#killing eve resources

[tuppencetrinkets]

Sorted caps, Killing Eve S 1-4, assorted cast.

Anjana Vasan - Pam

Camille Cottin - Helene

Darren Boyd - Frank Haleton

Eugenia Dodina - Tatiana

Fiona Shaw - Carolyn Martens

Gemma Whelan - Geraldine

Harriet Walker - Dasha

Henry Lloyd-Hughes - Aaron Peel

Kim Bodnia - Konstantin

Nina Sosanya - Jess

Owen McDonnell - Niko Polastri

Robert Gilbert - Yusuf

Sean Delaney - kenny Stowton

Suan Lynch - Anna

Turlough Convery - Bear

Yuli Ladoninsky - Irina

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!)  

[pearlprincess02]

lilith in a woman's birthchart

aries lilith

lilith in aries intensifies a woman's connection to her primal urges and raw sexual energy. she embraces her desires unapologetically, often challenging societal norms or any expectations of passivity in love and sex. this placement fuels a fierce sense of independence, making her unwilling to submit to anyone’s control, especially in intimate relationships. in aries, lilith represents a relentless drive for self-expression, fearlessly exploring the darker aspects of femininity and sexuality. rebellion becomes second nature, as she fights against restrictions that seek to tame her, embodying the bold, untamed aspects of the feminine. rage and power are central themes—when provoked or oppressed, this lilith placement manifests as fiery outbursts, asserting her right to be free, powerful, and true to her instincts. her shadow emerges when she suppresses her desires, which can lead to frustration, impulsiveness, or an intense need for control.

examples from tv: daenerys targaryen (game of thrones), jessica jones (jessica jones), buffy summers (buffy the vampire slayer), maggie greene (the walking dead), olivia pope (scandal)

taurus lilith

lilith in taurus embodies sensuality and the deep connection to physical pleasure. a woman with this placement has a powerful sense of sexual empowerment rooted in the indulgence of her body and desires. she embraces eroticism through touch, comfort, and nature, demanding satisfaction on her own terms. her independence is expressed through self-sufficiency, particularly when it comes to financial stability and personal security. taurus lilith refuses to be dependent on others, especially in love, often taking control of her own life and resources. this placement's shadow emerges in the realm of possessiveness and greed—she may cling to relationships or material things, using them as a shield against vulnerability. rebellion comes when she's forced to conform to roles or standards that conflict with her need for stability and pleasure. feminine power in taurus lilith is steady, grounded, and fierce when provoked, manifesting as rage when her sense of security or sensual fulfillment is threatened. she harnesses her power through patience and persistence, standing firm in her boundaries and her right to enjoy life fully.

examples from tv: cersei lannister (game of thrones), cristina yang (grey’s anatomy), cookie lyon (empire), claire underwood (house of cards), fiona gallagher (shameless)

gemini lilith

lilith in gemini thrives on mental stimulation and variety, making her sexual empowerment stem from curiosity and the freedom to explore her desires in intellectual and communicative ways. a woman with this placement often uses her words and wit to seduce, understanding the power of conversation and playful banter in igniting desire. she rebels against limitations on her freedom of thought and expression, craving experiences that keep her mentally engaged. her independence is defined by her need for space to explore different ideas, lovers, and life paths, refusing to be confined to one narrative or role. the shadow side of gemini lilith may emerge as manipulative tendencies or using her words as weapons, particularly when her autonomy is threatened. she might also struggle with inconsistency, driven by the fear of being tied down or bored. in terms of feminine power, she’s sharp, quick-witted, and resourceful, with the ability to outthink her opponents or charm her way out of difficult situations. rage surfaces when she feels intellectually underestimated or silenced, often leading her to rebel through provocative words and clever schemes.

examples from tv: villanelle (killing eve), blair waldorf (gossip girl), samantha jones (sex and the city), lorelai gilmore (gilmore girls), margo hanson (the magicians)

cancer lilith

lilith in cancer embodies a deeply emotional and instinctual form of sexual empowerment. a woman with this placement taps into her sexuality through emotional intimacy and nurturing energy, using her sensitivity and vulnerability as sources of power. she desires deep, meaningful connections and is empowered by the safety of emotional bonds. independence for cancer lilith is defined by her ability to protect her emotional boundaries, often rebelling against roles that require her to sacrifice her needs for others. her rebellion is quiet but profound, as she fiercely guards her right to care for herself and her loved ones on her own terms. the shadow side of cancer lilith may emerge in the form of emotional manipulation or possessiveness, especially when she feels threatened or unappreciated. she may use guilt or emotional withdrawal as a defense mechanism. feminine power for cancer lilith is rooted in her ability to create and destroy, to nurture or cut off care when her emotional needs are not met. rage surfaces when her vulnerability is exploited or when her deep emotional world is disregarded, leading her to fiercely defend her sense of emotional autonomy and security.

examples from tv: norma bates (bates motel), gemma teller morrow (sons of anarchy), fiona goode (american horror story: coven), nora durst (the leftovers), rachel green (friends),

leo lilith

lilith in leo exudes a powerful, magnetic form of sexual empowerment that thrives on attention, admiration, and self-expression. a woman with this placement embraces her sexuality with confidence and flair, craving to be seen, desired, and worshipped for her uniqueness. she finds empowerment in shining brightly, unapologetically owning her desires and passions. Independence for leo lilith comes from her refusal to dim her light or be overshadowed by anyone—she rebels against anyone or anything that tries to suppress her individuality or diminish her power. the shadow side of this placement can emerge through arrogance, vanity, or a need for constant validation. she might manipulate situations to stay in the spotlight, or become excessively dramatic when her sense of self-worth is threatened. feminine power for leo lilith radiates from her charisma, creativity, and ability to inspire others with her presence. her rage surfaces when she feels ignored, undervalued, or disrespected—she will fiercely reclaim her throne and demand the recognition she believes she deserves, even if it means burning bridges to do so.

examples from tv: elektra abundance (pose), katherine pierce (the vampire diaries), lucille bluth (arrested development), margaery tyrell (game of thrones), rachel berry (glee)

virgo lilith

lilith in virgo embodies a unique form of sexual empowerment rooted in the pursuit of perfection and authenticity. a woman with this placement often finds her desires interwoven with her sense of self-worth, leading her to seek a deeper understanding of her body and sexuality through meticulous exploration and analysis. she is independent and rebellious in her quest for self-improvement, often challenging societal norms regarding beauty and sexuality. this independence is expressed through her insistence on high standards, whether in her relationships or her own self-image. the shadow side of virgo lilith may manifest as excessive self-criticism, anxiety, or perfectionism, leading her to suppress her desires if they don’t align with her ideals. she may also struggle with shame regarding her sexual needs, viewing them as messy or less refined. feminine power for virgo lilith comes from her analytical nature, as she harnesses her intellect to navigate her relationships and sexuality. rage can surface when she feels her boundaries are crossed or when her need for order and clarity is disrupted, leading her to assert her power in a calculated and sometimes cutting manner.

examples from tv: hermione granger (harry potter), molly hooper (sherlock), ann perkins (parks and recreation), daria morgendorffer (daria), miranda bailey (grey’s anatomy)

libra lilith

lilith in libra embodies a complex interplay of sexual empowerment rooted in relationships, aesthetics, and harmony. a woman with this placement often finds her desires closely tied to her ability to create beauty and connection with others. she seeks empowerment through partnerships, using her charm and diplomacy to navigate her desires, often wanting her relationships to reflect her ideals of love and balance. independence for libra lilith is expressed through a strong sense of self-worth and the refusal to settle for less than equitable partnerships; she rebels against any form of imbalance or injustice in her relationships. however, the shadow side of libra lilith can manifest as indecisiveness or a tendency to people-please, suppressing her own needs in favor of maintaining peace and harmony. this can lead to a build-up of resentment and rage when her boundaries are crossed or when she feels unappreciated. feminine power for libra lilith is found in her ability to captivate and influence others, often using her social skills to assert herself. rage surfaces when her ideals of love and justice are compromised, leading her to fight fiercely for her right to love authentically and demand respect in her relationships.

examples from tv: maya hart (girl meets world), marissa cooper (the o.c.), veronica lodge (riverdale), luna lovegood (harry potter), serena van der woodsen (gossip girl)

scorpio lilith

lilith in scorpio represents a profound and intense form of sexual empowerment, where desire is intertwined with emotional depth and transformative power. a woman with this placement embraces her sexuality as a force of both creation and destruction, often drawn to the darker, more taboo aspects of intimacy. she seeks to empower herself through experiences that probe the depths of her psyche, using her sexual energy to connect with others on a profound level. Independence for scorpio lilith is fiercely guarded; she rebels against emotional vulnerability and demands authenticity in her relationships, often taking the lead in navigating the complexities of intimacy. the shadow side of this placement can manifest as obsession, jealousy, or manipulative tendencies, as she grapples with intense emotions and the fear of betrayal. feminine power for scorpio lilith lies in her ability to transform herself and those around her through her magnetic presence and profound insights into the human condition. rage can erupt when she feels betrayed or her trust is violated, leading to a fierce and transformative confrontation that challenges the status quo and demands respect.

examples from tv: daphne bridgerton (bridgerton), raven reyes (the 100), faye chamberlain (the secret circle), jessica pearson (suits), annalise keating (how to get away with murder),

sagittarius lilith

lilith in sagittarius embodies a dynamic and adventurous form of sexual empowerment, where desire is closely tied to freedom, exploration, and a thirst for knowledge. a woman with this placement embraces her sexuality as a journey of discovery, often seeking experiences that broaden her horizons and challenge conventional boundaries. she finds empowerment in her independence, rebelling against any constraints that limit her exploration of love and intimacy. this desire for freedom can lead her to unconventional relationships or sexual experiences that reflect her adventurous spirit. the shadow side of sagittarius lilith may manifest as restlessness, a tendency to avoid commitment, or a disregard for the emotional needs of others, as her quest for personal truth can sometimes overshadow relational harmony. feminine power for sagittarius lilith is rooted in her optimism, charisma, and philosophical approach to life, inspiring others to embrace their own journeys of self-discovery. rage can surface when her freedom is threatened or when she feels stifled by societal norms, leading her to assert her desires with fiery passion and unyielding determination.

examples from tv: chloe decker (lucifer), jessica day (new girl), emma woodhouse (emma), arya stark (game of thrones), june osborne (the handmaid's tale),

capricorn lilith

lilith in capricorn embodies a grounded and pragmatic approach to sexual empowerment, where desire is often intertwined with ambition, responsibility, and a drive for success. a woman with this placement tends to view her sexuality as a powerful tool for achieving her goals, embracing her desires with a sense of seriousness and intent. she finds empowerment in her independence, fiercely rebelling against any societal expectations that dictate how she should express her femininity or navigate her relationships. capricorn lilith women often seek stability and security in their partnerships, and their desire for commitment can sometimes lead them to play the role of the caretaker or the one in control. the shadow side of this placement may manifest as coldness, emotional detachment, or a fear of vulnerability, as they grapple with the societal pressures to remain strong and composed. feminine power for capricorn lilith lies in her resilience, practicality, and ability to navigate challenges with grace and determination. rage can surface when her ambitions are undermined or when she feels her worth is dismissed, prompting her to assert her power in a calculated and formidable manner.

examples from tv: leslie knope (parks and recreation), miranda priestly (the devil wears prada), selina meyer (veep), betty draper (mad men), alicia florrick (the good wife),

aquarius lilith

lilith in aquarius embodies a unique form of sexual empowerment that is characterized by originality, freedom, and a progressive approach to desire. a woman with this placement views her sexuality as an avenue for self-expression and experimentation, often breaking societal norms to explore her identity fully. she finds empowerment in her independence, fiercely rebelling against traditional expectations around relationships and intimacy. this rebellious spirit allows her to forge her own path, valuing her individuality above all else. the shadow side of aquarius lilith may manifest as emotional detachment or aloofness, as she navigates her desires with a focus on intellect over emotion, sometimes leading to difficulty in forming deep connections. feminine power for aquarius lilith lies in her visionary nature, as she inspires others to embrace their uniqueness and challenge societal norms. rage can emerge when her ideals of freedom and equality are threatened, prompting her to assert herself in unconventional ways, often rallying others to join her cause for change and liberation.

examples from tv: harley quinn (harley quinn), raven baxter (that's so raven), jules vaughn (euphoria), eleven (stranger things), maeve wiley (sex education),

pisces lilith

lilith in pisces represents a profound and ethereal form of sexual empowerment, where desire is deeply intertwined with emotional sensitivity, intuition, and a connection to the mystical. a woman with this placement often views her sexuality as an expression of her dreams and fantasies, embracing the fluidity of her desires while exploring the depths of her emotions. she finds empowerment in her independence, rebelling against rigid norms and societal expectations, allowing her to navigate relationships in a way that feels authentic and freeing. this can lead to a rich inner world filled with creative and spiritual pursuits, but the shadow side of pisces lilith may manifest as escapism, emotional turmoil, or a tendency to become enmeshed in unhealthy relationships. feminine power for pisces lilith is rooted in her ability to empathize with others, her artistic expression, and her capacity to inspire deep emotional connections. rage may surface when her boundaries are violated, or when she feels misunderstood, prompting her to assert her needs and desires in ways that can be both gentle and fiercely protective.

examples from tv: rory gilmore (gilmore girls), willow rosenberg (buffy the vampire slayer), misty day (american horror story: coven), felicity smoak (arrow), cassandra cain (birds of prey)

in houses

lilith in 1st house: dominance, seduction, magnetism, self-possession, fierce individuality, rebellion, authority defiance, primal instincts, raw sexuality, unapologetic self-expression, boldness, power struggles, intense presence, liberation, untamed energy, fearless identity, taboo exploration, dangerous allure, radical self-assertion, outlaw spirit, rage against norms, subversive behavior, sensual dominance, mundane rebellion (e.g., fashion, body image), boundary-breaking, unconventional beauty, reclaiming body autonomy, embracing shadows, provocative demeanor, empowerment through defiance

lilith in 2nd house: sensuality, material indulgence, self-worth rebellion, desire for luxury, possessive power, financial independence, sexual value, taboo desires, reclaiming body autonomy, feminine wealth, empowerment through possessions, breaking societal value systems, self-sufficiency, erotic self-esteem, rage against dependency, unconventional assets, financial rebellion, ownership of desires, untamed sensuality, transforming wealth, valuing the taboo, monetizing sexuality, body as currency, empowerment through self-possession, rage against materialism, rebellious spending, resource control, luxury as rebellion, sexual magnetism for wealth, power through resources

lilith in 3rd house: seductive speech, provocative ideas, rebellious thoughts, taboo conversations, feminine intellect, outspoken power, unfiltered expression, rebellious learning, intellectual freedom, sensual communication, dangerous curiosity, breaking communication norms, manipulative language, empowerment through words, verbal independence, taboo knowledge, bold self-expression, radical opinions, persuasion through seduction, communicating desires, verbal power struggles, erotic messaging, empowering sisterhood, breaking intellectual taboos, subversive writing, secret messages, outrageous ideas, feminine rage in discussions, challenging mental limitations, verbal empowerment

lilith in 4th house: emotional independence, rebellion against tradition, home as sanctuary, feminine rage in domesticity, intimate desires, subversive family dynamics, sensual home environment, nurturing empowerment, hidden emotional depths, radical self-care, taboo family secrets, intimate power, feminine heritage, liberation from familial expectations, emotional authenticity, challenging home roles, shadow work, domestic rebellion, sensuality in privacy, reclaiming family narratives, attachment to the past, breaking generational curses, empowerment through vulnerability, nostalgic desires, emotional boundaries, secrets of the heart, transcending domestic norms, radical family structures, reinterpreting femininity at home, sovereignty in emotional spaces

lilith in 5th house: creative seduction, liberated sexuality, playful rebellion, passionate self-expression, daring romance, taboo desires in love, feminine artistry, joyful defiance, sensual creativity, radical pleasure, empowerment through play, challenging societal norms, erotic imagination, shadowy fantasies, romantic independence, unconventional love affairs, reclaiming joy & passion, desires for attention, feminine energy in performance, rebellion through art, embracing inner child, empowering flirtation, sensual games, exploration of taboo themes, joyful expression of rage, eccentric dating, breaking artistic boundaries, celebrating sensuality, nurturing creative passions, spontaneous empowerment

lilith in 6th house: empowerment through service, sensual self-care, rebellious work ethic, challenging health norms, intimate routines, radical wellness, subversive daily habits, erotic labor, feminine power in work, liberation through productivity, taboo health practices, emotional healing, breaking work boundaries, sensuality in the mundane, personal rituals, rage against conformity, redefining success, nurturing independence, empowered self-discipline, exploration of body mechanics, workplace defiance, radical approaches to fitness, emotional labor, transformative routines, sacredness of everyday life, awakening through service, liberation from toxic environments, embodied wellness, self-expression through work, challenging societal expectations

lilith in 7th house: empowered partnerships, desire for authentic connection, rebellion against conventional love, challenging relationship norms, feminine power in partnerships, seductive negotiation, intimacy through independence, taboo relationship dynamics, emotional power plays, radical honesty in love, defying societal expectations, erotic exploration of relationships, unconventional commitment, fierce loyalty, reclaiming personal space, duality of desire, rage against betrayal, negotiating boundaries, partnerships as power dynamics, sensuality in alliances, transformative relationships, flirtation with taboo, feminine rage in love, exploring polyamory, reinterpreting partnership roles, authenticity in social interactions, nurturing independence within love, unmasking social facades, empowering others through love, rebellion in romantic norms

lilith in 8th house: empowerment through intimacy, desire for deep connections, rebellion against emotional vulnerability, challenging societal taboos, feminine power in sexuality, transformative sexual experiences, radical honesty in intimacy, exploration of desires, shadow work in relationships, liberation through shared resources, subversive passion, unmasking hidden fears, erotic power dynamics, reclaiming sexual energy, resilience through loss, rage against betrayal & deception, mystical sexuality, exploring the taboo, emotional & sexual healing, challenging possessiveness, depth in emotional exploration, secrets of the heart, sensual transformation, empowered shadow self, reinterpreting intimacy, emotional alchemy, sacredness of sexual connection, defiance through shared intimacy, liberation from fears, navigating power struggles

lilith in 9th house: empowerment through exploration, desire for freedom & adventure, rebellion against dogma, challenging societal beliefs, feminine wisdom in travel, erotic journeys, radical perspectives on sexuality, embracing philosophical desires, taboo subjects in education, liberation through knowledge, exploring cultural taboos, adventurous spirit, rage against limitations, sensual exploration of beliefs, empowered spiritual journey, radical honesty in beliefs, freedom of expression, challenging traditional roles, transcending boundaries, mystical experiences, self-discovery through travel, passionate about diverse cultures, emotional & intellectual expansion, defying conventional wisdom, sacred sexuality in spirituality, evolving belief systems, liberating philosophical discussions, empowering education, embracing the unknown, shadow work through exploration

lilith in 10th house: empowerment in professional settings, desire for recognition & success, rebellion against corporate norms, challenging societal expectations, feminine authority in leadership, sexuality as a power tool, radical honesty in public persona, taboo topics in the workplace, liberation through career choices, ambition with authenticity, defying traditional roles, rage against patriarchal structures, exploring personal brand, sensuality in professional relationships, empowerment through visibility, unmasking public facades, emotional strength in leadership, transforming the workplace dynamic, passionate about personal legacy, navigating power struggles, reinterpreting success, challenging authority, feminine rage in professional spaces, shadow work in career choices, evolving public image, embracing unconventional paths, empowered ambition, sensuality as a form of influence, exploring taboo in reputation, redefining success on one's terms

lilith in 11th house: empowerment through community, desire for authentic connections, rebellion against conformity, challenging social norms, feminine power in friendships, radical ideas in social circles, exploration of desires in groups, taboo subjects in social discussions, liberation through social activism, defying collective expectations, rage against social injustice, passionate about shared ideals, challenging the status quo, emotional depth in friendships, sensuality in group dynamics, empowered through social networks, exploring alternative lifestyles, shadow work within groups, redefining friendship dynamics, feminine rage in collective movements, evolving social identities, unmasking hidden desires, transformative friendships, exploring sexual identity in community, empowered collective expression, subversive camaraderie, reinterpreting loyalty, navigating power within social circles, sacred bonds among women, embracing individuality within groups

lilith in 12th house: empowerment through self-discovery, desire for spiritual freedom, rebellion against repression, exploring hidden passions, feminine power in solitude, unraveling subconscious desires, radical authenticity in introspection, taboo themes in spirituality, liberation through self-acceptance, embracing the unseen, challenging internal limitations, rage against self-sabotage, passionate about healing, exploring mystical experiences, empowerment in dreams, shadow work & transformation, subversive insights from within, redefining personal spirituality, sensuality in isolation, navigating hidden emotions, feminine rage in solitude, evolving through inner conflicts, defying the subconscious, exploring repressed desires, empowered intuition, challenging spiritual norms, embracing the shadow self, emotional depth in solitude, exploring fantasies, transcending societal expectations

all observations are done by me !!! @pearlprincess02

main masterlist

[coddda]

Light's relationship with his father is such a heartbreaking multi-faceted tragedy to me I hate it so so so much.

Soichiro loves his son so much, and while he's certainly not a perfect father I know that he cares deeply about Light. He wants to prove Light's innocence so badly but he can't let go of the underlying doubt that he might really be Kira and it gnaws at him. He does not know that from the very beginning he was being used by Light, whether it was to obtain information about the investigation, or to get to L, or to strengthen the foundations of his own lie that he wasn't Kira, this entire time he was simply another resource. He'll hang onto this doubt for years, even after L is dead, even if he doesn't express it in the latter half of the series, until he himself is on his deathbed, with what he believes to be undeniable proof that Light isn't Kira. (It's a lie, of course.) He dies happy, but it's on the foundations of blissful ignorance. His own son brought him here, brought him to the point where he had to sacrifice half of his own remaining life span, to his own death march, and was still trying to use him even now to kill someone else, but he doesn't know that. Soichiro said that what was evil was the power to kill others, and that whoever used it was cursed. Light was that cursed man, of course, and he tried to bring that curse onto Soichiro too by making him kill in his last moments. Soichiro was happy regardless, because he didn't know. He'll never know. (In the manga/anime at least. More on that later).

Light loves his father but it's not enough to turn him away from the terrible decisions he's made, if anything it only fuels them. His idea of "justice" is a twisted model of what he parroted from Soichiro, and he uses his father as another pawn (and a powerful one at that) in his plans. If he can prove that Kira is justice then perhaps his father will no longer call Kira, and therefore Light, evil, so he just needs to ensure that Kira becomes justice, right? It's Light's own actions that land his own father in the hospital for a stress-induced heart attack and yet he says only a few minutes later that he's the happiest he's ever been in his entire life. Even after Soichiro denounces Kira by calling him evil, even after he calls the Death Note's power evil, even after he unknowingly tells Light that he is cursed. When Soichiro dies Light is too deep in his own plans to actually properly process the fact that his own father is dying past what it means for his goals, but at the same time he still cares enough that after the fact he'll genuinely cry, only to brush it all away later. (Personally, I don't have a single doubt in my mind that Light's crying in that scene was genuine and I Will die on this hill). Soichiro had unknowingly denounced Light one last time just before his death, openly relieved that he "wasn't Kira after all", which also reveals that he has had doubts about Light this entire time, even after L died. By the time he's caught at the Yellow Box Warehouse Light will have denounced his father too, seeing him as someone who was made to be a fool, someone who was naive, even, too earnest for his own good. He won't realize that part of this description of his father might have applied to Light himself, back when this all started. Light takes after his father so much in so many ways already, so why not in this way too?

Ough. And honestly the other adaptations never miss out on this tragedy either, and I love them for that. (spoilers for the musical and 2006 live action movies I guess?)

In the musical we see Soichiro express his doubts and conflicts about who to believe, Light or L, if the son he raised really is a murderer, if everything he knows about him is just a lie. Like, there's an entire song about this, and you can tell how torn he is about it all, how badly he wants Light to be innocent but about how he also needs to face the truth no matter what it is, but at the end of it all he doesn't even get the answers he wants. At the end of the musical the only thing he finds is two corpses, Light's and L's, with no answers. No last words, no closure, only dead ends and a dead son and a grieving daughter. It's so awful I hate it here.

And the live action movie is fucking Insane. Like, wow. Okay. (Spoiler for the ending of Death Note The Last Name I guess) In the 2006 movies/novels Light writes Soichiro's name in the Death Note himself, and it's such an inconcievable move that it leaves even Misa shocked; Light tries to make Soichiro give him the Death Note for the last part of his plans, seeing his death as a "necessary sacrifice" (insert tangent essay about why I think 2006 live action movie Light is actually the most "coldhearted" Light Yagami, despite how infamous anime Light is). It doesn't work, and Soichiro does end up finding out that Light is Kira this time, and they have a confrontation, but he doesn't even sound truly hateful towards Light for it. He Never seems to outright hate Light for it, even after Light calls the whole confrontation a waste of time and instead tries to continue killing with the piece of the notebook in his watch, even after he tries to get Ryuk to kill everyone. When Ryuk inevitably writes Light's name and he collapses, Soichiro still reaches out for him and holds onto him as he's dying. Light literally dies in Soichiro's arms, still looking for the validation that he was right, that this wasn't all for nothing, that he was doing the good thing, trying to make Soichiro understand that he was trying to enact justice based on what he learned from him in the first place. Soichiro not only learns but sees for himself what his son has become, and Light dies in his arms leaving no closure for either of them. Soichiro will announce Light's death in L Change the WorLd on the news without saying his name, saying instead that it is only Kira who is dead, even though he and Light are one in the same. Sachiko and Sayu will never get to know the full truth about what happened to Light, instead Soichiro will lie and instead tell them: "Light was killed by Kira."

And then holy Shit the jdrama. If I write about it here this post is gonna literally double in length and also I don't really wanna spoil it but. Man. Man. If you watched it you know. Holy Shit dude I Cried.

It's the fact that, canonically, Soichiro will die oblivious to what Light has done, but even in the instances where he does find out, it doesn't make it any better, and it doesn't make him love Light any less, it just gives him more to grieve.

It's the fact that there isn't a single universe where Light doesn't use his father for his own gain, whether to gain information, or to try and control him with the Death Note, or make him write in the Death Note himself, and not a single time will he realize just how far he's strayed from Soichiro's ideals, and not a single time will he not forsake him for it by the end of the story.

It's the fact that, despite everything, Light will always refers to Soichiro as "dad/my dad" (informal) rather than "father/my father", even after he has been "denounced" (and this is true in every language that Death Note has been translated in, as far as I could find. Man, isn't that so cool! :) <- Through tears).

Anyways that's what I've been thinking of how's your guys' days going

[daycourtofficial]

I got cursed like Eve got bitten - part XVII

Pairing: Azriel x Rhysand's sister!reader | WC: ~900 | Warnings: none

Summary: reports of a rare powered fae popping up in Illyria send Azriel and Rhysand on a journey through the past, unraveling a truth they thought long buried

Previous part | Masterlist

As soon as the two of you had made your way into the palace, you had ripped your hand from his grasp. His heart was beating out of his chest, his shadows swirling and hissing at him to kill Keir on the spot. His blood was boiling in his veins, he felt so hot, so heated, so prepared to slash, to hurt, to maim. He felt feral, as if rational thought was not something he was supposed to possess. 

His head turned quickly, realization blooming inside of him.

Azriel felt the faintest hint of the mating bond in his chest, like the faintest light in a deep cavern, nestled deep inside of his heart.

He felt the flicker.

“What the fuck?” Your ire turned toward him, not letting him relish in the moment of that feeling taking root in his chest once more. “What the fuck was he talking about?”

The shadowsinger just stared at you, unable to think a coherent thought enough to string together a sentence. “Was he right? Did you- have you know who I was this whole time?”

Your voice cracking in desperation spurred Azriel into action. “No, sweetheart-”

“He was wrong?”

He sighed, running a hand along his face. Damn Keir. This was, without a doubt, worse than any scenario he and Rhysand had played out in about you finding out.

“Yes. He’s right.” His voice was resolute while you fumed before him, certain your rage was going to tint your skin red. “You are the Princess of the Night Court, believed to be dead for a century and a half, and you are my mate.”

Something in him could finally breathe, the weight of not telling you heavier on his chest by the day.

“I- You- What?” Maybe now was not the time to tell you everything, but Azriel couldn’t help it. Once the secret was out, everything began spilling from his lips. He couldn’t stop it, even as the confusion on your face slowly crept into his chest, your inability to control your powers evident.

“We were mated for a century when you died. Members of the Spring Court family had killed you and we thought you were dead this whole time when Rhys and I found you a few weeks ago.”

It was agony the way you stared up at him.

“You knew who I was this whole time? I told you about how I didn’t know who I was and you knew and never told me?”

Azriel found it hard to swallow. Rhys, Feyre, and Cassian finally joined the two of you, getting a front row seat to your fight. 

And you weren’t backing down anytime soon.

You swiveled your attention to Rhys as you spoke. “So I’m what - your long lost sister? And my entire family is dead except for you?”

Rhysand winced at the words, but you kept going, your voice rising with each word.

“Were you ever going to tell me?”

Your mind reeled, rubbing your eyes at how jumbled your thoughts were of the memories of the past few weeks. Azriel felt the flashes of emotions in his chest, not sure where the bond ended and your powers began. 

“Was there ever a plan to tell me?”

Your words felt like daggers in Azriel’s chest. While you were occupied with Feyre every morning, Rhys and Azriel spent their time talking to healers, Helion, anyone with access to resources and knowledge they spoke to, hoping to pinpoint a way to heal you. But no one had ever seen anything like this. They had no idea how to approach this. Rhys and Az had even gone to the Dawn Court, meeting with Thesan weekly about you.

“Was I just some problem to be handled? Having to keep a close eye on me in case I told everyone, hm? Getting your wife to meet with me daily out of pity?”

“It wasn’t-”

“How can I trust anything out of your mouth anymore? I- You- you all kept this big thing from me.” Azriel’s shadows were practically screaming in pain with you, their cries filling his ears. He stepped forward, his own eyes full of tears, but you stepped back.

The distance between you two felt like a canyon, as if any attempt at an approach would cause him to fall from perilous heights. “No, no. You don’t- none of you.. I told you all about how lost I was and you all knew why! You didn’t.. You didn’t want to tell me.”

Your chest heaved with the difficulty of getting each word out. Azriel’s chest felt so tight, each breath burning his lungs.

“You all pretended to care about me, but you just- you care about her. The me that’s gone. And what if I never get my memories back? Would you cast me aside, declaring to the world how your mate and sister were dead?”

A scarred hand reached out, but you brushed past him to his brother, who stood behind Azriel and Rhys. Cassian had stayed mostly out of the fight, allowing Rhys and Azriel to take the brunt of your anger.

You looked at Cassian, unwilling to look at Rhys, Az, or Feyre any longer. Your next words made Azriel’s chest cave in.

“Take me home. Please.”

Author’s note: only one more part left 👀👀👀

Permanent taglist: @vanilla-seabass @cyrygher @lees-chaotic-brain @topaz125 @chessebookgirl @fides25 @lady-of-tearshed @ashbatz @fxckmiup @lilah-asteria @justvibbinghere @daughterofthemoons-stuff @mybestfriendmademe @heartless-tate @tsunami-of-tears @idrkwhatthisisimsorry @olive-main @azrielsmate3 @pit-and-the-pen @durgenyx @dee-writes-smut @chairofchaos @thelov3lybookworm @berryzxx @throneofsmut @kennedy-brooke @prythianpages @itsswritten @acotarxreader @milswrites @the-golden-jhope @hannzoaks @secretlyhers @tothestarsandwhateverend @sarawritestories @chxosangxl

Azriel taglist: @brieflyclassymortal @thisiskaylin @magicstrengthandcourage @panther-girl-124 @slytherintaco @userxs-blog @emryb

[violentdelightsandviolentends]

Welcome to my Masterlist 💌

hi, i'm murphy. my requests are always open - feel free to send any ideas or thoughts you have - i'll always read them all.

note - all of my fics are reader insert. no use of y/n. i don't write for real people, only characters <3

Last Updated - January 2nd

❁ - over 1k notes

✯ - a series

Characters I Write For.

500 Follower Celebration Masterlist. 3k Celebration Masterlist. Valentines Masterlist. 5k Celebration Masterlist.

Moodboard Masterlist. My Ao3.

 ⊹ 　 ✫ 　　 · 　　 ✵  ✵    ·　 ✵ 　　 *  · ✵  　.　 ✦ * 　 ⋆ 　　 .  ✵ 　　　

Top Gun: Maverick

Jake 'Hangman' Seresin

The Orange. ❁

You and Jake share an orange. He's in love with you.

For Eternity. (Part 2 of The Orange.)

You and Jake share an orange. He's never loved you more.

North Star. ❁

It's New Year's Eve. Jake is tired of waiting.

I Know Places.

Jake always joked that he'd kill for you. One fateful day, he does just that.

Jake 'Hangman' Seresin & Bradley 'Rooster' Bradshaw

Why Choose?

A drunken game of spin the bottle gets a little heated. Why choose, when you can have both?

Mickey 'Fanboy' Garcia

Dr Cupid.

Mickey Garcia passes out in hospitals. Luckily, this time there's a pretty nurse there to catch him.

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Marvel

Bucky Barnes

Lessons in Love. ❁

Bucky didn't believe in love at first sight. Then he met you.

Honey Girl. ✯❁

The Universe shows you your soulmate when it feels like you need them most. When you least expect it, you're given yours - Bucky Barnes. Your dad's best friend. You can try to refuse it all you like; but the universe wants what it wants. There's no denying fate.

Trick or Treat.

You love Halloween. Bucky loves you.

Rest Had Seemed The Sweetest Thing.

Bucky's slowly learning that love isn't a finite resource. aka, Bucky's first Christmas.

Stucky

Letters to the Moon.

Steve is gone. The love you and Bucky have for him isn't.

Wishbone.

You meet Bucky and Steve while on the run. The three of you quickly learn that nothing is more violent than love.

Frank Castle

There's Always Tomorrow.

Frank knows you better than you know yourself. It's a blessing and a curse.

Multi Talented. ❁

Frank shows you exactly what you deserve.

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Criminal Minds

Luke Alvez

Wherever You Are. That's Where Home Is.

Luke might be a mind reader. Only with you, though.

Vice. ❁

Everyone on the team has their vices. It just so happens that yours is sat across the table looking at you.

Spencer Reid

Web of Lies. ✯

Spencer Reid has always been good at keeping secrets. You just never thought he'd keep one from you.

Cowboy!Spencer ✯

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Narcos

Javier Peña

Self Control. ❁

Javi keeps refusing himself what he wants. One night puts everything into perspective.

Yes, Mr President.

There's an endless amount of things you shouldn't do as the President of the United States. Defiling the Oval Office is definitely one of them.

Western Nights. ✯

You don't expect to bump into your dad's best friend Javier in a church basement on the outskirts of town. You also didn't expect to fall in love with him. Life seems to be full of surprises - and Javier was the biggest surprise of all.

Jealousy, Jealousy. ❁

Javier Peña doesn't share.

Two Murphy's and a Peña.

Javier knows Steve's sister is off limits. He's never been one to follow the rules.

After Hours.

You and Javier are stuck in the office in the middle of a heatwave. You're hot in more ways than one.

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Triple Frontier

Time. ❁

You get shot in Colombia. Frankie, Benny, Santiago and Will each have their own ways of helping you heal.

Tethered. ❁

The lines of friendship blur when you’re this close. Also known as - each of the times you’ve kissed Benny, Frankie, Santiago and Will.

Tranquility.

You're not good at keeping secrets from the boys. Turns out, Will isn't either.

Home Is Where The Heart Is.

They say home is where the heart is. Your heart belongs to the four boys you call your best friends. Also known as - four important times the guys told you they loved you.

Will Miller

Champagne Fuelled Confessions.

You come home drunk, and have something burning you need to tell Will.

Best Friend's Brother.

You've known Benny for years. You've had a crush on his brother Will for years, too.

Frankie Morales

Find You.

A bad date brings Frankie Morales to your door at the perfect time.

Rain Soaked Romantic.

Frankie will run across town in the rain if it means finally telling you how he feels.

Santiago Garcia

This Is The Way It Always Goes.

Santiago always comes crawling back. You convince yourself this is the last time - but you both know that's not true.

Precious Girl.

A chance meeting with your Dad's best friend at 2am.

Benny Miller

Adrenaline.

Ben needs a way to work off his post match energy. You.

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The Last of Us

Joel Miller

Pretty When You Cry. ❁

Joel realises his morals are fucked. You realise you like it.

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Succession

Stewy Hosseini

Clandestine. ✯

You and Stewy know it's wrong. So why, pray tell, does it feel so right?

Fully Clothed.

Being Stewy's assistant has its perks.

Consequence.

Stewy's actions have unexpected consequences.

Needy.

You've been waiting all day for Stewy to get home. He loves it.

Play Pretend.

The classic fake dating trope, with a twist.

The Place Where It All Began.

You reunite with Stewy at your high school reunion. Turns out, he's been waiting for you, all this time.

Risky.

The thrill of being caught makes it all the more exciting.

Kendall Roy

Me and You.

You quit as Kendall's assistant. He's been waiting for this day.

Illicit Affair.

You're Matssons wife. You're also in love with Kendall Roy.

Forced Proximity.

The classic only one bed trope, this time with your emotionally unavailable boss.

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The Bear

Carmen Berzatto

The Roommate Collection. ✯❁

A collection of fics based on being roommates with Carmen.

Vienna.✯

Everything is the same. Nothing has changed. Everything has changed. Nothing is the same.

Carmen. ❁

Carmen. Your Carmen.

Denial. ❁

Carmy can’t keep pretending.

Mechanic!Carmen.

Inspired by that picture of JAW in a crop top.

Perfectionist. ❁

Your boyfriend being a professional chef has its perks. Especially when it comes to gingerbread houses.

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9-1-1

Evan Buckley

Lightning Strike. ❁

The two of you deal with the aftermath of Bucks trauma.

Fire Hazard. ❁

The story of your firehouse nickname - and Buck unable to handle you in a sundress.

That Old Cliche. ❁

You swore you’d never give in to the best man and maid of honour cliche. And then you met Evan Buckley.

Eddie Diaz

Best Seat in the House.

Blame it on the moustache.

Evan Buckley & Eddie Diaz

The Look of Love. ❁

You, Buck and Eddie are absolutely, undeniably, head over heels in love with each other. It seems like everyone can see it except for the three of you.

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Sons of Anarchy

Jax Teller

Heatwave. ❁

You cut Jax's hair. He can't keep his hands to himself.

Sundress Season. ❁

It’s sundress season. Jax can’t keep his hands to himself (again).

Filip 'Chibs' Telford

Teach Me How to Ride. ❁

Chibs is teaching you how to ride (in more ways than one).

Handled.

You and Chibs have been walking the line for a little too long.

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Challengers

Two Can Play That Game.

You’re cheating on Patrick. You’re not proud of it, but it just… happened. Patrick’s cheating on you, too. He never meant for it to happen, but it just… did. Imagine the surprise from both of you when you find out that Art Donaldson is caught up right in the middle.

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Steve Harrington

Cherry. ✯❁

The lines of friendship get a little blurry, one unassuming Friday night in December.

Someone Borrowed, Someone Blue.

An engagement party, your childhood best friend, one too many glasses of champagne. What could go wrong?

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Rivals

Declan O’Hara

Forbidden Fruit. ❁

That’s the thing about Declan - he always gets what he wants. It might be wrong… but it feels so right.

Shut Up and Drive.

It’s a funny thing, isn’t it? The one person who riles you up the most is also the only person that can calm you down.

Man of The Hour.

The sexiest thing about a man is his moustache morals.

Rupert Campbell Black

February Sky.

The highs are so high, but the lows are so low.

Golden Girl.

After years of keeping your private life private, everybody’s suddenly talking about your new boyfriend. When it rains, it pours.

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[quixoticanarchy]

Finished reading Cobalt Red by Siddharth Kara and he does a good job showing how the cobalt supply chain is inextricable from incredible human suffering, near-slavery, rampant exploitation, environmental devastation, and child labor. And it’s very clear that no promise a tech or battery manufacturer makes that their supply chain is clean means literally anything bc industrially and artisanally mined cobalt are mixed into the same supply untraceably. And the book also covers the fact that cobalt supplies are finite and when the DRC’s cobalt is exhausted the industry will move elsewhere, rinse and repeat, and the people in the Congo will be left with the ongoing and unremediated -maybe irremediable - damage. All of this so that we can have smartphones, electric vehicles, iPads, electric scooters, almost anything with a rechargeable battery.

It’s also clear that the tech and battery industries are interested in good PR and making empty statements about human rights when they should be taking responsibility for the working conditions of small-scale miners (and minors) dying at the bottom of their supply chains. What Kara doesn’t really address is the demand side of this equation, not just the demand by companies whose products use cobalt-containing batteries but also the consumers sustaining that demand, who buy every new smartphone and eagerly pin their hopes on electric vehicles to let us keep our car-dependent world without the fossil fuel guilt. The book takes it for granted that cobalt will be required in high quantities for consumer electronics and for “green” tech, and to some extent this is true - as in, none of those demands or uses will cease overnight and in the meantime we should worry about how to address industrial and business practices and government corruption in order to treat Congolese miners as human beings.

But it feels incomplete without also asking questions like: should that demand continue? Can it? Do we need this many devices? What costs are acceptable? Can we really have our cake (smartphones, EVs, etc) and eat it too (slavery-free, non-exploitative supply chains that don’t kill the people at the bottom and lay waste to the environment)? What if - as the book would seem to suggest - we really cannot? If one goal of the book is for people to realize what conditions underlie the extraction of cobalt, what action is then incumbent upon us? Personal consumer choice will not undo all this harm, but it is a necessary step in rethinking or attempting other ways to live. Is it a right to have a smartphone, a new one every year or two, if it comes at the price of other people’s human rights? At what point do we say that it is not an acceptable cost that the extractive industries are perpetuating neocolonialism and near-slavery in order that we should have comfortable lives?

We know we have to stop relying on fossil fuels or we’ll burn down the planet (to a greater degree than is already locked in) but the “green energy transition” is not clean at all. Capitalism seeks the lowest price for labor and the highest profits; obviously these extractive relationships owe a lot of their horror to being conducted in a capitalist milieu. But even thinking about, say, a socialist world instead, if it aspires to still provide smartphones and electric vehicles en masse and maintain the comforts and conveniences of the “Western” lifestyle then we would still be relying on massive amounts of resource extraction with no guarantee of less suffering. The devices are themselves part of the problem. The demand for them and the extent to which “modern” life in “developed” countries relies upon them is part of the problem. It is unsustainable. It is built on blood and it makes a mockery of purported values of dignity, equality, and human rights. The lives of Congolese cobalt miners are tied to how we in the “developed” or colonizer countries live and consume. I do not think their lives will change substantially unless ours do.

[rooksolas]

An Analysis and Reinterpretaion of Veilguard Solas, as a Man, Broken

I have been through many stages of grief with Solas' character as portrayed in Veilguard. I have bargained, I have argued, and I have finally reached acceptance, through much thought and consideration, by coming to an understanding that the Solas we see in Veilguard is completely different from the one we see at the end of Trespasser: I'd like to analyze Veilguard Solas from a different perspective, and discuss an interpretation of this Solas, as a man who has already given up on his journey, but is bound to continue, fueled by his regrets and pride.

(Please note, I am fully aware this essay is fueled by a fair amount of copium, but I am taking the writing in Veilguard at face value and in good faith. While I have my criticisms with the writing, I have made peace with the story the devs have provided to us with the resources they were given, and I'll be engaging with it accordingly, filling in gaps where I can. Will I be reaching, at times? Yes, but sometimes we need to reach to find closure.)

Truly, many thoughts, and an unbelievable amount of spoilers under the cut:

I'd like to consider, for this reinterpretation, at the end of Trespasser, Solas regrets leaving the Inquisitor, and not allowing himself to stop his path of destruction there, almost immediately. For all the masking he does, putting forward that he has the strength to betray them and destroy the world, once he is alone, he regrets it so deeply it breaks him, fully. HERE is when he actually decides to stop his quest to tear down the Veil- though he cannot admit that to himself, or anyone. He is still too proud to stray from his path, but his mind has already been changed, based on his time in the Inquisition, and his re-connection with the Inquisitor.

Solas continues through the next 10 years, too prideful to stray from his path, but unable to fully commit or put effort into his plans. He gains the respect of the Agents of Fen'harel, but walks away from them. He completes the lyrium dagger, as the Evanuris do need to be moved to a different prison , but he delays and delays and delays the moment of his ritual. He visits the Inquisitor in dreams, mournfully. He eats alone in the Crossroads. He writes the Inquisitor a letter, but cannot even muster the strength to send it.

In previous versions of the game, we can find concept art that depicts Solas manipulating Tevinter and the Qunari into an all-out war so he can perform a blood magic ritual as a last resort. Veilguard Solas is not that Solas. He's simply not willing to go that far for his goal, anymore. He walks forward, each trudging step taking him towards the inevitable end.

He learns that his friend Varric is currently searching for him, and that he's connected with someone named Rook. He learns about this "Rook", but does nothing to stop them from approaching his ritual. No wards to protect him, no traps, save for the demons spilling out. He left a perfect Eluvian path from Minrathous straight to his ritual site in Arlathan.

Perhaps a part of Solas wants to be destroyed, wants a hero to come fell him. Perhaps he feels that is the way out. Not consciously, not fully, but perhaps that's why he leaves himself so open.

When Varric approaches him, Solas does not use his power to turn him to stone. He also does not let him convince him, however- after all, he's already resigned to this fate. He's told the love of his life that even their words cannot stray him from his path, so he does not stop his actions here. He begins his ritual, and the fight with Varric ensues. He kills Varric, his friend, and it feels inevitable: just another murder in the path of blood the Dread Wolf walks. Mythal, Felassan, Varric.

The worst possible thing for Solas to experience in this moment, I would say, would be to be stuck in a place where he is incapable of action, and is forced to face monuments of his past failures with every passing, endless second, without even the escape of sleep to give him respite. Does he see the faces of those he loved? The people he knew, before the Veil was created: the ones he feels he has failed, yet again, by wishing to give up the fight? Does he see Felassan, desperately trying to convince him that the elves of today are people, and deserve a world to live in? Does he slowly come to realize he believes him, now?

As Ghilan'nain and Elgarnan have escaped, however, Solas is forced to change. When he and Rook share the Fade, he does what he is very practiced in doing: he puts on a mask. He becomes the trickster god Rook expects, and is startled by them matching his wit and passion.

He, effectively, Locks In, because he knows what the Evanuris will do to this world. On one hand, there's the element of Solas not wanting people to suffer, even if he's going to destroy their world (as seen in his handling of the Qunari invasion in Trespasser, etc.) But for this reading, I think there is another, unconcious reason for him to help: he expects this world to remain, and does not Want it destroyed. (There's also a secret, third reason: fuck the Evanuris we need to Get those guys) (and FUCK Elgarnan in particular).

So he helps Rook on their journey, all the while planning for a way out of this hell-prison, where he has to face everything he's ever done in every moment Rook is not present. While Solas presents the Varric hallucination as manipulation, and I believe it is, I also interpret it as a half-baked apology on Solas' end. Regret that he took Varric from this world, and from Rook, and letting him live on in this strange, twisted way, for both himself and Rook. Funny that Varric tells Solas that none of his plans work out, and even his plan to recreate Varric fails because of his regret and love for his friend.

So, Solas helps Rook. He guides them through their path, he encourages when necessary, he prods when Rook needs to show commitment. While we don't know how much Solas can see through Rook's eyes, he is at least aware of their party, and watches them grow, along with Rook. Does their connection with their teammates remind him of anyone? Does he see their friendship, their passion to save the world, and is forced to face the question of his commitment to destroying this world one more time?

While Solas does, on occasion, try to let Rook in on his thought process, the idea of joining Solas or completely seeing his point in tearing down the Veil is absent from the game. Again, if we're just interpreting what's in the game, I think that perhaps, Solas does not offer that option or insight to his path because he does not Want to convince Rook. It is possible, in Trespasser, for the Inquisitor to ask to join him, but he denies them. This is a similar denial, though we can interpret his complete absence of this choice as Solas' true unwillingness to tear down the Veil. If this Solas was ruthless? Would he not worm his way into Rook's head, and find a way to pull them closer to his side? But he does not- doesn't even try. Perhaps, yes, because he knows Rook would say no- but also, perhaps, because he does not want to give them that option, for fear he would succeed.

He helps them rescue the Dalish, and faces off against Elgarnan, all while Rook continues on their path, learning more about Solas through the Crossroads. While I won't go into too much detail of the murals, as many people have discussed Solas' past and his relationships, I think Mythal and his relationship to her is very important. I think sometimes, interpretations of her relationship with him are very one-sided, and I think an important aspect of Solas' character is that his choices are his own. He can be manipulated into them, especially when he is younger, but Solas is not capable of viewing those choices as coerced. He is Wisdom, he is Pride, and he believes that everything he does is of his accord: that's why he holds every action as his own regret. He regrets joining the world in physical form, he regrets stealing the Titan's dreams from them, but he lets the burden of guilt fall on him, even if the blame lies jointly with someone else. This is part of his Pride, the part of him that he cannot see is acting god-like, that his actions are worthy and correct because he feels their consequences so deeply. It is of course, not grounded in reality, but he is so deep in his regrets that he cannot see that his burden does not make him any more righteous than any other. That is, of course, until his burden breaks him, collapses on top of him.

All throughout the game, Solas plots to exit the Fade Prison, and succeeds after Rook kills Ghilan'nain. He throws them in his place, and adds that life to his list of regrets once more. But I think it's interesting what Solas does directly after this- he goes to the Shadow Dragons and provides aid. He HAS the lyrium dagger. The world is in chaos! Even with the threat of Elgarnan, I think it's fascinating that Solas does not take the chance to tear down the Veil, then, and instead goes directly to being the Fen'harel we all know and love: helping people harmed by Elgarnan's tyranny. I'll admit this is a bit of a weaker argument: you could fully say that Solas would not tear down the Veil while Elgarnan is still alive (or is physically unable to, due to Elgarnan's life force sustaining the Veil, though he tries the same thing at the beginning of the game), but I find it fascinating.

I also find it fascinating that in Solas' conversation with Rook, he does frame his actions as 'trying to save the world'- not HIS world, no reference to the world pre-Veil, the world he currently finds himself in. Could this be more manipulation tactics on Rook? Yes, and it probably is! But it is fascinating.

He continues to lie to Rook, and goes so far to swears above all else, very emphatically, that the Veil will not come down by his hand. We learn later that he is lying, that this is one more betrayal, but it does make me wonder if, for just a moment, he believed it. Maybe, in that moment, there was a small part of him that exhaled, that accepted that he could finally give up this path, to stop Elgarnan. Perhaps, even in that moment, he considered a world where he was free, even if he knew it was a lie, that Elgarnan's death would bring forth what the Dread Wolf desired anyway.

In the final scene, Rook defeats Elgarnan, and Solas reveals his betrayal. I have watched this sequence so many times, and I am going to mainly be discussing the redeem ending (and of course, the Inquisitor joining him in the Fade).

Solas, at this point, is on the verge of collapse: beaten and broken, and, almost apologetically, reveals his final betrayal to Rook. The way his lines are delivered in this scene are so exhausted, as if he is compelled to do this final, terrible act. As if, despite his regrets, fate has brought him so close to his goal that he cannot bear to stop now. His arguments are weak. He cannot even bring himself to finish justifying his actions. Compared to his detailed explanations he provided the Inquisitor, all Rook gets is "When you see the old world restored…" He can't even bring himself to finish his sentence. He must simply act, because that is what the Dread Wolf has wanted, for so long, and he is finally here, and there is nothing else for him to do.

When Rook freely gives him the Lyrium dagger, and asks him to stop… I truly believe he almost does. He stares at the dagger, holds it gingerly, fiddles with it. Walks towards the steps alone, slowly, thinking. Considering. Weighing his arguments. For a moment, Rook has him. Then, his next line.

"To stop those would dishonor those I have wronged to come this far."

This line solidifies Veilguard Solas for me. It is directly referencing the Inquisitor. This Solas is changed- he is no longer doing this for his people. He understands this world is worth saving, but cannot bring himself to stop. He has lied, and cheated, and betrayed again and again and again. This is the path he chose- to stop now would mean it was useless. Pointless. More regret for him to settle deep within himself. He cannot bring himself to stop, even when he agrees with Rook- because of his pride, and his regret.

But the Inquisitor is there, to staunch his pride. They forgive him, completely and fully. They look at him, and say the time he spent, the people he harmed: they matter. Of course they mattered. But it is not too late to revert to mortality. You do not have to act as a god, any longer. I forgive you as a man. I am here, and I see through your pride, and I forgive you. Let the world forgive you, too.

And this does affect him. This does bring him closer, but it is not enough. His pride has fallen, but his regrets, his endless regrets, will not let him escape. There is simply too much pain in his heart, for the elven people, for what they have lost, and for Mythal, his oldest friend, who betrayed him in turn, who was killed by the Evanuris and killed by him. In this section, she represents everything lost: he is speaking both of literal Mythal, and of the Elven world in general.

When Mythal appears, it breaks him. I'd like to propose a different interpretation to this scene than its face meaning. Mythal is literally his god, his creator, his friend, all of these things, and she is before him, and he weeps. He offers her the Lyrium dagger to kill him, but she stays her hand. Instead, she offers to share the blame with Solas, and releases him from her service. I think there's another element to be discussed here. I don't think it's a literal 'release of service', but, an absolution for Solas' regrets.

Solas has never been part of the Evanuris, or the Forgotten Ones. He has always been a man among gods, and a god among men. Mythal's speech to Solas reads to me as her encouraging Solas to move forward, that what happened in the past is past, and that he is not bound to his sins any more. Mythal, Solas' goddess, who he literally killed, tells Solas that he is released from her service, released from the service of the Elven people, and that he can move forward, without regret. She, a god, forgives him, a man, and tells him he is free.

Immediately, the Inquisitor reinforces this statment:

"There is no fate but the love we share"

The fate that was writ for Solas: the need to tear down the Veil, to make up for all of his regrets, has been broken. "The love we share" can be, literally, the love Solas and Lavellan share, but can also be read as love for the world, that he discovered through his journeys and his experiences with the Inquisitor and Rook. They and he both know that love is real, and is the first step forward to his future.

When he cuts his hand, he almost cannot believe it himself. He turns to the Veil tear, and to those around him, and, so quickly it almost reads as impulsive, he cuts himself. As if he knows: if he does not do it now, he will not have the strength to. As if he is scared that he will fall into his pride and his regrets again. But he succeeds: he cuts himself willingly, he makes his final choice, and he accepts it, finally.

He makes the choice to atone: not bound by his regrets, but for the love for this world, a world he is finally choosing. And when the Inquisitor joins him, he is not too proud to deny them again. He is a man, once again, a man capable of change, of love, and of a new fate.

Veilguard Solas is not Trespasser Solas. While I will always be sad we did not get that version, the regretful but cuthroat, sentimental yet steady Solas that we expected and deserved, I have come to an understanding with Veilguard Solas. I see him as a man that has already resigned to his failure, but is pushed forward by his pride and regret, searching for a way to stop. And I am glad he does, and I am glad that he gets a happy ending. I am glad we have an ending to his story, even if the story is different than what we expected.

[sarnai4]

Expectation Subversion

Penguins of Madagascar has some of my favorite examples of subverting expectations for personalities. They also gave me something that I try to use when creating my own characters. It seems like the characters can easily fit into a one-dimensional stereotype, but then there's more. Let's start off with Rico.

At first glance, Rico is just a loose cannon. In lesser shows, he might have been. After all, he just needs to be the silly one who spits up weapons and sure, he is, but that's not all. Rico is also fiercely loyal. He's the same one who was terrified of a "haunted" car and still braved it head-on when it had hurt Skipper. Comically enough, he can just as easily turn on the others when Ms. Perky wants him to do something else (cue Rico attacking them because of that darn voice box). An underrated skill of Rico's is how resourceful he is. He always knows exactly what weapon is necessary for the moment. With these skills, his loyalty, and his fun/unhinged flair, he really comes to life as a character.

Private is seemingly just the nice guy of the group. He's the young one who's innocent. Again, this is a part of him. He is very nice, not wanting to hurt anyone's feelings like when he was supposed to win a rude-off against Clemson. He's also pretty naive with a lot of things, being unsuspecting about Hans actually being bad. Despite this, there's more to Private than niceness. He's got the most common sense of the group, being the only one to see that grabbing the plant needed to save Maurice's life would be easier than continuing to use the jaws of life AND realizing how unlikely it was that Santa was spending Christmas Eve in a random building. I also love how he's got a backstory of being this almost ruthless mini golf player. His underrated skill is that he's the second best fighter of the group. Solely looking at fin-to-fin combat, Private is the only one who's been on par with Skipper.

Kowalski could have just been the "science nerd." He definitely has this as a core part of him, but he's also such a drama queen. I love it. He's the poster boy for book smarts because this penguin has a score of 0 for practical reasoning. Heck, he had to figure out which instincts to use. His struggles with this leads to him continuously making inventions that almost kill everybody. Kowalski is always an invention away from turning into a mad scientist. I'm convinced this actually has happened before and then he just snaps back to his senses (thinking about times like Jiggles and more). Something else which adds an interesting layer to him is how much he wants to be in charge. He's technically the second-in-command and has made it clear that he'd like to replace Skipper when the time comes. "Kowalski's log...too soon?"

Skipper seems like he's just the tough boss. In a comedy like this, he easily could've been an incompetent leader. Rather than that, he's honestly a very good leader who is clever with his plans. Seriously, his escape plans shown in Pets Peeved and more episodes really demonstrate how thoroughly he can think out a strategy even when he's on the spot. Along with this, Skipper tries to act hard and rough, but he makes it clear that he cares about his team more than anything. He even faced his fear of needles (this show singlehandedly taught me what trypanophobia was) for Private when he learned that the soldier would've been hurt otherwise. It even stretches beyond them. Skipper really cares about everyone in the zoo, going so far as to look out for Julien who is probably one of his least favorite zoo mates. I also really like how much being a leader means to Skipper. When he thought he couldn't be in charge anymore, he was having a meltdown. He even put Private as leader just so that he could make it clear who actually deserves the position. It's so petty, that it's almost beautiful.

[inubaki]

Art not done by me. (Its done by the amazing Deya on twitter)

But I thought this was extremely telling for Day 1 of being kicked out; over what Adam had to mentally deal with. All this… for who? These animals mean nothing to Eve compared to Adam. And this is only the beginning to what he just has to get over in this new existence. Get over or die horribly.

A man used to lush greens, of areas of plenty. Now has to learn about weather. About scarcity. What freezing is. What over heating can do to a tired human body. Illness. How large or minor injuries can become infected. What being tired is. Hungry. Learn to be Nordic, to farm with nearly zero knowledge on what can fed or kill you. (Ever heard about Chris McCandless? Basically that but without resources)

Having to skin and eat the beasts you once coveted and loved. Then you have to bring a family into the world and force them to do the same thing or else they die. (What if one grows sick and spreads it to the others?) What if the plants that once could help you in the spring are poisonous by winter? How would they know what an adult body can compared to a child?

If your child dies tough! Get back to work because each day could kill more.

Hunting can take days and lead to exposer or injury. ANYTHING can kill you.

And for what? For who? And why?

Lucifer and Lilith had his magic, became kings and queens!

Adam got stuck in the world that Lilith had been DYING to go too! Not him!

Say what you want about Adam but no one deserves this. And if Adam helped Eve and the kids survive each and every day then that’s more than what should be expected. Who’s a bad father in that? Because he didn’t ask for this. It wasn’t his consequences to suffer but he did.

Cheapen this in Hazbin Hotel. I dare you. Build your excuses that Adam is resentful or a ‘bad dad’. Reality is this. Lucifer, Lilith, Heaven and Eve are all what brought this upon themselves to varying degrees of guilt. But it’s what costed Adam the most.

Eve cheated day two, got him kicked out day three. All while Lilith and Lucifer continues to be lavish in finery.

Keep your affair baby and your hypocrisy of fairness, and choice.

Ya fucking Hazbins.

[daybreakerangel]

Yippee!!! Lucifer's references + little bit of lore for my AU: @datingthecheekydevil Feel free to send asks (for the characters or questions you have to me) to the blog, someone already did which made me smile. I am going to answer the character asks once I posts Adam's references.

The definition of Altersex and pronunciation of xe/xem pronouns.

Yapping under the cut b/c shutting up is not an option to me. /lhj

Even though I made Lucifer go by "He/She/They/Xe" pronouns, I am going to use "he/him" for this info dumb to not confuse people.

Changed his last name because I like astrology and in Roman folklore, Lucifer was the name of Venus. Venus got nicknamed "the Morning star" or "Evening Star" due to how bright it can be in the sky due to the sulfuric acid clouds, and it sometimes mistaken for a UFO. Lucifer looks like an alien anyway so that works out perfectly.

The Minis got a redesign. Even though I will love the pansexual vibe, I changed it due to Angel Lucifer being pink and I wanted the Minis to represent his genderfluid status. Their names come from the other ways the name "Lucifer" has been translated. I also got inspired by these little clones that appear at the start of Hell's Greatest Dad.

I got tired of drawing the stripes of Lucifer's waistcoat, so I just removed them. He is giving sailor vibes now but let him be a cute little sailor. Circuses are Lu's special interest, and his ringleader outfit is his comfort outfit. (Like we all have our favorite piece of clothing that we wear every time we get the chance.) I made it garish for the vibes. I am doing to design him a more royal outfit (something fit for a king) I feel like it.

The pink bow on angelic dress meant a lot to Lucifer because he made it. He was sad when it was burned to ash when he fell from Heaven. Even though his life in Heaven was not the greatest, his red bow tie on his outfit represents the happier moments.

Instead of the silly pointy teeth, he has fangs because one, fangs are very cute and two, he is a soul sucker. Lowkey I just might just give him vampire like abilities.

Remove the second stripe on his hair because I have no idea how they work and either does the show lmao. I swear his hair is fused to his skull because how does it work???? My man got no ears. 😭

Back on topic: In DTDC, the other Sins will not represent a different circus act. Each ring has their own aesthetic. This is still a work in progress so I might change somethings if I feel like it: The other sins existed for Lucifer's creation. Bee, Ozzie, Mammon, Bel, and Satan were lower ranking angels but was toss into "the Pit" (aka a void for all the angels' failed projects or disobeying angels). When Evil was allowed to enter Earth when Eve bit into the apple, Evil fused with the Pit which created Hell. The reason Lucifer was never toss into the pit due to his status of being a Seraph.

Pride is just Lucifer themed. His sigil, symbols, family crest, anything apple and snake themed are just everywhere. The light poles look like snakes, the buildings are apple shaded, and portraits of him are on every build board. Sinners at first were allowed to travel to the other rings but once the exterminations were put in place, Heaven putting an angelic seal on it (like holy water) so Sinners cannot leave. It makes it easier to kill them without going into every ring.

Gluttony represents the 70s and hippie culture but with more sinister cult vibes because Beelzebub is a cult leader. Her followers worship food, all types of food, even stuff that should not been counted as food (i.e. other demons). Bee was toss into the pit for her over-consumption of resources.

Greed is corporations and a capitalism & classism hellhole. Mammon is a corrupted businessman. The citizens are all white-collared, blue-collared workers, and salaryman. Kaorshi is very commonplace. Mammon was toss into the pit for being obsession with status and hoarding of angelic jewelry.

Lust represents 80s club culture. Asmodeus is your sleezy club owner. Demon & drug trafficking are the lifeline of the ring. Ozzie was toss into the pit for his lustful actions.

Sloth will be similar to how it is in Helluva Boss. It is going to be the medical/mental healing ring. Belphegor acts like quack doctor and uses alternative medicine to heal Hellborn. Bel was toss into the pit for her healing practices that cost harms to other angels.

We have not seen the Evny ring yet in Helluva but is still ocean themed. Leviathan existed before Lucifer's creation and was created by the angels. Levi always fought with the angels and would not do what they were told, so she was a toss into the pit.

Wrath is still a desert; it is very hot and humid but times 1000. Satan was toss into the pit for his angry issues and attacking other angels. When Evil fused with the pit and after Lucifer's fall, Satan tried to declare himself as the Ruler of Hell, but he got overthrow by Lucifer. Lucifer was mad after his fall (like very mad, he was fucking pissed. He lost everything especially his appearance) and basically beat Satan into submission, not wanting to be under someone's else control ever again.

Speaking of his appearance, I am planning on design his true form aka the reason his called the "the Morningstar", his doll-like appearance is just a shell for it. In DTCD, Lucifer does have more demonic form appearance but only makes himself look like that when doing royal stuff, his forms are in phases:

Phase 0: The Doll Shell.

Phase 1: The Doll Shell with demonic elements. His eyes change and the horns coming out of his head. The multiple eyes only appear as when he is trying to intimidate someone.

Phase 3: I will save that for later. 😊

[adm-starblitzsteel-4305]

All Hail the Princess!!!

"She who Dances in a Silver of the Night Skies"

"The Angel of Stars"

"Child of Godzilla and Mothra"

"Princess of the Monsters"

"Avatar of the Star Goddess"

Presenting...

Princess Mothra Astra, the daughter of Godzilla and Mothra! Heir to the throne, and the Angel of Stars who foretold that she would one day become the ruler and protector of the Earth.

She is born on the twilight morning of the third day of April, where a single white star aligned above the heavens and the sunrise. She is revealed to be the Star Goddess' avatar, christening her blood and soul to the very beginning of her cycle. Both Godzilla and Mothra vowed to cherish her life and learning to become a protector and guardian at all times.

Until a terrible fate happens to the Princess. She was killed under the wrath of Ghidorah, the One who is Many in the eyes of the King and Queen. After Ghidorah's icy imprisonment, she made her final wish to her parents: she will be buried on the twilight eve from the parts of the island (the Philippines rather) where she will watch them and her people, and her promised about one day, she will be incarnated...

As centuries have passed after her death, the Princess' soul now resides on her human incarnation, Ma. Celestina, who would one day find the true meaning of the past and discovering her self.

AN:

Hello! And welcome to those who read my Godzilla fanfiction titled "Princess of the Monsters"!

The wait is over!

This is Mothra Astra. And this is also how I depicted her in her Titan form: she is a moth like Mothra, but has dorsal plates behind her wings like Godzilla and it acts like a carapace to protect her body from any danger. She also feeds on radiation, well, half of it. Crystals are her main power because of how resourceful and more powerful the Earth's core's radiation was; she can harness it by detecting 'a twinkling sound' and pinpoints it to the area she used to.

She is depicted to have a symbol of a six-pointed star on her forehead, indicating the avatar of the Star Goddess and supposedly rebirth.

Her appearance made her more ethereal and divine like. She is graceful, kind, loving and helpful like Mothra, and stubborn, strong, feisty, and equally powerful like Godzilla. One thing that describes her is her curiousity because of what was beyond the heavens wherein she could see those who died became stars, a belief she shared from her parents.

There are more stories for her to come. And I only posted this short background for her. Thank you all for liking my art! I work tirelessly just to come up with this!

This is now my official OC and Mothzilla fanchild!

@sassyassblog @mossizi @androgynouslovechopshop @magic-thing

Stay tune for the Princess of the Monsters story!

🌟~ @adm-starblitzsteel-4305

[tuppencetrinkets]

~30,000 caps of Jodie Comer as Villanelle, season 2 of Killing Eve.

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!)    

[cippicat]

Arno, Connor & Shay

Some of the main topics in AC Unity fandom are:

Did Arno knew that it was Shay who killed his father?

Why didn't Arno hunt Shay?

Did Arno and Ratonhnhaké:ton/Connor Kenway met each other?

I think that these are very stupid questions, and I will explain you why IMHO.

I think that Arno, at some point of his life, discoverd about Shay Cormac, and that he was the murder of his father Charles Dorian.

Arno was a Master Assassin, and probably a future mentor, and can have access to many resources.

But he never hunted him down. Why ? It's quite easy, and the math will give us answers.

At the end of AC Rogue, Shay is 45 years old, while Arno is only 8 years old.

At the beginning of AC Unity, in 1789, Arno is 21 years old (it's the eve of the French Revolution). At the end of AC Unity, in 1794 (during the Thermidorian Reaction) and during the events of the DLC Dead Kings, Arno is 26 years old.

If Shay Cormac was still alive he would be 63 years old, in 1794. I think that Shay was still alive because of his nephew Cudgel Cormac who he trained to be a Templar spy.

I don't think that Arno found out about Shay so soon...

But if he discovered his identity so soon: how could a man of 63 fight against a young man of 26 (who has a sword of Eden by the way) ?

Shay wasn't like Connor, or Altair or Ezio. He hadn't so much ISU blood inside him.

Arno probably found out about Shay years later the end of Dead Kings, probably during the Napoleonic era. He decided to not hunt him down because he thought that Shay was already dead (which is extremely possible).

Last question.

Did Arno and Connor met each other?

No.

Why?

It's easy. After the end of AC Unity and Dead Kings, Connor was 38 years old, and had a wife and three children. Knowing him, I don't think he would have embarked for France, leaving his family, and the brotherhood, alone in America.

I think that perhaps they exchanged letters because Connor's name was well known in Europe.

[local-hellhound-steals-spaghetti]

According to “Mass Animal Deaths Heat up Fight To Permanently Halt SeaWorld Operations” by Inside the Magic, bird conservation organizations are literally begging SeaWorld to stop their fireworks shows because of how many native birds they’re killing. But go ahead keep acting like their rescue operations justify all the harm/trauma they caused to the wild cetaceans they captured and the wildlife they continue to put in harm’s way in the name of human entertainment. Using ur large platform to assuage ppl’s guilt about spending their money at seaworld *directly* perpetuates this harm. I don’t know how you call yourself a proponent of animal welfare and then support this mega corporation that puts profits above all else

Hi there it seems like you think that I support corporate SeaWorld and all the decisions it makes. I am against a lot of things that SeaWorld does.

This includes: setting off fireworks, building roller coasters instead of updating animal habitats and the cruel layoffs that they inflicted on their employees during COVID.

I agree with the letter put forward, San Diego Audubon did a great job documenting the very real impacts of fireworks on seabirds. Firework events like the 4th of July and New Years Eve are extremely stressful for all animals - as detailed in the letter there were also illegal fireworks along with the firework shows in the City of San Diego and SeaWorld.

SeaWorld stopping their fireworks shows in favour of something potentially less impactful like a drone show would be a great start, but fireworks shows - legal or illegal, would continue regardless. Whether that would reduce the impact or not remains to be seen, but I think SeaWorld should stop their firework shows.

The problem is, it is a corporate company that wants to give people want they want so they buy tickets. Guests like fireworks. People expect fireworks on the 4th of July, NYE ect. I personally think we need to evolve as a society and move away from fireworks in general but that’s not a popular opinion.

Now, to your point about impact on wild whale populations, there is certainly not enough data to conclude that populations were unable to recover from the captures.

You can see with this graph that the Southern Residents were able to recover their numbers after the capture periods, but unfortunately populations continued to decline due to other factors. This includes anthropogenic causes like boat traffic and decreasing food supply with increasing dam building and more efficient fishing methods to take more Chinook Salmon from the orcas. And ongoing effects of bioaccumulation of toxins like PCBs and DDTs.

Some scientists argue that the population decrease from capture resulted in less competition and increased survival rate. Others say that the impacts are still being felt today. There’s not exactly a consensus on it because it’s hard to measure the effects.

While I disagree with corporate SeaWorld and a lot of decisions they make, I will continue to support the work of SeaWorld’s team of marine mammal specialists and veterinarians. And support accredited facilities that are able to create positive welfare states for their animals, even if the conditions aren’t perfect. I have no issue with animals entertaining people as long as the animals have agency and choice and show positive welfare states.

Whether you like it or not SeaWorld just have more money and resources than most other facilities simply due to their ability to appeal to a wide demographic (including people who like fireworks) - that sells tickets. And yeah a portion of that goes to CEO salaries and stakeholders (not nearly enough goes to the workers). But having that luxury of that much money means getting high end diagnostic equipment, paying for medications, antibiotics, scans, developing new technologies to assist in rehab and rescue work, pay staff to work in shifts for standing in the stranding pool to hold up a baby dolphin.

That’s why they’re usually in the front lines of rescue work, often collaborating with other rescues. Because their resources are invaluable to the rescue and rehabilitation of marine animals.

These resources are also giving scientists the ability to collect baseline data and compare to wild populations - and develop technologies and test these with animals in human care before using it in field work.

I disagree with a black and white approach to animal welfare and find it to be detrimental in the long term. Welfare is an evolving state that is always in flux and depends on a variety of factors.

SeaWorld’s fireworks contributed to seabird deaths - but not acknowledging that even if SeaWorld stopped their fireworks, there would continue to be fireworks on the 4th of July that would continue to cause bird deaths isn’t helpful to protecting seabirds.

SeaWorld have rescued, rehabbed and released or provided a permanent home for over 40,000 animals. It was funded by the same company that also put on fireworks shows. The two facts can exist side by side. A company can cause harm while also creating positive change.

The reality of capitalism is that to rescue animals you need to have the resources to do so. People visit SeaWorld to ride roller coasters and ignore the animals (which I can never understand) - yet it is the ability to appeal to a wide demographic that makes money and that money is what can be used for incredibly important conservation and rescue projects.

However, I would still say all of that wouldn’t matter if the welfare of the animals in their care was extremely poor. Which, based on their ability to achieve multiple levels of high standard accreditation like AZA and other signs of positive welfare in basic observation , doesn’t seem to be the case.

I encourage anyone to try to take a more nuanced approach to animal welfare and never just accept something at face value. And if you don’t like SeaWorld, that’s okay! There’s a lot of ethical discussions to be had. But I can only convey the experience and knowledge that I have in both research, hands on practical cetacean welfare experience and general experience and understanding of how marine mammal facilities operate.

[teeth-cable]

Why Lucifer being a good person is fucking stupid:

So in the show canon Lucifer and Lilith were kicked out because they were dreamers and gave Eve the fruit of knowledge. Based off the lore of Helluva Boss Lucifer 99% is the sin of Pride. In the show Lucifer is just a quirky theatre major who just wants to reconnect with his daughter...

Ok so lets analyze why this does not make sense in the worldbuilding. Lucifer is the King of Hell, a.k.a. a place full of homicidal maniacs and various other people. And since angelic weapons can harm angels (which is stupid btw) and sinners have been stealing weapons left behind by angels... Lucifer logistically cannot be a good person because these people could just decide to try to murder him if he was too weak. He needs the sinners and populace to fear him or respect him. Since Helluva takes place in the same setting Lucifer must have put in the social hierarchy of hell, approved it or doesn't do anything about it. Which means he plays some part in Stolas and Stella being forced to wed and the imps plus hellhounds being treated like garbage.

Then we get into story construction problems. Like if Charlie and Lucifer have a good relationship instantly then almost all the problems in the show can be solved at a snap of a finger because of Lucifer's power level. Its a similar problem with Alastor but worse because Lucifer is stronger. Like Alastor tho is implied to be weakened and forced to do this so there is intrigue storywise and limits on his personality and power. Lucifer is angel and can just like idk zap the Vees. Theres no threat, risk or anything now.

Also this Lucifer may have slept with Eve which either implies he cheated on Lilith or Adam was cheated on twice and Lucifer also agreed with genocide

And what wouldve been better is Lucifer being a shitty dad or person WHICH WE HAD IN THE PILOT. Like Lucifer being awful is actually better for the previous reasons and Charlie's own character. Like Charlie is supposed to be an underdog despite being princess and has an impossible task and if her father doesnt believe in her theres another personal level to then and maybe some of the audience could connect with her. And if Charlie's dad hates her or something you could easily write in and make Charlie struggle more by having him cut off her resources. Heck if her dad is awful then you can write in how Charlie feels about being so morally different. Then slowly build up to when we see Lucifer for the first time and actually have it feel special

This just makes me missed the pilot even more. While it did have it's own problems with the worldbuilding and characters, a majority of its ideas were still believable.

A better angle for Lucifer would be if he was a morally grey character. He can still be a decent father but a terrible ruler. Of course, that angle wouldn't work because everything in this show has to be black and white, where it literally tells you in a song, "Cause the rules are black and white" despite the same show critiquing its Heaven for the same black and white thinking.

I'm not against the idea of Lucifer being a decent father because there are still other ways the show can create conflict between him and Charlie. For example, he does get her the meeting into Heaven but it's at a cost. If she's unable to convinced Heaven, she has to abandon the hotel. Or maybe he is skeptical of Charlie's idea so he makes her overcome the hotel's problems, like the Vees, alone, to prove how strong and passionate she is. Of course, if they hurt Charlie, he can easily kill them, but it can serve as a great character moment for the both of them. Charlie learning Hell is brutal, Lucifer now hating the hotel because it will hurt Charlie, and create a new conflict where Charlie and Lucifer are against each other. Or the fact Lucifer was the one who allowed the exterminations to happened and Charlie has to undo her father's actions.

I'm only focusing on Lucifer being a "good" person through parenting because almost everything else, he's a bad guy. Not only was this the same man who allowed the yearly genocide of the sinners but also he created the classist, racist social hierarchy and system in Hell, and let the pride ring become so awful, the overlords, a group of powerful sinners, are taking advantage of regular sinners daily.

[saneandrocking]

I need more about dead stan au

To be clear, I'm not sure if this idea has been already exposed and is the theme of someone's fanfic out there. I just like Dead people AU and suffering. With that said, I kinda raw dog this righ here and I hope you like the flavor!

Bits of context: This is the AU where Stan dies while he's sleeping in his car, is basically a casuality of him getting robbed, reacting and getting killed, nothing much in the side of the extraordinary. I don't remeber exactly all of the series details, but I'm rewatching it, I promise! Yes, it's a music fic, cause I'm corny. The lyrics at the right are Standford's and they belong to Come Home by One Republic and the lyrics at the left are Stanley's and they belong to Take me home by Jess Glynne, because this is how I pictured they both feel at this moment in their respective lives. Remember: Stanley's is barely a legal adult whe he's is evicted from his house and he has canonically hold a grudge because of it, and I don't think I need to justify Stanford's anger. They both have made decision that are unmistakenly selfish, and that does not define their whole characters. Kissessss!

Major trigger: Grief. Major Character Death. Curse language.

After the fallout between the Pines twins, Stanford was accepted into another university, less prestigious but with generous resources for his research. Alongside Fiddleford, he was determined to prove to the rest of the scientific community that this world was far from being fully explained by the already known elements of nature. He was more motivated than ever to delve into the obscure side of anomalies. He was going to make sure his name was not forgotten in history. He's ambitious, he has something to prove, and he feels—or has always felt—like he's already running out of time to do it, so he's fighting against the clock.

Well, hello, world

Hope you're listening

Forgive me if I'm young

For speaking out of turn

He's in his dormitory room at the college he attends, and Fiddleford is taking a well-deserved nap after helping him with some more references, while he's still researching one of the maps of anomalies recorded in the last decade. There's a certain frequency in certain areas, not old-fashioned publicity tricks to attract attention, no, it's something more… He feels like he's going in circles, even though he can see there's a pattern there. He squeezes his tired eyes; the low lighting isn't doing him any favors when the telephone (something Fiddleford found in the trash and brought home to fix) rings. It's three after midnight, and he knows nothing good can come of this.

He doesn't have time to say anything after picking up the damn thing ringing like crazy and putting it to his ear.

—Stanford, for God's sake, why aren't you answering this damn thing?! I've used all my coins trying to call the university, but they only gave me your roommate's number— a feminine voice berates him. He waits a few seconds, trying to place that strident voice, but the answer comes quickly, of course. The only woman who would call him in the middle of the night is his mom.

—Mom. I've already told you, I don't have time! I have to study even harder since Stan— He stops himself, angry. Sometimes, remembering his brother is still a mix of anger and resentment that he can't fully name to this day. He sighs.

There is someone I've been missing

—It's not the time for that! It's about your brother.— Her tone is not authoritative, but there's an agony there, a desperation that only a mother can express. A guilt trip is what she does best, he thinks bitterly somehow.

Wrapped up, so consumed by All this hurt If you ask me, don't Know where to start

—Mom, what the actual—why would I care what he does?! He ruined everything for me! I'm going to hang up now, I'm busy, call me later.— Deep down, he already feels bad enough for talking to her like that. His poor mother has tried her best all her life, just as he is doing now. And, vaguely, probably Stan is living like that too, even if his best is in another category of stupidity.

—No, no, please!— Loud sobs interrupt her speech, and he sobers up right there. His mom is not one to cry over just anything. —Ford, he is…

—Mom? What happened? I'm sorry, I lashed out.— He runs his hand through his hair, breathing in and out. —What did he do now?— A long and strained sigh, again. Why does everything have to be a problem with Stan? —Are we talking about Stan or the baby? If it's the first, let me guess.— There's a certain humor in the guessing game; he bets Stan did some nonsense expecting him to clean up after him. Again.

Anger, love, confusion Roads that go nowhere I know that somewhere better

—He's dead, Stanford. Stanley's dead,— she says finally.

—What,— he says, as if in a chokehold, struggling to get the words out.

—I'm going to pass you to your dad, he'll…— His mother chokes on her words and murmurs loudly, —My baby boy Stanley…

—Mom?! What—I can't—!— He's lost. That's all he can say and think. Stanley's lost, not dead, just lost. The idea of death is too much.

I think that they could be

The better half of me

They're in the wrong place

Tryin' to make it right

But I'm tired of justifying

—Hello, son.— The serious and deep tone of his dad doesn't do much to calm the desperate young man; it only intensifies his horror. Stanley's lost. Lost is the word they are searching for.

—Can someone just tell me what I just heard? Stanley is—it can't be, Dad…please, talk to me! He's lost?— Why does he ask something as stupid as this? He knows what he heard.

So I say to you

Come home, come home

'Cause I've been waiting for you

—It's what your mother told you. I have nothing more to say. The funeral— The rest of his words get lost in the moment. All Stanford could hear was the sound of the pen he was holding before it fell onto the table, and the room he shared with his friend became a world of its own. An empty and devastated world, full of silence and sorrow.

Would you take the wheel If I lose control? If I'm lying here Will you take me home?

Stanford can't remember how this conversation ended, how his too-hard-to-impress father explained with a shaky and strained voice when the event was going to be. He didn't even have the money to buy something formal to wear to his brother's burial. Would he be buried in his father's suit? He can only describe the slow and painful realization that came with the equally painful heartache: his twin was dead. If there was such a thing as another half of someone, his was dead and about to be buried six feet under within the next hours.

Could you take care Of a broken soul? Will you hold me now? Oh, will you take me home?

The one and only Stanley Pines died far from home, probably alone, while Ford was studying the anomalies of the world, trying to once in a lifetime feel like he belonged, only to discover that nothing could have been more important than his blood—but suddenly, that was a too-late realization.

Fiddleford stared at him as he fell to his knees, too stunned to utter a word, too broken to make sense. He later woke from this numbness holding a cup of coffee in his hands, tears rolling down his cheeks. Stan was dead, and he was alive, and now this is what he'll remember for the rest of his conscious life. This, and the broken look on his mother's face when she saw him at her door on the same day her other son died—his father did not have the strength to look directly at him.

And right now there's a war between the vanities

But all I see is you and me

And the fight for you is all I've ever known

So come home

At the funeral, the only ones present were him and his mother. Despite all the emotions (too overwhelming for Ford to watch, by the way), his father outright refused to see Stanley in the coffin. —I can't take it. I'm not man enough to watch it. Take care of your mother.

He prayed that day, to a God he wasn't sure could even hear him. The guilt was louder than him, but he tried anyway. With all the conflicting feelings in his chest, between his anger and profound grief, he did what he could with all of that, standing side by side with the cold body of his deceased brother. The mirror image of himself lying down, more neat than ever.

The world ain't half as bad

As they paint it to be

If all the sons, all the daughters

Stopped to take it in

Well, hopefully, the hate subsides

And the love can begin

It might start now, yeah

Well, maybe I'm just dreaming out loud

—I will fix this, Stan. I swear. Or I'll see you after giving up. Either way: wait for me one more time.

Everything I can't be

Is everything you should be

And that's why I need you here