#makes me want to kill people. violent violent deaths.

[oriley42]

Serious question but no need to answer if you don’t want to

I see a lot of talk about Amber’s portrayal being sexist in the show, but I’m not quite sure why? To me her motives always seemed really well-defined (high pressure = “I’m only worthy when I’m successful”) so she puts on this sharky mask with a feminine facade so she is feminine enough to get a certain amount of approval but never shows how much she cares (which could be used against her but also could be used to undermine her “oh you’re too soft”). I thought the show did an excellent job of showing a mask for her

But a lot of people talk about 00s sexism and how it impacts her characterization. The sexism… Is it that she gets called a cutthroat bitch? Or how her story revolves around a man after she leaves House’s team? Is it the fridging?

Any of those could be it I guess but it just sounds like you and others are talking about something a little more fundamental to her personhood so I thought I’d ask if I’m missing anything.

Very interesting question! I think you're getting at exactly the trickiness of the issue, which is that sexism always operates systemically. It's not that any key aspect of Amber's character "is" misogynist, it's that every aspect of her character is automatically filtered through a lens of sexism.

In today's world where "bitch" has been very de-clawed, turned into a more casual and way less gendered insult that's used without cruel intention in queer slang, I think it's hard to understand just how violent the term was--and was meant to be--in the aughts. House in canon is not calling Amber a bitch in a cute, almost self-deprecating, friendly way (though I think it's valid to re-write it that way in fic to defuse the term!). He is calling her a bitch to contain and belittle and dehumanize her. We see the term mobilized this way against Cuddy in 5 to 9 as well: calling a woman a bitch was an extremely powerful rhetorical tool to turn any dangerously competent, brilliant, threateningly accomplished woman back into a harmless, debased, controllable object. So, "CB" reflects how easily the fact that Amber is the "female House" gets turned against her--it doesn't mean she's an eccentric genius like him, it means she's an evil copycat who needs to be put down. And this kind of structural logic applies to her whole characterization--it doesn't matter that House does it all more frequently and worse, if she does it, it's unacceptable because she's a woman. (There are parallels here with how racism means that when Foreman acts like House, he also gets the axe instead of the narrative bending over backwards to make what he did alright.) That's why she was fired, after all!

And her death. Woof. Classic case of killing a woman for man-pain. Everything supposedly about her death is actually about how her violent destruction can be used to fuel Wilson and House's character arcs. The narrative is occasionally conscious of this, for example, Wilson saying "none of you even liked Amber" is an almost metatextual reminder of how cruelly she was disenfranchised in every way (including the sexism of her trying to "defect" to the men's team early on, having no female friends, because unlike House who has so many people orbiting him, she is truly alone). Comparing her death to Kutner's is instructive: Kutner gets a whole episode that's about characters desperately trying to know him better. They trace their relationships towards him. Amber, on the other hand, is nearly absent from her own death. The characters trace away from her and towards the way male characters feel (Wilson's loss, House's guilt). Amber becomes just an imagined figure of House's guilt. Even her ghost is not her own. (Though I think many fans do a more feminist read and reclaim the way she haunts the narrative--but imho that would be a negotiated if not fully oppositional reading, to use Stuart Hall's decoding/encoding terms.)

One easy way to see that gendered difference is in how the show refers to these characters after death. Kutner is always "Kutner," never just "House's dead fellow" or rarely "our dead colleague." Amber is often referred to as "Wilson's dead girlfriend." Kutner is his own person, Amber rhetorically gets reduced to an object belonging to a man.

In conclusion: sexism operates structurally, which can make it hard to identify! And one of the funny effects of contemporary fandom doing so much good work to un-fridge women and give marginalized female characters richer personalities and more chances to grow is that canon's intended message of sexism gets obscured. Which, is awesome? Keep up the good work! Let's make misogyny unintelligible 🎉

[regainingparadise]

Do not hide your amazing mind-blowing meta in the tags!

"the eyes were a bid for help, maybe a foolish one"

This especially reads so true to me. The Eye is a source of safety on so many levels for him, in a way that other entities, though they might have helped him in specific ways, wouldn't be. The Hunt might have helped him find Leitners and fight avatars; the Vast or the Stranger or the Spiral might have helped him escape Mary and the life she wanted for him. The Corruption could have offered him the love and acceptance he so desperately wanted from Mary. Most of the Entities could have offered something to him.

But the Eye not only helps him track down Leitners, but presumably gives him knowledge of how to deal with them, and of how to protect himself, and of the threats around him. Growing up absolutely immersed in Fear as he was, I can imagine the relief of having warning, of Knowing how to protect himself. And on a deeply personal level--perhaps having some forewarning of Mary's moods, of when she might manifest or fade.

"Gerry has the restraint and desire to stay out of the eye's power grab"

YES, WAIT HOW DID I NOT PUT THIS TOGETHER BEFORE:

1. The Eye is, on the surface, one of the most benign Entities. It's not explicitly violent or physically harmful--of course Gerry wouldn't want to join The Hunt, much less the Desolation or Slaughter. He doesn't want to hurt people, he just wants to be safe.

And I mean--he's been witnessing suffering and fear his whole life, I can very much imagine that he would figure that he can passively feed The Eye without having to actively do harm. And so he made the gamble that he could use The Eye without being completely corrupted by it.

2. AND IT WORKS

For a while, at least.

The Eye lets him save lonely travelers and burn Leitners and survive the Lightless Flame.

But the Eye wants more.

And how are true Avatars usually born? At the moment of their death, they make the choice to survive.

Jon does it. Maxwell Raynor does it. Oliver Banks does it. Justin Gough does it. Tova McHugh does it. Wilfred Owen does it. And, very relevant to this conversation--Trevor Herbert does it. He lays down to die of cancer and then...his lungs don't kill him. He lives to serve The Hunt.

But Gerry? He lays down to die of cancer. And it kills him. He doesn't choose to survive at the expense of losing himself to The Eye.

Why would The Eye not warn him that he was sick? Because it wanted him to die. The Eye wanted him to be forced to choose It. And Gerry refused.

Anyway thank you for your meta, it made my brain explode and I love Gerry even more now.

I realized I have no idea when Gerry Keay became eye-aligned. I'd assumed it was during his time with Gertrude, but no--he was already Beholding back when he ended up in the hospital with Diego Molina, and that was when Mary was a ghost.

What led him particularly to the eye? When did he make that choice? How did Mary react, who scorned "slavish devotion" to a single patron?

Was it because of the little he knew about his father? Was he seeking a place for himself apart from Mary within the ecosystem of fear? Was he seeking something that could protect him from her, could give him warning of her moods? Or did he connect to it earlier, as a tool to hunt Leitners for Mary.

Did he seek out the eye first, or did the eye choose him?

[blowjob-horseguy]

The Steve and Nancy flirting in season four becomes much more interesting when put in the context of steddie and ronance I think. Because it's less backsliding their character development and more about 2 kids in the 80's falling back on the closest het relationship available when confronted with queer feeling and queer people. It's less taking an ambitious independant woman and sticking her with the stagnant nuclear family man because the script says so, and it's more about the triangulation of desire. In this essay I will-

[musical-chick-13]

This is the only thing I'm going to say about the election until it's over:

Anyone who did not vote for Harris or who attempted to dissuade people from voting for Harris, you are indirectly responsible for whatever shit Donald Trump does if he gets elected. That blood is primarily on his hands, yes. But it is also on yours. I hope you can live with that because I sure as hell wouldn't be able to.

[polysyndetonaddictsupportgroup]

i read part of the first chapter of sea glass gardens a while ago but decided to come back once I knew more about the characters and world building of jjk. Anyways and I watched jjk 0 and your telling me he actually blew up the school with the power of love??? Like full on textually the power of love??? He straight up used the power of love to nuke Geto and subsequently the school??? Are you kidding me?? I'm losing my mind. What the fuck

my boy has powerful love within him and also incredible and indiscriminate violence. what more could you want from a character.

[ecstaticactus]

"They scare my babies" AAAAAHHHHHH🦇🦇🦇🦇 maggie are you really trying to make us fall in love with bats???

"And Grandsire, who has never liked you, pulls you away from the breach and puts himself between you and the intruders." as much as he can scold his grandkids and make their lives miserable at the end of the day family is all that matters to him😭😭😭 (maybe not in the healthy way he should)

“I am ready to see your mother, Alicent,” stop it!!! when i read fire and blood i was so happy with his death but now tears are gonna spill😭😭😭😭😭😭😭😭

"No. I have another daughter.” uuuh

i just know jace and red gave her biggest side eye

"Did you, Rhaenyra? Before you and Laenor Velaryon were wed?”

MOMMY ALICENT ATE HER UUP

“My darling, my brave girl, what you and Aemond have is…It’s strange, and violent, and obsessive and profane and…and…unnatural.”

*meanwhile me thinking their relationship is epitome of love*

threatening to burn down the whole realm for the sake of your loved one is very much normal to me idk what you're on girl

no in all seriousness i don't see much problem. they're targs, after all they're supposed to be a lil crazy!!! 😤😤😤😤

"It's too late for me to undo the pain I've cause Aegon and Helaena. It's too late for me to mend Aemond's eye or his soul. I can't spare Daeron from the horrors of war. But I can still save you"

WHAT A CHAPTER IT WAS (had lil flashbacks of NICIY 👀🌹)

i don't want to imagine what will happen when aemond learns that blacks took the king's landing. PEOPLE ARE GONNA SUFFER

okay i love aemond but i'm lowkey excited for enemies to lovers trope????

i just know there's gonna lots of angst so i'm prepared. (i'm ready for everything except aemond killing red with his own hands bc she fell in love with jace ASJFLAKFJAKFHSAL)

Cannibals [Chapter 3: Mist and Bricks]

Series summary: You are his sister, his lover, his betrothed despite everyone else’s protests; you have always belonged to Aemond and believe you always will. But on the night he returns from Storm’s End with horrifying news, the trajectories of your lives are irrevocably changed. Will the war of succession make your bond permanent, or destroy the twisted and fanatical love you share?

Chapter warnings: Language, a tiny bit of sexual content (18+ readers only), violence, bodily injury, dragons being weapons of mass destruction, King's Landing gets some visitors, Larys gets alarming news, Alicent gets an idea, Red gets a shock.

Word count: 7.2k

💙 All my writing can be found HERE! ❤️

Tagging: @themoonofthesun @chattylurker @moonfllowerr @ecstaticactus @mrs-starkgaryen, more in comments 🥰

🦇 Let me know if you’d like to be added to the taglist 🦇

There is a chilly steel-grey mist on Blackwater Bay, and another in your skull, your thoughts slow and muddled, the past bleeding into the present. It’s weeks later, the longest you’ve ever been away from Aemond, and the pebbles on the shore needle your shins through your velvet gown the color of cinnabar as you kneel to claw seashells from the muck. Helaena is here with you, and while you haven’t told her your plans for your next mosaic, she somehow knows what color shells to drop into your basket: dark green like Vhagar’s scales, shimmering white like Aemond’s hair. Sometimes there are still creatures hunkered inside, and Helaena can never bring herself to pry them out. She passes the doomed crabs and snails to you for a swift exhumation that you deliver with your bare hands, and then you wash the vacated shells in the surf. Mother and a flock of maids are playing with Jaehaera and Maelor farther down the beach. You can’t go near them, or Maelor will start screaming.

Grandsire comes plodding down the stone steps carved into the cliffside, carrying a plate laden with lemon cakes and slices of fresh bread slathered with butter and blackberry jam. “Helaena, you must eat,” he says.

“I’m not hungry.”

“Helaena, please.” And his voice is gentle in a way it has never been with you. “My gods, why are you wrist-deep in wet sand?”

“We’re collecting shells.”

Grandsire gives you a familiar look: disapproval, frustration. The he turns back to Helaena. “I can’t watch you disappear. You must eat something, I’m not leaving until you do.”

“You like blackberry jam,” you encourage her. But she flinches away when Grandsire offers her the plate, and suddenly you understand, you feel the thought as if it is your own. “It’s the color,” you tell him. “The jam, it’s like…” Like blood, like gore. Like the night Jaehaerys died.

“Oh.” Grandsire is quiet for a moment, remembering. “The lemon cakes, then.”

Helaena reluctantly rinses her hands in the seawater, takes a single lemon cake from the plate, and sits on a nearby rock to nibble on it, gazing blankly out over the inlet. You attended Jaehaerys’ funeral procession in her stead—an act of mercy, of penance, while Helaena spent that day sobbing in the Dragonpit, clinging to Dreamfyre, a pale blue century-old monster with infinite patience. The people of King’s Landing saw the dead prince, his head crudely stitched back onto his tiny body, and howled for vengeance. They burned white-haired effigies of Rhaenyra and Daemon. They gave rare autumn flowers to you and Mother. It’s always strange when you leave the Red Keep to interact with the smallfolk. They call you by your real name, something your family seldom does; they seem to believe you are righteous and wise. Perhaps they even pity you: no husband, no children, no dragon.

Mother has left Jaehaera and Maelor with the maids and is venturing closer. “Are there any new letters?” From Criston or Aemond, or even Daeron in the Reach. The Hightower army has been delayed there, cutting through the treasonous soldiers of House Rowan and House Caswell, Tessarion burning them alive in their armor.

“Ravens,” Helaena says thoughtfully from her rock, and no one knows why.

Grandsire shakes his head. No letters today. Butterwell, Stokeworth, and Rosby have bent the knee; the defiant lords of the Crownlands are being put to death. By now the Green forces will be marching on House Staunton at Rook’s Rest. When Aemond does write, you are not mentioned. With each passing day you find yourself thinking: Has he forgotten me? Does he truly love me? Perhaps this is not so irrational a question. Aemond has never used the word love to describe what you are to each other.

Grandsire frowns at you. You gaze mournfully back. He snaps: “And what’s wrong with you?”

Mother’s reply is hushed and sympathetic. “She’s lonely, Father.”

“Lonely?! She still has us here. Don’t we matter? No, I suppose not, she prefers arrogant fools who imperil the realm with their self-obsession. Perhaps she’d like us more if we wore silver wigs and eyepatches.”

Mother is distressed. “Father, please.”

He waves an irritated hand at you. “I better not find out you’ve been keeping the cats away from your chambers again.” Grandsire had a hundred cats brought to the Red Keep to do the tasks the dead ratcatchers left unattended.

“They scare my babies,” you say.

“Your vermin, you mean. Revolting creatures. Flying pestilence.”

You rise from the sand and pick up your basket, now full of shells. Your head is beginning to ache. Maester Orwyle removed your stitches this morning, but the wound in your chest still pains you more or less constantly, a gnawing sensation like an animal chewing on your ribcage.

“Where are you going?” Grandsire demands. You don’t answer him as you ascend the stone staircase, the waves growling behind you and gulls squawking in the foggy air.

In your chambers, you leave the basket of seashells on the floor and call for wine. The maids fetch it and you drink straight from the pitcher, staring at the little wooden figurines on your dresser until they turn blurry. Among them is Vermithor. You recall what Aegon said when he gave it to you years ago, when you were so stung by the dragon’s rejection: You might not have the real Bronze Fury, but you can keep this one.

Your bats are beginning to scrabble out of their roost and vanish through the window. As the sun sets and the room spins, you crawl into bed and lie there in the darkness clutching pillows, your pulse thudding just above your left eye. You doze in and out of consciousness. Aemond told you to think of him when you are here, and you do whether you want to or not: Aemond spilling red wine down your bare chest and then licking you clean; you straddling his lap and stroking him as he reads myths aloud to you in gloomy alcoves of the library, dust motes wheeling in the air, grinning victoriously when you make him lose his focus; the five game pieces racing around the wooden board, Aegon’s green snake, Helaena’s yellow butterfly, Aemond’s blue wolf, your red bat, Daeron’s purple shadowcat before he was sent away to Oldtown and the rest of you never played again.

Then something hits you, not like a vision but like knuckles that could crack teeth, and you are besieged by what Aemond is seeing in the Crownlands. There is flesh, horribly and ruinously burned, sheets of it sloughing off as Aemond peels away scraps of charred fabric, and the smell of it—like blackened pork, oily and stomach-turning—is in your nostrils, and you can feel the calamitous heat rising off the man who must be dying. You can feel Aemond’s terror, disbelief, desperation; you can feel his tears on the right side of your face.

Dragonfire??

The dreamscape abruptly disappears like a candle blown out. Your head throbs, your eyes are squeezed shut as you whimper into your pillows. Your fingertips go instinctively to the scar on your chest.

Who was burned? Criston? Gwayne?

But now the dire portents are here in your room, and they are real: the ringing of bells, smoke, shrieking, scorched flesh.

You open your eyes, and your bats are soaring back inside through the open window; but they have been turned to comets. They are on fire, squealing as their fur is singed off and the fragile membranes of their wings melted from their bones, herding around their roost as they try in vain to seek shelter inside. The dark blue velvet cover has been engulfed in flames.

“No!” you scream, bolting off the bed.

Your door is thrown open and Mother rushes in, dragging Jaehaera behind her. Helaena waits in the doorway holding little Maelor in her arms. He hasn’t seen you yet, but he is already wailing. The horror is back. When will it end?

“We have to go!” Mother shouts, grabbing your hand and pulling you away from your bats. You know you can’t save them, and yet you are compelled to. They are pieces of you, pieces of Aemond. They are burning to death in the house you built for them.

“What’s happening—?!” And then you hear the screeches of dragons, not Vhagar or Sunfyre or Dreamfyre or Tessarion. Through the window, you see an inferno bloom in the night sky. You get a firelit glimpse of a beast you do not recognize: dark, angular, very large and covered with jagged spines. People are screaming. Rooftops are ablaze.

A wild dragon? Claimed by who?

“We’ll go to the beach,” Mother says frantically. She’s thinking of the escape hatch in Aemond’s bedchamber, the only secret passageway in Maegor’s Holdfast. The king known as “the Cruel” wanted no spies or assassins in his walls. But one door was enough for Daemon’s executioners to kill Jaehaerys. “Helaena will try to get to Dreamfyre.”

But you won’t be able to fly away with the rest of them. Dreamfyre would sooner reduce you to ashes than let you touch her.

Mother knows this. She tells you, low and fierce, her coppery hair like glowing embers: “I won’t leave you. You and I will find another way out of King’s Landing.”

“You should escape on Dreamfyre if you have the chance.”

“Never,” she says. And then again: “Never.”

In the hallway, Grandsire has arrived, panicked and urging everyone towards Aemond’s bedchamber. He wheezes, breathless from his sprint through the castle: “I saw Syrax and Caraxes, and Vermax too I think, or maybe Moondancer, a small dragon…but who is the other one? It’s not Meleys. It’s a hideous creature, it looks deformed.”

“I don’t know,” Mother says. Hordes of yowling cats careen past your bare feet.

“Could Rhaenyra be finding new riders?” And Grandsire, a man who is afraid of very little, is petrified down to his bones by this.

I should have a dragon, you think, forlorn. I should be able to help fight this war. And instead I am worthless.

“I don’t know, Father,” Mother says again, and you follow her through the threshold and into Aemond’s abandoned bedchamber, illuminated only by the moonlight that streams in through the windows. You have not been in here since Jaehaerys died; the stone floor is still stained with his blood. Helaena begins sobbing, clutching Maelor closer to her chest. Downstairs, you can hear swords clanging and men groaning as they die.

You hurry to the hidden door and ram it with your shoulder, but as the passageway opens, you see red-orange torchlight approaching through the blackness like fire boiling up in the throat of a dragon. Rhaenyra’s soldiers are already here. You try to close the door, but now knights in armor are forcing their way inside the room. And Grandsire, who has never liked you, pulls you away from the breach and puts himself between you and the intruders.

“The hallway, back to the hallway!” he booms, giving you a shove, and that is the only place left to go. You, Mother, Jaehaera, Helaena, Maelor, and Grandsire flee from Aemond’s bloodstained bedchamber. But your captors have climbed the Grand Staircase—the place where you once waited for Aemond to return from Storm’s End, so convinced that he would not fail you—and now they are here.

Under the torches carried by her guards, Rhaenyra alternates between firelight and shadows. Daemon marches beside her, his face severe, his sword Dark Sister drawn. Mother pushes you, Jaehaera, and Helaena, still carrying Maelor, against the cold stone wall. Grandsire stands in front of Mother. Jace is walking behind Rhaenyra and Daemon, you notice, dressed in red and black, his cloak billowing behind him. The last time you saw Jace, you were smirking when Aemond shoved him off his feet at the last dinner King Viserys ever attended. Now you are trembling with thunderstruck terror.

Rhaenyra is supposed to be bedbound on Dragonstone. Daemon is supposed to be in the Riverlands.

Daemon points at you with the tip of his blade. “You should have that one executed,” he says to Rhaenyra. “Isn’t she Aemond’s whore?”

“They were never married,” Mother tells him, her dark eyes huge and reflecting the torchlight, her arm thrown in front of you.

“I didn’t say wife, I said whore.”

“Daemon,” Rhaenyra warns, and she studies you, Helaena, Grandsire, Mother. Her blue eyes are sharp like fractured glass, edges that glide effortlessly through arteries and veins; there is a queenlike composure in her face, but beneath that wrath, wrath, wrath. After a moment, she says to her guards: “Take the adults to the dungeons.”

Mother and Helaena are shouting and protesting, trying to stop the guards that rip Jaehaera and Maelor out of their grasps. Grandsire is attempting to negotiate. Rhaenyra and Daemon ignore them, continuing on down the hallway, taking possession of the rage-red castle where they first fell into their peculiar, destructive breed of love.

As he passes by, Jace glowers at you and you glare back, and when he reaches for the hilt of his sword you bare your teeth at him; but before Jace can draw his blade—to threaten you, to frighten you, to spill your blood the way Aemond spilled Luke’s—the guards have dragged you away.

~~~~~~~~~~

Your head is very bad now. The pain is almost impossible to think through; you are sick with it, retching into a wooden bucket until there is nothing left to expel. If Aemond was here, he would be holding you, murmuring to you in High Valyrian, pressing a cloth soaked with cold water to your forehead. But Mother is here instead, and she is doing the best she can.

It’s the next day, cold grey light tumbling in through cracks in the walls. You are imprisoned on the second level of the dungeons, reserved for highborn captives; you and Mother are in one cell, Helaena and Grandsire in another on the other side of the aisle. Helaena has been weeping constantly, worrying for her children. Grandsire and Mother try to console her as you lie pitifully on the floor, wishing the pain would knock you unconscious. You need Orwyle and his milk of the poppy. The guards have brought bread and water, but nothing else.

There is a creaking sound from several cells away, and then a slow shuffling accompanied by the tapping of a cane. Mother keeps one hand on your shoulder as she cranes her neck to see her visitor. Grandsire and Helaena move to the front of their cell, their fingers gripping the rusted iron bars.

Larys Strong appears, his hands resting on the handle his cane. Unlike Maegor’s Holdfast—the residence of the royal family—the other buildings of the Red Keep are rife with secret passageways, a latticework of corridors that one unfamiliar with their paths could get lost in forever. Surely Daemon and his confederates are in the process of searching them, but it is a task that could take a week.

“Lord Larys,” Mother says, relieved. “They have not found you.”

“Not yet, Your Grace,” he replies docilely. “Though I’m sure it will not take much longer.”

“Can you retrieve some milk of the poppy?” For you, she means.

“I will try.” Then he stalls, as if he does not wish to share what he has heard through his clandestine chain of whispers. “Something has happened at Rook’s Rest.”

Mother’s brow furrows. “Where?”

“The seat of House Staunton,” you tell her from where you lie on the floor, remembering it from the maps in Aemond’s bedchamber. He would tell you things, show you things, sometimes kindly, sometimes tauntingly, sometimes as he undressed you. He would quiz you and if you got an answer wrong, he would put your clothes back on.

“In the Crownlands?” Mother says to Larys, alarmed. “Is Aegon alright?”

Larys takes a moment to decide how to proceed. “The castle was captured without much difficulty, but a maester there must have gotten a raven out, because Dragonstone received word of the attack and was summoned to defend Rook’s Rest and retake it from the Greens. It is located very close to Dragonstone, and thus cannot be allowed to fall into the hands of the enemy.”

Larys pauses and looks at his audience. Grandsire asks: “So who answered the message?”

“It seems that Rhaenyra, Daemon, and Jacaerys were already preparing for an invasion of King’s Landing and were elsewhere,” Larys says. “The other dragon, the large brown one, is called Sheepstealer and is ridden by a peasant girl that Daemon found. There are rumors that he has grown somewhat…attached to her.”

Mother grimaces, tugging on the seven-pointed star necklace she never takes off. “He’s a beast.”

“The girl is a Targaryen bastard?” Grandsire says, confounded. “Whose? She’s not a child of Viserys, surely. Where the hell did she come from?”

Larys is apologetic. “I could not tell you, my lord. If I discover anything else concerning her origins, I shall share what I learn. She is known as Nettles.”

“Nettles?” Grandsire snorts.

Larys continues: “When the raven reached Dragonstone, Baela received the letter. It appears she was told that Sunfyre was the only dragon guarding Rook’s Rest at the time, and that Vhagar was away feeding. She must have thought she could best the king, or at least chase him away from the castle.”

“An understandable error,” Grandsire says, and you scowl at him between fruitless retches into your bucket. The thrumming in your skull is like blows from a hammer, rhythmic and disorienting. Your face is hot with fever; it radiates off of you in waves. Mother rubs your back—although somewhat cautiously, as if she is afraid that barbs might split through your skin to prick her—and offers you sips of water.

“Baela left Dragonstone, likely without permission. Rhaenys followed her on Meleys, but Moondancer was faster.”

“Meleys?” Mother says, startled. “Meleys was there too?”

Larys nods solemnly. “Aegon and Sunfyre attacked Moondancer and broke her neck high in the air. Baela perished when her dragon fell to the earth.”

“Daemon’s daughter,” Mother exhales, wondering what the retribution will be. “Jace’s betrothed.”

“And one of Rhaenys’ only two trueborn grandchildren,” Larys says. “When she arrived at Rook’s Rest and saw Moondancer’s carcass smoldering just outside the castle walls, she pursued the king before he could retreat. And Sunfyre…he was no match for a dragon as large as Meleys.”

“Aegon, he’s…?” Mother cannot bring herself to speak the words aloud. Tears gleam in her eyes. “Is he…is there no hope…?”

The ruined flesh, charred and raw, you remember from your horrifying glimpse into Aemond’s mind. It wasn’t Criston or Gwayne. It was Aegon.

“He was burned,” you whisper, and Mother stares at you.

“Aemond returned on Vhagar, and they slayed Rhaenys and her mount. But not before the king and his dragon were engulfed in Meleys’ flames.”

“He’s dead?” Grandsire says, emotion you’ve never heard before in his voice.

No, you think. Not yet.

“Aegon and Sunfyre are both gravely wounded,” Larys replies. “It is uncertain whether either will survive. The Blacks received the news just before their assault on King’s Landing.”

“Where is Aegon now?” Mother says.

“I’m not sure, Your Grace. He was still at Rook’s Rest last I heard, but they might move the king elsewhere to keep him hidden. I would imagine Aemond and Sir Criston Cole are requisitioning maesters from nearby houses to treat him.”

“Burns,” Mother sobs. “He must be suffering terribly, the pain…the disfigurement…”

Grandsire drums his fingers on the bars of his cell, his rings clinking against the rusted steel. His expression is remote, somber, resigned. “So we have two dragons capable of combat, one of which is young and small and pinned down by battles in the Reach, the other is on the far side of the Crownlands and trapped there while Aemond tries to keep our king alive. And Rhaenyra is here in the capital with Syrax, Caraxes, Vermax, and this new dragon Sheepstealer, larger than any of her others, and her faction seeks vengeance for not one but three royal deaths.”

In reply, Larys Strong only bows his head. Mother swipes tears from her cheeks and tucks your hair behind your ears as strands escape your braid.

“Well,” Grandsire sighs. “I believe we might be losing this war.”

There is the distant noise of a door’s hinges creaking, and Larys hobbles out of sight, retreating to the secret passageway he previously emerged from. A minute passes, and then footsteps echo down the corridor. Daemon strides into view, swinging Dark Sister in his right hand, and you are suddenly reminded so much of Aemond’s mannerisms that the absence of him guts you all over again, vital parts of you excavated like the organs of a slaughtered animal. Daemon is accompanied by several guards and a group of noblemen who you assume are members of Rhaenyra’s council. You recognize among them a tall man with short grey hair, Lord Bartimos Celtigar.

Daemon says: “Princess Helaena, the queen has taken your tiny, traitorous children to ward. Perhaps one day you will see them again. Perhaps not.” She gazes out from her cell vacantly, her face bloodless with shock and fear. Then Daemon turns to Grandsire. “Otto Hightower, you orchestrated an unlawful rebellion and therefore you will be put to death.”

Grandsire gapes at him. “What? When?”

“Oh, immediately.” Daemon steps back and the guards unlock the cell, seize Grandsire, knock him over and drag him wriggling on his belly into the corridor. Mother pleads for his life. Helaena shrieks and claws for him, trying to keep him with her. The guards fling her roughly away and slam the door of her cell shut before she can escape.

“No, no, do not mourn me!” Grandsire is bellowing as he is hauled away. “I am an old man, I have lived a good life, do not think of me, think of the living and what you can still do for them!”

“Father!” Mother wails, reaching through the bars of her cell though she knows she will never touch him again.

“I am ready to see your mother, Alicent,” Grandsire says; and then he is gone. The men of Rhaenyra’s council begin to file out of the dungeon.

“You followed us across the Narrow Sea, Lord Celtigar!” you shout after him, crawling across the floor and pressing your face against the bars of your cell. “House Targaryen saved you from the Doom, and now you rip it down from within by aiding a usurper. We will not forget your treason when the war is won. We will visit you on Claw Isle and bring with us fire and blood. And you will have no defenses. You are no dragonrider.”

“Neither are you, princess,” he says cooly, and leaves you in your prison.

Daemon is the only man still standing in the aisle. He peers down at you with shadowy deep-set eyes and twirls his Valyrian steel sword again. He grins, humorless, hungry, burning up inside with fury. “Perhaps I’ll be back soon.”

Mother yanks you away from the bars, and you can see what she’s thinking etched into the desperate lines of her face: How can I save her?

“I’m going to behead your father now,” Daemon tells Mother, then sweeps down the corridor. There is the sound of a heavy door closing when he reaches the end of the hall.

“Do not speak to them,” Mother hisses to you, and you are in too much pain to respond. Now you can hear men jeering out in the courtyard of the Red Keep. Daemon is listing Grandsire’s crimes. Crows are cawing.

He’s going to die too? you think dizzily. When does this end, how do we stop it?

The door at the end of the hallway opens again, and Mother stands and places herself in front of you; but it is not Daemon this time, relishing his chance to drag another Green to their death. It is Rhaenyra and Jace. The Blacks’ queen stops at your cell, her son a few paces behind her. He looks at you with heartbreak, with hatred, and of course he does; one of your brothers murdered Luke, the other killed Baela. And he does not believe you to be blameless like Helaena. You are a very different sort of woman.

“Alicent, your degenerate son’s insurrection is over,” Rhaenyra says. “I have taken the city and��”

“Jace needs to strengthen his claim,” Mother interrupts. Outside, men are cheering; Grandsire’s head has been struck from his shoulders. In her cell across the aisle, Helaena sinks to the floor and sobs quietly into her palms.

Rhaenyra studies Mother, incredulous. “What did you say?”

“There have always been people who doubted his parentage, as you well know,” Mother says, and you can see her hands are trembling; but her voice is steady. “And there are many who favor my line. They fear Daemon’s recklessness, and perhaps yours as well.”

“You speak so boldly for a woman who stands behind bars.”

Mother is unflinching. “Perhaps you imagine that you will kill every last Green, and all of our loyalists throughout the Seven Kingdoms, millions of people, and therefore you will have no use for bricks upon which to build a lasting peace. But I think that would be a mistake.”

“And you wish to help me?” Rhaenyra mocks.

“I wish to safeguard what is left of my family.”

The woman who calls herself queen considers this. Surely the same hope lives in her ribcage as well, the same catastrophic fear that it will prove impossible.

“One way or another, the war will be won,” Mother says. “And whichever side triumphs will have the other at their mercy.”

“I will have you at my mercy, yes.”

“Aemond and Vhagar are still out there. Underestimate them at your peril.”

“And what is your suggestion?” Rhaenyra demands. “To bolster Jace’s claim, to save your own skins?”

“Baela is gone and he is unspoken for. You once offered to unite our bloodlines by marrying Helaena to Jace. Perhaps if I had accepted that, I could have spared us this torment. I was wrong to dismiss your proposal so swiftly, Rhaenyra. I did not give you the respect you deserved. And I have reconsidered.”

Rhaenyra is puzzled. “Helaena is already married. Unless you have proof that Aegon is dead, which would be welcome.”

“No. I have another daughter.”

Both you and Jace begin to object at once; your mothers silence you with fearsome glares.

Rhaenyra is aghast; her sharp blue eyes dart to where you are slumped on the floor of your cell and then back to Mother. “This is a sickening insult.”

Mother seems calm, measured. It cannot be easy for her. “Willingly marrying my daughter to Jace is accepting his legitimacy. She is a Green, and very close in age to your son, and from what I have heard of Jace’s temperament I believe them to be well-matched.”

“I don’t,” Jace says.

Rhaenyra shakes her head in disbelief; but is there a ripple of uncertainty across her regal face? Yes, you think there is. “Aemond has already bedded her.”

“And who has said this?” Mother asks. “Daemon, who hates my family and has no mind for strategy or alliances? Rhaenys and the Sea Snake, who hungered for the Iron Throne all their lives and saw a chance for their descendants to possess it through Baela?”

Rhaenyra is looking at you again. “I’ve seen the way they watch each other. The way they move.” The dinner, she means. The night that Viserys died.

“She is a maiden,” Mother insists, but she gives you a transient sideways glance. Are you? “They had a flirtation, yes, as is so common for siblings of your foreign house, but nothing more. I would never have allowed fornication or the use of moon tea to disguise its consequences under my roof. They are grievous sins. You know me. You know my devotion to my faith.”

“She will submit to a maester’s examination to make sure?”

“Did you, Rhaenyra? Before you and Laenor Velaryon were wed?”

Rhaenyra raises an eyebrow. And you have the sense—vague and dreadful—that perhaps it is dawning upon her that taking something Aemond holds dear might have its advantages. “What do you want in return?”

“We have both lost innocent people,” Mother says. “There has been enough bloodshed. It must stop somewhere, or all the Targaryens will be dead and their dragons too, and this dynasty will vanish from the earth, and our ambitions will be for nothing. If you do indeed win the war, I want my surviving children and grandchildren spared. And my brother Gwayne, and Sir Criston Cole.”

“I cannot give you Aemond.”

“If you swear that you’ll pardon him, we shall do the same for Daemon if it is our armies that triumph.”

Now the hope is unmistakable on Rhaenyra���s face. “And my remaining sons will be allowed to live? All of them?” Even Daemon’s?

“Yes.”

She muses on this. “You make tempting promises, Alicent. But I don’t have any conviction that Aemond will heed you if Aegon dies and he is made regent until Maelor is grown. I don’t believe you can control him.”

“He’ll listen to his sister,” Mother swears. “He will not do anything that would bring her despair. And if she is married to Jace, she will come to love his family as her own. All the more so if they have children together.”

“She might not be trustworthy,” Rhaenyra says.

“She is of no threat to you. She is untrained with the sword, she rides no dragon. And you have her mother, sister, niece, and nephew held captive. She would not endanger us.”

“You have great confidence in her. Your hopes for survival are in her hands.”

“She is spirited, but she is clever, and she loves deeply and enduringly. She will do whatever is required to protect her own.” Now Mother’s voice breaks. “I want her sent away.”

“Mother, no—”

“Far from the war, far from Daemon,” she says, ignoring you.

Rhaenyra is nodding. “Somewhere secluded and peaceful…all the better for her to quickly give Jace an heir. The Riverlands, yes? Perhaps House Footly of Tumbleton.”

“No, not far enough. The Westerlands.”

“The North,” Rhaenyra counters.

“The Stormlands.”

“The Vale,” Rhaenyra says. “There will be no battles there, winter has already begun in the mountains and the roads are treacherous. She will be tucked away in obscurity until the war is won.”

“The Vale,” Mother agrees. She looks down at you and smiles, soft and sad and merciful. At last, after eighteen years, she has saved you.

Jace is whispering furiously to Rhaenyra, but she holds up a hand to stop him. He is exasperated. The supposed queen tells Alicent: “I shall think on this tonight.”

“She needs Maester Orwyle,” Mother says, kneeling beside you. “She is ill, she gets headaches. This place is bad for her. It’s the cold and the dampness. And the fear.”

“I’ll consider that,” Rhaenyra quips, and then she leaves, the hem of her black gown displacing dust on the floor of the aisle. Jace gives you one final glance—seething, appalled—and stalks after her. At the end of the hallway, he slams the heavy wooden door.

“I won’t do it,” you snarl, sick in body and soul. “I won’t, I won’t. I don’t care what you say.”

“We are in a fucking dungeon,” Mother says, grabbing and shaking you, and you’ve never heard her curse before. “Do you want to try to save your brothers’ lives? Or do you want to surrender to the destruction of our house? If you care for Aemond, as I know you do, you will give him a chance if he and Criston cannot win on the battlefield. You will earn Jace’s affection and convince him to spare us.”

You look at her, weak, stunned, at war with yourself. Jace can’t touch me. Only Aemond.

She asks you something; it takes great effort. “You are still…you haven’t…you’re a virgin, aren’t you?”

You hesitate. “In the literal sense.”

“In the…? Never mind, stop, I don’t want to hear any more.” Mother takes a deep breath. “Good. Then we haven’t lied to them. Jace might be able to tell. Sometimes there are…signs. Pain, blood.”

“He’s a bastard,” you hiss.

“He’s Rhaenyra’s son, and so he is a Targaryen and a dragonrider. And if Jace’s side wins, he will one day sit the Iron Throne. He can be proud, but no one says he is cruel. I don’t believe he would harm you. Your brothers are warriors, but you’ve never killed anyone.” Then she goes soft and hushed, and she cups your face with her gentle hands. “I know you’ve always thought you would marry Aemond.”

“Mother, I love him.”

“My darling, my brave girl, what you and Aemond have is…” She shakes her head, her large dark eyes grim and glistening. “It’s strange, and violent, and obsessive and profane and…and…unnatural.”

You are defiant. “If we had grown up in a true Targaryen court, we would have been expected to be this way. We would have married years ago, and no one would have condemned us for acting exactly like what we are. We aren’t First Men or Andals. We are the blood of the dragon.”

“It’s an affliction that brings nothing but sin and suffering.”

“You wed Aegon to Helaena!”

“And it has been a source of tremendous sorrow for them both,” Mother says, and now she is weeping again. “I should have stopped their marriage. But I was young, and I had already refused Rhaenyra’s offer of a match with Jace, and Viserys was so adamant, and I thought…maybe…maybe it’s not an offense to the gods. Maybe it’s just something I don’t understand. It was my husband’s custom, and so I deferred to him, as I had been taught to. But I was wrong. It’s too late for me to undo the pain I’ve caused Aegon and Helaena. It’s too late for me to mend Aemond’s eye or his soul. I can’t spare Daeron from the horrors of war. But I can still save you.”

“I belong with Aemond.” I belong to him.

“You don’t know better. You never had a choice.”

“I’m not you, Mother,” you say. “I’m not a Hightower or a Lannister or a Baratheon. I’m not like them, and I don’t want to be. I want to be Visenya.”

“You’re not going to be anyone if Daemon convinces Rhaenyra to have your head hacked off your shoulders.” Her vast eyes, dark like the mouth of a well, plead for you to understand. This is not a punishment; it is tenderness, it is compassion. “I would do anything to save you and Helaena and your brothers. Anything. You marrying Jace unites the realm. It provides a cornerstone around which to build a peaceful resolution. He will protect your kin. When the battles are past, we can negotiate a divided Westeros, or a line of succession, or exile to Essos or banishment to the Wall, or anything else that will preserve the lives of the people we love. And if Aemond can still win somehow…” She shrugs, and you know whatever affection she once had for Rhaenyra is dead now. “Then he can do whatever he wants with the Blacks who are left.”

I don’t want them to die. Aemond, Aegon, Criston, Daeron, Mother, Helaena, Jaehaera, Maelor.

Mother asks: “Will you do it?”

Aemond, Aemond, Aemond.

Again, desperately: “Will you do it?”

And you cannot look at her when you answer. “Yes.”

~~~~~~~~~~

Maester Orwyle appears an hour later to dose you with enough milk of the poppy to kill the pain in your skull, and when you sleep it is deep and dark and dreamless. Rhaenyra, Daemon, and Jace arrive at first light, dreary grey dawn trickling into the dungeon. You know what she has decided. Both Daemon and Jace are scowling, and you think, somehow knowing that it is true: The more they try to dissuade her, the more convinced she is. She feels the need to remind them that she alone was Viserys’ heir, that she is a queen in her own right.

“Just marry him to Rhaena!” Daemon is ranting.

“Rhaena brings nothing to our cause that we do not have already. And she will always feel second to Baela. She knows Jace loved her sister. It is perverse.” Then Rhaenyra collects herself and asks Mother: “She consents?”

“She does.”

Rhaenyra turns to Jace. His reply is toneless. “I will do as you bid me to, Your Grace.”

“She will be in the keeping of House Corbray until the war is over,” Rhaenyra says, nodding to you. “They are an honorable but old and modest house, and of little strategic importance. No one beyond who is absolutely necessary will know where she is, for her own safety and that of the children she bears. Jace will fly her to Heart’s Home.”

House Corbray. You remember their banner, Aemond once taught it to you: three black ravens, three red hearts. You have a memory of being in the library with his lips on your throat, his fingers skating up the inside of your thigh, whispering for you to keep quiet as maesters stock books on the other side of the shelf.

“She cannot ride a dragon,” Mother says.

“Sure she can, if he puts her on Vermax.”

“No, you don’t understand,” Mother insists. “Dragons hate her. She cannot go near them. They will attack her, they will kill her. She and Jace will have to travel by ship.”

Rhaenyra is taken aback by this. Daemon scoffs: “What the fuck kind of Targaryen repels dragons?”

“The kind that will never be able to fly to battle against us,” Rhaenyra mutters, and you think: She is angry with him. He has done something, he has displeased her somehow. And you wonder about the girl who rides Sheepstealer.

Your eyes drift to Jace, you cannot stop them. He stares back from beneath dark curls, his gaze hard like the cold stony earth of the Vale, his fingers tapping on the hilt of his sword.

~~~~~~~~~~

It’s the very first time.

You are at your vanity, and you are supposed to be getting ready for dinner: choosing your earrings and bracelets, combing out your hair before you braid it, a silver river that shimmers like moonlight in the mirror’s reflection. You have bathed, and steam still clings warm and dewy on your skin. You wear a silk robe the color of ripe cherries and nothing underneath it. Candles flicker, cool evening air breathes in through the windows…and your mind is wandering.

For years, you have felt episodic pangs of longing, an indistinct need, a deep untouchable hunger, and you have never found a way to satisfy it. It waxes like a moon growing full and then wanes into nothingness, but it always reappears again, and tonight you are feeling restless, occasionally shifting on the cushion of your chair, seeking the pressure that gives you a taste—and only a morsel, a nibble, a drag of the tongue—of what fulfillment might feel like. Lately, when you are like this, you find yourself thinking of Aemond. He has never spoken of it directly, but you have noticed the way his eye catches on your chest and your hips, how his hands linger when he grabs or shoves or embraces you. You can’t stop wondering what it would taste like to kiss him. You can’t stop imagining which positions he would fuck you in, remembering the lustful figures on the tapestries that hang from the walls of Aegon’s bedchamber.

Your hand settles in your lap, and there—over the glossy blood-colored silk of your robe—presses down tentatively. You sigh, you writhe, you picture Aemond forcing your thighs apart and gazing transfixed at the rare pieces of you he’s never seen.

How do I satiate this craving, how do I make it go away?

Your bedchamber door opens and Aemond stands in the threshold, black leather and silver hair. “Are you ready yet—?” Then his eye drops to where you snatch your hand out of your lap, not quickly enough to escape him noticing. There is a stretch of silence that seems very long. Then Aemond’s scarred forehead furrows and he asks: “What were you doing?”

You consider lies; they dangle in front of you by the dozen, so many ways to deflect or deny or even to disparage him, those prickly games of wordplay. But when you speak, it is not just the truth. It is an invitation. “Thinking of you.”

And Aemond steps into your bedchamber and shuts the door behind him. He crosses the room, kneels in front of you, reaches beneath your robe to hook his arms under your thighs and yanks you halfway out of the chair. You yelp in exhilarated shock as he buries his face between your legs, and then your fingers knot in his hair, and then you are pushing him closer, shaking, awestruck.

Is he really here? Is this finally happening?

You cannot stay quiet when the pinpoint ecstasy opens, blooms, drags you to places you never knew existed. It is something too powerful to be found in the world of mortals. It is bloodmagic, it is shade of the evening, a poison so sweet you’d let it ruin you.

Afterwards—collapsed and gasping on the stone floor, your robe open and your body laid bare for him, flesh that he has claimed irrevocably, bones he owns like a dragon or a blade—you say: “What was that?”

“You had a climax,” Aemond murmurs. “It’s easier for a man, but they are possible for women too.” He smooths your hair back from your face; it is unbound and wild, spilling all around you. You think vaguely: He wants me even when I don’t look like Visenya? He ghosts his thumb across your lips and then kisses you, and it is nothing but warmth, desire, the shared minerals your blood is built of, undying affinity like the celestial kinship of stars in the same constellation. “You can always ask me to take care of you, and I’ll do it. I’m the only one who is allowed to. No one else, not ever.”

This is no sacrifice. You have never wanted another man, and now you know you never will. “Teach me how to satisfy you,” you say, smiling. “I want to see you helpless too.”

Before you dress and leave your bedchamber, you erase as much of the evidence as you can, washing your skin clean and taming your hair into a tidy braid; but still, Mother frowns worriedly at you and Aemond all through dinner.

[lokiinmediasideblog]

I am often curious were I am in a scale of Loki apologism falls compared to the rest of the fandom. Maybe I will do a post someday.

[lostandbackagain]

evi had absolutely sworn at least one ideal before she was killed and I can't decide if it's more devastating for her to be on the first or the second

[trans-leek-cookie]

its late-ish so my thoughts won't be well organized. Well they'll be even less well organized but anyway. I don't think murder is inherently like... Evil like it's not good but there are people who I believe the world is better off with them dead and I don't really care if it happens naturally or by another person's hand. But I can't stand the idea of fucking. Okay the specific concept I'm thinking about are "conscious rounds"- basically if someone was to be executed by firing squad there would be random guns with blanks so theoretically you might not have been the one to shoot the person to death. And I can't abide by that. Even if a murder is justified I don't think it can be justified by fucking self reassurance. I think if you are going to be involved in killing a person you should know exactly what you're doing. And I don't think this is like, something that will make people "better" necessarily (there are people who would prefer to know how they hurt someone and ended their life) but I think it's irresponsible to allow people to distance themself from the deaths they cause. And I think that's broadly true- we should be aware of like, the people who die or are hurt in the process of food, technology, clothing, etc. production because I don't think ignorance or self soothing does any good. Even if people don't care we need to know wether we want to or not.

And just. There are obviously more complex arguments that need to be made and refined and discussed but where I started with opposing the death penalty is internalizing that 1. Obviously, we aren't fucking clairvoyant- innocent people will die because of mistakes 2. Many of the ppl subjected to the death penalty will be marginalized and Black people are especially vulnerable because of antiBlackness) 3. The potential abuse of the system to falsely accuse people is enough to negate any possible "justice" the death penalty could provide and imo focusing on aiding the victims makes false accusations much less appealing because there is no longer* a punishment you can use to harm the person you accuse (idk how to exactly say this but like. I don't think punishment is inherently evil or whatever but 1. The state should not be allowed to use death as punishment 2. The punishments that currently exist (like jail) are largely fucking immoral on their own. Like if someone gets sued for damages that's its own thing. Sorry idk where I'm going with this but mainly there shouldnt be a legal way to get someone killed)

[psychological-musings]

Honestly I think this could have used an extra button for "No; I've helped people cope with suicidal ideation before, but I never felt guilted/coerced into it" based on a lot of responses in the notes. (Obviously the submitter can't think of every possible poll outcome, I'm not trying to say it's bad that the option isn't here— just that it's an interesting conclusion that that's a pretty common thing people are saying)

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[agoodflyting]

Why Aziraphale is completely ridiculous in the Bastille scene (and I love him so much for it)

A while ago I posted a comparison of Aziraphale and Crowley's costumes in the 1793 flashback in Good Omens and I wanted to add these little tidbits. (Because they haunt me.)

I feel like most people know this but IF YOU DON'T, Paris in 1793 is right in the middle of something called La Terreur.

HISTORY LESSON If you didn't learn this in school the French Revolution was when, after years of escalating social tension, a coalition representing the working classes of France revolted against the monarchy, violently overthrew King Louis XVI, and declared France to be a republic.

The new National Convention governing France ruled that King Louis XVI and his wife Marie Antoinette were traitors to the people of France because of how they had spent ridiculous amounts of money on luxuries for themselves while vast numbers of the lower classes were literally starving to death. (keep the bold in mind - wealth and class disparities were one of the key causes of the whole-ass revolution)

In 1793 (year of the flashback) both the King and Queen were executed by guillotine for their crimes.

This kicks of something called The Reign of Terror (La Terreur if you want to be French about it). A multi-year-long period in which the National Convention goes on a bloody witch hunt for any and every member of the middle or upper classes who could even possibly be considered a traitor by those same standards.

If you A) had money or privilege, and B) had ever used your money or privilege to treat yourself, you were getting executed. Over 25,000 people died during the Reign of Terror, half of them by guillotine. In fact, the iconic guillotine was used because it was physically impossible to keep up with the sheer number of people they were executing in Paris every single day.

Some things that could get you killed (actually and completely seriously) during the Reign of Terror:

Implying in any way you were sympathetic to the monarchy

Having a noble title

Having expensive things

Wearing expensive, luxurious clothes (*cough* AZIRAPHALE)

helping or sympathizing with anyone who did any of the above

a working-class person saying you were mean to them once

And then there's this bitch...

I AM NOBILITY PLEASE KILL ME So we have established that Paris in 1793 is in the middle of a frenzied, state-sanctioned bloodbath in which the working classes are massacring everyone even remotely nobility-adjacent. And in the middle of this frenzy, Aziraphale proceeds to roll up in Paris in this outfit:

How will this outfit get him killed? Let me count the ways...

First off- at this point everyone with even the tiniest shred of self- preservation is hiding the fact that they are in any way associated with the monarchy. The wealthy are straight-up abandoning mansions. The middle-class are plastering over decorations to make their house look 'poor'. The only people dressed remotely decent are the guys leading the National Convention and that's just because nobody can stop them. Everyone else is in 24/7 peasant cosplay or else they are covering themselves in cockades and sashes on to show they're pro-Republic.

Aziraphale is basically a giant shiny white sign saying I AM NOBILITY PLEASE KILL ME.

First off the lace jabot and lace cuffs are both associated with the old-school wealthy in the 1790's.

His coat is also decorated in gold braid and silver buttons, which are both marks of wealth and luxury.

He basically looks like he works for Louis XIV - not just rich, but old school rich.

We know it's his natural hair color, but hair powdering (with clay and starch) had been a big trend with the rich all throughout the 18th century to get that clean white venerable look . To someone who doesn't know it's natural, it would very much look like he's wearing hair powder.

He's wearing shades of cream and white, which are very hard to keep clean and clearly states that the wearer is rich and can afford the upkeep necessary to keep an outfit like that stain-free.

He's wearing white knee-breeches and stockings, also called culottes. See above about laundry and how rich you had to be to wear white, but also working-class men wore long pants like this:

A large faction involved in the Revolution were the Sans-Culottes (no-culottes aka we wear long pants LIKE GOOD OLD WORKING MEN). Culottes are specifically associated with everything the revolution hated. That's right - Aziraphale is literally wearing The Fanciest of Fancy Pants in a city where a group called The Men Against Fancy Pants are running around murdering people.

And then there are his shoes.

Oh god his shoes

I could do a whole post about Aziraphale's blessed little white satin pumps and how ridiculous they are.

Actually I might just do that because this is getting so long and I still have to talk about the brioche.

So I can't remember if it's in the script book or if it's from Neil Gaiman's tumblr, but it's apparently canon (?) that Aziraphale was going around in that outfit asking people where he could get crepes and brioche when he was arrested.

The Affair of the Brioches

So... uh... we've all heard the line attributed to Marie Antoinette- how when she was told that her people were starving because there was no bread left in Paris, she famously said...

It's morphed into 'let them eat cake', but the line is first recorded as, "Then let them eat brioches."

While it's unlikely she ever actually said it, the important thing is that... people in 1793 would have thought she said it. It was used as political smear to show how arrogant and out of touch the monarchy was. Marie Antoinette in particular was reviled by the people of France, who thought she was the main cause of their economic problems. That's why she was executed too.

Bread and brioche and the lines between poverty and privilege were a big thing in Revolutionary France. There was a lot of political connotation to what you ate. The French Revolution came about because of decades of suffering among the lower classes of France. It wasn't something that some dudes just decided to do. The people of Paris have been through years of the absolute worst, most oppressive poverty and starvation you can imagine, all while watching the rich throw money around crazy.

So let us recap.

Aziraphale is dressed so ridiculously posh that he looks like a joke parody of a nobleman... and he is bumbling around Paris during the Reign of Terror. Asking people. For brioche. How I imagine everyone looked at him:

It is so astoundingly tone deaf and tactless. He is basically cosplaying as Marie Antoinette and then going around asking the poor for cake.

I just.... Aziraphale. babygirl. no. oh no. You're lucky they even bothered to take you to prison. I am amazed Crowley ever let him live that down.

I have no conclusion other than this. Aziraphale is ridiculous and I love him so much.

YES YOU REALLY SHOULD SIR.

[teaboot]

TOP 10 PERSONAL FAVE MOVIES TO WATCH WHEN YOU FEEL LIKE ASS

I don't like movies that stress me out because life is already stressful but I DO love catharsis comedy found family friendship fantasy and violence so here are my top 10 movies and series to have a good time watching

Numbered for convenience but not in any particular order

John Wick 1 and 2: An ordinary man grieving the loss of his wife gets dragged back into his past as a shadowy, invisible world of international killers for hire is slowly revealed to be living among us. A love note to set design, lighting, and choreography. My favourite part is fixating on the symbolism. DO NOT WATCH 3. 4 is okay. DO NOT WATCH 3. There is a dog death in 1 that will make you cry so skip that part if you have to. DO NOT WATCH 3.

The lord of the Rings, all 3, extended edition best watched if you're on the couch with the flu and expect to fall asleep OR if it's your day off and it's raining outside OR if you have like 5 people lounging around in pajamas

Six Underground: Essentially an hour and a half long car commercial music video with found family and a fresher take on acommon plot. Ryan Reynolds essentially writes and directs a Michael Bay movie where 6 independant criminals gather together to overthrow a violent foreign dictatorship. You show up for a dumb heist and walk out ready to build a guillotine. TW for violence, car crashes, chemical warfare, and genocide. A very cathartic ending. Does unfortunately do the whole "vague, impoverished middle-eastern country" thing but the citizens are actually show as human beings which is a nice change of pace and oh wow that's depressing isn't it

The Princess Diaries 1 and 2: A sort-of-a-loser teenage girl, played by a 2001 Annie Hathaway, learns that her late father was a king of a foreign nation and must become a confident and responsible leader for his people. There is a scene in the rain where you will experience emotions. Best watched with snacks. 2 features an enemies-to-lovers type deal with Chris Pine.

Ella Enchanted: A shrek-style semi-musical fantasy romance in which a young woman is cursed at birth to do everything anyone tells her to do. Features several Queen songs and dance numbers sung by Annie Hathaway and that guy who plays the sad dog guy in Hannibal.

Stardust: A huge loser travels from 1800s England (?) to a magical world in order to fetch a fallen star for the insufferable love of his life before she marries a massive douchebag. The huge loser? Charlie Cox. The star? A living person. Also a whole bunch of princes are ALSO looking for them as a race for the throne while discreetly killing each other off. And also a bunch of witches want to eat her so they can be young and sexy. 11/10. I used to watch this 10 minutes at a time on a YouTube channel that posted it in chunks filmed on a digital camera in their living room

The Last Holiday: Queen Latifah, playing someone played by Queen Latifah, has been working an underappreciated minimum wage job for years, living a safe and conservative life trying to lose weight and save money. Then she finds out she has months to live, and decides to finally quit her job and blow it all on one massive luxury holiday vacation complete with five-star dining, making friends and finding love and confidence along the way. It's definitely corny but it makes me so happy thank you Queen Latifah

Zathura: It's the plot to the original Jumanji but in space instead of the rainforest. But listen to me: There's a twist reveal at the end that you need to pretend isn't there. It is vitally important when you get to that part- and you will know what part when it happens- that you pretend it didn't. Otherwise, a fresh and enjoyable adventure for any age!

Redacted cause I haven't seen it in a long time and it may be worse than I remember, gotta rewatch

Bullet Train. You go in expecting a ham-fisted find-the-mcguffin style action comedy and are blindsided by excellent narrative symmetry and genuinely likeable characters. Fresh takes on old themes and creative action sequences. My little brother said "It's good", and he's a man who once sincerely argued that Lord of the Rings could have been better. It's fun and punchy violence with just enough smart stuff to not let your brain get bored

[bramblebeau]

Alright I told myself I wouldn't interact with fandom when s2 came out, and I haven't and don't plan to except to say this about people deciding Caitlyn is the Worst or that the writing is OOC.

As someone who has had a family member violently killed, I cannot stress how much it shakes up everything you thought you were and stood for. My beliefs in proportionate compassionate justice and the rights of all human beings are some of the strongest I have (stronger now because of the way that experience affected me personally), but they were pushed to the absolute limit when it came to an individual who had killed my loved one, showed no remorse, and laughed in our faces outside court, among other things.

People generally like to believe it wouldn't be them or their peace-loving family members being talked down from seriously considering violent revenge, consequences be damned. People like to believe they wouldn't lash out at people closest to them under that pressure, that they wouldn't build walls around the kindest and most sensitive parts of themselves because those parts are the ones feeling pain you never thought possible, that they wouldn't stalk the killer, make notes on all their family and friends, and fuck up their hands punching walls in anger wishing so badly it was flesh and bone because they can't handle the fact that there's no way to turn back time to stop it all from happening. People like to think they're "better" than that. But the reality is messy and painful as hell.

With Caitlyn, she has the added guilt of having actually had the opportunity to stop Jinx before she fired the rocket, but she hesitated just long enough for it to result in the deaths of her mother and other councillors and in the cities being plunged into chaos. Not only that, but the person close to her she's lashing out at is the person who caused her to hesitate, and just so happens to be the sister of the killer.

Furthermore, her behaviour is entirely in character. We have seen her set up as someone who becomes obsessed with achieving a goal and will do pretty much anything she wants to get there. In S1, we agreed with her methods because her goal was exposing and taking down Silco, and because it led to Vi being released. In S2, she's doing a similar thing but it's fuelled by fear and a type of pain she doesn't know how to deal with, rather than being fuelled by a need to prove herself and solve a case, and it leads to her making morally questionable decisions and to hurting Vi. She admits herself, albeit privately to Vi, that she does not know what she's doing and doesn't know how to fill this hole in her chest (and the hole in the city leadership). She has been sheltered from the real world for almost all her life, and as a result she has no experience of functioning or making decisions under this kind of pressure. The real world blew up in her face in the worst way and she was given power and a loaded rifle, and then shoved into an even more elevated position by a very experienced warlord who is manipulating the shit out of the whole situation.

I'm not saying that you have free rein to hurt people when you're grieving and facing extreme stress. (If you think that's what I'm saying then idk I'm not sure there's much hope for you in terms of critical thinking skills). What I'm saying is that Caitlyn is exhibiting pretty normal human behaviour that most people would be susceptible to in those circumstances, not the behaviour of someone who is some kind of heartless abusive bastard.

TLDR: Caitlyn is being written in a way that completely makes sense and is also not OOC, and if someone told me there would be no chance of them reacting in similar ways I simply would not believe them.

[local-diavolo-anon]

i'm back!

ok so 2/3 days ago i found this youtube video where op turned Springtrap (or well, William Afton) into a fully build DnD character, and if i say so myself: things got out of hand fast

so here is my take on DnD Springtrap and specifically on that build (adding more infos under the cut for who is interested, i suggest to watch the video first)

starting with saying that unless you're playing in a scifi setting, this build is either not for you or to be modified, since in later levels spells are heavily centered around technomagic and electronic devices; personally when i will play him i will probably tinker around with the chosen spells and cantrips to make him less violently niche and/or more versatile

which kinda saddens me because it takes away not little of the characterization but, given most dnd stories take place in a medieval fantasy or high fantasy setting, a cantrip like On/Off or a spell like Remote Access are NOT particularly useful; so i will go for more psychic damage or necromancy oriented abilities, maybe i might take more than just 4 levels in artificier as well (especially given that again, all of those warlock spells at later levels are all technology oriented) but i need to see what those offer

however it is a kinda tank-y build given that with a shield on you can get up to a 27 of Ac, so even with low damage and not much hp you would not struggle too much to stay alive, and i like that!

as for the character himself, i put too much effort into my interpretation not to share it, so if anyone wants to play this guy as well, i fabricated a possible backstory that might come useful:

The character goes by the name "Dave Miller" (or whatever variant you want to use), and was originally a human artificier who created constructs for a living, mainly with the goal of offering aid to who needed it for whatever reason.

There however he ran into an issue, that being that a robot need a power source, and his own heart and lungs could not sustain a whole robot by themselves.

After losing part of his family to some kind of accident he became terrified of death, so with age he started replacing his own body parts with machinery to delay his last days (which made him a cyborg), until the point where he was very very close to become just a robot.

(This part may or may not involve a pact with a deity of death, this entirely depends on how you want to play him but it would make sense since the build is an artificier/warlock hybrid)

Through particular and very much not illegal experiments tied to necromancy he discovered that the life force of a living being could be shared, and used as a form of fuel. (possibly: age lived of the creature used= amount of extra months you get)

Here comes the second problem: this only worked with intelligent creatures, and more specifically, it worked best with creatures of your own race, which meant that he either went around murdering people or he found another solution. Non same-race creatures worked as well but not as good and there were not easy to find in the middle of a city and with a shop tied to your name.

And here is where and WHY he'd join a party of adventurers: after some time, his reserves or fuel were running VERY thin, and running into a group of adventurers was a god sent because by joining their party he essentially got a free pass to kill whoever he wanted, and reduce them to a dried raisin after sucking some life force out of them. Doing so you learn that the mowe powerful the creature is, the more energy it produces as well.

Your goal, that you as the player are following, when role-ing your character? essentially slay whatever powerful BBEG your Dm throws at you and suck all of that juicy fuel out of them, so that you can return to your little shop in the middle of the capital and return to create and sell whatever weird construct, doll, or robot comes to your mind for another few decades undisturbed.

And this is it. I think this might be a good backstory that could fit pretty much any setting you want to play this guy into, be it classic dnd or some scifi futuristic thing.

of course you don't NEED to use this one line per line, make up your own without looking back if you don't like it lol, dnd is the "make up shit and have fun" game after all!

Edit: also no his outfit makes no sense, i just went with vibes and decided a tanktop dress shirt, a twin tailed gilet and suspenders OVER said gilet was a good choice.

[roach-works]

ok im waffling on about fallout instead of having breakfast but i saw a criticism of how the prisoners were treated that's stuck with me.

spoilers!

so i think the criticism wasn't incorrect, per se: it condemned the way the show portrayed the vault dweller's naive intention to rehabilitate their murderous captives. it found fault with a common, and horrible, message that tv shows like to say, which is that carcerial violence and even the death penalty is the only effective way to deal with criminals, who are a fundamentally Bad category of human. im sick of that message too! but i think that wasn't what was going on here, actually.

so like, the vault dwellers had only ever experienced violent loss the once, and didn't really know how to cope other than denial and repression of the ordeal. but they were all hopeful and enthusiastic that their prisoners, the invaders that came to kill them all and take their stuff, could be eventually welcomed into the community as their comrades. the champions of this cause were nebbishy dorks and painfully out of touch academics. this is pretty normal for how prison reformers are portrayed, if extremely fucking annoying for those of us who ARE in favor of prison reform.

but so of course when the son of the former overseer, Norm, speaks up and suggests killing the prisoners, because why should they share resources with invaders who explicitly wanted to keep hurting them? why should they show mercy to their attackers? everyone is appalled by this suggestion. because they had to reinvent the whole concept of vengeance right then and there, because grudges and cycles of violence are anathema to a bottle society like theirs. they have been raised all their lives to forgive and forget and now, put to the test, they're recommitting to this ethos: get along, let the past go, look towards the future, believe the best of everyone.

but the prisoners die, anyway. the prisoners are killed with rat poison. and the thing is that Norm who suggested it didn't do it himself. and the prison guard who's blamed for it, even though she privately agreed with Norm that the prisoners are dangerous and unforgiveable, she didn't do it either. it's not a moment of triumphant, cathartic vengeance and it doesn't prove that there's no way to negotiate with terrorists and invaders but kill them like vermin because that's not what the message is meant to be.

the message is that norm stands there in the middle of these inconvenient prisoners, these corpses dressed in his own people's uniforms, and he looks at the new overseer. and he knows that she killed them, and she knows that he knows. she wanted him to know. this is her message and he's reading her loud and clear. and he doesn't look like a guy who's just been backed up by authority, who's just been validated in his desire for the ultimate control over those who have wronged him.

he's scared and pale and the music is ominous as fuck. and he's inside the cell, he's directly in the middle of it.

because what just happened is that he realized his entire society is being held prisoner, and the overseer is the one with the rat poison. and that he doesn't know, anymore, what freedom and safety and justice actually mean, just that he doesn't have them and he doesn't know where to find them.

that's what that scene meant. not that rehabilitative justice is a pathetic delusion of people who have no idea how to make hard choices.

but that before you advocate for killing prisoners, you might want to see how big that prison is, first.

and which side of the bars you're standing on.

[cressidagrey]

Lightning in the Bottle - Chapter 8

Summary: 

Eira Archeron was neither a Valkyrie, nor a Seer, nor the High Lady of the Night Court. She was actually pretty much useless. The only thing she wanted was to be somebody's first choice for once in her life.

Also known as: Azriel's shadows decide that if he doesn't treat his mate right... they'll just do it for him.

Warnings: Panic attacks, Nyx being adorable...

(super pretty dividers by @tsunami-of-tears)

Terror was clawing its way up her chest. Her heart…her whole body. 

And Eira was frozen in place, unable to move…unable to do anything…unable to…

They had appeared out of nowhere. Winnowing right in front of her, wearing these violently dark uniforms, knives and swords strapped to their forms. 

Not Illyrian fighting leathers. She had gotten used to these over the years. In a way, they had even become safe to her. Illyrian Fighting leathers reminded her of a male with dark bat-like wings, green eyes and the gentlest, scarred hands one could imagine. 

These…these were different. 

The shadows had screamed at her to run. 

So she had. She had clutched Nyx to herself, had lifted him out of that swing and had fled, knowing that she had no chance…

And then…then… screaming and terror…something inside her had given way. 

She didn’t know what. 

She didn’t know how. 

She just knew that when the first male grasped her arm…He only had time for one scream, before dropping to the floor…lightning crackled from her skin to him, forcing him down to his knees, Nyx screaming in her arms…

Number 2 had gotten the knife into her, the pain blooming with a sudden stab as the shadows managed to pull him back…

She had known then that that knife was going to be her death…

And then the magic had lashed out as she had gone down, shielding Nyx between her own body and the ground, the pain sparking inside her and making everything…everything growing hazy. 

The magic had taken over…

The lightning had snapped out from high heavens, hitting numbers three and four…and their screams…horrific …they were burned into her brain. 

*Eira. Eira, listen to me.* She knew that voice. 

She knew that voice. But Rhysand didn’t talk to her like that. Not that gently…not that worriedly. Not…like that. 

Mostly she just annoyed him. 

*It’s only a memory, nobody can hurt you,* he insisted. 

He was lying. Everything hurt. Everything was…

*Wake up.* He dragged her right out of it, back to…back to something else, back to…back to reality, back to her life, back to…

She woke up. 

And then the reality of the situation hit her and she vomited over the bedside, her chest caving in with her sobs.

She had killed three people. 

She had killed them. 

Not even on purpose, she had just wanted to get away, get Nyx safe…but she had killed them. With nary a thought…felled them with magic, with lightning that had crackled from her very fingertips, burnt them to a crisp like they were a piece of meat, not even a human being with friends and family and feelings…she had…

She had killed them. 

Nyx. Where was Nyx? 

“Nyx is fine. Not a scratch on him. Thanks to you,” Rhysand’s voice came again and she was still retching, still feeling bile rise in her throat…even when she felt the cool midnight darkness of his magic, felt him clean up the vomit with nary a thought…

She smelled snow and ice and lilac and pear and her eyes weakly lifted to find Nesta…her sister, reaching out for her, hovering, not daring to touch her. 

The tears came, a hysterical sob building in her throat. 

“I killed them,” Eira choked out. “I killed them.” She had ended 3 lives. She had murdered them, ended their lives, she had…

“You’re alright, it’s alright, Eira,” Feyre’s voice reached her, her sister’s soft hands, gently cradling her head, pulling her back to lay down properly, enveloping her in her arms. 

“I killed them. I killed them,” she whimpered, repeating the words, again and again and again. She had killed them. 

She hadn’t wanted to kill them. She had just wanted…she had just wanted…

“I know. I know you did,” Feyre whispered soothingly. “It’s alright.”

“You did what you had to,” Nesta said quietly, a warm hand rubbing her back as she clung to Feyre, clung to her little sister as tightly as she could, her hands fisting in Feyre’s shirt. “You saved Nyx’s life, you saved your own life, Eira. You did what you had to. Nobody is faulting you for that.”

She had killed them. 

“I didn’t want to kill them,” she choked out weakly, the sobs building in her chest so strongly, so harshly…

She hadn’t wanted to kill the. She had never wanted to kill anybody. She despised violence. She had never wanted to be in a position where she needed that. The war against Hybern had turned her stomach in more ways than one and she couldn’t…

“I know. I know,” Feyre promised her, as Eira’s tears wet her shirt, scalding against her skin. Eira couldn’t stop crying, couldn’t stop sobbing…the grief overcoming her. 

Grief for them and grief for herself. 

“I killed them!” she wailed, the noise bursting out of her throat, so harshly, so shocking, her whole body shaking.  

She could hear a growl, that just made her heart start racing in her chest, everything suddenly even more terrifying, suddenly, too much, too…

“Shhh, you need to breathe,” Nesta whispered.  But she couldn’t. Even if she wanted to, she couldn’t. 

“That won’t help,” Rhys said quietly, his voice sounding far, far away…“She’s hysterical.”

*Eira,* his voice in her head but she couldn’t listen. *Eira. Listen to me.*

She couldn’t. 

She heard more voices but no words, and then…“Just three drops under her tongue…it should take away the worst.”

She didn’t know what it was…what kind of bitter-tasting liquid Feyre forced into her mouth…

Just that suddenly…Everything grew hazy around the edges. Unfocused. Fear blunted, everything blunted…her emotions far, far away from her…her sobbing far removed, as she weakly clung to her sister, thick, heady tiredness enveloping her. 

“There we go,” the same voice said softly. 

“Feyre?” her voice was thick in her mouth, not listening to her. 

“I am sorry,” Feyre apologised, her voice tearful and Eira struggled to open her eyes, failing. “I am here. It’s alright.”

“I am sorry,” she mumbled out. “I couldn’t protect Nyx. I tried.”

A soft gasp from Feyre, then…“You protected him. You protected him,” she promised her fiercely. 

She had? 

A shudder came over her body and she shivered, a whimper leaving her mouth. 

Suddenly she felt the brush of these shadows again at her wrist, a thick blanket being dragging over her form…it was…

“Just rest. It’s alright,” Nesta soothed her. “Just sleep. It’s alright.”

She wasn’t sure how long she slept…how long she slid back into the darkness that was welcoming and sweet and safe and sound, and everything that being awake wasn’t…

Eira blinked open her eyes again, to her room that was filled with sunlight. 

Tears still bit in the corners of her eyes. Especially when she found her sister sitting next to her quietly, holding her hand and staring out of the window. 

“Nesta?” her voice was rough with disuse and Nesta’s eyes immediately snapped to her. 

“How are you feeling?” Nesta asked immediately and she blinked back the tears, not wanting…not wanting Nesta to tell her that all of this was ridiculous and that Eira shouldn’t behave like a child. 

She already had done that, hadn’t she? When she had hysterically cried over everybody about her killing…

She forced herself not to think about this, because even just that made tears appear in her eyes. 

“Breathing hurts,” she said instead, a hand pressing against her ribs and hissing at the contact. 

Was that were…

“Madja left you a tincture against it. It will probably hurt for a few more days…the knife was poisoned,” Nesta answered gently. Gently? Nesta never was gentle. 

Some things just didn’t go together. Like her oldest sister talking to her gently. Nesta was forceful and blunt and not…gentle. 

The door opened and her head snapped around, tears immediately running over her face as she saw the little boy on her sister’s hips, wings fluttering excitedly. 

“Ra Ra!” he cheered. 

Not a scratch on him. Nothing. 

Unharmed. Not hurt, not…

Feyre brought him over, Nyx already holding out his hands for her and then throwing his arms around her neck as she breathed in that sweet scent of childhood that clung to him, closing her eyes as the tears leaked from them. 

“Oh Nyx,” she whispered, one hand coming up to curl into the shirt she had made for him, embroidered across the hem with little moons and stars…

“He was inconsolable,” Feyre said softly. “When you were…unconscious. He was so worried,” she said softly, a hand gently carding through her son’s thick midnight hair, and then reaching out to wipe away the tears from Eira’s face, as she buried her face against Nyx’s shoulder. “How are you feeling?”

“She says that breathing hurts,” Nesta reported.

“Madja left you something to take against that,” Feyre said quickly. But it was Azriel’s shadows that brought over a little potion bottle and tipped it against her lips so all she needed to do was to swallow as they poured it into her mouth. 

“Thank you,” she said weakly as they pulled back, the bitter taste a small price to pay for the relief against the burning pain that she felt near her heart. 

She caught the look her sisters exchanged and she couldn’t help but feel protective. 

“What?” she asked, wishing she could cross her arms but instead just able to press a kiss to Nyx’s brow, as he settled comfortably to cuddle with her. 

“Nothing,” Feyre said quickly. 

“Just…Since when do you have Azriel’s shadows doting on you?” Nesta asked, making a face that…

Feyre pulled a grimace. Probably about Eira leaving Azriel in peace. 

Eira was going to do that. But she couldn’t help it if his shadows wanted to hang out with her.  

“They came a few days ago. They are lovely. And they don’t dote on me,” she corrected Nesta quietly. “They just like to keep me company.”

“We…need to have a talk, Eira,” Feyre said quietly. 

She swallowed. She could just imagine what that talk would consist of. She didn’t want to have this talk. She didn’t want to…But she probably deserved it. Deserved whatever Feyre wanted to throw at her head. Whatever her sister had to tell her…

“I am so sorry,” Eira blurted out. 

Nesta stared at her like she had gone insane. 

“What? Why?” she demanded. 

“I shouldn’t have taken Nyx to that playground. And I should have been more careful and if you never want me to…” Feyre interrupted her before Eira could continue that tirade. 

She could understand if her sister didn’t trust her to watch Nyx anymore. It would break her heart, but she could understand it. She was supposed to protect him and she had failed. 

“You asked me if you could take him to that playground, Eira. I gave you permission,” Feyre cut her off. “None of this is your fault. Keir sent them to…to hurt Nyx. You did nothing wrong, Eira. Nothing at all,” her sister assured her with wide blue eyes. 

It just made her feel worse. “I should have…” she tried another feeble protest. She should have…

“What else could you have done, what you didn’t do?” Feyre challenged her sharply.  “You protected him, you took a knife to your heart so that he would be safe, Eira. What else could I possibly ask of you?” her sister demanded. “You did everything perfectly.”

And she had killed three men. 

It was still there, in the forefront of her mind. Always. 

“When you were unconscious…” Feyre said quietly, trailing off…”Rhys tried to take your pain away from you. It’s a skill he has since he’s a daemati. But he…he wasn’t careful enough and your mental shields were nonexistent…He got dragged into your memories.”

“What?” she breathed out, tears immediately burning in her eyes, just as embarrassment and shame burned into her chest. 

What had he seen? 

Had he seen…had he seen her fledgling little feelings for…Had he seen that? Something she wished she could protect with her life so that nobody was ever going to use that to tease her? 

She knew she had no chance, she didn’t need her sister's mate to tell her that either. She didn’t need him to know about any of this…couldn’t she at least have that? 

It was embarrassing enough without anybody knowing the full extent of it…without anybody knowing all the embarrassing little daydreams she had about him. 

“He’s really sorry,” Feyre said with a grimace. “He’ll tell you that himself, but we thought it was best not to overwhelm you…”

There was nothing she could do against it anymore, was it? It was done. Rhys probably had had a front-row seat to every single embarrassing and childish little daydream she had had about his brother and Eira was never going to be able to look him in the face again. 

She could probably expect another intervention, after Feyre’s and Elain’s. Just that this time it would be High Lord shaped and he would probably threaten her to leave his spymaster in peace otherwise she would also be shipped off to the House of Wind or something. 

“It’s fine,” she said weakly, instead. It wasn’t. But what else was she supposed to say? 

What else…

“It’s not his fault. He just wanted to help,” she tacked on to the end of it…and then, with a sudden realization… ”Where’s Elain?” she asked, staring at Nesta and Feyre who exchanged another look that she couldn’t read. What was going on?

“In Day Court with Lucien,” Feyre answered quickly. “That’s also something we would like to talk to you about.”

“What, why? Is she alright?” Eira demanded. Was it wedding stuff? Had something happened? 

If something happened, Elain was going to have a meltdown. Or rather another one. Another one that was going to make her get huffy about lilies look like children's play.  

“She’s…She’s fine,” Nesta said, her tone clipped. “It’s…complicated.”

“What’s complicated?” Eira asked sharply. Nyx whimpered against her, and she dropped her voice. “What happened?”

“When Rhys saw your memories,” Feyre said carefully. “He saw…how horrible everybody has been treating you,” she said in a whisper, staring at Eira with tearful eyes. 

“What?”  How who had been treating her…what exactly did Rhys see? 

“Why didn’t you say anything?” Nesta asked sharply.

“Say what?” Eira asked, not understanding what they meant. What was there problem? What has she done? 

“Why didn’t you tell us how you were feeling, Eira?” Feyre repeated, her voice soft…coaxing. “Why didn’t you tell me what…Why didn’t you tell me how horrible everybody was treating you? Why did you just suffer that all in silence? I am so sorry.”