#but i think i desire the feeling of being wanted more than i actually desire him

[sapphicslaylist]

People with this mentality towards him do not understand the dynamics which he falls under. He is codependent, very actively so; he is more than happy to have pain inflicted on him for her happiness and wait on her hand and foot. He wants to reward her for existing despite how much suffering it causes him. What happened in HEA was not deliberately malicious; was it wrong? Absolutely. But it was, in his eyes, an act of love to die and suffer for her and weave a “better” world.

What he struggles with is actually being able to listen to those who do not return his feelings, because he takes it as a character flaw unto himself. That it’s because HE isn’t worthy of her. So opposed to listening, he tries to convince her and himself that he is worthy of whatever she desires. HEA is the one place where he couldn’t understand why she wouldn’t be happy; I’m his eyes, she was in a gorgeous palace being treated like a queen. What else could she possibly want? I don’t think he was lashing out at her as much as distressed that he could not make her happy. And that she was afraid of losing him or having him inflict worse onto himself in the end.

The route and his character actively strips away the romanticism of “unconditional love” in the form of self sacrifice. This is a really important message to those who���ve gone through it or been convinced that hurting is the only way to show you love someone. It is a VERY important message - that not all knights in shining armor can help no matter how much they want to. He is just as much a victim as the Princess in many routes, even if his ways of enacting it are far too forward and concerning. The “I would die for you” trope is NOT healthy to be taught.

It saddens me that people dismiss this, because it’s very much a message that the game does beautifully. You have to listen, not assume that you have to hurt yourself and bleed out.

I keep on hearing people go all "The voice of the Smitten is such a creep. All he wants in the princess is someone to control and keep as a pretty object. He'd drop the princess if she wasn't the perfect petite maiden like in the damsel route." and I will not stand for the Smitten slander.

Like- He's been in love with her as a burning corpse ghost lady:

A terrifying ghost woman who wants to bring fear and chaos to the world:

And even a murderous blade monster woman who would kill you and enjoy every second of it:

Like, he ALWAYS loves the princess no matter what she looks like or how she acts, he loves her for being herself no matter what or who she is. That's the point of his character and I'm tired of people slandering my boy.

[coolsketchablestuff]

Welcome to my atrocious shipping chart, I apologize in advance

Their opinions on eachother:

Headcanons below:

I've been having a story going on in my mind and it's just progressively evolved over time and this is the culmination of that specifically, so I'll try to explain the context of it here:

MAIN THING HERE IS THAT THE BEASTS (for the most part) "GET ALONG" WITH THEIR OTHER HALF

In my au thingy once they get along both half's get stronger, as if the soul jam becomes more whole (yes the ancients still ascended and reclaimed their soul jams as the rightful owners)

Burning Spice:

Got defeated by golden Cheese Cookie, after she left and he awoke from under the rubble of his castle he went to seek her out, to continue the battle, he wanted to be defeated, to be bested by the only worthy opponent, it was his DESTINY to crumble to her hands, he desired it so much. When he found and re-challenged her, she originally did fight him, but upon seeing how badly he wanted to be destroyed she decided to make him one of her treasures. At first he HATED it and would remind her how he could destroy all of it if he wanted to, but after months of slowly wearing him down he's now her right hand cookie and personal guard, very quick to fight anyone who gets to close to her radiance, he is referred to by the kingdom as "his anarchist".

Shadow milk cookie:

(because his actual story will be coming out soon I'm so paranoid about having to retcon this in the future) he has defeated pure vanilla cookie, finally! After so long!!! But wait, why didn't this victory feel right..? Why was the soul jam not reacting properly? Upon vanilla cookie crumbling should it not go back to him? Spoiler alert, no, no it did not as he was not worthy of it and the light was actively fading, as he began to slowly feel weaker with the progressive fading, having to think fast and make a decision he was not sure if he'd regret, he put all of knowledge to use and revive pure vanilla, centuries of being the representative of knowledge sure does come in handy! Ever since that day and discovering if the light fades so would he, he's tried to stay close to pure vanilla out of convenience, over time it becoming an actual friendship, though he is still overly protective/possessive of him to make sure no one hurts him.

Explanation of the relationships:

Golden cheese

- appreciates how Pure Vanilla's kindness is not conditional and relishes in the praise, though she's worried over him slowly spending less time with White Lily

- loves how loyal Burning Spice is, she is aware he's obsessed with her but she interprets it as him being greedy for her attention (it kinda is ngl)

- has fun doing stuff with shadow milk cookie, they like going to events together like parties and just messing around, they can joke with each other comfortably

Burning Spice

- kinda obsessed with Golden Cheese, seeing her as the only cookie allowed to be stronger than him, he doesn't let other cookies fight her as they're "not worthy"

- mostly sees pure vanilla as one of Golden Cheese's treasures and feels an obligation to her radiance to protect him. Is too uncomfortable to get closer to PV because he reminds him so much of pre-corruption Shadow Milk

- the new shadow milk cookie is definitely more lively, and ever since SM got along with PV his pranks have become more harmless which is enjoyable, one of his oldest buddies

Pure Vanilla

- Golden Cheese is one of his oldest friends, after everything that has happened he doesn't want to lose his friends again, he's slowly spending more time with her as White Lily is busy with other stuff and after everything he just wants to spend time with his friends

- after learning to get along with eachother, shadow milk is actually enjoyable to be around! They can talk about intellectual magic stuff, enjoy food and drinks, play games like chess, or just spend time together in comfortable silence

- does not have any strong opinions on burning spice as they do not talk much, though he isn't sure why considering how often they hang out, PV is confident he's seen BS looking at him sometimes when he thinks he isn't looking

Shadow milk

- pure vanilla is calming, when they feel worked up over something he's always there, PV is helping him get along better with cookies

- Golden Cheese Cookie is (currently) his best friend, they jokingly got along under the pretense on not being huge on WL but their friendship kept improving

- it's too much fun to prank burning spice, like SURE he could just find something they both find fun but as long as BS doesn't how actual disdain towards them he's not gonna stop! He loves to tease him too :)c

If I think of anything else I might add It? Idk, genuinely I just like having good guys in media make the bad guys nice, I enjoy "I can fix him" so much, THE ANCIENTS FIX THE BEASTS I SWEAR

[communistkenobi]

ok conclave thots (spoilers)

trying very hard to set aside my feelings on the Catholic Church to evaluate this movie. It’s quite beautiful, everything has a very solid physical presence, big wooden doors thunking, columns of stone and marble, thick robes, luxurious physical sets. Really enjoyed the cinematography. The cast was all really enjoyable aside from Stanley Tucci, not bc he’s a bad actor but I could not be sold on him being a cardinal. he seemed generally out of place. Although he was clearly there to be a bit ‘out of place’ as a figure for liberal Catholics, like definitely the type of guy who would think creating an anime girl avatar for the Catholic Church would be a good move to modernise the church. Actually maybe he was good in that movie I change my mind.

He did also demonstrate the complete failure of liberalism to respond to right wing rhetoric - all he says in response to Tedesco’s islamophobic rant about the need for religious intolerance is “you should be ashamed of yourself!”, just totally unable to address Tedesco’s fixation on conducting religious warfare. The film is centred around the church’s need to manage its public image, making multiple references to the recent international outcry over the church’s systemic sexual abuse problems, its homophobia & anti-abortion views that are increasingly falling out of favour, and the general trouble the church has with the press. There is a clear emerging clash between tradcaths and liberal Catholics that are fighting for dominance in the church. The film ultimately finds synthesis between these two poles in Benitez, a man who conducted missions in ‘war torn’ countries such as the Congo and Afghanistan (thus having a more genuine connection to religious intolerance than privileged, out of touch conservatives like Tedesco) but despite that still desires to promote unity and tolerance, and at the last hour is revealed to be an intersex man who was counselled by the pope to get a hysterectomy (and decided against it), as if literally embodying the tension between these two positions within the church. Not sure how I feel about that lol, intersex characters are so rare and he’s not treated as a punchline, they even do the “born this way” thing with it as like god made him intersex. so like props for that I guess.

overall a very goofy person’s idea of power and politics but it was a fun watch and I had a good time. Kinda soured on how ridiculous it is that Benitez would pull a super-majority from a single speech to Tedesco about him not knowing anything about “real war” and the need for unity - like idk I remember learning about Mehmet Ali Acğa’s assassination attempt of the pope and how virulently Islamophobic the response was from the public & media, the idea that there would be a “Muslim terrorist” bombing (they leave it vague in the movie but that’s clearly what’s being evoked) in Rome that damaged the building or church or wherever the cardinals were, and the cardinals didn't all immediately side with Tedesco is pretty mind boggling lmao. Again trying very hard to set aside my thoughts on history and religious politics and just have a fun time with this one, but it’s hard to distance those things when the history being dealt with is so recent.

Ralph Fiennes owns in this movie though, great job from him and just what I wanted out of a Ralph Fiennes character. I really liked this review of it on Letterboxd

[valenshawke]

In Defense of Caitlyn Kiramman

No, this is not a defense of any of her actions or decisions she made after she donned the beret. This is a defense of the writing of her character and what (I believe) the writers are trying to do. With only one act down, there’s many ways the writers can take this. They could very well fumble it. However, I will give the writers the benefit of the doubt. With that out of the way…

The descent into darkness and the corruption arcs are classic storytelling. Where the protagonist, hit with so many traumas and setbacks, gives into her darker feelings, sometimes aided by a more devious figure in the background.

Given all the traumas that Caitlyn has experienced as explained by @bramblebeau, something was going to happen. Without Ambessa Medarda being that devious figure, would Caitlyn have gone full authoritarian at the end of episode 3? Maybe. I still think she would have, but perhaps not as far. But to argue that this is bad storytelling because Caitlyn did not keep her idealism and morality is… horrible missing the point. 

What are the points? When faced with trauma and the desire to retaliate and seek revenge, it is very easy to manipulate those who want those two things. And, in the world we actually live in, we have seen this time and again. Need I bring up the US War on Terror? Whether directly or indirectly, the cultural impact of the 9/11 Attacks, second Iraq War, and the US War on Terror has been and will continue to do so (and if you want a less subtle commentary on that, check out Naoki Urasawa’s Pluto also on Netflix). 

Ambessa Medarda not only manipulating Caitlyn, but the Piltover Elite, was masterful because it showed how easy it is when you can control the flow of information, control the rhetoric, and eventually dehumanize your “enemy” as something less than human. It’ll be fascinating to hear how Caitlyn’s speech changes and what type of language she uses when talking about Zaun.

At this point, we don’t know exactly what the writers are going to do. But it does raise some intriguing and exciting questions from a storytelling perspective. Caitlyn, right now, is at the edge of (the heart) of darkness. Is her blood-lust for revenge going to cause her to fall in? Will someone be able to talk sense into her? Can anyone in Piltover talk any sense into her? How, if at all, can Vi be the one to help/save her? Or will they save each other? How can Vi be that tiny light in the darkness when she has her own trauma to deal with? (There’s another point to examine how both dealt with the trauma by the end of Act 1. Vi went inward and, based on the trailers, went full self-destructive mode. Caitllyn went outward and became the public face of a fascist regime). 

Caitlyn already started taking steps to that darkness after she got the Kiramman key and decided that GASSING ZAUN (and all the implications THAT brings)  was the best option for her strike team to open its mission to capture Jinx, dismantle shimmer, neutralize any agents loyal to Silco. Whatever justification given, especially by Vi, is naive at best and delusional at worst. Vi might have gone along simply because she feels some blame and wants to support Caitlyn. But what Caitlyn did was unjustifiable. The moment you simply accept “collateral damage” as simply being a Tuesday, your moral dipstick is bone dry (credits to Fox Mulder for that one). But that isn’t bad storytelling. I’m supposed to feel that way.

Caitlyn’s descent, as it stands, allows the writer to either give her something of a redemption arc where she realizes the horrors of what she has done and what has to be done to fix it. 

This is classic storytelling 101.

And I am fucking here for it.

Thanks to @caitlyn-kirammans for listening to me ramble this out first.

[canichangemyblogname]

Look, THIS is why I’m not upset with Tommy breaking things off with Buck, just the rhetoric they (the show) wrote for WHY they broke up and the general lack of resolution we’re likely to get. The break up itself is like… yeah, okay. It’s drama on a drama. People CAN see Tommy’s perspective: Buck DOES still have things to learn and IS still impulsive. There ARE a lot of things Buck does not know.

It’s the dialogue they wrote for Tommy and the likely lack of follow through that has me like 😑. Let me explain—

Tommy could have followed up Buck’s question about moving in with, “I’m not so sure moving in would work out; I think it’s too soon.” Buck blinks as he hesitates. “Uh— w-we-well, why not?” “Look— you’re an incredible guy. You’re funny and hot and kind… but you’re impulsive, and I feel like you may still have some things to learn.” “I—I’m not sure I know what you mean?” “We’re in two very different places in our lives. I feel the way you see me is incompatible with the partnership I want in a long-term relationship.” Tommy takes a sharp breath in. He pauses. “I—,”Tommy falters, “I’m not so sure we will work out.” “Wait— are-are you breaking up with me?” And then we get the similarly devastating, “Yeah… I guess so. Believe me, I didn’t see this coming, either.” A beat, and then, “See you around, Buck.”

And the thing is? This feels more resolved without fully closing the door. The reasoning behind why they’re breaking up is because Tommy feels they’re in two different places in life. He feels like moving in is too soon and that Buck is being impulsive. He feels like Buck is treating him more like a gay yoda than a partner, and so moving in will put their relationship on an unsustainable course that positions Tommy less as a partner and more as a forever teacher.

Additionally, characterizing the breakup as the result of being in different places in life (and emotionally) could continue a narrative trend of Tommy successfully working out emotions in a way Buck has not yet learned. Buck was so jealous and in need of Tommy’s attention that he maimed his best friend. However, when Tommy was jealous of the 118, that did not manifest in any real-world consequences because Tommy processed that jealousy in a healthy, normal way. Buck has daddy issues, and this directly impacts his emotional relationship with his father and Bobby, and his professional issues with Gerrard. However, Tommy has already come to terms with the nature of his relationship with his dad and, it could be argued, he has processed his daddy issues or dealt with them in a more productive way. At the same time, should the author want to do something with these character threads later on, the foundation has already been laid to explore Tommy’s jealousy and possible daddy issues as sources of conflict later. (Later exploring this also wouldn’t do the breakup scene any injustice, as the main reason for the breakup is how Buck views Tommy and the growth—re: impulsiveness— that Buck still needs to undergo.)

This hypothetical also avoids the whole, “Why would someone date someone else for six months when they just assume that person’s going to leave them and break their heart at any moment?” This hypothetical additionally avoids these characters breaking up explicitly because they have the same wants and desires for the relationship, like what we got in canon. (In canon, Tommy literally went, “You’re good looking and funny and kind and incredible and I really want to be with you, and you want to be with me, too, and that’s why we actually can’t be together.” 🙄) It also avoids re-hashing conflicts the characters have already addressed, like Tommy thinking Buck isn’t yet ready for or comfortable with his queerness, because this hypothetical would focus on Buck’s history of impulsivity or grand declarations when things get tough or weird. It also avoids the fact that Tommy did agree to try again, knowing that Buck didn’t have a label yet and then attended a wedding as Buck’s date, so why does he suddenly have an issue with Buck’s sexuality 6 months in? And, this hypothetical also still leaves the door open in the event the author wants to revisit this character dynamic, but currently cannot develop it due to cast contracts. Because Buck can wise up. He can admit that he had approached some aspects of the relationship a little impulsively; that he was prone to hitting Tommy with these grand declarations. Buck can change the way he views Tommy. Buck can change the way he sees relationships as something meaningful designed to help his own growth (“transformative” and all that). And all of this can happen with Tommy off screen. They theoretically then COULD meet again when they’re in similar places in their lives (and emotionally), or Buck could apply his newfound growth to his next relationship or final relationship.

Because Buck does still have growing to do and things to figure out, it’s just that none of those things are about whether or not he likes men, as Tommy’s canon monologue implies with the whole, “You’re still figuring yourself out… I’m not your last; I’m your first.”

But that’s ultimately what we got. We got that BS about firsts and lasts where Tommy downplayed what Buck feels for him and why, and outright assumed Buck’s feelings now and in the future. He spent that entire scene giving Buck the ol’ biphobic, “you still gotta figure yourself out” and “you’ll just leave me for someone else” lines. He then concludes his break up dialogue by telling Buck that he’s afraid Buck will break his heart and that he can’t handle that, implying that he’s breaking it off due to anxieties around getting hurt emotionally. But the thing is? Tommy’s insecurities aren’t resolvable with Tommy off screen because Tommy needs to be on screen to show that growth. So, if contracting is or becomes an issue for someone who is NOT A MAIN, then there will be no resolution. Don’t hint at a character having major insecurities as a source of conflict—on par with that of a main— if the show cannot dedicate the appropriate screen time to that character to resolve that conflict.

Because right now? This FEELS like the set up for the third act’s preclimax. Tension between the characters is at its highest. Now Buck—the hero—must look inward and decide whether to prevail. He must face his deepest fears and greatest weaknesses. He must come out on the other side knowing that he is not listless; he knows what he wants for his future. This would take Buck full circle from who he was in his “Begins” episode where he didn’t know what he wanted or who he wanted to be, and hopped from place to place on this journey. Buck will realize he has hopped from relationship to relationship because he hadn’t defined himself well enough, but NOW he knows who he is. And once he realizes that, we reach the climax: the confrontation. Buck confronts Tommy about Tommy breaking his heart. This immediately segues into the resolution where Tommy acknowledges this hurt and admits the break was due to his own insecurities. And then, much like in season 3 with Abby, the show could keep them broken up to continue their Tommy-Abby parallel. (IMHO— if a resolution is the goal, keeping them broken up would be a more likely outcome when considering contracts. If the two got back together, that would require the show to dedicate a good chunk of screen time to addressing Tommy’s insecurities, something they may not be able to follow through with due to availability.) And then we actually have an on screen portrayal of HOW Tommy was transformative for Buck as opposed to just being told he was.

However, this resolution still requires Tommy to return, and exit interviews seem to suggest the actor who plays Tom is not returning. Meaning, this may remain unresolved. We could have had something that seemed resolved with the potential to revisit it, but instead we have something that would require the show to feature heavily conflict revolving around the insecurities of a character who is not a main, played by an actor who is juggling multiple projects.

Why not make the conflict something that can be resolved with Tommy off screen? Why not provide a little resolution if you cannot guarantee more Tommy? Why hint at fundamental changes to Buck’s character journey and the outcomes of his relationships if this one ends like all the others? Why suggest the show is going to fundamentally alter the way it writes love interests, something that would necessitate a change to how the show approaches any and all secondary characters? Why build up Tommy as a source of character conflict and major transformation for Buck if they cannot dedicate the appropriate screen time to establish that? (Because, remember, Buck TOLD the audience that Tommy was transformative for him, but we’ve yet to see how he’s been transformative like we have with any of Buck’s other previous love interests.) Why build up his insecurities if the show cannot address them?

I actually think they should have stopped going to Miceli’s. I think that place is cursed. Weird vibes. Every time they went, it was awkward.

[vapolis]

I really want to meet merc's partner in the story and learn more about them. so many opportunities for angst... but also I can't see merc leaving anybody for them at this point. and I can't imagine this meeting not being a huge pile of misery for both parties. merc is all fucked up and broken and so so different, they have a new life with new people in it and leaving this life behind is not really an option right now. if they meet it will probably hurt this person a lot. like a lot. meeting merc already hurts enough, but seeing what they are rn makes it worse. and merc doesn't even know shit. they don't remember anything. and then it hurts them in turn. and I don't even know if remembering would make it all better or worse.

I really like merc. and I'd like them to remember at least something from their past. at least some bits. to remember what and who they were. I don't know if it would help them, but I think they deserve it. and as much as I am a sucker for orla, I really want merc to be respected more. to be more than a tool. to be a person, whose opinion matters, whose life matters, whose feeling matter. I want them to be loved and wanted, I want someone to care for them, to listen to them, to actually listen to them. merc deserves so fucking much and I would give them the world I swear, I love them so much, none of these people deserve them. most of them wouldn't really care if merc went and died and I hate them for it deeply.

also I really need merc to cry, that's a carnal desire of mine. sex is good but my god this bitch (affectionate) needs to let it all out. too bad there's no one willing to listen to them and crying on the bathroom floor is a mood but not when you have to go and kill someone for orla right after. I don't know if there will be a happy ending for this game but oh god I need it. I would kill for a happier and more mentally stable merc I swear. I know I'm not treating them good either by making them romance jax and orla (and that's with their dog x mistress dynamic going on. god have mercy) but still. I have hopes. I don't know if I am a fool for having them but god. I need things to be good. at some point.

I'm so so sorry for this wall of text but I swear I can't make it better and neither can I express my thoughts coherently. but I just love merc. yeah. thanks.

the meeting/reveal of their former partner will certainly be interesting! I don't want to spoil anything but I think it'll be as confusing and angst inducing as possible.

them remembering stuff however... I'm not sure if that would be good or bad for them but how things are rn I'd say merc remembering more would send them spiraling. more than they already are.

orla and merc are complicated as fuck but probably my fave dynamic and the scenes I'm writing for chapter 5 are already soooo. a little further going into the direction of orla acknowledging merc as someone beyond a tool to wield.

and I think I've answered an ask about whether the ROs would care if merc dies and vaguely rmr saying yes... they're not as indifferent to merc as it feels and we're also only on chapter 5. so lots of moments that bring ros and merc closer are still to happen!

I'm personally excited for things to pick up a little more now and one or two of the things you describe are yet to happen :)

[aspoonofsugar]

Hi, what do you think Yang's future arc might be, besides the whole Team STRQ background?

Since as of now, there is something that I still feel that Yang lacks compared to the other three heroines. I mean, all three of them have a much bigger role to play in the story compared to Yang, who is just Ruby's sister and being a child related to Team STRQ. And I know that it's probably because of the Citrinitas and Rubedo dynamic in alchemy. But isn't acquiring gold one of the results desired from the Magnum Opus?

Anyways, I also want to ask if you think that there should be more Chinese elements through Yang's story besides her name. I mean, why name her after a Chinese Dragon (who is the most revered mythical creature in China) if they aren't gonna apply it to her story? If Yang's focus is her main fairytale Goldilocks, then why not just name her that is reminiscent of the hot-cold-just right dynamics present in her story? The three other heroines has other fairytales associated with them and I wish that Yang has that too (instead of being just a part of their tales i.e. Red Riding Hood, Beauty and the Beast, Wizard of Oz).

I guess that I wanted the writers to explore more of Yang's ptsd arc, like maybe have Yang practice shui-mo or water and ink painting as a coping mechanism; to essentially help her control her emotions or anger. Instead of Taiyang seemingly looking at Yang through other people's lenses instead of through his own (which might be even worse, like hello mini Raven lookalike).

Anyways, thank you for entertaining this ask of mine. Hope you have a great day.

Hi!

Thank you for this rwby ask :D

So, tbh I don't feel Yang's arc is lacking compared to the others. I would say so far she and Weiss have my favorite arcs among the protagonists tbh (and they are 3rd overall).

Anyway, to address your different questions...

YANG'S ROLE

I think Yang's arc will focus on Ruby and Blake, other than Raven and Summer:

She needs to overcome her contradictive feelings towards Ruby

She needs Blake's help to reconcile her feelings for Raven and Summer

If Weiss and Blake's subplots are linked to the world, as they used to represent two extremes of an ongoing conflict (the Schnee Family and the White Feng), then Ruby and Yang are tied to the conflict through their mothers. So, Ruby will have to overcome Summer, as Yang will have to aknowledge she is projecting part of her feelings towards Summer on Raven. You say Yang has no other role, than to be Raven's child, but if so, then Ruby's own subplot ties to Summer. I don't think there is much difference between the two sisters. It's just that Ruby is also the titular character to an extent and the main hero. That's why she is set up to save Cinder together with Jaune. Anyway, I am expecting the STRQ's subplot to actually be pivotal in volume 10 (and hopefully 11 :P - let's dream big). So, I am not worried about Yang's screentime. I actually think there is more of her arc left than Blake, who just needs a wrap up. As a result, I am expecting Blake this time to be the one that ties into Yang's arc.

In short, I would like a repetition/inversion of their Beauty and Beast motif. Throughout the Mistral Arc Blake is the beast having to deal with a corrupting Rose:

I wonder if this time Yang will be the one having to face her "roses":

After all, it is clear Yang has still to fully deal with her conditional idea of love:

Jinxy: The bidding starts at- Yang: No! I was the first one to- Jinxy: …knowing… what it is to feel loved.

Which can only be resolved through Blake, Ruby and her two mothers. In particular, the fact Jinxy asks for Yang's "knowledge about what it is to feel loved" in exchange of her arms says a lot:

Firstly, Yang lost her arm to protect Blake, so it is like her arm in exchange of love. Secondly, in that moment Yang is slowly figuring out her romantic feelings for Blake, so in a sense she is still figuring romantic love out. Finally, Jinxy's items are metaphorical representations of what they ask:

The mouse is exchanged in exchange of a hug, as a reference to the fact Little is Ruby's inner child and needs to be protected

Ruby is asked hope in exchange of Penny's sword because Penny gives her hope

Finally, Yang is asked for the knowledge of being loved in exchange of a part of herself because unconsciously she thinks she has to give up parts of herself to be loved. That is what conditional love is. You can be loved only if you are good, not if you are bad. It is clearly something Yang believes unconsciously and that stems from her abandonment issues. In short, in Mistral she thinks Blake leaves because she doesn't care. I am expecting Vacuo to be about Yang thinking she has to be perfect for Blake to stay, in a sense.

I think realizing she does not have to be would tie nicely with her Goldilock's allusion:

Vale is the TOO HOT: The Yellow trailer has Yang meeting up with Ruby (red=hot) and asking for a beverage with no ice:

Yang: Strawberry Sunrise. No ice. Oh, and one of those little umbrellas.

(Let's highlight Strawberry Sunrise alludes to both the Citrinitas and the Rubedo phase (yellow + red), which ties into the two sisters, as Ruby loves strawberries and Yang is associated with sun)

Throughout the arc Yang shows her strength (body) and her refusal to tame her own feelings, which end with her losing an arm surrounded by fire:

Mistral is the TOO COLD: Yang's search for Raven leads her to Weiss (blue=cold) and into a bar where she asks for some water to cool herself down:

Yang: A water. It's hot out.

It ends with Yang and Blake together and safe, while surrounded by water:

Atlas can be seen as Yang having found an inner equilibrium towards the JUST RIGHT. After all, the arc ends with Yang and Blake (purple= just right) at balance, surrounded by both earth and air (opposing elements)

However, Yang's equilibrium is suddenly disturbed by Ruby's spiral and I am expecting this to have some kind of lasting impact on Yang. So, I am expecting Yang to quickly go over the three stages again, so that she can realize she is in fact just right, without having to always be right at everything :''')

As for the major plot, it will mostly depend by how Raven and Summer tie to it tbh. It is possible that whatever Summer's plan is, it gave Salem's the idea to use Cinder as a vessel for the Maiden's powers (hence linking Ruby and Cinder together even more). Still, there are still questions related to Raven's past, which will probably find an answer and tie to the main conflict. In short, I really see Yang involved with Ruby in the main conflict concerning Raven/Summer and Salem, which will be pretty relevant plot-wise.

After that, Ruby will probably have the peak of her arc, where she saves Cinder. This fits, as Ruby has had less development than Yang, as her arc has been saved up for the end, so that it resonates more, as she is the main heroine.

YANG'S CHINESE INFLUENCE

Yours is a great question! I am not sure tbh! I have wondered myself if there is some kind of allusion hidden behind Yang's chinese influence, but I could not find it. Maybe someone else did or will! Or it will become clear later on.

In general, I think martial arts are a strong inspiration for Yang's character, so she might have been given Bruce Lee's name. After all, another inspiration for Yang is dragon ball's super sayan:

And someone suggested she might allude to Yang Guo from the return of the Condor Heroes, but I have not read the novel, so I am not sure this is true.

I also don't think it's a problem she isn't called after her fairy tale. After all, only Weiss is directly called after it (Weiss Schnee as Snowhite literally). Blake's name means both black and white and it alludes to Blake being both Beast (black) and Beauty (White). However, it does so indirectly. The same goes for Ruby, whose name and surname are much more tied with alchemy, then her fairy tail. She is the philosophical stone (a ruby) and she is tied with rubedo, whose main flower is a red rose.

Yang's name alludes to:

Her being linked to Citrinitas and to gold

Her being the sky-woman (a sunny dragon), so the Wise Woman in juxtaposition to Raven's Bad Mother

Her being the yang to Blake's yin

It ties indirectly to her allusion in how it alludes to the too hot (sunny dragon), which Yang definately is

Probably something else I am missing :P

YANG'S ALLUSIONS

Yang has actually many allusions:

Goldilocks

LRRH

Beauty and Beast

She isn't only a part of her loved ones' allusions, but she shares them, which meta-narratively might tie with her Goldilock's inspiration. As a matter of fact Goldilock has no beginning nor end. We do not know from where Goldilock is from and we have no idea where she goes after she escapes. RWBY gives Yang a beginning and an end in other fairy tales:

She starts as Little Red Riding Hood (Summer's daughter, who loses herself in the wood, while looking for her mother and meets a big bad beast with ferocious eyes)

She will end as Beauty and Beast (the Yellow Beauty, who burns gold in Blake's happy ending)

In general, all the protagonists have secondary allusions, which tie into their loved ones, not only Yang:

Weiss's secondary allusion is the Snow Queen, which is really Winter's primary allusion. That is because her bond with Winter ans her family is key in Weiss's arc.

Blake's secondary allusion is the Jungle Book, which ties to Menagerie as a whole.That is because Blake's arc is about her whole community.

Ruby' secondary allusion is the Wizard of Oz, which ties to the main conflict with Salem, but is also Oscar's main allusion. So, Ruby too ties into someone else's inspiration.

As you can see, RWB too are parts of their loved ones' allusion. Still, since they are protagonists these allusions end up being just as important for them, as they are for the other characters. Yang is the same, but in her case her loved ones are Ruby and Blake, two of the main heroines, hence she ends up sharing the spotlight with them. Again, it is not really different from Ruby sharing the spotlight with Oscar in the Oz's allusion (Oscar too is a main character, after all).

All in all, each protagonist has their own set of motifs and chosen imagery, which is similar, but also different. It is interesting to understand why. I mean, to this day I keep seeing people getting annoyed Blake shares her trailers with another character (Adam and Ilia)... whereas Blake sharing the trailer ties with her shadow motif and with her beauty and beast allusion. Hers is an allusion, which needs to be shared. Just like Yang's allusion needs to be completed by other stories.

YANG'S PTSD ARC

I love your headcanon and it would have been a great idea! That said, I don't dislike what we got. I also disagree about Yang and Taiyang's confrontation tbh.

First of all, Yang's recover does not start with her father, but it starts with Ruby. She feels responsible for Ruby and decides to get herself back together, so she can go find her sister and protect her. It ties with Yang's big sis complex, which still needs to be addressed. That said, it is a good example of Ruby being Yang's too hot. After Adam's attack, Yang is left depressed and symbolically her hair is tied (her flames are not burning). Thanks to Ruby, she finds new drive and starts her journey of recovery.

Taiyang's advice is thematic in nature rather than psychologic (like RWBY as a series puts more focus on themes, rather than psychology). It tells her she needs to control her feelings better and it is an invitation to find inner balance. This sets up Yang's objective really, more than anything. Finally, Taiyang actually discussing Raven with Yang is necessary and healing. Up until that point Yang's attempts to discuss her mother were always shut down by her father, which clearly made her suffer. Taiyang's inability to address Raven (together with his shutting down) is what leads Yang to put herself and Ruby in danger in a misguided attempt to locate her mother. Not only that, but it is also what leads Yang to repress herself to an extent. She forces herself to be the good daughter and strong big sister, but deep down she too is a child, who wants to know why her mothers both left her. Taiyang could help her to come to terms with it, but he stubbornly avoids the topic. That is why him finally addressing it with Yang helps her. It is also a sign Tai is aknwoledging her growing up. I also think Tai's line about Raven is actually telling:

Taiyang: Your mother was... a complicated woman. Like everybody, she had her faults, but those faults are what tore our team apart. And, it did a real number on our family. You both act like the easiest way to tackle an obstacle is through it. That strength is all that matters in a fight. But if you just take a second look, then maybe you see... there's a way around as well. Come on - one more before dinner.

Does this description fit Raven in your opinion, because imo it does only to an extent. The Raven we meet surely does believe in strength, yes, but she also invites Yang to question things and to look at things from a different perspective. Actually, this description not fitting Raven is also brought up by Yang herself:

Yang: You're right. I don't know you. I only know the Raven dad told me about. She was troubled, and complicated, but she fought for what she believed in, whether it was her team or her tribe! Did you kill her too?

Raven might have learnt knowledge to an extent, but she lacks the wisdom of truly understanding herself. She gives up what she believes in out of fear aka she lacks to take her feelings in check. Not only that, but she needs Yang's perspective to truly see the truth of things and to better understand what strenght and wisdom truly are.

Thank you for the ask, it was fun! Even if I am not sure I gave you the answer you wanted :)

Have a great day as well!

[erasinglines]

it's bittersweet, being back here, faced with memories from the life they once shared together. there's happy ones, of course, that flood to the forefront of his mind— the first time they ever said they loved each other, just down the hall in the bathroom; or all the times following that where those three words were uttered, whether that was in the kitchen, after a dinner they prepared together went horribly wrong and all they could do was laugh at it, or in their bed in the morning, when they awoke to the sight of each other, or in the hallway, just before they're out the door, each day they had to go to work. there was always something so certain back then; this love that held them together, the home they found in each other, that they could return to the safety of, each and every single day. and it's taken him awhile this time around, but he's found his way eventually— back to her, his home. with that, of course, comes memories that are harder to swallow, that aren’t as easy to think back on; two lines on a test, reality coming crashing down around them when that was no longer a possibility, secrets around a job interview, a job offer, a final goodbye, and even a heavy sense of grief, that brought him back to the safety of these walls. and they’re hard to acknowledge, yes, but in a similar way to how those happier memories are, too— all that they had, they nurtured and grew together, all to slip away from them, just like that. there’s so much history, here, in their surroundings, in the breath that they share, so close together. there’s not much else to focus on, then, as her nose nudges against his, the feeling of her breath warm against his skin. no, not much else at all, other than the pounding of his heart in his ears, his chest rising and falling with each of her words. not much else other than the feeling of what it’s like to kiss her, again, to give into the desire he’s tried to tamper down for so long, pretend like it wasn’t there. but, it screams at him now— yes, it’s still there, no, it’s never gone away. so, talk, yes, they definitely should talk, go over the situation they’ve put themselves in, but there were already on the edge of the cliff, weren’t they? what was one more step? “ we should, you’re right, ” his agreement falls easily, because he’s in no position to disagree, but his pause says it all, perfectly timed as her hand rests against his chest, lips close to his own, just barely touching. holds onto some form of restraint, not closing that gap right away, continuing to hover there, fighting the urge. “ i don’t think that makes you a terrible person, no, ” because it was her, them— this would never feel wrong, not to him. besides, the last thing he’d want is for her to feel guilty over it. “ i feel the same, ” he breathes, inching just that little bit closer. and it shouldn’t be surprising, not really, not when they’ve always been on the same page, even about this. as it turns out, self-control isn’t his strongest suit, and soon enough, he’s closing the gap between them again, his lips to hers, but this time there’s an urgency to the kiss, like he can’t stomach the thought of another second passing without feeling her against him. he only pulls away enough to mumble his next words, right there against her. “ actually, i keep thinking that maybe talking can just wait until later. ”

devon can’t stop the memories that flood her mind as they stand here together, in a home that was once theirs. can’t help but remember how it felt to come home with him after a long night out, tired and far too drunk, his arms wrapped around her as their laughter bounced off the walls, stumbling to their room to help each other carefully peel their clothes off before sliding comfortably into bed, falling asleep in each other’s arms. or how they would make breakfast together on slow weekend mornings, drinking coffee in bed and spilling half of it on the sheets, or evenings spent listening to him read to her, staying up too late talking about anything and everything. maybe that’s why she couldn’t fathom leaving this place, despite his absence— so much good happened here. there was so much love embedded in these walls, in each creak of the floorboards, in every piece of furniture they picked out together. and now she could almost trick herself into believing they had gone back in time, that this was just another one of those nights, where she could just lead him to their bedroom, kissing all the way there, but it wasn’t. or at least, it shouldn’t be. despite how her lips tingle to kiss him again and again, she knows they’ve already crossed a line. but hearing him echo just how much he missed her, too, blurs it even further in her mind. that always happened with him, didn’t it ? he was the exception to every rule, the only person she would do absolutely anything for, if he asked, no matter the consequences. it’s intoxicating, being this close, kissing him, touching him, feeling the warmth of his body against her own one more time. even if he wasn’t technically hers anymore, god, was she so fucking lucky to have him at all. remains close as she smiles up at him, pressing a soft peck to his cheek, lingering there for a moment. “ feels real to me, too, ” she whispers, so real that it’s almost visceral— her senses were overrun, her brain filled only with thoughts of them and the life they once shared, her heart overwhelmed with love and care. and it’s enough, just being here with him like this, but she can’t ignore that desire for more, even though she’s desperately trying to shove it down, to remind herself that there had to be some sort of boundary, that there were two other people to think about. it’s hard, though, when he’s kissing her, or looking at her like that, or when he reaches down to intertwine their fingers together so easily. fuck. “ me too. i've almost called you so many times, ” it’s followed with a squeeze of his hand, then, as her nose nudges against his own, tempted to close the gap and kiss him again, but she tries to hold onto any shred of self control she has left, just for good measure. even then, she doesn’t pull away. “ do you want to ? talk, i mean, ” she breathes, voice coarse. “ because we can. we should, probably, ” the words are a little shakier, now, as her free hand slides up to rest against his chest, curling against the material of his shirt as she leans in closer, lips skating against his. “ because i… i’m afraid that if i keep kissing you, i won’t be able to stop, and i’ll do something really fucking stupid, that i know i shouldn’t but that i can’t help because it’s you. ” — “ does that make me a terrible person, you think ? ”

[officialpenisenvy]

Since it seems down your alley and idk if youve talked about it before to my knowledge im really curious about your thoughts on trans exclusionary radical feminist fixation on pederasty (see: germaine greer’s the boy) + lesbian desire in relation to the like, archetype of the ganymede + the relation between that and sexual objectification of transfems and the utilization of said ganymede archetype in art as a sort of ��agencyless transfeminine” 

okay so i want to say first of all that this is just me talking out of my ass and basically reflecting out loud (most of my blog is, but especially right now), so i don't know how coherent this will be, and i apologize preemptively if any wording on this is questionable or offensive, that is never my intent. i haven't looked into or researched this subject, so if you have any recommendations i would love to hear them! ramble answer under the cut

im very familiar with germaine greer's the boy, i have read it (as much as anyone can be said to have read what amounts to a pederasty-themed photo album) and reflected on it for some time: while the purported effort of the book is to "reclaim" pederasty from gay men towards women, i feel like the very desire to enable women to be pederasts is entrenched in greer's radical feminist background. trans-exclusionary radical feminism is built around bioessentialism, the assumption that men are ontologically different from women, and specifically that men are essentially evil, strong and predatory whereas women are essentially good, weak and preyed-upon: the young boy, however, somewhat disrupts this paradigm, being as he has been historically and culturally objectified and preyed upon and victimized in the same way women have. though he will inevitably grow up to become the evil strong man who harms women, therefore, the young boy can still be enjoyed by the woman while he is weak and essentially harmless, a more even relationship than that between a woman and a man that still allows a potentially heterosexual woman to satisfy her desire for a man; i don't need to specify that in real life we know any relationship between an adult and a child cannot be even and is more often than not deeply harmful to the child, and that the vast majority of adults who do sexual harm to children do so not necessarily because of physical attraction but because of attraction to their helplessness.

all this above is my attempt at finding a terf-ist rationale for female pederasty, but it does also somewhat mirror societal attitudes to the young boy, especially in a gay male context — starting from ancient pederasty up to basically the present day, the young boy is consistently the feminine or feminised party, at least in part due to his fragility and weakness in comparison to the (necessarily) stronger adult lover. the young boy, who i will now start calling the ephebe in this more archetypal context, therefore becomes a very powerful cultural figure of androgyny: ganymede's gender is important insofar as zeus chooses to bring him up to olympus and train him up as a cupbearer (a social role unthinkable for a girl), but his vulnerability and sort of waifishness are properties both of the ephebe and the girl/woman, and the same goes for all other popular depictions of ephebes, they are young boys noted for their beauty and androgyny who are functionally interchangeable with girls. as many queer people are, i find androgyny to be very attractive in all its variations and potential combinations, and i think that's why im so drawn to the ephebe as an archetype (needless to say i don't want to fuck actual young boys): the fascination with this concept of a beautiful boy who's devoid of most stereotypical characteristics of masculinity and who's somewhat forcibly put in the social role of a girl is to me a similar drive to the one that makes me attracted to very masculine women, i really enjoy the deliberate blurring of gender lines (and it would be pointless to hide that i also enjoy the element of coercion, though that is a recurring theme in my sexuality which is not limited to the ephebe).

obviously, all this discussion is separate from attraction to actual trans women: my attraction to trans women is motivated by them being women, so my enjoyment of a fem trans woman is paramount to that of a fem cis woman, my enjoyment of a masc trans woman is paramount to that of a masc cis woman (so coming from that place of liking androgyny), and so forth. of course, whether or not one is attracted to trans women is secondary to whether or not they actually treat trans women as women and respect their identity — plenty of people are attracted to trans women and behave like absolute monsters towards them.

like you said, trans women are horribly objectified and sexualised: to my understanding there's two broad categories of sexual objectification trans women face, being forcibly put in a submissive position (so basically recycling the ephebe archetype, especially coming from people who see trans women as particularly feminine boys), and being forcibly put in a dominant/active position (especially from people who see trans women as men and thus inherently sexually domineering, and who potentially fetishize their genitals as well). the forced submission, while obviously horrible and transmisogynistic and often meant as punishment for the transgression of manhood, isn't in practice terribly different from the forced submission cis women tend to experience to a lesser degree, so it can be in some measure rationalized as assimilable to the sexual treatment one would receive if she were as a cis woman (intersectional parenthesis demands i point out that cis and trans black women sexually interacting with non-black men are more likely to be put in a place of forced domination than forced submission). the forced domination, however, is pointedly and manifestly transmisogynistic in a way that specifically portrays the trans woman in question as "really a man" and "really secretly dominant", often with a very phallic emphasis, and this can be an obvious source of discomfort and dysphoria for trans women, some of whom will try to counteract that by making themselves deliberately more submissive and pliable and non-dominant, basically embodying the feminine and ephebic archetype of passive sexuality, or the "agencyless transfeminine" like you said.

i am not sure any of this makes sense, i hope i was able to be at least somewhat coherent for you anon! i would really love any input or criticism my transfem followers might have on this, since im obviously only speaking from what i have seen and am not a trans woman myself but just a tme yapper on the internet — again im very sorry if any of this comes off as offensive or insensitive, please let me know so i can correct myself if needed.

[thedrotter]

as a little treat i am sharing with you little Aya doodles I've done over the last few days to unwind ww just little expressions based on lines in-game because those are always fun to draw. nothing too special just biscuit

it's Aya because upon doing bizarrely throughout playthroughs of the game for still unspecified project purposes I've gained a soft spot for her she's my daughter now my mental tier list on my favorite characters is so confusing right now

[shoechoe]

hope this isn't going to cause shit but i think tumblr users have a warped idea of what being "pretentious" means

[ritualove]

Silas admittedly got a little bit bashful again when Shira teased him again. He couldn't help but laugh as he watched her perform, him being the sole audience memeber. He liked watching her perform, even if it was at his expense, frankly he kind of liked that it was at his expense, he wouldn't admit it though. When she said she wouldn't mind infecting him, it made his heart skip a beat. His face definitely went a strong shade of red, Shira's face in her hands being his saving grace. Seeing her laugh so openly gave Silas a strange feeling, almost like a sickly feeling but nice? Oh god, that might actually just be butterflies. "How could that have come out right!?" Silas said, laughter finally leaving his blushed cheeks. He was mesmerized by how she moved, especially when she was laughing. The way she hid her face in her hands, looked through the gap in her fingers, and put them in her lap. She moved in such a unique way, it was almost hypnotizing. Silas took another, smaller, sip from the glass, and offered Shria another sip from the glass. He wasn't sure whether or not she wanted it, but he would be remiss if he didn't ask. His head tilted at her statement of honesty, he couldn't help but smile, "You also shouldn't tell lies." He said, in a fun tone. Silas has definitely broken promises in his life, more than he would like to admit.

He felt relief as she reaffirmed that his company dosen't concern her. Shira's soft tone, like a surprise to herself, even got Silas a little hung up. He has been looking at her so closely, examining her every light movement, or the way the light touches her soft skin, but he hasn't taken the chance to listen to the way she talks, or the way she breathes. Her voice sounded strange, in a good way, the only way he would be able to describe it is comforting. As she asked him what he was intrigued by, Silas actually had to pause as he considered his answer, a deep perplexion spreading across his face. He found his answer, and recited it in the appropriate noir movie narrator tone. "Probably the femme fatale thing, sitting on a window sill, looking out the window, smoke on your lips. You look like someone who has a secret, a secret that I can't help but want to know." He was a little impressed at what he came up with, he should have written it down, but it wasn't exactly the truth. It was a performance that he said to her, and she deserved better than that. She deserved to know his honest, uneditted thoughts. He leaned in, close to her, his head past her head so he could whisper in her ear, "In all honesty I have no idea what about you intrigues me, but I want to find out." He pulled back, giving her her space back, the smell of Shira's hair leaving him with a buzz, a second hand high.

Silas raised an eyebrow, "A photographer?" He smiled, like he just found out a clue to a mystery, some break in a decade old cold case. He's been photographed countless times, for magazines or the back of his books. He dosen't think he's ever had some want to take his picture, at least without getting paid, it felt nice, especially being told it in a whisper. He couldn't help but move ever so slightly closer to her, her proximity more comforting than the sound of her voice. Her closeness something he has grown to desire. "I'd love for you to take my picture, as long as my clothes stay on." He paused, eyes going upwards in thought, "Actually I'd love for you to take my picture either way." Silas watched her closely, a mischievous grin forming on his face. Just a silly joke, even if he was being completely honest.

Shira couldn't help herself but laugh with him, stars in her eyes as she shot him a curious but teasing look, one eyebrow raised. "Oh, you want my cooties? Specifically? You're right, very different. My mistake." She gave a mock bow, silently repenting; but her gaze remained on him, lashes batting in a deliberately slow pace. "I guess, I wouldn't mind infecting you, then." It sounded much better in her head than it did out loud. A deep blush spread across her cheeks and she buried her face in her hands as a series of her own giggles erupted. "Oh, god, that came out wrong." Came out wrong but the sentiment was still the same. She grimaced into the space between her fingers before she placed her hands back into her lap, smiling at him wryly. "Thank you very much, Silas." Shira said, making sure to match her tone to the way he had said her name just a beat before, lingering and sweet. She didn't hide her appreciation, relaxing back against the sill as she watched him help her make the content's of the cup disappear. "I've never made a promise that I didn't keep." Her tone deliberate. Almost a tease, a challenge wrapped in affection.

She had noticed too, the way he looked at her when she was in the midst of speech. Not in a shallow way, much like one would go through the motions a la muscle memory. Rather that he was not only listening to her words, but assessing the true meaning’s that were nestled in the in-between’s; every gasp, hum and scrunch of her nose. It wasn't often that she saw that kind of sincerity. It exhilarated her and terrified her all the same, adrenaline pulsing and filling her with a warmth that spread throughout her chest. Shira had spent years trying to thicken up her skin so that she wouldn’t keep dripping blood all over everything she came in contact with that made her feel that kind of warmth. But in that moment, she wanted to shed that skin. Serpentine. A yearning that only increased the longer Silas peered at her. His carefully placed smile pulled her from the rest of her internal monologue, “To Portland!” she parroted, bringing her hand up to pretend to clink a glass against their shared one that sat in his hand. Even if she didn't think that it was wise for her to ever go back there; Shira still found herself thinking that Burnside might glow a little brighter if Silas were standing on it.

“No, no, no,” she quietly babbled, her hands waving in small, dismissive but friendly strokes “don’t be sorry, it’s okay. I don't mind.” And she really didn't mind; him looking at her like that. Even if it did make her more self aware. Shira pressed a palm back to the sill for a moment, trying to steady herself from a heartbeat so strong she swore she could feel it even in her toes; all numb and buzzing. “Pray tell, Silas,” she hummed — a soft, blithe tone that surprised even herself “what is it about me that is so intriguing to you?” Shira tilted her head to the side, her toes curling inside of her sneakers in anticipation of his answer; bated breath furling in her throat. “I find myself intrigued by you too.” Barely escaping amongst her own over thinking.

Suddenly; a thought. One that she couldn't stop from rushing to fruition, proverbial word vomit “I think I’d like to take your picture sometime.” Which only left her blushing even more than before. She wanted to evaporate, sure she was embarrassing herself now. “I mean, if you'd like that.” Shira quickly added, squaring her shoulders as she resumed her position leaning towards him, quickly growing fond of their hushed conversations and carefully placed nuance.

[scionshtola]

i kinda wish ppl would let go of the “and it’s supposed to be killing shtola to use her aether to see” just bc that’s not what was intended by “life force” and they’ve made that very clear and also more and more ppl exaggerate it like “the VAST amount of aether it takes for her to see” who said that…

[cherry-treelane]

everytime i watch shameless I get hit with a jolt of sickness and remember how frank and monica stole fionas life from her and she'll never get it back because it never existed because she was a sister first her whole life (from the age of 4) and everything else second and its always just so casual in the show and normal and rarely touched upon but it's not normal at all and it's tragic

[5-htagonist]

.........im just gonna be real i do not see kabu misu. like period...... like dont get me wrong theyhave a good dynamic but it was NOT mithrun in the middle of his conspiracy board

[phagodyke]

the masculine urge to take a saucepan off thr draining board and bash myself repeatedly over the head with it until I pass out and no longer have to experience feeling Bad 😍