#also me and jon got engaged

[firstmatedville]

an actual slug just watched me propose to jon. live slug reaction is real

[beansnpeets]

I love that Sprocket is a good adventure buddy. She's fine in the car. A wee bit restless on the way to, but good on the way from. She's so friendly and happy and easy to take with when we go somewhere. I love being able to bring her into pet friendly stores. It's so nice having a solid and confident dog. I just wish Oscar could enjoy doing all these things with us, too. I'd love to be able to have him with.

[saintbleeding]

i don't think those are the whole and intact jon, martin, or jonah* in there

here's why

so before i get into this i need to mention that the ideas im riffing on here came from a conversation with @bigmilkagenda who is smart and brilliant and beautiful.

but i was thinking, and what do the existing accounts we've heard have in common? obviously, there are different degrees to which and ways in which these ideas are engaged with between each account, but extremely broadly:

we have ideas of the irreversible alteration or corruption of the physical form, and how that does and does not correlate with personhood and the self. specifically, how do these physical changes intersect with identity, and at which point can someone be said not to be there, themselves, anymore?

"some of him"?

i think it's safe to assume that redcanary, inasmuch as they were a mischievous little urbex enthusiast, cannot and will not be returning in the form that they left, if indeed they return at all

daria, though they are willingly engaging in the process of change and transformation, also doesn't have full control over the process, nor the results, if their preference not to be seen on camera is any indication

dr webber... well. gestures vaguely at the all of that.

there's another common theme amongst these, to me: there are varying degrees of suggestion of a judgmental observer, or a more general but prominent idea of seeing and perception. the subject of the first case (who i'd heard fandom ppl calling harry but who the official and unofficial transcripts both refer to as harriet, but that's not my point rn, just a thing i noticed) obviously experiences the horror of what they go through because, mostly, of the visuals of it.

the fuckin magnus institute.

daria's experience both with ink5oul's assessment of them and the whole livestream experience (which is chilling tbqh)

the increasing suggestion thru dr webber's journal that maddie is very much there (to him) and overseeing what is happening to him, appraising, if not judging directly.

so we've got a joint idea of loss of one's physical structural integrity/questions of both mortality and identity, and we've got an idea of perception and sight.

here's where i need to make a logical leap, but essentially, this thematic focus is making me think that there is something Less Than JMJ in the system (ghosts in the machine as it were), but that, if and when that's examined, it will not lessen the impact and poignancy of what they're experiencing, what they're capable of thinking or feeling, etc.

*i think it's equally possible, at least at this juncture, that J.02 isn't necessarily Literally Jonah Magnus: the wiki says that james wright "died" in 1996, and although that doesn't correspond directly with the institute's fire in 1999, it's possible that things progressed differently in this universe, and maybe he was the director of the institute at the time. but also this is much more speculative than my other points, i just think it would be neat!!!

[whatdoeseverybodywant]

Sorry - Chapter 6

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Series Masterlist

Jon often forgets how petty his fiance could be as he watched her force Josh to switch seats with her on the plane so she was two rows ahead of him instead of sitting next to him. Their first flight had been canceled, leaving them in the airport for an extra 5 hours. He had tried to talk to Dominique, only to be met with silence and glares. Jon sucked his teeth as Josh made eye contact with him as he made his way over to him. 

“Aye it's gone be all good twin. Y’all got all week to work it out.” Jon snorted. He had peeked into her phone earlier when she was texting her mom and saw that she had asked her mom to pick her up from the airport.  

“Unlikely. Moniqiue is picking her up and taking her back to Ensley.” 

“Uce, that's a 12 minute drive. If you really wanna work shit out with Dom then do it. Hurry up and text Ms Mo before the flight takes off. Tell her she doesn’t need to come anymore.”  Jon didn’t respond to his twin, too busy looking at Dominique and trying to think of ways to get her back to him, back with him. 

“I don’t know what to do.” Jon confessed. “I know I fucked up and I apologized, but I just don’t know what else to do.” Josh sucked his teeth causing Jon to look over at him. “What?”

“You being deadass Uce? I know you not being deadass. Jon, you flew her out to Paris so you could propose in front of the Eiffel Tower because that's what she told you her ideal proposal was. Dominique is just stubborn as hell but you know what to do, Just follow your heart.” 

Dominique rolled her eyes and let out a groan at all the messages her mother had sent her pertaining to her wedding. Dom had told her mom that the wedding was off but Monique Walker-Coleman did not care. She knew how her daughter was and she knew that Dominique and Jon would work it out.  

She didn’t even bother responding to her mom. She took her headphones out of her carry-on and slipped them on to her head. After putting on her playlist, she closed her eyes and tried to drift  off to sleep, but her mind kept going back to what Ishana had said to her. 

Dom knew Ishana was right but she also knew that if the shoe was on the other foot, Ishana would have turned her own fiance every way but loose! She understood that Jon knew he fucked up and all he wanted was for Dominique to forgive him, but she was hurt. She watched, with her own two eyes as her fiance let some bitch get into his space. He let that bitch KISS him! 

Dominique opened her eyes and  took a deep breath trying to calm herself down, if she thought about it anymore she was gonna be put on the no fly list after she got through with Jon. 

Dominique all but ran off of the plane. She could hear Jon calling after her as she grabbed her bags from baggage claim and hightailed it to where her mom was waiting for her. “Go!” She yelled once she got in her moms car , then winced as her mother narrowed her eyes. “Sorry, can you just drive please?’ Monique nodded and drove off just as Jon came sprinting out of the building.

Monique stared at her daughter, very disappointed in what she was hearing. “Yes, he fucked up.” Monique started off and Dominique smiled, finally someone was on her side. “But,” Monique said, causing Dom’s smile to fade. “You also fucked up by not letting him know how you feel about marriage before y’all even got engaged. You’re afraid to go through what me and your father went through and I don’t blame you. But you can’t let that ruin what you and Jon have. Y’all both went through some rough shit before finding each other. Don’t let  your fear mess that up Dominique.” 

“So what you're saying is that it’s my fault for not telling him I'm scared of being married.” Dominique scoffed, sitting back in  her chair and crossing her arms over her chest as Monique rolled her  eyes.

“Girl, you know damn well that’s not what I said.” Monique reached across the table and gently grasped her daughter's hand, squeezing it. “I don’t want you to be like me, Meeks. Don’t blow this situation out of proportion. You and him messed up and you and him need to sit down and talk to each other, without screaming.” Monique said, pointing an accusatory finger at her daughter. “You nicely tell him how you feel, not just about the situation but marriage as a whole and you listen to what he has to say.” 

Dominique stayed out with her mother as late as she could. It was nearing 4 pm when she finally made it home and normally she would have gone in the house and started on dinner but she was still pissed off with him, she didn’t care if he ever ate again. 

She furrowed her eyebrows as she walked in the house, taking a note of the silence, which was very unusual in their house. She walked into the kitchen and jumped when she saw him sitting there, nursing a bottle of beer. She let out a sigh when she saw two empty bottles in the recycling bin. 

“Didn’t think I was gonna see you tonight.” He said in greeting and Dominique ignored him, walking over to the counter and shuffling through the bills that had accumulated while they were on the road. She noticed that his keys were thrown on the counter and not on the hook by the garage door. 

“I hope you decided to drink those after you went wherever you needed to go.” She muttered, flickering her eyes up to his. “You can’t afford another DUI.” That was a low blow. Jon chuckled and picked at the label. 

“That was uncalled for.” He muttered, his voice laced with hurt. “You ain’t have to say that Dom.” He let out a scoff when she shrugged. 

“What you did was uncalled for too.” 

“Now you just being childish and petty, Dominique.” 

“Hmm.” She hummed and placed the bills back down on the counter. “I’m going to take a shower.” She said, huffing as she heard him following after her. “Stop following me Jon.” 

“I just wanna talk to you.” He pleaded as he followed her up the steps and into their bedroom. She sighed and walked into their closet to get her some nightclothes ready. 

“I am talking to you Jonathan.” She called out from the closet. 

"Dom, please." He pleaded, taking his hair out of the ponytail and running his fingers through it. "I just want to talk to you” 

“Jonathan, we can talk in the morning. I just want to shower. “ He sucked his teeth and watched as she disappeared into the bathroom. He sighed and stood up to follow her in the bathroom.

"Okay I'll talk you listen." He sat on the toilet lid and she glared at him.

"Jon can you just - " She started but he cut her off.

"I fucked up and I'm sorry." He said and he rubbed his hand down his face. "I didn't know she was gonna do what she did, Dom. I-" He stopped and shrugged. "I don't know you told me to go find someone else and I was pissed but my intentions weren't to disrespect you." She rolled her eyes and rested her but against the sink so she was facing him.

"I obviously didn't really mean it, Jonanthan!" She cocked her eyebrow at him. Was he serious? So now all of a sudden he wants to do everything she said. If she said jump would he say how high?

"I know that Dominique, I was drunk and upset. Like I Just said it wasn't my intentions."

"So what were your 'intentions'?" She said using air quotes.

"I don't know Dominique." He stressed. She was making this more difficult than it needed to be. Why couldn't she just accept his apology. "All I know is that you pissed me off." She scoffed and crossed her arms over her chest.

"So that's what I had to look forward to if we got married? You letting different women in your space when I piss you off?" He groaned.

"Of course not Dom.-" She cut him off .

"What if it was me, Jon?" He raised his head from his hands and looked at her.

"What?"

"What if it was me? What if you saw me with another dude all over me in the club and I didn't push him away? Would you forgive me right away?" He clenched his fist at the thought of another man even touching her. “You already was pissed off because you seen me with Randy.” 

"I'm not the only one at fault here Dominique." He deflected and she let out a huff and crossed her arms. "9 months of you pushing me away everytime I ask about the wedding, our wedding. Everytime I bring it up you either start an argument or walk away." He said, standing up from the toilet and walking closer to her. She averted her gaze, looking at the wall behind his head. He was right, he wasn't the only one at fault but he played a bigger role in this problem than she did.

She could be woman enough to admit that all of their other arguments were petty and childish and all her fault but this was entirely on him.

"Okay but I didn't let some guy kiss me." He restrained himself from rolling his eyes. She wasn't going to let that go any time soon.

"And I apologized for that and already told you that I didn't know she was going to do that."

"That doesn't make it okay Jon!" She yelled looking at him again. "None of this is okay! I'm allowed to have reservations about the wedding! I'm allowed to not be sure about certain shit Jonathan!" She was trying her hardest not to cry.

"So you're not certain about us?"

"That's not what I'm saying."

"So what are you saying Dominique?"

She stared at him. She wasn't sure what she meant by that. She was certain that she wanted to be with him, but she wasn't certain that she wanted to get married to him.

"I don't know." She mumbled, looking down at her feet. He scoffed.

"You know what." He let out a humorless chuckle. "Maybe we should just you know." He made a break apart motion with his hands. "If this wasn't what you wanted." He motioned between the two of them. "You shouldn't have accepted my proposal." He said turning around and walking back into their shared room.

Dominique stared after him in shock. That wasn't how she thought the conversation was going to go. She didn't expect him to walk out. She walked into the bedroom to see him packing an overnight bag.

"I'm going to stay at my moms." He said not sparing her a glance as he walked out of the room. She followed behind him wanting to tell him not to go and that she did want to be with him but something in her wasn't letting her.

He left the house slamming the door and let out a frustrated scream once he was in his truck. 

HEYY Y'ALL... Sorry about the wait.

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HAPPY INDEPENDENCE DAY TO THOSE WHO CELEBRATE! STAY SAFE

[ifuckinglovedinosaurssomuchjesus]

On the subject of Dinosaur Documentaries...

So Life On Our Planet dropped a few days ago, another installment of this seeming boom of these kind of shows since Prehistoric Planet last year, and it got me thinking about this whole little niche genre.

The very first "Paleodoc" was released in 1922, made by the Carnegie Museum of Natural History to educate museum goers on how the fossils they saw were collected and prepared. This began the format I like to call the "Talking Heads" Paleodoc which is mainly in the form of interviews or narration over actual footage of Paleontologists at work with the occasional "Live" Dinosaur for visual aid. These are by far the most common form of dinosaur documentary you'll find, even today, mainly because they're cheap to produce and fit in the general style of most science documentaries.

For many decades throughout the 20th century, Paleodocs were pretty rare. They would pop up time to time, and with the sudden influx of attention they got after Jurassic Park, we got some really good ones. Yet they were all the same Talking Head types. What really changed the game was the good ol Magnum Opus of the field: Walking With Dinosaurs.

WWD pioneered the second type of Paleodoc I believe to exist, which are the "In Their World" Paleodocs. These are different in the fact they focus almost entirely on the live visual aids, with the human presence being limited to narration or brief pauses for context. They're meant to simulate the modern nature documentary, like Planet Earth, that focus more on showcasing animal behavior with state of the art filming techniques than being a source of in-depth science.

The success of WWD cannot be overstated, and I have to say I do find the In Their World format a lot more engaging and easier to connect with. They portray the wonder of prehistory spectacularly, letting audiences get emotionally connected in the animal characters the story creates, even if this has lead to criticisms of anthropomorphism. These programs also almost always use real footage of modern day earth for their prehistoric creatures to roam on, which I'm sure is very sad for the people who want to see their favorite dead plants on screen.

The Walking With... series would expand into sequels and spin-offs and Nigel Marven, and other companies like Discovery would jump on the bandwagon and release their own takes on the concept, but by the mid 2010s the format had basically died out. We'd get one or In Their World style doc every few years until we just didn't get anything. Outside of the occasional TV special that reused When Dinosaurs Roamed America footage, it was empty.

It took until Disney's Live Action remake of The Lion King of all things for that pendulum to start swinging again. Seeing those expressionless CGI cats got Jon Favreau thinking about how he could use this technology and the talented people behind it to make something really cool, and we got Prehistoric Planet.

And, in a repeat of Walking With Dinosaurs, we're seeing more of these In Their World type shows. The original guys behind WWD are even making a comeback with their own series, Surviving Earth. Plus even more little hints and rumors of massive incoming projects from overexcited paleontologists trying not to break their embargo.

It looks like the 2020s will be another resurgence in these types of spectacle Paleodocs, and while a good ol Talking Head will always be there, I can't help but get excited for these animated spectacles and all the weird and wonderful ways they flash those visual aids across our TV screens.

[sparky-is-spiders]

Jonelias Week Day 1 (Which is definitely today I swear), for the prompt "No Powers AU"

This one... maybe got away from me. This is actually only the first half of what I've written so far, and probably the first third overall! I do plan to post this to Ao3 at some point (although I suspect I'll need to do a lengthy round of editing first lmao). It's some very self-indulgent nonsense, which is a lot of what I write, but now it's getting put in the main tags of a ship during said ship's event week. So. It may also be a little bit "aromantic dude tries to figure out what having a crush is supposed to be like." Also a lot of "dude who took Principals of Accounting once pretending it knows what office work is like." Anyway, quick warning before we begin, and the rest will be under the read-more:

Stalking (played for laughs) for most of the fic.

Just. A weird amount of obsession.

Ok that should be it I think. Fic under the cut.

Jon's new boss was, quite possibly, the most boring man in the world. He wore the same outfit every day (pale dress shirt with dark unpatterned tie and gray slacks and matching suit jacket). The only personal effect in his entire office was a potted plant on the windowsill (some sort of succulent, and definitely fake). He always arrived to work exactly half an hour early and left exactly half an hour late. The only hobby he appeared to show any interest in was scheduling, which he seemed to find both deeply engaging and remarkably irritating. In fact, he was apparently so opposed to the idea of mixing his work with his personal life that he might as well not have existed beyond the walls of their office. Jon had never been more fascinated by anyone else in his entire life.

It stared with the transfer to the accounting department. Elias had met with him personally to get him acclimated to his new role. He had been blandly polite, and blandly handsome, and Jon had stopped listening to him about five minutes into their conversation. It was probably bad form, really. The software Elias was droning on and on about sounded like it was about to become a central feature of his days. He really should've been paying attention to it. Instead, he pretended to make eye contact while zeroing in on the top of Bouchard's forehead (a very useful trick, really) and became inordinately focused on the small lock of hair that had fallen across it. It was terribly distracting, and Jon had wondered how he hadn't noticed it. And then he wondered how it had come to be there. And then he had built up an entire story involving a murder, an illicit affair with the assistant director of marketing, and the potted succulent. And then he had noticed Bouchard eying him with what could've been suspicion or amusement or irritation or nothing whatsoever, and had been forced to rapidly pretend to care about their company's bad debt expense policy. Bouchard had indulged him, and had spoken with the calm authority of someone who knew what they were talking about, and had even managed to avoid being overtly condescending (a feat forever out of Jon's reach). At the end he had shaken Jon's hand (with a nice, firm grip), and had told him "I'm looking forward to working with you, I'm sure you'll make a wonderful member of our team." Jon had left that meeting with a mind shrouded in a fog of boredom and a faint sensation of warmth which he decided was best attributed to curiosity and left otherwise unexamined. Over the next few weeks, Jon had tried to subtly inquire into Bouchard's life. At the time, he had been naively under the impression that surely he must have let slip something about his life; some odd quirk or funny story or harmless bit of information which could justify Jon's blooming curiosity. Unfortunately; "He lives in Chelsea, I'm pretty sure?" (Sasha) "He's currently in a meeting. Honestly Jon, you'll be better off just sending an email. Now can I please get back to work?" (Rosie, probably lying about the meeting) "He actually lives here in the office. Set up a cozy little home away from home in one of the storage closets and sneaks out at night to raid the canteen. And he's having an affair with the assistant director of marketing." (Tim, definitely lying (but maybe a mind reader? Also, full of brilliant ideas for places Jon could maybe set up a cot whenever he needs to stay overnight)) Clearly, Jon would have to take matters into his own hands if he wanted answers. That was fine. It could be his own private little research project.

Jon liked to think that the entire thing had actually been quite reasonable, and that he had acted within the bounds of their pre-established relationship as employee and supervisor. Surely any rational person had to realize that nobody could possibly be that uninteresting. Anyone would be curious as to what dark secrets Bouchard his behind his well-tailored suits and polite, professional demeanor. … perhaps most rational persons would not meticulously record the movements, behavior, and daily appearance of their colleague in a discreet notebook (with annotations, color-coding, and graphs where appropriate), but Jon had always prided himself on his dedication to research and understanding. So far Jon had collected frustratingly little data. If Bouchard was hiding anything, it wasn't apparent from his schedule (see pages 8-13, figure 2.b), his eating habits (see page 22), or his lone plant (see page five, figure 1.c). His breaks did seem specially timed to avoid other people (and he appeared not to engage in many social behaviors generally), but he never acted irritated or otherwise unhappy to encounter one of his subordinates, so Jon wasn't entirely sure if it was deliberate avoidance or simple coincidence. Really, the only truly odd thing about him was his inexplicable interest in Jon. That very morning, for example, Bouchard had stopped by his cubicle for a fifteen minute discussion on the upcoming Annual Team Luncheon, an event Jon had never attended before (due to an annual migraine which coincidentally always happened to occur on the exact date of the luncheon), which Jon did not plan to attend, and which honestly sounded like some sort of violation of the Geneva Convention. The topic itself was not especially odd (small talk was an archaic tradition which had stubbornly clung on in every workplace Jon had ever set foot in), but Bouchard's low propensity for inter-office socialization combined with the fact that he had both chosen Jon specifically as his conversational partner was… highly suspicious. Most people who encountered Jon inevitably concluded that he was more effort than he was worth (an attitude Jon mostly appreciated).

And of course, there had also been their interaction two days ago, when Elias had paused briefly to inquire as to whether Jon would be staying late, and what he was working on, and if he might perhaps consider heading home soon because there was only so much overtime they could pay him. Or on Friday, when he had managed to hold two separate conversations with Jon where very little was said. Honestly, Jon somewhat suspected that Elias had spoken to him more in the past few weeks than he had spoken to any of their colleagues for the entire time Jon had been there to observe him. Most of Jon's notes were now dedicated to their interactions. From his cot in the unused storage room (which was indeed a good place to stay overnight, thank you Tim), he could jot down everything he recalled about their interaction; it had begun at 8:32 and had concluded at 8:47; the weather was warm and slightly humid, although the office interior remained at a comfortable 21 °C. Bouchard's shirt had been a nice, cool gray, which complemented the silver of his eyes. Jon (who had been busy digging for his favorite pen (the ink was a lovely deep green color, and it was usually kept on the left side of the top desk drawer, and Jon had no idea where else it could have possibly gone)) had settled on "irritation" as his tone, which Bouchard either had not noticed or had not cared enough to acknowledge. He had easily dominated the conversation, and Jon could admit in the sanctity of his research journal that his voice had been soothing enough to cool away some of Jon's annoyance. He wrote his conclusion: Subject behaved near-identically in tone, posture, body language, and apparent mood as he has in all previous communications. Subject displayed no strong thoughts or opinions on subject of discussion nor conversational partner. Interaction was pleasant but slightly dull, no new information discovered. It was almost exactly the same as every previous conclusion. Jon had to admit, so many months with so little progress was… discouraging. He shifted on the narrow mattress and winced when his movements aggravated his backache (which was surely unrelated to his frequent occupancy of the cot). It was becoming more and more apparent that the only possible solution was to do some actual, direct investigation. His first idea (break into Bouchard's office) seemed a tad far (also, he didn't know how to pick locks). His second idea (follow him home) seemed a stretch further than the previous one, and was perhaps best saved as a last resort. His third idea (something something computers? (perhaps "idea" was a bit generous)) would almost certainly require Sasha, who would have questions Jon couldn't answer. He flipped idly through his notes, half-skimming, half-thinking. It was only when his gaze landed on figure 2.b, Weekly Schedule of E. Bouchard, that he actually came up with something reasonable. Something actionable.

[s1i9d]

Alright, here’s my thoughts on Magnus Protocol’s first season as someone who hasn’t listened to Archives.

[No Archives Spoilers. Spoilers for Magnus Protocol Season 1 Finale.]

Initially I was unsatisfied with the ending. At first I was engaged with everything, but I felt a lot of questions I wanted to know weren’t answered. Like “What is the Archivist and their deal?” or “What is FR3-D1 up to? Why is Colin so afraid?” So that felt a little bit of a downer.

But after thinking about it, it was a really big and amazing finale that leaves me wanting more.

I got to admit The Custodian was the biggest surprise but also not really. Magnus Protocol has kept this formula of having a statement in the episode, and a lot of my IRL friends were doubtful there would be one but I knew there would be one.

What really surprised me about The Custodian was how he was turning to stone after he finished his statement. Every non-main character statement The Archivist took ended in death, but the death was a result of resisting the Archivist (25) or they were already dead (15/18). So to see what happens to someone in perfect health from start to finish of the Statement.

Celia was a big star in this finale, and it feels like this was the “secrets revealed” moment for her. Unclear if she has more secrets, but it feels like her biggest ones are out there now. Explains her reaction to the Doppelgänger case (17), why The Hilltop Centre has been so prominent in a variety of cases, and why she’s been teleporting to Oxford.

The only question I really have about Celia is how much does she actually remember? Throughout the season we’ve clearly seen her reference things from what I’m assuming is Archives, but in the finale she says “The Fearless One” tore her who from her what and “left her story to fall like autumn leaves.”

Is her name actually Celia in Archives? Who is “The Fearless One”? Feels like her memory is blurry, but she remembers vague details of people instead of story events in Archives (my Doylist answer is this is a way to make the story accessible to viewers who haven’t listened to Archives) and that’s why she remembers Jon and Martin?

Overall, really great work from Celia this season.

Sam wouldn’t think so though.

Sam is an interesting case. He’s been dying to know what happened with The Magnus Institute and when we finally found out (28) it made a whole lot of sense why he’s so adamant about the institute.

Initially when Sam exploded at Celia for her secrets I was like “Sam! Buddy! Now’s NOT the time.” But actually, that was the right time.

He’s been really patient with Celia not feeling ready to explain her backstory, and consistently reassuring her she doesn’t need to reveal anything until she’s ready and actively reassuring yet making her aware it’s important to share at some point. Here he is, in front of what is potentially the biggest supernatural secret he’s ever seen, and Celia has turned out to know this was here the entire time!

And Celia (in his perspective) determined to sacrifice Sam to the Rift was a really big twist I didn’t see coming. The idea that Celia has disrupted the rift between the two worlds is incredibly devastating and she wants to stay in the Protocolverse for Jack makes it heartbreaking that she has her own selfless/selfish motivation for sacrificing Sam.

Then Alice-

Oh, Alice.

I think this finale was the hardest on her. She had Teddy trying to bring something up (29) and she rushed to Sam. She had Colin terrified asking for help while she was trying to get the last train to Sam and Celia. She’s been the most connective person in their whole group trying to look out for everyone, and then everyone desperately asking for help at essentially the same time is heartbreaking.

It’s incredibly fascinating that out of the three groups (Sam/Celia, Colin, Teddy) she chose Sam every time there was a chance. It does make sense. She’s fully aware Sam and Celia are going to be encountering something supernatural, and she needs to make sure she’s there to either stop or help them. Teddy and Colin might vaguely have something affecting them, but the urgency for Sam clouds her vision so Teddy and Colin were turned away. Who knows if they’ll even be alive when they get back?

And speaking of when they get back!

Gwen, my love, you have girlbossed far too close to the sun.

There’s no way she’s surviving this. She’s assumed this whole time that Lena was trying to keep responsibility from her because maybe Lena didn’t believe in her or because of her nepotism, and Trevor Herbert was the one calling all the shots. But she found out too little too late that Lena was the one in charge and she’s been the one focused on keeping the Externals at bay. Trevor Herbert has no fucking clue what happens at the OIAR as long as it gets the job done.

I do wonder why Gwen got those files. I’m assuming it’s Jon/FR3-D1 after Sam got that email (7) but why did FR3-D1 decide to give it to her? What’s the purpose of getting Lena out? Is it for the Externals to be loose? What’s FR3-D1’s goal here? Is it somehow tied to being set free?

After this finale, I have so many questions, and while I am still kinda unsatisfied with how it ended I do have to admit this season was such good fucking food. The workplace dramadey combined with horror statements and the slow merging of the two storylines was so seamless I almost didn’t notice until the end. I’m really excited for season 2.

[pluckyredhead]

Did I just read your Super Sons primer from 2020 at 3 am on a Monday morning because I'm having a real normal one? Maybe?! I'm wondering how you feel about how they and their relationship has developed since then. IMO it's... Pretty bleak. 😩

I HAVE A LOT OF FEELINGS ABOUT IT. (Also here's the primer for anyone who missed it.)

So I will say that 95% of everything Jon has been in since he got aged up has been hot garbage, but I do think the exception is when Damian is around. But let's take it from the top!

First of all, I don't necessarily think they should de-age him again. Generally speaking I think it's better storytelling to focus on fixing things moving forward, rather than undoing things moving back. Sure, if DC came up with some big cosmic event that reset Jon to 11, I certainly wouldn't complain, but I'd rather see them, uh...do literally anything with Teen Jon that doesn't suck.

But yeah, aging Jon up to begin with still makes me livid because:

I want my baby to have had a childhood.

It's fully character assassination for Lois and Clark. They would NEVER let their 11-year-old go to outer space with a supervillain. Lois would NEVER just abandon him out there, and Clark would NEVER respond with "Well, I'm sure he's fine, wanna have marathon sex?" I honestly have no idea what Bendis or his editor were thinking.

They have not done a single interesting with him since!!!

Putting this behind a cut because it got LONG. Also spoilers for Beast World in there.

I've said this before, but I have to assume that Bendis wanted to age Jon up because he wanted to write a Legion book. But he also in his wisdom decided to bring Kon back into continuity at exactly the same time, which means we have two nearly identical Superboys that DC didn't and still doesn't know what to do with. Kon clearly couldn't have joined the LOSH because he already had a team, but you know what Super teen was available, and not 11, and who has a history with the Legion that goes back almost as long as Clark's? KARA. But I will save that rant for another day.

And honestly, Kara dodged a bullet, because that Legion book was unreadable. Bendis at his most Bendis-y wall of text interrupt-y conversations and no plot. If I give Tom Taylor any credit it's that the second he got his hands on Jon, he torpedoed Jon/Imra as a ship. GOOD.

And when the LOSH book finally went out with a whimper (that JLA/LOSH miniseries! what was that!!!), we entered the Taylor Era. Taylor's quirks are less stylistic and more narrative than Bendis's. You can spot Bendisian dialogue at twenty paces, but a Taylor comic tips its hand when it sets up a really interesting premise or a really high stakes threat and then immediately undercuts it with a little wet fart noise of nothing. To wit:

Jon's starting college! This will be an interesting challenge for him to readjust to normal life after six years in a torture-volcano and an indeterminate amount of time in the future, and also considering he never graduated from sixth grade. I wonder what will - oh no he dropped out after three pages. (He has done NOTHING in his civilian identity since, btw. I guess he's too busy hovering just behind Dick at all times to work on his GED or whatever.)

Jon is going to confront Ultraman! Finally the comics will have to engage with all the trauma he must have - oh no Ultraman's dead.

Jon is trapped in the Injustice Universe! This is a really dangerous universe that might make him question everything he knows about - oh he just lectured everyone and flounced off home.

Beast World is a perfect example. Taylor seems to think that having a hero effortlessly solve a problem makes them look badass, but it's actually the effort that makes them look badass. So like, we spent five months keeping the Kryptonians and other A-class heroes away from the spores because the spores are attracted to power and if a Super got spore'd everyone would be in big trouble...but then in the last issue, they just have Jon fly up to everyone with a spore in them, wait for the spore to jump at him, and catch it? That doesn't make the Titans look smart or Jon look tough. It makes all of them look like idiots because it it was that easy, why didn't they do that in the first place?

On top of that, Taylor doesn't ever really earn relationships. Jon and Jay is the obvious one. Jay has no personality. There's no chemistry between the two characters. Jon might as well be dating a cardboard cutout labeled "Proof of Queerness." (Or "Bernard." Ahem.) But we're supposed to be like, yes, give Tom Taylor a GLAAD award for using queer characters as props, when he's going to turn around and kiss Chuck Dixon's ass on social for being homophobic about Jon? UGH.

Honestly worse for me though is the Jon and Dick relationship. Because Taylor is writing both characters, we're supposed to believe that there's this close mentor-mentee bond there? I don't think they EVER interacted before the Taylor era. (And don't even look at me with that retconned-in scene of Dick finding lost baby Jon. You're telling me that Superman, with his X-ray and telescopic vision, needs to call Bruce and Dick for help finding his own son? Fuck off.)

Anyway it all combines to make basically every Jon appearance for the past three years profoundly unsatisfying. Even the stuff that isn't by Taylor never goes anywhere. Remember when he was jealous of the Super Twins for two panels? And then everyone forgot about it forever? SIGH.

HOWEVER.

However.

If there is one thing that Bendis and Taylor and every other writer got right, it's that Jon is crazy bonkers in love with Damian always and forever. Jon has been written like shit since 2019, but he has also not wavered in his devotion for even one single solitary second.

THE EVIDENCE:

This is the first thing Jon does when he gets back to Earth:

He then tells Damian he's contemplating not joining the Legion because he'll have to leave Damian behind. Damian tells him to go and then come get him if it's cool.

Turns out the Legion is cool. Jon comes and gets Damian. The Legion isn't happy about it and Jon threatens to leave if Damian can't stay, while gazing adoringly at Damian's unconscious body cradled in his arms:

Eventually LOSH is canceled and Jon comes home and starts following Damian around by listening for his heartbeat. LIKE PALS DO!

Then Damian gives him a pep talk!

Then there's this ABSOLUTE CUDDLE:

The way Damian nuzzles into Jon's shoulder! Can you even stand it!

And then there's this:

The climax of Son of Kal-El, btw, is one of the several times Jon is saved by Damian and confides in Damian and turns to Damian for comfort or advice...and Jay is just sort of standing there off to the side. I am fully aware I have ship goggles on but the degree of emotional investment Jon has in these relationships is not the same.

Then they had a special issue teamup:

Then we got Dark Crisis, and I actually love this interaction between them, because they are very different people with very different upbringings and this feels extremely in character to me for how they would both handle the loss of their fathers:

But even when they disagree, they still instantly support each other. Jon comes back with information? Damian makes a plan:

Also, we got the 2022 Pride issue where Jon, Jay, and Damian go to Pride together. I know that story is...contentious...but leave me here with Damian sulking while Jon and Jay kiss, okay?

Then we get Adventures of Superman, which is objectively awful, but Jon does spend his whole time in the Injustice universe thinking about Damian like the seagulls in Finding Nemo saying "Mine? Mine? Mine?"

This whole arc is truly hilarious. Jon finds out that Damian accidentally killed Dick and his response is to a) go find Batman and yell at him for not supporting Damian enough for accidentally killing Dick, and then b) go find Damian to be like "Wow, that must have been really hard for you (accidentally killing Dick)." There's being ride or die for your BFF, and then there's whatever the fuck Jon has going on.

(Meanwhile there's an incredibly uncomfortable scene with him and Injustice Jay where Jay "tests" him by trying to get Jon to cheat on regular Jay. So. That happens.)

And then just this past month we got Nightwing #110, where we learn that Jon is still listening to Damian's heart:

He completely freaks out watching Damian in danger, and immediately intervenes when it looks like Damian is about to kill someone because he knows what matters the most to Damian. Also, this happens:

YOU WIN THIS ONE, TAYLOR.

AND THEN THEY BICKER I LOVE IT WHEN THEY BICKER:

AND THEN DAMIAN LETS HIMSELF BE VULNERABLE BY ASKING JON IF HE HURT ANYONE WHILE HE WAS A KITTY, AND JON GIVES YET ANOTHER SPEECH ABOUT HOW DAMIAN HAS NEVER DONE ANYTHING WRONG EVER, IN HIS LIFE, AND DAMIAN STAGGERS OFF, LEANING ON JON.

This isn't even getting into the Trinity backup stories in Wonder Woman, which, like...Tom King is not valid but Jon and Damian are such an old married couple in them? It's truly incredible?

It took me like 45 minutes to parse Jon's line here as the general 'you" and not specifically Jon saying Damian wasn't straight. But like..."That's for straight people, which has nothing to do with us" is a hell of a thing to say, Jonathan.

I ALSO haven't even talked about DCeased because it's a different universe, but! Jon sitting with Damian while he dies??? MY HEART.

IN CONCLUSION:

Yes, they should never have aged up Jon.

Yes, most of his appearances since have been terrible and bland.

But OH BOY, do he and Damian remain in love.

[crimsoncold]

AEMONDSA: A crack ship with unexpected depth and appeal

A treatise (in four parts) on the intriguing parallels and complementary contrasting of Aemond and Sansa and the subsequent allure of them as a romantic pairing in Fanfic

- from the perspective of a sansa-stan, jonsa + sansa-centric multishipper, and someone who is generally Targ critical

Now while my general stance of "ship and let ship/don't worry so much about what other people in fandom focus on or ship/etc" still stands i wanted to do a little write up on what I've found so appealing about this particular crack ship.

Not to justify it (again fandom and shipping in general is just about enjoying/thinking about fictional characters and scenarios... no one needs to justify why their imagination likes to think about two characters interacting romantically) but because there isn't a ton of metas addressing the interesting parallels between these characters and the appeal of them as a ship so I wanted to make one so the handful of people who do ship it get to see some more positive engagement/responses to this pairing.

I just unexpectedly ended up loving this pairing so much and I always have a particularly strong urge to contribute to fandom content on the rare pairs/crack ships that I like....So here have a deep dive into the parallels, and contrasting but complimentary aspects of Aemond and Sansa, and the unexpected appeal of Aemond x Sansa as a pairing in fanfiction...

PART 1: MY EXPERIENCE WITH ASOIAF/GOT & HOTD FANDOM AND WHY AEMONDSA IS A PLEASANT SURPRISE

So I'm going to be drawing from both book and show elements when I consider and compare Sansa and Aemond's characterization and plot arcs (particularly since this tends to be how they are handled in fanfic- which all have differing combinations of book or show canon for both characters)

(this is a HOTD S2-free zone though... HOTD's writing has certainly not improved and it's inconsistencies even compared to their past writing and characterization of many characters including Aemond has made such an absolute mess so for this post I'm ignoring the worst part of HBO's attempt at making hotd fanfiction i.e. S2- and I am basing my understanding of Aemond on a combination of what can be gleaned from book canon and s1 because that was what initially interested me AND because that is what the aemondsa fanfic I've read has also been based on)

Now Just to set the scene for my journey as a stark fan, jonsa shipper, and generally targ critical person to become an appreciator of aemondsa...

GOT had a steep decline in quality in the later seasons and HOTD despite the incredible effort of the actors/sfx people was not particularly good to start with in terms of writing/storytelling...yet disappointing or poorly written shows are not without their appeal for participating in fandom and reading/writing related fanfiction, particularly when there is a handful of interesting characters-looking at you stark kids who suffered through the writing of GOT's later seasons and HOTD's team green-that fans want to rescue from the terrible writing/butchering by the showrunners and to explore alternative stories/endings for them... sometimes it is even one of the most appealing sort of set up for fandom/fanfiction to take over and fix things.

I was already a huge Sansa fan, and she was the original draw for me towards asoiaf/got fandom and fanfiction, and while jonsa has been and remains my favorite pairing for her I've always been open to dabbling in various other sansa pairings/crack ships.

(While the parallels don't take the exact form as the ones between Sansa and Jon- and obviously aemondsa isn't accompanied with the incredible foreshadowing and potential that jonsa is- this pairing still feels similarly compelling due to the sheer amount of parallels between the two characters and for the fact that its a ship that is appealing and seems quite fitting without fanfic writers having to stray too far from canon personalities/back stories to make them work as a romantic pairing- beyond you know the obvious aspect of them being alive at the same time)

When HOTD first came out and before i discovered Ameondsa was a thing I was staying away from HOTD fanfic for the most part despite my interest in a few of the characters

HOTD's most predominant focus in both it's fandom and fanfiction seemed to be Rhaenyra/Team black/ Daemyra centric- all of which I was at just personally not drawn. Aemond (hot dramatic anime antagonist transported into hbo's HOTD and personal favorite of mine) centric fics unfortunately tended towards shipping him with various TB characters or TB OCs but both as a concept and due to the handling/set up these fics were generally not appealing to me (more on this later).

Furthermore hotd fandom itself seemed to be shaping up into a new edition of targ stan centric fandom- specifically a new "team black only" brand of stanning... which is definitely not something I am interested in.

Being someone admittedly anti targ/targ critical in general who just happened to be more intrigued (and sympathetic) to the greens in HOTD it did seem that the bulk of hotd fandom was probably going to a similar if even more extreme form of what I encountered with targ-stan segments of the GOT fandom as a sansa-stan/jonsa shipper (ie. Less posts/fanfic that i would personally agree with or be interested in from these fans and potentially hostile and unpleasant responses or takes from the majority of these fans)

As a result of my general avoidance of hotd (i.e. the very pro targ/pro TB fanfiction that hotd fandom offered) Aemondsa, already an extremely rare pair and crack ship, wasn't even a pairing on my radar until one of the authors i was subscribed to started a hotd time travel fix it aemondsa fic...I have an appreciation for well written crack ships, and I am willing to give most pairings or fandoms a chance when I'm already a fan of either the story's main characters or of the author specifically ...but I was actually incredibly suprised how compeling Aemondsa was as a pairing in this story..as well as how much I enjoyed the other Aemondsa fics that I checked out afterwards..it seemed this was a niche segment of hotd fandom that i was going to absolutely obsessing over.

There was a lot of depth to them for a crack ship, which was achievable without altering their personalities and backstories very much from canon (dont get me wrong I love crack ships even ones where people and the plot are altered significantly to make a ship feel possible but there is something uniquely compelling when characters fit together without having to be too ooc) so I just wanted to write a bit about what is so fascinating about this ship since it's such a new rare pair that hasn't accumulated a massive audience or a ton of discussions or write ups yet.

PART 2/4. THE SURPRISING AMOUNT OF PARALLELS BETWEEN SANSA AND AEMOND (FANDOM, PLOT-WISE, but most of all regarding FAMILY)

(Uh ....Brace yourself? this section ended up way longer than expected)

For me the initial appeal comes down to intriguing Character parallels between Sansa and Aemond which fanfic at least offers the opportunity to explore in a story format ....

On a surface level they are (in the shows particularly) both intelligent and underdog figures with fantastic little sassy moments - true queens of dealing out backhanded and cutting compliments, or being unapolegetic critical towards some of the flawed and extremely privileged individual's they encounter who are used to receiving only coddling and fawning worship.

Both characters seem to get shit treatment, sometimes from the fandom other times due to the terrible choices/handling by the writers/showrunners.

Both were characters I personally found interesting and sympathetic despite how fandom- some of it for aemond and a significant amount of it for sansa- had deemed these essentially young and still innocent characters worthy of being reviled and harmed for the ways the adults in their lives had set them up for failure or abuse. Forever dismayed by the way they (unlike certain fan favorites) were somehow never deemed by fandom as deserving of sympathy for the horrible things that happened to them, and how notably they never recieve the same feverent forgiveness/understanding/support for their more dangerous or dark actions the way other characters did

Looking at the difference in fan responses to show!Arya or Dany compared to Sansa- though when it comes to the sheer amount of violence, destruction, and murder or the act of threatening their kin obviously despite what Sansa-antis say Sansa is the only one who should not even be part of the discussion, and how Dany or Arya always recieves excuses, sympathy, forgiveness, or outright praise from the core audience for their more questionable actions while somehow Sansa is deemed as the unforgivable, dangerous, evil, traitorous, and foolishly reckless character

How Aemond (and all of TG really) are set up and considered by TB stans to be unworthy of their house/rightful inheritance and the ones most at fault for the onset and destruction caused by a civil war... never victims mistreated or endangered by the more privileged and powerful members of their family... just the people who only ever deserved what was inflicted on them by TB for the crime of being forced to wed a disgusting and neglectful King or for being threats to Rhaenyra's family or throne simply by existing? How the morally questionable or violent actions of Rhaenyra, her sons, or more particularly her uncle-husband will always be seen as either justifiable, in the right, excusable, or literally worthy of praise the way Aemond's and his family's actions will never be viewed by this core audience

I think about how much like segments of asoiaf fandom bash Sansa by deeming her too southern/too Tully/Too Catelyn-like to be a real Stark (unlike her "truly northern" siblings) their are also segments of hotd fandom that have chosen to see Aemond and his full siblings as only Hightowers who are wrongfully stealing from TB/the "true Targaryens"

But there were even more striking parallels when it came to their characterization and plot.

Both younger (non heir) children, presented as being intelligent, incredibley dutiful and studious, with a very close relationship to their mother, in a sort of intense people pleaser manner - trying their best to excel at all the skills/duties that their parents/society deems necessary for their position and sex because that is the way they receive acceptance, attention, or praise from their family/the adults in their life

Aemond and his studies, his apparently dedication and success in training with the sword despite his own disability, his determination and recklessness to finally become a dragon rider like the rest of his Targaryen family- as it is what is expected and what he has long been mocked over by some of his targ kin, how despite his own ambitions and the way he thought himself particularly suitable for rulership he remained the dutiful and loyal younger brother who served as regent for his gravely injured older brother but did not attempt to stylize himself as King and steal Aegon's throne.

the way that Alicent seems to be the only family member he allows himself to be vulnerable with, the one with whom he turns to for consolation and comfort, Alicent being absolutely devastated and incensed over the loss of Aemond's eye and the lack of punishment for the assault on his person, the only one to demand recompense, the only one to raise a knife to the blacks when she is denied, how Aemond is the one person who tries to console his mother in the aftermath, how despite having just lost an eye he is the one who actually tries to sooth his mother to bring a stop to the increasing and dangerous level of tension and conflict that had erupted between the blacks and greens at driftmark, Aemond's own longstanding protectiveness of and devotion to his family- most especially his mother- that lasts until his own demise.

Sansa and the way she thrives and enjoys the type of world and training that is more of a noble woman's or specifically her mother Catelyn's domain- unlike her wilder other siblings she is generally a steadfastly proper and gentle girl- no doubt a comfort to her mother not just because she is generally so well behaved but in the fact that unlike her siblings she is not shown to be obviously or very publically close with Ned's illegitimate child- who for Catelyn would be the literal personification of Ned's infidelity, the disrespect and humiliation he puts her through by raising him in their house along side their children, and her deep seated fear that he loved and will prioritize another woman and her child more than his own wife and family.

Sansa is the child who seemed to love all things "southern" the most (though undeniably despite how Sansa is looked down upon for her love of romantic stories and song her other siblings also certainly enjoy legends and tales of Knighthood or Southern Princes and warrior Princesses) and to be fascinated by the environment her mother is from, the one who is drawn to and practice her mother's faith in addition to keeping to the old gods,

How Catelyn though she truly grieves letting her daughter go seems to accept it not just because her belief that Sansa would excel as a princess and future queen but because she thinks Sansa would thrive simply through getting to experience the south...Catelyn seems to grasp the things Sansa dreams about and unlike many other family members she does not view Sansa and her interests with the same condescension, dismissal, or disdain.

Catelyn loves all her children immensely but there is something so tragic and beautiful in her love for her daughters, the desperate lengths she is willing to go to to ensure the saftey of both of them while the lords/males in her family have already given them up as a lost cause and inevitable and necessary casualties in their war for vengeance and northern independence

Despite this affection though there is a lot of pressure on both of them... almost to the point that their treatment by the adults in their lives has a bit of a "parentification" dynamic- a manner that sometimes puts the onus on them to be a support and a comfort to their mother amid any tension in the family/marriage (Aemond) or to be the perfectly behaved role model or minder for their less dutiful siblings (Sansa)

Sansa, in everyone's eyes a lady at three and a queen destined to be, the determined effort she puts into excelling at being studious, accomplished, proper, and ladylike, how much she tries to exemplify the behavior praised and exemplified by her mother and her septa

set up by the adults in her life as a go between for the stark sisters...used as the benchmark for their demands and expectations of Arya, being held up as the bar for perfect, proper, and praise worthy behaviour that Arya is presssured to also attain, the daughter who gets censured on the few occasions she acts out while her younger sister typically gets away with her poor behaviour (at least when it comes to their parents)... Sansa isn't just under the pressure of the exacting expectations for a lord's daughter she also experiences the stress of being put in the position of exemplar for her wild untractable younger sister.

Aemond, apparent dutiful student in many areas expected as a child of nobility, who is expected to support Aegon in his rulership and war and (in the show) even takes responsibility for trying to keep his older brother in line, the one who after losing an eye takes the effort to comfort and console his mother's grief and rage when their father does nothing in response to an attack on Aemond other than threaten and intimate his wife and his children with Alicent in order to support his firstborn daughter, who becomes the human equivalent of not just a wrecking ball but a literal weapon of mass destruction sent out on behalf of the advancement of his family or later to enact terrible bloody vengeance on his family's behalf, his life his purpose and his death is all for his family's sake more than his own.

They put so much effort into being well behaved, to reach the exacting standards for a child in their position, setting an example for the less obedient/well behaved sibling(s) all of which in turn adds to significant strain or conflict between said sibling.

Sansa and Aemond are the sibling expected to and determidly striving to live up to the high expectations that the adults in their life put on them and to survive the extremely dangerous and high stakes scenarios they are put in (as a lord's daughter, prince's betrothed and future queen, a hostage and target for the machinations and ambitions of others, the older sibling, a ruling lady, and elected queen; a prince, dutiful son and brother, ruthless and dutiful defender of his family, and regent)

Meanwhile they have other siblings who struggled to meet said expectations or have given up attempting to all together (Arya, Rhaenyra, or to some degree Aegon)

Siblings who must from the perspective of Sansa and Aemond (who are still young, inexperienced, and have had a great deal of conflict with said siblings) seem to flaunt all expectations free to rebell, flaunt the rules, and generally ignore the high pressure expectations that children from their class face.

Undoubtedly frustrating since, much like their more rebellious siblings have failed to sympathize with the more responsible ones, Ameond and Sansa too have not (yet) been able to recognize the ways their less successful/dutiful siblings also suffer under the highly restrictive expectations of their class and position even if they do not choose or succeed in conforming to them.

They see that despite how they may excel in studying, striving and succeeding in their roles, and ultimatley exemplifying the high standards they were raised to it is these other siblings who seem to get rewarded (experiencing in their eyes at least what appears to be more freedom, less pressure, minimal censure or punishment for their misbehavior... while simultaneously receiving the bulk of the reward in terms of their inheritance, the attention they recieve, or even with regards to the amount of affection given by some of the authority figures in their lives, i.e. their fathers)...

To them it must seem that these siblings get to be not just easily forgiven for their mistakes and misbehaviour, but accepted as or outright adored simply the way they naturally are, whereas dutiful and non problematic children like themselves tend to be overlooked or underappreciated, and quickly criticized on the rare cases they misbehave... the acceptance and affection they recieve appears far more conditional on them behaving well according to the expectations of their family or various instructors/minders... whereas the affection their siblings receive, from say a certain parent, is show to be rather unconditional

Seriously they both give me such severe "easy" (i.e. overlooked) and "gifted" child trauma vibes... how much of their behavior is simply in their nature and how much is what they conform themselves to to make the adults around them proud... because as the quieter child or apparent outsider amindst their family/siblings this is the only action that comes natural to them and gets them some (hard earned) attention/praise in a rather large and loud family they otherwise seem a bit lost in... how much of their striving to succeed is dependent on the sincere belief/understanding that their saftey and potentially the future, saftey, and wellbeing of their family depends on it.

They both have a far more distant relationship with their fathers who favoured another sibling- a sister over them... father's who either didn't seem to know how to connect with them - Ned- or never really bothered to try- Viserys...

while i do believe Ned loves his children and they adored him in return i feel its obvious that he neglected in preparing any of them for the true dangers and realities of the world away from the satey and protection of winterfell and their Stark family, and he absolutely dropped the ball on keeping either of his daughters safe and supervised when he took them along into a very dangerous situation in kingslanding

Furthermore Ned never quite seemed to connected with or pay attention to Sansa they way he did with Arya... just something about the fact that when he follows the orders of his king/supposed best friend to kill Sansa's direwolf (the very symbol of their house) it is in replacement for Arya's Direwolf who was allowed to escape the cruel wrath of the Queen and Prince...and how he continues to fail Sansa in the aftermath

It's something about the gifts he gives his very angry and traumatized daughters to comfort them after- in lieu of truly trying to actually connect with and console both of them or to even properly mediate their increased fighting.

Arya (in the show and book) is given lessons with a "dancing" master who teaches her swordplay/water dancing, she was so excited and she always wanted to be outside learning to fight like her brothers got to, in this moment to her understanding she is not just seen by her father she is accepted and supported (a careful reader may see that Ned's attitude appears to be slightly condescendingly indulgent on the matter of her learning swordplay... but Arya gets the chance to do something she loves all the same)

Meanwhile (in the show) to try to console Sansa Ned gives her... a doll? (Honestly I can't recall any equivalent gift from Ned to Sansa in the books? the mention of her possibly getting harp lessons in Kingslanding was actually a promise Catelyn made to her on Ned's behalf rather than his own effort... and was something that Ned didn't actually ever arrange in the books)

But is this doll meant to be an appropriate gift to make up for the death of her direwolf? Is this gesture enough to comfort her and make amends after Ned killed her direwolf (notice its not exactly as spectacular, meaningful, or comforting a gift as arya's "dancing lessons"... certainly there is no indication that he has any particular understanding of Sansa or has given much thought into her talents, interests, or personality beyond the most shallow perusal)

In the aftermath of Lady's death Ned does nothing to truly protect Sansa or keep her away from the obviously dysfunctional and dangerous family he has promised her away to.

Yet he can take the time to comfort and have a frank conversation with Arya about how important staying together and supporting eachother as family is- especially when they are amongst dangerous people who mean to harm or separate them- and the specific importance her and Sansa will have to one another as sisters who share the same blood... further explaining how just as they will need eachother Ned needs them as well

Ned has no such comforting or distinctly meaningful exchange with Sansa... he doesn't explain the reality of the Lannisters/Joffrey/Robert (i.e. the truth of the people he has agreed to give his young daughter away to despite the fact that he either personally has no respect for most of them or has not been around them long enough to know anything about their true nature)

Yes it is the risk to his daughter that makes him willing to falsely confess to treason, yes eventually he decides its best to send his daughters back to winterfell, yes he finally wants to break the betrothal and he makes a beautiful promises to make her a match with "a high lord who's worthy of [her], someone brave and gentle and strong" ... but he is much too late to get both of his daughters away from the lannisters/kingslanding, way too late in his attempt to keep them safe, and he fails to handle Sansa with age appropriate respect and frankness and to actually tell her how dangerous things are in kingslanding and why joffrey (false prince -bastard born of incest) is such an ill suited match.

Maybe if he had put any effort into explaining things to her...or simply spending time with her, speaking to her, trying to understand her, comforting her amidst the loss of lady and the increased fighting with Arya, or doing literally anything other than just neglecting her and her saftey Sansa would have actually trusted his decision and seen it as him wanting what was best for her.

Maybe if he had been more proactive and focused on his daughters well being he wouldn't have brought both of them south after the altercation over their direwolves... or maybe he could have been successful at getting both his daughters out of kingslanding before everything went to hell.

Its almost like the whole point of the Ned/Arya/Sansa and the Ned/Cersei/Sansa dynamic isn't to show that Sansa is a naive girl who betrays her family for the lannisters but is instead to show that when you neglect your child emotionally they will turn elsewhere for comfort and will be particularly vulnerable to being manipulated or abused by other adults... its almost like this part of A Game of Thrones is more about the way even someone like Ned- a man who does strives to do what he thinks is right and a parent who does loves his children- can still fail.

Ned's treatment of Sansa is specifically intriguing, though i don't know if it will be addressed specifically since her relationship and dynamic with Ned is one that much like Robb ended with his tragic and unjust murder (leaving behind a grief stricken Sansa helplessly longing for the return of her family and home, grieving with a near devotional regard for her lost father and brother)... Sansa will never get to confront or reconcile with them over the many ways she was let down and left unprotected by her male relatives- and who knows if a traumatized and grieving Sansa will ever even recognize and admitt to herself the ways the people who she loved the most failed to live up to her expectations of them... how clearly that despite their love for her she was rarely their first priority ... how they both seemed to fail to follow their family mottos ... the lone wolf dies but the pack survives.... family before duty or honor... she was family yet duty and honor came before her in Robb's eyes... she was part of a pack but through Ned promising her to a marriage in the south, in him taking her and Arya away to kingslanding, in him failing to prioritize her saftey until they all were practically already on the chopping block, and in Robb abandoning any hope or plan of rescuing her she truly was abandoned by them ...to be a lone wolf without a pack to help her survive

Then there is Viserys who at the very least had a much stronger regard for Rhaenyra than all the kids by his second wife ...but can also quiet easily be accused of outright neglecting and mistreating them

The lack of guidance holds true for all his children really but with Rheanyra at least it is accompanied by an (ultimatley harmful) spoiled indulgence that he offers only to his eldest daughter- covering up her obvious blunders and threatening anyone who would speak the truth of her questionable actions and her children's legitimacy including his own wife and sons ... going against traditional succession not because he wants to promote first born succession/succession by "merit"/or treating daughter equal to sons in terms of inheritance or anything like that but because of guilt and unashamed favoritism.

Viserys refuses to give to his son what westeros society at least would deem as Aegon's birthright, while also failing to make arrangements for any his non-Rhaenyra children to have a future and saftey separate from the throne.

He doesn't arrange matches with other kingdoms and give them allies, protection, family, independence, or a power base independent of the crown/hightowers instead leaving them dependent only on the crown, vulnerable targets to be handled (i.e. no doubt killed on the orders of Rhaenyra and/or her uncle husband Daemon) as living they would remain the most significant threat to the legitimacy of their rulership.

Viserys looks the other way when Aemond specifically is permanently maimed by Rhaenyra's son...his only action after his son loses his eye is to threaten his second family, to intimidate them into staying quite on the topic of the legitimacy of Rhaenyra's children before he deems the matter concluded... as if the worst part of that altercation was Aemond calling them bastards rather than say four children ganging up against one and how one of these children attacked using a knife and cost the other their fucking eye?

That for Aemond more than anything must cement his understanding of his father's feelings about Aemond and his full siblings and mother. To Viserys they simply matter less than Rhaenyra and her children.

In fact their well being or saftey matters less than even an offense made to Rhaenyra's reputation... which shows Alicent and her children without question that they are in danger from the blacks and the King will do nothing to prevent the blacks from trying to severely physically harm Aemond or his siblings, and in fact that there will be no punishment for the blacks when they succeed in doing so.

A civil war between the blacks and the greens was inevitable... Viserys actions of protecting and favoring Rhaenyra while also not ensuring she is instructed on and practices/proves her ability to rule, willfully ignoring that she violates her own vows and that she passes off her obviously illegitimate children as trueborn heirs, of permitting her not just to inherit (and position her illegitimate son as the next heir to) what most considered the birthright of her brother but also for her to steal the birthright of her own cousins by supplanting them with her other bastard and demoting them to being simply their brides/consorts, him keeping her as heir not just after he has multiple trueborn sons but also after Rhaenyra gets remarried to the exact violent bloodthirsty man that so many feared and Viserys himself had previously removed as his own heir in favour for Rhaenyra.

Viserys doing all of this while still choosing to remarry and have MULTIPLE children with his new wife... the neglectful and disrespectful way he treats his second family... all of this ensured that the death of some (if not all) of his children, via either assassination or in outright civil war, would always have been inevitable.

There is so much hatred, fear, distrust, and tension between Viserys' family members... and not only did he fail to intervene or improve things he was the one most responsible for it ....so much of the environment Alicent lived in and Aemond and his full siblings were raised was permeated by not just a sense of deep injustice (particularly in Aemond's case with his treatment by not just the blacks but his own father) but also an undercurrent of desperate fear over what will happen to them and their family in the wake of a brewing succession crisis

The mommy, daddy, and sibling issues are so strong with these two and I'm so obsessed with how the complicated family dynamics and tragic family losses that Ameond and Sansa experience echoe one another in so many ways...there is just so much love, grief, rage, unpacked trauma, and hurt in them and I am always obsessed with stories that allow the narrative or characters to address such trauma.

PART 3/4. THE CONTRASTING AND COMPLIMEMTARY ASPECTS OF THEIR STORIES (SUFFERING AND GRIEF)

They were both were so young when they became targets of the wrath and dislike of powerful and corrupt "Queens"

Sansa who loses her direwolf at the demand of Queen Cersei, a queen who after long being abused by her own husband sees a perhaps more extreme form of that sort of violence in her own mad son being directed at Sansa, who rather than expressing or experiencing compassion or sympathy instead takes the chance to revel in the destruction of Sansa's innocence, to mock and emotionally abuse Sansa when she has lost her father and her only protection in Kingslanding, leaving her a hostage of war at the mercy of a violent and corrupt royal family

Aemond who after losing his eye to an attack instigated by Rhaenyra's children receives no apology or recompense...instead his own sister asks for her mutilated little brother to be tortured sharply questioned due to the offense he caused by accusing her sons -accurately mind you- of being bastards... Aemond and his siblings who were never truly ever treated by Rhaenyra as her siblings only ever the offspring of Alicent and thus obstacles and threats for her (and her uncle's) right to the throne.

Both were physically harmed or tormented by (or with the approval of) young members of royalty, with very little being done to intervene, stop, or punish those involved despite their own highborn status- which would generally deem them unacceptable targets for such abuse.

Young Sansa a hostage but still a high born daughter descended from two of the seven ruling houses in westeros, The Warden of the North and the Lord Paramount of the Trident, and niece/cousin to the rulers of a third kingdom, the Lord Paramount of the Vale. Who while under the "care" of the crown is tormented, stripped, and beaten in open court at the behest of a mad boy king... forced to look upon the severed heads of her father and household, forced into being an unwilling child bride to the house of her family's enemies, who is molested and threatened with sexual assault on multiple occasions

Prince Aemond son of the King who is mocked by his brother and nephews (or his king and father in the books) over the fact that he hasnt yet claimed a dragon, and when this makes him reckless enough to approach and claim the largest dragon in existence the torment doesn't stop it gets dangerously worse as the tension between the children of the blacks and greens escalate to the point of a violent confrontation between Aemond and his nephews and cousins... and the resulting loss of of his eye when one of his attackers brings out a knife. None of the children who banded together to attack Aemond would face any consequences, only Aemond himself and his mother and older brother would censure and outright threats from their King Father and Older sister. Whose earliest sexual experience- done at the behest of his older brother- was implied to be at the very least coerced, traumatizing, and humiliating- if not outright non consensual on his part.

Both Sansa and Aemond face a terrible sort of loss when they begin losing their family members to mass civil war ...often in a manner that is distinctly horrific or against all laws of decency in the 7 kingdoms

her father Ned unjustly executed for treason and whose decapitated head is displayed and used to torment her, her younger sister Arya gone missing for years and long thought dead, her home sacked and younger brothers Bran and Rickon supposedly murdered by her family's ward- a boy who grew up alongside the stark children- the burned/mutilated heads and bodies of two young boys being being put on display at winterfell, her older Brother and Mother slaughtered when their traitorous allies and bannermen men break sacred guest rights at a wedding, both their bodies desecrated in a mockery of their houses... Robb decapitated his direwolves own head placed ontop of his body while his enemies parade his remains around, her mother Catelyn's throat slit and her body dumped naked in a river and left to rot.

(In the show) Rickon being cut down before his siblings eyes by a madman who betrayed their house and had tortured Sansa herself, her "half brother" Jon betrayed and murdered by his men and later sent off into a lonley exile away from his family and home for the "crime" of taking out an invader who had just committed mass murder... Sansa being left to rule the north all alone with many of her family members long dead and the surviving ones being set on a path away from the north/winterfell while she is left to handle rulership in isolation

Aemond who after commiting the first Kinslaying of the "war of dragons" by attacking his own assailant and nephew Lucerys proceeds to lose all of the family that he loved.

Starting with the tragic murder of his innocent young nephew at the behest of his elder sister/uncle- who arranged for his mother Alicent to be attacked tied up and forced to bear witness to the gruesome murder of her grandchild,

His sister Helaena -who plead for her life to be taken to spare her son- forced under the threat of the rape of her young daughter to choose which of her young sons will be murdered. Only for all of them to be traumatize further when they kill Jaehaerys and leaving Maelor the son she "chose" to die to survive with the message that his own mother wanted him dead... the emotional torment this caused the whole family but most of all his sister who refused to eat, bathe, or look upon her remaining son due to her immense feelings of guilt

his older brother Aegon who has lost his son and heir, and whose sister/wife is in a grief so deep she cannot care for their remaining children, who is attacked and maimed but survives to live on in total agony,

the murder of Maelor, Aemond's remaining nephew at the hands of a mob

Aemond's last stand, sacrificing his dragon and his own life to take out his Uncle (the biggest threat to his family and the orchestrator of Jaehaerys' brutal murder)

The many tragedies that continued after Aemond's own death- his sister's eventual suicide, the death of his younger brother Daeron, his oldest brother outlasting all of his siblings and his own two sons only to be taken out by poison once the war is over, his mother spending the last of her years in confinement until she passes from sickness,

His niece Jaehaera, after the loss of her entire family, married off as a child in the name of "peace" and dying young and alone- of suicide or murder

There is just such fascinating potential when two characters would have so much mirroring grief and trauma ...there is such an undercurrent of helpess rage, guilt, and grief to them in their youth and a undoubtedly a feverent desire for either vengeance or justice against the many people who harmed them or slaughtered their family...

And here is where things begin to differ between the two in interesting ways

with Sansa who has these violent wishes/impulses but is not in a position to see them fulfilled herself- her desire to push Joffrey to his death even at the cost of her own life, her wish that someone will throw Ser Meryn Trant down and cut off his head, her hope that various people will fall/be unhorsed...

Sansa who recieves a direwolf, Lady, the very symbol of her house and potentially a companion that would have offered a connection that was an extension of her own soul only for Lady to be cut down so quickly and unjustly... Sansa who loses not just the connection/companionship she recieved from Lady but also the protection such a bond would offer her ... she is left vulnerable in so many ways and has no promise of reuniting with her own direwolf later on... that will never be a comfort or form of security offered to her after all the danger and trauma she experiences

While Aemond, who spent much of his young life similarly helpless to act or respond to insults and assaults on his own person or immediate family, (that his father/king either never deemed worthy of interference or punishment... that is when it wasn't the King himself who was the perpetrator of such offenses) unlike Sansa experiences a change of fortune in the form getting to bond with the symbol of his house

He gains (and gets to keep until his own death) a bond with a different sort of mythical beast companion... a dragon and as a result recieves all the potential for power and destruction that comes with being a dragon rider

By claiming Vhagar Ameond is the closest he will ever be to untouchable, not just from the harassment he personally experienced from his family but with regards to how grave and dangerous a threat/target he had now become for the blacks during the dance of dragons

Aemond now a dragonrider of the largest living dragon, a child and later teenager who is in control of the narrative equivalent of a weapon of mass destruction, and he is no longer held back from acting on his anger once the rule and interference of his neglectful father king is over,

he is in control of the most massive beast of pure destruction and unlike Sansa, who for now in the books- or for much of her story in the show- remained an unprotected hostage or pawn in the hands of those who mean to harm or use her... who handles her trauma very internally as she is not in a position to fight back, and must rely on her words, intelligence, and ability to read and strategically interact with people as a way of defending and keeping herself safe, Aemond is now in the position to enact every bloodthirsty impulse of revenge he ever experienced

He was held back from enacting vengeance only through his own will, which ultimately proves not enough- he commits the first kin slaying and soon the actions of each side escalated into a horrific bloodbath where nobility and small folk alike suffered or die en masse

While Aemond's story may be one of family devotion and loyalty, mistreatment, injustice, and suffering that ends by showing the terrible outcomes of revenge and uncontrolled cruel brutality Sansa's story feels like one where grief, rage, and mistreatment exist but where family, love, compassion, kindness, justice, and integrity will win out in the end.

Sansa was certainly developed into a more discerning strategic and ruthless figure in the show but justice, duty, and forgiveness were still very prevalent in her storyline

she does have ramsay killed in a fittingly horrific manner, but she later holds a public trial for littlefinger- who was responsible for much of her familys suffering, the death of her father, and her own torment and rape- before she has him executed,

She feels compassion and forgiveness for theon the man who had betrayed her family and drove her young brothers out of their home, who only after experiencing significant torture himself became devoted to protecting the remaining starks and was able to find the courage to disobey his own torturers in order to help Sansa escape,

She possessed a concern for other people that few ruler do in asoiaf/got... speaking up against Joffrey's cruelty even as a powerless hostage, being the person concerned with the more practical matters of caring for and feeding their people during a harsh winter- a notable development in comparison to say everyone else just focusing on battle tactics and the upcoming battles (as though feeding an army is not an essential part of warfare), and the invader who just burned westeros' food stores en masse and now expects others to feed not just her armies but also demands that her dragons be fed "whatever they want"

I think in the books however that despite Sansa's internal grief and rage and her burgeoning political acuity there will be a gentler end to her arc where her own innate sense of duty and her (now more discerning) sense of compassion will win out in the end when she takes back her name, identity, and birthright ... that she along with her surviving family will have justice administered in the name of their lost family and people... efficiently bringing down righteous and necessary judgement on those that harmed and betrayed them rather than simply dealing out some form of mass, bloody, cruel revenge on her enemies (I'll leave that for lady stoneheart) ... and that a satisfying ending for her and the other starks will balance them realistically addressing the dangers and betrayal they faced with their own personal resolve to hold true to the values imparted to them by their parents.

... yet after all her suffering (and the frustrating lack of trust, consideration, or support she was given by her own family in the later GOT seasons) there is something darkly appealing to the idea of her getting (not a hero precisely) but a ruthless and devoted sort of monster to support her and bring down unholy vengeance on her various tormentors

PART 4/4: THE RESULTING DRAMATIC AND EMOTIONAL APPEAL OF AEMONDSA FICS

This after their many parallels and complementary contrasts is what intrigues me the most...the interplay of a potentially wary, cautious, traumatized but still duty and justice oriented person and a companion or lover who is comparatively more ruthless, unhinged, capable of atrocities, and who is more equipped to dole out violence en masse... (guys the pipeline from dark jon/dark jonsa to aemondsa just makes so much sense)

the question in Aemondsa fics of what will win out in the end- the shared grief and rage or them both controlling/channeling such impulses into strategic righteous fury and justice is always fascinating... and most of all the idea of Sansa (after all the trauma mistreatment and grief she has experienced) attaining the interest and eventual devotion of someone who despite being capable of monstrous actions is also incredibly loyal, devoted, and ruthless in the pursuit of their loved ones interests ("I want you to put out your eye ... plan to make it a gift if it to my mother" indeed) is just as appealing as the idea where an isolated, lonely, traumatized, grieving, and dangerously angry young man like Aemond gets to find acceptance, affection, companionship, and belonging with an intelligent strategic but more importantly an exceptionally compassionate person like Sansa.

Its just a dynamic far too intriguing to ignore especially for someome who already loved Time Travel/Reincarnation Fix IT AUs in fanfiction

While emotional catharsis and Sansa returning home and having the dreams she had wrote off as impossible be fulfilled (i.e. building a loving partnership and marriage, having children with someone who loves and wants her more than her claim itself, reuniting with her family) is something I love- and what I want to happen in canon (hence my otp being Jonsa)- there is always an interesting/guilty pleasure aspect of fanfic where Sansa (or the Starks in general) get to wreck terrible bloody victory and vengeance on those who betrayed and butchered their family and people (not really the ultimate message or point of the book but definitely emotionally satisfying in fanfic)

Just like there is a sort of appeal that exists in hotd fanfic that is sort of the opposite ...ones that alter the violent senseless and tragic trajectory of the dance of dragons... to either change the course of a brutal civil war or prevent it all together

and the Aemondsa pairing's time travel or reincarnation fics provide an opportunity to explore both of these diverse dynamics.

Sansa will always deserve the world... in canon and in fanfic i want to see all her dream and hopes come true whether it is with a truly good and just partner with whom she gets to build the life and home she always dreamed of or through her getting her very own devoted monster who would do anything to keep her safe from the scores of people who wish to misuse or harm her

and I always wish that hotd fanfiction offered more Aemond centric fics with a love interest that you know actually likes, sympathizes with, or understand him? He feels too tragic a character for me to want him to experience the typical hate and love (enemies AND lovers) treatment he tends to get in fanfic... its not really satisfying for me seeing his typical pairing up with whatever team black character (or really TB character rewrite) or some Daemon's or Rhaenyra's daughter OC that is the frequent choice for aemond centric fics...him being portrayed as some impusive awful and villainous love interest who changes sides and abandons his family just to be with his lover/obsession feels so out of character in a way that erases the best, most compelling, and sympathetic parts of his canon personality, motives, and actions.

Luckily Aemondsa fics seems to be a pairing that offers everything I like in Ameond or Sansa centric fics....

In conclusion Aemondsa is surprisingly compelling and versatile dynamic in fanfic and I think that is why I've become such a fan of Firesteel/Aemondsa fanfiction (in a way I'm NOT at all a fan of the actual HOTD show writing lol)

I'm a proud support of crack ships/rarepairs and I'm always willing to add to the fandom appreciation of pairings that gets less attention or fandom related works... so expect to see the occasional Aemondsa fanart/fic recommendation post from me amongst my typical jonsa content (in fact expect one in the next in a day or so)

Otherwise I just hope established Ameondsa fans (or people who haven't ready any aemondsa fics but are fans of either character/curious about this pairing in general) have enjoyed seeing me fangirl about these two characters/this crack ship and feel inspired to check out or even make their own Aemondsa content!

-Crimsom Cold

[roppiepop]

JayTim K-POP AU WIP

A plastic box gets shoved to his chest.

Only because he allows it, obviously, because the little gremlin of a brat is still several lifetimes away from being able to get a drop on him.

Though the demon spawn is also a picture of silence, lips pursed and shoulders tense where his fist extends to press whatever he bought on Jason’s pecs.

With a barely audible sigh, Jason peels that arm off to see what it was that demanded his attention so badly that the kid broke into one of the few safe-houses Jason thought was off the Bat-radar.

The answer is a thick box, covered with a glossy sleeve. On the cover are a group of five men piled on top of each other, composed artfully to look like a playful candid rather than an unfortunate accident. The only other thing on it is a logo stylized to look like a clock. Jason might be able to read where the lines form ‘SPF50’.

He sends Damian a blank look. The kid visibly heckles.

“Tt.” he starts, “This isn’t for me- I would like to emphasize that, for the record.”

Pause. Damian crosses his arms. “It’s Jon. He gave me an adequate birthday gift. It would be a dishonor to reciprocate with anything less.”

Jason replies to that with a hand gesture. What the hell does that have to do with him?

Damian looks at him like he’s rotten meat. Jason returns the glare twofold.

A frustrated groan. The kid almost swipes his arm back- like he was about to reach for his katana before realizing he’s out of costume. “Are you daft, Todd? I am asking for a favor. Name your price.”

“Yeah, Shrimp, I got that.” Jason bites back, “I’m just wonderin’ why the hell anythin’ related to this-“ he holds up the album, “-would be somethin’ I have an in with.”

Without missing a beat, Damian swipes back the album and pulls a card out from the middle to show him.

It’s a low angle selfie, cutting the pictured man off at the forehead. Stray locks, black with a blue-ish tint, fall just at the edge of the frame, and shadow a pair of striking blue eyes. Below that is a lopsided grin showing off a row of straight teeth. The rest of the picture is a swath of yellow- maybe a hoodie? Its laughably big though, dipping low enough to show the prominent curves of the man’s collarbones.

“This is why.” Damian says, before Jason could get a word in. “Your paramour, he’s Jon’s favorite in the group. He must be detestable if he has stooped low enough to romantically engage with you of all people, but nevertheless. Have him and his group sign this album and I will owe you one favor.”

“Huh.” Jason starts. Stops. Considers if he’s in the mood to start a fight. Sighs instead. “You’re outta luck, kid. I don’t know any of these guys.”

Damian’s eyes narrow. He steps forward in a stomp. “Don’t try and lie to me, Todd. Everyone has confirmed you are dating this idol. Agree to my terms before I am pushed to use force-Ow!”

Jason’s fingers moved to flick Damian’s forehead before he even registers that they did. “You can’t force me to do anythin’, Brat. I’ll send you back to your Mom.”

He flicks the other’s nose this time before he can respond, garnering another indignant squawk. “And two- just because you heard Blondie constantly yammerin’ about it doesn’t make it a public fact.”

Jason moves for the chin this time, but Damian has jumped away from striking range and looks a second away from hissing.

Jason would probably hiss back at him if he did. Something about this kid is just makes you want to mess with him.

But Damian seems to already be in retreat mode, sulkily skulking back to Jason’s fire escape with a deep scowl.

“Fine.” he says, right by the threshold of the apartment. “You prove yourself yet again useless. But just so you know Brown isn’t the only one talking- Father also suspects.”

And he’s gone just as Jason opens his mouth.

“Bruce?”

[soupdwelling]

hi !! ok so i got this rb on my post with a screenshot of mariah’s tweet abt jon matteson signing the mariah ethan petition and i figured i respond to it cause ive seen other people saying similar things.

firstly, i didn’t create the actual petition, idk if this person thought i did but i thought i’d just make that clear. the person who created it did use my art and they tagged me so that’s how i originally found out abt it.

anyway, i basically agree with everything said here, i don’t expect mariah to take over the role, i dont WANT mariah to take over the role, i love joey ethan and when i drew mariah ethan my only intention was to create a fun little hc that could stay within the fandom. and that’s still my intention, i love seeing art of her and ppl talking about her but i don’t want mariah to actually take joeys role.

however. i realize that a lot of stuff ive said probably comes across like i do want her to replace the role which is mostly why im making this post bc i don’t. want people to think that. and i am sorry if anything i said or did was disrespectful, i did not mean to but i can see how the petition situation definitely was and i apologize.

specifically with the post this rb is on, i was honestly a little weirded out by the petition as well, i talked about it with some friends and we kind of came to a general consensus that it was kind of toeing the line of disrespectful but overall that it wasn’t a huge deal. and when jon apparently signed it and mariah tweeted about it i figured the actors didn’t mind too much either, so i made that post just being like “wow the actual actors are engaging with our silly bits again.” that’s all i meant to convey with that post, i figured the petition was just a bit that would last a day or two and then everything would go back to normal. which is pretty much what happened i think

Anyway. this is so long sorry but my main points are that my intention with mariah ethan is just a silly little hc and im sorry for being disrespectful and making it seem like i was trying to genuinely switch the casting.

and basically like. directed at the general public, don’t actually try to pressure starkid or mariah into doing anything! we can have joey ethan and also have our mariah ethan hc and love them both!

[rise-my-angel]

I was reading ur post on jon and Jaime parallels and I was thinking what if he was so disgusted but catelyns hate towards jon because it reminds him of tywin and tyrion. Like how both catelyn and tywin both don’t accept jon and tyrion as their son.

He read her so good because he’s been through the whole situation before.

The degree to which I think you absolutely nailed it????

Now humour me for a moment as I attempt to give a long winded explication of my thought process about what you just said, because I think it is brilliant and completely true.

Jon and Tyrion in their own way are outcasts. One's a bastard, one's a dwarf, both are socially stigmatized in society. But both too, grew up in a household where for their birth alone, one of the parental figures despised them.

Both of their births were out of their control, and are not responsible for the actual issue each have. Jon is not responsible for Catelyn's issues with Ned having a child with another woman when married, and Tyrion is not responsible for the horrible but not abnormal tragedy of a mother dying in childbirth. But both Catelyn and Tywin instead of coming to terms with those issues seperately, mix the two and put that ire on the child who did nothing wrong.

Which effected the manner in which they grew up and how they go about their lives. I think too since I think Jaime might also see aspects of his younger self in Jon, it puts Jaime in a very strange position where he now essentially has to picture his life were the father who always favoured him, now hate him the most, as Tyrion experianced and it doesn't sit right.

He's clearly never been alright with the way his sister and father treated Tyrion, but I think there was a disconnect since he only had to watch. Now that he sees himself in Jon, he too has to imagine a version of his life where he goes through this stigmatized childhood raised in a home under a parental figure who hates them for something out of their control.

Jaime's dynamic with Catelyn is always fascinating to me, how there is something about her that he is drawn too. The way he tells her truth about Bran the moment she truly asked, the way he becomes honest about being with Cersei when he has thus denied it to everyone else including her son. The way I think it's pretty obvious he does in fact find her attractive and enjoys the fact that she is willing to engage in his verbal sparring, the way he later enjoys also about Brienne.

But then there's that conversation. Talking about what he did to Torrhen Karstark, talking about him being the Kingslayer only to have Jaime give a speech about the vows he swore were always bound to conflict with eachother, and spins it into a mocking toast where he pretty much proudly declares he does not regret killing King Aerys II in any way (foreshadowing the later reveal about why he killed him and how his lack of regret is tied directly to the fact that he did it so save the lives of hundreds of thousands). Then Catelyn really has no rebuttal, it's a very unsettling moment where he mocks celebrating "And to the sword I shoved in his back" and how without that context she has no grasp of why he is like this.

So she says "You are a man without honour."

Now, it's easy to connect her accusing Jaime of lacking honor back to her late husband considering Ned Stark was known as one of the most honorable men of their age. But, he could've said anything. Jaime could have gone ANY route to make a slight right back against Catelyn about her husband and honour, the last time they spoke like this he made it about his death. He could've done it again, say something similar to the way Stannis later states it to Jon, "Honour got your father killed."

But he doesn't. He immediately brings up Jon. He doesn't get right to the burning climax of his words, that if he has no honour for being a Kingslayer then she should remember her honourable husband cheated on her and had a bastard child. But he doesn't really talk about Ned. He talks about Jon.

About how he knows that Catelyn never loved that boy, and in fact, only hated him. (Also tying beautifully into next season where Catelyn laments with a genuine shame and guilt about when Jon got the pox as a baby and her promise of motherhood). He digs deep into the fact that she didn't just not pretend to love him, she hated him. He nearly growls that line at her "You hated that boy, didn't you?"

Then he gets to the end, saying with a similar anger that to her, all Jon was, was a walking reminder of her husbands infidelity.

And you're right. Everyday he watched his father look at Tyrion as only a reminder that his wife died giving birth to him. And how both Tywin and Catelyn punished both the respective children over it and their status already as a dwarf or bastard had put that hatred into a burning spotlight for all to see.

But, because he sees him younger self partially in Jon, and all Jaime has had thus far is basically a full year of being the Starks prisoner, he's had nothing but alone time to stew on all of this. And now, that hatred he was forced to watch the brother he loves go through, he has to imagine what if it was him, because the guy he sees his own younger self in, did in fact go through something just like that.

And I think it makes him angry. Not even necessarily at Catelyn, but almost moreso at Tywin. As when they reuinte by season four, there is nothing but conflict between them until the very end, they never have a scene where Jaime isn't pushing back against Tywin when it's clear he's likely not acted this outwardly defiant towards him before.

And I think you're right, because being forced to imagine what his life would've looked like putting himself in Jons shoes, he realizes that it's exactly the life his own brother has always gone through.

And this probably fuels a lot of why Jaime fights so hard for Tyrion to get through this trial alive, and why when his trial by combat ends in a loss, he does his final act of love and helps him escape. He can no longer turn a blind eye to his fathers hatred for him, because imagining himself in Jons shoes, he realizes that he didn't do enough for Tyrion before, but he will now.

Catelyn's hatred for Jon is the thing that pushed him to the Wall, and Jaime at least can look at the guy who he sees himself in and thinks, at least he got out. He got himself out before it was too late.

And now he sees Tyrion at the end of his own rope and thinks, Tyrion can't get himself out, so Jaime will be the one to do so.

I hope you know, you've just opened up a whole new sector of obsessive media analysis in my head where I will now be further psychoanalyzing Jaime Lannisters character, only now his scenes with Tyrion as well add a completely new perspective onto those parallels with Jon.

And while everyone following this blog is now living in dread of my new endless potential of Jon and Jaime rambles, now we can add Jaime and Jon parallel rambles with the new segment of how does Tyrion fit into all of this.

My capacity for asoiaf brainrot has no limit it seems.

[camo-wolf]

Wait wait so…correct me if I’m wrong but not only does DC really not know what to do with Damian’s character with an engaging storyline…but are actively trying to revert Damian back from any character development he got and make him the bad guy???

Tbf they always do that

It’s a rinse and repeat rinse and repeat

They just don’t do anything new with him anymore he’s become bland they need something new for him which is why I’m upset he never got a green lantern ring like the plan they had before

It also kinda says that in the description of beast world “can dick and Jon defeat Damian before it’s too late?”

Also the fact that it’s written by Tom Taylor which is already a problem by itself because he started the Damian hate In the first place with having him kill dick in injustice

We just can’t win

[hemi-demi]

I have a lot of feelings about TMAGP 23, and I gotta let them out. As much as I would love to talk about the amazing statement and the other lovely moments between the cast, I am unfortunately very stuck on one specific part, and not in a good way.

Spoilers below cut:

I'm gonna be perfectly honest, this one hurt me way more than I thought, and I'm worried about my enjoyment of the series.

I truly want to enjoy Protocol for what it is. I've been an Alice defender since day 1, I love her moment with Gwen this episode, I love that Lena seems to be showing a bit more care for her employees. But even with all that, I can't keep doing this with the TMA references.

Look, I've never in my entire 32 goddamn years of living felt like a character in media represented me. Ever. And now I have two. Jon and Martin's relationship feels like seeing parts of myself love each other despite their problems. It's a relationship that resembles the one I have with my partner, and I see a lot of him in Martin especially. Listening to TMA was a wonderful experience because, yes, I knew it was a tragedy and I wish they could have a happy ending, but it was the ending they earned, and they got to go together, and the ambiguity was good enough for me.

I want to enjoy the new writers, the new characters, the focus on alchemy and try to piece together what's happening in the story with everyone else because I missed out on that with having binged TMA after the fact. I cannot do that if they keep taking the corpses of characters I love and dangle them in front of me with the vague hope that they might spring back to life.

But they teased that maybe Jon and Martin can be okay in one reality. I've seen people say they haven't, but between the "Hey, this sounds like them in therapy!" bit, and the Gerry and Gertrude scene, I genuinely believe they did to a degree, even if unintentionally.

Maybe we could have something nice, just one little scrap of "they're happy somewhere else" with the TMAGP versions as a nice cameo. I got my hopes up, hopes I didn't ask for, only to be told "Oh, they never knew each other, and they're dead. If they're happy together in any reality, it sure isn't fuck in this one. The characters you relate to more than anything can never be happy, and you're stupid for thinking that they can ☺️."

This hurts. I feel like I've been stabbed. We were told explicitly this could be enjoyed separately, and that Jon and Martin's ending would be left ambiguous. Unless they pull the rug out from under us and say "Oh, Fr3ddi isn't Jon and Martin at all" (which I've been saying since the beginning. I'm of the "stolen voices" camp and I hope that's what it is, or something else.) then I'm now listening to a show where my favorite characters are suffering, again. And even if they do, the versions in TMAGP are presumably dead anyway.

It's like in fanfiction how you always tag stuff like "Bad endings" or "Major character death". You do that because people have grown attached to these characters and don't always want to watch them suffer again (or do, then you filter by it). The new characters I signed up for hearing their pain and torment, I don't know them yet, and I want to see how their stories play out even if it's painful. But I feel like I'm reading an untagged fanfic right now that is cutting into the original story I did want to listen to.

I want this to be its own thing. I want to care about Alice and Gwen and Sam so when they inevitably die I can feel like I did with TMA again, in a sort of reverent peace with things.

And then chasing that with "Oh, also, Basira and Helen-" just felt like extra salt.

I don't want people to take this as being cruel to the writers, or that I'm being entitled. I genuinely didn't want them to have to dive too deep back into TMA, I'm here for the new stuff. And I'm sure I'll get a bit of "this isn't the genre for you, then, horror is-" I know. I've been engaged with horror since I was much too young. It's my favorite genre. I'm fine with character death. I thought TMA handled it very well.

But I can't pretend that this doesn't hurt, either. I'm sure they have more planned, that this could just be a red herring, but that doesn't stop this from hurting right now when I have no idea what comes next.

I had a glimmer of hope that I was perfectly fine with watching from afar, that they made into a beacon too impossibly bright to ignore. Then, when I steer my boat towards it, I'm lured onto the jagged rocks. Just because they throw me a life preserver a few weeks later doesn't remove the water from my lungs.

Idk. I know some people are excited about this, and I hope they get everything they're looking for out of the story, but I worry that at this rate, I might not. At least not until the wound heals some more.

Okay, I'm gonna go back to writing fanfiction where they get to be happy. Pretty sure that's as close as I'm going to get.

[littlemisspascal]

2023 & Me

Been thinking a lot these past few days about everything that's happened with me in 2023. Hard to believe it's coming to end--time seriously does fly 😮

There's been some heavy losses this year. Several family members passed away to illnesses and old age, including my grandfather who I had a strained relationship with to say the least. I also had a shocking family drama bomb dropped on me earlier this month that has had a huge ripple effect I'm still navigating, but fingers crossed things will find a way of working out for the best.

I had some severe mental health depression episodes throughout the year, made me reevaluate priorities and also doubt pretty much every choice I've ever made in life, but I do truly believe I'm entering 2024 in a positive mindset so that's something to be happy about :) I'mma try this crazy concept called self-love and not think the worst about me, myself, and I.

My writing took a hit this year. Word count wise, kudos wise, engagement wise--but I also made progress on several wips and even finished a few which is a big accomplishment for a snail writer like me 😊 I want to enter 2024 not feeling guilty for being self-indulgent or trying new kinds of writing styles. I also want to shake off the belief a low note count equals it was a bad fic/waste of time -- I don't believe that for anyone else, yet my brain always uses it as a weapon of insecurity against myself and enough is enough brain 😠 no more I say!

On a more positive note, I was fortunate enough to attend several conventions this year and improve my cosplay skills (2024 Ahsoka is gonna be my best look yet I just know it 😁). I got to meet total sweethearts Jon Bernthal and Charlie Cox, Steve Burns my childhood hero, the dear Jodi Benson, the gorgeous Rosario Dawson and beautiful Ming-Na Wen, and of course I can't ever forget Andrew Garfield 😱💗 And most importantly of all I did each these cons with my sister and made some lifelong memories! (Also bought a heckin lot of stickers. A heckin lot 🥰)

And then of course the crown jewel of 2023 1000% hands down was attending the United States Formula 1 Grand Prix. Good lord y'all it was one of the best weekends of my entire life! If you had asked me a couple years ago if I'd care about a sport--any sport--I'd have laughed in your face but there's just something so addictive and captivating about the world of F1 and its cast of characters. And having the luck of getting Alex Albon and Daniel Ricciardo's autographs on my dumb lil frog bucket hat was just *muffled screaming* I literally was a shaking mess lemme tell ya--just ask @beecastle and @undercoverpena who were there with me on my phone every step of the way 💜 thanks for putting up with my addiction y'all! Much much love to you both!!

AND THE FRIGGIN FACT SOMEONE GOT A PHOTO OF ME AND DANNY TOGETHER 🥺😭😭 NEVER BE OVER IT NOPE

There are so many people on here that made 2023 a bright and kind and fun one for me---@oonajaeadira @something-tofightfor @wheresarizona @trinkets01 @kyberblade @sofasoap @grogusmum @writeforfandoms @psychedelic-ink @kteague @prolix-yuy @wildemaven @the-blind-assassin-12 @practicalghost @gnpwdrnwhiskey @bishtrouille @nothoughtsjustmeds @kirsteng42 @miraclesabound @radiowallet @harriedandharassed @hopeamarsu and dozens dozens dozens more!

Thank you to everyone who's liked, reblogged, commented on my blog + sent me messages! I appreciate and love you all so much more than words can ever express 💜💗💙🧡

2024---let's bring it on! 🥳

[hellkitepriest]

ee @ rough trade nottingham

finally getting to my little roundup several days later, hello. i must say going to nottingham was a real Choice for @shallowtboy and i, because it is not actually that convenient and close like liverpool is, and i mostly justified it with “well i went there to see dutch uncles in december so it’d be rude not to”. but we woke up and got on our stupid early train regardless.

went to an art gallery beforehand, found a copy of mark fisher’s capitalist realism in the gift shop — alex niven first read capitalist realism in january 2010, following a “head-on collision with the music industry”, did you know. saw a very cute pin of kraftwerk-style cats and nearly cried also.

when we queued up outside the venue (venue! it was Just A Shop) there were a good few people there already and we were glad we got down there when we did. doors were meant to be at 12, but they ended up letting us in half an hour later for some reason, which meant by the time we got in we had descended into some cold-induced madness that manifested in us humming the mad stone and bobbing up and down oompa loompa-style to keep warm for just. SO long. this bit would not cease.

we got in, and we weren’t Right at the front but we were close enough, and there was no barrier aside from the flightcases dumped on the ground, and i had to prepare myself for being waaay too close to jonathan higgs. which i WAS. i believe it was albie on here who said that if you’re in the first two rows at any of these shows you will end up making eye contact with this man, and yeah, that only gets truer if he already sorta knows who you are. EMBARRASSING.

it was a good show — not as rowdy and sweaty as liverpool, but what can you expect from a show at midday on a weekday, really. they played teletype at this one(!!! it’s not on my Playlist for nothing), and pizza boy, and i had a bottle of pepsi in my bag and turned to shallowtboy and took a big swig of it at the right moment because really i come to these gigs to have my own incomprehensible kind of fun with my best friend, and it was Funny. only then in the next chorus jon sang “you are afraid / that you’re a pepsi boy” which i did not really register until After, when shallowtboy pointed it out, and i had to contend with the fact jonathan higgs may well have seen me drinking my pepsi (i was about six feet away from him, he probably did,) and decided to make a thing of it. good god. gender win 🤷‍♂️

after the show it was signing time and we all verrry slowly shuffled out into a sort of queue. i took a photo of alex’s pedalboard on the way out, and said “i don’t know why i’m doing this, it’s not as if i know what any of these do”, and their guitar tech (who i have been mentally referring to as Clayton for various reasons, but i believe is actually called joe) overheard and went “neither do i, hah” and then i started chatting to him about what a shame it was that alex didn’t bring his little modular setup on tour this time round, and he told me all about pete’s ableton routing, and it was VERY FUN thank you claytonjoe for engaging with me. pls don’t find out i’m a massive gear poser.

SPEAKING OF— actual signing time. my rubiks cube was in my bag and i was NOT going to leave without it being signed. i managed to somehow barely interact with jon (cursing myself forever that i did not get to ask about the pepsi incident) but they all seemed fairly unsurprised by being asked to sign a rubiks cube, and all wrote their signatures very neatly in one of the little squares, minus jeremy for some reason. and Then.

i was wearing this shirt with the names of two modular synth brands smushed together, based on ONE decade-old post from this one forum that i had decided was the funniest thing in the world, yet another incomprehensible bit i am doing with myself, really, only turns out it’s the modular synth brands alex robertshaw uses the most. it came up on that podcast he did the other day. it was a real “oh for fucks sake” moment. so i showed him my shirt, and told him as much, and i expected there to be QUESTIONS about why the hell this shirt would exist, but he just thought it was great. (jeremy also approved, and said he saw me wearing it in liverpool. i did not interact with jeremy in liverpool. i was not even standing NEAR jeremy in liverpool.) alex then asked if he could take a photo to send to the guy he did the podcast with. YEAH OKAY SURE WHY WOULDN’T THIS NONSENSE BE HAPPENING TO ME. but he didn’t have his phone with him, i guess?? so he had to borrow mike’s phone???? so there’s a picture of me on mike spearman’s phone, i guess. hope the synth podcast guy did see it in the end.

writing this all out really does make it sound about twenty times more bizarre than it felt at the time. i love this ridiculous weirdo band. /\