#I want to eat him alive actually

[lotus-pear]

i love you royal trio (minus akechi)

[essektheylyss]

My thing about Veth potentially venturing into polyamory is that I do think everyone involved would be perfectly fine with it and happy to help her experiment, and I think that no matter how they do it, it would not fix her. This isn't to say that she wouldn't get any benefit out of trying! It's just to say that it's not a solution to her actual problem, because I genuinely don't think the problem is that she's lacking any one thing that would make her life complete.

Fundamentally, I think Veth struggles with the idea that there will come a point at which she has to settle. Not in a bad way, just in the sense that she is one person with one life and she will have to live within those bounds. Because the thing is, I don't really think her issue ends at struggling to "have it all"; to an extent she does! She is a good parent, even if her kid is a little rebellious; her marriage is supportive (and has fun sex); she gets to go off to save the world with Yeza's blessing on occasion, when the world needs saving. She doesn't have all of these things all the time, but... that's not really a flaw, that's just a fact of life.

But she started out her adult life settling to an extent—even if she loved Yeza and loved being Luc's mom, she did the safe thing that was expected of her. The goblin attack and everything that transpired after shoved her out of that life, but in retrospect, to an extent it likely feels that that pushed her to find something more that she wouldn't have had otherwise. Being pushed to her limit under the worst conditions made her better, stronger, braver, and at the end of it she found that she could have both her original life and much of her new life—so why wouldn't she then wonder if further experiences of that ilk could do the same?

Crucially, she has not actually run up against a hard limit yet, and as such she hasn't had reason to believe that there is a point at which she has to stop and recognize that there isn't more for her to find. When she was drinking more heavily during missions, even when it caused the death of herself or others, there were no long-term consequences. And the thing is, I'm not saying that she should face that kind of major consequence, but she seems as though she is scared to accept that maybe she could be happy if she stopped before she does.

I'm also not suggesting that she should stop experimenting or trying new things—the Luxon knows I am not one to talk in that realm—but I do think she is searching for novelty not because that would make her happy, but because she doesn't believe that she has the capacity to know what would make her happy. She was unaware that polyamory was even an option, so think of what else she might not be aware of! She doesn't have perfect knowledge of the world, after all, so how can she trust that she's found what she really wants? So yeah, she could fuck someone else, and it might even be an enjoyable experience that she didn't know was missing! But that only prolongs the question of what else she might be missing.

I think that deep down, she's terrified that if she doesn't keep pushing until that external hard limit, she will end up with regrets later, and simultaneously she is resentful that her friends all seem to have reached a point where they are largely content with what they have, because she wants them to have everything. She wants herself to have everything. And she has not yet allowed herself to come to terms with the fact that only she can determine when the everything of what she already has is enough, and anything else is the cherry on top.

[the-cartoon-connoisseur]

The BEST line I have ever read from a Ford x Reader Fic

was something along the lines of "I want him to grab me like how he grabs that chicken sandwich."

I have searched endlessly for this one-shot. I haven't seen it in at least two years, (honestly probably more). I fear it has been deleted. But I think about this line all the time.

To whoever made this masterpiece, I hope life is treating you well and I love you

[beartes22]

Season 2 Jayce with season 1 Viktor this, beard Jayce with young Viktor that….fools, all of you. I raise you, season 2 arc 2 Viktor and season 1 Jayce.

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations - all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[derww]

can devotion duo eat wemmbu alive

[polysyndetonaddictsupportgroup]

Howdy, Syn! Hope you’re doing well. I’ve got a fun little ask for you:

If you’ve got some spare time on your hands, I was wondering if there was a little (non-spoilery) detail in—well, any of your stories, I’m obsessed with all of them—that you really enjoy but don’t think anyone’s picked up on yet. If there is, I’d love to hear any ramblings on it 👀

Have a good one!

This ask is ages old but I’m working on chipping away at my backlog little by little. Since I’m in a pez dispenser debris kick right now, let’s look at that.

I honest to God can’t remember if I’ve discussed this before, so sorry if it’s redundant, but one of the main points of pez dispenser debris is that the conflict is Man v. Self to the exclusion of all else.

Like, to an extent, there’s a secondary conflict of Man v. Society, but that 1) primarily (but not entirely) exists in Izuku’s past and 2) feeds into the Man v. Self conflict by being the primary driver behind both Izukus’ actions.

I decided to eschew any kind of genuine conflict between Izuku and the people in his life because I didn’t for a second want the narrative to get confused by considerations about whether it was safe to have told his loved ones about his past.

I very easily could have chosen to explore a plot line where the people around him feel betrayed or question him. At the very least, Mirio could have had a moment of “what the fuck, man, I’ve spent my whole career being looked down on as the world’s Quirkless hero and you didn’t think to fucking mention you grew up Quirkless?”

Close to the entire class has been vulnerable with him. Todoroki told him about being abused his entire childhood. He knows about Uraraka’s financial traumas. Iida nearly killed that guy the one time. Kirishima made him look at that suspicious bump in the unfortunate place.

These are kids who have spent the past three years in the trenches together. They’ve been in actual, life or death scenarios since the age of 14-15, and the only thing that they could count on was each other. And then here they are, at the very end of it all, and they find out that the guy they’ve been trusting with their back the whole time seemingly didn’t trust them enough to tell them a single detail of his life before they met him.

They could have been a little more conflicted about the revelation. At the very least, they could have questioned deeper how their friend went from 0 Quirks to a suspicious amount of Quirks when they spent their entire time at school with Guy Whose Entire Thing Is Transferring Quirks And Like. Trying to Murder Kids Who Are Specifically Them took personal issue with every single field trip they’ve ever had.

But every single outside POV is like “obviously we can trust him. It’s Midoriya. Anywho I will now be questioning my own character because he can’t be the problem so it must be me.”

If I explored plot points like that, it would have divided the conflict’s attention between Man v. Self and Man v. Man. The plot would have to devote time and focus to resolving Izuku’s issues with his loved ones and regaining their trust, and that would have detracted from a major theme of this fic, which is that this wasn’t about not trusting the people around him. He didn’t tell them because of an internalized issue.

Midoriya trusted his friends with his life. This wasn’t about fear of them rejecting him because he grew up Quirkless. The conflict is with himself.

I also eliminated sources of external conflict by having it all come out to the entire class all at once. I didn’t want to waste plot resources on what Izuku would naturally do in this situation, which is try to hide the little shit by all means necessary and quarantine his very existence. There would be too much time and energy wasted on slowly revealing the truth to select members of the class one by one.

And don’t get me wrong, that could have been an interesting plot—it just wasn’t the one I wanted to write.

This fic is about having to grapple with the part of yourself that is still hurt and angry about it. The part that cannot process the past to the point where you fear it endangers your future. You want your trauma to just go away and not exist anymore, because things are better so it means you shouldn’t have to be them anymore.

The older Izuku wants the younger one to be gone. He wants him to, at the very least, stop talking about what happened in the past and accept the future for how it is, because he doesn’t want to lose what he’s gained. But in doing so he mirrors the denial of self his younger counterpart is being far more explicit about.

Because both versions of Izuku are refusing to believe the other is them.

Young Izuku is doing it in a very literal way. That guy ain’t me. He killed and replaced me. There is absolutely no way I am him. He refuses to accept that there is any version of him who could become like his older self.

But the older Izuku is doing the same thing, just in a less literal sense. Hes almost acting like his old self is somehow legitimately a distinct entity. He slips and says it to Aizawa—stop looking at me like I’m him. The older Izuku wants to just bulldoze over his past and pretend like it doesn’t belong to him, but it just doesn’t work that way.

That’s the conflict I wanted to capture for this fic. Just this absolute refusal to reconcile your past and your future because to do so would require processing the trauma you’ve been through. And so I cauterized off all other sources of conflict, because they’d just detract from what needed to be center stage.

[candyskiez]

skye, ten things : one, i just got done explaining the entire plot of tma to my best friend and her first reaction was “i want jon and elias to kiss”, and second thing, im drawing their final scene together FINALLY. any details u want me to include???

Make them kiss and make Jon look down at Elias with bitterness and sadness at the same time knowing if things were different he may have never killed him. If Elias were better or if he were worse, maybe things would be different. But as it is its unfinished and unsatisfying and all there is is the knowledge that Elias is a horrible man and so is he, and the people that they are right now could've never ended any other way. Elias made him into this, and the man he is now would've never chosen anything differently. He kills Elias. He wanted to, and he isn't sorry. There is no other way it was ever going to go.

But he's gone. And Jon is here. And for the first time, there is no knowledge Elias is right around the corner with all the answers if he could just pry them out of him. There is no lingering in his office hoping for guidance, for someone to fix all of it, for some sort of understanding. There is no way to cling to the naive idea that Elias could just fix everything, whether he liked him or not. There is no more respect left for him. There is no more thing that is almost something, that could be something, if one of them would dare to move from where they were for a second. There is nothing left. Jon killed Jonah Magnus. But Jonah changed him in more ways than he could count. He will never be rid of him. No matter how much he hates him, he can never undo what Jonah did to him.

He is not guilty over killing Jonah, or what he planned to do. He still thinks it would've been the right thing. Jonah is dead, and Jon thinks he's on his way to join him, some mornings.

All that's left is "what could've been, if something, ANYTHING, was different." And that's not an answer at all.

Also give Jon long hair

[ratatatastic]

on the robe saga, fors told viaplay "it was our captain's idea actually" so he was team sasha btw. which could mean nothing

(they also said "smells fresh, so you've not sauna'd in this one?" and he laughed and said he didn't he saved this one for that day)

its so personally funny to me that literally everyone is team sasha (ie. maffhew, roddy) except sasha himself its "today? barky" "barky hes the best" "matthew tkachuk and you guys know why..." "id wanna be barky in tappara!" "its gotta be barky" "probably go cap!" "id say barky!" all over again like sasha youre bias is showing here please 😭😭😭

oh! now that you bring up forsy saying he saved the robes for gameday! (can we also talk about how cute his smile is as he says it because he looks so proud of himself that he listened to his captain when he told him to save the virginity of his bathrobes for the game)

it does makes sense why forsy was missing from the pic lundy posted on his stories (not that particularly means much considering ekky aj driedges spence adam jesper swaggy gadjo and kuli are missing) but in the sense that all the boys in the pic have their robes on or have them bundled in their laps sans lundy who takes tourguide duties very seriously! but even then forsy couldn't help but join in because he has them on as an extra layer during lunchtime so the cold mustve gotten to him somehow but to know even then he didn't go into the sauna with it... mmm... your restraint is admirable...

so really knowing all this the timeline gets so funny because this idea has been bouncing around probably since bzito gave them the robes in helsinki (whether that was when they landed oct 29 or the day after oct 30 when lundy played tourguide for them) and maffhew mustve quipped "man it would be so funny if we walked in with em huh?" to sasha and promptly forgot about it because he yaps unconsciously and anything out of his mouth comes out in a fugue state and also in a very "i say shit and i dont really expect to be taken seriously" kind of way, sasha made a personal note of it in the maffhew index he keeps in his head, told the team in a very sasha esque way aka "don't dirty robes too much we're gonna wear them for the game :]" and no one took him particularly seriously because its sasha he always jokes like this haha hes not really gonna- (reminds them day of probably via text) and go oh well i guess its a prank but i'll still wear them because it's sasha (shrugs) i don't mind being the butt of the joke if it's for sasha to which they're delightfully surprised when everyone shows up in robes and it slowly starts to dawn on them none of it was a joke at all

sans forsy who takes everything his captain says very seriously and diligently follows his every word and saved the sanctity of the robes for gameday merely because sasha told him to... which could mean nothing... of course...

dear god help us all...

[moeblob]

I like the fact Tremaine's designated color is pink while Germaine's is maroon because if I draw them together it looks so bright and happy but they're in a dying world and both commit crimes many times a week just to survive. But hey, whatever.

If love is how they die, it beats starvation or injury! So letting them be codependent is like a treat almost.

[the-real-couchrat]

So did Jimmy ACTUALLY eat Curly? Or was it all a hallucination?

(Pls note that I haven’t actually played mouthwashing myself, just watched gameplays of it)

Bc if he was doing it to survive on low supplies, then why not just eat the other bodies? Everyone else was dead at that point. As much as I ADORE the horror of Curly being force-fed his own flesh by the man he considered a friend, At this point I’m pretty sure it was just a trippy metaphor hallucination.

Maybe everyone has already figured this out. but I learned about mouthwashing last night, and still don’t fully know what’s real and what’s not.

[bubblegumr1ck]

morty from this angle btw

[foreseers-flower]

eight years in november and somehow i do not love him any less and i cannot imagine ever falling out of love either

[howldean]

aughhhhhhhh i love MEN

[atopvisenyashill]

If you had the chance to change something about the dance of the dragons (TV show or book), what would it be? For example, how a character dies, which team a house is on,or an entire character personally. How would you change it to make the story better, in your opinion? 💙💚🖤♥️

JUST ONE THING. ANON U R A SADIST.

aksjdjd no okay thank you great ask. sorry if it’s a lil all over the place, i think obsessively about how i would adapt f&b and asoiaf if i was a millionaire lmao.

for the show it’s so easy (besides just giving it like ten more episodes to cook before getting to the Dance, I mean) - lean into the dueling protagonists of alicent & rhaenyra by giving them dueling deuteragonists in aegon ii and jacaerys. i realize this would completely reframe the whole show lmao, but we can even compromise and say once they do that ten year skip, the narrative should focus in on building up the two sides through the dueling protagonists alicent & rhaenyra, and dueling deuteragonists aegon & jace. it makes way more sense to have the character they most interact with be their sons & “heirs” and contrast those relationships & all the politics that exist in how they act as mothers towards their sons. rather than focus in on daemon as the second main character for rhaenyra and…this weird fucking musical chairs male protagonist with the greens they’re doing. it doesn’t fix everything but i think shifting the focus from rhaenyra’s marriages to her as a mother and queen regnant, and from alicent’s conga line of abuses to again, an active role as a mother and queen consort/queen mother, as well as fleshing out the two men who are objectively thee most important men in their lives (argue with the wall jace & aegon haters!!!!). explaining why jace & aegon developed into the sort of men they are through how they exist in the most important relationship in their lives, literally until the day they both die. (and if you’re curious, daemon’s counterpart is aemond, they get to be number three for both their sides. viserys isn’t on a “team” but he does have a counterpart and it’s QOREN).

i think the way they did it in the show really does a disservice to the potential of aegon and especially jacaerys as characters, as well as downplaying the importance of a lot of critical relationships like rhaewin, laenyra, criston’s entire demented relationship with both women, rhaenys’ relationship with laena & rhaenyra, alicent’s whole ass relationship with her kids, AND rhaenyra’s whole ass relationship with her kids. imo they go for this kind of half in half out “we want to appeal to the insane targ stans who genuinely believe incest will save westeros” and “we want to write a story about the complexities of motherhood & sexuality in a patriarchal society” and wound up in a weird place where daemon & alicent are both bisexual but only in deleted scenes and completely drop rhaenyra’s gender fuckery the moment she’s played by an actually non-binary actor and also completely bury the other non-binary actor (rhaena’s actor, phoebe campbell) by giving their character like two fucking lines and no depth.

also better wigs jesus FUCKING christ hbo i know you have the budget!!

for the books….a lot of the problem with the dance is that f&b is so antithetical to how george writes. it’s effectively a very long and detailed outline of a plot and george doesn’t write exclusively by outline. as he says himself, he gardens - he writes and he sees where the writing takes him. if he had actually sat down and written out the dance as a series of short stories the way he does with dunk & egg, i think the plot would not only be massively different it would also be leaps and bounds better. what i want to change is to make george actually WRITE the dance and not just outline and call it a day!!!!

BUT. Okay if I can change ONE thing. fuck that’s hard.

I’d make Larys’ motivation more clear, and when i say more clear i mean my theory is that Larys just straight up hated the Targaryens and Velaryons bc he believed one of them killed Harwin, and decided to get revenge by completely fucking over the whole family tree. i get why people like his show version (I like parts of him a lot too and the actor has some galaxy brained takes!!!) but i think while Larys is well done, his character adaption & the way he’s completely unknowable in the series itself is just a rehash of Tyrion. We already have a disabled younger brother who hates his older brother for being condescending in his love & conditional acceptance, and hates his father for being a patriarchal monster, and is a sexually abusive menace to teenage girls, and I don’t think they are saying anything new or groundbreaking with Larys in the show or book. He is just there to be the evil crippled henchman, and then die.

No, what I want is a true chaos agent to rival Littlefucker, a man who becomes obsessively and uncomfortably devoted to Harwin, the only person in his entire life who ever treated him with any love or respect or care, who launches this bloody, demented quest to completely wipe out every Valyrian left alive for the misuse and murder of his brother. Willing to help kill his own nephews. Willing to burn the kingdom to the ground. Willing to destroy his own house if it means Harwin will be avenged, if it means the dragons die. All leading to Larys getting his Pyrrhic victory and choosing to die because he feels he has nothing left.

Why the extreme change? I think it fits better with a lot of the themes in F&B and the dance in particular - not just family, and “the things we do for love” but the legacy of Valyria, of the Targaryens and the dragons, the clash and growing pains of this group of interlinked cultures learning to tolerate each other’s existence on the same continent, and of course, what being told every day of your life that you’re a monster does to how you view yourself. You can keep all the rest of his weird behavior from the show and the books even - the sexual abuse of Alicent being Larys unable to stop himself from turning into the same sort of awful man his father was; of him switching sides without a care or without any seeming sense in the books, always ready to be the devil on a shoulder to Viserys, Aegon, Alicent, and Corlys - but a little bit here and there to let us know that Larys genuinely loved Harwin until the bitter end. We already have several stories about a brother who grows to resent another and lets the resentment fester until he’s willing to cross a line you can’t come back from and murder his brother for a perceived sleight. I think Larys & the dance as a whole benefit from him being a brother who romanticizes and saintifies Harwin (but not lyonel!) so much that he weaponizes his years of resentment & turns it against the entire world and damn the consequences. I think he fits in much more with Rhaenyra, Alicent, Corlys, Viserys, Daemon, and Rhaenys that way and steps away from being Tyrion but slightly to the left and into his own type of character instead.