he have a heart?" "They were supposed to be of the same heart and treat each other with honesty. How did they regress?" "What happened to their innate soulmate-ness?" "Why does A-Xu always say to face things together, yet Lao Wen always keeps his plans from him?" "A-Xu loves Lao Wen, yet Lao Wen only loves himself"…….

Wait. What have you guys misunderstood about the meaning of soulmates? 

Soulmates are about values, but a person's behaviour… that's methodology FFS! 

(Do they no longer teach this in political affairs class in high school anymore?) 

Wenzhou, these soulmates, are incomparably compatible and mesh well in terms of values. According to the scriptwriter, the entire jianghu wants and tries to get the pieces of Glazed Armour, save the two of them. Not only do they not care for the peerless martial arts, immense power, nor the massive wealth that the Glazed Armour represents, they don't even care for the power they hold in their hands –Ghost Valley and the Window of Heaven. Both of them willing to give it up without a second thought. 

Before they met each other, they were so tired of (ZZS) and so angry at (WKX) this earthly world that they didn't even want to live on anymore. 

After they met each other, they gradually began to feel the warmth in this world again. How nice it would be if they could live in seclusion, hand in hand and just bask in the sun. 

In this world, where everyone else is fighting for power or wealth, they are true soulmates. To intelligent people like them, whether or not they're honest about their identities or secrets is merely a matter of formality. They had already determined their attraction to the other's soul early on and have never doubted it. 

There may be some here who would criticise loudly at this point, "Then can't you be more considerate for your soulmate (the actual phrased used is "spiritual companion")? A-Xu has said many times, let's face everything together, I'll bet that you will be honest with me. If you really love him, then why can't you care for his feelings?" 

----- You guys, you've never been married. 

If two souls meeting can naturally resolve all behavioural conflicts and disagreements, then the theory of "breaking in" * would not exist. 

Let us take a look at what kind of a person WKX and ZZS each are.

Wen Kexing, he's a lone wolf. 

After his parents' death and his entering the Ghost Valley, his smooth sailing life suddenly fell off a cliff. Ever since then, the only person he could rely on was himself. That deep-seated hatred is carved into his bones, yet he can't speak of it to anyone else. He isn't the same type of person as the rest of the ghosts in the Ghost Valley; he isn't the same type of person as A-Xiang, who he raised. If we talk about the world and everyone who lives in it, he doesn't have any fetters or feels any (positive) emotions. 

His supposed craziness is a form of indifference. He's indifferent to others' lives, nor his own, because he just doesn't care. (T/N: I think he does care for his own life, but only for revenge, after that, he's indifferent. Indifferent isn't suicidal. I don't know why some fans seem to be confusing the two. Although he didn't plan to, if he somehow manages to stay alive after getting his revenge, WKX will continue to live on, even if it's only to keep A-Xiang happy because he is indifferent.)

Growing up like this, being solitary became his style. He's used to doing everything alone, used to making his own decisions, used to digesting all his emotions himself. 

Every time he argues with A-Xu, he digests his emotions himself. The next day, he faces A-Xu with a smile again. 

This is how he loves, to take it upon himself to face danger, difficulty and pain alone. It's how he had supported A-Xiang all these years in the Ghost Valley and what he's used to. 

While Zhou Zishu, he's a lead horse (of a herd). ** 

Since a very young age, he's taught to take responsibility. He's used to bearing everything on his shoulders, be it the responsibility of his family or the responsibility for the Four Seasons Manor, even the responsibility for saving commoners from disasters. 

Unlike the lone wolf, the lead horse is ultimately a social animal. 

Regardless of his identity as the Manor Lord of the Four Seasons Manor or the Leader of the Window of Heaven, he's always the one to lead the herd and rarely fights alone. So, A-Xu not only has leadership ability but more than that, he also knows how to be tolerant and accepting of the differences of his team members. You can see the various ways he managed to influence Lao Wen along the road; he's firm when he needs to be and soft the other times. It's absolutely textbook in managing your lover workplace management. 

Zhou Zishu believes in communication whenever there's a problem, that they should be open and honest. So, teamwork is what he's used to. 

Does it mean that when a horse and lone wolf fall in love, that there won't be a breaking in period? 

Obviously not. 

I guess this is where some may say again, "isn't this part of a character's arc/development? The two of them quarrel time and time again. Did WKX not grow at all from it?" 

Of course, after meeting each other, they both grew and saved each other.

When he first left Window of Heaven, A-Xu was lonely with regret. Unlike the lone wolf who's used to doing everything alone, a lead horse without the last of his herd has no way to bear the bone-deep loneliness and merciless self-recrimination.

ZZS wandered around this world aimlessly until Lao Wen started pestering him, until he picked up Zhang Chengling, right up until he felt he hadn't singlehandedly destroyed the Four Seasons Manor. This lead horse finally regained a goal in life. He gained a partner and a lover. Lao Wen sticks to him, Chengling relies on him, and the abandoned Four Seasons Manor became like-new in his hands. He finally reconciles with himself. 

When he first came out of the valley, Lao Wen carried a rage strong enough to burn the world down. But when he met A-Xu, he also met the beauty of the world. 

When the Four Sages of Anji died, WKX understood how he caused innocent suffering. When Gao Chong walked to his death knowingly, he understood that although some may desire power, they could still be righteous and upstanding people. When he learned of everything Long Que sacrificed to protect his family***, he finally relaxed his guard. 

There were so many types of good people and things that he saw along this journey that he hadn't seen in the Ghost Valley. When A-Xu told him he was a good person as they basked in the sun, he genuinely wanted to return to the human (vs ghost) realm and be a good man. 

Along their journey, A-Xu made up for the morals and values that WKX lost in the Ghost Valley and showed him a new world outlook. He appeased Lao Wen's anger, tempered his extremism. The process wasn't easy, but not that difficult either, because, in the end, Lao Wen is kind at heart. 

But in the end, being a lone wolf is how he survived and succeeded in a place like the Ghost Valley. When A-Xu was so heavily injured and needed a lot of rest (for Wu Xi) to save his life, Lao Wen suddenly recalled his enemies and how such an excellent opportunity to take revenge just fell into his lap. Everything was in place, and all he needed to do was hide it from A-Xu; he could leave for a short while and have it settled quickly. Upon returning, he could then live happily ever after with his wife. To a crazy lone wolf, why would he not take a gamble? 

What he couldn't predict was the news would've been leaked (to A-Xu), and he didn't know that by doing so, he would've forever lost his love. 

Both of them were using their own methods to love the other person. Zhou Zishu is more forgiving and accepting because being forgiving is in his blood. While what WKX learned in his years in the Ghost Valley is -- love needs to be protected, like how he has A-Xiang, who he considers a sister, call himself master (to protect her). 

Only when faced with painful consequences can a person's deep-rooted habits and approach to things change. So I don't think faking his death ruined the characterisation of Wen Kexing, but I regret that the last two episodes did not have a scene to show us Lao Wen's heartbreak when he learns the truth. 

Until I know what it feels like to have lost you, I will only love you in my own way. 

T/N: 

*I can't think of the correct phrase for this as I don't read all that much about relationships >< please let me know if you know of it. Here, I'm referring to the process of wearing something new (like shoes) that will hurt at the start until it becomes soft and comfortable. 

** I did some side-reading, and omg, A-Xu is TOTALLY the lead mare. Although he's not the stallion and weak/dying for most of the show, he's the head of their little family, and he expects "to be obeyed", aka, I'm not going to learn how to cook. Call me for dinner. Kthxbye. 

From Rutgers' website: A herd of wild horses consists of one or two stallions, a group of mares, and their foals. The leader of the herd is usually an older mare (the "alpha mare"), even though one stallion owns the herd. She maintains her dominant role even though she may be physically weaker than the others. The older mare has had more experiences, more close encounters, and survived more threats than any other horse in the herd. The requirement of the lead horse is not strength or size; if this were so, then humans could never dominate a horse. Dominance is established not only through aggression but also through attitudes that let the other horses know she expects to be obeyed.

***I think this is important here because WKX wasn't crying for his loss. I think a big part of him was realising not everyone in the world was callous and turned their backs on his parents, that he could've gone his whole life without ever discovering what sacrifices some people have made. Good people suffer quietly and in silence. It's a big moment to realise he was wrong about many things that he had let hatred blind himself to the world. Because although he was sad about the Four Sages and somewhat shocked by Gao Chong's death, he hadn't truly faced up to his actions until now. 

(screenshot of the scriptwriter liking the above post) 

------

To add: 

I'm not sure how many of you read my "opinion" posts, but I've been struggling to find a way to accept the last six episodes of Word of Honor.  I first tried looking at open forum postings, comments, and Tumblr posts. None of it worked because it was just arguing and emotions and no one made points good enough for me to accept things. 

So I gave up and went back to reading Chinese sites. I found many posts discussing the plot. Some I liked, some I didn't, but none satisfied my need for a reasonable explanation. I felt they had biases (both ways), or else it lacked logic. After a time, I realised that I should be looking for WKX-stans (or pro-WKX fans) because they would be more motivated to explain his side, but also because well-written posts by wenzhou-fans & ZZS-stans made me super sad.

I'm sorry, but those who keep trying to explain why the ending was good completely missed that episodes 32-34 are the real problem to those who don't like it and only focused on 36. I can understand if people don't think those episodes are a problem, but no one could provide an articulate and sensible reason. There are just too few well-reasoned plot-focused posts in English (sorry). I've seen too many examples of WKX-fans arguing with people who are upset about the ending, backed by nothing more than "look how much WKX suffers, woe is him. And how romantic is this????" *dies* 

Lastly, if you spot anything inaccurate, let me know & I will correct it.

[mousetrap-if]

Wait AHHH!! I just got the cave thibg!!!!!!! Fucking shit thats smart!! Like I think that I know what it is supposed to be mean but what does it specifically represent for tou?????? You said in that inspiration post that every thing is really prrsonal abd represent stuff from your life so what is Platos cave supposed to represent here???? (I hope youre willing to share cause Im really curious) Thank youu!!!!!!!!! 💕💕💕

Ah, thanks! Yeah, I'm willing to share some of what the cave metaphor means to me, but I'll go ahead and put it under the cut in case people aren't interested or would rather not hear my thoughts on it/discussions of my personal experiences.

(Also, adding this after writing the next bit, there are explicit spoilers for the different cave dreams so if you haven't played through all of those yet and don't want to have them spoiled, I'd suggest playing through them first before reading what's under the cut. Warning that this is also long and rambling. When I talk about this kind of stuff I can never tell if I'm being coherent or not, so, please let me know if something is unclear.)

Yeah, so, I think you got it ☺️ The intro dream is a take on Plato's Allegory of the Cave both literally and figuratively.

Literally you have the setting of the cave with the pathway, the fire, the chained spectators, and the shadows on the wall.

The one aspect that's notably missing is the wall with the people showing puppets/carrying objects behind it, creating the shadows upon the wall. This is absent for a couple reasons. First, in the physical space of the scene, where you land you're in the place of those individuals. At the beginning of the story, MC is one of those people continuing the show, creating the unreal world that the spectators believe in (as I myself was before, and by telling this story I'm putting the readers into my shoes, showing my perspective). You are literally in the place of the individuals behind the scene.

Secondly, not being able to see any puppeteers putting on the puppet show is a representation of how at Whimsey everything behind the scenes is meant to stay as hidden as possible (a philosophy which led to the construction and use of the tunnels) to the point where it's meant to give the impression that the puppeteers simply don't exist. Even if you're freed of the chains and able to perceive the fire, you're still unable to see all the moving pieces. You're still intentionally being kept in the dark.

Now, as for the fire, I could go into what the Shadow represents, but that mostly lies outside of the metaphor of the cave. Thinking about it now, the fire is mostly relevant to the literal aspects of the cave and the specific fire dream moves away from the cave metaphor.

The descent dream also departs from the cave metaphor and has in itself deeper meanings related to personal experience and foreshadowing (as a hint, some of the most innocuous and seemingly unimportant lines in that section will become the most important) but that's not really relevant to Plato (or at least, it's not consciously related to his works).

Now the two dreams which are heavily tied to the cave metaphor are the puppet dream and the escape dream.

With the puppet dream, you become shackled in the same way the residents of the cave are shackled. You've seen the truth, but are being forced into silence and made to accept a shattered fantasy. (Again, many deeper meanings, but I think that's it for the cave relevance)

The final dream is the one that's most tied to the cave metaphor. In the escape dream, you've taken in the fantasy and the show, know something of the truth, and wish to escape. Perhaps to share what you've learned with others, perhaps to learn more about the world you've only caught glimpses of, or perhaps just to escape from the horrifying reality you've awoken to. But you aren't allowed to leave. Something wishes to keep you there and no matter how hard you try, you cannot be free of the cave. Because you've experienced the fantasy, you can never be free of it and this manifests as a creature preventing your escape.

But what is it that keeps you in your own cave, reader? When you turn around at the end, what do you see? A terrifying amalgamation of the worst aspects of the fantasy? Something horrifyingly and uncannily inhuman? Yourself? Is the thing compelling you to stay in the darkness something external and sadistic or is it internal and masochistic? For me all of the above are valid answers and I don't think there's one true one (might help to know that I loved my job more than anything and was almost killing myself for it but I self-termed just before my program was supposed to end cause I was literally working myself to the grave and at the mercy of some particularly awful coworkers). Now, I do have something very specific that I imagine when I picture the Creature, but I don't want to share what that is. I'd rather leave that unsaid so you can imagine whatever your mind fills in the blank with.

The other major meaning behind the cave, is how it parallels my purpose for writing the story. In a way I feel like I was a prisoner of the cave for years without realizing it. Now, I've escaped the cave, seen the reality behind the fantasy, and this is me attempting to explain the truths that I witnessed (and the staggering fear which accompanies that act). There's also the lingering question of would I be better off in ignorance of the truth or am I better off knowing reality? I might wish to return to the blissful ignorance of the puppet show, but I'll never be able to. My eyes have adjusted to the sun and I'm no longer able to perceive the shadows on the wall. When I return to the cave, I no longer see the wonders of the fantasy. All I see is darkness. Darkness accompanied by lapping waves of pleasant nostalgia, vicious pain, and icy regret.

So, yeah. Real pleasant stuff. Hope that answers your questions and that my prattle makes at least some sense. Thanks again for this ask, I enjoy talking about philosophy and stuff and since no one knows that I write this stuff, I never get the chance to talk about it.

[regina-del-cielo]

Immortal Siblings AU | Four, then three, then four again

I mentioned that the bulletpoint post describing how the Guard from the Immortal Siblings AU found Joe had totally run away from me. It has, in fact, become a study on them grieving over Lykon and then finding Yusuf. 

I have, somehow, reached a sort of natural end to the amount of bullshit my mind can add to this list/fic draft. So, if you want to give it a read... grab a snack. It’s long. I’m sorry.

Warnings for Wikipedia levels of historical accuracy - I added links to the relevant pages when quoting historical events, but since I was just trying to work out a timeline (famous last words), the research wasn’t extensive. There’s a lot of hand-waving.

By the end of the 11th Century, I think Andy, Quynh and Nico haven’t been in Europe for a while, not really. They moved south, and then east, after the sack of Rome of 410 CE. Seeing the great cities fall has become hard for them, especially for Nico, who is a nomad at heart but has a soft spot for cities, together with Lykon, the true city boy in the group. He’d seen it happen to Athens, he wasn’t sure he could deal with seeing Rome wilt.

For reasons I cannot fathom, my mind is settled on them having been in India when Lykon dies (possibly sometime around the middle of the 6th century, in the mess that was the crumbling of the Gupta Empire???)

Seeing him die destroys them, and they take a break from any battlefield to grieve their friend and brother. They wander, occasionally helping but almost never raising their weapons, too leery of injuries and of losing each other.

(Quynh, who was the first to notice Lykon’s wounds, has nightmares that make her cry in her sleep. Andromache holds her so tight Nico can feel the tension on her muscles against his back. He and his sister barely sleep, scared of the open spaces of Asia as they’d never been before. Lykon was the youngest of them and he died, what if they stop healing too?)

(If Nico stands guard over his sisters and feels an ache in his chest seeing how they hold onto each other, he’s never going to say it out loud. His Mache deserves the love she shares with Quynh. But sometimes he wishes he had someone to hold him like that, one he can call his heart.)

The first time they go to battle again like in the old days it’s almost the end of the 10th century, and they’re helping Quynh’s lands gain independence from China. They have a reason and a specific side to root for, and it’s the kind of cause Lykon would have approved of. They find purpose again.

They are distantly aware of how things are holding up in the west – they know Constantinople has crowned itself capital of the Roman Empire (what is left of it anyway); they know of the new religion, Islam, and how it was brought further east with the armies conquering Persia. They met the Varangians on the Northern Plains of the Rus’, when Andy insisted on going back to their steppes for a while.

They acquire new swords, repair the old weapons, make improvements on their bows. They travel, and help, and listen. They learn new languages. They heal.

They’ve just spent the winter in Samarkand when they hear merchants newly come from Constantinople talk about the Frankish armies that took Antioch and making their way further into Palestine. 

The words ‘freeing Jerusalem from the infidels’ make Andy sigh in exasperation and twist Nico’s guts. The three of them don’t really understand the point of going to war for a god, but Jerusalem is old, and she’s been coveted by many throughout their long lives. Things like this never end well, they know it intimately.

But they’ve been away for a long time, centuries at this point. Things are very different from when the Romans had the power. They are less eager to throw themselves into the battlefield now, and there’s much they don’t know about the dynamics of Europe and the Levant. Still they’re worried, and decide that they’ll move west to see if something can be done, for the civilians at least.

At first they travel slowly, keeping an ear out for gossip spoken by the caravans coming from the west. Things radically change, however, when they dream of a new immortal (a man, with a curly black beard and shining dark eyes) dying on the walls of Jerusalem and reviving to an unprecedented slaughter – said man is, obviously, absolutely terrified and they feel it.

He’s also woken up surrounded by living enemies, with high risk of being killed or injured multiple times, and of being seen.

They are still too far away to do anything more than hope that the new guy is clever enough to keep himself alive until they can reach him, but now Nico is all for moving west at full speed to get him out.

“What the everloving FUCK is happening over there?!” is the common theme in their thoughts; nothing about this war they’re walking towards is making any sense.

Yusuf al-Kaysani is, in fact, clever enough to keep himself (and a few other civilians to boot) alive and get out of Jerusalem when it becomes clear than no matter how many Franks he kills he can do nothing to stop them alone. (It’s a fucking carnage, and he’s so tired). He walks away from the battle and tries to reach some sort of safety in the desert.

When he’d decided to stay in Jerusalem and fight instead of escaping the siege, Yusuf had considered the possibility of dying. He had not accounted for waking up from a fatal wound with no sign of having been hit in the first place.

And then there are the visions. Or dreams, he’s not sure. They don’t seem to make any sense? Who are those people?! Is his mind so addled by the war that he’s conjuring scary warrior women and a stupidly handsome man, armed to the teeth and camping in the desert?

(fantasizing about handsome men in his sleep isn’t exactly news for him, but there were never women in those. And none of his usual dreams involved weapons. Something is definitely off)

For the following days, Yusuf makes sure to stay away from human settlements while putting as much space as possible between Jerusalem and himself – the last thing he needs is to become a potential target for any invader that may cross his path.

But he’s alone, having nightmares, constantly on edge, and in a body that suddenly doesn’t feel like his own anymore, since he doesn’t even have the scars to prove that the injuries he sustained were real to begin with.

After a couple of weeks, the appearance of the strangers in his dreams starts feeling safe and comforting; they seem to operate like a little family, and God knows how much he misses his own.

(should he try to go back home? Would news of the siege reach his family before he does? Would he be able to go back to his previous life in the state he’s in? Could he keep this secret from them? Would they still love him or think him a monster?)

Despite their impressive warrior appearance, they feel... kind. And gentle. Sometimes, it feels like they’re trying to reassure him, even. Especially when he dreams from the perspective of the man.

The sensation those dreams leave on his skin is like a cape. You’re not alone, it whispers. Wait for us.

Andy, Quynh and Nico have just left Baghdad when the dreams change, and not for the better - Yusuf was passing through a village when a band of marauding Franks started harassing the locals. He moved to defend the villagers, but was overwhelmed and what’s worse, the Franks saw his wounds close too fast. Their reaction was vehement: they called him a demon, incapacitated him and then brought him back to their garrison, with every intention of ‘properly getting rid of him’.

Nico wakes up screaming and Andy has to sit on him so he doesn’t just sprint ahead without actually knowing where the fuck he’s going.

“We can’t just raid every single Frankish encampment in a twenty mile radius around Jerusalem, Nico!” “TRY ME” *Aggressive Sibling Bickering follows* *Quynh doesn’t bat an eye and just rolls out a map of the area she purchased and starts mapping out the fastest routes*

Yusuf is having a Horrible, No Good, Very Bad Week at the hands of his captors, who are getting disturbingly creative in their tortures, but whenever they let him fall unconscious he sees the people of his dreams travelling much faster than before, looking Royally Pissed Off, and the surroundings are... starting to look familiar too? 

If he tries to pay more attention to the conversations his torturers are having with each other outside of the tent he’s in and hoping the dreams go both ways, so the maybe-real trio can find him easier, now that’s nobody’s business but his own.

(spoiler: it works)

When they are in sight of Jerusalem, the immortals find a drunk “pilgrim” boasting about his band capturing a ‘pagan demon’ while coming back from their victory at Ascalon, follow him back to his camp, and as soon as it’s feasible they attack.

(Andy will later gripe that Nico didn’t leave her anything to do because he just paved his way through the Franks like he was harvesting wheat.)

seeing the Stupidly Handsome Man of his dreams standing in front of him covered head to toe in blood, with a double-bladed axe in one hand and a sword in the other, staring intensely at him as if to peer directly into his soul is... an experience for Yusuf.

(he may have composed a lot of poems about that first vision of Nico through the centuries. The words ‘avenging angel’ have been used quite profusely, too)

The protective instinct that Nico has felt for the newest immortal since the first dream clutches at his throat when he finally sees him, chained to a pole and so thin his clothes barely cling to his body, but with the softest dark eyes staring back with a glint of recognition when he comes closer.

(he could cry with relief at the knowledge that he’s not scared of him. Nico has seen the faces of the men that were keeping him captive, he knows he looks a lot like they did, and that he paints a gruesome picture.)

“Are you alright?” Nico asks first, in Greek. (He knows, from the dreams, that his captors prayed in Latin. He wants to make sure that the other knows that he’s not like them.)

“You were in my dreams. You came.” Yusuf answers back in the same language, although his sounds much newer than Nico’s.

“Of course. We’re not meant to be alone… and no one deserves to be in a cage”.

Nico uses the axe to break the chains, and by the time he’s done Andy and Quynh have reached them and his sister throws the keys at him to open the shackles.

“Couldn’t take a moment to get them yourself, little eagle? You wanted to show off your skills to the new one?” Quynh teases, just to see Nico blush. Andy stares at her brother and their new companion for a few beats, before finally asking his name.

“Yusuf ibn Ibrahim ibn Muhammad Al-Kaysani, known as al-Tayyib” he answers, letting out the first smile in weeks at the raising eyebrows of his saviours. “Just Yusuf is fine.”

“You have a sense of humour, brother. I like you!” Andy snorts, before cutting her palm with the edge of her axe, and showing him her fast healing.

“We are like you, Yusuf. That’s why you dreamt of us, and we of you” Nico adds gently, while Quynh offers her waterskin to Yusuf. They also offer their own names.

“We need to clean up this mess and move away from here” Andy says, while Nico helps Yusuf up. “One of those fuckers was boasting about an undying demon with others in a tavern, the last thing we need is to fight our way out against their whole army because someone else decided to come check if he was saying the truth.”

“It’s been a long time since we were in Kush” Quynh whispers, and Yusuf sees their faces open in a look of affectionate grief he remembers seeing on his Baba’s eyes when he talked about his own mother.

“We can talk about it more when we’re somewhere safer” Andromache suggests, before moving to set up the stage of an ‘accidental’ fire.

As they’re riding away, Yusuf turns slightly to watch the camp burn, leaving no trace of the invaders that hurt him. Jerusalem looms in the distance - lost, and wounded. If he were a little less exhausted, he could  easily work out a metaphor about his own situation.

But then he looks at the three people of his dreams – Quynh, Andromache, Nikolaos – that came for him. Who are the same as him, immortal.

His world has turned upside down, and there are so many questions to ask, and he could sleep for a month straight – but one thing is certain. 

He’s not alone anymore.

[sweetdreamsjeff]

Inger Lorre & Jeff Buckley

Monday, February 20, 2012 1:36 PM

In conversation with Jeff Buckley - the clouds within

.

   I have always avoided mentioning Jeff in interviews for a number of reasons:

First, 'cause it's not cool to name-drop at every opportunity - two, 'cause I still find it hard to talk about him -  and thirdly,   as he's not available to reply,  we have to apply utmost care and diligence when citing his name.

Jeff was one of the very few people I made a   connection that went  way beyond the tour schedules; but if anyone here is hoping this story is going to be filled with gossip of a personal nature, don't bother reading further, for the trust of  friendship I had with him was sealed absolute, and that will never be broken.

But I wanted to share a conversation we once had, as it does have some bearing on my own anatomical life as an artist, and therefore, has still some relevance today.

I will be drawing a few parallel lines between us, but I must stress: strictly of a non-musical nature: for Jeff Buckley, in my view, was the brightest of all stars, profoundly talented, and this shabby Isabel Monteiro - (no capital bold here), just a 5ft meteor lucky enough to hit his path.

But I will draw attention to some idiosyncratic personality traits we shared, this being the topic of the conversation in question.

-

Anyone who's met Jeff will surely remember him as I do: a really, really funny guy - I mean, he was one of the funniest people I've ever met - sharp, witty, with an incisive sense of humor, always on the money and spot on.

But one could easily see that beyond the jokes and crisp remarks, there lurked a pool of great sadness and disquiet.

In this respect, I believe, we were very much alike.

We were talking about our personalities and moods, and how annoying it was that most people often made the wrong assumption that our 'sad side' was somehow 'more real' than our 'funny side' - which we both concluded it was a mistake, 'cause from our perspective, all those aspects made up the full picture of who we really were.

Then Jeff came up with this beautiful metaphor, one that stayed in my memory, he said:

'You know, it's like we've got this weather system trapped inside us - in the pit of the stomach, the clouds are always forming and waiting to rise. Even when everything's sunny, the clouds are always there, brewing. And every now and again they rise up and it pours  for days, sometimes weeks; then it dies away, the sun comes out and the whole thing starts again. We're stuck with it, the clouds within.'

This struck me as such a pretty and lyrical way to describe the complexity of our souls, and it brought to mind this wonderful image of artists going round the world with clouds in their stomachs. poetic.

But then, the implication of what he said hit me ,  so I asked him:

'But...that means we can never be happy?!'

'Yeah, that's right, people like us can never be happy.'

-

The last time I spoke to J, sounds quite surreal now and hard to believe, but we've been talking about recording/writing a little acoustic album together in NYC -  whole thing was gonna be quite simple, country-esque and gospelly  -  this now sounds so far-fetched, almost in the realm of fiction - but it didn't then.

I had  a few tours booked ahead with Drugstore, but was planning to fly out to NYC once the promo/tours etc were done.

When I got back to London, I checked my voice mail, which at the time was one of those retro  BT machines, that had a cute mini-cassette tape inside, remember those? To my surprise Jeff had left lots of little messages - each one under a completely different guise/voice - and very funny they were too.

People may not know this, but he was also a master impersonator - he could do voices, any voice, really well.

The messages ranged from Homer Simpson to Nigel Tufnel, via Al Pacino - each one was funny, quirky and very lovely (in one, he said I should soon be traveling to the US on Concorde 1st class, as the royalties from him singing Alive and No more Tears would soon kick in - though he needn't worry, knowing that he liked my songs was the greatest reward.)

By the time I called him back, he already had traveled south and was   stuck in the studio, working on his new record, so I thought it was best to pursue our own little project later down the line, once his album was done.

I never had a chance to speak to him again.

The years went by and, sadly, I lost track of that BT answering machine, (probably deemed obsolete during some last minute flat move).

In this life, I've been given a lot of  really expensive crap that had no intrinsic value to me whatsoever, from Cartier to Rolex -  all met the same end: a cheap desperados' pawnbrokers in East London.

But if I could have something back, I would choose that little tape with Jeff's messages in it - I'd be very happy with that.

[therianimal]

My System’s Experiences: switching hosts and a disconnected past

It took years before we realized that the complete personality shifts we experienced at various points in our life was us switching between hosts. Before I was host (or even existed at all), there was Lucas; a few years before him, Eren. The earliest host we know of is 4 years old and was the host during our preschool years. It seems inconceivable that we wouldn’t know - but as a system that has no amnesia, experiences the world as “different people sharing a single consciousness”, experiences switching less like “stepping back” and more like changing perspectives, and exists in a place between median and multiple, these changes disguised themselves as life phases.

It made sense to us that being 16 would feel different than being 12, and we were aware that changing over time was a normal experience for children and teenagers. Sure, it seemed weird that as a child we were definitely a girl, during our early teen years we were likely nonbinary and during our late teen years we were a trans man - it was never really clear to us WHY we changed so much.

That is, until I realized that we were plural, and that we have always been different people who simply passed the mantle of Host along like some kind of hereditary monarchy. It seems somewhat obvious now - the fact that I used to say things like “back when I was Lucas”, that I didn’t have childhood memories of being a therian, and that each “life phase” involved a completely different personality, set of interests, and sense of self were all signs. Even my dad is prone to saying things like “You’re a completely different person now than you were when you were 16″ (I really get a kick out of the double meaning). But it wasn’t until I started to consider that I (we!) might be plural that the truth about our past hosts came out into the open.

Our obliviousness can be accounted for by another issue: the specifics of how we switched hosts. I like to compare the scenario to mitosis - one member gradually becoming two. It would take months before the two people were distinct, at which time the new member would usurp as the new host and the previous one would go into dormancy. Because it’s so gradual we can't pinpoint an exact moment when each switch happened, and it's sometimes hard to clarify whether a past event happened to one member or another.

I’ve started to refer to the mid-mitosis host as “proto”, thqe in between of Lucas and me being “proto-Blue”. Lucas was a trans man and emo, and I’m a mascfem nonbinary person who isn’t particularly alt - our mid-self was still trans but more gender nonconforming and no longer 100% male, and they still listened to emo and rock music but had moved away from the clothing style. This "self" doesn't exist in our system as an actual person - it was simply an in-between stage. This host change (and all the others as far as we can tell) was fluid and not at all a sudden switch.

When Lucas returned from dormancy, it was chaos. He had been functionally asleep for three years - in the meantime, I had broken up on bad terms with his best friend/girlfriend, socially detransitioned (he had worked hard to come out as a trans man), and thrown away most of his old clothing and possessions. Trump had even become president, which was honestly one of the most overwhelming things. And he suddenly had to confront the fact that we were plural, that he had not always been host, and most of all that he had lost several years of (what he thought was) his life. I had to confront similar issues, but for me it was gradual while for him it was all at once.

Since then, several of our past hosts have reawakened - but not all. There are large unaccounted for periods of time, presumably involving still-dormant system members. It’s difficult to talk about our/”my” past, because when referring to things that occurred between the ages of 15 and 17 I can usually say “Lucas did X”, but how do I refer to the incidences that happened to unknown hosts? On top of that, due to years of assuming we were one person and each of us claiming past events as “my past”, it’s not that easy to say that X event belongs to one person and Y belongs to another. Things that happened to Eren while she was host often feel just as relevant to me, personally, as things that happened while I was host.

This all creates a confusing communication barrier, and risks creating conflicts between members - for example if I say “I got a perfect score on the reading portion of the SAT when I was 12!” would that be unfairly taking credit for Eren’s accomplishments, or simply describing an element of our shared narrative that feels relevant to me? There has been at least one conflict with another member where I was accused of selectively taking credit for their good deeds and accomplishments while disowning failures and negative actions - I believe that was a misunderstanding, but clearly it’s complicated.

I, as an individual, have only existed for four years. It sounds strange to say that as a 22 year old, but it’s true. This sometimes makes it alienating to spend time in identity-based communities like the therian, otherkin, transgender, and other LGBTQ communities. I once attempted to join a trans Amino, only to find that I was required to explain my “trans self discovery story” in an introduction post - it wasn’t even optional! How do I explain “In our teenage years, Eren felt disconnected from gender but couldn’t put it into words. Then we learned about trans people, and Lucas discovered over the course of a few months that he was a trans man. I knew I was nonbinary from day one (four years ago), though figuring out the details has taken a few years.” To someone who knows nothing about plurality, it’s incomprehensible.

Of course I could have made something up or oversimplified things, but at the time I was on Amino to discover my truth, not hide my truth. Due to the “born this way” narrative, saying something like “I identified as a trans man in my teen years, but later on identified as nonbinary” would imply that our experiences as a trans man were fake or the result of a confused misnomer, when they were very real. Directly undermining our experiences and our reality for the sake of community really sucks; I quickly left that Amino.

I’ve had similar issues in the therian community. I first realized I was a therian/nonhuman before realizing I was a member of a plural system, which caused all sorts of confusion for me. I joined the Therian Guide forums and learned from their posts and resources that “If you didn’t have therianthropy related experiences as a child, that means you’re just a confused human who’s been influenced by the internet and is having a wishkin phase." I wanted to believe that wasn’t the case, but the argument made sense and I had no counterargument to make against it and no way to explain why that rule wouldn’t apply to me.

Even now it sometimes feels alienating to encounter online threads and posts centered around the question “What signs did you experience as a child?”. I know that other people’s experience don’t invalidate mine, and vice versa, but it still sometimes makes me feel out of place. Rationally I understand that nonhuman experiences are highly varied and that's okay! - but insecurity isn't rational. I’m still acclimating to the idea that as a pluran my nonhuman experiences will probably never be the same as a “stereotypical” otherkin or therian (if such a thing exists).

I went into this essay expecting to write a short post about how my lack of childhood/teen years has sometimes caused me to feel alienated in the therian community. But as I was writing I realized I had a lot to say about my system, and felt compelled to change angles and truly discuss our host history. It might be a bit random, but I hope that at least some people will find it interesting.

[pandoratheprocrasticreator]

I listened to the TAZ Grad finale!

Fellas is it gay to become imbued with the essence of the sea after influence from your water genasi teammate, pester said teammate afterwards to name a boat after you, and sail away with them into the sunset to run a cruise line scam and become morally righteous pirates?

Ive been looking at people’s reactions on the finale and yeah I loved the chaos magic parts! The whole issue with the mishandling of D&D mechanics was never really a problem with me, although I know some people feel more strongly about that than I do.

Personally, I’ve always listened to TAZ for the story and not the actual D&D so I never really took issue with any of the DM-ing mistakes Travis did. Parts of the actual story had problems (the centaurs, Ranier, other points where Travis tried to be inclusive but implemented it where it wasn’t relevant) but overall I think the enjoyable parts far outweighed the bad.

And the McElroys in general are funny as hell so even though Grad wasn’t as profound as Balance or as sad as Amnesty I still enjoyed it a lot! I would probably put Grad above Amnesty but below Balance, but of course Balance holds a special place in my heart.

A problem people had with the finale that I didn’t notice while listening was that of all their talk of “destroying capitalism,” the trio settled down to comply with capitalist society at the end. And while I do agree that the “this system is bad but let’s slowly make change from within” message has been done to death, I don’t think that the ending was necessarily performative and disingenuous on the McElroy’s part.

The first point is that even though the trio decided to participate in Nua’s society in stereotypically “exploitative” careers, (particularly in Fitzroy and Firbolg/Gary’s case) they did so explicitly to keep people from being exploited by the system. Not to mention their paths fit their character arcs pretty well. 

Fitzroy’s “who will protect the weak from the strong” speech doesn’t indicate a sleazy lawyer willing to exploit the law to make a quick buck. One person described him as one of those pro-bono lawyers and I agree with that comparison. Fitzroy is a morally good person at his core, and he initially thought the hero society would help him do good, and after becoming disillusioned with hero society, he decided to carve out his own system to allow him to do good, both by being a lawyer and by being a pirate that only attacks rich assholes. (I really like that he clarified he would only attack rich assholes my chaotic good lawyer boi <3)

Firbolg’s whole character arc of being conscientious of resources to help the community instead of hoarding things to himself, in my opinion, culminates neatly with his decision of becoming a financial advisor. He has learned that both the “share all your resources without regard for the future” ideals of the Firlbolg and the “hoard all your resources for your own benefit” ideal of Nua’s society are both flawed extremes, and has dedicated his career to helping communities find a balance between the two.

Argo’s cruise seems more of a small business to me than a capitalistic venture, but I have never taken an econ class in my life so I digress. His character arc was about finding something to live for other than the past and I think it’s a good conclusion to his arc that he commemorates his mother and friends with the cruise line but still seeks out his own future outside of that by becoming a pirate. His original plan was to go with the establishment and work with one of the most powerful heroes in the world until he gets revenge, so it’s nice to see him grow to find his own self sustaining outside of the establishment.

The second point is that TAZ Grad was never about destroying capitalism. That was a joke that Travis laid the foundation to, but it was the players who made that joke and rolled with it. Tumblr user @fitzroythecreator wrote a really good analysis of how the main theme of Grad was self reliance which I agree with. While that is one of the main themes, I will be focusing on the theme of capitalism that a lot of people tend to focus on.

The characters’ goal was to destroy the HOG, which was an allegory for how organizations function under capitalism, but never a direct parallel with capitalism as an ideology or functional system itself.

When they first joked about “ending capitalism” by blowing up the HOG I was concerned because that’s not how anything works. The HOG was just one cog (heh) in the capitalist machine that was Nua’s society, and while destroying it would cause significant damage and change, it wouldn’t immediately shift everyone’s worldviews to discard their capitalist society as a whole. If the boys carried out the mission and all of a sudden the whole world was fixed, it would be even more disingenuous to present a utopian solution to a pressing, real world problem that simply cannot be solved this way.

I’m glad that they didn’t end capitalism. Social issues like this can never realistically be resolved by three spunky heroes on an adventure. You would need action from an entire population. Often violent action. There were already issues with too many NPCs in the spotlight so describing and entire population’s uprising would have exacerbated the problems even more. As four white men, the McElroys neither had the answers for how to end capitalism, nor would their medium of a D&D podcast have allowed them to present them effectively.

From my perspective, the way they would have actually ended capitalism was to go to war like Chaos and Order wanted. In this case, the entire social order and way of life for Nua would have been overturned. The main characters, Fitzroy most vocally, reject this option because of the human toll (or elves, or dwarves...whatever the term for that is for D&D races). Instead, they disturb the system to expose its flaws and let society recognize said flaws in the background. (Again, they couldn’t focus too much on it as it would take away from focus on the main characters.) Then, they choose to find their own place in the system and fix it from within.

I’m not surprised that the McElroys would pick the “change the flawed system from within” route over the “use continuous and possibly violent action to force rapid social change” route in the end. While the second stance could work if written correctly, there’s a lot more room for the message conveyed to be catastrophically bad if the writing doesn’t work. I’m personally glad that the McElroys, who don’t have a solution, presented the tamer first take instead of trying to give a solution with the second take and failing spectacularly.

TAZ: Grad was social commentary on the problems of late stage capitalistic society, but it never tries to present a clear answer on how to end this society. Rather, it recognizes that this is a problem that can’t be solved by one small group of people. It presents several possible solutions to navigate this society to bring yourself happiness within this soul crushing system while slowly changing the attitude of the society. After all, if everyone quietly changed societal attitudes for the better, then perhaps one day the population will be united enough to bring about the drastic social change that we all hope for.

[justonecitizenoftheearth]

Why the ending of Supernatural is problematic - the meaning of storytelling

Originally, I wanted to write a full essay on this and I still might, but since the university libraries are closed and I have three other big writing projects at hand, one of which is my final thesis, this might take a while. I still want to share my thoughts about this. A lot of this has been said before, but not yet by everyone. Trigger warning for mentions of suicide and homophobia.

The thing that bugs me most about the whole discussion about the ending of Supernatural is people saying “why do you care so much? It´s just a story.” Storytelling has been a part of human culture for thousands of years, it is something that everyone does and to think that telling stories doesn´t have a function in society that goes beyond entertainment is just plain wrong. Every part of storytelling, be it the actions shown, the words used, the characters involved or the connotations connected with any of the above, have the power to influence the way that the recipients of the story perceive reality. Now let that sink in for a moment. 

To borrow some words from a text about gendered narration: “Narration is understood as a cultural practice that spans genres and media and it is of great significance for gender constructions and gender relations, because stories don´t simply reflect on the perception or imagination of ´gender´, but they create them. From this perspective, storytelling seems to be one of the performative acts that produce and establish identities and gender constructs in the first place.” (Nünning/Nünning (2006): Making gendered selves; translated from german). The important thing to take from this quote is the last bit: Storytelling is an act that produces and establishes identities. And from here, we jump directly into the ending of Supernatural.

I don´t think I have to explain a lot about what happens in the last two episodes of Supernatural. But I want to go into the potential impact. So, in the ending of episode 15x18, we see a male presenting character, Castiel, declare his love to another male presenting character, Dean Winchester. It is made very clear, both by the actual show and the comments of Misha Collins, who plays Castiel, right afterwards, that this is in fact meant to be romantic. Right after that scene, Castiel dies. He not only dies by coincidence, but confessing his love is the thing that makes him happy and therefore, because of a deal he made with the empty, is the thing that kills him. It is not explicitly said if Dean loves him back. In the next episode, this confession is never mentioned, but Dean shows some signs of wanting Castiel back desperately (begging Chuck to bring him back, running up the stairs because he thinks that Cas will be there), but these signs just stop at some point during the episode. In the series finale, Castiel is mentioned twice, but not once by Dean and always in a fleeting manner. It never becomes clear if Dean loves him back and life apparently just went on without him. Not to mention that death has never been a permanent or undefeatable state in the show. But Castiel never comes back, his feelings are never mentioned and neither are Dean´s, although it has been clear in previous seasons that he usually takes it very, very hard to lose Castiel, to a point where he becomes reckless and suicidal (see early season 13). 

There are a few things to address here, but the main thing for me is that it seems like Castiel loses his status as a friend who will be dearly missed as soon as he comes out as in love with Dean Winchester, which is perceived by the audience as being gay (angelic gender discourse aside). And this is a bad message. It´s a really bad message both for people who struggle with their sexuality and see all their fears come true, and for people who have prejudices about LGBTQI+ people and get the message that they are less valuable as human beings. Which is not true, but again: Storytelling is an act that produces and establishes identities. The death of Castiel was only one of the problematic messages. Dean Winchester, who has been coded and perceived as bisexual and who has been a beacon of light for many who struggle with mental illnesses, dies too. Worse, he basically chooses death, which completely destroys the hopeful message of never giving up. Eileen Leahy, a deaf character who represents a group of people who are seldomly represented in media in a positive and empowering way, disappeares from the narrative, too, without an explanation and takes that empowerment with her. There are more examples, but the general idea is clear.

And this is, for me, the main problem with the Supernatural finale. The ending of Supernatural helps to establish hurtful tropes and assumptions. It transports messages that can be very harmful both for people who identify with those characters and see their own very real and important hopes and dreams fall to pieces, and for people who could use to see good representation of diverse characters to question their own values and opinions. 

I hear you asking: “Okay, so bad media representation is bad in an abstract, cultural context. But how big can the impact of such media representation actually be for individual people? And how do you prove that?” So let me ask back: “Have you ever heard of the Werther effect?”

In 1774, Johann Wolfgang von Goethe published the novel “The sorrows of Young Werther”. In this book the main character kills himself after being rejected by the woman he´s in love with. After the novel had been published, a number of young men committed suicide, following the example of the book character Werther. This is not the only case where the depiction of the suicide of a character inspired people who strongly identify themselves with the character commit suicide: “There have been other such “epidemics” [meaning suicides in imitation], such as the rash of suicides in young Jewish females after the publication of Otto Weininger´s Sex and Character in 1903. However, an earlier recorded epidemic occurred in the early 1700s in Japan.” (Krysinka/Lester (2006): Comment on the Werther effect. S.100). 

Long story short, it is a known phenomenon that media has a huge influence on the lives of recipients, especially if they can identify strongly with the characters, all the way to existential decisions like suicide. And in the case of Supernatural, that´s an extraordinarily relevant question.

The character Dean Winchester has battled depression, trauma and suicidal thoughts and tendencies in his journey. Many people who battled the same issues could identify themselves with this character, which is a known fact in the fandom and has been said multiple times on conventions and on social media. Showing that this character accepts death, even though it is questionable if that was necessary, and implying that the only way that he can find peace is by dying is highly problematic. Combined with the number of people who identify as LGBTQI+ and who have a strong connection to the character Dean Winchester, and considering the high suicide rate among LGBTQ+ individuals, death as the conclusion of his character arc is a dangerous message.

To summarize my point, storytelling is an insanely powerful instrument to shape the collective social memory of a culture and it has direct influence on how we perceive the world and other humans. Bad media representation causes real life issues and can be very harmful, both on a personal level and in society, for those who are affected. It lets hypocrites, homophobes and racists stay in their bubble of righteousness and fails to call them out on their bullshit. It is a lethal threat to some. Bad media representation and thoughtless storytelling is dangerous. And this is why I care so much. Because it´s not just about a story.

So, that´s it for now. I would love to hear your thoughts about it! 

And I send love to all of my mutuals, everyone who loves Supernatural and hates the finale because of it, all of my rainbow siblings and everyone who needs it! <3 

[whatifyoulivelikethat]

warnings: extremely negative feelings towards a sibling, distressing / intrusive thoughts. placed under a break due to the content of the message. remember, I'm not a mental health professional.

updated with additional viewpoints from readers at the bottom!

I'm sorry in advance.

I really hate my older sister. She never respects my boundaries, insults me frequently, and is just annoying and hypocritical in general.

I've always had these issues with her, but she lived at her own apartment away from me and the rest of my family, so I've been able to control my hatred of her. But last year in March she moved back in and sold her apartment. She has no plans of leaving anytime soon, and I can't stand her.

We shared a bedroom for about a year because we were also taking care of my cousin who also moved in with us last year. My cousin has since moved out, but my sister is unfortunately here to stay for a couple of years. But with extra space, I was able to move into the spare bedroom and thought that would be the end of my problems.

It wasn't. In fact, she has become even more unbearable. The hardest part of this relationship is that she has a weird obsession with being with me. I'm not sure if this is because she loves me, or she's just weird. I think she's weird because my parents never act like she does.

Our bedrooms are right next to each other. There's really no reason for her to miss me. But every single fucking minute she's coming into my room to bother me. I would have more empathy for her if she acknowledged my limits, but she doesn't.

She's constantly cuddling me after I've said for MONTHS that I don't enjoy it and it makes me uncomfortable. She constantly belittles me by saying I couldn't live without her, and that I would be a mess if it wasn't for her (mind you, I've lived without her at the house for YEARS and I was perfectly fine). She's constantly in my business, interrogating me about every little thing. She once locked the door and wouldn't let me leave the room without answering her questions for 20 minutes; she asked me about a $30 Amazon order containing manga I ordered with MY OWN MONEY. And I had permission for my parents to order it! It wasn't her business whatsoever.

I've tried to keep her out numerous times; I've gotten in trouble for it. My parents say I'm being mean and that this is her way of loving me. What I feel like they ignore is that I'M UNCOMFORTABLE. Her way of "loving me" HURTS.

I've tried communication. I've had multiple meetings with my family about my boundaries and they say they'll change, but they never do.

Another factor that worsens this is that I have borderline personality disorder. I'm currently being denied therapy or intervention of any kind. I get told my mental illness is a result of me having an attitude and hating my family.

I writing this to you because I've been having very alarming thoughts recently. I'm been somewhat suicidal as long as I can remember, but this is different. I've been having nightmares about killing my family/my family killing me. I don't want to kill my family. As much as they have abused me, I know they truly love me deep down. But when I'm in a mental breakdown, I don't think for the most part. I'm afraid I'm going to do something to hurt them if they continue to push me. I'm too scared to turn myself into the police and I don't want to be taken away from my home. I truly need therapy, but it's expensive and I'm not allowed to get it.

Are there any options left for me? I love my family and I want to get better, but I can't stand them. It'll be a while before I can live on my own, and I don't think I'll make it that long.

I'm so sorry.

I appreciate that you came to me, however, please remember I am not a mental health professional.

I do not have the best relationship with my family. I've come to accept that they just exist and I moved away from them. I keep a strict level of familiarity with them for my own sanity and well-being. There are people in my immediate family I don't talk to anymore or only speak to in certain situations, with other people around to buffer my emotions. No one in my family understands or respects my mental health issues and I have ceased talking about it with them.

I will admit, I had to ask for help. I'm going to share the answer of someone I trust, because they are much more level-headed when it comes to something like this.

Use different words with your sister. Instead of "I'm mad or annoyed", use words that bring out more empathy - "You're making me sad and uncomfortable. You're hurting me." Anger is usually perceived as something within you, something you must control. But sadness is usually not perceived in the same light. People usually see sadness as something that has a cause and perhaps letting her know that she is the cause will have an effect on her. Using different words when speaking to her may slowly change her perspective.

When it comes to your parents, well, parents do not usually understand sibling dynamics. They're fucking useless most of the time when it comes to problems specifically between siblings. It might be better if you say something like, "Her constant intrusions are affecting my school work. My grades are going to drop." Usually, parents respond more urgently if you say you education is affected - and it doesn't matter if it's true or not, we're just trying to get them to help in some way.

I had to remind them it's summertime lol

Oh shit, you're right. Er. Well, In any case, it seems you've tried having reasonable discussions with your parents and it doesn't seem helpful to continue discussing this particular topic with them. Maybe get into fitness since it's summertime. Go outside, do something active. She can't cuddle you if you're running, right? Then you can also be stronger and feeling better physically improves mental health. Put some music on, go hiking or running, take yourself out of the situation.

I don't know if this is possible, but perhaps if you're experiencing a mental breakdown and you're afraid of hurting your family, run out of the house? It might be better to be physically away from them at that time to avoid saying or doing anything you regret. It may help clear your head and help your family realize that this is something that is truly debilitating to you.

I don't know your age, so I don't know if the school thing is relevant. It's only a suggestion.

You said it will be a while before you can live on your own. When I knew the cons of living with my family outweighed the pros, I did everything in my power to prepare myself for leaving because I needed a goal in order to survive. I needed distractions, reading, writing, gaming, music, anything else to occupy my mind and help control my thoughts. There was a time when I needed music to fall asleep (headphones in on low volume).

Also... uh.

I'm not saying you should do this. I'm only saying I did.

My siblings and I have physically fought before. One has scars from fighting me. The scarred one is the one closest to me currently.

Not saying you should do it.

But I did.

If anyone feels comfortable enough to share how they dealt with it in their own situation, please do. Maybe more perspectives can help this person.

--

some other experiences sent to me:

anon #1

I don't think I had a situation that extreme but my brother was a little like that. I honestly had to become kinda rude and indifferent. Like he'd always use my laptop and stuff and I put passwords on everything and just don't tell him. And then when he tried to hug or cuddle id say I don't liek it and just push him away physically now this soudns fucking obvious when I say it this way but like I don't think I read that u tried it ? Idk I discovered I have a loud annoying scream that neighbours will hear, and fucking strokg legs I used to kick him away but like I was tiny so I don't really endorse violence but I didnt like being close to a 'boy' essentially at taht age so yea... Idk man siblings are weird and I have had intrusive thoughts so I think I didn't handle it well but for a few years I became an asshole to him and then now I'm good with talking sometimes and I keep it short and sweet and I've mentioned that I'm sorry for being mean in the past bcuz like I am ? Bcuz I'm not an asshole ? ( But like I did what I had to do ) I hope u get the help and support u need

anon #2

I read the message from the previous anon and I have to say I relate to what they say. I wouldn’t say i’ve completely dealt with the situation when it comes to my parents.

I have 4 siblings and i’m the oldest, my sister that’s 2 years younger than me always gets in my way and is a tyrant. Because she’s much taller than me she overpowers me and i also have scars from when we’ve fought. My parents don’t intervene because they say we’ll make up soon and I honestly can’t stay mad at people for long. I also live with my parents and am not able to move out anytime soon until I get my degree.

A few weeks ago my mother was complaining to my father that I don’t help around the house and all that bullshit but it’s obviously not true. Anyway. My father came into my room and threw all my clothes from my cupboards on the floor and said my sister and I must get out of his house. He was literally pulling us and we were crying because where the hell would we go. My smaller siblings were begging for him not to chase us out of the house but he was ballistic. He was constantly throwing insults at me, calling me selfish and disrespectful. I was having a mental breakdown and I said i hope that God takes my life away because i’m too weak to do it myself. I kept saying that and when my parents heard me. They called me crazy and were laughing at me and said i should take it back because instead of me another one of my family members would go.

My parents don’t care about mental health and therapy. It’s all unnecessary to them. But after that night I tried to find my own way of getting rid of the negative thoughts, I choose to ignore what everyone tells me. I agree with everything that you said about trying to get away from their family when they have those thoughts. I try meditation and praying. I’m not sure if that person follows any religion but that’s what helped me. And writing can be cathartic. Also remember that you’re not alone, there are so many people out there who share your sorrows and can relate to your situation. I think about my little siblings who i’m close to and what it would be like if i wasn’t there.

Maybe if they could get a pet? I know having a pet can make you feel less alone and you feel a sense of responsibility towards them. As for their sister, she needs to see their point of view and tell her that she makes her feel overwhelmed with the things she does. She can spend time with her and try to make her understand that they need their space too.

anon #3

I also have sum advice 4 the sibling anon frm a fellow bpd buddy:

Does ur view of ur sister change from "i hate her" to "she's alright" sometimes? Viewing sum1 as all bad or all good is common in bpd ppl and usually changes alot. I rec writing down the moments where she shows she loves u. This could be thru buying smth for u or doing smth 4 u. I had a similar relationship w a friend and this exercise helped me remember that she might not have intentions to hurt me and might b trying 2 bond. Repairing the relationship might take a while. Talk alot if u can, it seems like ur family is at least willing to hear u out, even if there behavior doesn't change much. Keep sum distance if needed. Working out and finding fun hobbies is good.

If u feel like ur breaking down, try breathing exercises n identify 5 things u notice thru ur senses. What do u feel? What do u smell? What do u taste? What do u see? What do u hear? I personally like taking myself down rabbit holes. For example: I see a yellow jacket > this shade of yellow is a cool tone > what makes a color "cool" or "warm" > why do we associate red with warmth > what if the sun was blue > what if ocean water looked orange > is water wet

I usually end up forgetting what was making me upset. If it was a big deal I would still remember, but at least I would b less emotional and a bit more rational.

Search up cognitive behavior therapy and dialectical behavior therapy and try 2 practice sumthing similar 2 exercises u would perform w a therapist. Squeeze stress balls. Masturbate (this blog is perfect 4 that lol). Maybe watch some videos done by therapists on youtube. I watched a couple of videos abt therapists reacting 2 fighting in movies and I learned alot (this video was very fun to watch)!

Anyway that's what helps me! Good luck 2 u!!!

[thewhizzyhead]

HELLO SOME OF YOU GUYS LIKED MISFITS AND SOME OF YOU GUYS LIKED GRADE 11 (i posted about that musical draft thingy back in march and um yea there have been a lot of changes fjxjf) AND GUESS WHAT DUDES I HAVE MORE MUSICAL CONCEPT SHITS TO RAMBLE ABOUT BECAUSE MY BRAIN IS WAY TOO HYPERACTIVE FOR MY OWN GOOD SO SIT BACK, RELAX AND ENJOY THIS CLUSTERFUCK

@ari-is-anxious have fun with this and i wish you the best of luck in trying to comprehend this-

+ Kasaysayan (which means History) - this is the 2nd musical concept thingy i made (the first one being Misfits) and yea i started thinking of this went I was 14. I kinda wanted it to tell a story of like the entirety of philippine history as narrated by students and i wanted to kinda emphasize how history has many faces and how many different factors essentially blur our perspective of what we view as the past. I also wanted to like draw parallels between what our ancestors have experienced and what we currently experience esp when it comes to sociopolitical and economic stuffs and I wanted to like correct a lot of misconceptions about ph history and provide more insight and info about ph's past (i.e how centuries of colonialism have affected our current culture and overall social mindset esp in regards to our want for validation from foreigners aka the whole #PinoyPride thing; how even though activism and revolution is like the main reason on as to why the Philippines even exists, it continues to be demonized here; the ideologies of some of our revolutionary heroes and presidents and why some of them are dicks; etc etc). Also I wanted to showcase like um PH music, art, and dance and how that has progressed and also regressed throughout the years (*shakes fist at colonizers*) and um YEA YOU CAN SEE WHY I EVENTUALLY AND RATHER QUICKLY DISCONTINUED THIS TJCJSJF THIS IS *NOT* DOABLE AT ALL THSJFHF it could work as a concept album and a one-time performance BUT NOT LIKE A LEGIT PRODUCTION SO YEA FOR NOW IT WILL STAY IN THE DRAFT FOLDER FJXNSJF but yea this idea then led to the next two ideas woo

+ Noli/Fili - started wanting to make this at the start of quarantine so like um march 2020 heck i even made a wholeass word doc for this fjdjdv so it's basically a ph-rock-rap-based musical adaptation of Jose Rizal's Noli Me Tangere (Touch Me Not) and El Filibusterismo (The Filibuster) (yes these two novels are like tne national novels here since rizal is our national here and yea these were originally written in Spanish) but the protagonist of El Fili (Simoun) takes charge of telling Noli's story in Act 1 while Noli's protag (Crisostomo Ibarra) takes charge of telling Fili's story in Act 2. Those two books have very different tones and those two characters have um VERY DIFFERENT world views so i thought it would be interesting to tell one's story through the eyes of someone different and yet also the same to provide a lot more insight on how the events in the novels affected these two protags (there is a Good Reason for this and um Filipinos who studied this in 9th and 10th grade know what i'm talking about fhshf if u wanna um know what i'm talking about and don't wanna read the novels (they are very long) i suggest looking up El Filibusterismo and um yea check out Simoun fjsjf). Like for example, there would be times that Noli's narrator (Simoun) (whose general demeanor is like um a lot more cunning and cynical and a lot more resentful of the events that have happened compared to Fili's narrator) would directly question the Noli protag's (Ibarra) actions while Fili's narrator (Ibarra) (he is a lot more um hopeful and peaceful compared to Simoun) often questions how Fili's protag (Simoun) turned into well um a very cynical and cunning person with a taste for revenge (I am trying my hardest to NOT spoil the novels here gjdjf) and yea because the story is set in Spanish Colonial times here, i wanna focus more on the sociopolitical aspects and problems in the novels and how those still remain relevant here, hence the ph-rock-rap-based music. Also I would like to point out that the curriculum here barely like goes into depth about the subject matter of the novels (esp the sociopolitcal parts) and how said subject matter shaped the characters here and HOW EVERY SINGLE THING IN THIS DAMN NOVEL IS STILL RELEVANT,,,so um basically the curriculum is currently missing the entire point of the novels since Rizal wrote these two with the intent to provide socioecononic and political commentary on the pure shit that many of the Filipinos experienced under Spanish colonial rule,,,SO THIS THINGY IS BASICALLY MY MIDDLE FINGER TO THE CURRICULUM AND ESSENTIALLY MY ATTEMPT TO SHOW MORE OF THE NOVELS COMPARED TO WHAT HAS BEEN TAUGHT TO US FJJSJFV this is gonna be a nightmare to write tho cause wow those novels are jampacked

+ Patron - if this ever becomes a thing, I will consider it the greatest thing i'll ever write gjcjdbc I REALLY WANT THIS TO BE A THINGY AAAA so the plot is barebones atm but it's basically about journalism and activism here in the Philippines (and how both can get you killed fjjsjf i'm not kidding these two can legit get you killed wah redtagging sucks shit and the anti terror law can suck even more shit) and how the youth are expected to be purveyors of the country's advancement and improvement despite the fact that our voices are oftentimes dismissed and even permanently silenced when what we say goes against what those in power want us to say,,,those this is basically Misfit's spiritual successor fjxjdjf both of those musicals share similar themes fjxns so yea expect me ranting about a lot of political stuff here and a lot of talking about the ideologies of past and present politics and revolutions and how those affect the masses and how the masses can shape them in return. There will also be talk on how journalism's role in shaping society and how proper dissemination of information and lack thereof can affect people's mindsets aND HOW JOURNALISM IS OFTENTIMES MANIPULATED TO MANIPULATE PEOPLE'S MINDSETS (STUDENT JOURNALIST AND ASPIRING PROFESSIONAL JOURNALIST'S RANTS GO BRRRRR YEA I HAVE A LOT TO RANT ABOUT).

Oh and also this musical is heavily inspired by both the noli and el fili novels and by spring awakening (Everything I Write Will Be Inspired By Spring Awakening dbjxd) in a sense that Act 1's active protagonist (who then becomes Act 2's passive protag) is named Elias and is based on both Elias from Rizal's novels and on Melchior Gabor (which is funny cause rizal's elias is NOTHING LIKE MELCHIOR GABOR SO UM LOOK IT'S GONNA BE HARD TO EXPLAIN JUST UM YEA IT'S MESSY) while the passive protagonist (who becomes the active protag by the end of act 1 and throughout the entire 2nd act) is named Cris Ibarra and is based on Moritz Stiefel and Rizal's Ibarra (more specifically um Rizal's Ibarra's growth into a very different character throughout the events of the two novels).

ALSOOO there is this one concept that made me really REAALLY want to make Patron an actual thingy and that is the existence of um Shadows in the show. Inspired by the voices in Deaf West Speing Awakening, these Shadows can always be found lurking on stage alongside their respective characters like um if Elias is in a scene, his shadow can also be found on stage somewhere. I kinda want them to like represent the characters' innermost thoughts and the other parts of themselves the characters' would like to hide through how the Shadows act on stage and um yea choreography gjsjf Patron is porbably gonna be very dance heavy so um yea it's a bit hard to explain so i'll just point to Alex Boniello and Daniel Durant's Moritz fjxjjf i kinda want it to be like that. The Shadows would be part of the show's ensemble and um yea lots of dancing and prop moving woo also at times they would be singing for the character they are assigned to like um while Elias would be in the middle of doing something on stage, his Shadow would be the one singing in his stead and when his Shadow sings, that's when the character becomes the most vulnerable to the audience because the Shadows often expose their characters' thoughts and worries to the audience that the characters themselves wouldn't really express. So like um the Shadows address the audience a lot gjxjsjd except for one aka Ibarra's Shadow. Instead of addressing the audience, Ibarra's shadow addresses IBARRA directly, often questioning Ibarra's actions (especially their hesitance in Act 1). ig ibarra's shadow is rather representative of what Ibarra would turn into in Act 2 when they take over as the Active protag. But um Ibarra's shadow still questions Ibarra frequently esp in regards to their risky actions so um yea Ibarra's shadow is kinda like the Fates the hadestown wherein they serve to sow doubt but over here Ibarra's shadow is meant to symbolize how insecure they feel in regards to their decisions which well, as the protag, make and break the show. Also um yea the rest of the characters' shadows also start addressing their characters more while the characters themselves start addressing the audience more so woo switcheroo! Also the dynamic that the characters have with each other is similar to the dynamics between the kids in Spring Awakening wherein they are just kids (well in this cause young adults aged 18-20) trying to figure out life in general and all that so woo

(also I would like to note that I really want Ibarra's role to be open to all genders in order to like make a statement that anyone can grow into the character Ibarra becomes throughout Patron but rn hmm i'm still thinking about how that will play out especially given that I kinda wanted Patron's Ibarra to have two love interests here aka Elias and Clara (kiiiiinda based on Maria Clara aka Ibarra's actual love interest from Rizal's novels but um YEA THERE ARE A LOT OF DEVIATIONS GJXSF) but tbh i'm still figuring out a way to make Clara have a much larger role here in terms of pushing the plot cause rn the Elias and Ibarra dynamic have an advantage since um active-passive protagonist switcheroo so I'm kinda thinking of a way to make Clara a secret 3rd protag that is both an active and a passive one? I dunno fjsjd honestly i'm still trying to figure out what Maria Clara represents in the novels cause I know for certain that Rizal did not write her to be a mere demure love interest so um yea WORK IN PROGRESS AND UM ALL IN ALL IBARRA CAN BE PLAYED BY ANY AND ALL GENDERS AND IBARRA IS PANSEXUAL BECAUSE I FUCKING WANT THEM TO BE GJSJJF)

+ Grade 12 - OKI SO LIKE I'VE POSTED ABOUT THIS BEFORE BACK IN MARCH BUT UM I'VE CHANGED SOME STUFF GJXJJD so anyways Grade 12 is well um designed to be a campy-please-don't-take-this-seriously-this-is-just-for-laughs-and-gags musical about 12th graders (i changed the grade to raise the stakes) that makes fun of Filipino TV tropes esp when related to teenagers while also providing a lit more insight on ad to what teenagers go through on a daily basis in terms of trying to grow into the person they want themselves to be while also trying to change to adapt to a world that more often that not goes against them. So yea it's not as heavy as the other musicals, heck I designed this after Preston Max Allen's Carrie 2 musical (dude check it out it has jenny rose baker and it's gold) so woo funsies but i also like this to mean something. Oh and also this is basically me ranting about Everything Wrong In The Philippine Education System (how it more often than not is really detrimental to the students' personal wellbeings through constant overwork and disregard of physical, mental and emotional health issues, its accessibility issues esp the issues experiences by those of the poorer sectors, the um very outdated info at times, how the system perpetuates classism and a shit ton of very detrimental social hierarchy bullshits esp through the implementation of the star sections (speaking as someone who's been in the "lower" sections and has also been in the star sections, I HAVE A LOT TO RANT ABOUT THIS ONE OH BOY FUN FACT I WANTED TO MAKE AN ACADEMIC PAPER ON THIS BUT MY 10TH GRADE TEACHER WOULDN'T LET ME) etc etc) plot is mainly barebones atm but um yea here are some of the updates to the characters: Kyla (formerly named Kate), Noel and Ella haven't changed that much but um I've decided to give the Halos Lagi Nalang number to Kyla and Max (nonbinary student that serves as a foil to Kyla in which Max is constantly being denied opportunities that they want while Kyla constantly refuses opportunities that Max wants; also yea i'll be talking about stories that trans and nonbinary students have experienced in both of my high schools through Max cause i really wanna bring attention to how the trans and nonbinary community is really being shat on despite the um sliiight improvement in the way schools treat the (cisgender) members of the lgbtq+ community; also they are just as ambitious as Ella (i envision her to be like um Draft Eva + Riley jfhdf) um yea major plot pusher woo I'd compare them to Draft Eva + Reese but um I Sincerely And Solemnly Promise To Not Screw Them Over In Act 2 fjjxfj) instead because they will be the ones with queerness being a much bigger factor to their individual plotlines compared to Noel and Ella.

The other main characters are um Marco (typical jock dude who's actually one of the more philosophical and introspective characters in the show; i want to like um highlight the whole sports scholarships debacle, how stereotypes can affect how people are treated in real life and also touch on the machismo culture that's um really being enforced here esp with him being an athlete and all; also he's really good friends with Max and through that friendship he learns that him slightly questioning his sexuality is a good thing so yea), Ruben & Lexi (i don't have that much planned for them atm because woo barebones plot but i do imagine them to be initially framed as the more antagonistic characters and have that like stereotype be taken apart as the show goes on esp considering that both are in the "lower sections" and are um more prone to stereotyping) aND A NARRATOR CHARACTER HMMM WHERE HAVE WE SEEN THIS BEFORE GJXJD oki but this Narrator (can be played by any gender as long as the actor IS VERY FUNNY LIKE COMEDIC TIMING IS A *MUST*) is based on the Narrator in PMA's Carrie 2 but I also want the narrator to be like um more crucial to the plot as the story progresses esp as they interact with both the audience and the characters a lot more so like um it's a bit hard to describe their exact role here because um BAREBONES PLOT FJXJD but altho they can't directly affect the story they are telling (cause so far my plan for them is like um they were a former classmate of 7/8 of the characters here but unfortunately they died due to a car accident), they can and do indeed influence the characters in it and all of the characters (except Kyla) know who they are (especially Ruben) so um yea. Also the solo I have planned for them is called Live On (which is um yea a spin off of Move On fjxjd) and through them, I plan to explore the tragedy of unexpected deaths and what happens to those left behind (this will be based on observations and accounts from many of my former schoolmates) and how many have yet to move on and how they choose to live on despite of that because they know that's what their former classmate, schoolmate, and loved on would've wanted.

SO OBVIOUSLY I OWE GRADE 12 TO SIR PRESTON MAX ALLEN GJXJFJD THANK YOU PMA FOR ONCE AGAIN INFLUENCING MY WORK WOO

+ Concepts - oki so this is the only musical so far that i wanna write solely in English nfjsj so this is inspired by Fun Home in which there are like versions of characters in different ages right? Over here there are 2 versions of 6 characters: the 17-18 year old ones, and the 27-28 year old ones. Through them, this musical will explore two main things: (1) the sad and depressing reality of having to give up one's artistic dreams and passions for the sake of practicality and (2) choosing to take a leap of faith and try to grasp on to whatever chances one may have left to live a life that means more than just making ends meet. Act 1 has the teenagers focus on Point 2 while the adults focus on Point 1; Act 2 has the teenagers focus on Point 1 while the adults end up focusing on Act 2. Once again, um barebones plot with even more barebones characters (heck i dont even have NAMES for them gnxnd) but i think it'll be pretty cool to elaborate upon the shitty circumstances here in the ph when it comes to artistic pursuits and how most of the kids I know are terrified of growing up because they don't want to give up dreaming even though that they know that they have to wake up. I also think it'll be cool to point out thay even though that yea situations like these suck, it'll never ever be too late to pick up the pieces and try again cause at the end of the day, life only ends when you say it will end: there will always be chances, you just need to be gutsy enough to grasp them. Also um yea I originally planned to post like a shit ton of poems this month that would basically be the lyrics of the songs that would go into this musical bUT I'M LAZY SO I'M THROWING AWAY THE POSTING SCHEDULE FJXJSJD anyways here r 2 of the poems/songs that i wanna make for this:

+ In 10 Years - a duet between one of the teenagers and their adult counterpart which is um basically the teen singing their optimistic yet really in-depth and mature perspective on chasing Point 2 while the adult sings about Point 1, wishing that they could tell their teen self about how disappointed they will be; i imagine this to be um kinda like the first version of Dear Theodosia but um more intense maybe fjdjf

+ Run - a duet between two teens who are best friends where one girl tries to convince the other to run and play with her in the nearby playground AND YES THIS DUET IS VERY FUCKING GAY JDJSJDF this was um originally part of Grade 12 tbh and it was supposed to be sung by Lexi and it was supposed to be about a 9th grade event that i personally was a part of where um 9th grade student researchers at a research seminar at a different freaking university took over the elementary students' playground when the seminar finished (I SHALL TREASURE THAT MEMORY FOREVER) and um yea it was basically about holding on to your childhood while you still can...aND THEN I UNINTENTIONALLY MADE IT GAY JFJSJSF Lexi is still getting that song about the research seminar event tho but um it won't be Run cause Run basically turned into a song that's not only about holding on to what's left of your childhood but also to the people you treasure that you know you have to leave behind sooner or later and um yea the girl that the one girl tries to convince to go to the playground agrees to that and then boom go duet stylized after 21 and Alone Now + I Don't Care by freaking preston max allen once again woo (i promise that this won't be plagiarism gndnd) (also altho the two girls have to go their separate ways by their graduation, they eventually meet again at the end of act 2 so woo hopeful ending for the sapphics

OKI THAT'S ALL FOR TODAY FHXHSHD THIS IS WAY TOO FUCKING LONG OF A RAMBLE GOOD GOD AAAAA SO UM IF ANYONE ELSE MADE IT TO THE END, I ONCE AGAIN WILL SEND YOU A SHIT TON OF CARBONARA-