#george leech

[avionvadion]

The reason Yana went with an all boys school is because she knows an all girls school would just be too POWERFUL with her designs. The world is not ready.

Like DAYUUUUUUUM.

THEY’RE HERE TO ✨ SLAY ✨

[otakusheep15]

Twisted Wonderland x Hamilton

I am very excited for this one! Hamilton is one of the first musicals I ever saw live, and it's the one I've seen the most times (three!) live as well. It has such a special place in my heart. Plus, with the recent cast reunion, I figured now is the perfect time, even if I am a few days late!

Side note: Like the musical, I will be double-casting, so if one person plays two characters in the musical, then I'll be assigning one person to both characters as well. Like I've said before, this is less about who lines up exactly with each character and more so who I think could play them the best if they actually did the play at school.

Alexander Hamilton: Ruggie Bucchi

The LITERAL definition of young, scrappy, and hungry. He would genuinely fit this role so well and it's not even funny. He suits the vibe needed for Hamilton so well. He's not the best singer in the world or anything, but, like Lin in the original, that doesn't really matter. He IS Hamilton, and I think this is a role Ruggie could really put his entire being into.

Aaron Burr: Azul Ashengrotto

Need I even explain myself? He would go so hard in this role, no question. In a way, Burr kind of matches Azul's part in Twisted Wonderland, starting out composed and calculated before having a catastrophic breakdown because people won't leave him tf alone. Plus, I think he and Ruggie beefing for the entire musical is just funny, as they always have a weird tension during their on-screen interactions (at least to me). Also, and this is vital, I NEED Azul singing "Room Where It Happens" on loop immediately. I know for a fact he would crush.

Elizabeth Schuyler Hamilton: Kalim al-Asim

Yes, this is me pushing my Kalim x Ruggie agenda, thank you for asking. Seriously though, I can see Kalim having a fun time as Eliza. She has arguably the best songs in the show, and she gets to go through a lot of emotions and character development. I think Kalim would like how strong she is, especially because her strength comes from a different place than all of the other characters. I also think "Burn" would be especially fun for Kalim, as I know he needs an opportunity to not be all sunshines-and-rainbows for once. And he gets to play with fire on stage, which is always a good time.

Angelica Schuyler: Vil Schoenheit

The diva himself playing the most diva character. I don't think he and Ruggie have a lot of chemistry, but that's not really what I'm basing this off of. For one, I know Vil would absolutely kill it during "Satisfied" like no one else could. He is also very mature like Angelica is, and I think he would carry himself well in this roll. She's very no-nonsense like he is and I can see him having a lot of fun. Plus, it's not a villain role, which means he'll also get the chance to finally try something new.

Thomas Jefferson & Marquis de Lafayette: Rook Hunt

Diva number two. Lafayette is obvious, as he is French and so is Rook (probably). Also, small headcanon, but I know Rook can absolutely rap if he tried hard enough. I think he suits Jefferson well too, as Jefferson is all about being over-the-top and silly, which I think Rook would love. He gets a ton of fun songs and he gets to sass everyone else for basically the entire show.

King George III: Lilia Vanrouge

Diva number three. This is THE role for Lilia. He would absolutely love playing King George. He literally gets to sing three banger songs, sit on stage and be silly during "Reynolds Pamphlet", and then dip. It's such a goofy role that I know Lilia would embody well, and he would definitely play around with the music like some King George's do sometimes.

Peggy Schuyler & Maria Reynolds: Jamil Viper

I was originally considering Silver, as I really liked him as Peggy specifically, but after thinking about it, I decided that I liked Jamil better. During Act 1, I think he'd really tap into the annoyance Peggy shows during "Schuyler Sisters" and really play that up. I can also see him having fun being in the background during some other songs, as a lot of ensemble tend to goof off when they're background characters. During Act 2, I know he would kill "Say No To This" like no other. He might struggle a bit at first, as it is kind of an awkward role to play, but once he gets the hang of it, he's all in.

John Laurens & Philip Hamilton: Epel Felmier

Chaos gremlin in what is arguably the most chaotic role. He'd have a lot of fun as Laurens, as a lot of Laurens is essentially just making fun of everyone else and being goofy. There aren't many difficult songs Laurens has to worry about, and he's not usually the one in the spotlight, which I think Epel would apprectiate. As Philip, I think Epel would really shine. He's ambitious and spunky like Philip, and he definitely wants to prove himself like Philip does. I can absolutely see him treatening to duel someone for insulting someone he cares about. I also think he would enjoy fake-dying on stage.

Hercules Mulligan & James Madison: Sebek Zigvolt

I was tempted to say Jack, as I thought it would be funny, but I decided Sebek was funnier. For the record, I do not think Sebek would enjoy this at all, but that's what makes it better. I also think he would do surprisingly well in a role like this. For Mulligan, he gets to be loud and silly, and as Madison, he gets to be quieter and more contemplative, both of which suit him well. There's not a lot of singing for either of them, which I think he would appreciate as well.

George Washington: Leona Kingscholar

Does he suit this role? Not particularly, no. Would he enjoy this show or acting in general? Absolutely not. Would he still kill it? 100% yes. Leona is a born leader, even if he has a complex about it. He's strong and capable and a lot more mature than people realize, and I think he's more similar to Washington than people realize. Plus, his relationship with Ruggie would add an extra layre to their on-stage dynamic.

Samuel Seabury: Ace Trappola

Annoying, yapper, ginger. Everything Ace is. It's a quick role with a decent song, and then he gets to be in the background for the rest of the show. It's perfect for someone like Ace who just wants a quick moment to show off without being the center of attention.

Charles Lee: Floyd Leech

Floyd would have so much fun. He gets the iconic "I'm a general, weeeee" line, he gets to shout about how terrible Leona (Washington) is, and he gets to duel. It's a quick role, meaning Floyd won't get bored of it as quickly, and the few minutes he does have are high-energy and fun. It's a perfect role for him.

[is-the-19thcentury-man-okay]

I'm not sure if this is the right place to ask but there seems to be an 19th century man on my back porch. I've given him a cup of tea but unfortunately my roommate is highly allergic to menfolk or I'd ask him inside. Is there anything else I should do for him? Or should I just leave him be?

Oh dear! You can try leaving articles of clothing for him, such as a greatcoat or macintosh, or even a cache of tinned food (which is known to attract 19th century men).

But at this point, if he hasn’t found a good home, you may want to turn to a local organisation such as a social club for 19th century gentlemen. He wasn't made to be wandering alone; he should be socialising and enjoying whitebait dinners with his peers!

[myschizonook]

I have the belief that this song fits any troublemaker twins duo in fiction.

For example:

Fred and George Weasley from Harry Potter

Polux and Castor from Percy Jackson

Floyd and Jade Leech from Twisted Wonderland

[evangelic4l]

I can’t help but imagine the Tweels as the Weasley twins 👯‍♂️

[lwlrence]

PANDA ADVERT:

CONSPIRACY JOURNALISTS TO TV REPERTOIR

MATURITY OF A READER

medium (genre of a book read aged to become their life): 2 days

book reader (continuously to become relevant (heights of personal attitude to hierarchy from maidenhood (companionship) to TV show status: 7 days

hand eye heart activity of self-aware status (contemporary genre) to be you while you are the book at the same time to noble status-hood of a celebrity egalitarian (chances of you getting famous in real time): 14 years by notice (you change the way you think all the time is why your annual presence to keep up the score of your emotional intelligence is related to the reason why you refrain from social-presets (unadultered thinking) to weigh the lengths of your ability to believe and set free (reflections-alternatives to keep your mind at bay) one year of the strongest relevance after 2 years of self-checking by emotional harvesting (social-reset): 11 days (for your energy to sacrifice the grounds (fame itself) to keep you runner (consumer realism) to evade hope of a maturing artist (author) to 'find you' (escapism reality: the art of starting over as you, yourself in your own world of thinking (no hybrid way of mind/tone/life to alter you (1984)

14 is a dangerous number to observe and keep check (why you feel good alone)

stats of the number 14 to alter your experiences by default: the last book you read (ink is actually a brain to alter you (learns you in real time is how dangerous AI is to keep you relevant (they're making super-human soldiers of inexperienced arts of combat (your relevance to TV is immune except you (how they find you)

14 days to reset your nerves (actually a calendar for single people not looking to mingle (self-awareness)

14 days to frame your sense of self by existing inventions that help produce light (humans are the only ones who can get powered by an alternative sun-device to find 'happiness' like radioactive plants (you see and you are: method happiness (author's are like cows who find that relativity anywhere by your notice (actually an anti-christ compelling for you to 'eat' (they solely rely on the food pyramid diagrams ingrained into your brains from the beginning (so if you remove that, then your body can do anything (thats the secret)

14 days to limit yourself (known lessons to learn like an engineer without you getting a degree (people are actively looking for you in the future (self-worth made permanent there)

14 days to find peace in that home-bound experience you see fit (like a neuro-divergent) without making yourself look cocky (why you donate: home boundaries justified)

14 days to automatically set switch to nerves to alter your demonic experiences without you openly saying it (words alter feelings if you know is why you're sound and controlled by yourself only (noticing envy in real time) *protected from the evil-eye*

14 days to see and it is (you knew why you liked the book you're reading because that author is on your side is why you're into gnostic viewing of your own discretion (your own multiverse justifies your presence: why your sense of self-worth is affinite to clothing only)

14 days to elevate per chance to beat the idea of 'seeing' (your own imagination trains you right back (active magician taking you for the win (you knew who you liked and why (i was trained by Paul Bettany before finding you (Tomorrowland cinematic universe)

14 days to harbour that of what you got is why you're made to be a part of this universe (no longer yours (alternate ways to living to protect and serve your goals in global refraint to find the odds of existence itself (forced to find new company to your comfort)

14 days to control your knowledge to begin your power (currency talks: limit that and you're true.)

14 days to live like you (why you hated what you're doing: journal that)

14 days to be and it is.

14 days to grow up again (eternal childhood)

14 days to set the pace or society will find you knowing what you shouldn't and you'll be attacked by the evil eye

14 days to succeed and plans are gone because someone did it for them (their freedom, think about that)

14 days to renew what you never had for someone elses enjoyment (sacrifice your time, it's in your name)

14 days to forget the past or you're dead by the second (every minute counts)

14 days to train your arts by the art of starting over (your arts are physically against you (your fanbase)

14 days to manoever your logic into who really cares (thats not hell, thats life. live with it)

14 days to cry and let go (and you knew why it's getting evil from there)

[haverwood]

Leech George Coley UK, 2023

[letterboxd-loggd]

The Moonraker (1958) David MacDonald

April 28th 2024

[skeletor-enjoyer]

I love when Evil-Lyn gets to ride Panthor! 🧙‍♀️🐈‍⬛

William George

[dykespirk]

I think both tos and aos Jim survived Tarsus. but I think tos Jim was older (15-17) and aos Jim was younger (10-12).

I think tos Jim became the de facto leader of children survivors (as we see with Kevin Riley and Thomas), because of his age. That Jim carries the survivor’s guilt of not being able to save more kids—of watching the youngest ones die (ostensibly) in his care. his coping mechanism is thus leadership—usurping and clinging to positions of authority in an effort to save others; he craves authority, wants and needs to embody it to turn it into something that would’ve saved the others, would’ve saved him. Starfleet becomes his white whale. he needs the myth of Starfleet—an intergalactic emblem of peace, carving through deep space purely to discover (and defend). he embraces starfleet’s militarism because it echoes his understanding of power (some evils need to be defeated; innocents need to be protected). Jim also loves to defend—to entrench and hold boundaries (with the Klingons, the Romulans, with any hostile life). deep space is at the same time mystical—where birth and rebirth are always possible, where miracles happen every day—and orderly, where regulations and boundaries are clearly defined. Jim finds solace and role stability in this space, defending others, acting as a father figure, and indulging in hyper-independence & isolation.

that’s how we get tos Jim, who’s desperate for connection & intimacy, but ultimately clings to his leadership role like it can sustain him—like it’s all that can sustain him. (love, you’re better off without it, and I’m better off without mine. this ship, I give, she takes…I’m the captain…I’ve lost the enterprise, I’m losing command…nothing is more important than my ship) the guardian role is essential to his self-image.

conversely, aos Jim was the child. he was the scared, too-skinny kid who had the rug ripped from under him. aos Jim is born into a world where fatherhood/authority is already dead; George Kirk’s absence is a gaping hole in his life. Starfleet’s idealism makes martyrs, but it also cannibalizes its men to sustain its ideals. George’s replacement, Frank, neglects if not abuses him. that Jim witnesses the complete breakdown of authority. he watches Starfleet come with too little, too late. he sees the older kids die. he watches his only solace from Frank’s terror, his fresh start, become a waking nightmare.

that Jim learns that no one is coming.

his coping mechanisms are withdrawal from the system entirely; to bare his teeth at it, to claw at it, to draw blood. scare them before they can scare you. act bigger than you are. appearances are everything. to distrust authority entirely. give up on Starfleet, because Starfleet is an empty vaccum that will take and take, ineffectual at its core and hypocritical at best.

instead of being defined by his attraction to space, aos Jim is defined by his inability to stay still; his distaste for Earth, for Iowa, for groundedness. for him, staying in Riverside is a kind of self-harm, one he doesn’t understand how to escape and ultimately believes he deserves.

this Jim is lonely not because he uses distance as a defense, but because he’s so distrustful of others, he genuinely can’t imagine an open hand. (enlist?)

that’s how we get the Jim that ultimately cares way more about his crew than his ship; who latches onto Bones like a leech and craves Spock; who wants connection with far less shame has absolutely no expectation of receiving it. this is the Jim that blares sabotage while charging into battle, says fuck you to the admiralty, and would rather die saving lives than live with taking them—that’s what I was raised on.

there’s also the fact that tos Jim is a Jewish man written in an era of liberal internationalist optimism underscored by the early Cold War and the shadows of the Shoah whereas aos Jim is the flashy product of peak commercialized Hollywood in a post-9/11, post George-Bush America. anyways.

[miraclemuncher]

What is it like having a longtime crush on Fred Weasley?

tags/warnings. hogwarts setting, sixth year

wordcount. 500

part 2

Why did you even like this jerk again?

Oh yeah, it was during first year potions.

Fred and his brother hadn’t earned their prankster title yet, all they were known for was being the usual rascal first years that come and go annually.

Anyways, Snape was on your ass about something like he always is, but he had been particularly harsh on you. He singled you out in front of the entire class, ridiculing you for forgetting a step and costing yourself an acceptable potion brew.

Then Fred, out of the goodness of his heart or maybe simply possessed, knocked over his cauldron. His brew had been going perfectly, and he just dumped it on the floor to get the heat off your back.

Later on Fred played it off as a complete accident. It didn’t matter if it really was one or not, from then on you’ve been hooked.

It didn’t take you long to realize having a crush on Fred Weasley is the fucking worse.

Fred quickly grew in popularity (and height) since becoming your potions savior.

There was never a moment where Fred wasn’t alone. George, Angelina, Lee, Alicia. There was always somebody.

It didn’t help that Fred’s name always popped up in conversation you weren’t apart of. Was this really the only way you could get to know him? By overhearing what other people have said about him?

“Can I see your transfig worksheet answers?” - “Sorry, already lent them to Fred.” - “Ah, he needs them more than me.”

Why didn’t Fred ask you? He knew you fairly well enough to leech off you for answers, even if he didn’t know you at all you would still let him.

Group settings are cursed blessings. Whenever your friend groups merge for whatever reason, parties, quidditch celebrations, birthdays, Fred would be there.

And it’s almost worse than not being able to talk to Fred at all.

Because there’ll be fleeting, small moments where Fred will whisper a joke to you - just to you. Or he’ll end up sitting next to you on the overfilled couch, pressed against each other. He’ll find you stranded at a party, snatch up your bottle of butterbeer and down whatever’s left.

Then you have to act like everything is perfectly fine.

Because Mr. Popular over here treats everyone the same

You receive wrapped chocolate hearts for Valentine’s Day? So does every other student

+ once unwrapped, the chocolate hearts turn into literally frog hearts. Not the cute chocolate frogs. Actual frog hearts. (It ended up being fairly useful for a potions assignment)

You try to teach yourself that any sign of affection from Fred can only be interpreted as friendliness at best and a practical joke at worst.

But then Fred will grin at you from across the room like he’s waiting until he can tell you a new joke. He’ll tell the joke to someone like Lee or Angelina before you.

So what is it like having a crush on Fred Weasley?

Absolutely awful.

part 2

[m1ssunderstanding]

Saw you answering some mclennon related debates (ignore if otherwise) but I’ve got one to throw in

what do you think is the most convincing evidence that Paul was ever fr fr irl no jokes in love with John?

I only ask bc i think it’s super easy to tell that John was totally whipped for Paul, there’s heaps of evidence and he is basically a confirmed bisexual at this point. Paul (at least to me) seems a little harder to pin down if he ever felt romantic feelings for John in return bc he’s kinda straight core and cagey with his feelings (I’d like to think he would but I’ve been tossing up)

So if you're looking for comprehensive levels of evidence I'd direct you to @menlove . You could ask them again, but really if you go through their blog they have gone pretty deep into proving Paul's attraction to John and queerness in general.

But here's some thoughts from me too.

One thing to keep in mind is where John shows absolutely every feeling that ever crosses his mind, Paul shows basically nothing. You have to do some real digging to try and figure out what he's feeling. But. I also think even if we look at the surface level, the simplest answer is that Paul was in love with John.

Paul dressed up fancy to meet John and pulled out all the stops to impress him.

Paul completely uprooted his life for John, giving up his career plans and showing willingness to lose his family and home.

Paul was pissed off about John and Brian's trip to Spain.

Paul looks, in all those Beatlemania era interviews, just as smitten with John as John looks with him and he talked about John like he was actually bigger than Jesus

Paul continuously went to John's house when John was depressed to instigate songwriting when he easily could've just written completely on his own. He also constantly dragged John out for dates.

Paul basically didn't react when Ringo and then George said they were quitting the band. Like that sucks. Guess I'll hop on drums now. But when John said he was quitting Paul became such a recluse that people actually thought he was dead.

Paul's songs to John throughout the seventies are extremely horny. Like he's begging for it.

Paul continuously made the effort to mend things with John. Being the one to call, the one to travel.

Paul reacted similarly when John died to when Linda died only with the added pain of not having been married to John for forty years.

Paul continues to talk about John an unbelievable and unreasonable amount, constantly bringing up how much he loves him when no one asked.

All of this could be interpreted multiple ways. You could say Paul is an evil Machiavellian psycho who just has been leeching on John since 1957. You could say Paul is a straight man who just really felt for his poor gay buddy. I just think what makes the most sense is that he was completely in love with him in every sense of the word.

[twistedtalestory]

GREAT GOOGLY MOOGLY

Visits twitter, OH MY GOD WE UNLOCKED HER!!!!!!

FSFSFSGSHSHS NOT TO BE NAMED GEORGINA FHSHSHSHSH

[sleep-i-ness]

3. Uncovered Secrets (Anthony Lockwood x Reader)

SERIES MASTERLIST | LOCKWOOD & CO MASTERLIST | GENERAL MASTERLIST

“I know you,” he murmurs. And you freeze.

“Do you?” You shove his rapier back into his hands, pushing the door shut and slumping against it. You’ve tired far quicker than usual, but it wasn’t as if you’d been doing much ghost hunting recently. You’d allowed yourself to get sloppy, but that had been okay. Until now.

He walks off towards what you think is the kitchen, if you remember correctly, limp more pronounced and you roll your eyes. Stupid boys and their stupid pride.

As his footsteps fade, the silence is filled by faint murmurings, echoes of the past, and you can’t stand to be alone with it. You think he expects you to follow, so you do, not wanting to just hang around in the hallway. It felt odd being in his house so late, without George to keep the mood light.

The kitchen is bathed in a warm glow when you walk in, the yellow-toned light leeching out any real colour. It’s not empty. Lockwood is already in conversation with a girl you hadn’t met yet but recognise from some article or another; Lucy, you think, the Listener, who, if the media had anything to go by, is as talented as Fittes.

She falls silent as you stop by the door, waving shyly. You’re not sure what to say, the silence feels too heavy to break, and really you don’t have the energy to make small talk. Judging by the look she’s giving you, she wants you there as little as you want to be there, and at least you have that in common.

“Lucy,” Lockwood introduces the two of you to each other, making some comment about Arif’s and you remember the doughnuts stuffed into your backpack. They’re not going to be the best, probably squashed by the amount of movement, and the last batch from yesterday, but you had thought it was the best way to show up, doughnuts in hand, still masquerading as a perfectly normal girl. Not like this, with too many questions about your “experience”.

You fish them out, wincing at the new shapes they’d taken on; at least they were on the house, so Arif would have nothing to say about delivery standards.

“Tea?” Lockwood is already by the kettle, pulling out mugs, and you nod mutely, still not really wanting to talk, or to entertain any kind of conversation that was sure to turn into an interrogation. Lucy is just watching you as you place the doughnuts on the table, and you hope that they work as a peace offering for your intrusion. Her frown lessens slightly, brow smoothing out as she reaches for one with nothing more than a nod to you.

Lockwood places a mug down in front of you, tea washing over the rim at the jolt, and you smile weakly, murmuring a thanks. The steam from your cup swirls and you breathe lightly on it, watching as it dances away in the breeze of your breath. There’s a plate of biscuits on the table, but you can’t stomach eating anything right now. When you look up, both Lucy and Lockwood look away and you can’t help but wonder what they had been whispering about when you walked into the kitchen.

“So,” Lockwood starts. And then stops.

You raise your eyebrows at him. Of course he can’t wait to probe you with questions. “So?”

“You’re Talented.” It’s not a question, but it doesn’t need to be a question anymore, you’ve given it away after all. Despite every attempt to leave that life behind, you’ve somehow gotten dragged back in again.

“Yes.” You sip at your tea.

“Are you an agent?”

You scoff. “I work at Arif’s.”

“But you were an agent.”

“I was. I quit.” You blow gently on your tea, shifting under Lockwood’s scrutinising gaze. Lucy just seems to be enjoying the interrogation, lips twitching slightly, a sharp change from the almost glare she had been giving you.

“Why?”

“I wasn’t cut out for it.” You’re not going any deeper with this; the past is still too fresh, and he doesn’t deserve an answer. It isn’t as if you owe him anything.

“What’s your Talent?”

You frown and wrinkle your nose slightly. “I don’t think that’s any of your business.”

Lucy frowns again. You hope that she doesn’t think you’re here to usurp her; you just want to go to bed, leave in the morning and never see Lockwood again. Besides, it would be rather unreasonable for her to assume that, considering how deliberately taciturn you’re being.

He narrows his eyes at you, and you just sigh in response. He’s not getting an answer from you, no matter what he tries. And you think he realises that, deciding to change tack. “But you did react to the fiver. George was insistent you were just in a rush to head back.”

“I thought you didn’t mean to give it to me.”

Lockwood hums, giving you a small, slightly guilty smile. And you feel a deep disgust crawling up inside you at the sight.

You scowl. “You bastard! Do you know how horrible that thing is?”

“I thought I recognised you.” He shrugged.

“So, you tried to trick me with that note?” You rolled your eyes. “What did you expect? Did you want to see if I dropped it, screamed in terror, clutched at the stab wounds?”

“Clutched at the stab wounds?”

You realise you’ve said far too much and press your lips tightly together. You look to the door, wondering if the streets would be better than this. Lockwood coughs, still waiting for an answer. And so you fix him with the nastiest, most deserved glare you can muster through your exhaustion.

But he’s not so quick to give up this time. “What do you mean by that?”

“Not that it’s any of your business,” you roll your eyes, “but I can feel the echoes of the memory, physical touch associated with it.”

“And that’s why you quit?”

You slam your mug down. “You try living out someone else’s murder every time you try and deal with a Source! I was a liability to my team and hated every second of the job.”

“I didn’t know that people could have such sensitive Touch,” Lucy murmurs, her first words to you or at all since you’ve been there.

You laugh bitterly. “It’s not common. And we usually die pretty quickly.”

An awkward silence falls after your words, Lockwood looking into his mug as if there’s something intriguing to be found in there. Prick. He was all good and well interrogating you until the answer was a little too frank for him to deal with.

You huff, picking your mug back up again and sipping at it.

After a few more minutes of awkward silence, Lucy pushes her chair back with a screech. “It’s late, I’m going to bed.”

You press your lips together into a smile, wishing her a goodnight and mentally wishing that she weren’t leaving you here alone with Lockwood. It’s unbearable. And it isn’t as if you can run away and escape as well, when you don’t even know where you’re sleeping yet. It might even be preferable to go back out on the streets at this point.

“Are you okay to sleep on a sofa?” Lockwood interrupts your steady blowing on your tea, and you glance up.

“Yeah, any where’s good.”

“I’ll show you to where you’ll be sleeping then.”

You abandon your half-drunk tea on the table, following him out of the kitchen and into a library/office/something – you’re not sure what it is, but it’s certainly a mess. The sofa is scattered with loose sheets of paper, and Lockwood sweeps them up to then dump them on a side table. No wonder it’s a tip.

He pulls a blanket out of a cupboard, placing it on the sofa, before giving you an awkward nod. “I’ll leave you to it.”

“Thanks,” you try to smile, but can still feel your blood boiling under your skin. “Sleep well.”

“You too.”

He gently shuts the door behind him, and you drop onto the sofa, settling in with a deep scowl on your face. As much as you want to sleep, you can feel memories pressing at the corners of your mind, the chest you’d locked up so tightly and so deep down wrenched open by Lockwood’s prying. And you know what you’ll be dreaming of tonight.

You sigh. And then roll over to rifle through your bag and pull out the packet of sleeping pills you kept on you just in case. For nights like this. You grimace and pop one into your mouth.

When you wake, early morning light is streaming in through the chink in the curtains and you blink, squeezing your eyelids shut against the blinding white. You groan, stretching out to try and reach your phone on your bedside table, and roll off the sofa with a thud that jars right through you.

What the fuck. You blink again, memories of last night coming back with a jolt. Ah. You’re not at home. The pills always make you feel a little out of it but at least they staved off the nightmares.

You groan and pull yourself to your feet, dusting yourself off before grabbing your bag and heading to the kitchen. George is already in there pottering around with the kettle and you cough lightly to catch his attention, so as not to startle him.

He whirls round, eyes widening at the sight of you. “What are you doing here?”

“I crashed here for the night, Lockwood offered.”

“And you and Lockwood were with each other… why?” George raises one eyebrow, and you pull a face, able to guess exactly what he’s insinuating.

“He came by Arif’s last night and I patched him up. But by the time that was done it was too late to get a cab.” You leave out the rest of the night; Lockwood can fill him in on that, but it’s too early to deal with the questions.

“Hm. Tea?”

You nod gratefully, settling down into one of the chairs and absentmindedly picking up a pen. The Thinking Cloth has grown since you’d last seen it (bar last night, but you’d been a little too angry to really take a good look at it), and you uncap the pen to start doodling.

By the time George brings you over a cup of tea and a plate of toast, you’ve almost finished a little caricature of Lockwood, and he snorts at the sight of it. “Don’t let him see that.”

You laugh. “I’ll cover it with the plate. Thank you by the way.”

George waves you off, too embarrassed to accept your thanks, and joins you at the table.

It’s about half an hour later when Lockwood finally emerges, hair a mess and still in matching (presumably silk) pyjamas. You stifle a laugh, taking a sip of tea instead.

He pauses at the door, ducking his head at the sight of you. “Good morning.”

“Nice pyjamas.” You respond, turning back to George to finish whatever conversation you’d been having. You really didn’t want to have to speak to Lockwood this morning.

“Thanks,” he murmurs, before shaking his head and moving to the kettle to make his own cup of tea.

You giggle at a doodle George points out on the Thinking Cloth, explaining where it came from and why it was drawn. Although you’d argue that yours was better, it was still a decent representation of Lockwood looking like a prick.

“I’ll draw you,” you offer, picking up your pen.

George laughs. “If it’s anything like your last one, I don’t know if I want that.”

“Nonsense,” you wave your hand at him, already starting to exaggerate the curly hair and eyebrows. George is creasing before you even manage to get any further than that, and even Lockwood looks up from where he’s staring at his steeping tea.

“You much of a drawer then?” He asks, picking up his mug and coming to sit down next to you. You lean away from him, shuffling your chair over slightly, and ignore Lockwood’s answering pout.

You shrug. “I try. If you start off by saying it’s a caricature, any mistakes just look like they’re meant to be part of it.”

“Where’s your other one?”

You pause and glare at George, who looks slightly sheepish. Sighing, you lift your plate up and move it to one side to expose your caricature of Lockwood.

The real Lockwood blinks at it for a second, before laughing and taking a sip of tea. “I think it’s pretty accurate. Not much of a caricature.”

“Oh, I’m sorry,” you reply with a roll of your eyes, “next time I’ll give you a longer neck and more rat-like features. Does that sound better?”

He just laughs at you, and you can’t help but smile slightly. You might hate him with every fibre of your being; he’s an arrogant twat who has no right to stick his nose where it doesn’t belong but it’s nice, this environment; nothing like the agency you’d worked for. Here everyone seems to actually be friends, rather than just vying with each other for the next promotion.

“So,” Lockwood starts, and you narrow your eyes. “About last night.”

You shake your head firmly. “No, not talking about it.”

“What about last night?” George asks, eyes flicking between the two of you.

Lockwood just ignores George and your refusal. “You’re really skilled with a rapier.”

“And?” You raise one eyebrow, grimacing slightly.

“I was just complimenting you.”

You tilt your head to the side. “Oh, I’m sorry, I was just waiting for you to get the part where you actually apologise for giving me that bloody fiver, instead of pretending like it’s one big joke.”

“Jesus, do you have to bite my head off like that?”

You roll your eyes. Of course, he can’t see his actions as something to feel guilty for. “I’m off, thanks for the breakfast, George, it’s been lovely to see you. Lockwood, I wish I could say the same.”

As you storm out of the kitchen, leaving behind your half-eaten toast and dregs of tea, you hear George chastising Lockwood quietly behind you. And even then, he doesn’t back down. Prick.

[notaplaceofhonour]

One of the experiences that really highlighted to me how willing the left can be to turn a blind eye to and gaslight Jews about antisemitism was trying to talk about Michael Jackson’s antisemitism, such as in the song “They Don’t Care About Us”, which was released with the lyrics:

“Jew me, sue me, everybody do me / Kick me, kike me, don't you black or white me.”

I feel like that is shockingly straightforward with how antisemitic it is, both in its specific language (the K-slur & Jew-as-a-verb) and its conspiratorial bent in the context of the whole song. But when it came out and Jews were obviously appalled and spoke out about it, MJ made the standard “but have you considered that accusing me of bigotry offends me?” and “I was taken out of context!” statements that bigots make when they get called out on their bigotry.

As for MJ’s claim that he was taken out of context, here is some context: In 1993, MJ’s relationship with the press deteriorated when they began covering allegations of his child sex abuse. In the midst of this, tabloids ran a lot of scummy, sensationalized headlines—ruthlessly mocking his appearance and eccentricities and even running entirely false stories. This marked a drastic shift in MJ’s lyrics, which began to focus heavily on his victimhood (both real and perceived, often conflating both and tying them to broader social issues), with many of the songs on the next album HIStory (1995) being about this. “They Don’t Care About Us” is on this album. In 2003, there were revelations that Michael Jackson had grown close with members of Nation of Islam (a fringe and antisemitic hate group), and in 2005, Good Morning America aired a phone recording of Michael Jackson calling Jews “leeches”, claiming Jews had targeted him for his wealth, and saying “It’s a conspiracy. Jews do it on purpose”.

This is the context of Michael Jackson singing about being a stand-in for the victims of all kinds of real world oppression like racism and police brutality, and then saying he was being “Jewed” and “kiked”. It came out that he was molesting little kids, and rather than face the music, he tried to dodge responsibility by conflating those allegations with racism and the gross, sensationalist bullshit that tabloids were running on him; he wove all these things together in a narrative that he could use to wrap himself up in victimhood & conspiracy to position himself as not just a martyr, but the very archetype of martyrdom so that the world could, as he sang on the same album in his cover of John Lennon’s song, “Come together, over me.”

The lyrics were later changed to replace “Jew” & “kike” with abstract noise that drowned out the words or repetitions of “sue” & “strike”. But even so, this is still a song, not truly about inequality and injustice, but using inequality and injustice to shield a child molester from responsibility. And the fact that “Jew” can so easily be replaced with “sue”, not simply in sound but in meaning, without disrupting the narrative and tone of the song, belies the fact that Michael Jackson believed himself to be a victim of some sort of conspiracy between “(((The Media)))” and greedy Jewish lawyers.

And yet, trying to talk about this to this day, even with the benefit of hindsight, when it’s pretty well-accepted that MJ was in fact a child molester and knowing what he said about Jews after this song came out, it is next to impossible to get people to see the antisemitism in him tying together all oppression in the world as him being “Jewed” and “kiked” by (((The System)))—even when he literally says “Jew”, even when he says the K-slur, even when he refers to Jews as blood-suckers, even when he literally says Jews are conspiring against him. When people started using the song as part of the George Floyd protests, and I was like “hey, maybe that’s not a great idea” and gently tried to explain this context, I was ignored, told it didn’t matter because the song was about inequality, told Black people have every right to distrust Jews “because Jews are White” and stabbed Black people in the back by embracing Whiteness, etc. etc.

I think that is one of the times that really started to make it clear to me, “oh, yeah no, leftists can be staring straight at a K-slur in the mouth of a known sex offender and still say it’s fine”—something leftists generally would not do for any other vulnerable minority. It still astounds me.

[atreeinthemoonlight]

The reblog from riana-one nailed it.

There's no meta that states Naerys has to embrace his husband's bastards and mistress

While people are sighing that Elia was okay with Rhaegar running away with a bethrothed, highborn lady because she was dornish. They read too much fics and D&D's crappy show.

Why Elia should embrace Lyanna and Jon? Because she's kind and dornish? Nope. It doesn't work like that. Elia doesn't owe them anything.

And Lyanna doesn't exist to be the doll for Rhaegar. Are you telling me she wouldn't have fought with her teeth for her son's safety and position? Where is that will to fight, her impulsiveness, her brashness, her wild blood?

Some say that Elia is boring and bland(which is valid, you can't love all the characters), but suddenly they remember she was kind and dornish.(when it is convenient for those toxic Rhaelyas)

Elia and Lyanna would have been doomed. Their children doomed. Another blackfyre rebellion.

I don't know if you are a Dany fan; but there is a tik toker that called Jon the supposed Visenya, but ends up as a shadow(nothing good) of the true prince who was promised, Daenerys.

So yeah. Elia, Lyanna, and their children were doomed from the start... :(

George R. R. Martin already gave us Rhaegar and Lyanna’s hypothetical ending in Fire & Blood — had Rhaegar married Lyanna, it would have triggered another Dance of the Dragons; had he legitimized Jon Snow, it would have ignited a second Blackfyre Rebellion.

Honestly, the ones who think Elia would be generous enough to accept Lyanna and Jon — they’re actually the kinder ones,at least they were still willing to coexist with Elia. A lot of Rhaelya stans just go straight to writing Elia and her children out of the picture.Yes, in their version, Rhaegar wins the war against the Usurper —but Elia and the kids? Still dead. That way, there’s no need to get caught up in power struggles anymore.

There was an Elia fan on Twitter who posted Rhaenys, Aegon, and Jon getting along —and how did the Rhaelya crowd react?“Dany and Jon are not interested in your family portrait”“Dany is the only woman for Jon.”“Stop leeching off our popularity, stop trying to get attention.”

See? Rhaegar, Lyanna, Jon Snow, and Daenerys they’re the real family. Only Daenerys is worthy of joining the Rhaelya household. Viserys doesn’t even qualify. That’s the energy. No matter how kind Elia and her fans are toward Lyanna and her child, it’s unlikely they’ll receive the same goodwill in return. Because this isn’t a situation based on mutual empathy or emotional reciprocity — it’s a structure built on competition over who is “the chosen one,” They don’t want to share the spotlight. They don’t want equality. They want to be unmatched, irreplaceable. They’re fundamentally unwilling to let Lyanna’s character be influenced or diluted by any other women,especially Elia and her children.They have about as much class as they have shame,which is to say, none at all.

As for Jon Snow, my personal opinion is that Rhaegar may have initially seen him as a Visenya figure — a complementary part of the “three heads”.Or even, in the beginning, maybe he was simply helping Lyanna escape a marriage she didn’t want, with no deeper intention. But after spending over a year with Lyanna, he might have come to believe that their child was the true prince that was promised. After all, when Rhaegar returned to King’s Landing, he made no known effort to enhance Aegon’s security, relocate him and Elia Rhaenys to safety, or assign trusted guardians. That’s not the kind of action you’d expect from someone who just realized that the child he believed to be the prophesied savior was in danger. It suggests that by then, his hopes may have shifted — away from Aegon, and onto the child Lyanna was carrying.

And honestly, I think there’s a good chance Rhaegar got it wrong again. Readers who believe Jon Snow is the prince that was promised might be doing so out of a kind of sympathy — like, “He got it wrong the first two times, surely he must’ve gotten it right the third time. Otherwise, it would be too absurd — all those people died, and not even for the real chosen one?”But Martin being Martin, who’s to say he won’t slam the gas pedal and make Rhaegar completely, tragically wrong—about everything?