#just devastation really

[whositmcwhatsit]

Giving a him a mouth like that is a clear sign of premeditation, your honour

[luguangs]

though the movie might be cancelled, yuri on ice will live forever in our hearts. thank you yoi fandom, it's been real ♡

[discosmackdown]

the fallen

[ratthumbsup]

[flowerbloom-arts]

Change is a two-way street.

(Is my favoritism towards the Damsel obvious enough, or?)

note: TLQ [aka my sona Bloombird] is a butch sapphic and this is yuri

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[turtleblogatlast]

Imagine little Leo having trouble sleeping so he ends up watching tv and movies with Splinter to pass the time. Splinter often just passes out in his chair, but Leo likes the company anyway.

One day, Leo’s rifling through the movies his dad brought back for them (usually 70s and 80s stuff - Splinter has a bias) and he gasps.

Leo runs over to Splinter and holds up a copy of The Last Unicorn, begging that they watch it that night.

Splinter remembers absolutely nothing about the movie, but hey it’s got a unicorn and it’s animated so it’s gotta be fine, right? So he turns the movie on and passes out near immediately.

He’s woken up roughly an hour and a half later by Leo climbing up onto his chair and sobbing hysterically into his chest.

The movie is now one of Leo’s favorites.

[bonejunky6669]

it fills me with such righteous anger thinking about harrow going to The Mithraeum and seeing God indulge in all of the things she has been deprived of/deprived herself of all her life- in order to worship HIM. seeing him and the other lyctors have feasts while even tea is too flavorful for her. seeing them have gross old people orgies while she had probably never been hugged in her entire life before Gideon. seeing them do jackshit all day while she did nothing but pray and study. telling her she is but a baby- despite the fact that she has experienced the worst of horrors(at the hands of the religion they created) and posseses more necromantic power than all of them. her fellow saints taking advantage of her schizophrenia for their own agendas, and never giving her the time of day otherwise, not even pity when she is lying on the ground with her gut ripped open and innards strewn about. god saying she is like a daughter to him- and her throwing herself down onto broken glass because she is so overcome by guilt at the idea of being a daughter- of being given anything, of having anything, of having love or affection, of being something to somebody, of existing- and god having the audacity to say such a thing after failing to raise her. god not understanding her, god's lack of omnipresence, the saint's lack of kindness or holiness of any capacity. harrow, having grown up in nothing but dark black halls and clothes- and The Mithraeum being nothing but pearly white. harrow, who dedicated her life to an empty religion and a god who does not care and is not qualified. harrow, who only had ONE thing(Gideon) that ever made her happy, and having that one thing taken away from her by this god. so much avoidable grief and abuse forced onto her. and the fact that she has been forced to continue this cycle of grief and abuse as well by having had continuously hurt her only friend and being turned into a lyctor against her will. harrow begging god to ask the saint of duty to stop trying to brutally murder her, and god telling her to get a hobby? devastating. truly the most tragic character of all time

[diamondsilvermoon]

redrawings that went wrong but i like the colors and had fun so win win

[carnevol]

John 'Bucky' Egan suppressing his emotions

for @hogans-heroes

[ef-1]

to the holes in my butterfly wings

[mamawasatesttube]

frankly no one leans into bart being from alabama enough. do you even know how devastating it could be for impulse to look at you just sitting there minding your own business and go "aw man, bless your heart </3"

[sparring-spirals]

Still emotional about Fy'ra Rai and Opal, actually. Thought dump time bc i. dont have the energy to cut this down effectively.

Because at that point in the episode, Opal is doomed. Not in the fun little "oh things are getting worse ;)" kind of way we'd been experiencing leading up to the fight, or even IN the fight. At that point in the fight, Cyrus is dead. Dorian and Dariax have their minds twisted, bodies clambering away from the fight. Morrighan has felt, firsthand, just how far gone Opal is, holes in her mind, her friend broken. The heartbreaking sentence of. "You can always come back." understands that she is gone already. She's lost already. Opal has forgotten Ted. Opal has forgotten herself.

So at that point in the fight, we know Opal is doomed. Us as the audience, the cast, the characters. Aabria is running through each of the other crownkeepers and it is more of a goodbye than a round of combat. Defying the Spider Queen invites death, with zero hesitation- Cyrus's body as physical evidence of that. The terms were very clearly set: You leave Opal, you let her be lost. Or you die. (Leaving Opal anyway).

and Fy'ra Rai then. Grasps the crown, understands intimately that she can break it off and it will kill Opal. (I will free you, if you want me to. We would lose you but you would not be taken). And asks, what do you want me to do. What do you want.

and Opal says, I want you to leave. (I want you to live.) and Fy'ra Rai functionally says. No. Sorry. That's not one of the options.

If you wanted to go. I will do that (your blood on my hands). If you want me to stay, I will. But I'm not going to leave you.

There was the point where Fy'ra Rai broke into the communication and I felt my insides sink because. Look. Lets be real, Aabria had already demonstrated the stakes here. The gesture would not be rewarded for the gesture alone. The Spider Queen's terms were: You leave Opal. Or you die.

And Fy'ra Rai said: no.

I don't think I'm overstepping to assume that if Fy'ra Rai had failed the intimidation check, she would have died. This entire thing hits me so hard because I think Anjali knew that too. I think Fy'ra Rai knew that too. Yes, Fy'ra Rai convinced a Betrayer God to negotiate. She carved a third option out of a non-negotiable situation. She knew what would happen if she failed and did it anyway, with no fear, no regret, no waver in her resolve. She had lost enough sisters. She wasn't going to lose anymore, no matter the personal cost. That's part of why it succeeded, I'm sure, but.

Just. Fuck me. The amount of resolve. The amount of love. The amount of conviction. "I am. A protector." You know your friend- your sister- is doomed. So no more negotiating away from that. You step to her side and you grasp her hand and say- doom me with her.

And in some, sideways way, this saves you both, at least for a little while.

Because this story is a tragedy. This ending is a sad one. We know this already. But think about- Opal, under Lolth's bidding, alone in the dark. Think about Fy'ra Rai, alive, intimately aware that she had failed to protect yet another sister.

And think about what we got, instead: the two of them, in deep darkness, danger encroaching- holding hands. Someone they love at their side. A champion. And her champion.

This is still a sad story. But it's not the same one. Fy'ra Rai stared down a Betrayer God and made her change her mind. She stared down a Betrayer God, and her love and conviction changed the nature of the story. It shouldn't have been able to. But she did.

Fy'ra Rai chose to doom 2 people instead of one, and the sheer strength of her love and will managed to save them both, at least for a little while. Isn't it funny how that works? Isn't it devastating? Isn't it. fucking incredible?

[landedinpayne]

in case you are in the mood to feel devastated here’s an alternate way of viewing charles’ response to edwin’s confession:

we know that charles kinda puts edwin on a pedestal- yes they are partners but there is a bit of a hierarchy between them. charles just looks up to and admires edwin in so many ways while constantly looking down on and being really hard on himself. he puts on his big happy persona because he thinks that people wouldn’t like him if they actually got to know him.

so when edwin confesses, it’s like a blow to him. he took his charming persona too far and went and tricked the most important person in the world into thinking he was worthy of love. and it’s worse because he does love edwin in that way, which is exactly why he can’t let him know that. charles still believes that he is like his dad, and he saw exactly what his parents’ relationship did to his mother.

he thinks that loving edwin in the way that he wants to would only cause more pain to this boy who has already been through far more than he deserves. so he blinks back his tears, attempts the same charming smile he’s used all these years, and dishes out the gentlest non-rejection in the history of forever

[ruporas]

chapter 90 vash

[madbard]

There’s something to be said about how Stanley Pines was treated his entire life as a lesser echo of his brother.

Stan was the failure. He had no value. He was never told he could thrive on his own, so he never tried. He balanced the weight of his dreams on remaining at Ford’s side, and when Ford revealed he had other plans, he spiraled. He lost his home, tried desperately to make a name for himself while spinning from identity to identity, losing more and more of himself as time went on. After years of running, his brother finally reached out to him again and Stan grabbed onto that lifeline, only to realize Ford didn’t want him to stay. Ford wanted Stan to do something for him. That was all.

Stan would never be anything without Ford. He would never be anything more than Ford. He took his brother’s identity while sacrificing decades of his life, but it wasn’t much of a life anyway, so what was there to lose?

Ford returned, and didn���t even thank him.

Stan had done all of that for nothing. His brother looked him in the eye and (from Stan’s perspective) decided he deserved nothing.

Stanley Pines deserved nothing because Stanley Pines was nothing.

And yet, at the end of everything, when everything else was lost, the world was saved.

Not because Stan pretended to be Ford, fulfilling his role as echo and shadow and double.

No.

Because, in that moment, Bill made a deal with Stanley Pines. The conman, the grunkle, the failure. The defender.

Stanley Pines, who would always protect his family, even if it meant sacrificing himself.

Stanley Pines, who was so very valuable, after all.