#anti acomaf

[nikalaeva]

Feyre's Imaginary freedom and Wrong way Evolution

It will be a long speech, get ready 😅

I remember how Feyrе dreaming that her sisters would get married and she would stay with father and paint. It's pathetic dream, actually, but considering Feyre spent most of her life in poverty, it's more or less valid, 'cause she just couldn't imagine anything more. And if you forget that SJM made Feyre a hunter 'cause it's "cool", then I understand why Feyre chose hunting. She had options other than marriage: learn her father's work, get a job in some workshop (sewing, weaving, pottery), or, at worst, become a thief. But Feyre chose hunting, probably, 'cause it gave her a sense of control over her life. More than other options could give.

This brings us to the topic - Feyre's need for freedom. For her, freedom equals power, and this is logical - no one decides what is best for her life and future, only she is. When I read ACOTAR, I didn't see this. SJM just wrote that Feyre hunts to feed her family. But if you keep in mind that everything Feyre does is motivated by a desperate need to control her life, then her actions doesn't seem so idiotic. You would understand that for Feyre enduring the company of her family seems to be worse than freezing to death in forest. You would feel that being imprisoned in UTM and isolated by Tamlin hit Feyre harder than trials or anything else. You would believe that this is a girl who would rather die free than live in chains.

This is a post about Feyre, so I won't write much about Rhysand. But if Feyre herself had said that sitting in a cage for her (I emphasize - for her, not for reader) was worse than dancing naked for Rhysand, It would be a little easier for me believe in ACOMAF. "A little" better than nothing.

But the need for freedom alone is not enough. Eventually, there has to be a limit where Feyre will think: "I guess I can endure a little bit of captivity 'cause I don't wanna die such stupidly." So, in my opinion, good option would be to give Feyre an adrenaline addiction. For example, if you're a fan of Doctor Who, you've probably asked yourself why the Doctor's companions, despite the fatal dangers of traveling, still return to him. From my own experience I can say this: I worked in an ambulance and afterwards it was hard for me get used to another job. I missed unpredictability and thrills. Maybe people who love extreme sports will also understand these feelings. So, if we add Feyre's need for freedom to her adrenaline addiction, it becomes easier to understand why she constantly gets into trouble. Even if she understands that she can get hurt or die, it doesn't stop her 'cause of these weird, kinky sensations. Moreover, having become a fairy with magical abilities, Feyre could afford to take even more risks. By the way, adrenaline intensifies all the senses, while fairy wine depresses. Feyre could seek danger just to forget how wine made her helpless.

Or SJM could have written that all fairies have a strong need for cruelty, cheating or lying (she made them capable of lying - use it! 😡). That would explain why Illyrians constantly train, why in the CoN most (but not all, that's bullshit) fairies are assholes, why civilized fairies actively use sex and drink - these are substitutes so as not to harm others. Hell, it would explain Tamlin's outbursts of rage - he was fighting his nature but not drinking or fucking like crazy. And EVEN Rhysand's behavior - Amaranta turned him into a junkie, getting him high on violence and cruelty. So Rhysand knew he was tormenting Feyre, but the 50-year addiction was too strong. And not the crap that he (or rather the author) told me in ACOMAF.

Sorry, I'm got off topic. So now Feyre's story with the changes you read above is a tragedy. She's trapped in Velaris with IC, with Rhysand. In ACOSF, she's literally trapped in a magical bubble. It's sad and disgusting. But even that could be fixed if Feyre had healed in the ACOMAF and ACOWAR and decided that she wanted a quiet life, not dangers and adventures. The sisters' transformation into fairies and war with Hybern could have changed her like that.

If SJM had written that Rhysand actually gave her freedom, unlike Tamlin, and helped her understand that freedom ≠ throwing herself into danger, then I would have believed that he loved and cared for Feyre. He could helped her love the feeling of safety and peace. Feyre could understand how to get along with her sisters through Rhysand's relationships with Cassian and Azriel. And she could helped him overcome the addiction for violence that Amarantha had forced upon him. In that case, sex literally would be a cure, not just "spice."

But none of that was in the books. Other characters change at the snap of SJM's fingers too, but I'm talking about Feyre 'cause we spend three books in her head. She doing what the plot demands with such poor explanations that reader's brain explodes, trying understand her.

I don't hate Feyre. I hate that SJM has turned her character and story into hopeless trash. And the fans, whose brains have obviously melted from this shit, convince me that everything is okay.

[positivelyruined]

Me: *realizes SJM is re-recording the ACOTAR audiobook*

Me: So, let me guess, we’re getting a new edition of this book with a butchered Tamlin, less Feylin and even more Feysand?

Me: *mumbles* STUPID, stupid Feysand.

Me when I think about how Tamlin and Feyre had a trilogy that was written endgame and then trashed:

Me: *mumbles* Stupid Feysand.

[theegemini92]

To all they Pro Rapesand and Ferret, if your mother in law left a ring with a killing monster and you had to go in and fetch your own engagement ring? Would you do it?

I have seen women fight over the simplest things with their mother in laws and proceed to use their husbands and children to cut them off. We all see it all the time on social media too.

I would love a good reason as to why yall will demonize other characters and not him. Or wait we don’t get to think about that?

And don’t give me that oh she was a seerer BS. Where we are all from which is the real world yall will be calling her a witch and killer

[alexcollix7]

I’m sorry but Feyre talking about tyranny when Rhysand is literally keeping a bunch of people trapped in a mountain, essencially as prisioners, because he views them all as “evil and savage”???? When she destroyed an entire court and ruined it’s citizens lives??? GIRL SHUT THE FUCK UP WHAT YOU THINK YOUR HUSBAND IS? WHAT YOU THINK YOU ARE? How the hell do you think those people, who are forbidden to ever go outside, view you? Who watched their court be destroyed view you?

[yaralulu]

I will not let anyone forget that the minute feyre was back in spring with her insane revenge plan in mind,the first thing tamlin does is admit his behavior in acomaf was wrong and he apologizes without trying to make excuses for anything he did. And we see him in acowar actually trying to be different and going through with his words here.

A man reflecting back on his behavior and admitting he’s wrong and apologizing without giving us a 7 page monologue full of excuses?? Unacceptable!!! Kill him!!!

[ofbreathandflame-archive]

Just a fleeting thought but: if Rhysand was able to promote Feyre (a former woman, with little to no combat experience, reading and political experience, etc.,) with little to no push back from the CoN, Illyrians, or Velaris citizens — why aren’t there more Illyrian women in positions of power?

Why couldn’t Rhysand just immediately appoint Illyrian women to high levels of political prestige in order to combat the perception of them? Why aren’t there any named, Illyrian women in established positions of power if Rhysand has earnestly tried to amend the situation? Why not appoint a female leader of a camp? Or a female Illyrian as a courier to the CoN? Why do the Illyrian women have to train for futile reasons? Why not have that training connect to actual opportunities to leave the Illyrian Steppes? Just food for thought, but I always am reminded at how sinister a set up the Illyrians are and the implications throughout these books. Like Rhys has been high lord for at least three hundred years (not accounting for UTM) and he’s made no tangible changes to the environment. Interesting.

Als: why aren’t there any female Illyrians members of the Inner Circle? Why not elevate a female to that position? Or build meaningful relationship with female population? Why don’t the women seem to actually have a relationship with these people? Why aren’t there established female havens within Illyrian?

[achaotichuman]

Human Nesta would shake Nessian Nesta by the shoulders screaming "What the fuck is wrong with you???!!!!"

Human Feyre would be drawing her bow trying to shoot Feysand Feyre just so she would never become her.

Human Elain would look at Elucien Elain and be like, "Nice."

[merwgue]

"Tamlin was misogynistic because he said there's no such thing as high lady!!".........well jolly gee, there's actually no such thing as high lady....if someone, a fully fleged adult with full cognitive ability, said they want to be a tree.....you'd say...you can't be a tree.....right?

[bookishfeylin]

Hmmm mutuals correct me if I’m wrong but. We’re told Feyre can’t shift herself back into Illyrian form or even wider hips because “it might hurt the baby” right?

But she was originally in an Illyrian form when Nyx was conceived. And then she shapeshifted back into being High fae, right? So doesn’t that mean he’s NOT, in fact, harmed or affected by her shifting given she got into this predicament in the first place by shifting into a High fae after his conception? Therefore Rhysand was wrong and this whole dilemma happens solely because he thinks he knows everything?

@longsightmyth @feyres-divorce-lawyer @ae-neon @ofbreathandflame @positivelyruined

@andramoreaux

@tamlindair

@foxcort

[purplewitch6666]

Rhysand's SA of Feyre UTM is real, and the way it is brushed aside is hard to reconcile. So let's talk about it (inspired by an amazing fanart of Feysand UTM).

1. "Drink, you'll need it." "No." "Drink."

The faerie wine is a way to control Feyre, stripping her of her ability to resist or even fully remember the SA she endures. By forcing her to drink against her will, Rhysand takes away her awareness and her consent, putting her in a position where she can't defend herself, can't remember, and can't even process the trauma of what is happening to her. The fact that she loses entire chunks of time under the influence of the wine, along with his mind manipulation, is incredibly dark. He exploits her vulnerability in the worst possible way, taking advantage of her defenseless state to make her an object of display and control.

And the blackouts likely make it easier for her to excuse his actions later because she can't fully recall the details—her memories of the abuse are fragmented, which makes it hard for her to confront the reality of what happened. By removing her memories of the trauma, Rhysand essentially robs her of the ability to even begin healing from it, which is both abusive and manipulative on a profound level. That line where Feyre admits to looking forward to the faerie wine is heartbreaking and reveals the depth of her trauma and desperation. She's so overwhelmed, so physically and mentally trapped UTM, that she starts viewing the wine as a reprieve.

When Feyre clings to the chance of escape, even if it means blackout oblivion, it's clear she's developed a trauma response—a desperate coping mechanism to endure her circumstances. She craves that brief numbness, however forced, to escape the horror of her reality, even though the wine also strips her of her autonomy and memories. This moment does not show her acceptance of what is happening to her, but rather how deeply damaged Feyre is, to the point where the very thing that is hurting her becomes something she grasps onto for a sense of relief.

She's left with only the tools of her abuser, clinging to the one thing that allows her to survive, even if it means blacking out parts of herself. And that's one of the saddest aspects—she's forced to use the very method of her exploitation as her survival mechanism, and it reveals how utterly trapped she feels. It's incredibly troubling to see this suffering reframed as some sort of prelude to romance, especially when her trauma responses, like craving the oblivion of the wine, go unaddressed later.

2. "From the neck down, I was a heathen god's plaything."

Dressing her up like that is another layer of control and degradation. Rhysand doesn't just make her a spectacle, he strips away her agency and autonomy in how she presents herself, reducing her to an object—"a heathen god's plaything." It is a costume designed to sexualize and dehumanize her, reinforcing his control while robbing her of any in how she looks or is perceived. Feyre is reduced to a pawn in his game, forced into a role where her dignity is actively stripped away. And that lack of choice over her appearance isn't a small detail—it shows how calculated his cruelty is, how every element is crafted to control and humiliate her while leaving her feeling exposed, objectified, and powerless.

Fast-forward to the Court of Nightmares, and it's disturbing to see Feyre wear a similar costume with Rhysand's approval and guidance. In ACOMAF, it's framed as Feyre's choice, as part of a scheme they're in together, but the undertone is still there—that her body, her appearance, and her sense of self are manipulated to play into Rhysand's strategy. While she consents this time, her "consent" is given within a framework that echoes her previous trauma, with Rhysand guiding her actions in a place where she once felt utterly degraded. This creates a troubling dynamic, as she's stepping back into a role of objectification and sexualization, one she didn't initially choose. It's like Feyre is reenacting her trauma in the name of strategy, and Rhysand, rather than considering the impact of such an act, almost seems to encourage it.

The narrative attempts to pass this off as empowering, but it feels unsettlingly manipulative. Feyre is using her own trauma against herself in a sense, allowing herself to be dressed up, touched, and paraded in a way that directly mirrors her exploitation UTM. Rhysand's involvement in this scheme blurs the line between a partnership and a twisted repetition of his control over her. What's especially disquieting is that it’s framed as something clever, as if allowing herself to be objectified is her best option, which glosses over the ways this echoes her previous abuse. The lack of self-reflection or deeper acknowledgment from Rhysand about how disturbing this could be for her is another glaring omission. It's treated as if the past doesn't matter, as if she can simply step back into this role and play along.

3. "As soon as his finger left my skin, the paint fixed itself."

Rhysand deliberately puts Feyre in degrading positions, like having her sit on his lap or by his feet, dance between his legs, turning her into a kind of possession to flaunt in front of everyone. That sort of physical control and forced closeness is a form of SA, plain and simple, and it is deeply violating for Feyre. But let's talk about the non-consensual touching that Rhysand engages in that is frequently excused because it is on Feyre's waist and sides. Let's look at this scene when Rhysand demonstrates how the magical ink on Feyre's body works:

I braced myself as he ran a finger along my shoulder, smearing the paint. As soon as his finger left my skin, the paint fixed itself, returning the design to its original form. "The dress itself won’t mar it, and neither will your movements," he said, his face close to mine. His teeth were far too near to my throat. "And I’ll remember precisely where my hands have been. But if anyone else touches you—let’s say a certain High Lord who enjoys springtime—I’ll know."

What is particularly alarming about this is Rhysand's ability to fix the ink that he smudges with ease. This suggests that he might be touching Feyre anywhere on her body without leaving a trace, only choosing to smear the ink in a way that is minimal and non-incriminating as a deliberate tactic to create an illusion of consent and innocence to ensure that Feyre believes he isn't crossing any boundaries, while the reality is far more sinister. Since Feyre is blacking out each night, she has no way of knowing the extent of his actions.

This creates a disturbing dynamic where Feyre is left questioning her own experiences. The boundaries Rhysand establishes through selective touching serve to confuse and trap her, making it easier for him to maintain control. The knowledge that he could be touching her inappropriately without her knowing adds a layer of psychological torment. It underscores his power over her autonomy and reinforces the idea that she is never truly safe from him. The smudged ink is merely another tool of deception, allowing Rhysand to manipulate her perception of what is happening to her body.

4. "I spent my days sleeping off the faerie wine... to escape the humiliation I endured."

Yes, this line is important because it reveals just how deeply broken Feyre feels UTM, using sleep to escape the horror and humiliation forced upon her by Rhysand. Her days blur together in a haze of faerie wine and sleep, a desperate attempt to shut out the reality of what she is enduring. Sleeping through the pain, drinking away the humiliation—these are raw trauma responses, the signs of someone who feels so trapped and powerless that unconsciousness becomes her only refuge. It's not a choice born out of comfort or peace, it's survival, an act of shutting down just to endure the next day.

This level of psychological exhaustion—using sleep to escape humiliation—shows the depths of what Rhysand's SA does to her. Each day, she wakes to a fresh cycle of abuse and trauma, so she retreats in the only way left to her: shutting her mind and body down. Even without full memories, a part of her mind understands the darkness she is facing and tries to find any means of survival. Yet, that's the last we see of Feyre's trauma responses to her SA by Rhysand.

In ACOMAF, we see Rhysand haunted by nightmares of his SA by Amarantha. His distress is severe enough that Feyre even helps him through one of these episodes when she is staying with him at the Townhouse. It's clear that his trauma around the abuse he suffered under Amarantha is still raw and unresolved. But it raises an unsettling question: why does Feyre no longer seem to exhibit any nightmares or trauma responses tied specifically to her SA by Rhysand?

Feyre's lack of nightmares surrounding her experiences with Rhysand, especially given her coping mechanism of sleeping off the humiliation, feels absurd. It implies a troubling erasure of her trauma, suggesting that either she is suppressing these experiences or the narrative chooses not to engage with them. Instead, we see her nightmares focus on other parts of her trauma UTM—like the faeries she killed to save Tamlin—but the specific horror of being abused by Rhysand is conspicuously absent.

5. "Don't get me started on what you did to me Under the Mountain."

When Feyre tries to bring up her SA in ACOMAF, it's dismissed with barely any meaningful confrontation or healing process. Rhysand's near-breakdown and avoidance make it seem like his feelings take priority over Feyre's trauma—a strange and uncomfortable narrative choice. Feyre deserves closure, and readers do too. It's painful to see the story shift to make him the hero without ever fully grappling with that past harm. The lack of acknowledgment or accountability not only undermines Feyre's agency but also misses the chance to explore the complex journey from trauma to healing.

What's even more disturbing is how Feyre's SA by Rhysand is recontextualized to excuse his behavior as somehow protective or necessary. It creates a twisted narrative where his cruel choices are somehow reframed as noble or sacrificial, without ever allowing Feyre her rightful anger or trauma over that experience. The absence of a real, open discussion about this later on in the series—one where Feyre's trauma isn't overshadowed by Rhysand's guilt or anger or avoidance—is a glaring gap.

In failing to fully address the impact of Rhysand's SA on Feyre, the narrative ultimately deprives her—and the readers—of the resolution and healing that her trauma demands. The fact that her suffering is left unexplored while his is highlighted skews the focus, suggesting that his redemption and guilt matter more than her recovery. This imbalance not only erases her experience but distorts her journey from survival to empowerment. A truly powerful narrative would allow her to confront him and reclaim her voice, addressing the harm he inflicted.

There's so much more to unpack here that I'm sure I'm missing—like the nightmare fuel that is Chapter 54. Anything else you guys would add?

[chrystabelleblaumferge]

Imma say it

I hate Booktok and everything it represents (glorification of anti-intellectualism and overconsumption) so by extension I despise ACOTAR but the anti-SJM fandom, particularly the anti-Rhysand, anti-Feyre and anti-Feysand peeps are some of the most intelligent people who have come out of the fandom from a book series I genuinely loathe.

I find it ironic yet charming that the anti side of this fandom is actually filled with brilliant and bright minds as opposed to the "pro" side of that fandom who speak and act like they've been programmed by a cult to repeat the same type of opinions like a broken record. The people accused of being "vile and hateful" happened to be some of the best human beings I've ever interacted with and are willing to listen to dissenting opinions and debate in a civil manner.

In contrast, the "pro" side of the fandom who love everything these books represent are generally some of the most unpleasant and vile people I've had the displeasure of encountering. I was already uninterested in the series but was peer pressured by an insane fangirl of this series to read it expecting me to love "the twist" and the same characters she does (*cough* Feysand *coughs*). I cut her off for being a generally horrid person over a damn book all because I dared to speak my mind (she threatened physical violence over my honest critique).

I'm a general fantasy reader (think JRR Tolkien, George RR Martin, Brandon Sanderson et al.) and do not like romance books therefore dislike romantasy in general since I am not the target audience for these books. I only "read", by that I meant pirating these books to form my opinion on them, will never buy them since they're rubbish and not worth my money (plus I hate the author for being a shit human being and would never give her my money). It was bleh and I found it painful to read since I've read fanfiction that was written more eloquently than this SJM-produced slop. I always hated bad boys even as a teenage girl and that sentiment still remains as an adult. So imagine how I physically cringed when the love interests were switched.

Getting back on topic to the "pro-side", they were genuinely hateful despite their incessant preaching about "love conquers all" and on multiple occasions loved telling me I should die (classy...) for voicing my honest critique that I didn't like it. What's more, is that the common sentiment of the "pro-side" was to coerce and brainwash me into liking 'le main characters' and how I had 'internalised misogyny' for not liking something I only consider as fairy porn with no substance to keep me engaged lmao

The best part is that I'm not even a shipper of their rival ship Feylin, Tamlin, or Nesta. I am ambivalent towards them at best but I started sympathising with them given that the story made me hate the main characters and their 'Inner Circlejerk of Bougie Faerie Arseholes' that love wanking their 'Dear Dictator Leader: Ricespam' (I'll never spell his name correctly since I hate rapists like him). It also helps that the fans of these 'antagonist characters' are genuinely nice and pleasant people. I'm almost tempted to so say I love Tamlin/Nesta just to rustle the Feysand cultists' jimmies lol

It seems like they only use "feminism" when it's on their side. Not bothering to accept contrasting viewpoints from women such as myself who do not like a book and are within our rights to do so. What's even surprising is that the pro-fandom is overwhelmingly like this. They'd bully you into submission if you don't kowtow to their demands. Having been bullied in my childhood, I can absolutely recognise the same pattern of abuse that I've been inflicted on in the past. Therefore, this produced the inverse effect than the one they had anticipated. I started hating their self-insert Feyre and Ricespam even more. If they weren't so toxic, I would have just remained a general hater but them acting like Jehovah's Witnesses over a shitty book definitely made me spiteful.

All I can say is: I'll never be a fan of these books nor part of the fandom because I consider it mid. But I do enjoy the thoughtful criticism the antis of said fandom provide and will likely continue hating the pro-side of the fandom for being hateful bigots (especially the Feysand shippers, never met a nice one. Not even once).

[hunnyy-bunnyyy]

The dissonance between era inspiration in ACoTaR is one of the more brushed over flaws in the book series. Looking at the Inner Circle's fashion alone, we jump between "literal scraps of fabric" (Under the Mountain, Court of Nightmares) to "orientalist painter's imaginings of the Ottoman Harem" (clothing described during Feyre's first few visits to the Night Court) to "modern 'corset' dress" (Feyre's Starfall dress, majority of Mor's clothing, most of the clothes drawn in fan art) to "modern -- almost sci-fi style -- skin-tight leather armor" to "sweater and leggings combo".

Then, between courts, we have Helion wearing Spirit Halloween's take on the ancient Grecian tunic; Feyre's Spring Court wedding dress looking like an 1830s fashion plate; and Dawn heavily implied to have traditional East Asain clothing (e.g. kimono, hanfu, hanbok).

On top of all of that, some of the Dawn Court's small cities ". . . specialized in tinkering and clockwork and clever things. . ." which -- combined with Lucien's metal eye and Nuan's mechanical hand -- implies a sort of post-industrial revolution time period. However, a decent chunk of the fandom says that ACoTaR is medieval; which, yeah, it's medieval themed in the first book -- sans the "dress" Rhysand forces Feyre to wear UTM.

The wild inconsistencies in ACoTaR's inspiration leads, not to a rich and diverse world, but a world that seems ramshackle and haphazard -- like it's creator simply threw together a board on Pinterest and called it a day. This is a major part of why the world building is so abysmal, it relies on convenience to the plot and whatever pleases the aesthetic whims of the author. Cultures deemed "pretty" or "badass" are thrown together, irregardless of how far apart they actually are. This is not only disrespectful to the narrative, but to the readers and the cultures used as inspiration.

All of this to say: Sarah J Maas is a bad author, not just because of the way she handles serious topics like power dynamics and abuse, but also because she cannot put together a world that is even the slightest bit cohesive.

[browneyedartist01]

"You still think I'm some kind of monster-"

Yes, you sexual assaulted a girl in the name of the greater good.

Also side note: I hate the vague "after what you did to me.", because it's like sjm knows she can't ignore what happened, but she also can't admit to Ryhsand doing something that evil/have Freye falling in love with her abuser, let alone trust him.

[nikalaeva]

Velaris 🌠, city of nothing

I don't understand the beauty of Velaris. The most beautiful night sky and Starfall? This exists in our, real world, and the northern lights are even more beautiful (in my opinion). Yeah, our stars don't fall on your face, but personally I wouldn't want my face touched by something made of gas, dust and probably paint. Unusual architecture? 🤔🤔🤔 Maybe the landscape? I don't think so. Mountains are like mountains, a river is like a river. When I read ACOSF, I was so tired of the Sidra description (sorry, idk how to write it in English). It was repeated like five (or five-hundred) times, always with same words.

Make the mountains shaped like animals, monsters. Make that damn river white, purple, red, BLACK so it reflects the starry sky so brightly the nearby streets don't need streetlights. Make up new stars and constellations named after ancient Kings/Queens, High Lords/Ladies, heroes of war. Feyre can literally learn Prythian history while fucking in the sky. I want to see towers that reach into the sky, and spherical houses look like planets. Not silly bars and art studios, but observatories and planetariums. Velaris is surrounded by mountains - connect them with a bridge, several bridges, like the rings of Saturn, from where there will be a truly beautiful view, and everyone can admire it, not just flyers.

Prythian - continent with seven huge courts, but we can only compare Velaris to Adriata, Tamlin's manor (what is the name of the town/village/place where it is?) and the CoN. Oh yeah, and Tesan's house, but I barely remember description of it (my brain threw out the whole meeting of the High Lords). I bet even Feyre's paintings make Velaris look better than it actually is.

[alexcollix7]

People who get mad at others for pointing out Rhysand sexually assaulted Feyre are so funny to me, because the author who chose to make him do it???? Like there are a million other qays she could have made Rhysand look like villain without assaulting the girl he is supposed to end up with, yet she CHOSE to write those scenes. If you want to be mad at someone be mad at sjm for making rhysand be an assaulter and trying to justify it later on.

[yaralulu]

Tamlin executing the sentries that were on guard when feyre left the spring court was the most out of character shit to ever happen I can’t believe that’s even canon.

Tamlin who refused to send his sentries over the wall even if it meant potentially saving his court? Tamlin who canonically does not enjoy violence and killing? Tamlin who rhys makes fun of for not being cruel enough? That tamlin killed his sentries just like that 😍?? That’s some bullshit and you know it sjm.