#arden lowe

[skyfullofpods]

Happy audio fiction Sunday! It's October! The busiest time of year for my blog, as Halloween approaches and fiction podcasters everywhere celebrate scary season!

[animezinglife]

Daristander is my official fancast for Solovey. Such a magnificent boy!

[hartlow]

finally got to put up my tapestry! it arrived a lot sooner than i thought it would

[idylls-of-the-divine-romance]

I love when my mutuals just get me.

hope is a skill

[spikeface]

hiiii hello if you would ever like to rant about teen wolf s6a please do <3 i'm like five episodes in on my rewatch and i'm constantly oscillating between peeking at my phone like a proper zoomer and repeatedly asking myself where is theo my friend enemy theo.... i know he's here where is he...

Omg okay I will but you have to understand that this is the distillation of years in this fandom, the once loose coal of my irritation compressed into a diamond of haterism. There are parts of this season I love, and I've made peace with some of the stuff I complain about here. 

But we're not here for peace. :)

Never Say "Pineal Gland" Again. The Ghost Riders are fun as a plot device. People being kidnapped and forgotten, a mystical train station, that's fun! Teen Wolf loves monstrous, seemingly unknowable villains, and does great with them in two ways, both of which 6A fails at:

The first option is to get inside their heads. The alpha of season 1, the kanima, the darach, the nogitsune, the Dread Doctors—all are introduced as deeply alien creatures whose inner lives and personal connections to the main cast are slowly revealed. 6A seems like it's going down that route, because the crew spends a lot of time trying to figure out and talk to the Ghost Riders, but there's no payoff: they just want to hunt forever and that's that. No personal history with anyone, no connections beyond a willingness to mind control Parrish and a bit of nervous shuffling around Lydia.

Which might still be fine, because the second option with characters like these is to make them window dressing for a charismatic villain, a la the oni with the nogitsune or the berserkers with Kate. This framework would be great for 6A if not for the fact that the villain in this case is Garrett "Brain-Eating Nazi Lion Wolf" Douglas. 

Douglas does not get enough hate. I get that he's so forgettable, what else is there to say besides "blech," but we can do better. Teen Wolf has such fun villains: they're dramatic and camp, while also intimate and personal. They have deep connections with the main crew and almost always have a sympathetic side to them. Even the nogitsune, the most alien of the main villains, has an almost plaintive moment where it reminds Noshiko that it's only doing what it was created to, what she summoned it for.

Nothing about Douglas is challenging or charismatic or sympathetic or aesthetically appealing or well acted. Davis had a bad habit of hiring wooden blonde hunks as far back as the mechanic of season 2, and now there's one as a main villain. Douglas's closest connection is to Theo—their scene in the shed is easily Douglas's most engaging, though that doesn't say much—but their connection is superficial. How would Douglas even know who Theo was if he spent those years floating unconscious in a vat? 

His final showdown is deeply unsatisfying. By the time Scott faces him, they've barely interacted so far. What does it mean for Scott to challenge him? What does he mean to Scott? How has Scott grown to be able to face him? Why does Douglas want this power anyway? Why would this Nazi be telling a Mexican-American that he'd be a fine Hitler youth? What the fuck is happening here? 

In the end, Peter rightly points out that a brain-eating Nazi is such a low bar to clear that taking a stand against him is almost meaningless. Douglas is a mockery of the complex, charismatic, intimate, high-stakes villains of previous seasons. Damnatio memoriae is too good for him; we need to remember how bad he sucks.

If Only We Knew Someone With Lightning Powers. Dropping Arden Cho unceremoniously was gross. Following that with a season of lightning villains is gross. Having Kira's only legacy be a sword that is then given away and broken, after everything she sacrificed for it, is just foul.

Would It Kill You To Let Them Go To Prom? Teen Wolf is only sporadically interested in high school life. Sometimes, it's part of the show's appealing silliness, but 6a's indifference just gets to me. This is the final semester of senior year for Scott and co., but we get absolutely nothing. Stiles misses that final semester and apparently, so do we! There's no classes, barely any lacrosse, and definitely no prom or graduation or college acceptance letters, nothing that acknowledges this season as a rite of passage. Any hints to the characters' future are condensed into a few lines at the end. C'mon, man.

It goes beyond the expectations of a teen show. Davis is so indifferent to his characters that in the next season, he makes all the characters who should be juniors into seniors, just to add on a flimsy narrative about things ending. It's lazy. 6A, to me, also really brings out how little Davis has invested in the world of Beacon Hills. Beyond Coach, there are so few consistent background characters. The high school class, lacrosse team, hospital, and sheriff's department are all prime opportunities for recurring background characters, but the show only bothers with a few (e.g. Brett&Lori, Sydney, Danny until they dropped him without even telling the actor). Nathan, Gwen, and Phoebe are all new characters, rather than people who have existed in the background before this, and after this season, they disappear again. There's very little sense of the world of either the high school or the town in general, and it stands out in a season where the whole town is being targeted.

The Newest Werewolf. Hayden was a minor character in season 5, but still had a lot going on: a close relationship with her sister strained by the supernatural; having to work a shitty job to afford the medications for her life-threatening condition; being targeted by the Doctors; being pursued by a boy she's not sure if she likes; trying to flirt when she's naturally competitive and sarcastic; DYING; being revived by Theo and then exploited by him; fighting the Demon Wolf's attempts to get in her head; deciding to help her friends; walking a fine line to survive the Beast when she's kidnapped by him; discovering Tracy's body. Her life is rich, and ends with a groundbreaking moment where she's the first person onscreen that becomes a werewolf with fully informed consent.

In 6A, she's flattened into Liam's love interest. Almost all of her scenes are with him, and her decisions are almost entirely about him. Many of her lines are about reassuring him. The exception is her dynamic with Gwen, which is much more engaging, and to me only shows how much more they could have done with Hayden if they just let her cook. Why is Liam the only one to get scenes alone with Theo? Surely she and Theo would have stuff to say to each other. Or what about her relationship with Scott? Why is Liam the only beta to have an arc with him? Where's her relationship with her sister??

The Wailing Woman. This should have been such a good season for Lydia. The groundwork is all there! Banshees have a special power over the Ghost Riders, and to placate them, the Ghost Riders create a facsimile of someone the banshee has lost.

Hmm, whom has Lydia lost recently? Whose presence might give her a vested interest in ignoring evidence of the Wild Hunt? 

Allison would have been perfect as the deceptive product of the Wild Hunt, and would have matched the framework the show established far better than Claudia. Part of the reason the Hunt falls apart is because Lydia is instantly suspicious of Claudia, and has no emotional investment in her. With Allison, Lydia would get to say goodbye to her in a way that matches the season being set in the final semester of high school. 

This would also have built on season 5 in fruitful ways. Lydia's power makes her a target in season 5, but she has almost no agency over her power. She's driven to blow Valack's head off without any control over it. 6A could be about Lydia realizing that this fake Allison has been created for her because the Wild Hunt is afraid of her power, but only if she chooses to use it.

And with respect to Allison, Lydia has more grieving to do. She's been struggling to process her death since it happened. She spends all of season 4 trying to find a way to help people as a response to Allison's death, but then is locked in a basement for the finale. In season 5, she has to be told by Stiles about Allison's role in defeating the Beast. Lydia deserves a season in which she can properly grieve Allison. She's literally the wailing woman! Let her wail!

As a final note, I'll add that I was frustrated with the way Stydia was done in this season. I dislike it strongly but waffled on including it because I've never been a big Stydia shipper, and so I worry that this criticism will seem motivated by my disinterest in the ship, rather than my frustration with its execution. My issue, though, is not Stydia itself but how little the show explored Lydia's subjectivity. 

Imho 6a substitutes Lydia remembering Stiles for her liking him, and prioritizes exploring his feelings over hers. It's clear from the first episode that Stiles is still in love with her, even if he's accepted they'll never be a romantic couple—which is one of my favorite things about Stiles, and a great part of O'Brien's portrayal. But when it comes to Lydia liking Stiles, the show focuses on how she's the one to remember him. But that's also, apparently, because she's a banshee? They focus on that at the expense of her personal feelings for him, and when the scene is most explicitly about their connection—in the memory landscape sequence of "Memory Found"—the focus is on Stiles' feelings for her. It just didn't seem like it was about Lydia in a meaningful way. The previous season, she'd been into Parrish, which is a pairing I despise and don't want to see more of, but the fact remains it was important to Lydia. The lack of exploration of how Lydia had ended it or moved on from it felt like more dismissal of her experiences. Stydia seemed like it was ultimately about making sure the audience knew Stiles is important, at the expense of a real exploration of their dynamic, which I discuss more below.

You Don't Have To Stop But Could You. So, okay, stay with me on this one. I loved that Theo returned, and thought they did some great things with him, BUT that's not why we're gathered here today. Despite enjoying a lot about Theo's dreamscape sequence, I was really frustrated by the way it framed Tara and what its impact was clearly intended to be.

I really loved the first scenes of Theo's return: he's dirty, angry, confused, and biting. He looks exhausted with his own bullshit, but instantly attacks Liam and Hayden and then threatens to kill everyone, and lies by omission about Douglas (and his own powers?), reflexively playing his cards close to the vest. He's looking out for himself and averse to personal risk. I thought they did a good job of presenting a Theo who has the potential to change, but hasn't yet. He's not really ready to see Scott and Malia again, and reverts to flippancy. 

We also get a scene in “Ghosted” of how deeply Theo hurt Malia. She hallucinates his betrayal in connection with her guilt about her own family; both of them are still deep wounds for her. It makes sense that she would lose control at the sight of Theo suddenly showing up in Scott's living room with a little "you aren't still upset about the whole shooting thing, are you?"

But then the episode ends!

And the next one starts with the Tara dreamscape.

Again, I don't want to sound like I disliked this sequence full stop. I've written meta about its relationship with Scott's dreamscape sequence and what it says about Theo, but I remain frustrated with how the basic impact is about generating sympathy for Theo. Tara is the victim the viewer knows least (vs Josh or Tracy or Scott), her death the most ambiguous (we only see Theo watching in what could be a daze, like the one pre-resurrection Tracy was in), and her only role in this sequence is to hurt Theo. She doesn't have any subjectivity beyond that: she's not Theo's sister, betrayed by her little brother's violence towards her, ready to explain her point of view. She's a gory ghost who barely reacts to Theo, a walking prop.

Theo, meanwhile, is there to be pitiable. When he was pulled under, he was powerful, and attacking everyone, and wearing shoes. Now he wanders barefoot through the hospital, and at the sight of Tara, he just runs. Beyond some frustration with the door, there's none of the vicious anger he showed in season 5. 

To be clear, it's not that I think Theo shouldn't be pitied or doesn't have this vulnerability, and Cody Christian does a stellar job with this scene, which is also beautifully atmospheric. But in terms of the impact of the scene on the viewer, it's there to create pity for Theo at the expense of grappling with any of the violence he did. It frustrates me because the sequence easily could have addressed his violence while still making him look sympathetic.

Theo was trapped in and perpetuated a cycle of violence. The viewers don't know the full truth about Tara, but we do with Scott, Josh, and Tracy. Theo killed them. What's more, we know all three tried to have a connection with him: Josh followed him post-resurrection despite the fact that Theo had been the one to kill him the first time; Scott wanted Theo in his pack, trusted him, and tried to be there for him; and Tracy was in love with him, trying to help him, without judgement, even when he was at his lowest. It would have been much more meaningful to have Theo face them instead of Tara, or at least in addition to her. 

It also would have been more meaningful to have Theo reckon with his capacity to do violence, rather than his fear of suffering it. We all know Theo is scared of being hurt; Theo knows most of all. He's even honest about it: "I don't want to be one of the bodies, it's that simple." What he has more trouble with is confronting how he perpetuates a cycle of violence, or even that he's in one. The dream sequence as it is does have Theo confront the idea of an endless, unchanging cycle, but it would have been much more effective to have that cycle be about the violence Theo did.

Think about how it would have looked if, once Tara dragged Theo down, Theo went on to reenact any of the violence he did, over and over and over. He could push Tara off the bridge over and over, but it'd be even more impactful to have him kill Josh over and over. He already killed him twice, but now he has to do it forever.

Scott stands there, barely on his feet, betrayed and weary, and says, "Now you have to kill me yourself." 

And Theo does, over and over. 

Tracy tells him, over and over, "You're hurt. You need time to heal." 

And Theo kills her for it, over and over. 

You'd get the same progression towards despair, but now it would be much more about Theo confronting what he did. It would still be a sympathetic depiction of a lost kid, shaped and trapped by brutal forces, while addressing his own choices, and why Malia might be so upset to see him.

As it stands, the sequence undermines Theo's history and Malia's reasonable reaction to him. We get her flashback/hallucination, Theo's inflammatory return, but then an episode break, followed by an extended sequence in which Theo is nothing but helpless and pitiable, finally followed by Malia's rage. Her reaction is divorced from the catalysts of the previous episode, and the scene of her anger even contains a callback to the dreamscape ("you don't have to stop"). I've made my peace with it, but it remains frustrating as a choice from Davis, who wrote this episode.

Malia Middle Name Tate.* Again, there's a lot I love about what they do with Malia in 6A, but now is not the time for love. So much of Malia's screentime is about Stiles and Peter at her expense. Those are both huge relationships for Malia, but they're not explored on her terms. 

The last we saw of her and Stiles, they'd broken up over a complicated situation. Stiles ends things at a self-destructive moment, as Malia tells him she would accept him even if he did kill Donovan. In some ways, I think Stiles is punishing her for this acceptance out of self-loathing, but it's also about the fact that Malia's acceptance is clearly tied to her own desire to kill the Desert Wolf. She accepts what might be Stiles' violence because she wants him to accept that she plans to kill Corinne, and Stiles isn't cool with that. The two never speak about it again, though, even though Malia subsequently doesn't kill Corinne. By season 6, the two obviously have baggage, as seen in their clash over the senior portrait. 

Once Stiles is gone, we see that he's still her anchor. I thought this was an interesting choice, because Scott and Allison's breakup was what forced Scott to be his own anchor. It would have been interesting to see that for Malia, or for her to decide that she still wants Stiles to be her anchor as a friend, or any sort of arc where she processes the breakup or her own feelings or makes decisions about Stiles for herself. Instead, the anchor concept seems to exist to remind the viewer how important Stiles is in general: he's Malia's anchor! Look how lost she is without him! Stiles simply must be rescued from the Wild Hunt! Malia isn't the one to break through the veil, however, and after he's back, there's still no sense of what this means for Malia. Her subjectivity re: Stiles is just ignored. After he comes back, she doesn’t even get a scene to greet him.

It's even worse with her "arc" with Peter. The last we see of those two is in the finale of season 4, when Peter betrays her. After going out of his way to get close to her, he literally tosses her aside and tries to kill her friends. Season 5 begins with Malia confirming that she's Malia Tate, not Malia Hale. She then forgets Peter until he returns from the Wild Hunt, when she goes to take his pain and is suddenly struck with the memory of his betrayal. That's the entirety of their relationship. 

Meanwhile, Peter is busy carving the biggest revenge spiral of his life in Eichen, suggesting he hasn't changed much from the end of season 4, before he's swept away by the Wild Hunt. I didn't dislike his scenes with Stiles at the train station, but to the extent that it's about his relationship with Malia, it cuts out Malia. Stiles' contempt for how alone Peter is as a result of his actions is good, as is his desperate plea for Peter to help his daughter, if no one else—but Malia sees none of this. She goes to Peter after his return only because he seems marginally less horrible than Theo, and still doesn't trust him. And why would she? Why would the viewer? We saw how big that revenge spiral was. 

Peter does go on to sacrifice himself for Malia, but these moments are always about Peter and what he wants, and they lead to one of the most abhorrent moments of the show. The fact that Malia is forced to call him "dad" despite obviously not wanting to is just gross. It's all about what Peter wants, and honestly, why would he even want this? It's meaningless because it's forced, and it's especially foul that Lydia is written to be the one telling Malia to do this, given Peter's history with her. I hate it!!

Meanwhile, where is Henry, the father she chose? Was he kidnapped by the Wild Hunt? Did she ever tell him she's a werecoyote, or about the Desert Wolf? 6A won't tell us. We see in "Ghosted" that her mother and sister's death still haunts her, but does the season do anything with that? No.

The last grump I'll add re: Malia's treatment is how little she gets with Theo. I've already talked about how I disliked how her anger at Theo is framed, and it was especially frustrating that it wasn't followed up with anything beyond an angry quip in the finale. Liam gets a series of scenes (good ones!) where he works through his anger at Theo, and it's incredibly frustrating that Malia, after having a much more intimate dynamic with him in season 5, gets so little. I despise the writers' choice to ignore them.

*This is a tiny thing but in the birth certificate prop for Malia in season 4, you can see that her name is written as Baby Malia. So. Technically. Malia is her middle name. Baby: a beautiful name for a baby.

Mieczysław. You knew this was coming. My frustration with how Stiles was handled this season is about the ways in which it's done at the expense of other characters, and even of Stiles himself.

The premise of 6a was to work around O'Brien's absence by making it a plot point. Stiles becomes the focus of the season, but theoretically, characters could have space to work through their relationships with him, and potentially plenty more for dynamics with other characters. 

But in practice, the writers clutter the season with repeated empty claims about Stiles' importance that stifle exploration of Stiles' relationships. Yes, he's Malia's anchor, but what does that mean now, after season 5, and how does it change over the course of the season? Yes, he's Scott's best friend, but again, what does that mean now? How does the season help them grow and develop? A lot of screentime is given to the sheriff, who gets long soliloquies about Stiles' importance, but there's no sense of development in their relationship or even any context. We don't, for instance, get any sense of what it means for the sheriff to have forgotten his own son, or how this revelation relates to things like refusing to believe him about the supernatural in 3a. On top of all of that, the sheriff's consistent presence and the primacy of his relationship with Stiles only emphasizes how marginalized every other parent-child relationship is in 6a: Scott&Melissa, Lydia&Natalie, Malia&Henry, Liam&Dr. Geyer, and Hayden&Valerie get almost nothing. I wonder if Noshiko has any thoughts on the importance of your child being remembered.

Some of the references to Stiles are poignant—the Jeep, for instance—but their impression overall is that the writers thought that Stiles could be replaced with cardboard cutouts. We get a parade of props, disconnected anecdotes and lore, the useless introduction of Elias (never seen before or after and gives them no new information<3), and of course, my worstie, Claudia.

Claudia's presence is a reference to Stiles, but not meaningfully about him; Stiles only finds her at the very end, and instantly rejects her. The biggest arc re: Claudia is the sheriff's, and while I'm not, like, against the idea of him grieving Claudia, it's done at the expense of Lydia's arc. To the extent that Lydia focuses on Claudia, the show seems to be trying to suggest that Stiles is important to her, but the message is undermined by the cheap cipher. Is she thinking about Stiles because he's important to her, or because there's a fake lady in his house right now? Is her relationship to him about her feelings for him, or her role as a banshee?

And again, all of this is at the expense of something like Lydia's grief for Allison.

If we needed to pad Stiles’ absence with proxies for him, why not at least give us characters who explore his dynamic with the pack? Why not, say, a flashback scene of when baby him met baby Lydia? We have actors for both their younger counterparts. Or, better yet, why not scenes between Stiles and Scott as little kids? Again, we have the actors, and it would allow for more exploration of their relationships. It’d be especially meaningful for Sciles, given their anxieties this season, but I have more thoughts on that below.

The Alpha of Beacon Hills. The extent to which Scott is shut out of arcs and relationships is bananas. There are things I like (Scott&Liam, Scott&Lydia&Malia as besties), but we're here for the parts that frustrated me, which were numerous:

His future and dreams. This builds on my frustration with Davis's general disinterest in the characters' lives, which I discussed above, but it was an unresolved plot point for Scott last season and gets worse this season. Season 5 (last semester) made Scott's future more tenuous than ever. His dream is UC Davis's prestigious vet science program, and he's working his ass off to get into it: he's got school, extracurriculars, his job, and the constant life-or-death chaos of people trying to kill him or wreak havoc he's told he's duty-bound to stop. Season 5 Scott seems despairingly resigned to things always getting worse, but also throws himself into things like AP Bio, despite his friends' lack of faith in him (hated that scene) and his teacher's negging. Then, of course, Theo and the Dread Doctors show up, and the last we hear is that Scott has missed a deadline for a scholarship. In 6a, he's excelling at his psych elective (AP Psych?), but is still stressed about how much class he's missed.

Then we get nothing until the very end of the season, when Stiles asks in passing: "Real question is, how did you get into UC Davis?" Why is this such a tiny moment? Why is Stiles so uncharacteristically snide about this achievement, when he's been one of Scott's biggest cheerleaders, and this season is meant to be a Sciles season? Wtf?

Scira. Not one word about Scott dealing with Kira's absence. Not one word!! Everyone jail forever!

Scott&Peter. This could have been such a juicy arc. Scott's last interaction with Peter was the season 4 showdown, but Scott still has hope for Peter—a hope he's committed to even when it causes friction with his best friend. Peter's return and his tentative interest in connecting with his daughter would have been a great basis for exploring what it means for Scott to have this hope, or just an exploration of Scott and Peter in general. Peter is Scott's first supernatural villain and his own supernatural origin story, and Scott forgets him. The show gives us a beautifully devastating scene where Scott goes to help a seriously injured man and, in taking his pain, discovers that this was the man who caused him some of his own worst pain! Scream!

But then… nothing? Scott and Peter barely have interactions, never mind a meaningful dynamic. It could have been so powerful. Such a waste.

Scott&Theo. Some of this was really good! The moment when Scott walks into his house and suddenly sees the kid who murdered him standing in his living room, seemingly have once again convinced Liam to believe him! I loved it! We get a very rare moment of Scott being at the edge of his rope, ready to snap, and we can see Theo's shock. The last time he saw Scott, Scott was angry but also desperate to get away, shaking when he got close to him, staring at him with big sad eyes. But now things have changed! You can see it hit Theo. That's so good, and there are elements of the Sceo arc in this season that I adore.

But after that dynamic return, Scott and Theo split up, and we don't get any of the charged conversations and confrontations that Liam and Theo get—why not? It would have been so good!

What moments we do get prioritize Theo's perspective. In the finale showdown with Douglas, for example, he mocks Scott that a lone wolf never survives. At that point, Theo makes his entrance to declare: "He's not alone. He's got a pack."

This is so significant! It directly recalls the murder, when Theo trapped Scott alone and told him he didn't have a pack. Beyond that, Theo's risking his life in a seemingly impossible fight, just to back up Scott, without even claiming he's part of the pack, and in facing Douglas, he's confronting a demon from his own past.

But that's the point. This moment is mostly about Theo. We barely get Scott's reaction, beyond the shock of Theo's arrival, and then the tone changes with Malia and Peter's arrival. We don't get Scott's perspective on that moment, or Theo at this point, or anything else with them. Blech.

Scott&Melissa. I could go on about how their dynamic was dropped about halfway through season 2, but I'm gonna try to keep it to 6a here so please know I'm exhibiting great restraint! Anyway, they get so little. There's that devastating scene in "Ghosted" when Scott hallucinates that his mother's been murdered and doesn't yet realize it. So haunting, and potentially so resonant to their relationship: does he worry that being a constantly targeted werewolf has doomed her? That he can't protect her? That he's already lost her in some sense? How does it tie in to the fact that she's then taken by the Wild Hunt, and he's seemingly doomed to lose her, that he's lost her already? We barely linger on that moment.

We see him teach her to use a weapon, but the moment's gravity is ignored for the joke of her electrocuting her son. Melissa's arc with Chris is half-played for laughs, even though it represents a significant move on her part to become more involved. Why now? What does it mean for her? For that matter, what does it mean for her to date the man who once treated her son like a rabid dog? Does she even know about that? Does her son have any feelings about their relationship? We don't know. 

Scott&Stiles. Omg, ok, where to begin. This should have been the Sciles season, and its faults had nothing to do with the acting—the love and loss was palpable for Posey and O'Brien, and I think that gives their arc the poignancy people love about this season. They act their hearts out around some really awful writing.

The writing starts off well. It seems like the season is going to address some of the fallout and unresolved communication issues of season 5. Stiles, who's still petrified of losing everyone, is obsessed with being "needed," while Scott, who's been shackled to a nightmare since he was bitten, is desperate to no longer be required to fight. This recalls a lot of the tension of 5x01, which was never really addressed, and it's a great theme for the final semester of senior year.

The two also struggle to articulate how much they mean to each other, which seems like a lingering issue from s5. By the end of 5b, they'd affirmed that they were on the same page, in the same pack, and needed each other, but hadn't articulated their anxieties about losing each other. A season in which they're separated is the perfect way to explore it, and at first, it seems like they're going to. Scott uses his psych class to guess at how Stiles' anxieties are manifesting, as if it's been on his mind. He asks nervously if Stiles wants to split up (to look for clues), and seems relieved when Stiles refuses, as if the question is about something deeper.

Stiles, for his part, answers with meaningful intensity. He's clearly trying to express that he doesn't want to lose Scott, in the same way that his obsession with being "needed" is about not wanting to lose people, and being convinced that a crisis is the only way to hold on to them. Scott, meanwhile, sees crises as what get between him and his connections to people—they're what take people away from him, and him away from his life with them. This is a great theme to explore for Sciles, because the answer to both issues is the fact that their friendship has always been bigger than supernatural crises—older than Scott being bitten, bigger than the Wild Hunt. Scott could assure Stiles that he's never going to lose him—not because Scott needs his help, but because he wants his friendship. He'll never draw away even if it means tearing apart the Wild Hunt. Stiles, for his part, could assure Scott that no matter how many crises there are, how often Scott is forced to be the true alpha, he'll always be Stiles' friend first: "You'll always be human to me." Both significant statements after s5!

At the very least, the season seems like it's going to make these two articulate how much they mean to each other. In one of my favorite moments of the season, Stiles realizes he's going to be taken and tries to talk to Scott. O'Brien's acting is so good here, because you can see that Stiles is beyond trying to explain what the problem is. He just wants to tell Scott something like goodbye, how much Scott means to him—but he can't. There's no way he's saying goodbye, and his love for Scott is too big to articulate.

And Posey's reaction is soooo good. You can see Scott take in that Stiles is clearly struggling with something, and that this struggle is significant in the same way as the one from the previous season. He won't push Stiles to talk right now, and wants Stiles to know he isn't drawing away: "Tell me later." At the same time, he's holding Stiles to actually come talk to him, instead of stewing like he did in s5: tell me later.

But then Stiles is gone! Scream!

And then, once Stiles is gone, Scott struggles with how to articulate how much Stiles means through the hole his absence creates. All he can say is that it feels like he's missing a limb, and when it comes time to remember Stiles in "Memory Found," he gets so overwhelmed with how much Stiles means to him that he almost dies. 

All of this suggests that the payoff for this struggle is them finally articulating what they mean to each other--in the most basic way! They're traumatized eighteen year old guys, no one is expecting speeches. Just something about how their friendship answers some of their most existential worries: "I still got you."

But instead we get:

SCOTT: They still need us. STILES: They'll always need us. And, you know, I... I need you. You know that. SCOTT: I need you, too. I'm gonna miss you. STILES: No, really, I need you, though. Uh... I lost my license in the Hunt, so you have to drive.

Why is Davis so allergic to meaningful expressions of love in the context of characters leaving? So many characters disappear with no goodbyes (Jackson, Isaac, Danny), or only the briefest one (Kira, Derek). O'Brien and Posey do their best with this scene—both of them seem near tears—but the writing's joke-y tone works against them at every turn. It's Stiles' final scene before the finale, and the capstone to Scott's greatest relationship in the season and arguably his greatest in the show, and it could have been so much stronger if Davis weren't an infuriating mix of apathetic and cowardly.

This concludes this episode of Spikeface’s Sundry 6A Snipes! Thank you for letting me rant<3. 

[annahxredaxted]

Sickfic

Characters: Milo/sweetheart

Milo gets a cold on a rainy job:(

Sweetheart rested idly on the couch, their feet on the ottoman and their hands busy with a book. Sighing they turned the page, waiting for Milo to come home.

Rain roughly pattered the roof, thinking nothing of it they ignored it.

Two pages later they heard keys jingling and the front door rattling, a wet and cold Milo walked through the door, sniffling and red nosed.

He threw his wet jacket, and shirt into a pile by the door, peeling them from his skin and shivering.

“Geez Milo what the hell happened to you?” Sweetheart jumped up, striding over to the foyer.

Milo coughed before speaking.

“Outside gig today. Rained all day. No umbrellas.” Milo spoke, his teeth clattering.

Sweetheart rose their brows, frustrated almost, they walked over to Milo, holding his cheek with their hand.

“Jesus Milo your freezing!” They said, moving their hand away. Milo quickly grabbed their wrist and put it back.

“Your hands are warm..” he mumbled, shivering still.

Sweetheart nodded, understanding. He was about to begin talking before he was bent into his elbow and sneezing a few times.

He sneezed maybe 3 or 4 times before straightening up.

“Why don’t you go take a warm bath or shower Milo? Warm you up and I can make you some tea or something?” They asked, holding his back and walking slowly toward their shared bathroom.

Milo shrugged, still sniffling. He eventually agreed much to sweethearts delight. He knew they cared for him and seeing him like this definitely worried them.

“Did Asher and Arden and the others get sick to you think?” Sweetheart asked in a low voice, sitting him down on the edge of the tub, so they could help him get his shoes off.

Milo shrugged. “Probably to be honest but I wouldn’t know. Ash seemed fine but Arden and Miguel looked pretty rough.” Milo spoke quietly, he sniffled loudly in a rough attempt to breathe properly out of his nose.

Sweetheart moved toward his feet to take his shoes off.

“Oh sweetheart you don’t have to—,” he sneezed and looked back at them.

“Don’t worry about it Milo, just relax..” they spoke softly, rubbing his thigh gently.

Milo nodded reluctantly. Sweetheart slipped his work boots off, and then his pants, they came off difficultly, the water making them stick to his legs.

He kept his underwear on until the bath was ready. Just sitting at the edge of the tub before sweetheart rose to their feet.

They reached over and began running the water, turning it as hot as it could be.

“Here okay just wait for it to fill up alright? Do you want bubbles or anything?” They asked, resting a hand on his shoulder, squeezing it three times.

He shook his head, moving his hand over theirs, squeezing it three times back.

An unspoken “i love you.”

Sweetheart smiled at him. Squeezing his hand three times in return.

“So do you want tea or something? Maybe some nightquill?” Sweetheart asked, still concerned but a little more at ease.

Milo nodded. “Yes. To both.” He replied, “thank you sweetheart.” He said to them, but they were already out of the room.

By the time sweetheart had returned Milo was already in the bath, seemingly warmer and more relaxed. It was obvious he had a cold, his face was red and he hadn’t stop coughing and sniffling.

“Here you go, take this.” Sweetheart handed him the medicine cup of nightquill, he took it quickly, making a nasty face as it went down.

“It should help your throat and put you right to sleep later.” Sweetheart spoke and set the tea beside him. Milo nodded, watching as sweetheart sat on the ledge beside him.

Milo sighed, sniffing again. Sweetheart put their hand on his cheek, rubbing it gently.

“I’m sorry you got sick Milo.” They whispered. Milo’s shrugged, looking back at them.

“It’s okay sweetheart don’t worry about it.” He said back, smiling dryly up at them.

Sweetheart put some soft piano music on, trying to make a relaxing ambiance for Milo. He closed his eyes, resting his head back.

“Want me to rub your back?” Sweetheart asked, noticing some discomfort in his expressions.

“No that’s okay sweetheart don’t worry about me.” Milo said at first but sweetheart insisted.

“Come on Milo let me take care of you.” Sweetheart nudged him, with a cheeky smile. He sighed and relented, bending forward a bit

Sweetheart smiled, rubbing into his back with pressure but no enough to hurt, he groaned softly leaning into their touch.

“Is that alright? To much pressure?” They asked quietly, but he shook his head.

“No..no that’s good baby thank you.” He mumbled, obviously on the verge of sleep.

They nodded but then chuckled, picking his head up from the wall behind him,

“Milo, I’m not sure it’s the best idea to fall asleep in the tub, here let’s get you out I’ll grab a towel, And a sweatshirt for you alright? Hold tight.” They

They scurried to the closet, grabbing a comfortable hoodie and a pair of his looser sweat pants, grabbing a towel off the rack on their way back to the bathroom.

They tapped his shoulder, rubbing his softly before speaking. “Here stand up alright? Slowly..” they held the towel out, wrapping it around him and handing him the clothes.

“Thank you..” he mumbled sleepily before trudging over to the bedroom to get dressed.

While he did sweetheart drained the tub and dried the floor trying to avoid an injury.

They watched milo get into bed, still shivering. A sigh escaped them, upset he’d been sick and feeling horrible that he felt horrible.

They walked over to him, cupping his cheek.

“I’ll get you in a few hours for sure dinner and more medicine alright?” They whispered running a hand through his wet hair gently.

He nodded with his eyes closed tight, before grabbing their hand.

“Stay with me sweetheart?” He asked— well almost begged— them and of course they agreed

“Okay, but just until you fall asleep, I wanna have time to make you dinner okay?” They whispered and snuggled up behind him, kissing his cheek, but their lips lingered taking in his scent.

He groaned but nodded. “Fine.” He muttered out, causing sweetheart to chuckle.

“Okay deal.” They agreed with a small sigh of contentment.

He sighed and closed his eyes, “I love you sweetheart..” he said before yawning and resting his head into the pillow.

“I love you too milo. Get some rest baby.” They spoke and kissed his cheek once more.

*****

Yippie I got another thing out of my drafts.

Tags💕

@itsdaifuku @youisagayhooman @darlin-collins @verrverii @shellssstuff @mrsmiagreer @hobiesrockstargf @glitchedvarity

[wearethekat]

Anticipated New Releases of 2024

**As anticipated by Me. Mostly SFF. Links are to goodreads because that's what I use, sorry. Anything marked "new to me" I haven't read anything by that author before and therefore can't vouch for the quality. I just think the premise is neat.**

Emily Wilde's Map of the Otherlands, Heather Fawcett (16 January)

Sequel to the charming novel about the fairy anthropologist.

Exordia, Seth Dickinson (23 January)

Well, it isn't a new Baru Cormorant, but this modern SF about first contact may be the next best thing.

City of Stardust, Georgia Summers (30 January)

New to me. A young woman descends into the underworld in order to break her family's fatal curse.

The Tainted Cup, Robert Jackson Bennett (6 February)

New to me. A sherlock holmes flavored duo solves the mystery of the murder of an imperial official in a labyrinthine fantasy realm.

What Feasts at Night, T Kingfisher (13 February)

The sequel to the mushroom horror book What Moves the Dead.

The Warm Hands of Ghosts, Katherine Arden (13 February)

A ghost story set in WW1 about a woman searching for her missing brother.

The Fox Wife, Yangsze Choo (13 February)

New to me. A detective in 1908 Manchuria investigates a young woman's death in an area full of mythical foxes.

Redsight, Meredith Mooring (27 February)

New to me. Unpowered priestess and Imperial pawn is set on a collision path with a pirate with a grudge for the Imperium (Gay romance).

Sunbringer, Hannah Kaner (12 March)

Sequel about the professional godkiller Kissen.

Jumpnauts, Hao Jingfang (12 March)

New to me. A SF novel in translation from Chinese, with three scientists joining forces to deal peacefully with a first contact situation.

The Woods All Black, Lee Mandelo (19 March)

I liked Mandelo's debut novel very much so I'm excited to read this queer horror novella set in 1920s Appalachia.

Floating Hotel, Grace Curtis (19 March)

New to me. A series of cozy character vignettes on a space cruise ship after a murder has occurred. One of the four (!) space hotel murder crimes books coming out this year.

The Emperor and the Endless Palace, Justinian Huang (26 March)

New to me. Reincarnation gay romance set in 4 BCE China, the 1740s, and modern-day LA.

Alien Clay, Adrian Tchaikovsky (28 March)

Far future space xenoarchaeology by a man trapped on a prison planet.

Someone You Can Build a Nest In, John Wiswell (2 April)

New to me. Bizarre lesbian cannibalism monster romance from the point of view of the monster.

The Familiar, Leigh Bardugo (9 April)

Glad to see Bardugo writing more adult fantasy, and this one is especially exciting because it's a fantasy set in early modern Spain with a Jewish main character. Fun to see a more original historical period.

A Sweet Sting of Salt, Rose Sutherland (9 April)

New to me. Lesbian selkie romance.

Death in the Spires, KJ Charles (11 April)

Charles branching out from romance into historical Oxford murder mystery about a group of friends with dark secrets.

Audrey Lane Stirs The Pot, Alexis Hall (22 April)

The new Hall thinly veiled british baking show romcom. Libby says it's releasing in April but I've heard nothing from the author so I think it may be Alecto'd (shifted to next year)

Necrobane, Daniel M Ford (23 April)

Sequel to the dungeons and dragons-esque low fantasy lesbian necromancy book.

A Letter to the Luminous Deep, Sylvie Cathrall (25 April)

New to me. Sweet underwater epistolary academic romance.

How To Become the Dark Lord and Die Trying, Django Wexler (21 May)

New to me. A young hero caught in a fantasy time loop gives up and tries being the villain in an attempt to escape.

Goddess of the River, Vaishnavi Patel (21 May)

Another woman-centered retelling of Hindu mythology, this time based on the river goddess Ganga.

Escape Velocity, Victor Manibo (21 May)

New to me. Evil and toxic private school alumni jockey for position in a space hotel event in an attempt to escape a dying Earth.

The Fireborne Blade, Charlotte Bond (28 May)

New to me. Gay dragon slaying knight novella.

Evocation, ST Gibson (28 May)

New to me but looks very cool. Attorney and medium David attempts to escape his deal with the devil with the help of his ex boyfriend and his ex boyfriend's wife (Poly romance).

Service Model, Adrian Tchaikovsky (4 June)

In an SF future, a robot kills its human owners and ventures out into a world where human supremacy is beginning to crumble.

Lady Eve's Last Con, Rebecca Fraimow (4 June)

New to me. A con artist seeks revenge on the man who hurt her sister, who's coincidentally also on a space cruise ship (Sapphic romance subplot).

Triple Sec, TJ Alexander (4 June)

An actual mainstream published poly romance (!!) by trans author Alexander.

Running Close to the Wind, Alexandra Rowland (11 June)

Gay! Pirates! Scheming! Alt fantasy world! Monks! I liked Taste of Gold and Iron a lot and I'm very excited for this one.

The Knife and the Serpent, Tim Pratt (11 June)

New to me. Space opera about an interdimensional organization. Also, there's a sentient starship.

The Witchstone, Henry Neff (18 June)

A childhood favorite of mine's adult debut, featuring a demon who suddenly has to shape up at his curse keeper job after eight hundred years of slacking.

Rakesfall, Vajra Chandrasekera (18 June)

VERY excited to read more weird queer sff from this author after a fantastic debut. Looks weird. I'm in.

Foul Days, Genoveva Dimova (25 June)

New to me. A witch in a Slavic fantasy inspired world flees her evil ex, the Tsar of Monsters. There's also a plague and a detective.

Saints of Storm and Sorrow, Gabriella Buba (25 June)

New to me. Filipino inspired anticolonialist fantasy novel about a nun who is secretly practicing the religion of her goddess.

The Duke at Hazard, KJ Charles (18 July)

A queer regency with an incognito duke by one of my particular favorite romance authors.

Long Live Evil, Sarah Rees Brennan (30 July)

!!! Very excited to see a new adult fantasy by Brennan. A reader is dragged into a fictional world and finds herself the villain.

A Sorceress Comes to Call, T Kingfisher (20 August)

A retelling of The Goose Girl from reliably good fairy tale stalwart Kingfisher.

Buried Deep and Other Stories, Naomi Novik (17 September)

Collection of Novik's short stories.

Swordcrossed, Freya Marske (8 October)

VERY excited to see a new book by talented writer Marske. A man falls in love with the duelist hired for his arranged wedding. MEANWHILE. details of the fantasy world wool industry.

Feast While You Can, Mikaella Clements and Onjuli Datta (29 October)

New to me. Small town queer cave horror.

The Last Hour Between Worlds, Melissa Caruso (19 November)

Multiple reality murder mystery spy vs spy type antics, with lesbians.

[persephonyed]

@cigvrettedvet​​

genuinely no one understands that I’m never going to be normal about them

[azzyangelfish]

Eyes Like An Angel

By: azzyangelfish

Read it, or don’t…idk I hope you like it :3

Eyes are the windows to the soul. At least that’s how Christian remembered the saying. It didn’t make much sense to him when he had first read it, how could someone’s irises and pupils show a clear picture of who they were? That didn’t make any sense. Until he met him.

The wedding reception was simple but elegant, with a buffet-style food service, plenty of seating, the cake in the center of the dining room, and a large dance floor complete with a DJ setup.

Christian hadn’t had the time to say hello to anyone besides the pack before the ceremony, as he had been helping the mates get ready. However, now that the reception was underway he had started to mingle with the other guests. The first person he met was a girl who looked to be in her early twenties. Her jet-black hair was braided into a neat bun with gold jewelry that complimented her navy blue dress. What took Christian back was her eyes. Behind the golden frames of her glasses were her dark brown, nearly black, eyes. Despite their dark colour, Christian couldn’t help but feel as though he was being pierced by her gaze.

“Hello! You must be a member of the Shaw Pack?” Her voice was soft but sweet, holding her hand out for Christian to shake.”Oh, hi, yes I am. My name is Christian. And you are?” He took her hand and shook it, noticing how easygoing she was. “Nice to meet you, I’m Griffin, that’s my older sibling.” Griffin gestures to Angel who is currently talking to Arden. Christian was taken aback for only a moment before really taking a closer look. He realizes that, while they may not look identical, one thing remains the same between the two siblings. Their eyes.

Angel’s eyes weren’t quite the same colour as Griffin's, but the sharpness of their gazes remained the same. Christian knew that Angel was a middle child but he had never actually met either of their siblings. “Nice to meet you. I wasn’t aware that any of their family members were informed.” Christian mentioned casually, generally curious but not wanting to sound nosey. Griffin giggled softly and leaned against the table behind her, “Yeah, actually both myself and my brother are informed. I’m informed because of an incident that happened when I was younger. The Department couldn’t safely wipe my memories so I was just given informed status. I’m a paramedic back home. It's a cornerstone city like Dahlia so I deal with both empowered and unempowered people.” She says while taking a sip of her drink. Christian nodded softly, and, despite being his nosey self, decided to refrain from asking questions about whatever incident had led to her being given informed status.

Just as Christian was about to ask something, Arden came by. “I see you met Chrissy.” She teased and Christian rolled his eyes. Griffin smiled and a little bit of blush dusted her cheekbones. “Guess so, and you are?” The unempowered girl had shifted her gaze to Arden and it seemed as though Arden had no issues with that. Deciding to leave the two, very clearly flirty, pair alone, Christian made his way to the bar.

It was an open bar, and it wasn’t super busy at the moment. While waiting for his drink, Christian glanced around the room. Asher and his mate were sitting with Tank and Sam, seemingly chatting. Milo and Stealth were engaged in an expressive conversation with a few of the Keyton Pack members. Gregory Keyton was talking to Angel, who was laughing while David appeared to be blushing beside them. It was nice to see the pack not only together, but also to see them celebrating such a momentous occasion for the pack.

“Is this seat taken?” A low, smooth voice asked which startled Christian out of his thoughts. ‘Oh uh no.” The shifter turned around to see who he was talking to and locked eyes with a man who just so happened to have the most beautiful eyes he had ever seen. The man smiled, his eyes crinkling in the corners as he did. He had on a navy blue suit with a navy blue tie to match. “Do you mind if I sit here?” He asked, his voice was deep but not at all gravely. Christian just shook his head and shuffled over. The man smiled again and sat down. He looked about Christian’s age, maybe a year or two older, with dark brown hair slightly bleached in some places, and hazel eyes that Christian swore looked bronze.

“Wonderful, thank you. My name’s Declan by the way. You are?” Christian felt the tips of his ears turn red. Why is this guy flustering him so much? “I’m Christain, uh, I’m a member of the Shaw Pack.” He said and looked back to Declan who nodded. “Ah, my younger sibling is your alpha’s mate.” The dots suddenly clicked for Christian. That entire family must all have that same piercing gaze, but Declan’s was weirdly comforting. To Christian, it felt like Declan was giving him a warm hug with just one look. “Oh, you’re their older brother? Also informed from what Griffin said?” Christian asked, to which Declan nodded and smiled once again. “Yep that’s me, and yes, also informed. I’m a SAR technician, I work with a few wolf shifters.” Christian nodded again, he wanted to keep talking to Declan. Christian felt his core thrum with energy every time that Declan talked and he felt happier than he had in a while.

“Are you here with anyone?” Declan asked before Christian could. The shifter shook his head and took a sip of his drink. “No, I’m by myself. Are you?” Christian asked and looked at the other man. He hoped that the answer was no. Declan shook his head. “Nah, I’m on my own too. Although everyone has been very welcoming.” He added and looked back at Christian, “Sorry if this is too forward, but can I just say that you have a beautiful smile?” Christian felt a blush spreading across his cheeks and he smiled bashfully. “No, it’s not too forward at all! Um, you have pretty eyes…they’re kind of like an angel.” It was Declan’s turn to blush but he moved a bit closer to Christian and leaned down a bit so that they were at eye-level. “Well, aren’t you sweet? Would you like to dance with me?” He asked while looking up to see that people had started heading to the dance floor. Christian blushed but nodded a bit more vigorously than he meant to. “Yes please, I would love to.” Declan smiled and took his hand, pulling Christian to his feet and leading him over to the dance floor.

The songs were a mix of slow dances and more upbeat dance music. Declan stood at just about half a foot taller than Christian, and he gently guided the pair through the first few dances. For the remainder of the reception, Christian was either dancing with Declan or talking to other guests with Declan at his side. By the end of the night, he had his number and a promise of a date later that week.

“So I’ll see you on Thursday then?” Declan asked while handing Christian his phone back after typing in his number. Christian nodded and blushed as Declan’s hand brushed against his. “Yeah, Thursday at Max’s” Christian confirmed and slipped his phone back in his pocket. Declan smiled and held Christain’s hand in his own, squeezing it gently. “See you then, love.” He said before giving his hand one last squeeze and heading out the door.

Christian stood there with a stupid grin on his face until Asher found him. “Oh, there you are Chris-whoa!” The beta looked quizzically at Christian. “Dude, are you ok? Why are you smiling so hard? Also who were you with all night?” Christian rolled his eyes but couldn’t wipe the grin off his face. “I got a date with Declan.” Asher’s jaw dropped. “You got a date with our alpha-mate’s older brother!?!?” Angel, who heard this, peaked around the corner and grinned. “Arden got a date with my sister!”

[idylls-of-the-divine-romance]

What’s your favorite(s) Jesus moment?

Okay so I was thinking about this and I was going to list several but I’ve actually got a single answer

The Sermon on the Mount. It’s incredible and so masterfully designed. Now, whether there actually was a big sermon on a mountain side that Jesus gave or if this is just a collection is for scholars to debate (tho, naturally, I do have my own opinion) but either way it’s amazing.

Especially, the beatitudes: the manifesto of the messianic kingdom. The citizens of (G)Arden are the poor in spirit, the grieving, the low trodden, those desirous for justice and righteousness, the merciful, the pure of heart, the peacemakers, and the persecuted.

How incredible is that??

[fluxrspar]

He takes a step forward, and it is unexpected—except it is not. The echoing of footsteps ring against ancient stone, and when he wraps his arms around her, draws her close to his chest: it has been over a year, she recalls, and her arms can only return the gesture, holding tighter and tighter—so as to eliminate any chance of the moment slipping away like sand in an hourglass.

She lets go when Duessel does—always: she is mindful of social norms, of not overstaying her welcome. All the same, it feels as if no time was spent at all; that they could only be distant, separated by shattered earth and sifted soil; that their old method of normalcy could no longer be.

But that isn’t true. It is in her bones—that much still had to be done, but this was not the end of they two. (That fluorspar would flow through the cracks; that obsidian would make it whole.) She does not break his eye contact, only listening in determined silence.

“Yes.”

Of course. It had not sounded to be a question—and indeed, it was not one. Granted the opportunity to reconnect, Selena could only choose to accept: to deny would be to lie—to them and to herself. (It was never a question.)

“Of course,” and a smile breaks through, silly and relieved. “I would love to.”

Grado, and its shifting soil—a steady foundation grown weary and unstable. It is a tumultuous land, never satisfied; never complacent; but though the earth rends itself and breaks and shatters, it always comes back together again. Her people are not disheartened by mere cracks in the earth.

They rebuild, and they are stronger for it.

“Thank you, General Duessel,”—and it is said with her whole heart—“for everything.”

For remaining my friend.

—Fin.

through cracks in the earth

[hartlow]

im so glad ill never have to see pt guy again haha that was so awkward (speaking this into existence)

[telekinetictrait]

God help us – for art is long and life is short! (Faust: First Part, written by Johann Wolfgang Goethe and published in 1808)

hiiii heres the first part of what will (hopefully!!!) be a series of western women's fashion from 1800 to today. obviously, not all women looked like this or dressed like this. in fact, most didn't - these are largely going to be looks worn by women of a higher socioeconomic class, at least until maybe the 1880s. this is for a few reasons, mostly being, uh... availability of cc. i'd love to MAKE some historical cc but my laptop won't run blender. another reason is that the fashion of the upper classes is typically better recorded than that of lower classes, especially before the advent and popularization of photography. i'm just rambling now.

anyway! the first part: 1800-1809. we see the opulence of the georgians cling onto fashion in bows, feathers, and jewels. we also see the rise of waistlines to the iconic empire waist, and the influences of neoclassical aesthetics in fashion. hairstyles in particular were emulating those of the ancient greeks, also pulling a bit from the stuarts. this decade also allows me to share one of my favorite tidbits of fashion history: the coiffure à la titus! for a short time in the 1790s through the 1810s, some women (french women especially) took to cutting their hair short and choppy. the reasons range from inspiration taken from a popular play at the time, to symbolizing solidarity with women executed via guillotine. some men at the time thought that having short hair was actually hazardous to women's health, so while the titus cut wasn't the norm, it was widespread enough to cause quite a storm!

you'll notice that 1806 is missing. that's because the dress i used, uh... completely messed up the arms and i did not notice until i was making the gif. if you wanna see it, it'll be under the cut.

cc links + creator tags under the cut!!

see my resources page!

adelais : clepysdra's padme snail hair / ice-creamforbreakfast's vittoria pendant / hanalinori's morning in the garden dress / oydis' willow armlets / oydis' eloise flats

aelita : plasma-jane's athena hair, updated by my-historical-sims / s-clubs laurel crown (tsr download) / kaguya-fox's nioh oichi hair branch / simsonico's shining nikki shy lady dress conversion / dancemachinetrait's lydia flats

alanis : peebsplays' regency bun / joliebean's joanna earrings / leeleesims1's throw it on accessory wrap / dissia's amy accessory sleeves (tsr download) / zeussims' estrella gown

amalthea : simsonico's shining nikki shy lady headband conversion / mothz's accessory necktie / serenity-cc's accessory frilled turtleneck / sifix's hope dress (tsr download) / simsonico's shining nikki reminiscence of flower fan conversion

anamarija : okruee's cicero hair / pixelunivairse's pearls necklace / gilded-ghosts' bingley gown / maushasi's acc. lace top (search 'lace', accessory included in file) / dancemachinetrait's pemberley gloves / leonalure's transparent priestess scarf or here (REUPLOAD, original download on shady site. leonalure – if you see this and want me to take it down, just let me know!!) / dancemachinetrait's lydia flats

aoide : teanmoon's helen updo / zeussims' dreamer earrings / gilded-ghosts' highbury chemisette / sifix's giselle dress (tsr download) / dancemachinetrait's pemberley gloves

arden : bedisfull's feel my rhythm rose straw hat / izuko's urban animal faux fur scarf / gilded-ghosts' emma gown / dissia's ayiana accessory sleeves (tsr download) / simsonico's shining nikki reminiscence of flower fan conversion / joliebean's satin tip shoes

astrid : sadlydulcet's set 22 hat (search 'set #22') / nightingalesongx's low side bun / simsonico's shining nikki shy lady necklace conversion / dancemachinetrait's pemberley gloves / simsbrush's regency dress / dancemachinetrait's kitty flats

azucena : buzzardly28's gesina hair v2 / magnolianfarewell's venus dress / dustyratt's emma frost cape / dancemachinetrait's pemberley gloves / dancemachinetrait's kitty flats

thanks to @clepysdra @ice-creamforbreakfast @hanalinori @oydis @my-historical-sims @plasma-janes @kaguya-fox @simsonico @dancemachinetrait @peebsplays @joliebean @leeleesims1 @dissiasims @zeussims @serenity-cc @okruee @pixelunivairse @gilded-ghosts @teanmoon @bedisfull @nightingalesongx @simsbrush @buzzardly28 @magnolianfarewell and @dustyratt

(heres the failed 1806)

[rapha-reads]

I tried to resist the urge but at the end of the day ranting about Romeo and Juliet is my most favourite thing to do, and ranting about vampires is also in my top 10 regular hobbies, so...

Louis, Lestat, Armand and Balthasar, or, a R&J x IWTV unplanned rant.

Under the "read more" because it got long.

Balthasar is introduced in the play as "Romeo's man", often modernised in various adaptations as his valet or his page. The footnote in The Arden Shakespeare 2012 edition states that:

"Shakespeare introduced the name for the part in the play, though it is not, of course, his invention. The name, which is also found in Comedy Of Errors, Merchant of Venice and Much Ado, occurs only once in the text of R&J, even though the character speaks nearly 30 lines in the final act."

Three things from that only: it's a common enough name, at least in Shakespearian texts, that the character could be switched for another one; he's so inconsequential that he barely even managed to make his name known ; yet despite his apparent unimportance, his role at the end is extremely crucial in closing in the tragedy.

What lines does Balthasar speaks and whom does he speak to throughout the play?

Man waits until Act III scene 1 to make his entrance. Given his function as Romeo's man, you'd think he'd be a bit more present before that point, but no, Balthy waits until everything's gone bad to arrive like "Grandma, it's me".

Romeo asks him "How doth my Juliet? That I ask again, / For nothing can be ill if she is well." The beginning of his answer could lead you to think that he's about to lie so that Romeo can still be "all well", but, naaaah, sike, he's here to deliver news and he's going to do his job. And the way he does it doesn't leave any details to the imagination:

"Then she is well and nothing can be ill. Her body sleeps in Capel's monument, And her immortal soul part with angels lives. I saw her laid low in her kindred's vault, And presently took post to tell it to you. O, pardon me for bringing these ill news, Since you did leave it for my office, sir."

"Her immortal soul"... We'll come back to that point when we'll get to the vampires. Interesting to note that he says he saw with his own eyes Jules' laid down in the Capulet's tomb, but there's no indication in the text prior to that line that he really did. Some stage adaptations have Balthasar lurking around as Capulet and Cie put her in it, most movies totally ignore Balthasar's entire role - which I will come back to in the second part too. In a way, one could think that Balthy didn't see anything, he just heard the news like any other Veronese people, and didn't wait for more information or even actual confirmation and hurried on ("took post") to tell his master. Which, he does say it himself, that's his job, to keep Romeo informed of the going-ons of Verona in general and Juliet in particular. But, man, what are your sources, actually? Whose your informant? What authenticity does your information have, except from "source: myself"?

And then homeboy has the audacity to tell a desperate and ready to commit all kinds of violence Romeo to "have patience. / Your looks are pale and wild, and do import / Some misadventure." You think?? After this we lose track of Balthy while Romeo goes soliloquising looking for his cuppa poison. ... I don't want to tell you how to do your job, Balthy, but aren't you supposed to always follow your master closely...? How are you losing him so easily? Well, to be fair to him, Romeo does send him to "hire those horses", but that's a really thin excuse.

Balthasar reappears then in the Comedy of Situations that is "everybody and their mothers come visit Juliet's body" (you know, Warm Bodies did have a point; the zombies and necrophilia jokes do write themselves). First he enters with Romeo, and then for once shows some working brain cells when Romeo tells him to peace out and he tells himself "For all the same, I'll hide me hereabout. / His looks I fear, and his intents I doubt." Yes, thank you Balthy, maybe stay inside the crypt itself... Nope, okay, I don't know where he hid but Paris "14yo is perfectly acceptable to marry when I'm 30" Escalus makes his own appearance unbothered and unstopped. Great scouting skills there. Granted, he was the first on the scene actually, but if Balthy really hid close by, he should have witnessed the altercation and maaaaybe stop it. But no. I think he's having a drink with Paris' page. Current body count: 3 (yeah, Juliet's not dead yet, for those following).

Then Friar Laurence arrives on the scene. Oh, hello, Friar My-Ideas-Will-Definitely-Work-Trust-Me-Bro. Balthy emerges from the shadows (from where? Who knows, not me and certainly not Willie the Bard himself; homeboy was lurking, planning the best moment to reappear to create maximum chaos I guess). Their discussion goes something like this:

Laurie: who're you? Balthy: come on bro, you know me. Laurie: oh, hey Balth, so nice to see you? But what the heck are you doing here? Balthy: yeah I'm here with Romeo that fail emo lord lol. Laurie: Romeo? Whaaaat? How long has he been here? Balthy: eeh, 30 minutes? Maybe 45? Dunno but it's been a while. Laurie: Jesus fucking H Christ, okay, let's get into the fucking crypt. Balthy: no thanks, without me. I told Romeo I was leaving and if he sees me still here he's going to break my neck. Laurie: ugh, fine, you coward. I'll go alone and I'm not even afraid. Actually I lied I'm scared out of my mind but I'm better than you so nah! I'm going in. Balthy, walking away: oh yeah, another thing, I was napping, ahem, keeping watch, and I think I dreamed, I mean, hallucinated Romeo killing another dude. But I don't think that's real. Anyway, hasta la vista, losers! [Exit] (sadly not pursued by a bear)

I paraphrased, naturally. And... That's Balthasar's last lines. So to recap: he's supposedly Romeo's man, hence, by his job's function, supposed to always be with him and protect him; he only appears at the end of the story to make sure that no one else can get to Romeo first and maybe tell him about Laurence's plot. He always says he's going to keep an eye on Romeo, or tries to get him to stop, but actually never does anything. Literally, by his own admission, while he's supposed to make sure Romeo doesn't do anything drastic visiting Juliet's tomb, he took a nap: "As I did sleep under this yew tree here"! And the only two people he speaks to are Romeo, whose sole purpose at this point is to die, and Friar Laurence, whose role is to fake-kill Juliet, which leads to both of them dying.

Given all of those elements, one could then consider Balthasar's role in the play as an agent of Death. Death being a character in Her own right in the play, according to some readings (I admit, the idea of Death being the one pulling the strings as Fate would do is something I very much like but is very much inspired by the French musical).

So. Balthasar, agent of Death, purposefully or accidentally, but undeniably, leading the main character to his own death and carefully not stopping nor even interacting with characters who could stop the final act.

And that's who Louis-as-Lestat compares HIMSELF to. Yeah, Louis calls himself Balthasar, let that sink in. So, spoiler alert for those like me who haven't read the books, but Armand later on is going to lie and tell Louis that Lestat died in the fire that burned down the theatre, lie that Louis will totally believe and that will certainly influence the decades of his relationship with Armand. We know Louis is absolutely not over Lestat, we know Lestat is weak at this point, and wants to scare Louis but also get him back, and we know Armand is a lying liar who lies and twist the truth to better serves him. And we know Armand was jilted by Lestat and while he (genuinely?) loves Louis, he's also bitter that Louis got what he himself couldn't get. We also know that Louis is extremely conflicted by his vampiric nature, that he's a stone cold killer but he's also constantly trying to get away from it, that he hates himself and all vampires but also hates humans and all of humanity. We know Louis feels immense guilt at what he thinks is Lestat's murder, and that this guilt is weighing on him enought hat he conjures up a mental Lestat to follow him around and sass, bitch, moan, comment and critique for him.

So, why is it interesting that Dreamstat calls Louis a Balthasar?

Let's go back to two points already evoked earlier. Balthasar makes a point of mentioning Juliet's immortal soul - in the text, it's evident enough, they're Catholics, Heaven, Hell, bla bla bla. Transposed to the idea of vampires, it does lead one to question first if vampires have souls, secondly, what are the limits of immortality. It links to Louis' questioning of his faith, the morals that he fiercely defends but abandons rather quickly when they don't suit him anymore, and his survivor's guilt vis-à-vis his brother first and Lestat secondly.

The second thing is the way Balthasar is generally erased from the known Romeo and Juliet narrative. From an intradiegetic POV, Louis could mean it as "I'm Balthasar because this story is not my story, I barely even appear, only at the very end, and even then, I'm not important, and I certainly do not want to be the focus of attention" (which could also be linked to the coven complaining that Louis hunts sloppily and will expose them all, and that's actually a point in the Death's emissary column, huh). From an extradiegetic POV, the writers might have chosen to compare Louis to Balthasar because in most screen adaptations, the first part of his role is given to Benvolio (announcing Juliet's death) and the second part (talking with Laurie) is totally erased. Which means that people who haven't read the play (or have but aren't totally obsessed with it *cough cough*) and only know the story through the movies or the musical, would have NO idea who Balthasar is. And that's what Louis tries to be: a nobody, a Monsieur-Tout-Le-Monde, unimportant, invisible, unknown. The way Balthasar is for everybody. Quasi inexisting.

And the final part of the parallel, and that one is definitely extradiegetic, is that Louis brings Death wherever he goes (although maybe in a way, after Lestat and the woman vampire in Romania, Louis thinks that of himself too, but let's not go there just yet). His arrival in Paris is what disturbs the equilibrium of the coven, makes Armand questions what he's doing here and how long he can keep going like this, drives Claudia even more away from him, and intensifies the resentment and inner conflicts of the coven. Which will all lead to the theatre burning dow, the coven dying, Claudia dying, Lestat presumed dead and 70 years of toxic married Loumand. Unintentionally, the way Balthasar seemingly unintentionally too, doesn't protect Romeo, which leads to not only his and Juliet's but also Tybalt and Mercutio's deaths (and Paris too). Unintenionally, but who's pulling Balthasar's strings, Death, Fate itself? Who's pulling Louis' strings? Armand? Lestat? Or is he such an unreliable narrator that he's passing himself as a victim of circumstances while the reality is that he's fully aware of what he's doing...? To be determined.

If you've made it to here, thank you so much and don't hesitate to tell me what you think! You can find my Tybalt/Mercutio fic here, and my essay on adaptations of Tybalt and Mercutio on screen here.

[midmorninggrey]

Corny Combat Dialogue: OC Edition

One of my favorite parts of playing Dragon Age is when all the companions start yelling. So I started a list of weird things my OCs might yell.

Cal the Canary

[Combat]

"Incoming!"

"We've got company."

"Cut them down!"

"Come on then!"

"Right, they're coming at us now."

"Was this part of the plan?"

"Horsefeathers!"

"Whoops, watch out for that one."

"I've got your back!"

"You should've run when you had the chance!"

"First time?"

"I'm going to hit you now!"

"My arms don't have the reach."

"I can't hold them much longer!"

"I'm feeling a little peaky."

[Low Health/KO]

"Andraste's arse, Anders!"

"Merrill - not good!"

"Get up, Isabela! Pretty please!"

"How'd they best Aveliene?"

"They got Varric!"

"Oh no, there goes Sebastian."

"No, Bethany! You'll regret that, you bastards."

"Fenris! Not while I live!"

"Hawke! Hold on, Hawke!"

"Fall back, Hawke!"

"Get to Hawke."

[Locks/Interactions]

"I'm stuck...(Again.)"

"I walked into a trap."

"There's a trap over here! You'll never guess how I know."

"Oh, bother."

"I'm not the one to ask for that, sorry."

"Why don't you let me take a try?"

"There you go."

[After Combat]

"Everyone here?"

"I felt braver when they were trying to kill us. Now they're just...on the ground, aren't they?"

"Maker, what a mess." 

"That was fun. Let's never do it again."

"Hawke, have you ever thought of staying in? With a hot drink or something?"

Arden Trevelyan 

[Combat]

"Be ready."

"Don't try me."

"Pray that you come back stronger in the next life."

"Is this how you thought you'd die?"

"Do not fear the pain - it is your teacher."

"Not today!" 

"Stop sniveling."

"I'll break your skull."

[Low Health/KO]

"Seeker! The Maker does not will it!"

"Don't touch them!

"No, it's not his/her time!"

"Sera! Shit!"

"Bull! Gods."

"Ah, Solas is taking a nap."

"Dorian - no! You will not take him!"

[Locks/Interactions]

"Let us meet this moment with quiet contemplation."

"Fuck! More demons."

"Don't ask me where I learned to do that."

"I've been told I have nimble fingers."

"Blasted - shit assed - what bloody arsehole?!...And praise be to Andraste. Sorry."

[After Combat]

"Is everyone alright?"

"It's done. For now."

"May the Maker show us mercy."

"Take a breath if you need it."

"Let's move on."

Celeste Trevelyan 

[Combat]

"They're coming this way!"

"There are things worse than death! I think."

"That hurt." 

"Ow!"

"Back to the shadows!" 

"I don't fear you!"

"Take that! And that!" 

"Got one! Did you see?"

"I don't feel so good."

[Low Health/KO]

"Cole! I won't let them hurt you!"

"Wait, Solas fell!"

"I think Vivienne's hurt."

"I have to help Varric!" 

"Blackwall - Get up! Victory!"

"I need to help them!"

[Locks/Interactions]

"Why won't it open...?"

"I don't want to do that."

"No?"

"I guess so."

"Aha! It's not so tricky."

[After Combat]

"Is it over?"

"I think I'm ready to go."

"Yuck."

[juxl25]

KUROSHITSUJI THEORY!

Spoilers for ch208 onwards

Will the whole circus troop be brought back? And will Doll end up siding with o!ciel?

As I’m sure we are all aware from the end of the book of circus manga, the undertaker had most of the circus troops bodies (joker being the accepted as he basically got cremated). And now with Snake’s death and Doll having his body, that they will likely hand over to the undertaker, will mean the the undertaker will have all the bodies of the first tier Noah’s Ark circus.

I suspect that now with all the piece (the bodies of the first tier) the undertake will bring back them back as low level bizarre dolls (think Derrick Arden lvl) and force them to preform.

Why do I think that? Well I have very little evidence from the manga (like nothing at all) however I believe in poetic irony and a theme with Yana’s writing style.

First let’s look at the evidence from the manga, this is mostly for snake getting brought back to life.

This is mostly just me grasping at straws for snake being brought back lol. But also with Yana known for always including bits of foreshadowing in her work. Wether that being the chess game in showing to Ciels during the emerald witch arc, as well as ciel lying about the true fate of the circus troop to snake, apron his first arrive at the Phantomhive manor foreshadow him finding out later on in the story. So this panel’s taken from the start of book of Atlantic hits towards Snakes and by extension the rest of the troops being brought back to life.

And now on to my poetic irony. As we know Yana like to play the hand of justice in the series. Specifically killing of semi important characters in the series in the same way they have killed other people. This is shown in Madam Red’s death, Madam Red kills women by slitting their throat and then cutting the stomach open, and madam read died from being cut open when Grell stabbed them in the stomach with her chainsaw. And snakes death as well, where he got he throat slit was in the same place that Phipps got bit by the black mamba. Now following this theme we would expect the circus troop to die in a way that mirrors the death of the children in they kidnapped, but this didn’t happen. Thats why I suspect they will be made in to bizarre dolls and forced to preform. Being made in to low level BD would mimic how the kidnapped children were after their lobotomy and forced to preform like the children where forced to for baron Kelvin.

This leads on to my next point. Why might doll ended up siding with O!ciel? Because of the bizarre doll circus troop. Doll would take the place of joker as the ringleader and be forced to witness their family preform this way; Mirroring how joker felt watching the kids preform. But the difference is unlike joker who wouldn’t betray the Baron because of him believing his siblings at the work house would be punished, Doll currently does have any loyalties like that except to her family. So when they see what the undertaker has turned them in to Doll will do everything in their power to save them. Leading to them siding with O!ciel in the end.

But what do yall think? Let me know your thoughts or if I’ve missed something in the comments :)

Tags: @abybweisse