#sissy fermentation

[slothhbabi]

All you bitches😊

I'm sure you are ready to be collared and pegged by me, and become mommy's bitch💕💖

Come slide down my dick bitch😈 and open that legs wide open for me! 🍆

[goddexxxkay]

Bet y'all wish it was your face and not this stupid counter 😂😈

[goddessclara420]

Add up

Google chat : dragunluvv@gmail.com

Telegram: goddessclara420

[mistressmiranda5311]

if you are interested in joining my sissy sch and being owned by me

chat mistress up now?

[dalliancekay]

"Just because you're paranoid doesn't mean they aren't after you.”

Joseph Heller, Catch-22

I don't yet know how to explain this... And will probably mess it up. But I think that in fiction, sometimes in life too* and in my case, obviously particularly I'm talking about Good Omens here - people often forget that if something terrible does not happen, that it was going to be fine all along** and the character who was worried about it, was overreacting (being stupid, cowardly, uncool, wimp, sissy etc etc).

It was @seaweednpeanuts who put this idea in my head and now I'm trying to express my thoughts on it.

You know how people tend to joke that Aziraphale and Crowley do nothing in S1 and are completely useless and isn't that hilarious, but aww, we love them anyway, the two idiots etc? Sure, it's funny but it's also not true.

When Aziraphale says:

He doesn't mean - 'we are completely useless'.

He means they messed up as far as it goes for things they were supposed to be doing. And even thought they were doing. They didn't double check they were raising the right baby for example; they perhaps could have (but Adam grew up the best human he could have been - by well.... sheer accident? Fate? God's actual Plan?).

If they weren't both so good and kind and dither so much trying to find other ways to stop the Armageddon (I’m looking at you Aziraphale), they could have found Adam in Tadfield and kill him. And if they were truly with their respective sides... well, it all would have gone very differently too.

That's one thing.

They messed up, sure, as far as big grand Ineffable Plans go and nothing went the way they imagined (or were told) but they still played an important role in bringing the whole Armageddon and War plan down. The point is, that everyone there did. In some way. From Anathema to Adam's dad.

Just because it was fine in the end doesn't mean a real possibility of Armageddon wasn't there. Not unless you want to take away all the agency away from Az and Crowley (which is the eternal debate over an omniscient God anyway).

And it's the same across millennia. Just because Aziraphale is extremely cautious about his words, Crowley's words, their actions and the possibility of them being watched or overheard and punished for working together, doesn't mean that the possibility wasn't always there.

It doesn't even mean that the possibility couldn't still be there.

GIF by @i-seeaspaceshipinthe-sky

They aren't safe. They've never been safe and there was never anywhere to hide or run to.

And Crowley knows that too.

"You'll be amazed at the kind of things they can do to you, down there," he said. "I imagine they're very similar to the sort of things they can do to one up there," said Aziraphale. "Come off it. Your lot get ineffable mercy," said Crowley sourly. "Yes? Did you ever visit Gomorrah?" "Sure," said the demon. "There was this great little tavern where you could get these terrific fermented date-palm cocktails with nutmeg and crushed lemongrass-" "I meant afterwards." "Oh."

They have suffered already so much; even if they did manage to keep their Earth jobs and their friendship for over 6000 years. Their existence was always fragile.

Aziraphale gets blamed so very often for how cautious he is.

I hate it when this line gets weaponised against Aziraphale. (Yes, I admit, even in fics.) Because, he has nothing to apologise for. He couldn't have done anything differently. There is no way Crowley could would e v e r blame him for saying no to a date. For never saying out loud how he really felt. What he really wanted.

Those things were impossible. And even though Crowley offered, if you actually watch his face after Aziraphale refuses, he is not angry or bitter or offended (as many metas and posts would have him feel). He's sad and thoughtful. Because Crowley knows exactly how much he is loved and cared for by that refusal.

F15 is so tragic because once again, Aziraphale is reminded they are not free. That they are not safe and they have not been left alone.

And this time

he's truly furious about it.

*Controversial perhaps, but you know all those feel-good posts and quotes about asking people in retirement homes or something what'd they have done differently and what are their biggest regrets and they all say (or at least the published picks say) some sort of - I wish I worked less, tried less hard to make money, spent more time with kids and family etc...

Well those can fuck right off. Because I believe that most people would absolutely want to spend more time with their friends and kids and family and less time at work and constantly worrying about money. But that's not how life works, is it. Just because I was lucky so far and managed to pay all bills somehow, doesn't mean that I can just stop worrying about them, does it. Next time, I'd love to know the places these quotes are coming from. Just because Donald didn't spend time with family and is now dying alone doesn't mean his regrets and have anything to do with Tom on the other side of town who worked 3-4 jobs at a time his whole life and his biggest regret anyway is not trying harder (he couldn't have tried any harder) so his kid wouldn't have to work part-time job while at uni. Donald was always a jerk and his regret should be that he was a jerk and didn't pay his taxes so people could stress less about what happens when they lose a job.

Anyway. Rant over.

I know Aziraphale will win his love and his freedom and his happiness. But that doesn't mean that his worries and his caution and his anxiety were ever unfounded.

** When Gabriel claims that most things are fine in the end, he's not exactly contributing to it, is he. It's Aziraphale's stubbornness and caution that keeps him safe.

[banananutmilk]

Carrie Film Essay (1976)

By Jacob Christopher

Carrie (1976) is a supernatural horror film directed by Brian De Palma and adapted from Stephen King’s novel of the same name released 2 years prior. The plot follows a highschool girl named Carrie, who discovers she has been born gifted with telekinetic powers. The conflict of the film is that of the abuse Carrie endures by her own mother and school peers. Carrie (1976) is a critically acclaimed film for it’s subject matter of teenage isolation and angst, creatively expressed within a supernatural horror genre. In regards of it’s box office qualities, Carrie (1976) with a budget of 1.8 million USD had managed to garner 33.8 million worldwide. Along with positive reception, such as deemed by Pauline Kael from the same year, “ Carrie is a terrifyingly lyrical thriller. The director, Brian De Palma, has mastered a teasing style- a perverse mixture of comedy and horror and tension”.

(article linked in image above)

The film deals with the subject matter of puberty, sexuality and the criticisms on purity culture. We begin the film following Sissy Spacek who plays the tragic protagonist Carrie, a highschool girl who within the first act of the movie has her first menstruation and left confused by her own body. Followed by a horrific act of bullying, in which the gym full of girls react to Carrie’s plea for help by throwing tampons at her shouting “Plug it up, plug it up, plug it up, plug it”. It’s within this scene we can interpret the metaphors for the horrors of girlhood. Carrie is shamed by the world around her and told contradictions.

A revelation made during my research of the historical events of 1976 is that of the first apple computer launch from the time period. Comparing the time the film had come out along with the release of a product bound to become a common lifestyle necessity, had really put the age of the film into perspective. The perspective makes the film more impressive, especially with the utilization of editing in it’s production. Makes me give the editing and production team more kudos for editing that can be done on phone applications now.

The aesthetic of Carrie has become an influence, with the sequel and two readaptations of the Stephen King novel, both noticeably inspired by the 1976 film. As pillars of the popularity of the medium. Other forms of inspiration from Carrie are the 70s style of fashion. The film has an eerie tone, often through the dialogue deliveries of the characters and the predicaments Carrie has to handle when treated in distasteful manners throughout the film. Suspense is often built up through the interactions between Carrie and everyone else, culminating into moments of alarm for when Carrie’s patience is tempted. What gives Carrie (1976) it’s edge is the choice to be blatant with their audience. To not hide what is gonna happen, the audience feels sick and grapples with their anxieties, absolutely helpless to be bystanding victims. The age of the film’s grainy quality actually has fermented gracefully into a dark gradient staining the screen, adding to the already thick atmosphere. There is great emphasis on the distinct cinematographic style of De Palma. Using split screens for dramatic scenes and the dream like sequences experienced by Carrie. 

The qualities of Carrie (1976) can be interpreted as both conventional and unconventional depending on what factors matter more to the critic. The movie incorporates many expected tropes and tactics used in it’s horror genre. Exemplified through it’s usage of the highschool setting, jump scares of sudden loud music and snappy movements. However what makes Carrie (1976) an outlier from it’s contemporaries is the subject matter displayed. Touching upon and criticizing religious fanaticism, exemplified through Carrie’s mother’s overbearing nature and blind faith to her Christian belief. Along with the themes of adolescence and the struggles of young women. If it were to come to my personal opinion, I would deem Carrie (1976) to be more so unconventional than conventional due to it’s subject matter’s taboo nature. Overall Carrie has earned it's cult classic status through it's unconventional thematic and great reception to affirm it's reputation.

[sambroadlysbignaturals]

Kat:      "Bitch."

Sam:     "Excuse me?"

Kat:      "B-I-T-C-H. Sam."

Sam:     "Katlynn Joh-"

Kat:      "BITCH."

Peyton: "Bitch stfu,"

Kat:       "It's his fault."

Kat pointed at Sam

Sam:      "BITCH?"

Alex:     "BRO SHUT UP OR NO KISSIES."

Sam:      "sowwy babe."

Peyton: "💀"

Kat:       "Peyton, how are you saying the skull emoji OUT LOUD?"

Peyton:  "This is so unslay of you asses. TELLING MY TUMBLR."

Peyton proceeds to pull out her almost dead phone.

Kat:       "May as well ask them if I can eat Sam's face off."

Kat stared at Sam.

Sam:      "BITC-"

Peyton:  "Yo, queers, I'm trying to type."

Peyton waved her hand at them.

Kat:       "I am not-"

Peyton:  "We made out in the bathroom."

Kat: "Oh yeah."   

 Long story short Alex got aids.

Peyton: "Literally, we're in the middle of a forest," Peyton complained, "This is so ungirlypop."

Alex:     "sowwy sissy."

Peyton: "DID YOU JUST ASSUMe MY GENDER?"

Alex:     "bitch."

Peyton: "CANCELED. WE ARE NOT COLLABING."

Alex:     "WHAT."

Peyton: "smh my fuckin head."

Alex:    "Peyto-"

     Peyton proceeds to whip and naenae for a tiktok.

Peyton: "NO WTF??"

Kat:      "what's wrong now, you processed, fermented block of cheese?"

Peyton: "MY PHONE DIED MID-DANCE." *cries while doing the macarena*

Kat:      "oh my GOD you are THE definition of jackshit."

Sam:     "Oh my shitballs there's a Walmart."

Kat:      "Yeah Sam, pretty sure your balls are covered in shi-"

Sam:     "DUDE DON'T SAAAY THAT!!"

Alex:     "So dipper core."

All three of them: SHUT.

Anyways, they walked in the walmart.

Kat:      "DEMONS!!"

Sam:     "Fuck you mean demo-"

Sam:     "Unholy mayonnaise that bitch is hot."

Alex:    "SAM!"

Peyton: "GYAAAAATTTTT."

Peyton: "LIKE AND SUBSCRIBE IF YOU LOVE JESUS."

Sam:     "bitch what."

[junchair]

tag game timee ;)

thank you for tagging me @sewercentipede, this was nice to make :)

Rules: spell out your URL with song titles. Then tag as many people as there are letters in your URL

sometimes i couldn't decide which song so i put 2 (*ﾉωﾉ)

judgment - passing currents

u. - niteboi

no one is ever going to want me - giles corey

- nan nan - mass of the fermenting dregs

cruising (laurel halo remix) - bendik giske, laurel halo

hideous - chaos

- hentai - cigarettes after sex

a.m. - gao the arsonist

- a cold freezin' night - the books

intermission - blur

revenge - xxxtentation

8 people to tag wheww, anyway

if you don't wanna do it because your username is too long then its okay 😭

@dietcokeandpainkillers @nonknowledge3 @samgayy @wanna-be-sissi @marnixuwu @waterreminder @rusafiyr @dyingthinnyminny

[honeyapple-babylotion]

“How Could Anyone Stand It?” an incomprehensible essay

How could anyone stand it? When all the dogs are getting into fist-fights, and old men start spitting on each other for the sake of legislation and the movie stars gut themselves with can openers and snapchat filters? I can say that I’m hip, I can say that I’m young, who could stand it? The walls haven’t caved in yet, I don’t get lost in the clockwork of the television sets left out on the streets. But who could let the noise pass by? The bummers and the burners, the taxless deathless animals who carry around the splintered saggy fortunes of their fathers, not I! Most importantly not I! I will fall in a fit of sickness, where I’ll become a guillotined screamer, raving and rampaging, lamented and fermented down to my very being with sickness. Soaked in the milky under-bottoms of the nothingness and radiation, chugging chicken noodle syrups and Holy Spirit steam machines, going on and on with the tossing and turning of a sally galled sissy. What’s going on in the 21st century? Unpermitted dishwashers washing dishes and pretty girls with butcher board genitalia, and all the ageless men with faces like worn out vaginas, telling me: Cover up! Cover up! The cold is coming! And putting on a coat before I start swinging out, living with the warmth of the butt ends of my endless days. My days are endless; putting up with painters cut out of horrible fabrics with patterns falling in and out; skinny friends and their tattoo tears, tattooed to their sweating backs; lonely experimentalists crashing their Subarus into the million street lamps that stretch along the trident roads that cross and cross through America’s Soviet  Union; and dead beat poets reciting with their cigarettes tangled in their fingers: I feel gross, and I feel naked, I feel pain but I can take it! I could never live like them, but I live like them anyways. Now I know Kurt Vonnegut was right! Oscar Wilde was right, about the admirable trinkets mis and mal-functioning to the eternal metaphysicals in our eyes. So let me beat and trample the beaten and trampled ‘love’ everyone’s going on about and make this a love song without the lungs to sing it. I will sink myself in it. Along the growly-tummied hunters and erected heart holders, jabbering beside and beside. I can make this about a girl or I can make this about the boys that I’ve slept with. Rambling on with shame and self-resentment, crying in a public bathroom stall and the reaching eyes that reach for helplessness and noxiousness of sorrow. I can keep my homosexualuty in a hand bag. I can wear my manhood like a pistol in my jeans. I can glue my fingers together and tape down my eyelids and shatter my knee caps. I can come under the influences of nationalism and marijuana and tear the chords in my throat to swimming pool bandages as I steer a mighty ship I call my 1997 Chevy pickup, I’m afraid this isn’t romantic enough. Bring in the freckled love flowers, bring in the long winded love letters, bring out the amorous moon and those flashing starlights that bellow our love names, let out your love sigh, let out your love moan, let out your love secrets, and tell me what it is that possesses you to love me, and for the sake of my security: love me! Fuck it. I don’t need it, who could stand it anyways? Forgive my toothless indiscretions, for this battered world deserves all my subtle sifted apologies. But still the mini muffin munchies and trail blazed heartless meat things and dishevelled junky-riddled grinners grin at me, and pass me vicious stare downs. Oh momma, I can’t do it anymore, no more, but I will do it once more to save a drowning dog and make our fathers kidnied men. Oh momma, what could it mean when I can hardly help myself? I guess I’ll just lay my head and let the shuffling men turn me inside out, under their potato colored suits and potato colored businesses, who am I to deny my potato colored destiny? And Oh Momma, why can’t I stop picturing them in bed? Below the infatuation skies, alongside the longing fingers, between the shingled rooftops and their sockless basement I find my teenage addiction in a pair of striped boxers. I could empty this handbag with the grace of God if I could be that genderless god! So when I come out of a sleep, astride the million voices that squirm and rotate on a sacred axis, among the milk cartons and bubbled up car engines, in books and in poems and in papers, in the sweet release of death and our goldy-awful christian funeral services, and our bitchy wonderings and worryings of the will-they-miss-me-if-I’m-gone’s because what would it matter if they miss me or if not. And out of sleep and into daily clothes, rummaging the heads in the shoeboxes in my closet, none of them belong to me. And so out out! With the bottoms of my trousers rolled and the candles that we strut and fret with, lingering in smoke, with my head still attached and my hair without spotting. I will come back from the fist fights, and the syrups, and the dinky dauntings of the Subarus and Kurt Vonnegut and Oscar Wilde and the endless trenches of cynicism and the uselessness of our art, horny bisexuals and handbags, a jesus piece, potato colored shoes and ‘how could I live like this?!’ the drowning dogs, the kidney stones, the cattled sky, the countless choking hazards and the goddamn handbags again, a sleep of death, a dream of nothingness and miss-me-when-I’m gone and going on and dealing with the suicidal tendencies of the tattooed backs, and for the love of God! Why do they turn their backs to me?

I worry, and I worry, and I worry.

[intersectional-intersectionality]

Man-hater (misandric), child abuser, power hungry, angry, sociopath...non-feminine (masculine),unwed (unmarriable), athletic(butch), physically robist (over wheight/fat)....[in parenthesis are non-euphemistic terms]

Just about every person I've encountered irl and on

Ine who has claimed to a feminist or in support of feminism has possessed at least one of those aspects to some degree.

Is Trunchbull a feminist caricature? I suppose it's a matter of whether feminists like that exist in real life. If not, then yes. If so, then no. Trunchbull is the concentrated essence of what feminism as an ideology ferments inside of women affected by it. While most women will not embody most of these toxic characteristics, due to outside influences and limited exposure, there most certainly are enough women who irl who come close to being the basis for such a character.

I am left to beleive thatvthis person has not really watched Matilda, in addition to the other films. Maybe they saw it as a hild which means, like most people, they know fuck-all about the film because they aren't recalling it with a mature adult mind (assuming they have one).

However, @amarretto-cowboy , I do think it's unfair to immediately accuse someone of being the product of gender studies in [current year]. Feminist propaganda is prevelent in almost all levels of education and curriculum now. I even encoutered it in a web programming class. As well, it's just as likely that this person was jut raised by a feminist. I knew a guy who never took a college course in his life and was a hardcore radfem and proud sissy (his words) fondly recounting his all female upbringing by strong women. Still, I think you were on point with the characterization. In this case, you weren't judging the book by the cover but, guessing the cover from the content of the book.

[mistressmiranda5311]

[newstfionline]

New Year’s Eve in Japan: watching a hit TV show about a man who eats alone

By Anna Fifield, Washington Post, December 26, 2017

TOKYO--Forget big and almost always disappointing parties, and that struggle to get home after midnight. In Japan, New Year’s Eve is all about watching TV at home with your family, a reward after you’ve done your end-of-year deep clean.

Usually, Japanese families gather to watch the “Year-end Song Festival” on NHK, the public broadcaster, where popular singers are divided into teams--red for women, white for men--and battle it out, with the winner announced shortly before midnight. (More often than not, it’s the men.)

Some families switch channels to watch “This Is No Task for Kids!” a variety show in which comedians do stupid things and get punished for screwing up.

But this year a show that is, for many Japanese “salarymen,” pure escapism, will take on the entertainment shows. “The Solitary Gourmet” will broadcast its first New Year’s Eve special, in which the star, Goro Inogashira, will travel by himself to the western coastal area of Setouchi and eat. All by himself.

“The Solitary Gourmet,” now in its sixth season, is a uniquely Japanese kind of hit.

This is a country where men are supposed to get jobs in big companies and remain there for life, spending long days in the office and then long nights eating and drinking and sometimes singing karaoke with their superiors. If your boss asks his team to have dinner together, there is no saying “no.” These salarymen barely see their wives and children during the week.

That’s why Inogashira has emerged as a kind of role model for a big swath of Japanese society. He’s a middle-aged Japanese man, but he’s free from the round-the-clock obligations of corporate life. He’s a self-employed salesman of soft furnishings imported from Europe.

He doesn’t drink. He isn’t obliged to socialize with colleagues. He is unencumbered by a family.

He just travels the country selling his wares. And when he gets hungry, he stops off at small, no-frills, family-run restaurants and relishes the local specialties. Over six seasons, he’s eaten chicken hot pot in Fukuoka and grilled beef tongue in Sendai.

“Salarymen are corporate slaves who work tirelessly for their companies and their families,” said Ushio Yoshida, a TV critic for Tokyo Shimbun. “But Inogashira has escaped this slavery. That’s why he’s a hero to many people.”

In food-mad Japan, the show has also helped take some of the stigma out of eating alone.

Inogashira is a fictional character, and the show is scripted--he thinks about what to eat and describes what he’s eating and comments on what others are eating--but the restaurants he visits are real.

Before season six began this spring, Matsushige told local reporters that he didn’t understand why people were interested in watching a middle-aged man just eating. And eating slowly. Still, he said that it’s the food that’s the star of the show. He’s just a supporting actor.

The show is made up of lots of long, lingering footage of the menus and the meals--sizzling meat, trays of sashimi, steaming bowls of noodles. The kind of shots seen on cooking shows, rather than on drama programs.

Inogashira sits there, by himself, and just savors the food. He’s not looking at his phone, he’s not reading a book, he’s just enjoying every mouthful. He never Instagrams his meals.

He’s not self-conscious about being alone in rowdy bars or barbecue restaurants. He even has a sweet teeth and enjoys desserts--something associated with being a sissy for Japanese men.

“He’s very particular about how he eats each dish. He always asks the restaurant staff how to eat the meal to maximize the flavor, and loyally follows their instructions,” Toyo Keizai, a popular weekly magazine for salarymen, wrote in an article. “You hear Goro’s inner monologue. That’s all there is, but the time passes fast.”

Sometimes, however, the show proves controversial. A minor furor broke out on Twitter when Inogashira put soy sauce in his natto, a sticky fermented bean dish, and then mixed it in. Aficionados say the natto should be whipped up first and then the soy sauce should be added.

This Dec. 31, TV Tokyo will run a 90-minute special, from 10 p.m. to 11:30 p.m., in which Inogashira takes his last business trip of the year to the Setouchi area, between Hiroshima and Osaka.

The area is famous for its seafood but also for udon, a thick wheat flour noodle. On New Year’s Eve, Japanese people usually eat soba, a thinner, buckwheat noodle said to symbolize longevity--long life like a long noodle.

But TV Tokyo is keeping the menu for New Year’s Eve under wraps for now.

The show is based on a comic book series that was popular in the 1990s and was translated into languages including Spanish and French. The writer, Masayuki Kusumi, will appear live on television before the show is broadcast.

At the beginning, it was popular among men in their 30s to 40s, who started writing online about their own experiences visiting the same restaurants, Kusumi said.

Business executives who can eat alone feel liberated from the demands and stresses of work, and the audience enjoys that, the program’s producer has said.

A senior government official who often has to endure long, stuffy dinners for work said he tried to follow the solitary gourmet’s example as often as he could, patronizing small eateries and enjoying not having to talk about government business.

But now, the show has become popular among women and younger men, too, with viewers eager to see where Inogashira goes next.

The fact that Inogashira is single resonates in a country where young people are spurning marriage, said Hiroyoshi Usui, professor of media culture at Sophia University in Tokyo.

His choice of simple, ordinary, inexpensive restaurants shows that you can find small bursts of happiness without trying too hard, Usui wrote on his blog.

Yoshida said that when she watches the show, she often gets a craving for whatever Inogashira has been eating. “If Inogashira was eating curry, I might eat curry the following day,” she said. “It’s quite influential.”

But Matsushige, the actor who plays the solitary gourmet, has a warning for viewers: “If you watch the show at this late hour on New Year’s Eve and get hungry, there won’t be any restaurants open, so don’t get mad at us.”

[brascu]

I FEEL YOU!!!

But I also get what’s happening.

When we have Viktor, Allison and Klaus drinking in season 2, Klaus points out the way the three of them deal with shit. Klaus gets high (distract himself), Allison lies to herself and Viktor bottle it all up until he explodes.

to which Viktor says he would like to not do anymore.

but of course he does. 

He bottled up his masculinity until he couldn’t deal with “being a girl” anymore. The surprise Allison has and the heartbrokeness she feels when she finds out he’s been hiding himself like this is the same we see in season one when she finds out Viktor feels like they all think they’re better than him.

He’s doing the same again.

This first dialog you placed there is such a reference to their s1′s selves. Allison dressed for the spotlight even as she feels like shit (in her first scene in the show, she’s at a red carpet and she is dealing with divorce and kind of losing her daughter). Viktor’s over-sized shirts are just like those he wore back in season one as weel (when he was not wellcomed into the family for lashing out on a book about them)

In the begining of season one, Viktor is ashamed and unwellcomed into their household. The only one who is there by his side, the only one who embraces him, is his sister, who’s been dealing with custody fight with her ex husband over her daughter. 

In the end of season three, Viktor is feeling guilty because of what happened with Harlan (all of it) and is wellcomed by his siblings. The only one who is treating him badly is Allison, who lost her husband and daughter.

In season one, Viktor blames the umbrellas for his unhappines. In season three, he blames himself for their unhappines. He bottle things up to fermentate.

In season one, Allison had only herself to blame for losing her daughter and husband. In season three she has Viktor to blame. She lies to herself.

While in season one we had their argument in the cabin caused by Viktor’s explosing emotions and Allisons lack of tact, in season three we have their argument caused by Viktor holding the weight of Harlan’s doings to himself and Allison’s entlitlement to, again, say what’s right to do in Viktor’s place.

In s1 they are alone, Viktor almost kill her in reflex to shut her up. In s3 they are surrounded by people and Allison only let him breathe again for her siblings stoped her. 

In season 1 Allison blames herself for what happened to her. In season 3 Viktor blames himself for the treatment Allison in giving him. Both of them give up on killing each other by the end of the last episode in this seasons, both of them against their brothers will, both of them placing in this little trust the hope for them to get back to being friends.

The story of those two is the story of a limelight spoiled sister and a repressed invisible brother learning to love and share their lives. Learning boundaries and empathy. Learning not to blame one another for their shit. They’ll meet in the middle.

But I must say that for Viktor, for his character, defending himself is a hell of a step! In season 1 he would run away, he would be silent.

I already said in many many posts that I feel like season 1 and 3 mirror eachother. And I feel like season 4 is going to mirror season 2 as well.

Allison is now living in some kind of a dream world? Does she remember what happened? Wouldn’t it be better to not remember? Will she lie to herself to not suffer with what she’s done? (Viktor’s amnesia, Sissy, Harlan)

And Viktor, who is now able to feel confortable in his own skin as a man, who lost it all again, will find himself love and build a new life? Will he be hounted by how his sister dissapeared when they didn’t have the chance to mend things? (Allison without her voice, finding herself in the movement)

I’ll end it here, but I just want to point out how Viktor, whose thought, even the ones written in his book, we never heard. Who had things against his father he never once vocalized was the last voice we heard before the credits. 

And he is angry: Asshole.

This bomb is going to explode.

Finally sitting down and watching the rest of the season and not going lie, the conflict between Viktor and Allison is handled exactly the way I hate the most; one person being the only one acting hostile and taking shots at the other while the rest of the cast acts like both of them are at fault for not getting along and not like.... one person minding their own business until they get insulted by the other, so they try to defend themself but get told they shouldn't.

I really understand why Allison's acting like this and reading from others explaining her perspective helped but also... this does not prevent me from being annoyed at her behavior.

If they truly want Viktor and Allison at odds with each other, then I would like it to be mutual and not one-sided. Let Viktor take cheap shots at Allison during moments he shouldn't. Because right now, it just looks to me like Allison is being unreasonably hostile and insulting towards Viktor who by all accounts just tries to stay out of her way, so their dynamic just comes across as unbalanced.

If the writing just allowed Viktor to be mean and vicious right back, then I would understand why Luther is berating both of them for not getting along, because yeah, they are both being hostile. But if one party is way too passive, like Viktor is, then the other person just comes across as needlessly confrontational and looking for a fight.

Allison has valid reason to be angry at Viktor but I do think Viktor should also be allowed to be angry at her for Harlan's murder, instead of being told to get over it.

This is not a 'both are equally at fault' argument, because I see a lot of people arguing who committed the worse actions. This is a 'even though I understand why Allison killed Harlan, this was still a person Viktor cared about and I find it unrealistic and unfair that he isn't allowed by the narrative and the other characters to grieve his death or be angry about it' argument.

I just find it would be better if Viktor could be mean-spirited towards Allison right back, because 1) their conflict would appear less one-sided (and IMO, allow viewers who get annoyed at their conflict to direct their dislike not solely on Allison) and 2) character-wise, it would make more sense for Viktor to be much more impacted by Harlan's death.

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