#The way she acknowledges it here- going way beyond in the way she does it too! It means a lot to him and he hardly knows how to respond

[theladyfae]

i think human nature/family of blood is a really good two parter in how it manages to show how full of shit ten is 🫶

[yeleltaan]

From @hexenjagd

It is a gentle gesture. With a turn of her wrist she cups his chin, cradling his head within her welcoming palm and holding him there. Her fingers fitted to the shape of his jaw perfectly as she delicately tilted his head her way.

A gentle urging for him to turn her way and face her. A beckoning.

"Come now, raise your head. Lift your gaze and meet mine." it was a command, gentle in intent-- uttered through a half whisper.

"I've rarely seen such success in many an era. You rose from nothing. Hardly able to stand or even give me your name, narrowly avoiding the embrace of death, from embers to flame. Look at you. You've come so far-- transformed. Whole and beautiful. Now, raise your head with pride. You have survived."

There’s little else to see. Nothing worth a look upon the grotto’s ridged arching walls, reverberating the whisper of rain outside past the faceless bushes. Still his gaze remains downcast, absorbed by earth-sunk stones. Every so often a stray glance dares peek through black strands to briefly settle upon some corner of her contours, reaffirming him with the glimpse of boots, of a hand or the ends of her ebony locks that she is indeed still beside him. But neither stare lasts, none dare remain, he simply cannot bring himself to fully look at her.

How many times has he thought back to the distant days spent inside that tent? Thought about all the things he could have told her if he could speak the way he can today. With a solid dominion over the language they shared, understanding him would have proven much simpler. Restlessly deterred by the suffocating hold of his ignorance, so much more could have been said had he been free of it from the start. When solitude struck low, he knows he wished he had more to remember her by. Wished that and more.

And yet, is this moment not weaved from the same thread of impossible opportunity? The same wishfulness as those dreams, the sort that visited him when exhaustion got the better of him. What is this silence then, Cayin? Has she returned, made her way back to you against all probability, so you could fall quiet beside her again?

This is your chance to say what you could not.

Her touch settles under his jaw, mindful, deliberate. It doesn’t bear the same warmth it once did, but then neither did her hand in those liar dreams. Scarred bearer of comforts, it still shapes a feeling of shelter truer than any walls, as does her velvety voice, first bringer of speech to his ears. At last she brings him to look upon her, truly and sincerely. So much more vivid than any product of the mind, yet perfumed in a strange bittersweetness. Perhaps because this isn't how he imagined it. Perhaps because his eyes do not lie, and they tell clearly that the two of them are changed, so very changed since then.

But where the proof of time roots him in this indecision he cannot explain, she responds in opposite: acknowledging it in a most celebratory manner, all in recognition towards him, towards what he is today in relation to what she knew him as. In this praise, in this short tale worthy of being preserved as an epigraph in a book, she welcomes him.

Success. When she puts it that way, it’s difficult to deny. Every need fulfilled has been followed by the search of the next, but to consider what has already been achieved is a pleasure of its own worth lingering in. She continues, calls him complete, calls him beautiful, names him survivor, like titles conferred by the sword that settles upon the head and shoulders of the newly knighted. Only he does not bow, as his head is called to rise. And rise it does, hesitantly, in spite of the knot tugging at his throat. Fists clench under their sleeves until the urge to shiver ceases, and they release, open hands rising to meet the one she placed under his chin.

“Not nothing.” He speaks in a quiet certainty. Claws grasp her fingers tenderly, delicately pulling her hand down and turning his wrists so his thumbs may rest on her palm. “I had you.”

[fairuzfan]

I'm to the point where if I hear you're endorsing/voting for Kamala Harris and you're publicly getting mad at people for not voting for her, I'm not even going to listen what you have to say, you've made it clear you have to strong principles to guide your decisions beyond "what's worse for me personally?" I think Harris voters have no actual ideologies to live by, despite claiming they do, and I fundamentally don't respect them for it. It's one thing to be angry at people who won't vote for Harris, but it's another thing to pretend you're doing it because you have some sort of moral authority and not basing it off pure selfishness. You think that solidarity is posting about things and that's it. You refuse to make yourself uncomfortable, even momentarily. And you get mad at people who are willing to go through discomfort for the sake of others. You call them names, ans claim that THEY are the selfish ones in this scenario. You've given up on making a change in the world for the better, or maybe you were never interested in it. All of your arguments pale in comparison to reality, because Harris is actively funding a genocide. She has even refused to acknowledge a reality in which she does not fund that genocide. Has made such a thing clearer and clearer. All my problems here in the imperial core are secondary to that. I'm about to go through multiple personal issues that are made increasingly hard by political factors and I still think that's nothing in comparison to what Palestinians and Lebanese are going through overseas. You've placed yourselves as the ultimate victims in the world and to me it's laughable and completely out of touch with just how fucked everyone else is because of the imperial beast that is Amerikkka. And speak nothing of the way the victims of Amerikkkan imperialism on Turtle Island bear the brunt of societies' woes for your personal comfort and refusal to make any meaningful change. Not ev baby steps! You think trump is an accidental anomaly and not a product of a larger issue within white amerikkkan politics. Is it not shocking to you that so many people here are voting for trump so enthusiastically?

Seeing things like the weaponization of personal identity, like "Muslims for Harris," used so plainly is an insult to the ideas of internationalism that you all claim to follow. What use is solidarity with the victims of imperialism if you refuse to acknowledge the entirety of the imperial complex? That includes the democrats you hold so dear as well as the Republicans? What use is any of this if you only think for yourself?

You claim to be thinking of others, and that's why you vote for Harris... but what is so incomprehensible to me is the comfort in which you accept the inevitability of Palestinian deaths. Why are you so willing to accept that reality? Why are you comfortable with that reality? It shocks me and disgusts me in a way that I can not really describe. You lot argue and argue and argue, but in the end, the difference between you and me is that I refuse to engage in a reality where Palestinians must die in any case. You have yet to refuse that. In actuality, you all refuse the baby steps, the bare minimum, of refusal to engage in continuation of that reality. And because of that, I do not take you seriously, nor do I view you as being moral in your decision to sacrifice Palestinians.

[tritoch]

the warrior of light as a game-breaking force of violence

there's a moment, relatively early in dawntrail, that establishes succinctly how out of place the warrior of light (as the savior of eorzea and main character of four successive final fantasy game plots) is in what is essentially the story of fresh new final fantasy protagonist wuk lamat. and it sets up quite nicely how the framework of fantasy video game conflict pulls the warrior of light forever towards violence as the expansion goes on.

spoilers through 7.0 follow

consider wuk lamat's kidnapping and rescue. bakool ja ja holds his blade to wuk lamat's throat, taunting you. his lackeys line up against your party in neat little ranks suspiciously reminiscent of a classic final fantasy encounter screen.

and it simply does not matter to the warrior of light. you stride right through their combat setup because you are beyond that by now. the warrior of light has absolutely no respect for the "we are about to do ATB combat" lineup. the camera even jumps the line for you in one continuous rotating shot, crossing the axis of action as though to emphasize through the disruption of visual convention how far outside the game's boundaries you are.

this is how far you are above the problems of dawntrail's first half. you cannot even be bound by the normal rules of cinematography and video game combat. everyone else here lined up for a good old-fashioned scrap and the warrior of light said haha nope actually. i'm going to stroll through here like a god of war astride this tiny battlefield. your henchmen cannot even raise a hand to me. i don't even have to engage in violence directly anymore. my mere presence is enough.

in fact, not only can bakool ja ja's henchmen not raise a hand to you, he's not even worthy of your direct intervention. he kidnaps wuk lamat and steals her keystones and frees valigarmanda and kidnaps hunmu rruk and none of it warrants the warrior of light so much as raising a finger. he's wuk lamat's recurring villain, that's not your problem. you're just here to take in the scenery.

zoraal ja spends his whole life aspiring to be thought of as his father's equal and a worthy successor to the dawnservant as the "resilient son." all it takes for gulool ja ja to acknowledge you as a warrior on his level is like a five minute sparring match. the acknowledgement from gulool ja ja that zoraal ja hungered for his whole life and would eventually go full cyborg supervillain to get via regicide is something the warrior of light receives casually in a throwaway line after their level 93 solo duty on the way to more important plot conversations.

it really seems for a second, in the first half of dawntrail, like you are strong enough and the problems simple enough for this to be a clean and easy adventure. bakool ja ja? power of friendship'd. mamook? successfully reintegrated, no worries about the crimes against humanity. rite of succession? handily won. nothing can stop you. even duty finder queue times have been conquered: you can do all your duties with trusts now.

all of which only makes it better when the second half has sphene ask you and wuk lamat directly: could your strength have been enough to save alexandria? could you have found a different way?

i know some people get very annoyed we don't intervene in the gulool ja ja fight. now personally i think if you see arthur and mordred squaring up it's rude to intervene, but beyond that, it simply wouldn't have mattered. by the time zoraal ja's forces arrived in tuliyollal, alexandria and tural were already on a collision course and doomed to conflict. your hands alone could never have averted this conflict. sphene was always bound to do what she did—and certainly a gulool ja ja without his reason would not be any more inclined to peace than wuk lamat and koana were.

there's a great little moment just before living memory where estinien, champion at reading the room, is like "okay so if thancred and i stay here that frees up you up, aibou, to do what you do best and save the world and have epic fights. woo!!!" and immediately afterwards you basically have to apologize to alisaie because part of the sort of unspoken premise of this whole trip in the first place was that you were, finally, not going to plunge into mortal peril to save the world. you were finally going to take it easy. you were finally done with that. and she has to sort of ruefully be like nah it's fine bro. i was trying to get you to take it easy and not do insane risky world-saving violence. but y'know these things (interdimensional invasions) happen.

by the time you reach the very last trial, all pretense that the warrior of light could have ever been beyond these problems has vanished. you were, very emphatically, not strong enough to hold onto all that was dear without sacrifice. gulool ja ja and otis and cahciua died. yyasulani was irreversibly changed, physically colonized and culturally decimated by another dimension. you systematically shut down each part of living memory, and all its friendly, charming, loving ghosts, with your own hands. with your own clicks.

not even the vaunted strength of the warrior of light is enough to overcome sphene's inexorable logic of conflict. and so, in the end, she plucks you out of the crowd and says, explicitly for reasons of your strength, that you are going to have to do a boss fight now. you are going to have to kill her and you are going to have to do it in a proper 8-on-1 trial, and she forces you to affirmatively state that you understand you're going to kill her.

did you think you were above it all? did you think you could get away from here with your weapon undrawn, with your hands clean? that for you and you alone the logic of conflict comes undone? wrong. wrong. wrong.

your strength cannot redeem you, says sphene. your friends cannot make these sacrifices for you. if you would play the hero then you must play the hero. no half-measures.

back to the duty finder with ye.

[meazalykov]

mind is well beyond my years

ingrid engen x reader

part one - part two here

summary: age wasn't going to stop you from being with the older woman

warnings: age gap (5 years) , reader being a flirt

as you step into the lounge, your eyes immediately start searching for her.

it’s a typical afternoon tuesday at the training ground, players scattered around, some deep in conversation, others scrolling through their phones, some breaking in their new cleats. but your focus is singular—ingrid.

you spot her near the window, her dark hair catching the light as she laughs at something fridolina said.

that laugh, it always does something to you, makes your heart skip a beat and your thoughts scatter. it’s been like this for a while now, this crush that you can’t seem to shake.

she’s older, more experienced, and undeniably out of your league, or at least that’s what you tell yourself every time she brushes off your flirtations.

but you’re not one to back down easily.

you make your way over, a casual smile on your face as you lean against the back of the chair she’s sitting in.

“hey, ingrid,” you greet, your tone light but laced with intent.

"hey, y/n! how are you?" she smiles.

“I’m okay— i just wanted to say that i saw your post from last night. you looked amazing in that ivory sweater, as always.” you comment.

“thanks, y/n,” ingrid replies. she glances up at you, her expression now unreadable from the smile she had moments ago.

her tone was polite, but almost distant. it’s the same response she always gives—acknowledging your compliment without giving you anything more to work with.

it’s frustrating, but you can’t help yourself. there’s something about her that draws you in, despite the coolness in her responses.

“I'm serious” you continue, undeterred by her lack of enthusiasm.

“you have a way of looking good all of the time, I'm not sure if its jealousy or something else." you hint.

“you’re exaggerating.” she shakes her head slightly, a small smile tugging at the corner of her lips.

“not at all,” you insist, grinning. “just calling it like i see it.”

before you can push any further, fridolina walks over, her eyes sparkling with mischief as she looks between the two of you.

“mind if i steal ingrid for a bit?” she asks, not really waiting for your answer before she’s pulling ingrid up by the arm and leading her toward a quieter corner of the room.

you watch them go, your curiosity piqued. something about the way fridolina’s whispering and the slight tension in ingrid’s shoulders makes you wonder what’s going on.

you’re not usually one to eavesdrop, but this feels different. your gut feeling tells you that its important.

edging closer, you try to be as discreet as possible. the last thing you want is to get caught, but you can’t help it. you have to know what they’re talking about.

“i don’t know what to do,” ingrid’s voice drifts to you, low and uncertain.

“she’s just… she’s so young, frido. i can’t get involved with her, can i?”

your heart skips a beat. are they talking about you? you lean in a little closer, holding your breath.

“she’s only a few years younger,” fridolina replies softly.

“and she’s clearly crazy about you. honestly, ingrid, i think you’re overthinking this. nobody would judge you if something were to happen between you two.” fridolina continues.

“but i’ve always kept things professional with her, you know? and now i’m worried i’ve gone and caught feelings.” ingrid sighs, and you can practically hear the conflict in her voice.

your pulse quickens at her words. ingrid likes you? you’re not sure whether to be thrilled or terrified, but one thing is clear: you need to talk to her.

walking into that corner of the room, you take a deep breath and call her name.

“ingrid,” you say, trying to keep your voice steady. both women turn to look at you, surprise evident on their faces. “can we talk?”

fridolina gives ingrid a knowing look before excusing herself, leaving the two of you alone. ingrid fidgets with the sleeve of the black training kit, avoiding your gaze.

it’s the most vulnerable you’ve ever seen her, and it tugs at your heart.

“so,” you begin, taking a step closer, “you've caught feelings, huh?”

ingrid’s cheeks flush slightly as she finally meets your eyes.

“you weren’t supposed to hear that,” she mutters, but there’s no real anger in her voice.

“maybe not,” you admit, a small smile tugging at your lips, “but i’m glad i did. because i think it’s time we stopped dancing around this.”

“y/n, you’re so young. you're twenty-one and i didn’t think you were serious about… all of this.” she lets out a small, exasperated laugh, shaking her head.

“i’ve been serious from the start. i just thought you were out of my league, you know?” you raise an eyebrow, giving her a playful smirk.

“you? thinking someone’s out of your league?” she teases back, and you’re relieved to see the tension in her shoulders ease slightly.

“you’ve never been shy about flirting with me.” she walks forward. you don't bother to step back.

“well,” you say, voice dropping to a more sincere tone, “that’s because i’ve always liked you, ingrid. and i’d really like to give this a shot, if you’re up for it.”

ingrid’s eyes search yours, and you can see the conflict still warring within her. but then, slowly, she nods.

“okay,” she says softly. “let’s see where this goes.”

“i promise you won’t regret this.” you can’t help the grin that spreads across your face.

“you’re impossible, y/n.” she chuckles, shaking her head.

“impossible to resist, you mean,” you quip, earning a genuine laugh from her this time.

the sound is music to your ears, and as you walk out of the room together, you smile at fridolina who understands the bond that was just formed.

part two here

my master list is here if you want to read more fics <3

[butchvamp]

i did Lucanis's inner demons quest last night and have some thoughts [everyone groans in unison]

i admit that i definitely have a bias for Lucanis, i really like the crows (or i should say the crows from previous games & the lore around them) and my Rook is a crow so i'm inclined towards him in general.

that being said i feel i'm just. missing huge bits of information about him. he exists entirely in a void. i don't really know anything about his relationships with Illario or Caterina, the game glosses over so much of his role and what exactly he does within the crows (beyond just talking about how he was the Demon and the Magekiller) i suppose it's just too icky for the game to truly acknowledge outside of a few jokes about Lucanis poisoning the gang's food...

i know from seeing people posting excerpts from his novel that Caterina did, in fact, physically abuse him; i figured this was the case considering she's a high ranking member of the crows and thus no doubt had a role in torturing recruits, even if the game pretends like this is a thing that doesn't happen. you get a bit of banter early on where Lucanis, talking about Illario's behavior, says something along the lines of "My relationship with Caterina was complicated, too, and I was her favorite." implying some level of friction between them as well as conflicting feelings about her death.

but then that's it. we get nothing else. this should be a major piece of his story, a part of why he feels the way he does, and exploring Caterina's role in his and Illario's abuse would better expand upon Illario's resentment and make his and Lucanis's relationship more compelling beyond "Illario is a big jealous meanie."

i really wanted to like the inner demons quest more than i did, because conceptually i enjoy going into the fade/Lucanis's memories with Spite, so far Lucanis's quests have felt the most Dragon Age to me (fighting a naked woman in a giant pool of blood + seeing Spite lose control, him and Illario butting heads and having a competitive relationship before this (as the crows all should...), etc. these are fun!) but just like the rest of the game it's still holding back.

when you confront the memory of Caterina all you get are these choices:

none of these are particularly satisfying if you actually know the things Caterina has done... "Your love for him" is actually vile lol

this entire questline is a linear walk through fragments of the Ossuary & Lucanis's memories, there is nothing interesting here, Rook just plays therapist for about twenty minutes and then you make a nothing choice at the end that has no affect on anything at all... and most egregiously, we have learned literally Nothing new about Lucanis that the game hasn't already made an effort to tell us repeatedly (a real problem the game has in general, constant hand-holding and repetition).

there's Quite a bold choice to compare this quest to the Fade section in origins right at the start, with Rook and Spite joking about getting past the guards: "What did you expect, to turn into a mouse or something?" like yes, actually, i did expect something a bit more! even if you want to say the warden does the exact same thing with their companions in that quest, their dialogue is FAR better-- again, Rook's is all clinical therapy-speak (where did she even learn this shit? did the crows pay for her to get a degree in psych and become a licensed counselor?) and in origins, we do actually learn something new about each companion as well as getting to see them interact with their fantasies and/or nightmares. we get nothing here...

we could have seen him and Illario training together, being competitive, the early seeds of resentment being planted between them by Caterina's goading and abuse. we could have seen the guilt Lucanis feels about this, about Caterina's favoritism and how it's affected his relationship with Illario. we could have actually seen what happened to him when he was captured and in the Ossuary, we could have seen some of the horrible things he's had done to him and that he himself has done to become the Demon of Vyrantium, we could have learned more about why the demon inside of him became spite specifically-- because if what Zara's echo said is true, it started as an Envy demon-- so it was influenced by Lucanis in some way. what makes him spiteful? why is it spite that keeps him alive in the Ossuary...? is it spite as in defiance-- defiance of the Venatori, of Caterina's expectations and abuse, in defiance of Illario's betrayal...? unfortunately, Lucanis never really feels spiteful at all. determined to survive the Ossuary, but afterwards, never has he come across as spiteful (Spite is mostly just petty and a bit bitchy).

in my opinion the Envy demon fails because Lucanis was never envious of Illario or the First Talon position, only crushed by the loss of their relationship and guilty over Caterina's favoritism. obviously Caterina's expectations weigh heavily on him, but he knows he's the favorite, and he doesn't envy Illario for not being so-- he seems very aware of the fact that it doesn't equate to Illario having it "easier." but the game barely addresses this, only in weak voice-overs, while the majority of the quest is spent convincing Lucanis that he's not actually a demon. Lucanis is wholly a good guy that only kills blood mages and loves his poor grandma and his inner demon is entirely Literal and just him feeling bad about being an abomination :(

nevermind all that yucky complicated stuff. Illario is Bad and Jealous and deserves to be punished for... doing exactly what crows have always done.

of course it's easy to make Illario look bad when all of the other crows are treated like a found family, when we know that's not the case at all. crows have been competing and scheming and killing each other since origins. this isn't meant to make light of Illario's betrayal (in fact i still think it's quite significant given their history and the two of them being the last of their family) but instead Illario is very obviously suspicious from the start, the reveal of his betrayal was not surprising, it's predictable because, again, he is presented very differently from all the other crows we've seen in this game-- he's the Bad one, and Lucanis is the Good one. no nuance!

in his short story, The Wake, Illario is actually depicted as being extremely remorseful, getting very drunk and reminiscing on old childhood memories of Lucanis while Viago has to carry him home... of course there's no way of knowing the exact intent behind this story or what changed since (published in 2020 and written by Mary Kirby, after all) but either way, we don't get anything like that here. somewhere along the way we lost the depth and complexity of both characters; we don't get to confront this big ugly thing between them because the game refuses to engage with anything ugly at all.

[s-4pphics]

A/N: me vs writing what i’m supposed to aka moth aka vampire possession aka anyway here’s post santa barbara angst don’t ask questions im not really sure LOL

“You’re back.” 

Determined hands freeze in the dirt, the freshly watered daisies glistening under the beaming sun rays. Your soiled fingers halt all movement at the soft acknowledgment from behind. A sigh leaves your lips. 

“… I am.” 

An exhausted one, and it’s not from your strenuous labor in the garden. Your body refuses to turn, but holes burn in your spine, leaving behind lasered streaks of green. 

“Can you look at me?” Ellie pleads gently. The softest you’ve heard her be in months. 

What she doesn’t know is that you’ve been back. For a week actually, hiding out in other people’s homes throughout Jackson, assisting in places where Ellie’s least likely to go. The garden in particular; Pollen makes her sneeze. 

Time is vital and interesting; Dina left her and Ellie’s farmhouse with her son when you fled Jackson. She sought you out, but you weren’t there. You spent most of your time alone, walking, running, killing what you had to. Searched for peace, internal and external. The sight of the waterfall was worth the months-long trip. Your home is different now. Eerily quiet. The kids you helped teached to read don't play outside or laugh as often anymore. You hardly see Tommy or Maria around. Jesse is dead. Joel is dead. Dina isolates with JJ. Hugs him like she’ll die if she lets go. 

Ellie’s forever changed. The town’s forever changed, and you’ve finally accepted that it’s for the worse. 

“Is listening not enough?” 

Cordiality is beyond you. Spite is evident. Even the flowers can feel it. 

You tried to be patient, to coddle, to mourn and aid and tend. Sacrifice your own wellbeing for the sake of hers. You tried, Dina tried, Tommy didn’t but he did at the same time. Oddly, destructively, but in his own way. You blame him and don’t. Hate him and don’t. He’s violently and permanently scorned, but so are you. So is Ellie. She says nothing from behind you. You rise with a pop in your knees and an upturned lip. 

When you face Ellie, your knees wobble. Scarred: emotionally, physically, mentally. Permanently. Her eyes are more breakable than glass, the shattered hand that displays defeat hid shamefully behind her back. But her cheeks are fuller, no longer the hollow vacancies they were before she left. Maria was always on her back about finishing her meals. 

Grief is complicated. Hurt. Anger. The flowers wilt. Listening isn’t enough, and neither is sacrifice.

Ellie’s nose always twitches when she thinks. Your heart gives a sporadic pulse, but not enough to revive the shell you're trapped in. 

“I don’t want an apology from you.” 

She shakes her head, “I know.” 

“Then why are we talking?” 

Another twitch of her nose. She searches for something. “I—“

But then she flinches away from you, a bent arm coming up to cover her nose and mouth when she sneezes. A painful jerk thrums through your chest, but still not enough. 

“Bless you.” 

One more sneeze, but softer. A bit squeaky. Remnant of when you first met her at 13 and she followed you out to the greenhouse to watch you water the orange trees. 

“Thanks.” 

You nod stiffly. When she doesn’t say anything, you move to leave. Your work is done and she knows you’re back; There’s no point in being alone with her. 

Ellie doesn’t follow, but she does speak. 

“I’m trying.” 

You pause, one foot in front of the other. A doe learning how to walk for the first time. 

“I’m trying to be normal. I’m trying to be okay but it’s not working.” Her voice trembles.

You weren’t expecting a confession. Normal. An interesting use of the word. No one feels that anymore. 

“It probably won’t for a long time.” You state, just as quietly as she, “But if you stop trying, you’ll rot from the inside. If that’s what you want, then fine. But if not… That's all you can do now.” 

“Will we ever be okay?” 

‘We’ means many. ‘We’ means two. Your back’s to Ellie, but you can see her. Unmoving, but frantic. Her mind cranks at a million miles a minute. You feel her eyes on you. Too familiar. 

You’re not sure how to answer, so you don’t. You take one last look at her before you walk away. 

Flowers never look the same the next day. 

[armageddidnt]

Welcome to My Collection of Random Thoughts during my nth* rewatch of Good Omens Season 2

*only amazon prime knows the exact number at this point but I’m fairly certain it’s in the double digits

Episode 1: Gabriel’s fly lurking in the box when Aziraphale first takes it inside 👀

Crowley’s promise of “two minutes” basically means that he’s been homeless and living in his car for the past 4 years strictly so that he can be within 2 driving minutes of Aziraphale at all times in case his angel needs him I’m not crying you are

So here I think the key word is “fragile,” Crowley knows they are ostensibly safe from their respective sides but that could change at any moment so he’s basically spent the last 4 years in anxiety-ridden terror hovering as close to Aziraphale as he can to try and protect him from heaven, hell, and anyone else that would want to bring him harm after all that business they pulled in season 1 with stopping Armageddon

Episode 2: I just happened to pause the episode while Aziraphale is lying to the angels about his miracle and LOL Michael really outdid himself here (Sheen, not the Archangel)

Gabriel trying to swat flies and almost smashing the repository of every single one of his memories

I’m cAckling

So if Good Omens exists in Good Omens, does that mean Neil Gaiman and Terry Pratchett exist in Good Omens?? Do you think they based their Aziraphale and Crowley characters on Aziraphale and Crowley??

Episode 3: So I’m trying to find any hints or foreshadowing of the Gabriel Beelzebub thing bc tbh I did kind of feel like it came out of nowhere which is really the only issue I have with them. I found this one scene where Beelzebub almost ?? seems to be concerned about Gabriel ?? But it’s blink and you miss it and there could be lots of other reasons why Beelzebub doesn’t want to fail in locating Gabriel (pressure from/leverage over heaven, etc) so idk

More Foreshadowing Fly content 🪰

Episode 4: So here we’ve seen that Shax can just appear inside the Bentley bc she did it earlier to talk to Crowley. Shax only pretended to be a hitchhiker so she could be invited in because Azirpahale was driving so technically she needed permission to cross the threshold of an angel 👀

This scene will never not destroy me the 1941 flashback is the absolute sOFTEST thing ever to happen on this show

We really need more context here I need to see the Crowley-Furfur Monkey Rides

Episode 5: ahahaha thank you google translate for absolutely destroying my sanity this evening

POP goes the Ziraphale

Okay I know you can’t hear it in the gif but just before Nina takes Maggie’s hand, there’s a very quiet miracle noise, like Azirpahale literally MADE Nina dance with Maggie, he said I’m writing a Mina Jane-Austen-Ball-AU and my otp will KISS godDAMMIT

Azirpahale seems lowkey kind of manic this whole scene tho, he’s controlling literally everyone to force Nina and Maggie together and whenever Crowley says anything that pokes holes in Aziraphale’s Magical Jane Austen Ball Fairytale, Aziraphale just straight up denies it. He wants Nina and Maggie to dance and he wants him and Crowley to dance and he refuses to acknowledge anything beyond that.

Is this just Shax insulting Crowley for how much of a nuisance he’s been or a reference to his former status as an angel ???

They’re both completely dismissive of each other when they’re trying to say something important and that’s the main issue they’ve been having this entire season tbh

Episode 6: I think it’s funny that Crowley describes the angels as bees here because in the book, Neil/Terry describe humans the same way. Guess we have more in common than we thought huh?

So the metatron was the one who originally decided Gabriel would be memory wiped and not sent to hell, and he was also the one that decided not to sound an alarm about Gabriel for some reason and said ‘just go find him yourself’ instead. The metatron has definitely got his own agenda and you can bet he doesn’t want Aziraphale up there in heaven because he’s a “leader” and he’s “honest” like that’s exactly what Gabriel was and look where it got him 👀

There’s just something I can’t quite put my finger on about the metatron bringing Aziraphale a coffee from “give me coffee or give me death” and then asking Aziraphale if he’s going to take the coffee he’s giving him…

I have not seen a single person talk about this since s2 came out but Nina literally calls Maggie “angel” because that’s the term of endearment they hear Crowley using for Aziraphale !!!! I’m still going fERAL over this and I can’t believe no one else is eitHER

Something about this part of The Final Fifteen compared to this scene from the first episode is so representative of the entire season. Azirpahale keeps saying “my way or get out” and Crowley finally hits a wall and can follow Aziraphale no further. So he does just that. He goes.

I’m sure a lot of us by now have seen this post that brings up how Aziraphale literally pushes the remains of Crowley into his mouth and swallows and it’s the only thing I see when I watch this now

We still don’t know for certain if Crowley queued up this song to play on their way to the Ritz or if the Bentley started playing it all on its own and it’s driving me insane

Basically how I am doing after my Truly-Alarming-Number-th watch of this traumatizing episode/season. WELP hope you enjoyed this garbage dump of my thoughts and feelings time to go cry for a bit again BYE

[babybutchianthe]

to the people who want to have a conversation about john's being an indigenous man, a māori man, i would like to remind you that the first time we see māori spoke onscreen it goes as follows.

one person in this room is interested in the cultures and languages of the world that came before, to the point her name and mission in life are respectively a human chain reaching back ten thousand years and justice for the destroyed earth: a mission that allowed her to persist beyond death, which brings her to being in control of cytherea the first's corpse. the other is john, who is disinterested in her idea of justice for them and speaks over her multiple times.

that human chain, her name? he doesn't respect it just as he doesn't respect her. this conversation is beneath him and so is her full name. he is annoyed into reciting it.

māori is spoken by john here, and it is spoken with contempt for the woman who wishes to avenge earth and whose name preserved a part of the language that he helped annihilate, along with aotearoa and all other māori people.

the first time māori is spoken in the series it is spoken by an indigenous man—who received an extensive colonial scholarship, who was alienated from his culture and sought respect and recognition in predominantly white academia, who was burned time and time again by the systems of oppression that formed the basis for climate change and the earth's abandonment by the trillionaires—who speaks it with a tone of condescension and a complete lack of gravitas because it is irrelevant to him. genuinely sad, bordering on very funny.

the second instance of māori is when he renames gideon the transliteration of her name into māori. she does not identify with it and she likely does not know its significance.

she is also a corpse: killed indirectly by cytherea the first, who presented a threat to harrow's life that could only be dealt with via her ascension to lyctorhood via gideon's death, who groomed gideon into accepting her role as cavalier primary to harrowhark nonagesimus.

killed by one of the emperor undying's fists and gestures, killed by the ideals of cavaliership which he societally instituted, killed due to cytherea the first's disillusionment with him leading her to go on a killing spree at canaan house in order to gain his attention, killed due to john and john's actions and the systems of the society he created.

the only time we see john use the māori language in a way that isn't dripping for contempt is when he renames his daughter's corpse, wherein he clarifies that she is prince kiriona gaia, heir to the emperor divine and the emperor's only daughter, the emperor's construct.

construct, like the skeletons that farm leeks on the ninth. she is not entitled to resurrection: she is to ownership, to being the ninth's chattel in life and her father's construct in death. he uses the language to declare her his.

gideon is the name of his saint, his oldest friend, spoken by the ghost of the woman that birthed her, to the nuns of her house—kiriona is john declaring a corpse his heir, and his daughter his construct.

there is a conversation i would love to have about john's indigeneity: it's the one where we acknowledge that after wakes death he has preserved the legacy of the māori language by using it to name his daughter, a māori woman killed by his society and the consequences of his actions, something she doesn't feel any connection to.

john is an indigenous man, a māori man, who was born into a land settled by colonisers who rendered it rife with systems of oppression that alienated him from his culture, and led him to fall back on the same systems of oppression when he founded the nine houses. indigeneity describes a relation to colonisation and settler capital, primarily in the form of dispossession; when john declared kiriona his, did he do so as an indigenous man or as the emperor of an empire that ships populations between planets like cattle?

[sflow-er]

Henry and Simon’s dynamic over the three seasons

For YR Faves Fest 2024 organised by @youngroyals-events Prompts: 2. Favourite teen side character (+ 7. Favourite not-quite friendship)

In one of my replies to the recent side character ask game, I briefly mentioned being partial to the dynamic between these two. So for this Faves Fest, I decided to elaborate with an analysis post (featuring screenshots of variable quality)!

I want to preface this with a brief acknowledgment of Henry’s privilege and classism. It is not my intention to diminish them. I do, however, feel that it’s a bit apples-to-oranges to compare them to Simon’s views (citrus pun intended). 🍊 is politically active and has put in the effort to form his own beliefs, while 🍏 shows us time and again that he is ignorant of the world outside the elite bubble and not inclined towards deep reflection. He is largely a product of his upbringing and the (liberal conservative) values imparted by his parents.

While Henry doesn’t grow enough to change his core views and values in the canon timeline, he does change his views on Simon. This isn’t enough progress for them to become actual friends before we leave off (I doubt Simon could be friends with someone who only exempts him), but I would still argue that they end the show on amicable terms.

And yes, I mean that in a mutual sense, even if Simon doesn’t soften towards Henry quite as much as Henry softens towards him!

So, let’s dive in!

Dialogue taken from the English CC and [abbreviated or corrected].

1.01: the tax debate

Henry: “Take my dad’s estate, for example. They’re struggling to make ends meet because of the high taxes.” [Simon chuckles and explains his views] Simon: “Like your dad. [Do you know how much he gets in EU subsidies every year]”? Henry: “And what the fuck does your dad do?”

Like most viewers, I find it a lot easier to relate to Simon’s views than Henry’s here – but I do think Henry often gets judged quite harshly for insulting Simon at the end. His comment does not come out of nowhere (cf. Stella’s unprompted dirty look at Simon and Sara when she talks about welfare scamming).

Henry only knows that his father has said their estate is struggling, so of course he won’t take kindly to Simon suggesting that they are actually getting undeserved subsidies instead. It’s also important to note that this estate isn’t just any old farm. It was granted to one of his ancestors as a reward for their services to the Crown, which makes it a core part of his family history. As we learn in 1.04, Henry is a Society boy and very proud of his noble ancestry, and Simon’s comment likely feels like an insult to his entire family. So although his retort is unquestionably rude, it is understandable that he lashes out.

Also, Henry has no way of knowing that Micke is a deadbeat. He is just applying a common stereotype (and potentially making assumptions based on the views Simon just expressed on welfare).

1.02: parallel but separate experiences

Early in this episode, we see Simon side-eye Henry and Walter for the paid tutoring. He decides to follow their example, but as we know he can’t actually afford it, we can already guess it won’t go as well for him as it did for them.

Next, we see Henry in the group as the rowing team ignores Simon at morning training. The camera also pans to him and Walter when August gives that bizarre speech about Simon’s class journey.

These moments highlight how different life at Hillerska (and beyond) looks for Henry and Simon. They are technically coexisting and even doing the same things, but their experiences are nothing alike.

However, there is also some potential for development here. August’s words about rowing bringing people together (and also about the class journey) should absolutely be taken with a heap of salt, but as we no longer see any open animosity between Henry and Simon, we can still wonder if rowing played a part.

Being on the same sports team is an entirely new frame of reference for these guys. They are no longer just the sosse and aristocrat who have been going to school together since pre-canon and clashing over their views; they are crewmates. They may be able to ignore each other for most of the time, but they may also have to do some team activities or even cooperate on occasion. At the very least, they will be around each other several extra times a week from late September/early October to Christmas break. This could definitely help to put them on more neutral ground.

1.05: Henry pays attention to Wilmon

In this episode, Henry learns more about Wilmon than the average Hillerska student knows. He is present when August tells the Society that Wille and Simon “hang out”, and also when Wille changes the plan from Simon to Alexander.

What’s more, he actually looks fairly thoughtful leaving that last meeting. We don’t know if it’s just shock over Wille’s ruthlessness, if he’s thinking about the plan to set up Alexander, or if there’s something else on his mind.

Now, this may veer into overinterpretation, but for the sake of thoroughness, let’s also include the blink and you’ll miss it moment before the Lucia procession where Henry notices Wilmon texting each other. In this cropped screenshot, you can see him looking at Simon, who has just put his phone down and is looking over at Wille.

1.06: Henry shows restraint

As we know, Henry is the only classmate who tries to treat Wille normally after the video, asking if he “saw the match yesterday” (he absolutely knows Wille didn’t). What is perhaps less noticeable is that he also shows more restraint than most of his schoolmates when the rumour mill gets going.

In this scene, Henry is pretty dispassionate reminding Walter that Wilmon sat next to each other at movie night and the two of them talked about it. There is a stark contrast to Walter, who absolutely pounces on that bit of gossip.

This one quick scene could just be a coincidence, but the same thing happens again when Wilmon return to school. Instead of engaging with the others who are all eagerly talking and whispering, Henry is already sitting at his desk minding his own business when Wille arrives. His only reaction to Simon showing up is this quick look, which is immediately followed by his show of kindness to Wille:

So the restraint does look very intentional.

As an aristocrat, monarchist and Society boy, Henry is loyal to Wille, who he now knows has been carrying on with Simon for a while already. He also knows how far Wille went to protect Simon, despite the fact that Simon had actually supplied the drugs, so he is going to side with Wille.

What’s more, Henry’s behaviour in these scenes also confirms that he isn’t hostile to Simon. We can surmise he probably doesn’t think Simon is the most appropriate choice of partner for the crown prince, but he is willing to take his cues from Wille. We never see him sneer, joke, or say anything nasty about Wilmon as a couple (cf. Stella and Fredrika joking about surrogacy).

We are also shown his reaction to Wille hugging Simon before we move on to season two.

2.02: the floorball hug and walk-by

The first interaction between Henry and Simon in S2 is them celebrating a floorball goal with a spontaneous hug, as seen at the top of this post. What a difference a term makes!

Now, I don’t think this moment is meant to signify that they are friends all of a sudden, and I do feel it comes slightly out of the blue. I suspect it was included as a nod to those who already liked Henry after S1, but I for one would’ve preferred to actually see their reconciliation.

But then again, if their initial antagonism was always class conflict rather than personal beef, maybe there was no need for apologies…? Maybe each of them just accepted that the other was going to be around and decided to try and get along (potentially aided by their shared rowing team history)? Henry is following Wille’s lead as we already saw – and as for Simon, I doubt he would be hugging Henry even in the heat of a game if he held a grudge. Whether we saw it or not, they have moved on.

In the same episode, we also have the locker room scene.

Contrary to popular opinion, I don’t believe Henry actually overhears the entire conversation, but he may have still heard something about them having to wait two years (as Simon did raise his voice for that). It’s also possible he comes out of this scene assuming that Wilmon still “hang out” in secret. In any case, he probably assumes that Wille wants to keep the whole thing quiet, as per the usual “policy” on queer relationships among the upper classes. In addition to his monarchist ways, he also seems to be casually friendly with Wille in S2 (keeps inviting him to do stuff, from coffee to pranking Sprucewood). So it makes a lot of sense for him to keep whatever he overhears or suspects to himself.

2.03, 2.05 and 2.06: book report scenes

While Henry must be a nightmare to have in the group, he and Simon are nice to each other in all the book report scenes. This is further proof that they are in a place where they can talk civilly and even work together.

They start the project before the rowing race and only present it the day before the gun range scene, which means they had these group sessions for at least a few weeks (the timeline is a bit wonky here).

2.04: Henry snitches on Wille and Felice

The lunch scene at the start of the episode starts with this bit of vicarious interaction, as Henry and Simon (and Wille too) are amused by the nonsense Walter is spouting about girls:

Also, Walter's monologue feels more comphet every time rewatch it, but I digress.

As this post is focused on Henry and Simon, I’m not going to dig too deep into Henry’s role in spreading the story about Wille and Felice. Suffice it to say that he did tell his canonically gossipy bestie Walter, and it was recently pointed out to me that he seems to have let something slip to someone else as well. In the common room, Walter goes “det var du som sa till…” [you were the one who said to…] just as the focus shifts to Wille and Nils, which suggests that Henry either purposely told someone or misspoke without realising it. The latter would explain why he seems genuinely appalled when Wille confronts him, but it’s not a hill I’d be willing to die on!

If Henry did spread the story on purpose, I assume it was because getting with Felice was considered a credit to Wille and also “fair game” to tell, unlike the relationship with Simon that Wille wanted to keep hidden.

Still, Henry and Simon are definitely on better terms in S2. Even though Henry inadvertently causes pain to Simon with his part in the Wille and Felice thing, they still keep working together on the book report without any animosity.

Insofar as Henry’s lacklustre effort can be called working. Simon is a bigger person than I am for not blowing up at him when he announces minutes before the presentation that he won’t be taking any questions.

3.01: background Henry

We start S3 off with this one-sided interaction where Henry reacts to Wilmon kissing with a mild smirk. No more waiting or secrets to keep.

3.02: double standards on the camping trip

It’s not entirely clear what Henry is thinking when he says the infamous line about gay couples being allowed to share but not straight ones. I think some people read it as him deliberately putting Wilmon on the spot, but personally, I doubt he even realises it’s going to make them uncomfortable. He’s just noticing the double standard and pointing it out to mess with the teacher.

While Simon is very clearly not pleased with Henry for the comment (glares at him while saying to Wille that people are going to think they plan to have sex), he does not seem to hold that against him. Because what we do see them doing soon?

Sitting next to each other by the fire, even though Henry could’ve easily sat with Walter and Simon with Wille:

Also, it seems Henry isn't new to camping, as he tells Wille that part of the fire is too hot to grill a sausage in.

The part where things get interesting is when Henry acts classist towards the Marieberg students.

Henry seems to be down with meeting Rosh and Ayub, who are there as Wille and Simon’s friends. But after Fredrika brings up New York, he agrees that the situation turned “stiff as fuck.” That stiffness was entirely Fredrika’s fault (I think she is at least semi-consciously trying to mark herself as the most compatible partner for Stella there), but Henry seems to feel it was more about Rosh and Ayub not fitting in.

He also sneers and makes nasty comments when the other Marieberg students get into an altercation with Malin, which elicits a frown from Simon.

And yet, Simon does not condemn Henry as strongly as he might have done in the past.

Importantly, Simon tells Wille “it wasn’t the right time for everyone to meet.” This indicates that he could’ve imagined them all getting along at a better time, and it’s pretty clear that also includes Henry. Furthermore, “you [meaning Wille and the others] don’t realise how privileged you are sometimes” is actually a pretty neutral way of putting it. Simon would have been entirely justified if he had said the others were classist pricks, but he blames their privilege and lack of understanding instead of their character.

All of this forms a backdrop for my interpretation of the scenes in the next episodes.

3.03: First of May

Simon: “You do know that you’re not off so you can party the day before, right?” Henry: “Uhh…what?” Simon: “It’s the First of May.” […] “The day of the labour movement?” Henry: “Okay, so what’s their style? How do they celebrate?” Simon, scoffing: “You don’t celebrate. You demonstrate.” [Henry and Walter share a chuckle]

This may be a controversial take, but I don’t think Henry is being particularly nasty to Simon here.

He actually looks and sounds quite sincere asking how the labour movement celebrates. When he and Walter laugh, it reads more as “there he goes again, our very own sosse, saying wacky things!” than the kind of disdain he expressed towards the Marieberg students in the last episode.

Simon also doesn’t take the laughter as an insult; he’s just stupefied by their ignorance. Also, note that he already scoffed at Henry’s question, marking the question as silly.

This exchange is immediately followed by Vincent attacking Simon for his beliefs, which feels like an intentional trick to create contrast between his and Walty’s treatment of Simon.

3.04: the lollipop

In this scene, Henry starts out asking quite nicely and seriously if Simon has another lollipop, as if they had that kind of rapport. Simon makes a face, but then he just shakes his head and nicely says no. It’s only then that Henry switches to offering money for the already half-eaten lollipop, to which Simon reacts with disbelief.

He does not, however, get snarky with Henry. He settles for exchanging a look with Wille as Walty go on to complain about the hunger strike. Only when Henry isn’t present anymore does he point out to Wille how ridiculous Henry was being.

In a sort of parallel to the lunch scene, Simon and Wille now share a chuckle at the wacky thing Henry said:

Feel free to disagree, but I actually wonder if this could be a common pattern between Simon and Henry. They have accepted that they aren’t going to see eye to eye on many things, but instead of getting into conflict, they just roll their eyes/laugh at how the other can seriously believe/say such things. Then they let the conversation move on to something else.

Which is a perfectly valid dynamic. They can acknowledge that their outlooks on life are wildly different without hating each other for it.

3:06: Henry includes Simon

Look, I dislike the library scene as much as the next person. The talk that Henry interrupts between Wilmon was so much more important than anything he could possibly say. It was just a moment of comic relief that didn’t add anything to the story.

Except… Now that we are tracing Henry and Simon’s “not-quite friendship” arc, this scene does give us a conclusion.

Henry: “Hi! Uh, what are you wearing tonight?” [He rambles on about clothes] Wille: “I don’t know if… If I’m coming.” Henry: “Okay…?” Simon: “I don’t know if I can come either.” Henry: “Oh come on, you two have to come!” [He rambles on about how much fun it will be] Simon: “Yeah, we’ll see. I have to go now.” Henry: “The point is that we have to be together! This is the only night we have together, maybe ever. [I mean, we are brothers!]”

In Swedish, Henry goes “vi är ju bröder” just as the music starts. This has been translated to “we are like brothers” in the English CC, which is already quite something, but the little word ju makes the original even stronger. It means that something is true, so instead of just saying they are like brothers, Henry is saying that is what they are.

(In the dub, there is an audible pause after like, so Henry is actually using it as a filler word. They should have put a comma in the CC to denote that.)

Given that Henry prefaces this ramble with “you two have to come” and barely stops to acknowledge Simon’s exit, there’s every reason to assume he is still talking about all of them. He is saying he considers himself, Wille, and also Simon part of the brotherhood that will be disbanded indefinitely come morning and wants them all to have one last night of fun together.

Simon never hears the brothers part and is of course frustrated with Henry for interrupting, but he still takes his leave on a casually friendly note. He gets that Henry wants him to come and have fun (Henry is unaware that Simon doesn’t drink when he tries to persuade them both by talking about the alcohol). Thus, Simon politely says “we will see” even though he has zero intention of going.

We do not see them interact at the party when Simon goes after all, but we do hear Henry being ushered away when Simon comes to talk to Wille. We don’t see it’s Henry, but someone insists that he wants to stay just as we see Walter and Alexander leave, and all three of them were there moments before:

I’m tempted to end this with a parallel to Wille’s initiation party.

Way back in 1.01, Henry and Simon were explicitly shown discussing the first party with their friends. They never talked about it with each other or interacted there – Henry attended as part of the in-crowd, and Simon only got to go because he supplied the alcohol. But for this last party, Henry was the one to get the alcohol, and he specifically invites Simon to come. They still don’t hang out as they are both there with their respective friends, i.e. in their own bubbles, but those bubbles do bump into/brush past one another without clashing.

Kind of like Henry and Simon’s lives.

Thank you for reading this marathon post! I hope my take on these two brings something to your next rewatch, whether you agree with me or not!

[raayllum]

EZRAN: Prince Karim, all Queen Janai wants is peace. There's no need to attack. Take your army, the people who follow you, and build your own future somewhere away from here.

KARIM: But I agree with you. There is no need for violence today if my terms are met. EZRAN: Your terms? Prince Karim, I may be a child, but I know how to count. Janai's five armies are more than your one. The Queen expects to defeat you decisively. KARIM: And I expect my sister to surrender unconditionally and acknowledge me as the High King of the Sunfire Empire. EZRAN: I don't think— KARIM: And all humans will leave our lands immediately, and return to the other side of the border. Where you belong. EZRAN: You can't force the humans to leave. People have made friendships, built families. Your own sister is marrying a human! KARIM: I know this must seem harsh to you, but... history cannot be forged without fire. Without strength.

EZRAN: I am a king. And as a king, I choose love over strength. Sometimes it's hard, but when I struggle, I think about the people I love and how they are counting on me to do the right thing. Not the harsh thing, not the strong thing. The right thing.

KARIM: But she will always be my sister. EZRAN: Then you can still choose love. It's not too late. KARIM: The great Archdragon of the Sun was faced with a choice long ago. He chose fire. I honour Sol Regem now, as my sister should have done when she had the chance. [...] EZRAN: You want Janai to attack! And when she does... you'll call down Sol Regem and—they won't stand a chance! KARIM: Ah. Humans might be more clever than I thought. I don't need five armies when I have one archdragon.

A few notes, as always:

Karim, when nudged by Miyana, acknowledged in 6x02 that what they were doing, they were doing "for us" and "for [their people]" and I think in a lot of ways, like Viren, that's what it initially started out as. However, here we see most clearly that this is about Karim's ego (shocking, I know) and pride. He wants to be king of this land, he wants to crush and restore 'natural order' to Xadia by expelling humans again. Just having this own followers and his own piece of land elsewhere isn't enough, even though it would be if his people's happiness was all he cared about.

Ezran offers a variety of options and perspectives to Karim to appeal to him — you could leave peacefully with your people, you can make active choices, don't you love your sister? — the latter of which being the only one to really get under his skin. I also like seeing Ezran advocate on behalf of his citizens (and possibly others) who have been integrated into Sunfire society and daily life. Karim wants to return Xadia to being wholly divided, but Ezran — like Janai, and Amaya, and the bulk of the main cast — want reintegration, for humans to live on both sides of the border again (and elves beyond just Rayla I'm sure).

We also see consistent motifs such as the 'paths' element that arc 2 has largely fostered, Karim's focus on history and fire, consistent themes like the emphasis on choices, as well as anyone — but especially Ezran — harkening back directly to Harrow's letter from 2x06, which is the first time in seasons we've heard the same sentiments so directly expressed. (Crying over "No, it's too late for that" in 1x02 vs "Then you can still choose love, it's not too late").

I also really enjoy the way this scene tests Ezran. As he said in 4x03, "We all want love and we all want peace" and here, he's presented directly with the opposite: Queen Janai wants peace, but Karim wants violence, he wants to be attacked so that he can have the upper hand, and that's when Ez and Corvus know they need to get out of here.

I also can't help but think about how relevant Ezran's speech here is going to be when he encounters Runaan in S7. We saw in the TDP short story "Deep Below" that he will likely want to do the "harsh thing, the strong thing," rather than the right thing. It makes me wonder if we'll see more of an Ezran&Rayla focus as a way to guide him through. After all, Runaan murdered his father, but Runaan is also Rayla's father—and doesn't Ezran love his sister?

[vevobly]

Being Rhiannon Lewis's Lover! (Pre-Relationship) [1]

A/N: My contribution to the growing pile of Rhiannon works! Also, to avoid confusing anyone, I wrote this with a gender-neutral reader in mind and with them as coworkers with her.

Rhiannon is an observant woman, and though you haven't made much of an impact on her life before, you do now. She starts noticing you more than she realizes, spotting you in crowded rooms or catching glimpses of you from the corner of her eyes. She brushes it off as a coincidence at first, but soon enough, she finds herself actively looking for you.

Rhiannon doesn't usually go out of her way to interact with others, especially not without good reasons, but with you? She finds herself breaking that. It doesn't matter if it's like, a sarcastic comment here or a passing compliment there, she always has this way of making sure you know she noticed you. Even if she acts like it's no big deal (It is, she just doesn't want to acknowledge it yet at that point).

Rhiannon might be across the room or at her desk, but she'll always catch herself glancing your way. Of course, it's not obvious to anyone else, but you can tell when her gaze lingers on you for just a second longer than usual (what can you say? you're an observant person too). She quickly looks away if you notice though, immediately resorting to pretending that she wasn't and that it was nothing.

After almost every conversation or meeting she has with you, she replays everything that happened back in her mind—overanalyzing everything from the small bits to the big ones. Did you notice her lingering too long? Did her voice shake when she spoke to you? It's not like her to get flustered, but she can't help and care more than she lets on.

Rhiannon doesn't do grand gestures, but she occasionally surprises you with thoughtful actions. Maybe she'll bring you coffee without you asking or notice you're staying late and bring you snacks to keep you going. Small acts of kindness that speak volumes. And again, she'll act like it's not a big deal, but it's clear to you that she's looking out for you.

Even though Rhiannon doesn't go out of her way to be overly helpful to you with your own work, she still offers you assistance on certain tasks sometimes, but in a low-key way. She provides small pieces of advice on a project you're stuck on or suggests a way to improve your work without outright saying you need help. She tries her best to make it seem neutral but she definitely wants to guide you.

When you interact with other coworkers, especially if they seem way too friendly to you? Rhiannon wouldn't be able to help herself and feel a pang of jealousy. She'll try to hide it behind by making some sarcastic remark or pretending like she does not care, but you'll find her watching your exchange with said coworker a little too closely for comfort. Like a predator making sure to secure their prey.

When Rhiannon asks you about your weekend plans or personal life, she'll try so hard to act casual, but you can tell she's kinda desperate to know about it. Like it's important, ancient knowledge she needs to know. She'll act like it's just a friendly conversation between two colleagues, but she'll be staring at you like an eagle and asking you follow-up questions to keep the whole conversation going.

On the rare occasions when you're not at work whether it's a sick day, vacation, or just an absence. Rhiannon will find herself looking for you. As always, she tries to be as professional and not let it show, but she misses you badly like a child missing their parent or favorite toy. She'll be distracted more often than usual just because of the fact you're not around at work.

She's careful about boundaries, whether physical or emotional and tries her best to make sure she respects yours. But there ARE moments when she goes a little beyond her usual limits: asking you personal questions, offering help in ways that cross into more intimate territory.. playing it off as casual as usual.

[moons-and-mobility-aids]

The Last One To Know

Pairings: Pre-Poly!Marauders x Disabled!Reader Summary: It's not until he's holding your hand in a muggle hospital that Remus realises he's in love with you. [wordcount: 879 words] Tags: fem!reader, wheelchair user!reader, chronic illness, hospital, barely conscious reader, protective!remus lupin Sirius's Realisation | James's Realisation | Remus's Realisation | The Plan

The scent of antiseptic clings to the air, a harsh juxtaposition to the sterility that surrounds him. The bedsheets are crisp and clean, their texture unfamiliar against his skin. Remus grimaces, wishing for the musty smell of parchment and ink, the comforting warmth of a crackling fireplace—anything but the cold reality of this place.

And yet, he remains, undeterred by the stark white walls and the persistent beep of machines monitoring your every breath. He cannot leave, not when you need him most.

The rhythmic pulsing of the machine is a cruel reminder of the fight you're waging. It's a sound that grates on his nerves, each beep a countdown he doesn't want to acknowledge. But in the quiet lulls between, there's another sound—the hushed whispers of nurses moving just beyond the door, their words indiscernible yet laden with concern.

You lie motionless upon the bed, save for the shallow rise and fall of your chest. Your skin is pale, almost translucent under the harsh hospital lights, dark circles standing out starkly against your features. Every now and then, your eyelids flutter open, revealing eyes glazed with pain and weariness before they close again, surrendering to unconsciousness.

Remus' hand tightens around yours, his thumb tracing gentle patterns over your knuckles. He doesn't know if you can feel his touch through the numbness that's claimed you, but he hopes—no, he prays—that somewhere within the depths of your being, you sense his presence.

It's hard for him to see you like this, so frail and vulnerable, with neither magic nor muggle medicine offering a reprieve from your suffering. He wants to do more—to be able to do more—but all he can do is sit here, his heart heavy with the weight of helplessness.

Your fingers twitch in his hand, a feeble response, but it's something. For a fleeting second, your eyes flutter open just enough for him to see the recognition there. It's brief, almost imperceptible, but it's enough.

"Remus," you murmur, your voice barely a whisper above the hum of machines.

His heart clenches at the sound—your voice, weak yet undeniably there. "I'm here," he responds, leaning in closer. "I'm not going anywhere."

Your eyelashes flutter and close again, a slight exhale passing through your lips as if his presence alone can alleviate the pain—if only for a moment. The relief is fleeting, but it's something, and Remus clings to it.

Your mother stands at the threshold of the room, arms crossed, her face etched with worry. She doesn't speak or move closer; she simply watches Remus hold your hand, as if his touch could make any difference—as if he could make a difference.

And yet, somehow, he knows that he does. He understands that now.

Remus can't pinpoint when it started—the ache in his chest that's more than just empathy for your suffering. It's for you. For the way your smile brightens even his darkest days, for how you seem to know exactly what he needs before he does, for the look in your eyes that tells him he's more than the boy who disappears every full moon. More than the monster he sometimes fears he is.

His eyes never leave you, tracking each rise and fall of your chest, the gentle rhythm a balm to his frayed nerves. And then, without warning, it hits him—a feeling so profound, it steals the breath from his lungs.

"I love you." The words form silently on his lips, an admission that both terrifies and exhilarates him. He tightens his grip around your fingers, drawing strength from the pulse of life beneath your skin.

Of course, he's always cared for you, felt this inexplicable need to shield you from the world's cruelties. But this realisation that blossoms in the sterile silence is more than that—it's a love deep and unwavering, a force that simultaneously anchors and unmoors him.

It scares him, this depth of feeling, yet it brings a sense of peace he hasn't known before—like finding a missing piece of a puzzle he hadn't realised was incomplete. He leans forward, pressing his lips against your fingers in a feather-light kiss, lest anything more shatter the fragile moment.

"Come back to us," he murmurs, not caring that the words are lost, swallowed by the stillness of the room. "Please."

He glances up and finds your mother already there, hovering close, drawn to you like a moth to a flame. Exhaustion etches lines into her face, and her eyes hold the red tinge of too many tears shed and nights gone without sleep. But as she meets Remus's gaze, something shifts behind her weary expression—recognition, perhaps, or the faintest trace of acceptance.

There's no exchange of words between them, no need for empty reassurances or polite gestures. In this moment, they are bound by a singular purpose, two points converging on the axis of their shared concern—for you, the centre around which their world is momentarily forced to revolve.

And in the quiet, a promise forms within him, unspoken but ironclad. He will stay. Whatever comes next, whatever battles you must fight, he will be there, at your side. Because he loves you. And he's not going anywhere.

[vikingknight90]

So someone pointed this out on reddit and my mind is kind of blown right now

Look a little closer at what Miles says about his uncle to Earth 42 Aaron in this scene

"[Uncle Aaron] looked out for me. He did a lot of bad things, but.... I knew he wanted to be good. He just didn't know he had a choice."

What Miles is saying to Earth 42 Aaron here is almost outright describing Gwen's situation.

Gwen didn't think she had a choice in following Miguel's orders, something she even says word-for-word to Miles in the deleted 'construction site' scene. In Gwen's own misguided view, she thought she "looked out for" Miles by not telling him about "Canon Events" and that he's considered an Anomaly, knowing it would only hurt him and potentially endanger his dimension, if not even the multiverse if he knew. But as we know, keeping that to herself backfired horribly on her. Like Gwen herself recounts in the opening narration, she messed up with Miles and hurt him despite that never being her intention, you could say she "did a lot of bad things" (of course, Gwen didn't work as an assassin for Kingpin out murdering people so this is obviously not an exact comparison, but you get general idea and how it serves as a parallel). Gwen lied to Miles and told him things like she shouldn't have come to see him, and Miles ultimately breaks off their relationship, because Gwen did "a lot of bad things" to him. Again, the words he describes his uncle with intertwines with her.

like look at this part:

Miles: "I knew [Uncle Aaron] wanted to be good."

Gwen:

What's ironic is Miles' words describe Gwen more than they do uncle Aaron. Does Miles actually know that Aaron "wanted to be good", but felt "forced" to become The Prowler? Perhaps the comics answers this about Aaron and exactly why he became the villain working for Kingpin, but it can probably be inferred that Miles believes his uncle didn't believe himself that he had other options for a better life than that, and if he did, surely he'd choose different? Either this is true, or it's Miles' own kind and forgiving self that keeps him from thinking anything else about his beloved uncle. Perhaps it's also helped by the fact that over a year passed and Miles calmed down from the whole revelation and trauma and had time to consider his uncle's situation.

So while this is unclear about 1610's Aaron, we, the audience, know this is precisely Gwen's situation. She truly wants to be good (and she obviously is, but she made mistakes under Miguel's indoctrination and her fear of being sent home, which she later fully acknowledges - heck, her acknowledging this is what the movie starts off with), but she believed that she didn't have a choice in doing what Miguel ordered. Lord and Miller themselves describe the moment Gwen witnesses Miles' bravery and defeat of Miguel on the space train as the "catalyst" Gwen needed to break free from his control (neat little detail about that scene there for those who didn't know).

So what's the meaning or conclusion of this parallel? Miles himself is probably not aware of the similarities he's describing with Gwen, and this might be a subtle foreshadowing that he'll come to this realisation when she explains herself to him. I'm sure many dramatic moments will happen between Gwen and Miles in Beyond before they fully reconcile, this would only serve as a part of it. One way to look at it though is the fact that Miles still loved and (apparently) forgave uncle Aaron, so chances are he still loves and is going to forgive Gwen too (after she has earned it, of course, but I have no doubt that she will).

And if someone's gonna be like "well of course he forgave uncle Aaron, he was his family, it's gonna take much more to forgive Gwen", I mean... Aaron was an assassin who outright murdered people. He was co-responsible for the death of RIPeter. He was even going to murder Miles himself, a child, before learning his identity. Make no mistake that just because Aaron was a cool uncle to Miles and ultimately spared his life, it doesn't mean he "wasn't so bad". Aaron was a villain through and through, and the fact Miles still loved and forgave him despite that he nearly killed him, shows tremendous heart from Miles. This is also just the character of Miles and Spider-Man in general. Spider-Man has (from my memory at least) always been an understanding and forgiving hero who would even forgive his enemies if they showed him that they repented.

And make no mistake again, Gwen will have to earn Miles' forgiveness, but once he has the full context of why she did what she did, and she likely has proven through her actions just how much she cares for him as well, there is no question that he ultimately does so. I just know that the writers are working on one incredible reconciliation between them that will likely leave us in tears by the end of it. The only problem is just waiting for whenever we get to see it 🥲

Anyway, I guess this became a small rant. I just saw someone point out the way Miles' description of his uncle parallels Gwen's situation and wanted to make a post about it. Just another one of those details that continues to make this movie so incredible. And of course more hidden details for ghostflower shippers to latch onto, lol.

[carmenserenity123456]

Madara kind of acknowledged Sakura's Strength of a Hundred Seal and Hashirama said she is strong.

Is it some kind of troll? Madara just saw her mark because she rushed at him and she was in his face. It was a war! Of course he was going to notice something like that but it does not mean that he acknowledged her in any way. He did not even notice her at all and look how he stands when he stabbed her. He is just unmoved because she is no danger to him. Her act was even more pathetic when two guys had to save her.

Madara himself said that weak people are ugly and he told it to Tsunade who is much stronger than Sakura can ever be. Tsunade broke his Susanoo and here we have Sakura who immediately got stabbed, could not break his barrier and then she was sad because Sasuke did not care about her. Also I think Madara pointing out her mark to himself and remembering Tsunade was some kind of comparison to him because it looks like he wanted to see what this girl with the same mark as Tsuande would do and she did nothing. She was no fun to him basically. The only people that Madara ever acknowledged was Hashirama, Guy, Itachi and Naruto. Not only Sakura is weak in his eyes but also ugly. Another proof that Uchihas look at skills and talent. Sasuke thinks she is annoying and useless, he also never prioritize her even after marriage and he would always choose Naruto. Itachi never looked at her in any romantic way. if any other girl was in her place he would also stopped them and just like Sasuke he would never prioritize her. He killed his whole clan and his beloved parents just to keep the peace. He would also kill Sakura if he had to.

When it comes to Hashirama I think that a lot of Sakura and SS stans cannot read with understanding at all. Yes Hashirama said that she has great strength because she has but still she does not use it in a good way. She punched just one time and that's it... Why could not she contribute more to the war with her strength? Because beside hitting Naruto she does not know hot to properly use it and against such people like Madara or Shin her strength is not enough. Not to mention that she cares for her life and that is why she stays useless all the time and when she wants to do something it is because of Sasuke or to feel better about herself. She is just selfish and acts like a hero when she is not. Lastly a lot of SS stans say that Hashi means that she is stronger than Tsunade which is wrong. He said that she might be stronger but not that she is and also looking at the whole manga she is not stronger than Tsunade and she will never be and example with Madara shows it. How can you throw away the whole evidence in the story which points out that Sakura is weak and take just one dialogue that does not even state what SS think and take it as an absolute truth about her. It is just beyond me.

Question for Sakura stans, why do you want her so much to be always noticed by Uchiha guys? You do not care about other guys noticing her but only Uchiha. Is it because they are handsome and only that counts for you?

[writinginaforrest]

Yes, I’m Transgender, but I’m not “Trans”

(31st Aug 2024)

When I think about this too much, I always come to the conclusion that I have got some internalised Transphobia. I identify as Male. I use He/Him pronouns. I dress in a way that conforms to the Gendered Norms of my culture. I’m just a guy. When “Trans” is added as a descriptor, not only does that become a thing about me, but it also sets me aside from other men. I’m not a Man, I’m a Trans Man. I’m a pseudo-masculine thing. When people realise I’m Transgender, I feel Castrated. That sounds pretty dang transphobic, doesn’t it. 

The way people have expected me to be Trans often Superseded what Transness is to me. I had a lecturer in college who insisted that my depression was, In part, a result of my going home every day to a family who did not know I was Trans. She sat there and looked me in the eyes and I watched myself in the reflection of her eyes becoming an anecdote in real time. I’ll always be her “Trans Student” who did remarkably well in her class before dropping off in his second year when he got a different teacher. For reference, my family may not have known that I am Trans, but It’s very rare that my deadname is used in my home. I’m referred to by my Middle name almost exclusively. Jeff (Jeffrey). And in reality. Transness was not something that was always on my mind and even now, I can be sure that it was not fueling my depression. My Undealt with sexual trauma? That’s a different story. But my being Trans wasn’t it. I didn’t even think about it that much. I still don’t. It’s not something that is an integral part of me. I would be no different If I had been born Cisgender. 

And that’s the thing. “Trans” carries a lot of weight to it, doesn’t it? A lot of people really connect to it on a level beyond it being simply a descriptor. It’s a culture, an experience, a mindset, an ideology, and what can I say to those people? Well done? Thank you? I don’t really have much to say, and that’s part of my problem. A lot of Trans artists are, at least partly, inspired by their queer experiences. I’m an artist (I yell into the void) and yet nothing about being Queer inspires art within me. I have nothing to say. My art would be the same if I were Cisgender. If I were Allosexual. I would be the same because I am not these descriptors that have been decided for me based on the way I live my life. 

“Trans” has become a commodity that I can’t escape. It’s something I’m supposed to stick on my laptop. It’s something I’m supposed to pin on my wall. It’s a lifestyle. A trait. A Community. A Culture. An Ideology. A Concept. An Abstraction. It’s everything and it’s nothing. I’m supposed to disclose it with pride when I meet new people. I’m supposed to warn Littluns about the dangers of not expressing themselves and being comfortable in their identity when I can’t even deliver on that. I’m supposed to do all these things. 

But no one is asking me to. 

No one is telling me to be “Trans”. 

I’m looking around at all of my Trans brothers and sisters and wondering if that’s behaviour I should emulate because I  have a) no frame of reference and b) no connection to Transess as a concept. I feel like I’m doing a disservice to those who feel a connection to it as a concept, when I only see it as an adjective. When I try to remove myself from it as much as possible. And again here comes the internalised Transphobia knocking at my window.

I’m an artist, A filmmaker, and a writer. I’ve never felt compelled to tell Trans stories. Is it because I don’t want to be pigeonholed into this idea of Transness that again, supersedes my own, or is it because I’m ashamed of it? Am I acknowledging that I am more than a Trans artist or am I just not taking pride in the fact that I’m going to have to live with being Trans for the rest of my life? It’s not something that goes away. Trans doesn’t stop. I Will always be Transgender and I have to cope with that because I am male and I was not born that way. 

I don’t Identify with Queerness. I don’t identify as Transgender. It is something I am, a thing that I cannot help. I Identify as Male, Transgender was just something that came free in the post. I didn't understand the terms and conditions of it. I'm dyslexic, you expect me to read the fine print?

Where does this end? What’s the accumulation of all of this thinking? I do not know. It doesn’t end. The debate where I am my own interlocutor only ends with more questions that I must ask myself.