#great point op

[stellavesperis]

Oh wow. I’d never considered this interpretation. I’d always sorta read it as once the Silmarils were in their possession, they were free to do with them as they will, but this… yeah this hurts :(

What if the Feanorians deliberately don’t return to life because of the Oath? They’re allowed out, but they all know that the moment they’re able to act on the Oath again, they’ll have to.

Some of them might be fine with revenging themselves on Thingol or even Earendil, but you know who they’re not okay with getting vengeance on?

Maglor.

He cast the Silmaril away, and the Oath doesn’t technically have an exception for family. Any of the other seven who took the Oath would have to deal him death and woe until world’s end if they saw him. So they stay in Mandos.

[legally-allowed-to-slime]

i want gem and jimmy to team up next life series because the boys (you know which ones) will have to grapple with their respect and admiration for gem and their never-ending tendency to bully jimmy. like oh jimmy you’re not going to live long anyw ohhh never mind hi gem do you need anything

[simplykorra]

beatrice + every episode - episode 7: "ephesians 4:22-24"

[rabbitprincessthief]

gog i still can't get over minish cap vaati's Everything. He is So Fucking Stupid (affectionate)

Like. This guy's establishing character moment is, in order:

he's introduced as having won an entire tournament to get to touch a magic chest and get a cool sword, which was the prize for said tournament

turns around and does a goddamn evil soliloquy TEN FEET AWAY FROM THE GUARDS who were about to hand him his macguffin on a platter

(like this man fucks up his own horribly planned daylight heist because he cannot keep a lid on the dramatics for FIVE FUCKING MINUTES, IN PUBLIC)

(THE BAR WAS ON THE FLOOR VAATI, FUCKING GANONDORF PLAYS THE PIPE ORGAN FOR HIS OWN BOSS INTRO AND HE STILL KNOWS BETTER THAN THIS SHIT)

proceeds to fight the guards (it is, admittedly, a curbstomp for him, but it still clearly wasn't his plan, because otherwise why bother with the tournament)

gloats evilly

opens chest, unleashing a whole bunch of monsters

exposits out loud about Zelda's powers like a nerd while she is actively charging up her magic powers to kick his ass

RECOGNIZES and IDENTIFIES said magic as the special power carried by the female royal line

completely fails to recognize it as the light force he is currently trying to get his hands on (he spends like 99% of the game not figuring this out.)

petrifies her

(i have no idea if link could have deflected this spell if he had managed to get the right angle with his shield but i like to think somewhere there is a very short and very funny alternate timeline where it happens)

(more importantly: no part of vaati's original presumed plan would have involved doing this. he 100% created this situation for himself by being an dramatic idiot and picking a fight for no good reason.)

looks in the chest

there's no light force

considering his stated goals he might be as confused as you are about the monsters tbh

uhhh

evil laugh

teleports the fuck out

He then proceeds to spend the rest of the game trying to figure out where the light force is and ends up having to wait for Ezlo and Link to figure it out first because he was, as far as I can tell, GENUINELY stuck on this part. He fucking kidnaps and impersonates the King, not for access to Zelda, but to… send guards to go look for the Light Force, presumably because he was either running out of ideas or genuinely thought that would work.

None of the guards even had any idea what he was talking about. He's not even good at impersonating the King. He's already sent like twenty people to the dungeon by the time you get there and it hasn't even been a week. Somehow the game spins this as a cunning plan and clever manipulation or something.

(Meanwhile the guards are just. Poking around in random bushes and shit hoping to find the light force. One of them asks you what you think it might look like.)

Zelda is literally right next to the throne and Vaati does not figure it out until you find an actual honest-to-goodness LORE TABLET spelling out that the Light Force is Stored in the Zelda, at which point he's like "ahahaha you've done my work for me this was definitely my plan all along" and takes over the castle and throws a bunch of monsters at you to stall for time while he figures out how to extract the force from her. Somehow he still doesn't think to actually lock the fucking door.

[coquelicoq]

[Image description: Two stills from the "Nimona" movie. In each, the knight Ballister is asking Nimona, a shapeshifter, a question. First, while she's in her gorilla shape, he looks somewhat troubled and asks, "How did you get like this?" In a later scene, while she's in human shape, he asks curiously, "What does it feel like?" /end ID]

Minor Nimona Spoilers

So I just finished watching Nimona and for some reason two scenes paralleling one another that really stuck out to me is the Small-Minded Questions one and how Nimona reacts to them, because it feels so relatable as a queer person

The first time it is used, it's after Ballister, without realizing it, asks Nimona to justify her existence

"How did you get like this?" or "why are you [x]" is certainly a question that many queer people must've heard throughout their life. It's trying to act someone to justify their existence, treat something intrinsic to their nature as something "other" that corrupted them, not as something that is just... part of them And Nimona is understandably upset

And then the second time the words Small-Minded Question are used, is after Ballister asks this question

And this time she takes it a lot better. Because he's stopped asking Nimona to justify being who she is, and now he's asking about her experience, what it feels like from her point of view.

And I think for many queer people, they'd always prefer to be asked the second question rather than the first. To share our experiences with the people around us, without being asked to justify it and treat it as "other"

[aadmelioraa]

When your oldest brother dies on a religious crusade just as you feared he would and your father refuses to deal with his grief just as he refused to deal with it when your mother died (you were a baby btw) and then again when your other brother left home (because your dad was impossible to live with) and in spite of feeling entirely abandoned by your dad you use your newfound higher status to put yourself out on a limb in order to downgrade his punishment and that of your close friend despite grieving their involvement with the queen who led your brother to his death but instead of your father acknowledging your pain and your attempts to do what you believe will bring justice he lashes out at you by comparing your current position to the horrific way your mother died…just Eärien things

[moongothic]

You know I wasn't going to post about this, but the more I think about it the more it drives me up the walls

So when Luffy and co release Crocodile from jail, it's specifically under the threat that if Crocodile tries anything funny, well, Iva-chan has a trick up their sleeve to put Crocodile back in-line.

So what the fuck was that actually about? What is Crocodile's secret weakness? I'm specifically looking at the way this is phrased in the manga, because the anime's added dialogue kinda messes with what's implied here. But what Iva specifically says is that Ivankov in particular holds the key to one of Crocodile's weaknesses, but they'll stay quiet about it as long as Crocodile behaves himself ("Vataashi wa koitsu no yowami wo hitotsu nigitteru", a very clunky but literal translation could be "One of his weaknesses is within my grasp". The way Viz translated the line is a bit different so I'm not bothering with getting a cap of the panel, you wouldn't be able to tell how these lines were phrased in Japanese based on Viz's translations anyways) (The dialogue Toei added was Crocodile furiously shouting at Iva-chan, telling them to not say anything and Iva-chan reminding Croc to watch his tone or else they'll reveal Croc's past to everyone. A lot of people don't remember this was in-fact added by Toei, hence I wanted to clarify/remind what happened in this scene originally)

And now. Obviously. When Oda went out of his way to introduce a brand new character whose entire personality is being queer and their power is giving people magic HRT. And then like five chapters later re-introduces Crocodile. And tells us that these two have Secret Beef. And never proceeds to fucking tell us what the hell that was about. Yes, the natural conclusion one would come to would be that Crocodile is stealth trans. That is basic, good storytelling. You (re)introduce two characters, tell us they have beef, one has a very specific ability; you're supposed to connect these dots in your mind. So that now, if Oda revealed to us tomorrow that Crocodile was canonically trans, it would not surprise anyone because it's already been set-up in the story, by this very scene. It's a logical conclusion.

But. I'm becoming more and more convinced that Iva-chan's blackmail might actually not be about Crocodile being trans.

Like the general fandom assumption for the past 15 years has been that Crocodile's stealth trans, but we actually don't know he's stealth. He could be openly trans, and between that being a borderline requirement for Crocodad to be real (since he would've been a Shichibukai for years before Luffy was even born) and the possibility that his earring could specifically be a gay earring, like. Yeah. Crocodile could be openly trans. If Crocodile's perfectly happy to let the whole world know he's gay, then him being trans shouldn't have to be a secret either. We the readers could just be unaware of it because it wasn't relevant information to us, and his transition would be old ass news in-universe and not worth bringing up.

And thus, if Crocodile isn't stealth, then Iva-chan can't blackmail him by threatening to out him, becaus he can't be outted.

Now for a while I did considder that Iva-chan could've been actually threatening to detransition Crocodile if he tried anything funny. Surely he would hate that, so much so that he might not have wanted to even hear Ivankov suggest it. But thinking about it. Unless Iva-chan can use Armanent Haki or get Crocodile moisturized, they shouldn't be able to hit Crocodile actually. Like Croc's Logia makes him impossible to hit unless he specifically allowed himself to be touched. So even if Iva-chan tried to surprise attack Crocodile with Estrogen, Croc should just turn to sand automatically, the attack should not land.

Meaning Iva-chan shouldn't be able to detransition Crocodile against his will, at least not without Haki and we don't know if they can use it, so that can't be Crocodile's weakness either.

And so we have to ask the question. What the fuck is that weakness then that Ivankov mentioned?

All we really know is that Crocodile doesn't want this weakness to be brought up, it's a secret. And for all we know Iva-chan might be the only person in the world who knows about it.

And I just. Like.

There is one weakness, kind of a universal one that many people could have, one that has been brought up time-and-time again post-timeskip, one that has become more and more relevant in the story, especially now at the begining of the Final Saga.

A secret weakness.

If pregnancy is what cracked Crocodile's egg and he transitioned immidiately/soon after giving birth, then it's entirely plausible Iva-chan could know Crocodile had a secret child. And surely he'd want nothing more than for his child to be safe, not end up in trouble because of him. And Ivankov most certainly could put that child in danger, especially now that Crocodile was officially no longer on the World Government's side, there'd be no protection for the baby. All Ivankov had to do was leak the information out, that Sir Crocodile had a child, and anybody who had beef with him could get their revenge by attempting to find the child.

Like I'm just saying. This could line up nicely, actually

[the-alexel-lucas]

On the topic of Myne's chronic illness I also want to talk about the magical cure trope and how the narrative subverts it. The magical cure is more times than not a very harmful trope and difficult to use properly, typically it involves a character who is disabled in some way and a cure of some sort that cures them of their disability. The problem with it however is the fact that for most disabled or chronically ill people there is no cure and that the narrative will typically imply, whether the author means to or not, that a person can only be "whole" if they are physically and mentally fit. With Ascendance of a Bookworm however this doesn't happen, of the three cures Myne receives throughout the story none of them remove the fact that she is chronically ill and the narrative never treats the fact that she is as a bad thing but rather something that she and the people around her have to cope with and work around. This is most telling in how her apprentice attendants lose points in their classes when she collapses at tea parties at the academy, it is seen not as her fault for not being well but her attendants for not being prepared enough to care for their lady.

[el-ffej]

And then he gets back home and finds out his beloved is dead/MIA.

More She Ra Thoughts

Ok, so when they find Micah on Beast Island he keeps saying "I haven't talked to anyone real...  You are real, right?" and it finally hit me that he's so unsure about it, because he experienced the fake portal world too, and like everyone else, presumably still has those memories. 

So we all know he tried to tell Angella that he was alive before Bright Moon disappeared in the portal world, but I just thought about how fucked up that must've been from HIS perspective. 

Ok so, you're Micah, you've been surviving on a nightmare island for well over a decade, when suddenly one morning you wake up back at home with your family. Then that world fuckin' collapses and BAM, you're right back in your personal horror show. 

But THEN, not even a year later (which is nothing to you given how long you've been there and how degraded your sense of time is) here comes these kids. The same kids you met in that heart wrenching tease of a hallucination (that you still have no explanation for, and must assume was just something the island did) come waltzing up to you, on your godforsaken forgotten prison island that no one is supposed to know the location of, talking about your family and taking you home to Bright Moon. 

Assuming all of that is totally fake was honestly the most rational assumption he could make 🤷🏻‍♀️

[lucabyte]

transfem loop + siffrin... you agree

i does agree.... i does in fact ... write a 7k word essay on the subject..... if you would like to perhaps click that link and read it if you were not already aware...... kisses u on the forehead......... sorry its that long but i had to cover all of my bases you know how it is with textual analysis when you're trying to draw a distinction between "headcanon" and "reading of the text" because those are different things.... to meeeeeeee.......

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[tangledinink]

repostober day whatever today is. anyway, you ever drop acid in the middle of the woods? lol me neither, that'd be CRAZYYYY...

[relaxxattack]

Hi i want to thank you for the QPR vs Moirail venn diagram. Its a rly excellent way of showing the difference. My gripe is about human romance, and how people will either 1- conflate it in a 1:1 ratio with Matesprit, or 2- claim it is “all the quadrants”. I personally feel both are false equivalency, and that the human romance is similar to both pale and red rom* and SO i was wondering if you agreed w that assessment, or if not, if you have the time to explain your thoughts on human traditional romance vs the quadrants (perhaps w another nifty graph)?

* which is why Rose’s destructive tendencies during sburb & her descent into addiction on the meteor were not addressed by kanaya, who feared palezoning herself like she did with vriska

OH MY GOD! YES!!!! why am i getting such great asks today?!

no, you're EXACTLY right. people are constantly conflating matespritship in those two ways; "all of the quadrants" being especially irritating (since Some humans occasionally argue, Occasionally in a kinky way, and i guess that means that they totally have all of kismesissitude covered?? :/).

matespritship is its very own thing. of the two interpretations above, i feel the idea that it's 1:1 to human romance is the closest to true. i mean, that's what they literally say in the comic, for gog's sake.

humans do not truly incorporate moirallegiance, kismesissitude, or auspisticism into their lives in any meaningful way. while it's possible for humans to sometimes have romances that might seem more like one of those than matespritship, they're considered abnormal or toxic-- and they often ARE, because humans do not have the same sort of biological drives or social understanding of these things that trolls do. humans do not understand the true needs and ramifications, or even the ROMANCE of moirallegiance. humans would be hard pressed to understand a kismesissitude in a 'healthy' way. i don't even need to mention how auspisticism flies over people's heads.

so, yes, humans only have the one quadrant. (and karkat vantas, i am sorry to say, is not going to "human date" anyone as the "solution to his quadrant problems". this would literally be the same as him trying to stick only to matespritship, and we all know exactly how that turned out.)

however! matespritship is not an exact 1:1 on human romance either. the direct quote from the comic is;

"[It's] the closest parallel to the human concept of romance trolls have." [x]

this is not really expanded on much in the text, honestly-- the intricacies of the social and biological traits of matespritship aren't shown enough for us to draw clear distinctions between them and human romance.

however, i think you're right that rose and kanaya are the best example we have of that-- despite them both aiming for matespritship, they have cultural misunderstanding quite often from some of rose's flirting, or even just her needs, crossing wires into a pale threshold that kanaya is weary of.

it's entirely possible that the differences between troll and human "hearts" might have made it difficult for kanaya to really connect with rose's problems and discuss them with her.

which might explain why when things go "better" for them in the retcon, they're portrayed reading a book on troll romance together:

it could be implied here that searching for a more in-depth understanding of quadrants actually helped rose with her ability to connect to kanaya-- and maybe, reading into it a little too hard here, this also could have been an opportunity for kanaya to work through her vriska-based hangups with the pale quadrant. that's entirely speculation on my part, though.

at the end of the day, we don't really KNOW enough about the details of quadrants for me to paint a clear picture of how matespritship differs from human romance. i mean, i could try, but it would certainly be more of a headcanon post than an analysis one!

[milkbreadtoast]

looking back at the yjh webtoon screencaps i have saved and giggling... hes so cute... moe... my pookie ^___^ 🥰🥰 poor little meow meow woof woo- *eliminated where i stand*

also these poses are sooooo... 꺄아악🖤🫣🫣🫣🫣

[moomeecore]

im so brave i blocked the op of a post bc it was rancid and shit and icky and middle school bully core even tho mutuals reblogged AND im not even going to screenshot the post and yell abt it. i very maturely am only vague posting abt it in an attempt to sooth my anger. anger issues cannot get me im blocking them and leaving . i do not need to engage with it. and it's ok if people i like reblogged it bc. maybe they didn't think for very long abt it idk. i believe in my mutuals i believe you guys didn't mean it . its ok!!!!! and i win bc i didnt say anything! even though one specific phrase just made me curl up in disguist! they actually started out like maybe they had something to say but they let it slip that they are just a pos and i caught it i saw it and i survived! i do not need to engage with people on the internet who make problems out of nothing and say they are "concerned" about the most non issue ever. you aren't concerned you just like being mean and hide behind language that makes it sounds like youre concerned about society deteriorating when in reality you just suck and probably spent all of high school throwing gum at people's hair and destroying their personal possessions

[sparkleresthold]

They matched each other's freak 🥰