#grudge weaver

[furryeaglebarbarian]

Voltage crawler

Staticshock weaver.

[psychosodomy]

why is escapist fiction always in monarchist societies… people can get into crazy lascivious situations and power struggles regardless of government bc ppl will always have norms and taboos and mind games no matter how stratified or egalitarian their society

[ameliadallon]

see, the issue with shadowbug is that sophia doesnt really even have an issue with taylor. she doesnt like her, but has no personal beef, just fucks with her because emma started it and it seemed like a thing to do. hell, she ends up respecting taylor flat out by the end of it, seeing herself in skitter/weaver/taylor.

taylors got beef, yeah, but shes quick to move past grudges for the sake of workplace cohesion (the work being almost killing people). and if she saw sophia pull shit like she does in flechettes interlude, shes not gonna stay quiet. shes gonna rip sophia a new asshole as soon as theyre not in danger, which, of course, sophia is going to respond to aggressively and theyll get into a spat where they both think the other is being an evil or annoying bitch, but if theyre caping together then sophias seen what taylors like and about and knows shes kinda hardcore and respects and enjoys that, and taylors seen how sophia is actually genuinely trying to do good and protect people from gangs, villains, and monsters even if shes an idiot about what sorts of people deserve protecting. so like, theyll fight about stuff, and often, but neither of them are going to be able to outright reject the other's words for long; hearing, understanding, and (begrudgingly) respecting another is grounds for growth and camaraderie and also because theyre both gay in high stakes, adrenaline-pumping, intense, life-threatening situations, theyre gonna eventually kiss. thats just how it goes.

so yeah. enemies to rivals to lovers to friends (and lovers). they grow with and into each other. its too healthy and respectful, after getting over the initial hump

[peachycrime]

Headcanon time

these are random and this is a repost from my old account the real ones remember @spicymiilk @be-the-glenn-to-my-maggie @yoonfi @sesshomamelia

Neytiri goes back to the old hometree whenever she updates her song cord and sings it with a little more added each time

Neteyam named his ikran seze, not knowing what that meant to Neytiri, so now she takes extra care of his ikran, the kids have no idea why

Spider cries when he's mad, like blind rage mad there's definitely some water wakes afterwards, mostly because he doesn't have an outlet for that anger. Especially if he's mad at a Na'vi, first of all it's an unlikely victory and if he does fight then it'll give them more reasons to hate him(being human and all)

Tuk cried to Kiri about how left out she feels due to the age gap between her and her siblings which is why Kiri always defends her when Lo'ak gets a bit mean

Lo'ak definitely cried when Tuk was born, he was just so happy that he could finally be an older brother

I think sometimes Jake misses being human, in the same way that as much as we humans dislike what we do, we still have moments where we fall in love with the little things we do

Norm created a greenhouse full of human crops, they had to be eating something during the first movie so there were probably some seeds and what nots left over after the war

The scientist collectively miss youtube

Kiri liked going to the greenhouse, it made her feel connected to Grace but it got destroved when the humans came back

Aonung holds all of Tsireya's grudges for her, you made a snarky comment about her once?he remembers and will glare at you whenever he sees you he remembers and will glare at you whenever he sees you

Mo'at stopped being the same when Sylwanin died, even more so after the hometree accident, Neytiri mourns that sometimes

Mo'at spends a lot of time at the Tree of souls to connect with her lost one's and connect with Eywa, it's what keeps her sane and the reason why she was able to move on (unlike Neytiri)

Mo'at had a special spot at the top of hometree that she used to go to even as a kid to look at the stars

Neteyam had the secret dream of simply being a weaver, he never told anyone because he knew he had to be the next Olo'eytkan. So instead he found joy in weaving jewelry and outfits for his family

Aonung wants to be a hunter-gatherer, he finds peace in fishing and loves going out into the see or mangrove forest to find things, plants he never saw before, trinkets for his song cord, and new spots to body surf, only Rotxo and Tsireya know that though

Jake used to give Spider rides on his shoulders, Neytiri caught them and yelled at Jake, so the next time Spider asked Jake said no and I think Spiders little heart is still broken from that

Spider feels guilty for ever finding comfort in Recom Quaritch

Jake used to be allergic to peaches

A part of Jake died right along with Tommy, that wound reopened whenever he saw Lo'ak and Neteyam acting the way they used to

I’m all out

[antispopausandstuff]

it'd be interesting if Etheria had a strong 'forgive and forget' aspect of their overall culture, and characters are seen as disrespecting said culture when they don't forgive and forget what they've suffered ( like Adora not forgiving Shadow Weaver or Catra for being their victim ).

there's plenty of media that has a 'forgiveness is good' message, which is fine. not my personal cup of tea, as i don't believe everything and anything can be forgiven and forgotten, or should be forgiven and forgotten, but i can understand that the message is generally taught to kids to prevent holding petty grudges and building healthy relationships with others. most of the time.

but to have a world where forgiveness is essentially an expectation, or you suffer shame and ridicule otherwise would be interesting and maybe provide commentary for a lot of societal // cultural norms or expectations, especially with AFABs // female-aligning // transfemmes // women that are held to a higher standard of being emotionally intelligent to cater to others.

[witchthewriter]

𝐁𝐞𝐢𝐧𝐠 𝐚 𝐇𝐢𝐠𝐡 𝐅𝐚𝐞 𝐰𝐢𝐭𝐜𝐡 & 𝐌𝐨𝐫'𝐬 𝐬/𝐨 𝐰𝐨𝐮𝐥𝐝 𝐢𝐧𝐜𝐥𝐮𝐝𝐞

⤷ gender neutral, ambiguous race, and any size reader. Requests are open, thank you for reading!

ᴹᵃˢᵗᵉʳˡᶤˢᵗ | ᴹᵃˢᵗᵉʳˡᶤˢᵗ ᴵᴵ

ESFP

Gryffindor

Neutral Good

Libra Sun, Leo Moon, Cancer Rising

𝑺𝑭𝑾🌿    

・You were an outcast.

・Your family wanted nothing to do with you

・All because of your love of magic

・You couldn't satiate the hunger you had for wanting to know more. To understand the world around you.

・Feyre had gotten curious about your cottage in the middle of the woods. Not like the Weaver, but a welcoming home that seemed to buzz with ... magic

・When a certain High Lord problem arose, and even Amren couldn't find the answer - they sent Mor to see if you would help

・What the High Lord needed was in one of your books, but you couldn't find which one.

・So everyday, Mor was sent to help you look amongst the thousands of books that you kept in your library

・You had the ability to think things up and create them. Like illusions but ... real. Except you needed to use all your senses to have the essence of said thing and then, you were able to create it. Or ... duplicate it.

・You couldn't bring anyone back from the dead, or duplicate a human being.

・But magical objects - you just had to hold them, see, feel, smell. And at times ... yes, taste. The more you were able to use all of your senses, the more real it would be.

・That's how you were able to create your library. You literally took it from your favourite library in Prythian.

・When Rhysand gave Mor the order to get your help, she shrugged her shoulders and asked "why me? why not Amren?"

"Because Amren is looking into something else for me" (aka Amren is too mean and scary so I'm sending you, so be as charming as you can be)

・You both bonded over being kicked out of your family. With Mor not wanting to marry, and you being a witch.

・It's how you started to open up to her. Especially when you were forced to spend hours together on missions.

・Mor is a very affectionate person. For example, you'll casually sit on each other's lap when around other people, constantly hold hands, and always have a hello and goodbye kiss.

・She is a BIG grudge holder

・And if someone hurts you, insults you behind your back, or even looks at you the wrong way; she will hate them for eternity.

・In the early part of your professional relationship, Mor invited you to meet Rhysand and Feyre - your High Lord and High Lady.

・You were thrilled and when you walked inside, you saw a flushed Feyre with one earring in.

"Oh, hello!" She said, and invited you in. "I just have to find my other earring ... it was birthday present from Rhys... oh god Mor can you help me find the other?"

"Ugh, I - I can help," you said, stepping forward.

"That's so kind, but you're a guest! There's drinks in this room over here," but you interrupted her and explained your power.

・Holding the earring in your palm, you counted the stones, felt the ridges and different parts of the piece. And with a flash of light, another one had appeared.

"Oh!" Feyre said, her face pure with amazement. "We're definitely keeping you."

・And that's how you became apart of the Inner Circle. Along with the growing relationship with Mor, you were also a prized member. Able to duplicate weapons, food, clothes.

𝑹𝒆𝒍𝒂𝒕𝒊𝒐𝒏𝒔𝒉𝒊𝒑 𝑻𝒓𝒐𝒑𝒆𝒔

I Don’t Know What I’m Doing But At Least I’m Alive, Right? (You) x You’re Doing Great, Sweetie! (Mor)

Madly In Love (Mor) x Ridiculously Oblivious (You)

 Opposites Attract

𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝑷𝒍𝒐𝒕 𝑻𝒓𝒐𝒑𝒆  

Accidental confession during the heat of the moment/fight

Forced Proximity

Found Family

𝑻𝒉𝒆𝒎𝒆 𝑺𝒐𝒏𝒈

Karchata by Folknery

𝑁𝑆𝐹𝑊 🔞 No one under the age of 18 past this point, I bloody mean it. 

・Mor is so passionate; there is so much love in her heart that she could explode from it

・So when she's able to touch you, she shows you just how much she loves you

・Leaving warm kisses all over your body, her hands never leaving your exposed flesh.

"I" *kiss* "love" *kiss* "you" *kiss*

・There's also a lot of fucking after an argument, just angry, passionate sex.

・Mor loves adventurous sex - almost getting caught is part of the fun. Even when you're at home, Mor doesn't shut the curtains.

・She's both a dom and a sub. But has a lot more experience than you do. As she's experimented more.

・Likes to leave love bites on your neck, but you feel so embarrassed when other people notice them.

[loafaethernaut]

Recap of all the teasers (as of August 2nd, 2024) from the official Black Ops 6 zombies teaser website below!

If you wish to see them for yourself first the link to the site is the current pinned post on my blog- however I will issue a warning that the interactive site does include jump scares and flashing/flickering images so I would not recommend viewing it if you are photosensitive.

The website acts as an interactive television with six total channels. Yesterday the first two channels became active, with channel one showing a template for a scrolling TV guide that after a moment turns into a jumpscare of Mr. Peeks/the mystery box bunny from Cold War.

The screen then flashes and flickers between several images including shots of our Requiem Crew in their prison cells on Terminus Island:

My apologies for the poor image quality, this is a screenshot from my phone lol. I agree with the majority consensus I’ve seen from others in the community that the top left is Carver, top right is Weaver, bottom left is Strauss, and the bottom right is Grey.

It seems like Weaver and Strauss appear distraught, while Carver and Grey are doing pushups and getting into shape.

The second channel shows what looks like a weather radar of a hurricane or a typhoon before it forms into an image of Mr. Peeks once again (definitely a huge emphasis on Mr. Peeks in this game, more on that later).

After that the screen flashes and shows a really dark shot of what is likely Terminus Island it’s just really hard to tell so I didn’t take a screenshot. There’s a voice in the background listing off numbers but I can’t make them out either.

Channels 3 and 4 were updated today, and we finally got some new intel on our Requiem Crew.

Channel 3 starts off as a fake news report like a lot of the BO6 teasers have been however it cuts off and starts flashing a ton of fragmented images of “interrogation progress reports” for each of our members of the Requiem Crew.

I was only able to get a good screenshot of Carver’s report, so I give credit and thanks to MargwaNetwork on Twitter for the images of Grey and Weaver’s reports.

Based on Carver’s report it seems like he’s been the main source of encouragement for the team, and it’s likely he’s been helping Grey (and presumably the others) get into shape?

Weaver is presumably the one their captors have been the toughest on so far, and the Director definitely has a grudge against Weaver in particular. Seeing him described as a “broken, bitter man” is genuinely saddening.

But now comes the one that got me the most excited, Grey’s report. I’m mostly just trying to get the information out there with this post so I might gush more about this in another post but it’s clear she had some kind of hope of someone rescuing her and that hope is definitely gone now. “Acts ambivalent in regard to her own safety” Really? Now THIS is an interesting direction to take her character in. I am very excited to find out more.

As of right now there are no good images that I could find of Strauss’s progress report, but from the snippets I could make out it seems like he still cares about the others but might be losing his grip on reality?

Channel 4 gave us a fake commercial for a love song CD before flashing to a commercial for the new gobblegum machine.

It looks just like the one from BO3 except it’s clearly from Mr Peeks instead of Dr Monty. It showed images of the same gobblegums from BO3 and the machine has a little screen on it that plays a cartoon of Mr. Peeks.

So far there really hasn’t been much but finally getting an update on the Requiem Crew since the end of CW is really exciting!! As someone who cares a lot about these characters I am in anguish over their pain but also (somehow?) still hopeful that things will improve for them!!

[kraviolis]

In your little lamb AU is Hunter's relationship with Belos different? I can see that Hunter is severely punished when he disregards the role of protector (Due to Belos's grudge to Caleb) but aside from that is he treated any differently?

i love belos & hunter's dynamic in my au honestly. i've compared it before to catra & shadow weaver's, but its actually more complicated than that because shadow weaver actually did care about catra herself in a weird, fucked up way.

but belos only cares about hunter in relation to his bond with luz. the only reason hunter is actually treated with more care and concern in this au is because belos knows luz would be upset if anything happened to him. the best part is that hunter? 100% aware of this.

it's my headcanon that belos has been raising hunter since infancy despite all the previous grimwalkers being at least 12+ years old before being exhumed and hunter being dug up early was an accident turned into an experiment of belos seeing if hunter would be more loyal and capable than the others.

so hunter grew up actually feeling wanted & loved by his uncle, but also starving for real bond and affection from him. he puts himself on a pedestal in hunter's mind with careful wording and specific choices. in canon, this leads to hunter clinging to any scrap of affection thrown his way and feeling disconnected from his uncle but also exceptionally desperate to prove himself due to his hero-worship of the man.

in my little lamb au, however, this process is completely scrapped the second he decides to bring luz into the picture. you're right that belos would be exceedingly harsh on hunter for anything he perceives as hunter disregarding his role as luz's protector. but also, hunter doesn't often give belos the chance to find discrepencies there.

hunter adores luz. luz shows hunter very early on that affection and love and care from family can be given easily and unconditionally. he learns from her that he doesn't NEED to prove himself to belos just to feel wanted. luz makes him feel wanted all on her own. so it's not belos's pressuring that makes hunter really step into the role of protecting and taking care of luz full time, it's his love for luz herself.

belos & hunter are both aware that the other knows what they're doing. there's a shaky mutual understanding between them. hunter understands to be quiet and do what he's told and belos understands not to do anything that would upset luz.

and of course hunter still somewhat hero-worships belos-- he's still suuuuper brainwashed and wants that approval that he's doing a good job, but he also understands that belos cares about luz far, far more that he'll ever care about him. and hunter is honestly... pretty okay with that.

he's also a little more secure in his role as golden guard because luz would blow tf up at belos if he tried replacing hunter with anyone else. (luz is the only person who can yell at belos and actually get away with it. he doesn't bend to her in those moments but... think more of his reaction in canon when she broke his mask.)

but once luz runs away for good... hunter begins to crack under the pressure of having all of belos's attention on him for once. and especially because of how fucking angry belos is when luz is gone.

[that-ari-blogger]

Who Are You Really? (Reunion)

She-Ra and the Princesses of Power is a war story, focusing on battles and the machinations of inside forces. It also delves into abuse and its effects on the individual and those around them.

But then it takes a break from all of that to tell a family drama about Bow. Reunion is worked into the overarching plot, yes, but this episode feels out of place.

So... why does it do this? And why does this episode fit with the themes so well?

SPOILERS AHEAD (She-Ra and the Princesses of Power)

The term "foil" is derived from the practice of putting gemstones on foil to make them shine brighter, according to scribophile.com. In terms of character writing, it means a character that contrasts another character to make them more individualised.

This is often used to refer to protagonist antagonist relationships. For example, Catra and Adora are foils. But the term doesn't have to mean that. When you put literally any two characters together, even the same character twice, they will foil off of each other.

I would even argue that Adora and She-Ra are foils in this series until the last three or four episodes.

I think Bow's character takes this concept a step further and seems designed to be a foil for the story itself. Trauma slips off of this man like water off a duck's back, and his moral code is unflinching and unquestionably benevolent.

Bow exists to contrast the story's themes in a similar way to Scorpia, although I will get there in a later post. She-Ra shows all kinds of relationships going south and people making terrible decisions, and then cuts to Bow as if to say "this is how it should work."

However, Bow does engage with one theme pretty head on. The series has a recurring theme of deception that it exhibits with the First Ones and Mara, Hordak and his armour, Scorpia and her family, and Shadow Weaver's entire deal.

Bow is also caught up in a lie, that being the made-up boarding school that he told his dads he goes to. But this is also used to contrast with the rest of the cast.

In all of the examples mentioned above, when the lie is revealed, it causes some major consequences, and reshapes the worldview of those who were lied to. Bow's dads certainly have their worldview shaken up, but the consequences are skipped over, kinda.

"What's breaking our hearts is the fact that you thought you had to lie about who you are." "You're not mad? But I'm a fighter, and you hate fighters." "I could never hate you. Never. If you feel like you belong in the Rebellion, that's where you belong."

The series has trained the audience to associate consequences with punishment. The consequence for a failed mission is someone getting killed, the consequence for failing Hordack is the loss of breathing privileges.

The consequence for Bow's deception being revealed is an understanding being reached between him and his dads. It is a reconnection, because they value the truth, and do not hold grudges over each other. In other words, these three love each other unconditionally.

There is the key: Unconditional love. The final theme of the series that Bow has been playing entirely straight the entire time.

She-Ra as a whole has had the theme of love on the backburner. It is very clearly there, but it's never dwelled upon. Glimmer gets one over on Shadow Weaver because she cares about her friend despite anything that Shadow Weaver can say, for example. But nobody has explicitly said anything about the theme.

That is what this episode is, its telling the audience that this theme is here, and that they should start looking for it.

I do like the subversion of traditional romance in this series. The best parents in this series are Angella, George and Lance, a single mum and two gay dads. The heteronormativity of parents in literature as a whole is being messed with in this series, and I think that's great.

Contrast Bow's family with Catra's experience in this episode, and the key term changes from "unconditional love" to "trauma".

The scene with the shadow is a phenomenal microcosm of Catra's Post Traumatic Stress Disorder caused by Shadow Weaver. The woman isn't in this scene, but her shadow lingers, and it scares Catra out of her anger for a moment. Catra isn't scared of Shadow Weaver, she is scared of what Shadow Weaver can do. She is scared of the feeling of isolation that Shadow Weaver causes.

Franklin D. Roosevelt was a president of the United States of America, and is famous for saying this:

"We have nothing to fear but fear itself."

Rosevelt intended this to be a hopeful message, and I'm sure it was at the time, but it sums up Catra really well. She wants nothing more than to feel safe. That's why she loves Adora and not She-Ra, because where She-Ra can theoretically protect people from danger, Adora could protect Catra from being afraid. Catra is afraid of being afraid, and most of her actions in the series, from climbing the Horde ranks to confessing her love at the end of the series, all stem from a desire to be safe.

The series goes out of its way to show that love and safety are synonymous. Bow's dads love him unconditionally, and so he is safe to express who he really is, even if he doesn't realise it. Shadow Weaver does not love her children, and you know that because they are not safe around her.

You can see this with Adora as well in the tiny moment at the start of the episode. She sleeps with a knife, something that very few people who feel safe when they sleep do. It's a left-over behaviour from sleeping under the protection of Shadow Weaver. Adora cannot relax.

On a similar note, the Hordack thing.

Catra is mean, that's not a criticism of the character at all, that's an observation of the person. She is the villain of the story.

But I personally don't think that it is ever acceptable to remove someone's ability to breathe, against their will, in order to make a point. I don't think that any character in a story, no matter how bad they get, should be treated like that.

Final Thoughts

This episode is funny... mostly. There are a few jokes that don't land, and those stick out like sore thumbs, but for the most part, this episode is good.

As someone who studies history, is was genuinely funny to me to see the historians who didn't know what they were talking about. Or rather, historians that were working on theories that weren't correct. Because that's what history is. A lot of it is known, of course, but a lot isn't, and as new research is done and new evidence is uncovered, theories change.

Next week, I will be looking at The Price Of Power, so stick around if that interests you.

Previous - Next

[shmorp-mcdurgen]

Due to feeling intense brainrot for this new The Thing au me and Rufus made I'm gonna make a kinda. intro? post to it? basically listing off the characters with basic descriptions and the whole. premise of the au. You will listen to me ramble. no you don't have a choice. /lhj

BASICALLY. the au is a crossover between TMC and John Carpenter's The Thing (1982), and is about the main TMC cast working at an antarctic research station before being attacked and picked off one by one by an alien entity that mimics organic material. It follows most of the same events as the movie does, though has quite a few differences from the source material that we'll. discuss later. In the meantime, here's the main cast:

Mark Heathcliff (34): Already touched on this dude's main deal in another post but i'll add some things here. He's the head mechanic of the station, and is quiet, and a bit of a loner. He's a recovering (or attempting to recover) alcoholic that is estranged from his family due to such, and only maintains contact with his sister, Sarah. He sometimes lets his emotions get to him, though he knows how to act in serious situations.

Sarah Heathcliff (21): A college student studying electronics, and was invited to the research facility by Mark because she was thinking of working there one day. Still has some grudges against Mark, as their relationship isn't perfect, but she still cares about him and Mark still cares about her. Becomes friends with Evelin.

Evelin Miller (22): The helicopter pilot and technician of the group. Also a bit of a loner, but helps around the facility whenever needed. Hangs out with Dave sometimes.

Cesar Torres (35): The dog Handler of the group, and thus spends a lot of time with the dogs. Is friends with Mark, though their friendship is. rocky, even if they're trying to fix things between each other. He's a bit more social than Mark, though isn't super energetic either. Overall, the voice of reason.

Dave Lee (46): The Biologist of the group. Is pretty friendly towards his coworkers, albeit awkward at times. Also has an interest in tech, even if it isn't his main profession. Though, he tends to make rash decisions when stressed.

Thatcher Davis (45): One of the station commanders. Overall: very tired and stressed. all the time. DEFINITELY has cabin fever. Overall pretty blunt, and occasionally rude, though he almost never means it in malice that's just how he sounds-

Ruth Weaver (46): The second Station commander, as well as a physician/medic. Quiet and calm in stressful situations most of the time, and is overall just there to help.

Jonah Marshall (23): The radio operator and cook of the group. Overall pretty positive and jokes a lot, though gets stressed and frustrated easily, along with being a bit of a coward at times.

Adam Murray (23(?)): A man who doesn't remember who he is after waking up in a Norwegian research base in the arctic. He doesn't remember much of anything from his past, and is unsure why he's so cold, or why he was found with blood on him.

Gabriel (30): The station commander and medic of the Norwegian research facility. Found Adam and took him in to be treated for frostbite. they seem nice, though something about their stare is. unnerving. They have a few coworkers as well (though they don't have proper names or personalities/occupations yet. Though one of them goes by Six, and is. oddly quiet.)

[priscilla9993]

Chess Allusions: Pawn Parallels

Rogers: “So you can use [her info] as leverage against [Belfrey]?”

Weaver: “Well that’s how this game works, Detective.”

Talking in the park, Weaver and Rogers both want the information that Tilly knows, the kind that causes Victoria to feel threatened, enough to blackmail Weaver with Tilly’s imprisonment and some CCTV footage of his misdeeds. Although both detectives covet finding and questioning Tilly for what she knows, their motives differ. 

Weaver has a “means to an end” approach, valuing Tilly only when she can be useful in his schemes. His selfish nature sides with his freedom and power over her wellbeing, and he’s okay with that. Tilly might be his informant with the ‘best eyes and ears in Hyperion Heights’, but at the end of the day, she’s replaceable, someone worth losing if it means he gains a stepping stone in the long game against taking down Victoria Belfrey.

Rogers: “Is that all this girl is to you and Belfrey? A pawn? Then why don’t we split up, since one of us actually wants to help her?”

But to Rogers, who doesn’t even know Tilly at this point, he sees Victoria and Weaver’s game as something where people win at the expense of somebody else and goes into full papa bear mode. Rogers wants to help Weaver as a partner and wage justice against Victoria, but not at the cost of using Tilly. He sees Tilly as a vulnerable person caught in the crossfire of a game they didn’t even know they were playing, rather than a soldier in a chess match, and wants to talk to her on equal terms. 

His opinion of Tilly being a bit off kilter but innocent at heart only strengthens when Weaver, in the hospital, unexpectedly pardons her of assumed criminal charges, telling Rogers an obvious lie about a masked robber being the one who shot the gun. Upon meeting Tilly outside of the hospital room, Rogers sees a confused, distraught, and guilt ridden young woman playing a game of chess alone. He tells her the facts with a kind opinion, “Look, you weren’t in your right frame of mind. He doesn’t blame you.” They build up an acquaintance and the budding start of a camaraderie over chess.

However, this all changes when the monster that is Gothel/the fire nation arrives Eloise Gardener gets into the playing field. Victoria and Drizella play cat and mouse, Weaver uses Tilly in a game of lies, and Rogers tries to make sense of things, inadvertently rescuing Gothel, the big bad spider.

Rogers to Weaver: You lied! And you made Tilly lie. Why did you do that?!

Weaver: Because you don't know what's going on around here... But I did it for one reason: to protect you from your bloody self.

(gratuitous physical violence scene bc I love the dynamic)

What Rumple could mean by ‘bloody self’ could be that Rogers lets his temper cloud his judgment first before he goes seeking revenge on/fighting for justice for those who deserve it most. I think that's where Rumple sees the most Killian come out from the supposed "Eagle Scout" detective, stubborn and determined to stick to his guns until he gets to his desired conclusion, which in this case is finding Eloise Gardener (Gothel). 

Rogers defends Tilly, despite only meeting her a few times, going so far as to bodyslam Weaver as he confronts him. However, he loses his respect for her after finding Eloise, where no explanation could outweigh the cost.

Rogers: What do you want?

Tilly: To say I’m sorry about the page. Weaver said it was for the best and I can’t always figure that out for myself.

Rogers: Take a look at what he was covering up. Now tell me, was that for the best? You know what? I understand. I’m just disappointed. You weren’t the person I thought you were.

Rogers is a man of many things, holding grudges being one of them and being rational in the other. The blonde informant had gone so far as to even lie to him about Eloise, dead of all things. As much as he wanted to forgive Tilly, he didn’t know if he could.

At the end of the day, in Rogers’s mind, Eloise needed help, rescue, and emergency aid, something that only happened because of his deep obsession with finding a missing girl from a cold case. And Tilly deterred him from saving a life, unintentional or not.

Roni: “Henry told me about how Weaver used that girl, Tilly.”

Rogers: “Well, it seems to me like she wanted to be a pawn.”

Rogers feels his trust was betrayed and remains disappointed in Tilly. He saw Weaver being a shady bastard from a mile away, but he didn’t expect her to be complicit in Weaver’s dirty schemes. He wanted to believe Tilly was the kind of person who questioned whatever she was told and made her own path on decisions like he did, not so easily roped into following plans, especially ones of slimy bastards like Weaver. If Rogers saw Tilly as an innocent victim of society before, moved around like a pawn, he feels wronged in his judgment and probably thinks she was content to be a sheep to Weaver’s mysterious whims. 

Who was he to believe she could be more than a pawn when she chose to be one?

Luckily, Roni was there to whack the obviously menacing poisoned cake from his hands and knock some sense into him.

Regina as Roni: “You know, people only let themselves be used when they don’t have any other option. How about you give her one?”

Tilly, even if a marmalade sandwich was needed as incentive, had been willingly helpful to his case. The only moment she hadn’t been was when she was under Weaver’s thumb, someone she had known and trusted like a father figure, unlike him who was a stranger in her eyes. People came and went from the older detective’s team, knowledge of informants and detective partners leaving frequently unless they had a special skill set or blackmail hanging over them. If anything, she wasn’t fully to blame.

What Tilly and Rogers can't see until it's too late, being cursed and all, is that they are good natured people afraid of getting hurt, wanting to help others, but unfortunately victims of manipulation, of those with ulterior agendas that use them as playing pieces, making them no better than pawns. 

Roni was right. People like Tilly wouldn’t let themselves be used like pawns if they didn’t have any other option. She had been brave enough to show up to the crime scene to apologize to him in person after what she did, not caring about being forgiven, and he hadn’t even given what she had said a second thought. Knowing Weaver, Rogers would have concluded that the old bastard probably didn’t even give her the entire picture and used her good intentions in an ill manner befitting the man’s deceitful ways, leading her to think it was for the best. 

This leads to Rogers making a step in the right direction. It doesn’t take more than Roni’s small nudge of advice to get him to internally forgive Tilly and go in search of her, eventually offering a chess set to help pass the time with a weekly game and a friend who’d listen if she’d accept. From then on, Rogers and Tilly both grow and begin to trust again, trying to protect the other from getting harmed as the consequence of another’s scheme.

[furryeaglebarbarian]

Scorpidor,caverns devil

The great caves terror.

[songoftrillium]

The Dawn Tribes, led by the Hapil, are arguably the oldest of the factions. Divided during the War of Rage, and their oral tradition nearly erased during the 19th century, they reunited in the face of widespread destruction of caern and den realm alike. They argue that the Age of Apocalypse began with the destruction of their traditions, and believe healing the wounds of the past are the way towards healing Gaia. They have made great strides to this end, working with the Hearthbound and Gurahl to connect their cousin tribes with their kinfolk, and through great effort have successfully reawakened Turtle, who devoured Old Windtooth and thawed the hearts of Kalaril, creating a new tribe. They firmly believe that all Killi are cousins in the eyes of Gaia, and that they must reconcile past grudges to confront the Wyrm. This faction initially reformed around the Hearthbound, but regained prominence through the revelations of Fera previously believed to have been eliminated.

Tenets of the Dawn Tribes

• The Weaver is a spinner of traps; her tools are one of them. Detangling the wyrm from her web is key to restoring balance. • The Killi are all our family cousins. The Bitten and the Warborn our brothers and sisters in spirit. All are needed in the coming fights. • The old spirits have seen history repeat. We must relearn their old ways to fight the Wyrm. • We serve no kings, and no colonists. The moon reflects a bright sun and we will share it's light. • The traditions of the peoples of Turtle Island are hidden but not lost. One must only listen, seek, and ask, to find them.

[justforbooks]

The director and producer Norman Jewison, who has died aged 97, had a career dedicated for the most part to making films that, while entertaining, included socio-political content. His visual flair, especially in the use of colour, spot-on casting and intelligent use of music, enabled him to raise sometimes thin stories into highly watchable films.

He hit the high spot critically and commercially with In the Heat of the Night (1967), which starred Sidney Poitier as a northern US city police detective temporarily held up in a small southern town and Rod Steiger as the local sheriff confronted with the murder of a wealthy industrialist. The detective mystery plot was perhaps mainly the vehicle for an enactment of racial prejudices and hostilities culminating in a grudging respect on both sides, but it worked well. The final scene, much of it improvised, in which the two men indulge in something approaching a personal conversation, was both moving and revealing.

The film won five Academy awards – for best picture, best adapted screenplay, best editing, best sound and, for Steiger, best actor – and gave Jewison the first of his three best director nominations; the others were for Fiddler on the Roof, his 1971 adaptation of the Broadway musical, and the romantic comedy Moonstruck (1987). In 1999 Jewison was the winner of the Irving G Thalberg memorial award from the academy for “a consistently high quality of motion picture production”.

The son of Dorothy (nee Weaver) and Percy Jewison, he was born and brought up in Toronto, Ontario, where his father ran a shop and post office. Educated at the Malvern Collegiate Institute, a Toronto high school, Jewison studied the piano and music theory at the Royal Conservatory in the city, and served in the Canadian navy during the second world war. On discharge, he went to the University of Toronto, paying his way by working at a variety of jobs, including driving a taxi and occasional acting.

After graduating with a bachelor of arts degree, in 1950 he set off with $140 on a tramp steamer to the UK, where he landed a job with the BBC, acting and writing scripts. On his return to Canada two years later, he joined the rapidly expanding television industry, producing and directing variety shows for the Canadian Broadcasting Corporation.

Jewison was spotted by the William Morris talent agency and invited to New York, where he signed with CBS and was given the unenviable task of rescuing the once successful show Your Hit Parade, which was by then displaying signs of terminal decline. He revamped the entire production and took it back to the top of the ratings. He directed episodes of the variety show Big Party and The Andy Williams Show, and specials for Judy Garland, Frank Sinatra, Harry Belafonte, Jackie Gleason and Danny Kaye.

On the Belafonte special, Jewison had white chains dangling above the stage, an image that displeased many southern TV stations, which refused to screen the show. This was the first indication of his stance on racism.

Success brought him to the notice of Tony Curtis, who had his own production company at Universal, and Jewison began a three-year contract with 40 Pounds of Trouble (1962), starring Curtis. This was followed by the likable but light Doris Day comedies The Thrill of It All (1963), Send Me No Flowers (1964) and The Art of Love (1965).

In 1965 he got out of his contract to make the first film of his choice, MGM’s The Cincinnati Kid, starring Steve McQueen (the Kid) and Edward G Robinson (the Man) and centring on a professional poker game between the old master and the young challenger. He took over the project from Sam Peckinpah, tore up the original script by Paddy Chayefsky and Ring Lardner, and commissioned Terry Southern, the result getting him noticed as a more than competent studio director.

In 1966 he made the beguiling but commercially unsuccessful comedy The Russians Are Coming, The Russians Are Coming, about a Russian submarine stranded off the coast of Cape Cod. This was at the height of the cold war and gained him a reputation for being a “Canadian pinko”, although it was nominated for a best picture Oscar.

In the Heat of the Night was followed by The Thomas Crown Affair (1968) in which McQueen and Faye Dunaway played thief and insurance investigator respectively and engaged in a chess game that evolved into one of the longest onscreen kisses, as the camera swirls around and around above their heads. The theme song, The Windmills of Your Mind, was a hit and the film a success.

Fiddler on the Roof, with a silk stocking placed by Jewison across the camera lens to provide an earth-toned quality, won Oscars for cinematography, music and sound, and a nomination for Chaim Topol in his signature role of Tevye.

Jesus Christ Superstar (1973), his adaptation of Andrew Lloyd Webber’s rock opera, and Rollerball (1975), starring James Caan, were followed by F.I.S.T. (1978), a tale of union corruption starring Sylvester Stallone as an idealistic young organiser who sells out, and And Justice for All (1979), starring Al Pacino, a deeply ironic portrayal of the legal world.

A Soldier’s Story (1985), based on the Pulitzer prize-winning play and including an early performance from Denzel Washington, dealt with black soldiers who risked their lives “in defence of a republic which didn’t even guarantee them their rights”, and some of whom had internalised the white man’s vision of them.

Moonstruck, a somewhat daft love story but a tremendous box office success and for the most part a critical one, won the Silver Bear and best director for Jewison at the Berlin film festival and was nominated for six Oscars, winning for best screenplay, best actress for Cher and best supporting actress for Olympia Dukakis.

Then came Other People’s Money (1991), a caustic and amusing comedy on the new world of corporate finance and takeovers, in which Danny DeVito played a money hungry vulture, made largely in response to Reagan’s era of deregulation, and The Hurricane (1999) in which Jewison again worked with Washington, who played the real life boxer Rubin “Hurricane” Carter, falsely convicted of a triple murder and imprisoned for years before the conviction was quashed. The latter film aroused controversy over its alleged manipulation of some facts and, despite its undoubted qualities, this fracas probably contributed to it being commercially disappointing.

In the early 1990s, Jewison had begun preparations for a film on the life of Malcolm X, and had secured Washington to play the title role, when Spike Lee gave his strongly expressed opinion that only a black film-maker could make this story. The two met, and Jewison handed over the film to Lee.

Jewison’s last film, The Statement (2003), starred Michael Caine as a Nazi war criminal on the run. He was also producer for films including The Landlord (1970), The Dogs of War (1980), Iceman (1984) and The January Man (1989).

He had returned to Canada in 1978, living on a ranch north of Toronto with his wife Dixie, whom he had married in 1953. There he reared Hereford cattle, grew tulips and produced his own-label maple syrup. In 1988 he founded the Canadian Centre for Advanced Film Studies, now known as the Canadian Film Centre, in Toronto.

He was a confirmed liberal, a man of integrity who turned in his coveted green card in protest at the Vietnam war and saw film not only as entertainment but also as a conduit for raising serious issues.

Dixie (Margaret Dixon) died in 2004. In 2010 he married Lynne St David, who survives him, as do two sons, Kevin and Michael, and a daughter, Jennifer, from his first marriage.

🔔 Norman Frederick Jewison, film director, producer and screenwriter, born 21 July 1926; died 20 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[the-wolf-emoji]

Crimson Moon of Wild Magic

A Hypothetical Pale Touhou game

Protagonists:

Lucy Ellingson: "Justice-Dispensing Fox Duelist"

Avery Kelly: "Friendship-Finding Deer Runner"

Verona Hayward: "Mystery-Weaving Cat Sorceress"

Lucy's story:

Stage 1 Boss: Hungry Choir (Supper-Singing Waifs)

Moon Sign "Morsel For Your Melody"

Moon Sign "Black Dog Dirge"

Stage 2 Boss: Jane (Trigger-Happy Hound)

Dog Sign "Relentless Assault

Dog Sign "Mournful Tune"

Stage 3 Boss: Alexandra (Smooth-Talking Soothsayer)

Sight Sign "A Crow's Eye View"

Sight Sign "An Eye for an Eye"

"Severing the Strongest Thread"

Stage 4 Boss: Anthem (War-Betrothed Widow)

Bullet Sign "Abandon All Hope"

Bullet Sign "A Mother's Wrath"

Reload "Reversal of Fortune"

Stage 5 Boss: Musser (Grudge-Bearing Heiress)

Primogeniture "What's My Father's is Mine"

Law of Might "What's Yours is Mine"

Unbroken Line "What's Mine is Ours"

Stage 6 Boss: Carmine Exile (Mastermind Martyr)

Conviction "Claws of the Karmic"

Contraction "Teeth of the Starving"

Subjugation "Blood of the Hound"

Ascension "Fur of the Carmine"

Avery's story:

Stage 1 Boss: Hungry Choir (Supper-Singing Waifs)

Moon Sign "Morsel For Your Melody"

Moon Sign "Leftover Scraps"

Stage 2 Boss: Nicolette (Skull-Augered Augur)

Omen Sign "Interloping Eye"

Omen Sign "Haunting Haruspex"

Stage 3 Boss: Alexandra (Smooth-Talking Soothsayer)

Sight Sign "A Crow's Eye View"

Sight Sign "Hangmaiden's Gambit"

"Ensnaring Web of Oaths"

Stage 4 Boss: Lis (City-Shifting Spirit)

Street Sign "The Walls Have Ears"

Street Sign "Face in the Crowd"

"Smoke Amidst a Stolen Founding"

Stage 5 Boss: Maricica (Ascendant of the Abyss)

Glamour Sign "Consort in Exile"

Glamour Sign "Conspirator in Red"

"Impaling Ascension of the Lady in Blood"

Ichor Sign "Lady of Bloody Glory"

Stage 6 Boss: Carmine Exile (Mastermind Martyr)

Conviction "Claws of the Karmic"

Incision "Shards of the City"

Creation "Lords of the Carmine"

"Bloodied Birth of the Red Heron"

Verona's story:

Stage 1 Boss: Hungry Choir (Supper-Singing Waifs)

Moon Sign "Morsel For Your Melody"

Moon Sign "Full-Moon Feast"

Stage 2 Boss: Shelley (Myth-Busting Skeptic)

Skeptic Sign "Never Believe Your Eyes"

Skeptic Sign "Blinding Rationalism"

Stage 3 Boss: Bristow (Lying Landlord)

Collector Sign "Weaver of Fortunes"

Collector Sign "Reaper of Debts"

Collector Sign "Sower of Chaos"

Stage 4 Boss: Edith (Cursed Candle)

Passion Sign "Gaslit Flame"

Passion Sign "Burn at Both Ends"

"Like Fire, Love Devours Ceaselessly"

Stage 6 Boss: Carmine Exile (Mastermind Martyr)

Stage 5 Boss: Helen (Twisted Sister)

Horror Sign "Sealed Forevermore"

Horror Sign "Rending Reality"

Horror Sign "Gnarled Ambition"

"A Name Forever Earned"

Ascension "Furs of the Carmine"

Retention "Hordes of the Below"

Prediction "Fires of the Crucible"

"A Self Broken on the Shores of Eternal Conflict"

[mossyscavern]

A lesson from horror and experience

__________________________

“Ugh, c’mon!! Stupid rabbit.”

Sam shouted, slouching as the redhead stared at the death screen. ‘Almost...’ He thought to himself, when Tim jumped down from the trees.

“What are you doing? It’s like… 1:00am and you’re yelling at honey bunny?” Tim asked, putting away the old pocket watch he found back in the 1950’s. “Wasn’t yelling at honey bunny.” He told him.

“I’m yelling at the stupid purple rabbit.” He finished, turning off his phone as he looked around the forest. “What purple rabbit?” Someone else asked, tilting his head up to see Tom looking down at him.

“Just this game I’ve been playing on my phone, it’s nothing.” Sam told him, not wanting to bore the two. “You had me at games, how do you play?” Lilian asked, questioningly.

Now this surprised Sam, yet at the same time, it didn’t. He’s just not sure it’s a good idea. “You sure? It’s kind of scary-.” “And we’re vengeful spirits, we can handle it.” Caleb says proudly, after digging up to see the commotion.

‘They’re not gonna be the same after this.’ Sam thought, sighing in defeat and turning his phone back on again. “Fine, but we’re introducing you all to the first game.”

He told him, switching the game on his phone to the first game. “Ok, now watch closely. I don’t trust you guys with playing this game.” “Sounds fair.”

Tim said, all the others getting comfortable sitting next to or behind Sam to see what it was all about. “What are you guys doing?” Benny asked.

“Watching Sam play a game.” Tom answered, Tim nodding in agreement. “… eh why not. Could be interesting.”

—3 minutes later—

It had been 3 minutes and nothing happened, Sam has been shutting the doors, flicking the lights on and keeping an eye out on the cameras and battery percentage till something happens… then something happens.

“Shouldn’t that door be closed now?” Caleb asked. “Yes but it’s jammed.” Sam answered. “What do you normally do when something like that happens?” Tom asked, his head rested on Sam’s shoulder. “… didn’t actually figure that out.” Sam answered.

“… so what’s gonna-.”

“AAAAHH- *static*.”

“Ugh, foxy! I swear he’s-… guys?”

He called out, looking around to see the other weavers have gone. Then looked behind him and saw Benny passed out. ‘Oh… I should probably leave.’ Sam thought, standing up and leaving.

But before he did, he left them a note in case they were wondering where he went. ‘They’ll definitely have a grudge against me after that… definitely.’

__________________________

… I shared this idea with sushi after we were talking about fnaf stuff.

And since Sam and Travis has been around since fnaf has been around, growing popular. It’s a great opportunity to do this little thing!

I may be able to write a part 2 of this… who knows?