#and pretend it never existed

[johnsbleu]

so i’m writing this chapter of hmh and i usually don’t post this kind of stuff but idk if y’all would like it. john is just not being himself he’s moody and being unfair to reader and they argue and in my head im like what if people read it and they hate john. i don’t want people to hate him, i love him. he’s just struggling a little. like idk. idk if i’m gonna post it idk if it even makes sense. is reader being a pushover? is she being too nice to him when they finally talk everything out??? I DONT KNOW I HATE THIS

people are always going to criticize something about it which that’s fine but I just hate when people don’t like him and don’t like her because I love them a lot and it makes me sad but like she’s just really sweet to him and understands that he’s struggling and yeah, he even realizes that he’s being unfair to her and he apologizes it’s not like he doesn’t apologize. Of course he does. I don’t know. I’m just rambling now because you know I have thoughts lmao

[mythicalcoolkid]

You don't wish your disability was worse or more visible, you wish your disability was taken seriously. Please stop confusing the two, I guarantee you would not get the support you need JUST by being more severe or more visible. Please listen to visibly disabled people when we tell you it isn't better on our side

[morganbritton132]

Want to make a minor adjustment to my Steve With Much Older Siblings post from yesterday. I think it’d be a much more interesting dynamic if he’s actually their half sibling from an affair.

Their father had an affair with his secretary and then married her when she got pregnant. It broke up their family and they blamed Steve for it for years.

When they stayed over for their weekend with Dad, they were either outright cruel to him or pretended he didn’t exist. When they were old enough to stop coming over, they did. It’s only after growing up and maturing that (most of) his siblings were able to acknowledge that Steve was never at fault for their family breaking up.

They tried to mend their relationship with him, especially after realizing how absent his parents are, but by then Steve was old enough to build up his own resentment. It’s an uphill battle.

It’s a lot of actually coming around for holidays and a lot of teasing when they do. It’s actually picking the phone when the hospital calls, something that’s happening with increasing frequency.

Steve has never asked any of them for anything until one day, he shows up on Richie’s front porch smelling like death and gasoline. He’s got blood drying all over him and is visibly shaking, and Richie thinks that he’s been hurt in the earthquake but Steve barely acknowledges the concern, “I need you to represent my friend.”

“What?”

“You’re the only lawyer I know, and -“ Steve takes a big shuttering breath. “They’ll kill him, Rich. He never hurt anybody but no one will listen. They’ll lock him up and it won’t be fair, and Dustin can’t… I never ask you for anything but. But I need…”

“Eddie Munson?” He asks incredulous. “You’re friends with Eddie Munson?”

[knightsiscrabs]

i'm almost certain this already exists but i couldn't not draw it when i thought of it. quick drawing bc trying to learn a whole new set of armor rn would be bad for my health

[catboymoses]

I know this might hurt to hear for some but the ending of Falsettos is the necessary climax and conclusion to all of the men's character arcs.

Bill Finn didn't write it just to be a downer ending. He wrote it so Marvin would have to overcome his misogyny and take on a caregiving role and so he could learn to rely on his family for support.

He wrote it so Whizzer would have to overcome his pride and allow himself to be cared for and loved. To bring him and his family together.

He wrote it to knock Mendel down from his g-d complex. To show him he doesn't have the answers, that he has to help his family process their feelings instead of just pretending everything is fine.

He wrote it to teach Jason to give up his king, to concede, to learn from his mistakes. To teach him about being a man.

Whizzer's death happens at the end of Jason's bar mitzvah because it symbolizes all four men finally growing up. Becoming men. It is their final step out of falsettoland. Ignoring the ending robs them of their growth.

[punchymon]

Doodles! Thinking about em' again

[lafaiette]

So basically one of Solas' murals

is the Crestwood scene, but with reversed roles. Solas is the rejected one, Mythal is the one who walks away, leaving him alone in what I presume was a glade at night, judging from the environmental sounds and hushed tones we can hear.

And, to be honest, I don't know how I feel about it - it feels like it cheapens the Crestwood scene, repeating an abusive pattern, stripping away the romance and softness of that scene. It's, once again, something Solas already went through with Mythal, not something he shares with Lavellan only. It's Weekes saying yet again that Solas saw Mythal in Lavellan, and that's why he fell in love with her. Not because she was Lavellan, but because she reminded him of Mythal and gave him hope that all elves could return to that "level" of wisdom.

What we learn in this game also ruins the kiss scene on the balcony, where Solas say "You have showed wisdom I have not seen since... since my deepest journeys into the ancient memories of the Fade."

Most of us believed he meant "Wisdom I have not seen since my ancient days in Elvhenan", but it's basically confirmed at this point that he meant "Wisdom I have not seen since Mythal".

A month ago, someone here mentioned how Weekes had said there was a specific reason why Solas had falled for Lavellan. I never found the interview where they said so, but I saw many believed it had something to do with reincarnation, lost soulmates finding each other again etc., but once again, it's clear what Weekes meant, and it's bad, cheap writing.

They could have written a god finally learning the error of his ways thanks to his love for a mortal - a love completely different from that of who was basically an abuser, a parent-like figure forcing him to take form and serve -, but instead they went for the easy route: a god still loving another god, feeling love for a mortal who reminds him of her, and changing his mind only because his god finally gives him permission to be free.

The mortal who supposedly "changes everything" serves no purpose - she actually tells him "There is no fate but the love we share" after he's been "freed" from his service, which in this context, in this situation, sounds more like a punishment, another yoke, some sort of "I finally got you, you can't run from me anymore".

I don't know what happened to Weekes' writing - either they were forced to make these decisions due to various constraints, or they completely changed their style/ideas during development, because this is not the Solas, this is not the Solavellan romance, we got in DA:I.

[cloudellesims]

god's favourite princess just got another makeover (i'm god)

[beean-s]

you know what. get appledash'd

(aka i watched non compete clause for the first time and im still mad about it)

[avicecaro]

legitimately i think men underestimate how boring misogyny is in media. like yes it can be gross or uncomfortable or upsetting or whatever else but for the most part it’s just boring. like we know this stuff. it’s not sooo controversial and revolutionary and new to the scene and edgy. it’s violent sex and women not being treated as people. like we know. we’re already living in it babes. the fastest way to make a piece of media boring is to make it misogynistic. and this especially applies to fantasy for me, because you’re over here getting immersed in a different world with different types of people and places and societies and then it’s just oh, the author didn’t actually make anything new. they took what they know about the real world some hundred years ago and added magic powers. or this was all just a really long intro to a dnd themed porno. the male characters sacrifice complexity because their motivations are just.. misogyny. which is at its core very simple and unimaginative. rape or violence or degradation or abuse aren’t really all that shocking or complex to see on screen. they’re in loads of movies with varying levels of quality in handling and i’m not particularly upset by them. they’re in some of my favorite movies. this isn’t an issue of sensibilities or fear. it’s just so boring.

[rookisaknight]

Lrb relevant something about the way each brother is constantly reiterating their trauma in an attempt to subdue it.

Jacob, most direct and long-term recipient of their father's abuse, surrounds himself with people he's conditioned to become violent at the drop of a hat.

But its ok, because he controls the trigger this time.

Joseph, left abandoned by the splitting of their family, creates conditions for his new Family that are so untenable it's only a matter of time before any given member tries to leave him.

But it's ok, because being forced to constantly negotiate, gaslight, and threaten people into sticking with him makes him feel like he has power over his isolation this time.

John reliving his childhood torture every goddamn day, carving himself up when he can't carve up others and having his fear of damnation dangled over his head by his brother god. Constantly repenting, constantly atoning, never forgiven.

But it's ok, because he holds the knife this time. When you hold the knife, you get to say when it stops, and you get to extract sin from others rather than have it extracted from you.

[ghost-bxrd]

Owl Song fun facts:

Tim likes to pretend that Jason is off studying abroad when the reality of him being gone becomes too crushing. He’s just… on another continent right now. And his phone rarely has any service. But he’s okay, and happy, and he’s probably got a ton of stories to tell them when he’s back.

[homosexualcatfromouterspace]

I’m literally eating food rn but I had to write this idea down

ok so let’s say one day, before Nicky’s death, he asks his mom who her first love was. in this idea, Agatha won’t let Rio be a part of Nicky’s life etc etc

Agatha hesitantly describes Rio, leaving out like all the parts about her being death and what not and tells Nicky, “that’s your mami,”

so when Rio comes to pick up Nicky, he’s not afraid of her because he recognizes her from Agatha’s description. He even calls her his mami.

[linka-from-captain-planet]

already seeing "ugh male Rook with Neve in the trailer... that's a LESBIAN" posts on twitter and I'm beating them with a big stick that says "you can HEADCANON whatever you want about anything ever but your HEADCANON is factually incorrect and if it chaps your ass even a little bit when anyone up to and including the literal creators of the character disagrees with your HEADCANON then that's fully a you problem and you should consider developing coping skills about it rather than contributing to this fandom's legendary hostility by policing (even in a manner you'll claim was "joking" when someone stands up for themselvs) people who are only enjoying their own playthrough, headcanon, or ship" and by stick I do mean the block button

[elbiotipo]

Also "what happened to all indigenous and afro argentines" go fucking outside, they're there

[send-me-a-puffalope]

GUYS THE CANDY CADET STORY???///

It’s gotta be about Vanessa right? Like she’s the only adult female character in the games. She escaped from Glitchtrap just barely through Princess Quest 1-3 but was left with a scar (Vanny? her trauma?). After escaping with Gregory, she builds up the courage to come back to the Pizzeria with Gregory (the young boy guiding her) to take down Glitchtrap forever. They go to the “small house” aka the FNAF 6 Pizzeria and kill the witch aka Glitchtrap. And the oven metaphor referencing how Springtrap/Scraptrap was burned with fire?

though it does say “when she was little” so maybe there’s more to Vanessa’s past than we know? Was the past she told to the therapists in SB true?