#i don't know how long i owned this book

[firedragon1321]

A beloved old dog who howls a lot, but it's always because the wolves are out.

“Authors should not be ALLOWED to write about–” you are an anti-intellectual and functionally a conservative

“This book should be taken off of shelves for featuring–” you are an anti-intellectual and functionally a conservative

“Schools shouldn’t teach this book in class because–” you are an anti-intellectual and functionally a conservative

“Nobody actually likes or wants to read classics because they’re–” you are an anti-intellectual and an idiot

“I only read YA fantasy books because every classic novel or work of literary fiction is problematic and features–” you are an anti-intellectual and you are robbing yourself of the full richness of the human experience.

[powdermelonkeg]

Personal headcanons for Gale's tower layout:

5F: An astronomical observatory with an orrery in it. The stardome is enchanted to reflect whatever sky and weather Gale wishes; if he wants to see the stars in Kythorn, that's what it shows him. If he wants rainy weather to read to, guess what. The stars reflect whatever position the orrery's been set to. There's a walkable ledge around the exterior of the roof for Tara's pigeon-hunting.

4F: A portal room, surrounded by three guest bedrooms and a bathroom. The bedrooms are themed: one smells like a sea breeze and faces the harbor, colored with sunset shades with gold accents, one smells like rose potpourri and fresh grass, mostly pastel purple with brass, one smells faintly spiced, deep maroon and bronze. Morena prefers the rose one. Each one comes equipped with a vanity that has three (magic) mirrors, a wardrobe that removes wrinkles and stains of anything hung in it and repairs minor stitches, a set of candles that never burn down their wicks, and curtains that, when drawn, enact a silent barrier around the room. The floors are polished hardwood with plush, patterned carpets. The bathroom is self-cleaning, has running water on command, whatever temp you want it, warms towels for you, and has a magic mirror (magic mirrors in my headcanon show hairstyles and things you WANT to try before you actually try them out).

3F: Gale's floor. His bedroom, a walk-in closet, a room for Tara, and a personal bathroom. Gale's bedroom has silence-spelled drapes, glowing crystal sconces he can dim with a wave, a desk, a large canopy bed (the one he summons during his last night in Act II), a small bookshelf for whatever he's currently reading that doubles as his nightstand, and a plush window seat. The walk-in closet is neatly sorted, with everything from travel robes to finery to wear to the annual Blackstaff Ball, and has the same enchantments in it as the guest room wardrobes, with the added effect of making anything put in it inexplicably smell like a library. His bathroom is just like the guest ones, but larger. The bathtub inside, when activated, always assumes he wants his bath piping hot and lavender-scented. Tara's room is smaller, but fully designed for her little cat body. Scratching posts, cat-sized perches and comfy cat towers, and a little bookcase and window seat of her own. She keeps her space VERY neat, in contrast to Gale's "organized chaos" sort of living.

2F: This is the floor we see in Gale's Act II illusion. The packed library, the messy desk, the private study, the balcony... He sorts his books by topic, then by date rather than author. Tara is appalled by it. The balcony has a minor enchantment to keep weather, pigeons, and seagulls off of it. Tara is upset at the lack of birds; it's SUCH a cozy napping spot, and you're going to take away her free breakfast, too? Gale's compromise was the 5th floor's walkable ledge, which is a prime pigeon-hunting perch.

1F: The entry floor. It's got a sitting room to entertain guests with, and a large, well-kitted kitchen. The dishwashing basin does the washing for Gale. On the wall in the sitting room, there are two notable paintings: one is of young, 10-year-old Gale in a cape, standing proudly with both his parents and holding his first-ever proper wizard staff. He's TRYING to have Tara on his shoulders, he insisted, but she's just too big, so he's wound up leaning forward where she awkwardly perches on his back. He has a snaggle tooth. The other painting is of a much older Gale, dressed finely and standing with his mother, smiling. It was made before he got the beard, so he looks a decent bit younger than he is. Tara is wrapped around Morena's shoulders like one of those feather boas, but she's headbutting Gale's shoulder affectionately.

B1: Gale's wine cellar and well-stocked pantry. He collects all kinds of wines from all over Faerûn, usually getting them from merchants that pass through Waterdeep, but he's not opposed to cracking open an expensive vintage with the right company. There's a locked cabinet labeled "in case of Elminster" that contains some cheeses and wine to offer the older wizard, that way Elminster doesn't raid Gale's pantry when he's not looking. If you don't feed Elminster, he WILL feed himself at your expense.

B2: Gale's spell workshop, scroll storage, alchemy lab, and vault. Gale's not especially well-versed in alchemy (I think Wyll's got dibs on that, personally), but he DOES mix himself up some Arcane Cultivation elixirs from time to time. And if a potion recipe intrigues him enough, he likes to have a place on hand to try things out. The vault is well-guarded with spells, but, sadly, pretty empty; it just has his savings there now, where once it held all sorts of enchanted items he'd picked up through his studies and younger adventuring days.

An additional note: Tara has perches all throughout the house, on every floor, basically anywhere Gale spends a lot of time doing things. The cushions that are hers are magically heated and smell like tea and mint.

[anghraine]

It's kind of fascinating to me that towards the end of P&P, Elizabeth has become protective of Darcy and either a) actively tries to insulate him from Situations or b) wishes that she could and gets stressed that she can't.

Darcy deeply loves her and is very ready to do whatever he can to secure her happiness, but narratively, I think the emphasis at the end is very much more on Elizabeth's protectiveness towards him.

It's like:

When Bingley and Darcy first come back to Hertfordshire, Darcy is very quiet and Elizabeth can barely bring herself to say anything—until Mrs Bennet insults Darcy. Then Elizabeth speaks up.

Mrs Bennet enlists Elizabeth to separate Darcy from Bingley with another insult to Darcy. Elizabeth finds this both convenient and enraging.

That day, Elizabeth decides to privately tell Mrs Bennet about her engagement to Darcy, specifically so that Darcy will be spared Mrs Bennet's first unfiltered response.

Elizabeth fiercely defends Darcy's character and love for her, as well as hers for him, to Mr Bennet. She not only says she loves Darcy but that it upsets her to hear Mr Bennet's criticisms of him.

Elizabeth is both relieved by Mrs Bennet's ecstatic reception of the engagement and a bit disappointed by how completely shallow she's being about it, and 100% sure she made the right call in keeping Darcy away.

Elizabeth defends Darcy against Darcy himself, repeatedly.

There's a period where Elizabeth seems to unwind and laugh, but this passes, especially after Charlotte and Mr Collins show up. Darcy manages to stay calm around Mr Collins (I think this is framed as a significant and admirable achievement for him), but Elizabeth does not like him being in a situation where he has to deal with Mr Collins in the first place.

Elizabeth tries to shield Darcy from being noticed by Mrs Phillips and Mrs Bennet, who do seem to make him pretty excruciatingly uncomfortable.

Ultimately, Elizabeth ends up trying to keep Darcy to herself or to shepherd him around to relatives he can handle more easily, and is so stressed at this point that she just wants to get married and escape to Pemberley.

After their marriage, things are actually great at Pemberley and in their married life, despite the occasional complication.

Lydia writes a congratulatory letter to Elizabeth, asking for Darcy to get Wickham a promotion unless Elizabeth would rather not bring it up with him. Elizabeth really does not want Darcy to have to deal with this and handles it by privately setting aside a Lydia fund out of her personal expenses. (IIRC, it's not clear if Darcy even knows about this.)

Elizabeth also is the driving force behind Darcy's reconciliation with Lady Catherine.

This could read as an unsettling, unbalanced dynamic and a very odd ending point for the arc of a woman like Elizabeth, but in the context of the overall novel, it doesn't feel that way. Or maybe I'd see it more that way if I interpreted Darcy (and for that matter, Elizabeth) + their arcs differently? But as it is, I do think that by this point in the story they are genuinely doing the best they can, independently and for each other, and they've both come a long way. They shine in different contexts and support each other as much as they can in the circumstances that do arise.

It seems very them, in terms of their temperament and abilities, that Elizabeth would put all this effort into shielding Darcy, while at the same time, Darcy completely cuts off Lady Catherine for insulting Elizabeth and only ever speaks to her again because Elizabeth wants him to.

[bonefall]

Firestar getting treated to a character assassination after The Darkest Hour is my villain origin story tbh

You can see the EXACT moment where the brain worms go terminal when Tigerstar dies in front of him, and he starts going "oooga booga he was strong and noble and had good traits... well need him to fight all these evil foreigners..." Just ceremorphose already, this is #NotMyFirestar

[majouartings]

PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA *inhale* PLAYABLE ZELDA PLAYABLE Z

[creative-hanyou-girl]

I don't know if anyone else feels this way but I think a big reason why I'm so chill about the changes made to the PJO show from the books is because I kind of look at each other as their own seperate canon.

Like, I read a lot of anime and manga, and anime adaptations have a huge habit for changing plot points for various reasons, and as a fan of said anime and manga, I've found that I can enjoy both versions of the same story even with the differences when I look at them as their own universe or canon. That's not to say I don't want them to be faithful or true to the source material, but if a scene or situation plays out differently for a logical or entertaining reason, than I can still appreciate that deviation from the manga even if I still like the other original version of that part more. And I can even like the reversal way if I feel an anime does something better than even the manga. But if I want to, I can look at certain moments as more canon than others because I got 2 different versions of that same scene or moment.

And, I don't know, I kind of apply that reasoning to the PJO series as well, mainly with the books, the show, and even the musical (not the movies put that right back where it came from). So far I'm loving the TV show, and while I miss some of the things they changed (like the pink poodle), this adaptation really is doing a great job with staying true to the heart and spirit of the original book that I personally am not even really bothered by the changes, especially when I remember that the books will always still be there with it's own version, or canon, of events.

Like, I will say 1 thing I adore in the books that isn't really in the show is the fact that a lot of Percy and Annabeth's "rivalry" during TLT has more to do with the rivalry between Poseidon and Athena. I just really like on how this adds a level of "forbidden friendship/love" to their relationship 'cause I personally eat the forbidden relationship trope up, especially when it's done well like with Percabeth.

Yet, even if this isn't really the reason percabeth have beef with each other in the show, I can still appreciate and enjoy that according to the show's canon, they have issues because they genuinely have problems with each other as actual people rather than their parents' rivalry, because at the end of the day, that's the PJO TV show canon, and I can always turn to the books for that version of Percabeth's "rivalry", as that is the PJO book canon.

Same goes for the characters too. I will always have and love my dark haired Percy and blond haired Annabeth in the books, but I can also welcome and love Walker's Percy and Leah's Annabeth from the show. And so far, they along with Aryan are KILLING IT as those characters.

I can love both versions of the characters.

I can love both versions of the same story.

I can look at both versions as they own seperate canon or mix them together if I so wish too (especially since both versions of PJO are written by the same guy)

And that's ok. The adaptation doesn't have to be a complete copy of the books. It doesn't have to have things play out eactly the same way. The characters don't have to look exactly the way they are described as in the books. And that's ok. I will still always have the books to love and appreciate, but I can also start to love and appreciate the new adaptation for it's new spin and twists to the same story that sets it apart as it's own canon while still staying true to the spirit of its predecessor.

Anyway, sorry if I'm not making a lot of sense. I just think the people complaining about the changes in the show are looking at it all the wrong way. The show has it's own canon just as the books have their own canon, or even the musical. At the end of the day, isn't that kind of cool to have different versions of the same story and characters? Doesn't it give you so many more options to look at the story in different ways that you can prefer or choose from? Doesn't it give you new versions of canon that you choose from? And really, as long as the PJO adaptation, or any adaptation for that matter, stays true to the heart and spirit of the original story and characters, do the changes made really matter?

[girlthativealwaysbeen]

pata hai last kuch din i was very busy with my project kyunki final dena tha and binding karni thi etc to wo karwayi then i went to the bookfair bekaar tha then parso submit karne jaa rahi to subah accident hogaya (bhai ki bike skid hogayi and we fell down) and now i have a big ass blue bruise on my upper thigh and my parents don't even know lmao and kal ek science conference thi to i had to sit in an auditorium for 6 hours listening to accomplished people speak. that's what you missed now your turn

omg i knew everything in this except for the accident cause i stalk your blog vigorously everyday are you okay!!!!!!!!!! did you get tetanus shots!!!!!!!!!! also on your upper thigh oh no that's where future jiju is supposed to write MINE na as per our beloved song guilty as sin?

[seventh-district]

not even gonna tag this properly bc i don't wanna get Involved but i do have some Thoughts i need to get out into the void so here we go

(aaa quick edit: CW for mention/discussion of Boothill leaks)

[justplaggin]

current obsession: cdramas that feel like anime

[statementlou]

agree on your tags re the chemical cover. You can't ignore that there is a theme, and a theme that larries don't like (and tend to ignore). As much as I'd want them to be happy and together I'd wonder how his other half would think about him tainting his relationship in such a negative light.

see but this is so funny to me because me, I was like, man much as I tend to think they might be broken up then we have Louis coming along yet again like yeah so anyway long term relationship, same problems as the same relationship I've been talking about for years and years in songs rather than a song about being single or a break up or something different or whatever.... and then here's you saying the same thing shows that they AREN'T together! Just goes to show that whatever we read as being SO OBVIOUS there's always another way to see it when it's all just hints and shadows on the cave walls

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

[thesmokinpossum]

It's honestly kinda insane to me that Vito trusts and respects Fredo so little that even with his strict catholic moral he literally trusts the reports of his late son's ex-mistress more than anything his actual son has to say like wow, you're not even pretending to care for this man at this point 😬

[batemanofficial]

hello upper middle class northern usamerican tumblr user. i want to play a game. you will notice that you are in a super america convenience store in rural kentucky - you have three minutes to purchase a snack and drink of your choice and make normal small talk with the cashier. however, if you use the word "cryptid" or generally make reference to appalachia and its inhabitants as "wild", uncivilized, or lacking restraint around alcoholic beverages during your time here, i will personally tie you to the chassis of a four wheeler and tip it into the river. live or die. make your choice

[punkshitposts]

something I think is actually hilarious is that if you go left enough you start having more stances in common with (individual) conservatives, and if you go right enough you start agreeing with (individual) leftists. like i have a pretty close friend who's self described as "just far enough right that I hate politicians" , whom I hard disagree with his overarching political stances. but the finer details of it... yeah we agree with each other. gun control/gun rights opinions taxation opinions pro-small government opinions slight separatist opinions anti two party opinions anti-corporation opinion ect ect ect.

we stand on opposite sides of a standard political compass but I genuinely think if I were to count stats, I'd agree with as many of his stances as I would a liberals/democrats stances. my hs gov teacher described the difference in right vs left to us as "everyone's goal here is the betterment of mankind, they just think the best ways to do it are different" and that's literally the best way, to me, to describe what the difference in right vs left is regarding anarchism specifically. we got ESSENTIALLY the same opinion but the ways we think are the best ways to go about enacting said opinion are what makes us different. and something abt that is really painfully funny to me. envisioning a world where an-something is the major world thing, not capitalism.... and there's STILL right vs left... but The Anarchist Versions. christ.

sorry for the book i wrote in the tags. ignore typos I am NOT retyping any of that to fix them xoxo

[autistic-shaiapouf]

So it might all work out actually??

[blujayonthewing]

I've thought a lot about the several thousand year old gnome druid we met who was just bitter and jaded and had spent most of those millennia sitting in one place not doing anything in particular except mourning her tiefling wife who'd died millennia ago, and how disgusted and infuriated with her melliwyk is, personally but also as a gnome herself-- and I'm thinking about it again like. honestly I think it goes beyond general cultural values; that level of willful ongoing stagnation and joyless nihilism is probably completely seriously a gnomish sin