#feysand critical

[msbrownwithacrown]

Characters who have lost their temper and had an unexpected Outburst of magic:

1. Feyre, High Lords Meeting. LoA injured.

2. Tamlin, Study, office destroyed, Feyre injured.

3. Aelin, Nehemiah's death, Chaol injured. (Not a magical outburst but fae blinded rage, yes) .

4. Dorian, in the healers office, Sorscha injured.

5. Bryce, interrogation room, room is ruined. Shielding was required.

Characters who get called abusive because of this:

1. Tamlin.

[reblogandlikes]

Paraphrasing, but the general idea of, "Oh my gosh, Rhysand let's Feyre breathe and go wherever she wants and can make her own choices in Velaris, whereas Tamlin’s stripped her of all her autonomy. He's so abusive and doesn’t listen to her."

Bruh, Velaris is a literal secret city no-one knows of and has a fucking state of the arts super shield around it that requires the help of the bloody Cauldron to break. Plus, the Lord of Bloodshed, the Shadowsinger, the Morrigon, the Otherworldly creature trapped in fae form, and the self proclaimed all Most Powerful High Lord reside in this single space. Of course, Feyre suddenly feels like she has "Freedom." There's no need for surveillance (even though she's always accompanied by one of them) and is basically living in an impenetrable bubble away from all possible dangers.

Then there's Rhysand who can literally feel and hear everything she doesn't express, whereas her and Tamlin had the silly unspoken rule of not talking, but instead carry on - push forward which ultimately resulted in her growing resentment, but she was quite literally a participant in this just as much as he was, while refusing to believe him when he said it was dangerous or that the towns people wouldnt want her help because they were so grateful or getting mad because he had to be an active HL. Hybern were actively looking for her; there's literal monsters roaming his land. Of course, she needs to be protected because the girl is literally in danger. And then the one time she did go out to hunt or whatever, and look, she froze.

To tamlin, she's in danger from Hybern and their monsters, in danger from Rhysand who has been nothing but a known menace to Prythian and she's in danger from the HL's if they ever realise she has powers she's not meant to possess. Plus, the act of rebuilding his court and strengthening relationships via those "parties" he's not allowed to smile at and ensuring the safety of his people. Dude has a lot going on at once, nevermind his own trauma that's being repressed and trying to become reacquainted with his HL powers.

Now these are very huge differences in environments. One in a controlled setting and another that isn't. Similar when Feyre was in the Moon Palace because that's controlled too. Now, what if Feyre was in Hewn City or Illyria instead? Yeah, all that "Freedom" she loves would be cut real quick.

Hell, she was placed in a literal bubble when pregnant while wholly safe in Velaris for...reasons. But, "Rhysand is just being Rhysand 🤭✨️ hee hee," I guess.

Feyre with Tamlin and Feyre with Rhysand are not comparable when the situations during a time of internal turmoil for her are vastly different. And despite this obvious observation, somehow it doesn't register as the beginning of turning Tamlin into the antagonist despite never once getting his POV beneath the surface.

[merwgue]

Sarah J. Maas: The Queen of Broken Women and Savior Men — A Deep Dive into Internalized Misogyny and Bad Writing

Sarah J. Maas is often hailed as one of the most popular fantasy writers of our time. Her series A Court of Thorns and Roses (ACOTAR) and Throne of Glass have millions of devoted fans, and it's not uncommon to see her name thrown around in discussions of "strong female characters." But when you take a closer look, a disturbing pattern emerges: almost every female character in her books is traumatized, broken, or impoverished, and it’s always the men who swoop in to fix them. There’s an underlying current of internalized misogyny that not only seeps into her stories but actively shapes the narrative. What’s worse? She can’t seem to write a truly independent woman character. Let’s break down why Maas’s writing is, at its core, problematic, unoriginal, and deeply flawed.

The Argument: Internalized Misogyny Wrapped in Fantasy

First, let’s address the root of the problem: Maas seems to believe that a woman can’t be strong unless she’s been torn apart by life in the most brutal ways. In her books, trauma is a prerequisite for strength, but only if a man is there to help the heroine overcome it. This trope is not only tired but also harmful. Maas constantly reinforces the idea that women need to be broken down to their lowest points in order to be "worthy" of a male savior.

When you strip away the fantasy elements, what you're left with is a pattern that closely resembles an old-fashioned, patriarchal narrative where women must endure suffering before being saved by a knight in shining armor. The "knight" might take the form of a High Lord, a warrior, or an assassin, but at the end of the day, Maas's female characters can never truly save themselves.

Feyre Archeron: The Poster Child of Trauma and Savior Worship

Let’s begin with Feyre Archeron from ACOTAR. She starts as a poor, broken young woman who sacrifices everything for her family, only to be thrust into a world of fae politics and violence. Feyre's trauma begins with the infamous “beast” Tamlin, and continues under the thumb of Amarantha, who tortures her in unimaginably brutal ways. But as if that weren’t enough, Maas ensures that Feyre's psychological scars run deep, so that Rhysand can swoop in and heal her. Oh, and let's not forget her trauma-induced depression after being trapped under the Mountain and made into High Fae against her will.

Sure, Feyre finds strength eventually, but only after Rhysand pulls her from the brink of despair. He doesn’t just help her heal—he remakes her. Feyre's arc quickly becomes about how Rhysand’s love, protection, and endless patience help her find herself. It’s through his intervention that she becomes powerful. Where is the agency? Where is the true independence? Feyre is never allowed to rise on her own—her entire arc is built on the shoulders of a man’s intervention.

Her “strength” is conditional, tethered to a man’s support. Without Rhysand, who is Feyre? Apparently, no one of consequence.

Nesta Archeron: The Angry, Broken Woman Who Needs a Man to Save Her

If Feyre’s story wasn’t enough, let’s talk about Nesta Archeron, who is possibly the most obvious example of Maas’s inability to write a truly independent woman. Nesta starts off as angry, bitter, and deeply traumatized by her experiences. She’s lashing out at everyone, and in A Court of Silver Flames, we see her spiraling into self-destructive behavior.

So how does Maas handle this? By sending Nesta off to be “fixed.” Cassian—ever-patient, ever-ready to rescue the broken woman—steps in as her savior. He helps her train, helps her heal, and becomes the crutch she needs to finally face her demons. The message here is clear: Nesta cannot save herself. She needs a man, a warrior, a male who can handle her anger and tame it.

What’s infuriating is that Nesta is never allowed to be strong on her own terms. Instead, Maas reduces her arc to one of forced rehabilitation, where male intervention (and sex) is the ultimate cure for all her pain. Cassian’s constant hovering, watching her every move, isn’t empowering—it's infantilizing. Once again, Maas reinforces the tired trope of the broken woman who needs a man to show her the way.

Aelin Galathynius: The Assassin Queen Who Still Needs Saving

Now, let’s shift to Throne of Glass. Aelin Galathynius is arguably Maas’s most “powerful” female character. She’s a queen, an assassin, and one of the most skilled fighters in the realm. And yet… Maas can’t seem to let her be powerful on her own. Aelin spends much of her time in Queen of Shadows and Empire of Storms either being captured, tortured, or emotionally crippled by the weight of her destiny. For all her strength, she’s constantly needing Rowan—her male savior—to guide her, protect her, or just plain save her from herself.

In Kingdom of Ash, Aelin is literally chained and tortured for months. And while this is meant to be a testament to her resilience, it’s just another example of Maas putting her female characters through hell so that men can come to their rescue. Rowan is once again her knight, her protector, the one who will fight to free her. Even when Aelin saves herself, it’s with the help of a man or because of the love a man has for her.

What happened to the assassin queen who was capable of taking down armies? Oh, right—she’s been reduced to a woman who can only triumph if a man is at her side.

Bryce Quinlan: Party Girl Turned… You Guessed It, Traumatized Heroine

Bryce from Crescent City is another classic Maas creation. She’s a party girl, carefree and wild, until trauma strikes, and she’s forever changed. Cue the entrance of Hunt, her male protector who steps in to help her navigate her grief, her trauma, and the dangerous world she now inhabits. Bryce may have a sharp tongue and fierce attitude, but Maas makes sure that she is broken enough to need a man to save her.

Hunt becomes the anchor in Bryce’s life, and once again, the pattern repeats itself: Bryce cannot face her demons alone. She cannot be strong without a man by her side. Her trauma is the driving force behind her character development, and Maas wastes no time in ensuring that Hunt is always there to steady her when she falters.

Villainous Women: The Ones with Power Get Punished

Let’s also talk about the women in Maas’s books who do have power—Amarantha, Maeve, Ianthe, the list goes on. These women are almost always villains, and what makes them villainous? They’re powerful, independent, and don’t need men to define them. Amarantha, for all her cruelty, is a ruler in her own right. Maeve, a queen, is feared and respected. And what does Maas do to them? She tears them down, punishing them for their independence, for daring to claim power in a world where only men are allowed to hold it without consequence.

These villainous women are never given depth beyond their cruelty, and they’re almost always defeated by men. Maas’s treatment of powerful women in her books reinforces the idea that a woman’s strength, when unchecked by a man, is dangerous and unnatural. It’s not just lazy writing—it’s deeply misogynistic.

Conclusion: Sarah J. Maas, the Fantasy Author Who Can’t Write Women

So, what’s the takeaway? Sarah J. Maas is a writer who consistently undermines her female characters’ independence and autonomy. Her female leads are traumatized, broken, and only find true strength when a man steps in to save them. The pattern is clear, and it’s damaging. Maas’s world is one where women are only allowed to rise if they have a male savior by their side, and any woman who seeks power independently is punished for it.

This is not empowerment. This is not feminism. This is internalized misogyny at its finest, wrapped up in a pretty package of fae magic and romance.

Maas’s inability to write an independent woman character is a glaring flaw in her work, and it’s time we stop praising her for perpetuating harmful, outdated tropes. If she ever wants to write truly strong female characters, she needs to stop leaning on trauma as a crutch and allow women to find their own strength—without a man’s help.

Until then, Maas’s writing will remain a problematic ode to broken women and their savior men, with little room for genuine female empowerment.

Inspired by @extremely-judgemental , I loved their post!!! Please check it out meringues❤️❤️

[wingsdippedingold]

If y’all wanna argue that Rhysand keeping Feyre’s pregnancy from her was out of character and just there to give Nesta a plot and make people have sympathy for her, then I want to argue that Tamlin saying weird crass things about Feyre was out of character and just there to make it hard to feel sympathy for him 🤷‍♀️

[1800naveen]

Daemati powers are dumb as fuck because it's only useful when it has to be useful or for dramatics.

Has Rhysand ever thought of looking through Tamlin's mind to find out the truth of how his mom and sister died?

Why didn't Feyre just look through Tamlin's mind during Acowar?

Instead of torturing people, Rhysand can just look through their minds.

Feyre looking through Tamlin's mind to find out what Amarantha did to him during utm? What caused him to be who he was in acomaf?

SJM, PLEASE🙏🏾

[mia-nina-lilly]

Reasons why I still like Tamlin and prefer him over Rhysand and I always will, day 16:

- Tamlin has been trying to change his court for the better, to make it a safe space for everyone who lives there because apparently, previously, the place was the same or worse than Autunm.

- Meanwhile, in Hewn City it is still legal to parade nearly naked in public and, on top of that, break a man's arm for acting in accordance with the image he is seeing.

- Ps: And in Velaris you cannot look at the sky in peace.

[ennawrite]

Tamlin: *is personally targeted by Amarantha to be her lover, denies her advances & gets cursed, spends the next 50 years sending his sentries out to ultimately die (something he feels extreme guilt for and tries to stop), actively takes in refugees from other courts, spends a majority of his time hunting down Amarantha’s monsters from his lands so they can’t harm his people, gets a human woman to fall in love with him but sends her away so she won’t be in danger, goes UTM, basically becomes Amarantha’s lap dog, somehow holds all of his emotions back because ANY sign of ANY emotion would get Feyre killed (did I mention how down-bad Amarantha is for Tamlin? Yeah.)(Also, Rhysand somehow finds it suitable to parade Feyre around like his own personal whore because…he wanted to rile Tamlin up? Which would have lead to Feyre’s death…🤔), ends up killing Amarantha*

Rhys:

jesus man, I know you hate him but give roses where roses are due. Tamlin did A LOT, but I guess doing Amarantha’s personal tasks (like killing children) is the only thing that holds any merit to the High Lord of the Night Court 🫤

[maybeiwasjustjade]

The High King theory truly makes me ill.

And knowing SJM and her obsession with making certain characters superior and/or have some kind of divine right to rule, I know she’ll try to make it happen at the expense of literally everyone else.

Moreover, I don’t see how it can happen without a major war. They just got out of 50 years under Amarantha, I doubt the courts are itching for another incompetent warlords’ attempt at HK/HQ.

Who exactly would bow to Feyre and Rhysand? The High Lords meeting showed that barely anyone tolerated them, nor did they have any actual allies that wasn’t Helion. And I doubt Helion would be so forgiving when he finds out about Lucien. Tamlin and Eris would never, so they’d have to die. Neither would Tarquin or Kallias agree, so that’s a given war with the Seasonal Courts. Dawn would stay neutral, or end up the rebel court. It really is the only toss up.

And even with Gwydion (which rightfully belongs to Nesta alongside the Trove) as some kind of divine symbol, feysand genuinely sucks at ruling. Conquer Prythian—yes, conquer because the other HL would never submit if they asked nicely—when they can’t even rule or play nice with their own people. Enough with the HK dreams, Amren; Rhysand would be lucky if Illyria and Hewn City don’t band together soon to stage a massive uprising.

(Y’know I’m not surprised nobody in the IC can empathize with the CoN citizens. They were all trapped in Velaris for fifty years, where they were free and the sun still rose. Imagine if they’d been UtM with everyone else; maybe then they’d get it. That life where even the sun and trees and anything worth living is out of reach at the whims of a dictator is no life at all.)

And I’ve seen theories floating around that the HK plot is set up for Nyx instead, because he’s destined to inherit all seven powers of the court. Yeah, that’s equally terrible. Divine right to rule and conquer is bullshit. Balance is something that should exist but doesn’t in Acotar. If it did, Feyre wouldn’t be as powerful as she is. 7 drops is not a lot of magic; so tiny and miniscule that each HL didn’t even really notice they lost it. It doesn’t make sense that she could go toe to toe with them with just a singular drop.

Which is baffling when the same author wrote ToG. Everything that was given was scraped together and fought for miserably, and even in all that power, they had to sacrifice so much. Aelin Settled and got her kingdom back, but at the price of losing almost all her fire and getting to keep one drop of water. Dorian still has most of his magic, but at the price of being made a demon slave, committing fratricide, and having the sole responsibility of redeeming his kingdom ala Zuko. Manon fulfilled the prophecy and united her people, allowing them the chance to return home for the first time in 500 years. All it took was losing the Thirteen, who would never see that dream come to life.

Nothing came without cost.

And while yes, Feyre deserved to be remade after her death saving Prythian, the amount of magic she wields is the issue. Nesta having so much magic made sense given she stole most of it; we have yet to really see how much is left. But where’s the balance if Feysand does end up HK/HQ, or Nyx does. What have they given up that makes them more worthy to rule the entirety of Prythian than literally any other character? Because I can argue that they’ve lost a lot lesser. Whatever rights feysand believes they have is no more than a lot of other characters.

And the bloodline of Theia? Yeah, I’m pretty sure the important ones are her female descendants, like Bryce. And Bryce gave Gwydion to Nesta for a reason. If SJM wanted me to believe Feysand was the best choice, she should’ve made Nyx be born full Illyrian. Or better yet, mostly High Fae but with no magic. That would’ve been a much more interesting story to follow, given that Nyx might not be the next inheritor of the Night Court. And what it would mean for the Hewn City. She’ll never do it of course, but it would be fun.

[lainalit]

The easiest way SJM could have "fixed" the SA storyline from under the mountain when she decided to make feysand endgame in Acomaf is to

Utilize the fact that Rhysand is fae, so for him the concept of consent is foreign and more unclear

Make Rhysand desentitized in regards to SA because of his own SA by Amarantha for 50 years

Make Amarantha be a reason of why Rhysand panically decides to make feyre his plaything, e.g., Him overhearing a conversation beween Amarantha and a noble fae and said fae wanting to "purchase" feyre for his pleasure with Amarantha contemplating it

After this is established, make feyre's trauma be in response to rhysand's actions in utm; let rhysand feel guilty and make him apologize once he understood what he did was wrong; let their sexual encounters not be a cheap plot device but instead have them both figure out what they want in a partner and how they could work through it together, e.g., them touching each other and verbalizing what they like or don't like; or have a scene where they lay on their sides on the bed and have a mirror in front of them so rhysand doesn't feel controlled by feyre and feyre can always see what's happening via the mirror

[yourlittlebunnyy]

chapter 42

Imo not enough is said (or at least I don't see enough) about chapter 42 of acomaf, which is the throne scene with Rhysand and Feyre.

I think it is one of the worst and most hypocritical scenes i have ever read in my life and shows how Rhysand is a man who is willing to put power before everything.

At that moment Feyre did not know about the bond, but Rhysand did. Despite this, he decided to introduce Feyre into the worst part of his Court as a whore. Just as he was to Amarantha. He humiliated her in front of everyone, talking about her as if she was a mere piece of meat.

When they returned he brought Feyre back as High Lady. A title invented by him that actually has no value and destroys the whole concept of the Courts, but these are conversations I'll address in another post. Everyone recognized her as his whore, of course. And when they referred to her that way (rightly so, since that's what they recognize her for) he had the nerve to get angry.

Not only is he a hypocrite because having suffered the exact same thing himself, why would you do that to your mate?

And more importantly, how did you expect them to respond to Feyre the next time? That they would bow down and respect her when you first didn't, making this kind of thing seem okay? Or that as soon as they heard that you made her High Lady they would start kissing the floor where she walks?

He's also stupid, since the objectification of Feyre in that scene is totally unnecessary. Sjm wrote it thinking "oh, readers will definitely like this one" but didn't realize that it's the most disgusting thing a loved one can do especially if it has no value to the plot. It didn't benefit him or his Court or their plan, it just humiliated her.

"But Rhysand needed a distraction because Azriel had to get the sphere or whatever." Okay? Distract them in other ways? It's the same thing as UTM. Don't use these things as excuses for what he did. Also, Azriel is a fucking spy. Let him do his job. AND RHYSAND IS AN HIGH LORD??? just take that fucking thing and go lol even if it wasn't his he can do whatever he wants without the need to justify himself.

"But Feyre liked it." Nobody here is talking about liking it. This is about the dehumanization of a woman who doesn't deserve it.

sorry i had to vent i hate him too much

main masterlist

[chooseoptioncbitch]

I see a lot of people being anti IC these days and I think it's good we're not gaslighting ourselves anymore. Still I wouldn't say I'm exactly anti IC I'm just more IC critical. Cuz l still love their dynamics, simp for the batboys, and like the ships. Especially if we're talking about the version of the IC with the Archeron sisters (nesta is queen). BUT I feel the fandom used to ignore just how badly the IC fucked up and that other charecters were just as if not more interesting (the valkyries, Vanserra brothers, even the Summer court trio). Like Feysand pretty much ruined millions of people's lives just cause they had a personal feud with Tamlin. Don't get me wrong he fucked up but honestly not more than a lot of the IC, but that's not the point. The Spring court became practically uninhabitable and Feysand, who is supposedly super powerful didn't bother helping. Cassian, a good charecter and male, is really to much of Rhysands dog and don't even get me started on how he (and the rest of the IC) treated Nesta, his literal MATE. Mor is honestly so problematic, I'd have to post a whole ass essay on that.

[littlefeltsparrow]

Somehow Feysand makes the whole “soulmates” trope cheap.

This is why their relationship in ACOTAR was the best version of feysand. Because at that point, it felt like they were getting to know each other on equal terms instead of one person knowing that the other is their future partner. But when ACOMAF rolls around, it undoes all of that genuine character development and replaces it with a cheap “I was in love with you all along and was just pretending when I did all of that bad stuff!”

Mates are meant to be “equals in every way” and yet their relationship feels distinct unequal from the very beginning. For one, Rhysand knowing that Feyre was his mate for the entirely of ACOTAR and half of ACOMAF lends a certain inevitability to his love for her. Because of the mating bond, he would always gravitate and feel some affection towards her regardless of Feyre’s actual personality. What I’m saying is that it feels impersonal, I want to know what makes them understand one another and truly appreciate how the other person compliments them. But there’s very little specificity because the mating bond manufactures a “cosmic connection” that draws them together and isn’t earned.

Rhysand knew Feyre was his mate simply by looking at her and that has defined their entire relationship. The way that he was fully aware of the mating bond is something that makes the relationship development feel…off. It’s hard to explain, but the fact that he knew the whole time made it feel unbalanced and like he was just…waiting for Feyre to fall for him. Furthermore, that knowledge makes their relationship moments in ACOMAF feel less genuine because there’s a sense that they *must* be together due to the powers that be. Not because they actually choose each other (no matter how much Maas would like to convince you that they did) but because some magical force decided that they’d make the strongest magical babies.

I really like the soulmate trope, but the way Feysand handles it feels shallow and unearned.

[reblogandlikes]

Miryam and Drakon/everyone thinking the worst of Jurian gives me the same vibe as Feyre and Rhysand/everyone thinking the worse of Tamlin.

The ex's getting the worse reputations, damned for doing the best they could and never forgiven for playing double agents, which ultimately aided in winning their wars. Odd. I don't like it. Tamlin is left with nothing, and Jurian had gone through 500 years of trauma and hell. Wtf.

[merwgue]

Sarah J. Maas's A Court of Thorns and Roses series, despite its claims of promoting feminism and female empowerment, contains an undercurrent that undermines its own narrative — particularly when it comes to addressing Rhysand’s sexual assault of Feyre. In A Court of Mist and Fury (ACOMAF), we see a scene that exemplifies this disturbing dynamic: under the mountain, Rhysand forces Feyre to kiss him while she is under his mind control, leaving her helpless and stripped of agency. While Maas paints this as part of Rhysand’s complex plan to save her, the reality of the act — that he violates her consent — is swept under the rug as their relationship progresses. This lack of resolution highlights a troubling issue: Maas is aware that Rhysand's actions constitute an assault, but rather than allowing the characters to address this, she buries it under romantic arcs and "fated mate" destiny.

A glaring moment in A Court of Wings and Ruin (ACOWAR) emphasizes the awareness of Rhysand's assault. Lucien, during a heated exchange with Feyre, accuses her of having loved Rhysand all along. Feyre’s defense is chilling: she reminds Lucien that Rhysand forced her to kiss him, an act she had no control over. And Lucien, in shock, asks the question that echoes the concern of many readers: “This is the man you’re with now?”

Let’s break this down: Maas knows what she’s written. She acknowledges the fact that Rhysand took away Feyre’s autonomy, yet she never gives Feyre the chance to confront or process that trauma. This moment between Feyre and Lucien is the only time it’s mentioned in the series, a brief flicker of recognition that quickly fades into oblivion. By doing this, Maas diminishes Feyre's trauma, allowing Rhysand’s actions to go unchallenged. The result? A deeply troubling message that sidesteps the seriousness of assault in favor of a romanticized narrative where love — or destiny — can somehow erase all wrongs.

From a psychological perspective, the erasure of trauma is harmful to the portrayal of healing. Studies show that trauma victims need acknowledgment and validation to heal properly, whether that acknowledgment comes from themselves, their loved ones, or society at large. Bessel van der Kolk, in his book The Body Keeps the Score, argues that unaddressed trauma can create lasting impacts on a person's mental and physical well-being. In the case of Feyre, Maas’s choice to brush the assault under the rug denies her character this crucial step in recovery. Instead, Feyre’s journey with Rhysand is romanticized, implying that the good intentions behind the assault are enough to negate its damaging effects.

Worse still, this narrative perpetuates the toxic idea that love or destiny can somehow "heal" or make up for the violation of consent. Maas portrays Rhysand as Feyre’s savior, her destined mate who "redeems" her from her struggles under the Mountain and from Tamlin’s controlling behavior. But the foundation of their relationship — one that begins with Rhysand drugging and forcing himself on her — never gets resolved. The result is an uncomfortable message: that it’s okay to overlook the bad as long as the end result is a "happy" relationship.

This isn’t just a failure to develop Feyre’s character fully; it’s a failure to challenge problematic behaviors within relationships. Maas’s works often preach the importance of women reclaiming their agency, yet Feyre, the main protagonist, is never given that chance with Rhysand. She is instead swept into the romantic arc without confronting what was done to her — leaving readers with a sour aftertaste that Maas is more interested in fated love than in true feminist ideals.

This lack of resolution becomes even more troubling when we look at the broader narrative of ACOTAR, where Maas purports to champion survivors of sexual violence and trauma. In the very same series, Maas writes about women being violated, their bodies used against them. She even writes about Rhysand’s trauma as a victim of sexual assault by Amarantha. Yet when it comes to the male lead, Rhysand’s similar violation of Feyre is conveniently ignored, as if his status as a romantic hero somehow absolves him of accountability. This sends a dangerous message: that sexual assault can be dismissed or excused based on who commits the act.

Maas’s selective treatment of sexual assault and trauma in ACOTAR is not just problematic — it’s hypocritical. She builds an entire narrative on the premise of women reclaiming their power, only to sidestep one of the most significant power imbalances in the series. Feyre, the character Maas positions as the embodiment of strength and resilience, is denied the opportunity to address the fact that the man she loves once stripped her of her autonomy. In doing so, Maas undermines the very feminist message she claims to be advocating.

This flaw in Maas’s storytelling has greater implications. The normalization of Rhysand’s behavior can desensitize readers to the reality of coercion and assault within relationships. It creates an illusion that as long as someone loves you or has good intentions, their harmful actions can be overlooked. This isn’t empowerment — it’s erasure, and it’s damaging.

In conclusion, Sarah J. Maas's decision not to address Rhysand's assault on Feyre is a troubling oversight that diminishes the importance of consent and accountability in relationships. While Maas may champion themes of recovery and empowerment, the fact that this pivotal moment remains unresolved undercuts her message and leaves readers grappling with a romanticized depiction of coercion. Feyre and Rhysand’s relationship, as it stands, is built on a foundation of unacknowledged harm — and until that harm is addressed, Maas's narrative remains completely flawed.

[wingsdippedingold]

Sarah writing Feyre to hate being seen as nothing more than a babymaker and wife in the SC then writing a scene where she walks through the NC, describing her womb in a fetishized way, where her reproductive capabilities of carrying a child is center stage and the object of Rhysand’s pride, is just so ridiculous to me because you really see the timeline of how Sarah’s breeding kink emerged

[1800naveen]

You aren't superior because Rhysand is the "better" love interest for Feyre.

"Feyre leveled up!" "She upgraded!"

Upgraded from what?

Rhysand and Tamlin are having a mid off competition and guess which mid man won in the end?

Feyre had two choices:

Mid man who's blonde or mid man with dark hair and tattoos.

A man whose actions are abusive because of the trauma he faced or a man whose actions are abusive because of the trauma he faced but with tattoos and shadow powers.

She left one abusive man for another, she didn't upgrade from shit.

Drugging a woman, making her dance for you, breaking her arm, making her get a ring from a deadly creature, and hiding information of her own body which caused her to almost die during childbirth is abuse. HEAVY on the last part because why are people defending this shit?

(Not related but Cassian ain't shit either.)