#and idek if it makes sense

[expelliarmus]

I don't believe in destiny, but if destiny exists, then it is heading for Donna Noble.

[breachofpromise]

mobius says loki’s name warmly, full of mirth, savouring it by drawing out the vowel like it’s something sweet. loki says mobius’ name like he’s gasping for air, and the word is his lifeline - his only way of getting oxygen.

[alltimefail]

Can we take a second to talk about Niko's connection to the Principal?

Because I think we all moved on a little quickly from that!

General disclaimer before we begin: this is just my own theory and my personal interpretations. <3

As a refresher, The Principal is the Night Nurse's "Superior." We see her for the first time at the end of season 1, episode 8. In this theory, I will be analyzing the potential role The Principal plays in DBDA, especially where our beloved Niko Sasaki is concerned.

A connection between The Principal and Niko is undoubtable to me for two reasons: the first reason being that they intentionally focused the camera on The Principal zero-ing in on Niko's case card, and she has a visible emotional reaction to seeing Niko's name.

The second being that, before departing, she quotes what Tragic Mick told Niko before the face-off with Esther which ultimately resulted in her death.

One popular theory I saw floating around in the first few weeks after DBDA released was that The Principal is Niko herself, and while this is a fun concept I can't get behind it because, well, Niko is "alive" at the end of the season. Yuyu has confirmed that she's the one in the igloo with the sprites, and Steve has confirmed that Niko is not dead/off the show as well. While we have no clue where the igloo is for certain, or what state Niko is in, it's safe to say that Niko has not moved on to her afterlife, so she can't be the Night Nurses' superior in the Lost and Found Department.

My theory doesn't reinvent the wheel, but I personally think The Principal could be Niko's mother.

From a non-storyline standpoint, The Principal looks to be a perfectly appropriate age to have a 16 year old daughter. From a casting standpoint, Yuyu and Tamlyn also are a convincing mother/daughter pair. I think their mannerisms (body language and expressions) are even a bit similar:

But most importantly, from a writing and storyline standpoint, Niko's mother is mentioned multiple times throughout the season but we never actually see her or hear from her - not in a phone call, a voicemail, or even in a picture in Niko's meticulously decorated, aesthetic bedroom. This is what leads me to believe that the persistent mention of Niko's mom is an example of Chekhov's gun being fired.

Emphasis here on: "If it's not going to be fired, it shouldn't be hanging there."

From the persistent plotline surrounding...

Niko's grief not just with her father's death but also with her mother who sent her to school across the world literally the day after her father's funeral to "escape the sadness,"

to the pile of letters from her mother that she couldn't bring herself to respond to,

to the response letter she finally writes to her mom but we don't learn the fate of,

to Niko telling Crystal that her mom would always say "A mother's intuition is very strong," (which could be why The Principal reacted to Niko's case card in the way she did...)

to even Jenny mentioning Niko's mom in the finale

... and so on, the writers seem to mention her as often as they can, even up to the very end. This makes Niko's mom a sort of looming figure in the narrative, a thought persistently brought back in a "Hey, remember this?" kind of way to the viewer, and that kind of intentional presence needs to serve a purpose or have some kind of payoff later. After all - if it's not going to be fired, it shouldn't be hanging there... if we aren't going to get some kind of closure regarding Niko's family, especially her mother who is still alive, it shouldn't be brought to the viewer's attention again and again.

Also, The Principal being Niko's mother would make Niko at least half supernatural being (we don't know much about her father, but considering the fact that he's dead we can assume he was likely fully human). Niko being half supernatural-being would explain a few allusive plotlines such as:

Why Angie the fish does not try to tempt Niko into the water.

Why Crystal tells Niko that she should stay behind and not fight Esther because Niko is "Just a human."

Why we don't see Niko's spirit separate from her body at any point, nor do we get Death's blue light.

How the Principal knows Tragic Mick's last words to Niko and why she quotes them to the boys who were not even present at the moment the sentiment was delivered the first time.

Starting with Angie, it's obvious why the boys are not affected by her call: Charles and Edwin are incorporeal spirits, they have no physical body and Angie's call is sent out with the goal of finding food to eat, plain and simple. Niko not hearing Angie's call, considering the fact that she's flesh and bone just like Crystal, is noteworthy to say the least. After all, we can safely assume Angie's call can beckon more than one person at a time because the group is worried about the populated kite festival becoming an all-you-can-eat buffet, essentially. They need to figure out the case and only have 24 hours to do so before area is filled with bodies for Angie to tempt into the water, that's the whole time-constraint conflict that adds pressure to an already delicate situation. The first time Crystal hears the call she is with Charles at the top of the lighthouse with Niko nowhere near Angie, but the second time Crystal hears Angie she and Niko are standing literally right next to each other. Niko then confirms that there's "No voice" coming from the water after they save Crystal, but considering how Niko's grief surrounding the death of her father is such a huge part of her characterization - in the same way Crystal not remembering her parents is critical to hers - it makes no sense that Angie wouldn't try to lure in Niko as well by using the voice of her deceased father.

But let's consider what we learn from the Night Nurse: trans-dimensional beings don't die when they're swallowed by a giant fish, so they do not satiate Angie's desire for food. This is why everyone assumes Kashi is not human because he, like The Night Nurse, is alive inside the stomach of a fish. So if Niko's mother is like The Night Nurse, a trans-dimensional being, that would explain why Angie's call would not effect Niko, because Angie just wants to eat... and ghosts and immortal beings (even if only semi-immortal) do not count as food.

As for Crystal telling Niko to stay behind because she's human: this line felt so... strange to me the first time I watched the series. After thinking about it though, I couldn't help but compare it to Charles' line in the pilot episode right before they enter Esther's house. He tells Crystal that "She still has a life to lose" and they want to "Protect it while they can," and while the sentiment is the same, the dialogue feels vastly more natural and understandable being delivered from the mouth of a ghost - a dead 16 year old boy - to an alive 16 year old girl. On the contrary, Crystal citing Niko being a human when she is also alive and very much a human just as capable of dying as Niko is, feels out of place. There's simply no need for Crystal to clarify that Niko is a human as the audience has already assumed that and been given no reason to believe otherwise. It's a small detail, but the only way for this line to make any sense is if it serves an ulterior motive - perhaps with the intention of getting the audience's gears turning and/or serving as the framework for a future plotline. Again, if Niko is related to The Principal, this would make her half supernatural at least... so, ironically, less human that Crystal is and less likely to face a typical human death...

which also might explain the "Outlook not so good" on the Magic 8-Ball. It's not the worst response you can get, it's not a critical failure or natural 1 in DnD so to speak... but it's also not great. Niko's not alive, but she's likely not as she once was either (but that's an entirely different can of worms).

As far as explaining how The Principal would know what Tragic Mick told Niko, I feel like an infinite trans-dimensional being who works as a higher up in the afterlife's Lost and Found Department would have no issue accessing their own child's file. We know the Lost and Found Department is nothing if not rigid, specific, and detail-oriented, and the files they have include the details of every child's death - it isn't so far-fetched to believe that Niko's file (and all the files, really) would also include insight on what Niko's last day on Earth (interactions and such) were like. Not to mention the fact that The Principal tells the boys she can pretty much do "Whatever she likes..." so she's powerful, she has resources and abilities that might even surpass those of the Night Nurse (who can literally dig around in people's minds and choke people with a snap of her fingers). If she is Niko's mother and she just lost her child and husband in a short amount of time, it would make sense for her to allow Charles and Edwin to keep doing what they do because they are helping people like her daughter, and maybe they could help her daughter again.

Lastly, I can't help but acknowledge how there is some kind of recognition, spark, or tenderness on The Principal's end when she first appears before the boys. I've seen other people say they feel similarly, almost like she seems disappointed or a bit taken aback when they ask who she is. She especially lingers on Edwin for a beat, and we all know how important Edwin was to Niko! Again, this is all just my own theory, but if The Principal is Niko's mother, her sparing the boys of being taken by the Lost and Found Department with the tenderness she does - by using Tragic Mick's words, the ones offered alongside a good luck charm (the last kind act toward Niko before she died) at the boys who loved her daughter and saved her once and could very well save her again - feels tear-jerkingly poetic to me. The Principal seems choked up before she goes, almost as if she's repaying them a favor they didn't know they were owed - the boys saved Niko once, and now that good fortune is coming back around to them.

So what would that all mean for next season? Where might Niko be? Who knows for sure! Perhaps she is imbued with Dandelion Sprite magic, or is currently an "Undead," a zombie, like the kind mentioned in the Night Nurse's book in Episode 6... but whatever she is, I have a feeling the boys and Crystal will find her again.

But all this to say, whether The Principal is Niko's mother, a reincarnation of Niko's father, an estranged aunt or family member we haven't met yet, a complete rando with invested special interest in Niko's case, or shit - even Niko herself somehow - I can confidently say that episode 8 won't be the last time we see The Principal, and that we're meant to draw a connection between her and Niko.

Now we just need a season 2 so we can get some answers @netflix!!!!!

[siriusly-the-best-bi]

wow so I have like 3 analysis in progress that touch on this topic but I really need to just talk about it rn with its own spotlight.

Aziraphale has this entire life that he's built for himself on earth, after armageddon he's thriving. When we catch up with him in Season 2 his first scene is literally him going to check in with one of his tenants, and throughout the season we see that he has a decent relationship with nearly Everyone on the block. He has an entire life for himself all hashed out and pretty.

Crowley... does not. His cold open in Season 2 is back in St. James park, checking in with Shax, finding out the gossip on Hell. He doesn't have his apartment, he only has his Bentley and the few plants he could fit in it. He doesn't have any other human friendships. His entire life and everything he loves to do is built entirely around Aziraphale.

This is something that I just find so fucking thrilling because when it comes to their characters and where exactly they are in their arcs right now, it's essentially like looking into a mirror.

Aziraphale knows exactly who he is when he's on his own. He nurtures his own relationships with humans he sees often, he's a nice landlord, he loves books and classical music, and hot cocoa. But, Aziraphale still holds onto the ideals of heaven. He still cares about doing good and being forgiving. He still cowers and jumps at the opportunity to help heaven, not because he wants to but because he's supposed to because he's still an angel.

Crowley has nothing. He has his car, which he drives to a secluded location to park every night, only to drive it right back in the morning. He's only even vaguely recognizable because people associate him with Aziraphale and this is fine for him, he could care less. He doesn't really need to know who he is or process his traumas, why would he when he can put all his attention and focus and love and care directly into Aziraphale? His friend, who has always been his friend, the one person who has always stood by him. Who cares about heaven and hell, he has Aziraphale.

When we finally see them on their own and without the influences of their head offices, we see the opposite of what we'd expect, and nearly the opposite of the outcome we see in episode 6. Crowley is the one constantly checking in with Hell (wether he likes it or not), and Aziraphale is the one who's living care free without even thinking about heaven. When he does something good that he wants to report, he just calls Crowley.

this whole dance of Crowley not knowing who he is without Aziraphale and Aziraphale knowing who he is fundamentally but not knowing how to break free from the confines of Heaven that stop him from truly embracing Crowley in the end, it's just so delicious.

[year2000electronics]

to me fiddleford mcgucket is like a house dog who just aggressively bites one day with absolutely zero warning

[pyjamacryptid]

Wait wait wait wait I’m on the precipice of something here: The spider that bit Miles was an anomaly, sure, but it still happened, which made it part of his canon …right? Miles being an anomaly is canon. His canon in its entirety is an anomaly. It’s an oxymoron, a paradox, a full circle. ‘There’s always a first time for everything.’

I don’t know exactly where I’m going with this but… (flaps hands) YKNOW???

[a-heart-of-kyber]

Coffee Shop AU where Qimir is the hot barista and Osha and Mae can not figure out how he knows when they give him the wrong name for their orders.

[eternallyhyucks]

your type | choi beomgyu (fluff, wc: 482)

— note: hi :D got super bored and have been real obsessed w beomgyu lately so here is this,, not proofread at all btw LOL

𖤐 ྀ

“okay don’t look now but the guy across the room looks like exactly like your type”

slightly looking up, you see the prettiest boy you’d ever laid your eyes on. you turn your head to look at your friend, taehyun, and both of your eyes widen as you smile.

taehyun picks up his phone and starts typing up a message for you.

“you have to go talk to him, y/n”

you see your phone light up and pick it up while looking at him confused.

“oh my god i can’t do that” you type back

“why not”

“because i can’t😭 i never can it’s too embarassing”

“WHO CARES”

“ME”

taehyun puts his phone down and looks up, sighing.

“y/n please” he said shaking his head, “when will you get this chance again, he’s very much your type”

you think for a little bit before saying, “hmm fine let’s go.” you stand up and taehyun looks at you with a blank stare.

“come on before i change my mind”

the two of you stood up and slowly made your way towards the pretty boy and his (also pretty) friend. as you got closer, the boy turned his head to look over at you.

“fuck he’s looking at us” you whisper to taehyun

“yeah he’s looking at me because we’re friends” he said with a smirk.

you stopped walking. “what-”

“TAEHYUN” you were cut off by the two boys calling your friend’s name.

confused, you quickly walked to catch up to them. after quickly glaring at taehyun, you smile at the two other boys.

“hi i’m y/n, nice to meet you”

the second pretty boy spoke up first. “i’m yeonjun, this is beomgyu”

pursing his lips, the first pretty boy, who is now called beomgyu, says, “i can speak for myself, thank you very much, but yes i am pretty hi beomgyu- no i am beomgyu hi y/n”

taehyun rolls his eyes, “nice job beomgyu i think that was the one”

“i tried” beomgyu laughs.

you smile brightly at him and say, “it was pretty corny but i probably wouldn’t have said anything better”

“oh did you come over to flirt with me?” he teases.

“well no-”

“she did” taehyun chimes in.

“i did NOT, he’s the one that told me i should come over in the first place” you shoot him yet another glare.

ignoring it again, he continues, “yeah and why did i say it? you think i should tell him?”

“tell me what” beomgyu said smiling.

“tell you nothing! hey you wanna get some pretzels, i saw they made fresh ones when we were walking in” you say changing the subject and starting to walk away.

beomgyu follows you, “tell me what, hey wait slow down TELL ME WHAT!!!”

taehyun and yeonjun, now sitting down next to each other, watch as the two of you walked out laughing.

“we’re good”

“too good”

©eternallyhyucks

TAGLIST!

@izchone , @baekswoons , @jiwon-44 , @junityy , @pr0dbeomgyu , @neos127 , @fiantomartell , @wccycc , @koishua , @changminurheart , @rainbowglitteramythyst , @baekhyunstruly , @soobin-chois , @yjwfav , @fairybinie , @sleepingisweak

!! unable to tag bolded

—send an ask if you would like to be a part of my taglist!!

[stargirlo]

𝓜EET THE FUSHIGURO'S — ( 𝕿 ) OJI FUSHIGURO │ "dear babygirl, i'm sorry that your father is not active inside your world." (angst)

not everyone has such a perfect life, but not everyone has such a complex life. things aren't meant to go in a straight line, but things also aren't meant to be in a bumpy ride. everything felt like a maze, trying to find a way to escape this hell hole without any blocks or bumps coming into life — your life, toji's life. everyone has goals, everyone has dreams, everyone can achieve some of their goals and dreams, but some of them don't. and it's fucking hard to overcome that.

being in a relationship with toji fushiguro, ah, toji fushiguro. you aren't married to him but somehow you managed to birth out two beautiful children, first being a beautiful baby boy, megumi fushiguro. he's identical to toji, same hair, same facial features, everything looked alike between the two. in the next few years, a beautiful baby girl now came into the world, tsumiki fushiguro. personality wise, she's just like you, a kind-hearted soul, a sweet girl who should be held with care. you know those stickers that are added to packages when you buy something that can break easily; "fragile. handle with care." yeah, that's tsumiki, and you.

even if the family of four didn't have all the luxury, they say that it's the littlest things that can balm your shell.

remember how you used to be so fragile, so kind, and so, so sweet. well that wasn't permanent, and it was only temporary as soon as toji was on and off with family. you know he's working, but you don't know what or who he's working for or who he's even working with. even a man can have his own struggles; but what kind? gambling problems? drinking problems? pill-popping and spending problems? bad with money? only toji knows.

"mama when is daddy coming back?" "is daddy gonna come to my ninth birthday?" "are we gonna watch frozen with daddy?" "is daddy gonna help us with our timetables?"

those questions tire you because you don't know, you really don't. you wish you could explain where he's at, but with so little information and so little contact, you don't know where the fuck that man is.

until this one night where you left yourself and toji into shambles.

carefully leaving your bed in which tsumiki and megumi are currently sleeping in, you set yourself off to leave and relax on the living room. it took some time for the kids to sleep, it took more time for you to even sleep despite having to wake up early for work tomorrow.

not until the jangling keys were hear through the front door, and the loud creak audibly heard across the hallway and onto the living room. he's here. you looked across the room just to make sure it was him, even though you know it is him because he's the only one that has a spare apartment key to his own place. or rather your place now.

"the fucking nerve," you grumble under your breath, a vein almost popping out of your skin. getting up from the couch you came up to him, the reeking scent of alcohol lingered just two feet away from you. the musky scent of sweat and dirt combined with such a foul smell that made your whole face twist and scrunch. eye bags were visible, hair disheveled and greasy, lips chapped, breath probably smelling horrible, and clothes needing to be washed asap. he's a fucking mess.

"mm- what? 'm home..." he spoke lowly, scratching his head as he always kept up his nonchalant nature. one of his hands held a medium sized plastic bag, hanging lazily between his fingers. "yeah no shit." you said sternly, arms crossing in disbelief as your eyes followed all over him like he was some sort of homeless person. "what's up with you? why're mad, babe..?" he cocked a brow, energy low and definitely not in the mood to hear your constant babbling.

you scoffed. what is up with you anyway? is he fucking with you? "what's up with me is that you didn't come home in almost about a month. you look like a fucking mess and you smell like absolute shit." now the jet black haired man knew that shit was getting serious, the way you're just talking to him like that, and the way you're saying that he smells like shit. he needs to tighten up because your points are right about him. "what a nice way to welcome me back, thought i was expecting a kiss or sumn'–"

"are you kidding me, toji? showing up at midnight and acting all nonchalant and shit. you don't understand how fucking worried i was for you? even the kids were asking me about you, keeping them on their toes everyday without any news from you and praying that you'll be okay. do you understand what you are fucking putting me through just now? work was the only thing being up my ass and now there are multiple other things that i have in my hands and in my care." you rasped, eyebrows pinching together as frustration slowly seeped into your nerves, holding back the urge to lash at him. "instead of you, the man of the house, having all the courage to take care of its family, you fucking destroy it. fucking us all up." your hands ball into fists, the whole scene turning into a tense argument.

"you should've been teaching megumi his timetables, or maybe watching frozen with tsumiki. you missed out on my baby girl's birthday, she just turned nine and i could tell that her birthday wish was for you to come back." slowly, your voice started to crack, salty tears welling up your dropping eyes. "and what have you been doing during those times where i've worked my ass off overtime at a fucking convenient store? huh? i'm so tired, toji, and i bet you are too. but the way you're just unexpectedly showing up when you're the reason you've put me at my lowest is fucking unacceptable." you spat, a streak of tear running down your cheek. toji exhales deeply, knowing how you feel and it was actually his fault that you turned out this way. guilt and frustration washes through him, not having any other excuse about his absence.

"look, the point is that 'm here now. and i promise that i won't leave without letting you know, i promise i'll build a connection with our kids–" and then again, you interrupted his promises. "promise? hah– you? promising something that you'll do again? make up your fucking mind, toji. you broke our promises, you said that you'll marry me someday; that's a fucking lie. you said you'll get payed more and pay off our bills; that's also a fucking lie because you're using that shit to buy rum and gamble out the money that could save our life. look at you, fucking pathetic. you're embarrassing yourself at this point because i know what your true intentions are, toji. are you still popping pills to keep yourself at your feet? did you fuck whores at a brothel while you're at it?" those bitter and heartless words have left toji in shock, of course it has, you know him well and clear — like he was an open book to you.

"did you buy tsumiki the barbie doll that she asked for a few months ago? or did you gamble that money?" you asked, tilting your head slightly as your expression was evident that you were not buying this. "because i know for sure that i was counting pennies at the grocery store to buy that fucking toy for tsumiki–" you spat, holding back from having a psychotic episode before toji's gruff voice interrupted you now. "don't speak like that if you're going to mention our daughter." he gives off a warning, but you could only scoff at disbelief at it, why's he all of a sudden caring so much? "our daughter? no no no, you barely did shit for her and now you're trying to be on your goody-two-shoes to act like you care about our daughter? where were you when i gave birth to her, huh? where were you when i gave birth to megumi?" your voice echoed through the hallway, the argument getting louder that the kids would probably hear it.

"megumi, why's mommy yelling?" tsumiki asked in a hoarse voice, waking up to the ruckus happening outside of the bedroom. megumi softly hushed the little girl, placing his hands that are slightly bigger than hers to her ears, muffling your shouts and derogatory words. "it's gonna be okay, she's just talking to daddy..." he murmured reassuringly, hiding the fact that he's on the edge of tearing up after finding out the truth about the absence of his father.

"you're acting like you did most of the work when you haven't been on my shoes." toji stated, his stomach twisting at the fact that you bought up the way he wasn't with you during labor. "because i did most of the work you dickhead! you barely didn't show up for your own family, for your own lover who was giving birth to your fucking kids! how would you think i was feeling during that time toji?! squeezing the nurses hand instead of yours while i was popping my ass off to give you two beautiful kids into this shitty life!" you shouted, already having a mental breakdown as more tears bubbled within your lower lashline. "you never open about yourself, you never show any ounce of affection ever since we had kids, you never did the bare minimum to show that you still love us! you're a fucking disappointment toji! you don't know nothing about taking care of things. waking up the kids? know nothing about that. teaching them basic human decency? know nothing about that. telling them to pray? know nothing about that. taking them to school? you know nothing about that." and that was the breaking point. the plastic bad dropped down to the floor as his calloused hands quickly loomed over to you to grab you at your shoulders.

"call me a disappointment one more time 'n see what fucking happens." he shook you like you were mentally ill, thinking that some sense would come to your mind. but could you let him get this physical with you? fuck no. "don't touch me you freak!" you squealed, hands that are smaller than his large ones grab his wrists as an attempt to pull away from his embrace. "can you take a second to understand what i've been going through?! jesus... haven't had a single moment to express myself for just a fucking minute." he grunts, the grip on your shoulders loosening up as he wasn't daring himself to even hurt you. no way.

"and what do you have to say to this, huh?! stop trying to figure out a useless excuse so that i could come back to you like nothing happened." you sniffled through your nose, soft hiccups eliciting through your slightly swollen lips. "please just hear me out–" toji exclaims, showing an ounce of vulnerability that he wasn't planning on expressing. "no! take your fucking shit and leave this goddamn place," you quickly push him away from your personal bubble, grasping the plastic bag and slamming it at his chest. "you're nothing but a fucking deadbeat who doesn't even deserve to be called a 'father'." and with that, he's standing by the front doorway, mentality absolutely destroyed as his face uttuerly grew pale. this was it. this was over.

"if you weren't raised in such a fucked up clan, maybe you shouldn't have been such a shit dad."

-

the aftermath of the argument left toji having a hole to his stomach. it was like daggers were digging deeper and deeper into his gut. what you yelled and screamed at him for was probably right, maybe he is a shit father; maybe he was born in a fucked up family and turned out this way. the plastic bag swung between his thick fingers, walking like a kicked puppy in the rain as he was lost in his thoughts.

a nearby trash can was visible along his way, now carelessly throwing away the bag and discarding it with the rest of the trash and pests that were there. what was in that bag anyway? take-out? alcohol? meds? no. they were two gifts that megumi and tsumiki were asking for a few months ago. a pretty blonde barbie doll in her pink little dress, and a few stacks of digimon cards. all of that went to waste.

meet the fushiguro's.

note: phewww, that was a lot. updating my masterlist tmrw. have a good night everyoneeeeeeeeee.

⠀( OWNED BY ) STARGIRLO.

do not plagiarize any of my works , translate them , or repost them anywhere around any other social media platform . thank you .

[oswinsdolma]

the bbc merlin writers actually went so hard when they decided "actually no, magic isn't some grotesque perversion of the natural order, it is nature itself" because like. it would have been so easy to write merlin's internal conflict as one between the inherent evil of magic and the good of humanity, to put arthur in the right for his persecution and to turn merlin into some kind of doomed hero within himself, but no. because in the end, magic had very little to do with anything, it was just something that was there. morgana didn't turn evil because she was magic, she did because she was scared and angry and manipulated. merlin doesn't wait for arthur because of the promise of a golden age, at least not really; he does it because he loves arthur and wants him back. in the disiir episode, if it had only ever been about restoring magic to camelot, merlin should have sacrificed arthur in a heartbeat for the promise of magic's legalisation. hell, even mordred didn't kill arthur because of his views on magic, he did so because arthur took away the person he loved. like yeah it's a fantasy show and magic is a massive part of that world, but in the end it was a story about people, and all the hopes and dreams within it are deeply and tragically human, and that's what makes it a good story, what keeps us going apeshit over it even ten years after it ended. in a way, there are two shows in the same way there are two merlins: one about magic, "emrys" and the other about friendship, and like merlin, the audience has to choose which one we should care about most. and every time, we make the same choice as he did: we, however foolishly, choose humanity. we sob at the tragic trajectory and scream as we see destiny gathering traction, but isn't that the point of tragedy?? if we followed logic over emotion, tragedy would never take place, but equally, if we followed logic over emotion, the idea of tragedy itself would become lost to obselescebce. the whole point of the show is to tell us that "no, we can't define things as one or the other, because anything with meaning exists as something more complex, because to give something meaning is to perceive it with a human gaze". magic may be a force of nature, but good and evil are ideas perpetuated by our innate, incurable humanity, and it is here we have a choice. we can't choose our destinies but we can choose from which direction to embrace it, and that's a surprisingly radical, beautiful thing.

[mrsoharaa]

He tells himself that he was in no way infatuated with you what so ever. Not a bit. Has to constantly convince himself within his messy mindset that he was or is, no way obligated to willingly shun his looming presence with yours. None.

But how is it that he now finds himself nestled ever so comfortably in the softness of your cushioned couch. One arm toppled behind his head as the other pets gently, lazily along the prickling fur of your adorable pup resting on him. Eyes closed softly, as his mind now warps solely on you, from your beautiful beaming smile to the supple adorable giggles that swarm his cold heart. It astonishes him of how more frequent you come to his blundering mind, easing him from the overbearing stress that weighs down on him from the insisting impairment of protecting the multiverse.

And you, lurking just at the start of your hallway, lean against the solid wall beside you, cross your arms and smile giddily at the adorable sight bestowing before you. You'd carefully walk over to the two napping babies, bringing a cozy, thick throw over the snoozing companions embracing each others company.

You'd simply, delicately brush some of his gorgeous, thick loose strands of mahogany from his peaceful, stunning face. Thoroughly admiring every intricate, atoning detail that strung along the perfect structure of his restful face.

Absentmindedly, without any realization and lost into the sheer beauty his relaxed face had to offer — you could feel the supple tender of his warm, plush lips graze just ever so softly against the pad of you index finger. A low, inaudible gasp shimmies down the juncture of your throat, blinking rapidly, your eyes gaze down to the placement of your wandering fingertips. A feeble, radiating heat slowly absorbing into your plush cheeks. A low, rumbled chuckle bounces against the flush of your inquisitive digit, igniting a fervent pace of your puttering heart.

Your lashes flutter rapidly, dilated irises now met with a beautiful set of glossed carmine. A playful glint of soft coy and amusement clearly shining through those gorgeous, ruby globes. A gentle touch of his large hand wraps ever so carefully around your slim wrist, pushing his lips more intimately against the warm flesh of your tensed finger. His eyes never wavering from your stunned, embarrassed expression.

How cute.

His own long, thick fingers playing along the silky skin of your trembling wrist. Emits another amused chuckle, pressing another light kiss to your finger.

"You know it's rude to interrupt a mans sleep, cariño"

[willowhistle]

caroline bringing out the humanity in klaus, and klaus encouraging the vampire in caroline. and them both being better for it. both characters pushing away a part of themself out of fear, but all it takes is the exact half of themselves they’re hiding from embodied in a person to draw them out.

caroline being this beacon of morality and light and empathy for klaus

while klaus is a symbol of strength and unapologetic acceptance of their nature for caroline.

them not ending up together is tragic not only because they would be so good WITH each other but because they were so good FOR each other.

[aurorangen]

Like my first love that September

Transcript & Context:

[The trial was an eye-opener for us and we shouldn't be afraid to reach out to help cope with trauma. We both went to therapy, my mum felt brave enough to open up about her mental health and I went to talk through my fears and distress and how to gain control of it. In the end, we decided to move to Henford-on-Bagley]

[The countryside promoted healing and we were less likely to be triggered by places or people. It was really an escape from the big city. Settling down was easy since my grandparents lived there. It was also my first time visiting the family farm and I loved every single moment in that house]

[Most importantly, I felt more relaxed in Henford-on-Bagley. No more pestering reporters or prying eyes of the neighbours. No more trouble sleeping or flashbacks to all the difficult times. Instead, it was a warm welcome from the villagers, who did not ask too many questions, well most of them anyway]

[Our wellbeing improved and we immediately fitted in with the community. It was a new beginning here which meant a different school, routine and people. And one person in particular stood out from everyone else]

[Henford-on-Bagley was where I met Nancy Montford. She was my first love]

The remaining story parts (the first love and the one after 👀) are the ones that I have most been looking forward to! And look who is his first love...Nancy (tjolc)!!! It is perfect with her cooking roots and how city detective also explores food. I've mentioned that Vincent likes cooking and you will find out how it came to that. Now the two legacies link 🤗 One more thing is Oscar has NO RELATION to Strangerville even though I initially created him to be the mysterious guy.

[mysterycitrus]

so the body is a haunted house, right? ur haunted by past pain, ur experiences and regrets, the people you’ve known and lost. ur a living structure inhabited by countless others, and that kind of grief never stops. on a biological scale, we know that trauma rewrites dna and brain matter. we see how monumental loss affects the human mind through generations, how it shapes the way we think. u can track that down family lines to the present. even unseen, u r carrying the ghosts of everyone who came before.

the central thesis of persephone is how grief can be the proponent of so much change, both good and bad. part of that is bruce’s visible, living state of mourning in the manor, in the mantle of batman, in the pearls and the portrait. he is literally haunted by the alley, by the gunshot, by the darkness. but robin is haunted by mary grayson, by dick as a child and as a teenager and an adult, by jason in the dirt, by tim and steph and damian, and on and on it goes. how do u conceptualise that kind of loss?

both jason and dick’s grief is faceless. dick’s parents are remembered in colour and name, through dick’s embodiment of joy. they are transient. they are worn by children who do not know their names. they are honoured in that way, something that jason, despite not knowing robin’s origin, is conscious of —

in persephone, i knew jason would have an altar of some kind. his grief is action, but it’s also his heavy anchor to gotham. he could leave, but he doesn’t. he despises bruce for the same reason they’re similar. originally, it was a memorial to the people at his funeral, but that changed to commemorating the life he had before his death, and the people he left behind. he lies to himself and says the elephant represents robin as a whole, but it doesn’t. it obviously doesn’t.

it is a literal symbol of jason’s inability to fully abandon his life before. the body is being haunted, after all. we get to see his perspective in wolf-king, his anger at his disconnection, his isolation from others, his paranoid, neurotic interactions with dick. he has changed so completely that he cannot trust anyones intentions. he’s hurt people, and he doesn’t regret it. he thinks people see him as something he was, versus something he is. it’s dehumanising and hard. like he is memorialising something lost at the altar, so to is everyone else when they look at him. his presence in their lives is a haunting.

when a seventeen year old dick grayson sees the elephant there, he assumes he’s died and that jason is honouring him. how can jason explain that it’s to represent a past that jason himself can’t return to? after all, the only way out is through.

and then, at the end, he is given a gift — dick leaves behind a bird on the altar. not a robin, but something meant for jason the person, not the body in the box. he is remembered for what he was. and that connection to what he was is horrifying. the idea that someone recognises that grief and honours him hurts. after all, a heart is a heavy burden.

[roblogging]

i love the idea of sirius forgetting about regulus in azkaban. he completely forgets - the dementors, they take all the good. every last good shred of his brother, no matter how small, was taken by them. and then his death was too.

now sirius never saw regulus' death as a good thing, of course not. but part of him? part of him was glad. some sick and twisted part of him was glad that regulus was dead, because it meant he was no longer waiting for a knock at the door. he was no longer waiting for regulus to come back to him and say "help me. get me out. i made a mistake." so no. he wasn't happy that regulus died, but part of him was glad. those two things can be true at once.

so the dementors take the death too. they take the one bit of relief that sirius has ever felt about regulus, and they make him forget.

and then it's post-azkaban, and sirius is moving into grimmauld place and, oh god, the memories. the way it all comes flooding back to him. the shreds of good, the mass of bad, the death - all of it. he's mourning regulus again and he's angry because, fuck, he hates that he's just relearnt that he has a brother, and he's dead to the cause that sirius is now actively fighting against again.

and that's tragic? isn't it?

that sirius would learn about his brother's death twice, yet never finds out it was his one act of good?

[dewberry-obsessed]

I'm not sure if anyone has really talked about this, but in season 3 episode 6 there is that scene where Will and Jack are both in Italy, looking through the exhibit Hannibal was working at and they're talking about Hannibal after Jack beat the absolute shit out of him. It's one of my absolute favourite scenes from the show because of how it plays out.

When Jack asks Will "Will you slip away with him?" we switch to shots where we can only see either one of them at a time. They're separated by this display case and the cool thing is that when we get to see the shot with Will we can see his reflection in the glass part of the case. When he says "Part of me will always want to" we can actually see that part reflected back at him, hidden from Jack.

Jack only sees Will for the man that stands in front of him, not for the man he could be or the man that stares back at Will through the mirror. And when we cut back to Jack, we can't see any reflection in any mirror because Jack is the same man inside and out.

Jack insists on having Will kill that part of himself, and then says that he wants him to kill Hannibal. In both cases Will doesn't reply. He can't kill Hannibal because killing Hannibal would kill that part of himself, the part of him that stares in his reflection.