#all she wanted was to protect

[nothazellevesque]

there is something so extremely tragic about Thalia Grace. She was a child looking after her baby brother. just a nine year old little girl with a two year old boy clutching onto her sleeve while she tried desperately to protect him from their cruel world and their mother. She looks away from that little blonde boy for just one moment, and then he’s gone forever. Dead. She runs away from home. She meets another blonde boy. An older one. His eyes aren’t quite as blue as Jason’s, but he still reminds her of what her brother might’ve been if he’d only gotten the chance to grow old. they find another child in need of protection. A little girl with blonde curls like her mother’s. And this time is going to be different. This time Thalia won’t fail. This child will be safe. They will all be safe.

She is twelve years old when she dies alone on a hill to protect annabeth and luke. the closest thing that she had left to a family. I wonder if she thought of Jason as she lay there. I wonder if she saw her friends make it to safety as she fell. I wonder if she thought of home, wherever that was. A picnic in the forest with Jason? A safe house with Annabeth and Luke and Grover? An empty mansion in Pasadena? it doesn’t matter. because her body becomes a monument. In death, she can finally be the protector that she’d always tried to be. She’s a symbol of safety now, not a lost, scared little girl who was condemned to a life of hardship because of who her father was.

Except it’s not the end. Thalia comes back. Everything’s different now. The little girl that she once raised is now older than Thalia ever got the chance to be. Luke is gone. Thalia closed her eyes for the final time as a twelve year old girl and woke up a fifteen year old, suddenly the star of a prophecy that she’d never gotten the chance to learn about. To the campers, she’s still the tree on the hill, still that symbol of safety and hope. To Luke and his army, she’s a symbol of the failures of the gods. There is no space for Thalia Grace the person. She is now the figurehead of a war that she never wanted to fight, the mascot for a side that she’d never agreed to join, and the closest people in the world to her are total strangers now. and through it all, the clock keeps moving forward. She’s running out of time. There are at most four months between when she comes back and when the prophecy is scheduled to kick in. She has no time to breathe, no time to adjust, she’s just thrown back into the fight.

And then she chooses immortality. She’d never wanted to be the prophecy child. She’d never wanted any of this. All she’d wanted was to protect. All she’d wanted was safety. She’d lost everything. Jason was dead. Annabeth had grown up without her. Luke was someone that she didn’t recognize anymore. So she chooses to remove herself from the story. She is an eternal protector now, only one day from sixteen for the rest of her days. She watches from the sidelines as her friends grow up and move on without her. At least this time, she can be conscious through it.

Luke dies. She doesn’t get to say goodbye. She doesn’t get to see those blue eyes close for the last time. Another blonde haired blue eyed boy has been ripped away from her. Annabeth is sixteen now. She’s found love, friends, a place to belong. And Thalia is no longer a part of it. So she moves on and focuses on her duties as a huntress.

Jason is alive. Her first failure was all part of some greater plan. She’d never failed him at all. He was safe. He was her age now, but he was safe. He didn’t remember her, really, but that was okay, because he was alive and they had time to fix things. Except they don’t. Because he dies. She’d barely gotten him back before she loses him for good. The boy that she’d once held on her hip, the baby who drove her away from her mother, towards Luke and Annabeth and becoming more of a figurehead than a person, he’s gone. Neither of her blond boys got the chance to grow old. And Thalia is right back where she started: a tree on a hill, standing forever still while the world moves on around her.

[chloesimaginationthings]

I know Vanessa regret saying this in the FNAF movie,,

[born-in-neverland03]

Can we please talk for a second about the fact that Agatha wasn't prepared for that moment at the fire with the other witches in any way? Like being nice and sharing stories?

You can see it how her look went through that whole round because she wasn't sure if Jen really meant it or not. And you can see she still felt kinda arkward when the others laugh about her joke. It's the way she looks through that whole round again after it. She's not a insecure person but this time? This totally got her off guard and you can clearly see it in her face when she observes the reaction from each of them.

Because she wasn't used to it. People hate her and this is probably the first time ever that someone else beside Rio really listens to her and is interested in what she says.

[bluismie]

the category is hurt/comfort

[poorly-drawn-mdzs]

Council of lovefools.

[First] Prev <–-> Next

[francesderwent]

Taylor Swift really wrote an album with the thesis “a man who tells you he loves you and lives together with you in a committed relationship for six years but never ever proposes is essentially the same as a man who tells you he loves you to get you into bed and then ghosts you a couple weeks later”

[demaparbat-hp]

Oh, Aang, you're really in it now...

This is Zu—I mean, Jian Li and Katara's second meeting in the Kyoshi Warriors AU. The first proper one, anyway.

Once they get through a minor difference of opinion or two (“I can carry my own basket!” “Never said you—” “I'm not weak!” “I didn't—” “Just because I'm a girl doesn't mean—” “Would you listen for once, woman?!” ) they'll become nearly inseparable.

For now Jian Li will carry Katara's basket all the way to the Kyoshi Warriors' dojo and, once there, they'll mercilessly tease Sokka when they see him in uniform.

[starry-bi-sky]

wolfpack. aka: if not friend, then why friend-shaped?

"Hey-- uh, Danny?" There's an almost imperceptible tremor in Tucker's voice.

Danny doesn't look up from what he's doing, his pencil scritching across his notebook as he tries to do another quadratic formula question. "Hm."

"What's -- uh -- what's with the dogs?"

He looks up now, and finally sees where Tucker is -- standing in the doorway of his room with an ashy look on his face and a skewed, nervous smile. He's got a white knuckle grip on the doorknob. Sam is wide-eyed behind him, and using him as a partial meat-shield.

Danny looks down to the two giant ghost wolves sprawled next to him lazily. One large green one with his head in Danny's lap, letting him use him as a prop-up for his notebook. Another equally large black one splayed against his hip, sleeping on her side with her head tilted inward to his calf.

Automatically, a grin tilts across Danny's face, and he lifts his notebook up to scratch behind the green one's ears. He opens a lazy eye, one that is bloody red with a ring of yellow around the pupil, before slipping it shut and leaning his head into Danny's touch. "This is Sirius and Procyon," he says, and reaches down to scratch Sirius' belly. "And they're not dogs, they're wolves."

"Great," Tucker says, his voice suddenly much smaller and faint, "Love that distinction."

Sirius makes a great big groan, and Danny's grin widens, his heart swelling with fondness. His hand slips away from her belly, and before he can put his notebook back down, Procyon pushes his head up his lap until his ear is against his stomach, demanding pets now too.

Sam peeks her head up from over Tucker's shoulder, "I think what Tucker's asking here is what are they doing here, Danny."

He shrugs, scratching under Procyon's chin. "They kinda just showed up. I tried sending them back to the Zone, but they keep returning." And they were weirdly intent on just following him around, which is the only reason he gave up on returning them. They weren't causing trouble, and they knew how to hide around the living. Plus, he just loves dogs. "So now I have two wolves living with me."

This, oddly enough, did not do anything to calm Sam and Tucker down. Tucker's mouth purses into a thin line, and he presses the sides of his palms to his lips in prayer. "How have your parents not found out about this?"

Danny wordlessly raises his hand, and his sleeve slides down to reveal a thin chain bracelet hooked around his wrist. He whistles sharply, and both Procyon and Sirius jerk their heads up to look at him, ears pricked up and eyes alert.

Silently, he points to his wrist and rattles it twice, and in unison both wolves stand up and pounce. Instantly, they turn into a respective, opaque black and green mist that swirls around the bracelet and forms into two, flat wolf charms.

Both wolves are posing in the stereotypical wolf howl, with little stars indented on the sides. Procyon's charm has the Canis Minor constellation engraved on it, while Sirius has the Canis Major.

Danny faces Sam and Tucker, and points at his wrist. "Like this."

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[choccy-milky]

congrats on baby #2!🥰👍 part 2 to this post bc seb is a smug ass bitch when it comes to getting clora pregnant. and ty @rednite-dork for sending me the original pic ages ago LMFAO... i knew as soon as i saw it that i had to redraw it eventually 👼

[ennn]

Let's appreciate how complex Agatha's relationship with Billy is

GIF credit to @isagrimorie

The genuine emotion brimming from Agatha in this moment is very interesting and I really want to break down all the layers of how Agatha is relating to Billy—because it is truly not as simple as Agatha feeling sentimental or motherly to Billy.

There are a few layers at work here (and I also want to give a shout-out to @trickofthelights for her excellent recap points):

Billy reminds Agatha (enough) of herself

There are two driving forces at the core of Agatha as a character. We know this because her characterisation has been incredibly consistent throughout the show and Schaeffer has talked about them, which is: (a) Agatha is self-serving and (b) Agatha loves powerful witchcraft.

Billy is a powerful witch who did a horrifying thing in order to survive. He's been lying to these wonderful parents. He also just tried murdering three people in a fit of rage, provoked by Agatha no less.

Would Agatha care if he was less powerful? Would Agatha care if he didn't have a dark side? If he hadn't shown to be duplicitous and dangerous and subject to his darker impulses?

If he wasn't alone and without a coven, a possible outcast even among witches because of his unusual origins and power?

I'm pretty sure the answer is no, she would not. She would have dismissed him the same way she did his "Teen" persona. Agatha doesn't care about witches, Agatha cares about powerful witches –because that's who Agatha is and what drives her.

And we also got hints of this with Agatha and Wanda (hello consistent characterisation). In Schaeffer's words:

There is respect and almost affection inherent in [Agatha's interest in enormously powerful witchcraft], as indicated by how she felt about Wanda. She was mean to Wanda, but really she was fascinated by Wanda and admired her and wanted to hang out with her. 

And if this wasn't clear enough, what Agatha tells Billy shortly later about breaking the rules and being a true witch just screams projection (more on that in my next point).

I was delighted that Agatha really did bounce back from the attempted murder – but it's not because she's forgiving. Oh no, I think, Agatha was testing her theory by poking the bear (calculated move, bad at math) and she's glad she was proven right.

I mean, she not happy about the attempted murder but her curiosity wins out. You see her poking at Billy and trying to figure him out in the rest of this scene.

Agatha also hates self-righteous moralising and searches out for the darkness in people – delights in it even – because she knows people and she knows her own darkness.

Billy is different but also not so different from Agatha, as much as Billy or his mom would hate to admit.

Agatha is dealing with her childhood trauma

Yes, Agatha is projecting on Billy, but she makes a choice about it. We hear her telling him what she would have wanted someone to tell her: that they shouldn't be afraid or ashamed of who they are or what they did to survive, that they are part of a community.

Don't you dare feel guilty about your talent. ... That's what kept you alive. That's what makes you special. That's what makes you a witch.

She's trying to be the person she needed when she was a child, because she simply doesn't want someone else – particularly a younger witch – going through what she did.

She doesn't want anyone to go through what her mother put her through. And that's a choice.

Because there are a number of ways a character can deal with trauma: they can lash out and bring others down, wanting others to experience to the pain they went through, or they can realise that what happened to them shouldn't happen to anyone else in their position.

There's something beautifully self-serving but also selfless in that, because this is a way for Agatha to heal from her trauma. She can tell Billy things she may not be able to tell herself.

And it's interesting because as a self-serving villain, Agatha could just be jealous of Billy's power. But in this moment at least, Agatha's empathy and compassion – as buried as they usually are – prevail.

And yes, Agatha was fond of kid Billy

This is what Schaeffer touched on in her interview answer and it makes sense, with the insight that Agatha – like any good actor – does invest a bit of herself in every role she plays.

Agatha does have feelings (as much as they might make her vomit) and I do believe she has a soft spot when it comes to kids, given her experience with her son and her own childhood trauma. And that kids don't have the level of hypocrisy and darkness that adults do.

It makes sense that Agatha would have some level of care about the Scarlet Witch's magical kid Billy. And that is a fondness that has carried onto teenage Billy – who is powerful and a survivor and has a potential for darkness in a way she can relate to.

There are layers and they intersect and it all ties back to how Agatha is incredibly complex and yet consistent as a character.

[chloesimaginationthings]

FNAF movie Vanessa definitely thought Abby died..

[secriden]

Something about how Fadel’s first instinct after he finds out the full extent of Lily’s betrayal is anger at Keen and then later guilt and anger at himself.

Something about how Fadel never even considered the possibility of her being his true enemy when his ex disappeared under mysterious circumstances. Something about how Fadel — fastidious, paranoid, cautious Fadel — refused to noticed any of the red flags until the accusation was put into words and something in his brain slotted into place because suddenly all the things he has been ignoring for years made sense.

Something about how thoroughly effective Lily’s brainwashing was because Fadel desperately wants to have a mother, wants to be treasured and protected and loved with gentle and soft hands.

Something about how Style gives that to him without thought or prompting, all instinct to reach out with a delicately soft touch, because his love for Fadel enables him see true, to see the broken heart Fadel tries so hard to hide behind a harsh exterior, before Fadel has even uttered a word, and in so doing, loves Fadel with all the careful tenderness that he so richly deserves.

(Something about how Fadel trusts Style so fully that he does not show the slightest bit of hesitancy or caution when Style touches him so intimately.)

Something about how Fadel was searching in all the wrong places for someone to simply hold him, and found it instead when he wasn't even looking, in the arms of the most unlikely and wonderfully perfect person.

[packitandgo]

season 3 eliot CONSISTENTLY trying to get his partners out of situations where they could get killed, but they insist on doing the right thing and putting themselves back into danger to save other people's lives!!! and he's so upset because they worked so hard to get them out (he got to the 47th floor!! they stole a train!!!) and they're too good for that

my beloved

[scoriarose]

Baby that is not an enrichment activity

Baby... Baby no you... Child...

I know you like to play with crinkly things but...

Aaaand into the messenger bag she goes.