#Saying he’s not abusive is whitewashing

[chicalepidopterareblogs]

Could we stop conflating meta with canon wrt the alleged "whitewashing" in Palma Vecchio's painting for a minute, please?😅As far as we know, Armand never agreed to "have himself whitewashed" because Adoration of the Shepherds is supposed to be read as an accurate depiction Assadmand's features (the closest piece production team could find among the Louvre collection) and this will be my interpretation till proven otherwise.

I think your comment on how Armand's previous life experiences (and once again, this includes his time at the brothel) made him more susceptible and vulnerable to later become victim of a cult, is very on point. Also, your note on the language used by Armand in his molologue at the Louvre. However, I don't think it's a matter of language. Marius foresees an outcome just like that in The Vampire Armand:

This quote alone is enough material for the show to work with imo.

Now, on the topic of what is or what isn't abuse. This might be an unpopular opinion, but I do believe that "intentions" count when it comes to frame a situation as abusive and that's what I meant when I say that Marius methods are "traumatic" but not abusive, meaning, from our perspective, they are not sensitive enough towards Armand's emotional state in that moment but at the same time they don't come from a place of cruelty or sadism. Eventhough it shouldn't be used as foolproof justification for every crime that Marius commits, it would be nice if we remembered from time to time that when Marius meets Armand, he's been a supernatural being for over 1500 years. That said, I agree with the thesis in ep 2x07 about the Loumand abuse but I don't see how this applies to Armand Marius. What is exactly abusive about Marius wanting to devote his time and energy to his pupils' education and especially to his most beloved one, Amadeo? Sometimes it's just a matter of being humble enough to admit that we are biased and that we are willing to make a more or less benevolent read of a character or a situation depending on our taste and affinity with them. Reading the adoption of Armand by Marius as an act of generosity and selflessness makes as much sense as reading it as an act of power with a touch of racial tensions and I hope the adaptation keeps a fair balance between both (I admit it won't be easy and the discourse will be excruciating.)

On the meta post that you linked.

Interpreting B&G and that paragraph in particular through historical essay lenses is definitely thought-provoking. However, the part that struck me the most about that fragment was Marius comments about Armand's biological father. There is a real gold mine of father-son jealousy right there and given all the "daddy" hints in the show, I bet RJ will have so much fun exploring that.

To finish where we began, it really struck me as odd that you established a parallel btwn Marius submiting his bodily autonomy to the druids (though I remember Marius being quite rebellious) and Marius trying to regain that allegedly lost power by donating Armand, when in fact there is a much more evident parallel right there btwn both of their traumas. Both were victims of kidnapping and that's exactly what draws Marius to Armand:

In any case it doesn't make much sense to discuss that right now unfortunately, since we don't know Marius's origins in the showverse yet but I hope that changes very soon 😁

Marius being compelled to trade his own body to Mael in an attempt to escape the druids...Marius trading Amadeo for art in an attempt to finally be the powerful one in that exchange...it's all coming together. oh dear fuck it's all coming together.

[saltinesinsoup]

eurovision fans: i can excuse blackface but i draw the line at a song about laika

[yes-no-maybe-soo]

A couple of things that I love and admire about Sylus ♡♡♡

(This got long so decided to add a cut dhdjfj there is just too much to appreciate when it comes to this man ^^;)

For earlier parts in this "series": go here and here

How mentally and emotionally strong he is. His past never broke him or managed to twist or warp his soul. Which considering his background is incredibly impressive. This is a man that suffered severe trauma pretty much from infancy and onward for thousands of years. He is heavily implied to have been abandoned as a child due to being "weak". He self harmed at an early age. He witnessed the total slaughter of the only kin he'd known. He was nearly murdered himself for no other crime than looking different. He was tossed into the abyss to rot for over a millennia, stuck in place with a greatsword lodged through his chest. All of this happened while he was still a juvenile. He most likely hadn't experienced a single day of real happiness or care in his life up until meeting his sorceress. But even before they get properly close, he shows her kindness and compassion despite never having known any himself. We learn that he has never eaten a human soul, nor harmed anyone that didn't deserve it. When he dies, his soul is revealed to smell like flowers. He never lost his innate goodness. In the present, he also shows that same remarkable inner strength and stability, now even more noticeable with added age and further maturity.

How well he takes care of his people. All evidence points to him being an amazing boss and leader. It's especially touching to see how much the twins admire and appreciate him.

The effect he has on those that come under his wings. They all seem to flourish and come out stronger than they were before.

His aura. His scenes in LAR and his entire anecdote gives me chills to this day.

His perfect jawline. It's immaculate.

His honesty. He never lies to MC. Not even once. He doesn't ever whitewash himself and is upfront about his desires and his greed. Similarly, from what we've seen, he honors the deals he makes with anyone seeking his protection (No Way Out, Elysium).

His straightforwardness. On a personal level, as a ND individual, I appreciate this quality in others immensely since reading subtler signals more often than not isn't my forte and tends to stress me out trying to figure out what they are trying to convey to me. So it brings me comfort to see Sylus be straightforward with his feelings for MC. He may not always be direct with his words – both he and MC like to talk in riddles at times – but his actions and his demeanor always are.

His quick thinking and savvy.

Just his sharp intelligence in general. He is always eight or ten steps ahead of his opponents.

His sheer unwavering confidence and charisma. Both enough to fill the mariana trench.

How he is incredibly emotionally mature. He is calm, composed, never abuses the power he has, never lashes out, never loses control of himself. He isn't bitter, doesn't dwell on the past. He isn't brooding or hateful. And when MC tells him he sucks at something (giving a massage in the specific instance I'm thinking of) instead of getting annoyed or taking it personally, he asks her to teach him how to do it. When she says that he is pestering her, he accepts it and gives her the space she says she wants without arguing even a little. We have never once seen him fight with MC over anything. Nor can I even picture a scenaro where they would, try as I might. They're just too chill/emotionally intelligent to get heated or argumentative.

Overall his emotional strength and maturity shows itself best with MC. He definitely made major mistakes in his treatment of her at the start of LAR out of desperation and a misguided belief that the end justifies the means, but the moment he realizes that he has gone too far and that he needs to stop trying to force their past onto her, he stops. Nor does he ever try to manipulate or hold their soulbond over her head (he never even mentions it to her). Instead, he puts his all into building a relationship with the present her from scratch, on her terms, at her pace. He falls in love with and cherishes the present her, just as much as the past her. That is not to say though that all emotional scars have healed. Of course not. Whenever MC unknowingly makes those oddly specific references tied to the shared past she doesn't remember, it's bound to hurt him. But he handles it amazingly, staying composed. And he still aches for her to remember – but I suspect in large part for her sake rather than his. He wants her to know herself entirely, every single part. She deserves to know her history. But crucially, he never pushes the issue. All he does is make gentle references in the hopes that she might remember. But that's all. At the end of the day, on a personal level, if MC never recalls anything, then he'd be fine with that. He is overjoyed just to be a part of her life again, to hold her in his arms.

And imo the probably biggest instance of his maturity and strength? Being willing to let her go, if that is what she desires. Remember that MC represents everything good, beautiful, and joyous in his life. She is the best thing that happened to him. The one person to love, accept, and want him unconditionally. The sole individual to truly see the real him (the only one that dared or cared enough to try). After his resurrection he has yearned and searched the galaxies for her for an unknown but more than likely vast amount of years. And yet... he is willing to let go, for her sake. Even though it would destroy him on the inside. Because she is so much more important than his own desires.

Following on with the maturity theme, I admire the way he approaches losing. He isn't a sore loser but bears it with ease of mind, which isn't always the case with people like Sylus who are used to coming out on top. But to him, whether he wins at a competition or not doesn't affect his confidence or self worth, and he can readily acknowledge when he's been fairly beaten by an opponent. The only time he truly cares about winning is if MC wants him to. And then he'll make sure to win no matter what.

Another thing I admire is how he is so willing to adapt and adjust for MC and the love he bears her. For instance, Sylus is not by nature or temeprament a patient man. He wants to get things done and wants them done fast. A good example of this is in the most recent event, where he does not have the patience to let flowers grow naturally and so tries to force the process. However, when it comes to MC? He is willing to wait infinite lifetimes. He always walks at her pace when it comes to their relationship, and never pressures her. He gives her as much time as she needs to figure her feelings out. He is an impatient man willing and ready to be endlessly patient for his beloved

For all that he is down bad for MC, Sylus isn't a doormat nor spineless in regards to her. He won't just mindlessly agree and go along with whatever she wants but has a strong will, agenda, and boundaries of his own. He teases and bullies MC (affectionately), gives as good as he gets from her, and doesn't hesitate to call her out and/or fluster her for his own amusement. Leading to the banter we all know and love.

His ability to truly self reflect and grow. I am referencing what happens in and after LAR 1-8, where he disappears for a while after having gotten hit by a harsh but necessary reality check. My belief is that he went away initially to cry, but that he also did some major self reflecting. Afterwards, his behavior toward MC changes quite dramatically. He realized that he fucked up, and is determined to do and be better for her. And he never falters. We stan a person that recognizes they fucked up and learns from it. His character development and growth in general mean a lot to me.

How incredibly skilled he is at driving those mototcycles of his. No wonder MC feels safe riding with him no matter how fast they go or how dangerous the terrain.

That his crimes never affect innocents. Sylus has always made it a point only to harm or kill those who truly deserve it.

Despite how he claims never to have comforted anyone before, he is touchingly good at it. He is incredibly emotionally intelligent and attentive. He is always so quick to pick up on how MC is feeling, and he also knows when it's best to give advice, when it's best to act (ie send her something to comfort her, take her on a joyride etc), or when it's best to simply listen and be there for her. Most of the time he is incredibly in tune with her feelings and her needs.

And he can be so achingly tender when he comforts her. A great example of this is in Where Hearts Live, when at one point MC feels embarrassed and insecure about verbalizing how she feels. He is so patient and gentle, holding her close in his lap and rocking her, softly reassuring her that she can talk to him, that he wants to hear what she has to say. And there are other examples of his kindness, such as with animals and plants. A huge reason why this is so admirable to me is that Sylus is a man that has lived a rough life, and with few exceptions seen and dealt with the worst humanity has to offer. He has had precious few opportunities to witness or experience goodness or tenderness from others. And yet he has no trouble being either to those he cares for. It comes so naturally from him. Again, further proof that he has always at his core been compassionate and kind, and that those qualities have withstood throughout all the hardship and violence.

Lastly, I (naturally) greatly admire his hands. They are mesmerizing. Large and rough, yet elegant and beautiful. I can stare at them for hours and never get tired.

Ok I lied I also need to add his veins. Both on his hands and on his bulging arms.

[cadaveerie]

cw: child abuse and non-sexual grooming

VEILGUARD SPOILERS (from lucanis' writing, a mission towards the ending and a little general)

About Lucanis and the Antivan Crows...

after finishing datv, I can finally say for sure that despite the fact that i find this game was overall fine, there are several things about it that have disappointed me. one of those things is about lucanis (and it's not even the only thing about lucanis that bothers me, but we'll leave that discussion for another time, because there's a lot to say about the writing).

in this game, Caterina Dellamorte (lucanis and illario's grandmother) is portrayed as a woman that's cold and demanding. not particularly nice, lucanis fully acknowledges that she's not exactly the loving type, and it's easy to assume things about her and about their relationship based on that... but for some reason it's never addressed that she abused lucanis when he was a child, by beating him and starving him. this is something that you can read in lucanis' story in tevinter nights, the wigmaker job, which was lucanis' introduction.

"Memories of sweat-filled days without food or water came unbidden Lucanis’s back tingled from where his grandmother’s cane had bruised his flesh for letting his guard down or fumbling his footwork. For years, he’d hated her. But his time as a Master taught Lucanis that Caterina’s cruelty was her way he was prepared for this life—that he survived."

I was waiting to finish the game before I said it, because I expected him to mention at some point but... no, nothing. I don't know if there's anything in a codex or something specific I missed, but even if that's the case, I expected it to be significant at all. it wasn't.

i'm not even going to get into what lucanis should feel about this. before the game came out i talked about some of my hopes for him based on the info we had about him, and imo there was not even half of that level of depth to his character. but i wouldnt have minded if the game went in another direction, or if lucanis simply just wasnt open to discuss it, or if he came to the conclusion that it was fine. i won't get into how "problematic" thinking that is, because i could understand that he tells himself that, and as a fucking assassin, i understand that he's come to terms with it because otherwise he probably wouldnt have survived in such a dangerous enviroment. i won't get into it bc as i said, i can understand it. my problem is that lucanis never says it. he never tells rook or anyone else that caterina abused him, or that the crows overall are very abusive and that they do this to children and break their minds basically in order to become emotionless living weapons. and if this is said in any banter, then i missed it in my 91h of gameplay, and i had lucanis in my party every single time we went outside. or it might be in a codex entry, idk. the point is that even if that's the case, that's not a great way to tell this info, especially when in the story theres no other way to learn anything like this about the crows. ppl that i talked to that didnt read tevinter nights didnt know this fact abt caterina and lucanis' past, they simply didnt cause how could they. I just wanted to say this because I think it's important to know if you like lucanis, or the antivan crows, and it's never even actually implied.

I also have many other issues with his writing, but the antivan crows are unfortunately also whitewashed. at least if you've played dragon age origins you know this, but our first antivan crow companion, zevran, talks about how he was taken as a child by the antivan crows. how he was literally bought by them as an orphan, and forced to become an assassin, and when he tries to flee, they attempt to murder him throughout the game. he even talks about how apparently some crows even made their members go through blood magic rituals to acquire abilities (SOUND FAMILIAR? IT'S LITERALLY WHAT ZARA DOES TO LUCANIS, ISN'T IT. HOW FUCKED UP). i think it's so disrespectful to dragon age's worldbuilding and so appalling that they simply... ignored all of this. I'm very upset that this was completely whitewashed. i wont get into it, but i assume they didn't show the crows being awful because, well... they have to be the good alternative for government in antiva. the bad guys are the antaam, and that's it. but one of the things i always loved about dragon age is how they treat these sort of political things. as i said, in origins the crows were more of an antagonistic figure, but at least it made them feel more real and serious. and people loved the crows like they were, fucked up assassins. in this game... idk, am i supposed to believe the assassin guys are nice? why hide the ugly? of course it's gonna be there, and it's ok. irl it happens a lot that oppressed people have to rely on groups that are less than ideal for their liberation, and a lot of times citizens are kinda ok w it bc no one else will stand up for them, so they have to work w what they have, and they're just relieved theres someone there for them. and it also shows that people are not perfect victims. if you're putting ppl in a corner, at some point ppl are rarely gonna care about being "good", and it's only human. and im not even gonna get into being an antivan crow rook because... sigh, it's more of the same. just disappointing. rook even mentions that theyre an orphan. and im pretty sure in the final mission about treviso, at least if you helped jacobus, he is like "i'll take in orphans and give them a chance". oh man, yeah. cool. please tell me how you'll raise them to be, im so curious to see how you won't groom children and abuse them into becoming mindless cold soldiers. that's fucking insane. this feels like fucking US army levels of propaganda and grooming. i love when we normalize child soldiers that's so fucking awesome i love this "woke" game when it's pro-military and anti-fucking-questioning-anything-a-military-force-does.

i even wondered if all of this has been retconned or simply ignored. i dont have a problem w retconning overall, and it's only natural it would happen in a franchise that's as old as DA, but the thing is... why would you do it. it literally just makes them flatter, it doesn't make any fucking sense.

so yes. im VERY disappointed in this game and the writing. this is one of the many things in the writing that disappointed me. the antivan crows are an organization that bring hope, and im perfectly fine with them being portrayed as "saviors", but im not ok with them conveniently not addressing any of their very bad issues. it's unrealistic. it's disrespectful to our intelligence, to dragon age fans and to dragon age origins. it's disrespectful to characters like zevran, who got into an insane war with them for a fucking reason. it's disrespectful to every antivan crow character to be honest. and im sorry, i dont even think this is insane to ask from them. like.... im literally just asking for consistency. they had it already, i dont understand why they did this. i had faith in them, but perhaps that's on me. im so heartbroken.

and i promise i actually think the game overall is ok. it was fun. definitely one of my least favorite games, if not my least favorite, but still. i appreciate it, and LOVED. LOVEEED some scenes. in fact, it might have at the very least one of my favorite scenes from the whole franchise. i think this game has very low points, and very high points, so it's hard to say what i think about it in few words.... but there are so many things like this in the writing, and it's just SO upsetting and disrespectful. im sorry. im truly sorry, you don't know how much i wanted to love this game and the writing. you have no idea. but i have self respect, and i don't lie to myself when i see something i dont like. it feels like they're whitewashing the crows cause we'd be too stupid to understand complex political issues. i thought this game was mature and could handle mature themes, but it doesnt seem like it's the case anymore. perhaps bioware is dead. i still want to believe they can come back from this but......... the post credit scene doesnt reassure me AT ALL. sigh. im just upset and sad. and as i said, this is only one of my many issues. i'll talk about the rest in the future, but im writing all of it down and i need time for that. i hope you understand that this comes from a place of genuine love. sorry i can't be happy about this game, but some of the stuff i see just ruins the rest for me.

edit: someone told me that apparently theres a banter when you go to dellamorte's villa and lucanis *implies* that he was beat by his grandmother (at least to another antivan crow rook). this whole post still stands though. i think that should have not been a banter that i (and im sure others) missed. and again, it also ties to how i think the crows as an organization and their methods were whitewashed. even if it's not particularly a lucanis problem, it could have been to some extent addressed by him.

[the-clock-of-the-time-dragon]

[Wicked Act II spoilers]

[edited for tone and clarity of purpose, apologies for initial crudeness and frustration]

Okay, obviously I'm biased, but I'm gonna need the Fiyeraba shippers to please set a lot of your people straight about some things. I've seen way too many people trying to say that Glinda is just a selfish bimbo and that Fiyero is a virtuous and selfless figure more worthy of Elphaba's love. I'll set aside for now the idea of "worthiness" in this context. But let's start off with Fiyero joining the Wizard. Hoo boy...

Yes, he was initially somewhat less tolerant of the propaganda against Elphaba than Glinda was; yes, he was secretly trying to find her so he could run away with her or whatever. But honey: those facts DO NOT fully absolve his actions as the Wizard's top officer, or selfish recklessness throughout Act II. I see so many popular threads and posts romanticizing and whitewashing with "oh but he didn't REALLY join the Wizard, he just pretended so he could try to get to Elphie! It's all for love, and he sacrificed everything for her!" As if the literal captain of the literally fascist forces responsible for the oppression of Animals wasn't equally responsible for said oppression?? Hello? Fiyero really didn't think of seeking out Elphaba in ANY other way that DIDN'T involve becoming *checks notes*... the trusted leader of the troops committing all the abuses she's fighting against in the first place???? Like it's cool and all that he helped with Brrr, and it's all well and good that he planned on betraying the Wizard as soon as he found Elphaba (which took literal years, so I guess we're left to assume he was prepared to just keep doing fascism indefinitely if she didn't show up????), but uh... it's kind of concerning to how eager some of you are to make excuses for this dude volunteering as the head of the Ozian Gestapo??? smdh

He didn't accomplish anything from it either, by the way — like yeah, we get it, he did everything he did whilst silently fantasizing about running away with the Witch he was being paid to hunt. Fine. But I can't be the only one who doesn't buy that as an actual excuse???? Like, guys: nobody forced him to join the fascist army — even with crazy ulterior motives. He wasn't coerced into it; it wasn't his only choice or anything. Searching for Elphaba did not somehow compel him to go and volunteer to follow (or to give!) orders in the name of the dictator who was trying to have her assassinated the entire time. He could have just not done all that. (Genuinely so curious how the second film plans on covering that material tbh)

Glinda made several questionable decisions that can be (and have been) debated, but she is still very unambiguously a victim. Her position in the Wizard's regime was foisted upon her. There are things we can discuss, but I find that many folks need reminding that Glinda would undoubtedly have been disposed of (or worse) if she failed to make herself useful. I mean hell: she wasn't even supposed to meet the Wizard in the first place — she was only there because of Elphie. If she'd tried to resist, it would have immediately gotten her labeled the Witch's accomplice. As soon as she'd chosen not to get on the broom, her fate was out of her hands, and all available options were varying degrees of horrible.

That's not the case with Fiyero. He went to the Wizard all on his own; no one ever cornered or forced him into it. Thinking Animals are people, and having a crush on Elphaba, simply did not stop him from carrying out the regime's orders — for years. It's not clear exactly how long he's been captain at the start of Act II, but the clear implication is that he's been a soldier for most of the time skip. I've seen Fiyeraba accounts with headcanons about him acting as a double agent, secretly doing stuff to help Animals — and that's a great idea, it would indeed serve to make a lot of his actions way more palatable — but until we actually get to SEE some of that (maybe they'll add it for the movie version of Act II; we'll have to see), there is nothing in the story to suggest that. He certainly didn't do a damn thing for all those Animals who were enslaved and caged in the Wizard's palace — and we don't see a single other Animal outside of there in Act II, so as far as we know Fiyero has participated over those years in the near-total removal of Animals from Ozian society. In the name of "finding Elphaba". Not fighting for her cause. Just finding HER. For HIMSELF.

It's fine to have a ship you like, obviously — and there is genuinely a lot to like about Fiyeraba, I don't dislike the idea of them as a couple or as friends — but come on guys: please stop those out there idealizing Fiyero as somehow a clear "morally-superior" alternative to Glinda, lol. The dude had power, access, and opportunities, for years, that he could have wielded in any number of really selfless, revolutionary ways. He didn't. And I propose (apparently controversially): he simply didn't want to. And that — at the end of the day — is (much as some would like to deny it) true to his character. He always WANTED to be self-absorbed and shallow, and all his actions are consistent with that. Elphaba saw depth and discontentment in him, yes: but (and I cannot stress this enough) when given the chance, he channeled that in the wrong direction. He didn't confront that and become a better person — for the most part he just displaced and projected it onto Elphaba as an object of obsession, and put on an even thicker pretense than before.

All his actions — regardless of the complexity he has deep down — are those of a man who never gives one fuck about anything or anyone, except (kinda sorta) Elphaba. But even then: at no time does the care he has for her seem to extend to caring about any of her wants or needs outside of sexual validation from him, or how she might feel about his actions, or indeed the impacts of those actions upon her, her cause, or anyone or anything else. I don't think it should be all that controversial to say: he doesn't think through the wider repercussions of anything he does — thoughtlessness is just one of his core character traits. He doesn't think ahead or see meaning in anything outside of what can temporarily excite him, in the moment. I think people place a little too much weight on Elphaba clocking him with regard to his internal pain, and seem to expect (understandably of course) that she is not only right, but moreover that he will grow from that in a positive direction, based on her influence.

But he doesn't. If anything, we get a surprising inverse: he pretty much proves her wrong. Not to say he didn't have hidden depth and all that, like she said: but his hypothetical heart of gold proves not to really amount to much in practice. He doesn't grow out of his shallowness and his self-centeredness: he grows into it in a way that he hadn't quite yet in school. Where once he was only masking an internal listlessness, after he's been cracked open by Elphaba he decides to be genuinely self-absorbed and deeply shallow, not just coasting by. He performs in new ways — as a soldier, eventually as a "fiancé", etc. — but by Act II we meet a Fiyero who has staked the last remaining shred of humanity in him on the vain pursuit of the only object of his desire that has ever been unavailable to him, and firmly chosen to say to hell with everyone and everything else.

When put to the test, Fiyero sacrifices Glinda, the Animals, and all else that Elphaba actually cared about, to pursue his own unresolved crush from college. Mostly to get in her pants, really — as harsh as I'm sure that sounds. But let me be frank: that is literally all he ever accomplishes in the show. He gives her dick one time, and one of his castles, and that's it. That's the culmination of his years trying to find her — years in which he actively worked as one of the stormtroopers (or even the one commanding them) committing untold crimes against Animalkind (who, again, it seems have been all but erased from Oz by Act II): y'know, the very crimes Elphaba sacrificed her life to try and stop????? He spent the most important time of his life — of his own free will — being a fascist soldier, but he "did it for her" somehow, so according to some, it's perfectly fine. Heroic, even. Yikes??

But let's make something very clear (since my original version of this post caught a lot of flak, including slurs and other rudeness):

I like Fiyero. I find his role extremely interesting (I could do a whole dissertation on him, but I'm especially a fan of the way his proving Elphaba's assessment of him wrong presents a fascinating parallel and contrast with Glinda, which I think is lost on a lot of people). But PLEASE stop with all the misguided Glinda slander and idealization of Fiyero. By all means, thirst! But don't give me all this bullshit about him deserving Elphaba more, or being super deep, or being really principled or noble or whatever else. He does have layers, and quite intriguing ones, but his insides are straw — he isn't meant to have some deep, overwrought emotional core or motivations; he has passions that he acts upon when given the chance. That's it. And that's fine. Actually kind of refreshing in a story rooted in simple children's fantasy but rife with intensely complicated personalities. Fiyero makes it his mission to represent denial of depth and embrace of raw, spontaneous desire — and I for one love that, and wish others appreciated it.

And in all seriousness, shipping wars aside: by the end of the story, it's Glinda who is ultimately vindicated, and has — for all her faults — made the necessary choices to fulfill Elphaba's wishes, bring down the regime, etc. And all that despite herself. She's miserable: not just because of the mistakes she made, but because of her correct moves as well. Fiyero is simply not — and could never be — that person. And that's okay! Like I said: I am not anti-Fiyero. Fiyero's willingness to throw it all away for the sake of sheer, overriding passion is a huge part of what people like about him, of course — and it's an obvious factor in the attraction between him and Elphaba, because she has her own flavor of that impulse as well — but I'd actually argue that it's not romantic, it's his fatal flaw. And thematically that's fantastic! But I just don't believe that it somehow means he "deserves Elphaba more" because he "gave up his life for her" or whatever. In part because NOBODY truly "deserves" Elphie tbh, not 100% (and I question anybody who claims otherwise), but ultimately because I don't accept the idea that his fleeting acts of passion make up for all the shit leading up to them (or even proceeding after them tbh). At least Glinda managed to do what Elphaba always wanted in the end — but I would die on this hill even if Gelphie didn't exist.

You don't have to agree with my analysis of Fiyero and his choices, relationships, etc. — that's fine. What isn't fine is trying to portray Glinda as some kind of spineless traitor whore for the Wizard and Fiyero as a conscientious hero who earned Elphie through self-sacrifice. That's just not the story that was written. It's WAY messier and more interesting than that.

[dalishious]

Alistair vs. Cullen

It really annoys me when people act like Alistair and Cullen are the same character, when they are very different.

Alistair grew up with child neglect. When visiting Denerim, Eamon kept him in the kennels. At Redcliffe, he slept in the stables on a pile of hay. Alistair also recounts a time when he was locked in the dungeons for a day before someone came to get him out. And of course he also talks about how Isolde despised him, and “made sure the castle wasn't a home.” But is still convinced that Eamon is a good person and he deserved all that. Cullen had a very fortunate upbringing with a loving family who supported him and what he wanted in life.

Alistair never wanted to be a Templar; he was forced into joining the Order by Eamon. He is vocal about how much he despised this, and considers Duncan recruiting him for the Wardens as “saving” him from them. The only thing he says he enjoyed about Templar training was the educational component, which he did not receive previously. Alistair was a poor recruit because he frankly did not want to be there, and therefore did not take it very seriously. He saw practices like the Harrowing as horrifying, and deepened his dislike of being a Templar further. And as time goes on, he becomes even less of a supporter of the Order; he outright says Meredith is the biggest threat to Kirkwall in Dragon Age II, if made king of Ferelden. It was always Cullen’s dream to be a Templar, and would even force his younger sister to “play the apostate” for his “training” before being recruited. Cullen was an enthusiastic recruit who considered Templar training “all that he had imagined”, and “did not hesitate” in taking his vows. Even the Harrowing did not waver his devotion to the Order, which by Dragon Age II becomes downright fanatical and tyrannical, practically worshipping Meredith. (Though this was later attempted to be retconned in Dragon Age: Inquisition… just as poorly as all the other retcons in that game, taking the path of “just pretend he never said and did all those things!”)

There is a lot of dialogue from Alistair about how much he dislikes the Chantry. Cullen, on the other hand, is extremely faithful and the only criticism he ever has about the Chantry is that they don’t treat the Templars well enough.

Alistair has a good sense of humour—in fact, it’s one of his biggest coping mechanisms. Cullen wouldn’t know a joke if it hit him in the face.

The player can disagree with Alistair on every turn. He is presented as sometimes being right, and sometimes being wrong, like most people. (Side note: more than that, you can be downright verbally, emotionally, and physically abusive to Alistair. Holy shit, I didn’t even realize how bad it can get until reading through the dialogue in the toolset, because I’ve never picked those options in game. I was honest to god flabbergasted and very uncomfortable through much of it.) The player rarely has the chance to even mildly disagree with Cullen. On the rare occasion you do, the dialogue is painted as if the player is being an unreasonable asshole, and he never even addresses what they say. (Example.)

The only reason I think people are capable of mistaking them for another is because fandom likes to donate Alistair’s personality onto Cullen. That and the the ever-frequent whitewashing of Alistair doesn’t help matters. But I’m not even a Cullen fan and I think it’s a disservice to both of them to act like they’re just Alistair and Alistair 2.0, honestly.

[maxdibert]

Yes, James flipping Snape was wrong, but let’s not pretend Snape was some innocent victim who never did anything equally bad or worse. He was a Death Eater, and you don’t earn that title without doing some truly horrific things to prove your loyalty. The key difference? James grew the fuck up, while Snape didn’t. He chose that path as an adult to follow a cult full of racist terrorists that killed people for their blood status. His actions led to the death of his former best friend and his longtime nemesis. Then when his master was dead, he decided to switch gears and bully children who were much younger than him. Including Harry and Neville who both lost their parents because he couldn’t keep his mouth shut. If roles were reversed James never would have bullied children, especially Harry or Neville. But sure, let’s keep pretending Snape’s some poor, misunderstood hero. Snape absolutely takes the crown for the biggest scum.

You’re out here defending and sexualizing a racist terrorist who bullied children, if anyone needs therapy, it’s you. I honestly can’t imagine how you treat people who don’t look like you. But hey, at least you have something in common with JKR, you’re both racists who idolize Snape 👏🏼

You just:

Justified abuse.

Blamed a victim for not fitting into the role of the "perfect victim" and insinuated that if someone does bad things, defends themselves, or doesn’t sit in a corner crying, they don’t have the right to be a victim.

Justified the abuse by saying that long after it happened, the victim fell into a spiral of violence. Let me remind you that what James did happened before the Death Eaters. So, I don’t know what excuse you’re using here.

Blamed the victim again.

Pretended that an abuser stops being an abuser because they do good things. Like, if a guy rapes me but then goes off to help in a war, does he stop being a rapist? I don’t understand. Does the crime get erased? I’m asking.

When exactly does James Potter "grow up"? When he tells his girlfriend he’s stopped bullying, but it’s a lie? Or when he listens to his best friend and chooses the wrong Secret Keeper because they’re both racists who think the werewolf must be the spy? I’m asking.

Isn’t Snape the one who was only with the Death Eaters for about three years but then spent 18 years fighting against them in secret without asking for recognition in return? Like, I don’t understand why you’re going on about how he "signed up" and all that when literally his fundamental arc is about him spending years trying to atone for that mistake.

Blaming the victim again, I guess.

What are you even saying about his master? Severus went to Dumbledore long before Voldemort "died." It’s thanks to him that Lily was able to invoke the ancient magic. It was Dumbledore who forced him to work at Hogwarts. Did you smoke something for breakfast, or have you just not read the books? xD

Hmm, curious that you talk about racism when you’re the one defending a character who was canonically a white aristocratic kid who bullied and abused a working-class kid because of his physical appearance. Curious that you talk about mocking someone’s appearance when you’re defending James Potter, who mocked someone for their looks and their lack of money. Like, I don’t know what kind of world you live in, but your perception of reality is very distorted. Because the reality is that you’re defending a character who bullied and abused someone far beneath him in status just because they "existed," or because his friend was bored. It has nothing to do with the Death Eaters, nothing to do with who that victim would become in the future. James Potter did it because he could, because he was rich and the other was poor, because he had a name and the other didn’t, because he was obsessively infatuated with a girl and the other had the bad luck of being her friend, because he was a sadistic brat. Period.

You’re whitewashing abusers, just like Rowling, who whitewashes all kinds of toxic male behavior in her work. So go eat crap and keep licking the boots of cishet white male abusers somewhere else, will you? What a chore you are.

[despapillon]

Can’t believe what I’m finding out from the bird app but hey I think Henry stans need to shut up about the Byers family and stick to talking about their ugly incel serial killer that enjoys bullying children.

The gall to claim Lonnie is not an abusive father is insane. When all points to the fact he absolutely was abusive to Jonathan and Will. But I guess some idiots need everything completely spelled out to them!

I’m sure Lonnie is so mindful he was just gossiping to Joyce behind Will’s back and never called him slurs or said anything homophobic to his face.

Lonnie commenting on Jonathan getting stronger was about what? Jonathan’s baseball skills? And not a reference to Lonnie probably physically abusing him?

Why did Jonathan suspect a simple non-abusive deadbeat would hurt his son and hide him in a trunk? Huh? How in any way is that normal if Lonnie was not abusive? Can you imagine, idk, Nancy suspecting Ted of murdering Mike?

And treating Will not being completely against spending time with Lonnie as proof he couldn’t have been that bad. Are you kidding me? Do you know anything about how complicated the relationships can be between an abusive parent and their child? That’s his father. He just wants to be loved. He just wants his acceptance because he keeps trying to mold him into someone he’s not. How media illiterate you have to be to not get such a simple thing.

He’s abusive. Verbally, emotionally, hinted to even physically. Abuser, plain and simple. Not tossing the word around, just saying it how it is.

Fuck anyone that tries to whitewash Lonnie. Fucking Lonnie of all people. That’s the guy you wanna defend? I suggest getting a lobotomy.

[honeyedwords111]

summary: You struggle with life as a young adult with a father who has a gambling and alcohol addiction, you seek comfort in the arms of your dads best friend

2.3k words

Warnings: 18+ age gap (reader is 18 Arthur is 36). Descriptions of abuse, abuseive father. Father’s best friend.

Please note that there are possibly triggering tropes/story lines that might affect you so read with caution!

(This is my first ever fan fiction to I have NO CLUE how all this works) Lmk if you want another chapter!!

As the day stretches on, the late afternoon sun pours through the window, casting everything in gold. Long shadows dance across the whitewashed walls of your room. You sit on the edge of the bed, pulling your white cotton socks up over your knees. Standing, you smooth out your slightly crumpled dress—a delicate eggshell-colored silk piece with embroidered flowers and puffed sleeves. Your father’s favorite dress. He bought it after a big win one night, not out of love, but to show you off, like a prize he could parade around.

He always brought you along to his games. Sometimes to serve drinks, sometimes to clean up after the men. But more often than not, just to sit in the corner, silent, an ornament to enhance his status.

A familiar sense of dread settles in your stomach. You have always hated game nights—completely ignored unless your father needed to introduce you to the men. And even then, he wouldn’t speak to you, wouldn’t acknowledge you as a person. Just an object.

You let your hair down, golden strands cascading over your shoulders, and dust a light layer of blushing powder over your cheeks. You don’t really need it, but anything to delay the inevitable. Taking a deep breath, you catch your reflection in the mirror. Pale. Tired. You quickly look away, pushing down the uneasy feeling rising in your chest.

The hallway outside your door is quiet as you make your way downstairs, where your father waits. The moment he lays eyes on you, his expression tightens.

“Your dress is crumpled.” His voice is cold.

“Yes, Daddy. I’m sorry,” you murmur.

“You know that appearance is everything, Y/N. Don’t let this happen again.”

His gaze is sharp, disapproving. You want to roll your eyes, maybe say something, but you don’t dare. Not when you know what awaits you if you push too far. The memory of sitting in a corner, back bleeding, for hours stops any comeback you may have had. And besides, a ruined dress would only make things worse.

He grabs your chin roughly, forcing you to look at him. His grip is tight, painful, but careful—never enough to bruise. A bruised face would make you less appealing.

“Well?.” “Yes daddy, I’m sorry, it won’t happen again.” He releases you with a grunt and turns away. You stand there for a moment, alone in the dimly lit hall, before following.

……………………………………………………………………………………………

The cart jostles down the rough road, and you keep your hands neatly folded in your lap, gaze trained straight ahead. Careful not to disturb him. You can tell your father is tense.

You don’t know much about this game, only that it’s off the books, taking place in Flatneck Station.

“Is it a big game tonight, Daddy?” you ask, your voice small.

No response at first. Then—

“Big money on the table today, baby.”

You blink, slightly surprised. You had been under the impression that money was running low.

“Can we afford that right now, Daddy?”

His face darkens.

“You think I’m going to lose? You think I’m fucking stupid?” His tone sharpens, a warning.

“No—Daddy, that’s not what I meant!”

“Don’t ask stupid questions, Y/N. Just worry about sitting there and look pretty.”

Ironic, considering he’s the one who cares about your appearance more than you.

You don’t say another word.

The cart pulls into the station. Your father hasn’t spoken since snapping at you, and you don’t dare break the silence.

……………………………………………………………………………………………

Men loiter around the platform, cigarette smoke curling in the humid air. Most of them are unfamiliar, but then—your gaze lands on a broad, familiar set of shoulders.

Arthur.

You hadn’t expected to see him here.

“Arthur’s here?” The words slip out before you can stop them.

Arthur is your father’s best friend—if you can even call it that. Your father always said friends are for the weak. A man only needs allies. Still, Arthur has been around for as long as you can remember. Sometimes months pass without a word from him, but whenever he’s in town, he makes a point to see you both. He’s gruff, rough around the edges. You’ve heard all the horror stories about the things he’s done, the things he’s capable of.

Yet, somehow, you can never quite picture it. Not with you. With you, he has always been… gentle.

Your father grunts in response, barely acknowledging your question as Arthur strolls over, hands resting on his belt buckle. He tips his hat.

“Well, how’s it going, Y/F/L/N? Been too long, brother.”

They exchange a brief hug, slapping each other’s backs. Then Arthur turns to you.

“Hey there, kiddo,” he says, thick Southern drawl coating his words.

Despite your father‘s previous mood and the feeling of dread you have had the entire day, you can’t help but feel something when seeing him, you just couldn’t quite put your finger on it.

“Arthur! I had no clue you’d be here.”

“Yeah, well, I wasn’t sure if I’d show. But here I am.” He smirks, just a little, and something about it makes your stomach twist.

“I’m real glad to see you. I missed you.” The words come out shyer than you intended.

Arthur tilts his head slightly. “Nah, you missed an old dog like me?” He adjusts his stance, still gripping his belt.

Your face flushes, but before you can respond, your father’s hand clamps down on your arm, his grip like iron.

“Nice seeing you, Arthur, but we better get inside,” your father says, tone leaving no room for argument.

“Yeah,” Arthur nods, gaze lingering on you for just a second longer. “See you in there.”

The back room of the station is dimly lit and stuffy, the air thick with cigar smoke. Your father marches you inside roughly, his grip firm on your arm. As expected, he sits you down in a corner, away from the table.

“You are to sit here, not say a word, and if anyone speaks to you, you smile and be just about as sweet as you can possibly be. These men are going to be very valuable connections. You understand me, girl?”

Of course, you obey.

Time drags on.

You keep your hands folded in your lap, eyes trained on the table, trying to appear as small and unnoticeable as possible. But as the hours stretch on, your eyelids grow heavy.

Without realizing it, you slip into sleep.

……………………………………………………………………………………………

You wake up a short while later, the low murmur of voices and the occasional clink of glass filling the air. The men are still gathered around the table, their cigarette smoke curling into thick clouds above them. The room is warm, stuffy, the scent of tobacco and whiskey hanging heavy.

You sit there for a little while longer, rubbing the sleep from your eyes, before deciding you need to step out. Quietly, you slip from your seat and make your way toward the door, moving carefully so as not to draw your father’s attention.

The platform outside is slick with damp, the wooden planks green with age and slippery beneath your feet. The night air is sharp, biting through the thin fabric of your dress, sending a shiver down your spine. You fold your arms over your chest in a weak attempt to keep warm.

The sudden scratch of a match being struck makes you jump.

Your head snaps to the left, heart hammering, only to see Arthur leaning against the fence, his hat dipped low as he lights a cigarette. The flame briefly illuminates his face before he shakes the match out, exhaling a slow stream of smoke into the cold night air.

“Jesus, Arthur, you almost gave me a goddamn heart attack!” you exclaim, pressing a hand to your chest.

Arthur huffs out a low chuckle, his voice a deep, gravelly drawl. “Sorry, doll, didn’t mean ta spook ya. And you best be careful—yer daddy hears ya talkin’ like that, he ain’t gonna be too pleased.”

You roll your eyes but step closer, leaning against the fence beside him. The rough wood is cold beneath your fingertips, but Arthur radiates warmth beside you, his frame tall and broad. He smells like tobacco and leather, with something earthy and warm beneath it—something that feels like home.

“You win anything tonight?” you ask softly.

Arthur exhales another slow breath of smoke, watching the glow of his cigarette. “Lil’ bit…”

You glance up at him, studying his profile in silhouette. He’s got that familiar half-smirk on his lips, the one that always makes your stomach twist in a way you don’t quite understand. The two of you stand in silence for a while, just listening to the distant hum of the night.

Then the cold catches up with you. Goosebumps rise along your arms, but you don’t want to leave Arthur’s side. So you stay, pressing your arms tighter around yourself, pretending you’re fine.

Arthur notices.

Without a word, he shrugs off his leather jacket and drapes it over your shoulders. The weight of it is comforting, the warmth seeping into your skin.

“Can’t have ya gettin’ sick,” he mutters, his tone gruff, but there’s something soft beneath it.

Your heart skips a beat.

“No, you don’t have to—what if you get—”

“Shush, girl.” He cuts you off before you can finish. “I’ll be fine. Got thick skin.”

A beat of silence.

“I miss you, Arthur.”

The words slip out before you can stop them.

Arthur glances at you, but you keep your eyes down, staring at your fingers where they clutch his jacket.

“Why don’t you visit no more?” you ask, the sadness creeping into your voice before you can shove it down.

Arthur sighs, shifting his weight. “I’m sorry, kiddo. Life’s been busy lately.”

You swallow hard. “I’ve missed you,” you admit, your voice barely above a whisper.

When Arthur was around, your father wasn’t as angry. He still had his moods, but he made an effort to act like a decent man, pretending to be gentle, pretending to care. You knew it was just for show, just so Arthur wouldn’t suspect anything—but even fake kindness was better than none.

And Arthur… Arthur made you feel safe.

“I missed ya too, kiddo,” he murmurs.

Then, without hesitation, he shifts closer, draping an arm around your shoulders and pulling you into his side. His warmth surrounds you, steady and solid, and for the first time in a long while, you feel safe.

[blue-mint-winter]

Theory about king Jaehaerys the Conciliator - was he sexually abusing his daughters?

Alright, so I came upon the theory that Jaehaerys was sexually abusing his daughters. After reading the chapter at first I was disbelieving of the theory, because:

just because he was a shitty, patriarchal and neglectful father doesn't mean he was lusting after his own daughters,

the description leads you to believe that he was a great king and very upstanding and moral, he didn't even have any affairs and refused any women even when he and Alysanne were in separation,

GRRM wouldn't do that with a king he's portraying as the greatest and most successful, with the longest and peaceful reign. Jaehaerys couldn't be a great king and a monster at the same time.

...or could he?

However, it's undeniable that the personal stories and tragedies of Jaehaerys' daughters are disturbing. Especially Saera's story. And as I was thinking about it, I realized that all arguments against this theory can be rebuffed.

"GRRM wouldn't do that" - well, he actually did it once, with Craster and his daughters, showing that he doesn't shy away from difficult topics. And he did show a great man with a reputation of being loyal to his dead wife as a flawed, monstrous man - in the person of Tywin Lannister, a successful statesman, administrator and politician. And at the same time he was a monster - destroying the Reynes, ordering the murder of Elia and her children, organizing the Red Wedding. Despite his deeds, Tywin maintained a stellar reputation as an upstanding and moral man, while in private he was employing services of prostitutes.

This leads to the next argument - the book in-universe is a history book. Archmaester Gyldayn uses historical sources on Jaehaerys, mostly from his maesters and Septon Barth. Understandably, these sources would have no idea what and who Jaehaerys would get up to in private. Besides, Jaehaerys had the best PR, certainly not worse than Tywin. His deeds as king, keeping the peace, maintaining good relations with Oldtown, made him beyond reproach. And still, the history couldn't completely whitewash his treatment of his daughters and wife.

How interesting that for all that befell his daughters, Jaehaerys is never blamed. He is their father, innocent of any wrongdoing, but the daughters are: stupid and picky when it comes to suitors (Daella), cruel, nasty and promiscuous (Saera), vain, manipulative, ambitious, reckless (Viserra). They're also 13-16 years old. Basically, the book tries to say they got what they deserved, despite their young age and immaturity being a reasonable excuse for their bad choices. The only ones who might be considered tragic victims of circumstance are Daella and Gael. In all cases, who could expect young teenagers to be fully responsible for themselves? They were underage even by Westerosi standards and they had parents that were responsible for them - Jaehaerys and Alysanne, who both obviously failed as parents to their daughters (and arguably Vaegon too), even if the sources and Gyldayn don't want to admit it (but Alysanne herself clearly did).

I decided to gather all the evidence in text that could support the theory that Jaehaerys was sexually abusing his daughters:

Saera's story is the first clue, especially Jaehaerys' words:

The truth did not come out until a year later, when the former princess was seen in a Lysene pleasure garden, still clad as a novice. Queen Alysanne wept to hear it. “They have made our daughter into a whore,” she said. “She always was,” the king replied.

This gave me a pause. What father, even an angry and disappointed one, would say something like that? And enough time passed that it wasn't said in the heat of the moment and we can't say that he didn't really mean it. Jaehaerys meant it. According to him his daughter, the girl who was his favourite for years, who he bought expensive gifts for whenever she asked, "was always a whore". This sounds like something an abuser would say after his victim got away. Basing his words on what he knows he did to her.

Bonus evidence: in the time before his death Jaehaerys confused his caretaker, 15 years old Alicent for Saera and according to Mushroom she was serving him in a sexual way as well. It's probable an old and ill man would repeat his past behaviours and take advantage of a girl that looks like his past victim and is constantly around him and under his power. Alicent couldn't refuse him and couldn't quit being his caretaker (and obviously couldn't talk or she'd ruin her own future).

2. Second piece of evidence is Daella, Saera's older sister. Jaehaerys for some unknown reason pressured Alysanne to arrange Daella's marriage, despite many factors suggesting that it was unnecessary and she was not ready. The chosen suitor was lord Arryn (36 years old):

Short and balding, with a kettle belly, Arryn was not the man most maidens dream of, Queen Alysanne admitted, “but he is the sort you asked for, a kind and gentle man, and he says that he has loved our little girl for years. I know he will protect her.” To the astonishment of every woman at the court, save mayhaps the queen, Princess Daella chose Lord Rodrik to be her husband. “He seems good and wise, like Father,” she told Queen Alysanne, “and he has four children! I’m to be their new mother!”

What does that mean, "he loved her for years"? Daella was 16, looked small and childlike. Lord Arryn seems like another predator. AND he reminds Daella of Jaehaerys. She literally chose him from among many other, younger and more handsome suitors, because he reminded her of her father. What does that say about Jaehaerys? Did he look at Daella with the same "love" as lord Arryn?

3. Jaehaerys had a type. Jaehaerys refused "lissome maids and handsome widows" which is treated as some proof of loyalty. It can be refuted easily - Jaehaerys had a clear preference and that's Alysanne - a pure-blooded Targaryen. That preference was proved when Rogar's plot to send women to seduce Jaehaerys failed and not even other Valyrians - the Celtigar women - interested him. I doubt any woman offered to him looked like Alysanne or was related to him. Unfortunately, their daughters fulfill the criteria. What's more, he literally had people preach how Targaryens are different from other humans like lions are different from aurochs and therefore Targaryens are allowed to have incestuous relationships. Jaehaerys' refusal of other women makes sense in that context.

4. Another important part of Jaehaerys' characterization was his belief that only a married couple is allowed to have sex and an unmarried woman has to preserve her virginity. And that's how I came to the last bit of evidence - his relationship with Alysanne when they fled to Dragonstone in their youth:

If servants’ tales may be believed, the king and his new queen slept naked and shared many long and lingering kisses, abed and at table and at many other times throughout the day, yet never consummated their union. Another year and a half would pass before Jaehaerys and Alysanne would finally join as man and woman.

Jaehaerys was fine with doing sexual things with his 13 year old sister, as long as he didn't penetrate her and take her virginity. Alysanne is the precedent and quite possibly he later wished to repeat his experience from those early years with girls looking like her, aka their daughters. Or at least Saera. He was very oddly fixated on her virginity.

And the above book passage made something click for me. Young Jaehaerys and Alysanne on Dragonstone with Rogar Baratheon ruling in Kings Landing and plotting against them sounds extremely similar to Viserys and Daenerys in Pentos with Robert Baratheon plotting against them. The parallel is startling. Jaehaerys was smarter than Viserys, but his sexual abuse of his underage sister is clear, even though it's described as "romance" by his maester propagandists. Viserys simply didn't have anyone who would rewrite his disgusting actions towards Dany in a positive light. Also, Alysanne might be just as delusional and brainwashed about the mutual love with her brother as Dany was.

The evidence is scarce and circumstantial, but when put together, it seems to support the theory that Jaehaerys was molesting one or more of his daughters. Which in turn could explain the daughters' behaviours and Alysanne's reactions as attempts to escape from Jaehaerys or find some form of protection from him.

Apart from Daenerys who died when she was 6 the rest of the daughters are:

Alyssa - a tomboy that was clinging to Baelon and then married him (protection by marriage),

Maegelle - pious from a young age, joins the Faith when she's 10 and goes far away from Jaehaerys (protection by Faith),

Daella - Jaehaerys forces an early marriage for her, despite her being fearful of everything, the wedding is a small and quiet ceremony on Dragonstone and there's no bedding ceremony, because "she'd die of shame" (was she possibly not a virgin?), she's taken far away to Eyrie (protection by marriage arranged by Alysanne), then dies in childbirth,

Saera - attention seeking, able to get anything from Jaehaerys, alcoholic at 12, after she's caught having affairs with boys in her friend group her father personally kills her lover and she's forced to watch, she tries to claim Balerion (probably to protect herself from Jaehaerys or run away), is sent away to the Faith, eventually runs away to Essos (rebellion and then seeking various forms of protection),

Viserra - also has a drinking problem, Alysanne arranged her to marry old Lord Manderly, a renowned warrior, then Viserra tries to seduce Baelon to marry her and save her from marriage to an old man (she saw what happened to Daella!), she dies in an accident when she's drunk and racing on a horse (or running away on a horse with her six protectors?),

Gael - most suspicious, all we know she had a stillborn with "a travelling singer" and drowns herself in grief when she's 19. Despite it being a point that she was constantly with Alysanne and even slept in her bed. The whole story with the singer was covered up by a story of her dying of summer fever. The existence of the singer is unconfirmed and doubtful. It's the same as just saying it was an anonymous man. And if Jaehaerys was still on the prowl... he had access to her and Alysanne couldn't personally protect her - she was going deaf and the last time she rode Silverwing was when Gael was 13, then Alysanne broke her hip and started using a cane to walk.

To finish this post, I'm not saying that this is definitely what happened. I merely wanted to gather the evidence for the theory and organize my thoughts. I think the theory isn't completely baseless and explains a lot about the treatment of the daughters by both Jaehaerys and Alysanne as well as some of the daughters' behaviours (and even Alicent if she was molested by him as well).

Probably someone already did a better write up of this theory, but I had fun doing this by myself.

I might write next big theory post about Maegor's conception.

[silvershadow1711]

OOOO what're yer thoughts on a Genderbent Ray though? 👀 Maybe im kinda biased but i think she'd be so incredibly pretty

Oh, she'd be gorgeous, but so much worse mentally.

Seriously, think about how bad off Ray is as a man. Okay? Now, imagine everything happening exactly the same... except it's happening to an afab person. Sending a teenage girl to war, presumably alongside actual soldiers- male soldiers (the US military is notorious for, uh, let's say "transgressions" against female service members).

Then sending that teenage girl to go live with a man who was forced into the role of unwilling adoptive parent specifically to whitewash his image after he assaulted a woman.

(Thank god Ray can kill people from a distance, but imagine her mind constantly being flooded with the disgusting thoughts of the horrible people around her)

Then making that teenage girl into a child celebrity. We are all sad about male!Ray being forced to be slathered in makeup and having his hair bleached a more aryan blond because god forbid a human being not look like they're made of plastic, but a woman? In the late 00s/early 10s? Her face would be on every fucking tabloid rag, pointing out every single "imperfection" on her body- which would be on full display because you know NAHA isn't going to let a fem Binary Star wear a full body jumpsuit (I'd be surprised if they let her wear sleeves).

Fem!Ray would not be quirkily smoking only at night- fem!Ray would be spiraling into full-on substance abuse, exacerbated by the fact that her mom was also a drug addict.

[folk-enjoyer]

Song of the Day

"Call of the moose" Willy Mitchell, 1980 As you might know, September 30th is Truth and Reconciliation day (more commonly known as Orange Shirt Day), a national day in Canada dedicated to spreading awareness about the legacy of Residential schools on Indigenous people. Instead of just focusing on a song, I also wanted to briefly talk about the history of the sixties scoop and its influence on Indigenous American music and activism.

The process of Residential schooling in Canada existed well before the '60s, but the new processes of the sixties scoop began in 1951. It was a process where the provincial government had the power to take Indigenous children from their homes and communities and put them into the child welfare system. Despite the closing of residential schools, more and more children were being taken away from their families and adopted into middle-class white ones.

Even though Indigenous communities only made up a tiny portion of the total population, 40-70% of the children in these programs would be Aboriginal. In total, 20,000 children would be victims of these policies through the 60s and 70s.

These adoptions would have disastrous effects on their victims. Not only were sexual and physical abuse common problems but the victims were forcibly stripped of their culture and taught to hate themselves. The community panel report on the sixties scoop writes:

"The homes in which our children are placed ranged from those of caring, well-intentioned individuals, to places of slave labour and physical, emotional and sexual abuse. The violent effects of the most negative of these homes are tragic for its victims. Even the best of these homes are not healthy places for our children. Anglo-Canadian foster parents are not culturally equipped to create an environment in which a positive Aboriginal self-image can develop. In many cases, our children are taught to demean those things about themselves that are Aboriginal. Meanwhile, they are expected to emulate normal child development by imitating the role model behavior of their Anglo-Canadian foster or adoptive parents."

and to this day indigenous children in Canada are still disproportionately represented in foster care. Despite being 5% of the Total Canadian population, Indigenous children make up 53.8% of all children in foster care.

I would like to say that the one good thing that came out of this gruesome and horrible practice of state-sponsored child relocation was that there was a birth of culture from protest music, but there wasn't. In fact, Indigenous music has a long history of being erased and whitewashed from folk history.

From Buffy Saint-Marie pretending to be Indigenous to the systematic denial of first nations people from the Canadian mainstream music scene, the talented artists of the time were forcibly erased.

Which is why this album featuring Willy Mitchell is so important.

Willy Mitchell and The Desert River Band

This Album was compiled of incredibly rare, unheard folk and rock music of North American indigenous music in the 60s-80s. It is truly, a of a kind historical artifact and a testimony to the importance of archival work to combat cultural genocide. Please give the entire thing a listen if you have time. Call of the Moose is my favorite song on the album, written and performed by Willy Mitchell in the 80s. His Most interesting song might be 'Big Policeman' though, written about his experience of getting shot in the head by the police. He talks about it here:

"He comes there and as soon as I took off running, he had my two friends right there — he could have taken them. They stopped right there on the sidewalk. They watched him shootin’ at me. He missed me twice, and when I got to the tree line, he was on the edge of the road, at the snow bank. That’s where he fell, and the gun went off. But that was it — he took the gun out. He should never have taken that gun out. I spoke to many policemen. And judges, too. I spoke with lawyers about that. They all agreed. He wasn’t supposed to touch that gun. So why did I only get five hundred dollars for that? "

These problems talked about here, forced displacement, cultural assimilation, police violence, child exploitation, and erasure of these crimes, still exist in Canada. And so long as they still exist, it is imperative to keep talking about them. Never let the settler colonial government have peace; never let anyone be comfortable not remembering the depth of exploitation.

Every Child Matters

[queenoftheimps]

Artistic Expression as a Form of Love: aka Some Meta About Interview with the Vampire

hey guess who spent all of today putting off a really boring work task

So I'm just suddenly just having a lot of feelings about how love is tied to creation in Interview with the Vampire.

Specifically, each character's artistic impulses and what they say about their relationships, and how they use their creative output as a sort of love language.

From the very first episode, we see hints of this. Miss Lilly asks about Lestat's music box, which plays a song he wrote for Nicholas once upon a time, evidence of his love for someone who's been dead for over a century.

He later writes his own song for Louis, 'Come to Me', and Claudia makes the connection explicit while deliberately poking at him -- he wrote a song for each of his true loves, but does one signal love more strongly than the other?

She's being facetious to prod at him, but the show seems to genuinely make the point that we can track each characters' relationships through the art we see them create.

After all, we see it with Claudia herself later -- even before there's any discussion of becoming companions, we can feel Madeleine's compatibility with Claudia in the way she makes dresses for her.

Madeleine dresses Claudia as the grown woman she wants to be seen as, as she really is, even before she fully understands the circumstances of Claudia's age. It's telling that in Madeleine's dying vision, the one that convinces Louis of her love for Claudia, that Claudia is wearing a dress that Madeleine made for her.

By contrast, we see how Claudia is incompatible with the coven in the role that they have quite literally written for her. If Madeleine shows her love by treating Claudia as an adult, the coven shows their lack of caring by creating artwork where Claudia is forced into playing a part that diminishes her.

In turn, we can see Claudia's enthusiasm for the coven tied into her willingness to perform -- she starts off trying to smile her way through the situation, before quickly growing tired of the performance (and, relatedly, the coven itself).

But then again, how does the coven show its real loyalties? Well, with a painting.

We don't know who painted Lestat (Armand, possibly?), but having artwork of him in a place of prominence is pretty telling. But then again, the theater's creation is itself a reflection of art as a signifier of love & bonding -- Lestat suggests a theater to a lonely Armand as a way to regain a family/coven structure, after the last one fell apart.

Which makes particular sense for Armand, the character who most explicitly equates artistic expression with love and understanding. We see him underline it in his own telling of his backstory -- "No one has painted me in over 400 years." He associates painting with being seen and cared for by his maker --

-- and yet we, the audience, can plainly see what a warped, toxic relationship it was from the painting itself : a whitewashed version of Armand's face that doesn't truly look like him.

Hell, we even see Armand's betrayal of Louis in the form of creative expression -- to quote Daniel, "He directed the play!"

His treason isn't just that he sold Louis & Claudia out, it's that he participated in a creation that would condemn them. Artistic expression shows us love and loyalty in this world, yes, but it can also be used as a tool of abuse or betrayal.

Which brings us to Louis, he who has the eye for art but maybe not the skill for it, who never said 'I love you' to Lestat and wouldn't call Armand his companion, who ultimately gives up on creation in favor of becoming a collector.

It's especially interesting that his abandonment of photography is also explicitly tied to the end of his visions of Dreamstat. Even the one photo he takes that garners praise is one he tries taking of Armand & Dreamstat at the same time -- as if the closest he can get to expressing love through creation is something that blurs the lines between both men he has complicated feelings for. (Note that the scene where he develops the photo is directly after the "Show me the only way you know how to love" sequence of Louis bashing some guy's head into a wall.)

Hell, if we want to take it even further, we can even see some of this pretense in the inclusion of the Fred Stein photos (assuming Armand actually did sneak them in). On one level, we can see it as Armand trying to build up Louis' happiness, but on the other, it's him trying to build up the image of their romance.

After all, if artistic creation is a sign of love -- especially to Armand! -- what does it mean if Louis is openly disparaging his own abilities to make anything at all?

Taking it further, what does it say that he and Armand have a collection of photos of various boys over the years and expensive artwork hanging on every wall, but Louis doesn't seem to have taken any pictures of Armand in almost eighty years?

And hey, speaking of fascinating boys: what does it mean when Louis hasn't made anything creative of Armand since the 1940s, but he has no problem writing a book for ten hours with some guy he picked up at the bar?

Hell, writing a book where Louis spends ten hours talking about his life and hasn't even gotten up to the part with Armand yet? The supposed love of his life doesn't even garner a mention, to the point where Daniel didn't even know he existed when he arrives fifty years later.

And what does it mean when that book you never wrote is a giant hanging thread in your life, enough to create a connection strong enough that you remember that guy fifty years later and go back to that writing it? Even over the objections of the love of your life?

Especially when find out that Daniel's entire writing career is sparked in part by inspirational words given to him by Louis -- a sign of their bond withstanding the test of time, enough to make them friends after a fifty year absence.

That said, if we're working with the idea of artistic expression as proof of connection -- especially when it comes to Armand -- then it also makes perfect sense why Armand would insert himself into the interview once he's been revealed.

Then it's no longer about Louis & Daniel, or Louis & Lestat, it's about Louis & Armand and artistic proof of their connection! They're both now creating a story, a book that will include their entire romance! It's the first time that Armand has had the possibility of being an artistic subject in decades, so no wonder he's quick to latch onto it.

Even then, though: I think it's interesting that when Armand is talking to Daniel alone, the first story he thinks to tell him about is his relationship with Lestat. Make of that what you will.

(Also, I've said this before, but I am very curious what Armand's feelings towards Daniel will be after having an entire book written in which he plays a starring role.)

I think that this is all very rich with subtext and possible further progression, especially since we are about to enter a season where a new book is being written by Daniel and there's going to be an entire tour's worth of music being performed, all of it ripe with potential for further relationship nuance.

And while I don't want to wander too far into book spoiler territory, I think this might even neatly factor into a potential Season 4 -- especially since book fans will know that a specific musical performance is the catalyst for a lot of what happens in The Queen of the Damned.

[darkfictionjude]

might be just because we can relate to cheating irl easier, it’s something that we see in daily life, either happening to us or loved ones… can’t think of a single person I directly know that suffered a kidnapping.

not saying it doesn’t happen ofc, but I’m assuming not to the the average reader and thus making it easier to… forgive it in a way in fiction?😅 i might be completely off, but this is the general feel I get for this 🥴

The thing is I would say kidnapping and torturing while extreme forms and unlikely equate abuse and that unfortunately is common in domestic situations. I would say physical violence is bodily torture and possessiveness is a form of kidnapping it’s just heightened in the game

I think it’s more that in this era dark romance is popular but only a certain kind. Is paradoxical in nature as the male love interest can do much much harm to the protagonist as long as he loves them

And I don’t mind because most people can separate fiction from fact. I just want to say that Dante’s actions won’t be excused here as it is with other dark romances in books, he won’t be whitewashed to be seen as a prince and Luce can still think of his actions as evil while still romancing him

[danmeiconfession]

I saw a post recently about someone being angry about people defending Shen Jiu while also criticizing Luo Binghe. Then, went on to say LBH had it worse, and he only took out his trauma on one person (his abuser). Neither of these things are true.

Unlike LBH, SJ had no mother and grew up in the streets as a slave when he was far younger than LBH was. Then, he was horrifficly abused by his master when he was sold at 12 until he was 15/16. Afterward, he had his cultivation forever ruined by someone he thought of as his teacher. Then, he was taken into another toxic situation where he didn't trust anyone, no one trusted him either, and that any act of kindness backfires and makes his situation worse.

Luo Binghe always had some form of support, Shen Jiu never did (not even YQY because there was no trust between them, and all he ever did was make things unintentionally worse).

I'm not saying that SJ was a good person or that any of his abuse was justified, because he isn't and it wasn't. But let's not pretend that LBH didn't become a far worse person than his abuser.

LBH took out his trauma on the entire world, not just SJ. He burnt down Cang Qiong to the ground, killing the peak lords, and who knows how many disciples (many of which were children, let's not forget). He merged two separate worlds with two very different cultures and environments together. Who knows how much history or culture was lost. Who knows how many ecosystems were devastated, or how many species of plants/animals went extinct because of it. Who knows how many innocent people died in either the crossfire of LBH's warmongering or the merging of the realms.

Not to mention that Luo Binghe is a r*pist.

If you're angry about people whitewashing Shen Jiu, that's fine, but don't be a hypocrite by turning around and doing the same with Luo Binghe.

.

[raven-undergrove]

I think the reason why I sympathize with Louis the least out of every character in AMC's IWTV is because his toxic traits don't typically come from his trauma. I'm not saying nothing traumatic ever happened to Louis. The death of his brother was absolutely traumatic, being dropped out of the sky by Lestat was absolutely traumatic, losing Claudia was absolutely traumatic, enduring racism was absolutely traumatic. But his toxic traits? Those primarily all tie back to him being a pimp. When he drags Claudia across the floor begging Lestat to turn her and feels entitled to her throughout the rest of her life, that's Louis the Pimp viewing Claudia as nothing more than a doll rather than an individual with her own life and agency. When he initiates the Maitre-Arun dynamic between him and Armand and casts Armand into the role of Rashid while Daniel is in the penthouse, (he even continues to call him Rashid and order him around when Daniel is asleep), that's Louis the Pimp viewing Armand the former child sex slave as someone he can manipulate and control, not as a person with feelings. Meanwhile, Lestat's toxic traits come from the trauma of having an abusive family growing up, being kidnapped and turned into a vampire against his will, and being abandoned by his maker. Claudia's toxic traits come from the trauma of an abusive mortal family in poverty, a controlling and abusive vampire family, infantilization and being trapped in a teenage body forever, being raped by Bruce, almost being burned alive while she was still a mortal child during a race war Louis incited, and experiencing racism. Armand's toxic traits come from the trauma of an abusive family, being kidnapped and sex trafficked, being raped by multiple people and viewed as a commodity to be sold, being purchased by Marius and groomed by him, experiencing racism as seen by the whitewashed paintings of him and the slur Nicki used to refer to him, and then being abducted by a cult that he believes killed Marius, burned his brothers alive, and then tortured him into compliance. Whenever Lestat, Claudia, or Armand do something that could be considered toxic/abusive/evil, I can always tie it back to their unique traumas. But Louis? Very little of his abusive behavior can be tied back to the traumas he has experienced. Most of it can easily be tied back to his work as a pimp, and his seeming belief that some people are just beneath him and not worthy of the same respect and humanity he applies to himself and others. Claudia is a Black woman from a poor family, just like the people he exploited. Armand was forced into sex work, just like the people he exploited. As a result, he doesn't seem to view them as individuals who matter, just as something for him to possess and own. This doesn't mean he didn't love them, but he clearly did not know how to love them properly, and as a result, Claudia left him and Armand betrayed him to the coven. The only way Louis's actual trauma seems to come into play is in his relationship with Lestat - the one character who isn't like the people who Louis exploited - and that comes from his inability to tell Lestat he loves him, as that was the last thing he said to Paul.