#susan meta

[fallingskiesandrisingseas]

But what was most baffling to all that met the Pevensies after they came back was that they were kind.

Really. Not pretending, not because they were insecure. True, empathic. Far too understanding for children their age. They all have music in them.

Peter’s hands feel too small for him, but he shakes hands all the same. Gentle pressure. There is nobility behind those eyes. Eyes that always border on the supernatural sort of blue, especially in the dark.

He plays the guitar, gently coaxing otherworldly sounds out of an instrument that did not know it could be played like that. He helps his siblings with their homework, is taller much faster than his peers. Seems to take up more space, even though no one understands how a teenage boy manages that.

He doesn’t like doing nothing, ever. He instructs his classmates in grammar, gives away figures he cuts from wood with a knife that seems too sharp for a boy that small. He never hurts himself, though.

As the years pass, Peter grows strong. But he is gentle. He does not seem to be brash, even when many of his friends are. Peter keeps his emotions in check. Noble. Not undangerous, but not belligerent. Peter only ends fights, and only with people that deserve it.

He offers advice, a pat on the back. Teachers wanna dislike him, some do not like the look behind those eyes. Most find they cannot. Peter is popular with both adults and children, speaks sense and laughs often.

Peter is kind. Pious, devout. His faith is unmovable like rock. Did the kids meet God on the estate of their uncle?

Edmund plays the violin. A sad Edmund is a rare sight, but when he plays sad he can keep his whole floor awake. Somehow, Peter always finds h him quickly, effortlessly attuned to his brother’s moods. They play chess, then. Their chess master must have been a champion, Ed beats people with ease. He’s usually not smug about it.

Ed speaks politics and war in earnest, accepts critique graciously, is elegant in a way Peter never manages. Peter speaks frankly, but Edmund can wrap words up real nice. He doesn’t mince words, but his classmates grow into liking the sound of his voice. They appreciate that Edmund does not lie, even when speaking tactfully. Edmund can dial the temperature in a room, change it to suit himself.

He, too, laughs often, but Edmund is known to smirk. He likes being right and he often is. He’ll entertain anyone with a good story, always seems to have the right information to help you out. Remedies to illness, connections, job openings, how to sneak out of PE.

He’s a spider in a web. A bit reserved for a 11 year old, and oddly well-connected. A real ghost when he wants to be, but he never scares people with it.

Aslan would not approve of that. He believes in God as well, but much more intellectually. He’s got the intelligence to back it up and wit to match. A scholarly belief, but not lacking conviction.

Teachers like his enthousiasm, remember a moody nagging child when he left and see a secure young man come back.

Edmund will stand up for what is right. He gets into some trouble like that, but his verbal agility saves him always. Edmund has strong principles and will not bend them for anyone. No matter the trouble he gets in.

The bond with his brother is unbreakable. They even walk the same, chest out, left hand on their belt. They seem most at ease when fencing.

Susan was always warm and tenderhearted, but when she comes back there is a difference.

She seems to have gained authority. It’s real strange watching a 13-year old use her beauty like a grown woman, but Susan has learned to wield it, to stun people so she can creep under their skin. People LISTEN to her now.

Her wit is like a knife, but she avoids cutting deep. Susan is reasonable, and strong, and principled. The little drama others get involved in does not bother her, and she seems immune to petty insults. She has killed before, with her hands.

She will do it with kindness now. She is not very approachable ( that would be Lucy ), but she is kind. She used to mother over her brothers and sisters, but now that they have raised each other in a court full of magic she has gotten more relaxed. They listen to her on important issues, trust in her judgement. Her brothers does not deem himself more important, she is both well-spoken and well-respected by her siblings. Equal. It baffles the old men that teach her. Irritates them, too.

There is an air of mystery around her. Half a look is enough to get what she wants, Susan’s friends laud her security in herself, her Mona Lisa smile. She seems to temper moods easily, makes people feel at ease.

She most of everyone exudes royalty. It’s the grace. Susan plays the harp, her long fingers dancing across the strings like she’s had a lifetime of practice. She’s elegant, never caught off guard. Jamais faux pas.

She does not get angry. She knows who she will be. She is anxious to become an adult, yes, but she only wishes to look how she feels. Not to look differently. Yet the wish to be taken seriously, to have someone see you as an adult, it makes her surprisingly similar to her peers.

Her friends have not been old yet, is all. But Susan is calm and collected. People see her as someone you can tell a secret to. She never hurts someone, is usually a neutral party, speaks sense to adult and kids alike. She is not ignorant, however, will use every trick in the book to keep the peace. She knows when to go nuclear. Vis pacem para bellum.

Lucy is a sun in human form. She has a joie de vivre that is unmatched, is gay and golden-haired and never in a bad mood.

Lucy is kind by default, does not turn it off, does not turn it down. She’s witty and funny and quick on her feet. She has been grown before, yes, but enjoys being young for a few years more. She dances, sings old tunes. Her voice is her favorite instrument, you can usually hear Lucy coming.

Whistling a tune in the halls is known to improve the moods of everyone who hears it immensely. Young girls need to figure out who they are, but Lucy knows, knows what she’ll be and who she likes and what kind of people she wants to be around. She is not pretending, never moody. She can get sad, of course, but her older brothers and sisters are always nearby when that happens.

Lucy is genuine and fierce and convinced, immovable at times. Admired for her drive, but respected for her empathy. She speaks to everyone, often distributes flowers. There’s no naivite in her at all, she simply wishes to be like this so that the world may imitate her. She likes to see people prosper, is the first with praise.

She will go far, is the consensus. There’s steel beneath the soft exterior, Lucy has fire below the flowers. She’s well-liked and well-loved. She has love in spades, it seems, animals and stragglers and misfits and outcasts. She’s popular, her room is a good place to get a cup of tea and someone who will listen to you for some time. After a while she no longer bothers with the door.

That a heart that size fits in a girl that small is a mystery to many. Lucy does not think it is a mystery at all. It is the heart of a lion.

Her faith is as vocal as the rest of her, she sees it confirmed in all that is beautiful, all that is kind. She never tries to convert anyone but there are several people who have told her that version of God is someone they would like to know.

The Pevensies often see each other at parties, where they like to stand together. Edmund knows about everyone, everyone knows Peter, everyone likes Susan, but it is Lucy who knows everyone.

They are kind, but not weak. Peter gets his knuckles bloody sometimes, Edmund does not abide by the rules of unjust teachers. Susan and Lucy solve their problems differently but no less effective. Kindness is their usual way of operating, but they are still kings and queens. They will not allow cruelty, will not let bullies go unpunished.

They are sure of what they are and sure of what comes after death and this makes them kind. Kind , not harmless. Kind, not spineless. Kind, not ignorant. Kind, not naive.

Kind despite. Maybe kind because. The kings and queens of Narnia are proud of what they are, honour the teachings of their lion friend. Kind.

When the crash happens and three siblings die, everyone they know mourns deeply. Without them, the world is less kind.

[dandelionjack]

is it just me, or does that sound like a reminder a director would give an actor right as they’re about to launch into a scene?

“and, from the top, Ruby, you’re standing in the street, on the phone to your own mother.”

or stage directions in a screenplay: RUBY, standing in the STREET, on the phone to MOTHER.

nothing to do with me.

we’ve been thinking susan twist is “The Director”, but what if she’s not? what if she’s a helpful member of the crew, trying to get through to Ruby and the Doctor in whatever ways she can; and The Director is actually Mrs Flood?

[yoitsmano]

Life after Narnia

The Pevensies return from Narnia a bit discombobulated. They are adults in childish bodies. The war has ended, and they are to return home to their parents but they never forget Professor Kirke. Often visiting him during summers.

Their mother notices it first, how everyone seems to listen to Peter. Not because he is the eldest, but because they respect him. She hears them talking of 'Narnia' and deduces that something happened to them while they were away. But she can't put her finger on what. She has no idea what an 'Aslan' is, but she doesn't question them. She misses her children. They are there in their home, but they aren't. There's always a faraway look in their eye as if they are remembering.

When they eat, no one picks up a fork until Peter starts. It confuses their father. Leaving the table, Peter stands, then Ed. The boys take their sisters' hands and lead them from the table before coming to help with the cleaning. She notices the way they walk. Peter is always first, Susan next to him, then Edmund and Lucy. They walk with regality, Peter and Ed with straight backs as the girls take their arms.

They are out on the town, when their father notices it. The children stopped in front of a jewelry store; something had caught their eye. Without saying anything, Peter opens the door, and his siblings walk through before he does. It is a set of lapel pins they saw first. A Lion. He hears them all say "Aslan" before Peter pulls out his wallet. From that day on, he always notices a Lion somewhere on their person. Peter with a ring, Susan with a necklace, Ed with a pocket watch and Lucy with a bracelet. But all wear their pins when he sends them to school.

Peter often forgets that he is not to speak before his father, but one look from Lucy quells his anger. His father calls him "boy" and it takes everything in him not to correct him. He is High King.

He begins working when he turns fourteen. He tires of asking his father for things only to be dismissed of "silly childish things". All he asked for was a sword. When he saves enough money, he buys his sword, and Susan an archery set. Susan notices the tension between Peter and their father.

Edmund asked for a chess set and his mother obliged. He often plays with Lucy, resulting in a stalemate. The only person to ever have beaten him, was Susan.

Lucy is the one their parents notice the most change in. No longer is she a nine year old, but she talks as if she is older. Using words even they don't know the meaning of. She speaks of this Aslan the most. Their parents realize that "Aslan" is the name of the Lion they brandish when they hear various exclamations of "Aslan's Mane!" or "By the Lion!"

They return to their school, Whitmore Boarding School. Many people notice a change in them. Mostly their teachers. Peter commands respect, Susan is positively regal, Edmund has a silver tongue, and Lucy is more peculiar than strange.

On the first day of term, a professor addresses Peter as "Boy" amongst other professors and in front of his brother and sisters. Peter cannot help himself. He tells him to address him with respect; to call on him as "Sir", and he will receive the same respect in turn. He will never answer to "Boy" again. It takes all his restraint to not say "King".

The Professor never did ask him the question he had called on him for.

It almost infuriates their teachers, but they realize that they aren't arrogant, just way too mature for their ages.

Another problem arises when Lucy refuses to wear the school appointed skirts. She prefers pants, or dresses. Never skirts. The headmaster nearly calls their parents when her siblings storm into his office. Peter demands to know why Lucy is being punished for wearing clothes, and why he did not send for him. The headmaster explains that he is not her father and Peter rebuffs him by explaining that his father has put him in charge of his siblings if any problems arose. He reminds him of the letter sent to him explaining such matters. Edmund pulls out the handbook and explains to the headmaster that the rules do not say that girls are not allowed to wear pants. The headmaster calmly explains that the list of supplies sent to them specified black, tan or grey skirts for girls, and black, tan or grey pants for boys. Edmund then points out that the rules do not forbid girls from wearing pants or boys from wearing skirts or dresses. He then calmly suggests that he drop the matter or Lucy will spend the term walking around school without bottoms, as the rules do not forbid that either. Citing that they were told they had to purchase the uniforms, but the rules do not explicitly say they had to wear them. The headmaster does not know if he is annoyed or impressed at the loopholes Edmund finds. He drops the matter, and it is never addressed again.

All the Pevensie’s take up a sport or two. All of them take up fencing, aside from Susan. She took up archery. Peter and Lucy take up swimming. Edmund joins the debate and chess teams. And Susan and Lucy both excel in ballroom dance. Susan doesn’t even try out for the archery team. She’s just in the courtyard watching the team practice with Ed and criticizes their technique. The captain of the team overhears her and challenges her to do better. She smiles at the boy, saying she does not want to embarrass them. They laugh and vaguely insult her intelligence and Susan just looks at her younger brother and he smirks. He stands and holds out his hand, addressing her as “my Lady”. The team laughs and Susan takes the captain’s bow, gets a feel for the weight, and then requests a full quiver. Ed stands to the side and comments, “You asked for it.” She hits the bullseye on every target. The captain has the audacity to say, “lucky shot” So Susan shrugs. There’s a target that’s moving and she nocks another bow and hits the bullseye without even looking. She then hands the captain back his bow and walks away with Ed. She finds the captain’s pin on her desk the next morning.

The rumor goes around that Peter prefers to be called “Sir”. While he’s sitting in the courtyard with his siblings, a group of older boys walk up to him, one calling him “Sir Peter” in a mocking voice. Peter puts down his book and calmly answers with “yes sir.” He stands to look the boy in the eye, and as the boys spout insults. Susan can see that Peter and Ed are getting angry, so she stands between Peter and the boys, placing her hand on his chest and tells him to walk away. It isn’t until one of the boys pushes Susan away that Peter loses his temper. Edmund catches her before she hits the ground. The biggest boy grabs Peter’s collar and immediately regrets it as his shoulder promptly leaves its socket. The other boys come at him, and he side steps. All four of them are on the ground with various injuries and Peter didn’t throw a single punch. He received detention and attended with pride. No one ever touched Susan again.

The professors are surprised when the Pevensies join the student council and the school seems to run better than it has in its history. Edmund works mostly behind the scenes, but people usually come to him or Susan with their problems. They think Peter is scary, but Ed reminds them that they voted him in as the head of the council. He tells them to actually talk to him, he’s not as stoic as he seems.

The adults notice that the Pevensies do not dress as children usually do during their off hours. Instead of t-shirts and shorts and hoodies, the boys are always in slacks and a pressed shirt, sometimes with a tie. Susan enjoys sun dresses and flowy skirts and blouses. Lucy is always wearing boots and pants with a loose shirt. She is not like any of the other girls they’ve taught.

They have all grown taller in the three years they’ve attended the school after the war. With Peter now seventeen, standing at six foot three. Susan is fifteen and almost as tall as Ed at five foot eight. Edmund has always been tall and skinny for his age, but now at fourteen, he stands at five foot ten. Lucy is the one who has grown most noticeably, at thirteen she stands at five foot six.

Peter writes to his father, asking for money for when they go to the shops on the weekends. He receives a reply, saying he ought not ask for silly things. He learns that he can open an account at the local bank. He never asks his father for anything ever again. Even after he left school, anything his siblings wanted, he provided for them.

Lucy asked Peter why he refuses to write to their father. Peter looks at her and, in all seriousness, he replies “he treats me like a boy”. She then goes to Susan, and she tells her that she suspects their father is jealous that someone taught Peter and Edmund to be better men before he could.

During a weekend outing, the school chaperones notice Edmund and Lucy sitting at a table playing chess. He watches as Susan and Peter are perusing the shops. But instead of buying games and toys and candies, they are in a bookstore. Peter comes out carrying Susan’s books and they join Ed and Lucy at the table. Susan cracks open a book and Peter lights his pipe. They don’t know where he got it, but no one dares take it from him. When Lucy and Ed came to yet another stalemate, Susan put her book away and took Lucy to a dress shop. Peter put away his pipe and followed. Ed just reset the chess board. They are indeed more grown up than they seem.

A few girls pluck up the courage to ask Peter to be their date to the ball, but he tells them that he is already spoken for. No one is surprised when it is Susan on his arm at the dance. Yet, no one expects it when Lucy and Edmund join the two on the dance floor and dance the waltz as if they’ve been doing it for far longer than they’ve been alive. They are surprised, however, when Peter and Edmund extend their hands to their teachers to dance the cotillion. They are accepted.

Many professors have gotten used to Peter watching the courtyard during class. But no one could have prepared themselves for Peter suddenly standing and letting out what sounded like a growl before speeding out of the classroom. Many people knew the look in his eye and followed him to the courtyard where Lucy was. There was a new student in Lucy’s year. He hadn’t learned the rules of the school, or proper etiquette for that matter. Lucy had started to be more like Susan. Gentler. Lucy opted not to fight when she could avoid it. Sometimes she couldn’t avoid it. This boy had tried to touch her inappropriately and got punched in the stomach. But he was bigger than Lucy and had backed her against a tree. He didn’t get much further as he was pulled off her and a fist met his face. But this one was bigger. Stronger. He was then pulled by his collar and lifted against the wall by the absolute beast of a man he had never seen before. No one had seen him before. All he heard was “Peter” before he was dropped. His knees gave out and he looked up from the ground to see Peter standing before him, chest heaving. “Apologize.” Came the low growl. There was a small, slender hand on his chest. He supposed that was all that was keeping him from probably dying. He thanked every god he could think of. He was then heaved from the ground by his blazer and made to look Lucy in the face. This hand was different, but the fury was the same. “I believe there is something you need to say.” Came Edmunds voice.

“I’m sorry.” He said, terrified. Lucy just looked back and said, “I supposed you will learn to keep your hands to yourself.” Before Edmund let him go. Peter was still growling. He got off too easy in his book. None of the teachers said anything, noticing how the one hand from Susan kept Peter at bay, they kept that information in their proverbial back pockets. That boy never touched anyone again.

For fear of the beast that was the Pevensie siblings.

[peyotebritta]

What are people's take on this? The pyramids in the background seem to support the Sutekh theory or are they just mountains?. Triad = Pyramids. Sue's Tech = Sutekh ( a stretch, I know but the Osirans do have advanced tech to rival the time lords). Maybe Susan is a (unwitting) servant of Sutekh like this guy in Pyramid of Mars whose face we never saw:

Looking at the promo pictures, it struck me how similar this image is to Sutekh's time corridor:

Additionally, we see this sand/dust cloud in the trailer. Sutekh wanted to turn all existence to dust:

We know an ancient evil will be awoken from within UNIT using TRIAD technology. Sutekh has been trapped since ancient antiquity but almost escaped in 1911 from a time corridor in UNIT's basement. but the Doctor forced him to age 7000s years, presumably killing him. But if not, he could certainly qualify as The One Who Waits.

We also know S Triad = TARDIS which seems to suggest time lord technology or something similar. If she used a prototype that went wrong, it could have scattered her across time without her knowing and she's experiencing her other lives as dreams.

We also have the matter of the Doctor's TARDIS acting strange, perhaps TRIAD Technology is siphoning energy or life from the Doctor's TARDIS In order to work

Additionally thoughts:

we have a new Tales of Tardis episode airing the day before the finale that will feature Ncuti Gatwa and Millie Gibson. I'm assuming they will be in the Memory Tardis, which we know feeds on stories. which could link to the tv show / unreality theory. Is the Memory Tardis Triad Tech? Maybe she is selling it as a commercial experience to relive memories but it's a Ghost Machine Doomsday situation and she doesn't truly know what she's messing with or that her dreams are actually happening irl as a side effect of using the tech.

Empire of Death- Sutekh is the god of death

Tom Baker is the only Doctor to not appear in Tales of the TARDIS, so the new episode will likely be a Fourth Doctor story. Pyramids of Mars is my bet but are there any credible ideas?

But how to reconcile this with the 'tv show in a tv show' theory and Ruby's parentage? And this is complicated by this claim from RTD that the finale will link back to the Pertwee era, suggesting someone like Omega? Or maybe Susan worked for UNIT back in the 70s and has been building the technology for 50 years andh as only now succeeded with the influence of TOWW.

Every clue seems to raise more questions. I'd love to get people's thoughts as I may be spiraling here.

One thing I am sure of? Susan Triad is not the one in control

[wxywardsun]

My favorite thing in red dead redemption and red dead online is how the characters are HUMAN! Not just in the way they are,but in their appearances too! They have wrinkles,they have scars and smile lines and gray hair,the works. Sean is missing a tooth (albeit through a painful situation),one of Molly’s teeth in the front is slightly bigger than the other,Dutch has forehead wrinkles,Maggie in red dead online has a blind eye and a huge burn scar,a lot of the characters have crows feet too! They’re all SO human and I love red dead for that!! It’s a beautiful game with details that are still being found all these years later but the details in the characters by far are my favorite

[inhonoredglory]

The Susan twist isn't over!!

She's the Doctor's child. Dad a postman? Mom a dinner lady? That's TenRose coding 👀

She's the Meta-Crisis Tenth Doctor and Rose Tyler's kid crossing dimensions and scattering herself in time and space.

Just like her mother.

[mwagneto]

"susan twist" is such an insane name for a doctor who actor (especially considering her role) im half convinced they cast her specifically because of the name

[intuitive-revelations]

I don't know if I'm excited or frustrated at the 'future children' angle for Susan's origin. On one hand... I'm very interested in the possible links to the likes of Miranda, the Other etc.

On the other hand... ok confession time: This may make me a minority in the fandom, but I actually really dislike the 80s-90s retcons of Susan's origin. (Birth of a Renegade, Lungbarrow etc.)

I kinda just like her and the Doctor being some of the last surviving members of what was once a family on Gallifrey. I find the mystery and tragedy of what happened on Gallifrey, with implied student uprisings and political assassinations, far more intriguing than any twists saying "actually she's not really his granddaughter". Fortunately, some things can be canonwelded into that (eg. Susan really could be also related to the president / descended from Rassilon), but stuff that actually gives her an origin elsewhere is always a pain.

Idk. I just see once being a parent (and losing it all tragically) as such a crucial part of the Doctor's background and Susan fits very well into that as far as I'm concerned. Anything disconnecting her from that, or worse erasing it completely, ultimately damages what I find to be one of the most compelling things about the Doctor and Susan. :/

The few posts I've already seen talking about this suggests this is an unpopular opinion, but I'd be interested to know what people think, and if they agree or disagree...

[jessmalia]

Don't know if this take is controversial or not, but I think Edmund is genuinely the best person of the siblings and I think that him making the biggest mistake so young is the main if not sole reason why.

Because his misdeed was so big (in consequences not intent) he went through all that turmoil and learned all those lessons, that the majority of people have spread out over their entire lives, all at once. He deals with all his flaws right away, while his siblings, who are viewed as good and well behaved people from a young age, have their flaws slowly start to show themselves and cause problems as they get older, leaving them unprepared for how to handle them.

[bismuth-209]

Has anyone else noticed how Ruby does not have a dad?

They have been going on and on about her birth mum. And maybe, in Church on Ruby Road there's a mention they don't know who her parents are. I don't actually recall. Pretty sure that's it though, in terms of references to her father. (Happy to be corrected if i'm misremembering)

But since then? It's Ruby's mum this, Ruby's mum that. Especially in the last episode I found it,, noticeable how everyone seemed to be ignoring that it typically takes two to tango.

Jazz is about the notes you don't play or something

But also looking at Ruby's lived experience, not just how she came to be

Carla (Ruby's real mum imo) mentions in, i think 73 yards, she's never had a boyfriend/male partner. She has had a girlfriend during Ruby's childhood, which to me makes the lack of stepfather all the more noticeable

Cherry supposedly had a husband named Desmond Sunday. This is what the tardis wiki told me, without any direction for a source, i'm guessing a novelisation? If anyone knows more about Desmond Sunday I'd be interested to know if he ever meets Ruby. Because I'm guessing they don't meet, and her life has just been entirely void of anything resembling a father figure forever.

Like. it feels as though there's big neon signs telling you to go left. Go left, investigate the mystery of Ruby's mom. There's nothing for you if you go right. Nope, nothing interesting here. Literally nothing.

It's like a perception filter almost. Not technically invisible but you're just urged to glaze your eyes over.

[roxannepolice]

I think TEOD really put a cherry on top of the s14's theme of patterns, intentions and validity (for lack of a better word). No, your uncanny valley adventure has nothing to do with saving the world from an evil Welsh fairy turned pm. No, your fifteen year old dramatic mom wasn't transdimensionally pointing out a threat bc she's actually an eldritch horror herself. But the fact that your mind made it up? Is how you give life meaning! The meaning isn't objectively there, but assigning it is literally the only thing that can stop death itself.

Sometimes Paul McCartney really did just take off his shoes bc it was too hot. But that's fine, because you've had your fun analysing a brilliant album cover.

Unless the patterns regard creepy late-middle-age ladies and dogs. Then that's NOT fine.

[fallingskiesandrisingseas]

Today, Peter Pevensie after Narnia.

---------------------------------------------------

Peter has severe body dysmorphia when he comes back.

He used to be strong, reliable. Able to pick up his sister with one hand and fence with the other one. He prided himself on it, had arm wrestling contests with minotaurs and centaurs.

The first time he walks down the stairs he falls flat on his face. He's not used to his legs being half a foot shorter than they used to be.

His teachers don't understand how he turned into such a mess. He was normal, right? He was normal before he was sent away?

They talk of the way war hurts young children. They don't know just how true that is.

Peter cannot find his scars anymore. His body is soft, the skin unbroken. It fosters a rage in him so loud that teachers have to scold him every week. He fights with class bullies all the time. They gang up on him. They usually lose. They eventually stop trying.

Peter fights with honour, though. Closed fists, never below the belt, no permanent damage. If he gets the chance he will even take off his lion rings.

Long nights crying are replaced by sessions in the gym. Peter has pride like a wounded lion, will not let himself be pushed around. He gets used to his new body, makes it strong. Others worry over this obsession with strenght.

His siblings know it is because he has to regain an identity all by himself. Sure, they were royalty too, but he was the High King, Commander of the Armies, Emperor of the Lone Islands. He was the face of their court, the man behind the flag.

Others brought more back from Narnia then he did. Lucy has dancing, Edmund has chess, Susan has diplomacy and her silver tongue.

Peter had his crown, his country, his duties and his sword. Peter, even when stranded on a lone island, always had his wit and his strenght.

All that is lost in England, where he is not allowed to speak before his father, where he no longer has authority. He has to respect teachers talking about war while he knows they never fought.

He sits in the front of class still. He learns to hide the snarl, the comeback, the lazy sarcasm that fits a High King but not a 14 year old kid. Stops challenging his teachers verbally. He adjusts. His curiosity never leaves him, and his manners, he reminds himself, shouldn't neither.

He's cunning and clever and articulates himself well. Teachers often feel the need to call him arrogant, but he isn't that.

He's confident and secure, doesn't seem to suffer from teenage angst. He has endured loss, that they know. But they haven't a clue what he lost.

Peter is insufferable for the first 2 months he comes back from Caspian's Narnia. A kingdom, gone. Even with Aslan's words this is a hard lesson.

Then he becomes a man no one knew he could be.

Peter doesn't back down from bullies or harsh teachers. Peter doesn't ask for justice, he demands it.

Peter is brave. Two weeks after he's back, he sees a vet begging in the streets, harassed by a group of young men. He jumps in, comes home with a tooth missing and his knuckles bloodied.

When the vet is admitted to the hospital, no one believes the stories he tells. He says he saw a 15-year old veteran. The look in his eyes gave it away, he assures his physicians. That's a war look.

Peter is much more aware than he seems, can burn right through you with his glares. He takes critique seriously, but doesn't do well with disrespect, no matter who it's from.

Teachers hate that.

Despite this, kids like Peter, eventually. He's popular. Adults listen to him, which is strange. Not many 14 year old kids can command a room the way he can. They gravitate towards him, somehow.

It helps he grows tall faster than seems possible and walks so straight that it adds inches to his height. It helps he tells stories so vividly they almost come alive before their eyes. It helps he is cool under pressure, self-assured, broadshouldered. He's pious, goes to church every Sunday.

Peter settles eventually, a little slower than Susan and Edmund but before Lucy. He discovers the fencing club and immediately becomes the most talented member by a distance. Three weeks after he joins he beats the instructor. It makes him easier to manage, takes the edge of him.

He likes to quip while fencing. It's sometimes quite dark.

He's helpful though. His classmates don't take offence; Peter tells often and gladly of his instructor, a man named Oreius. He makes it sound like he was the greatest fencer in the country, always calls him "swordmaster".

He's often archaic with his speech like that.

His teachers are glad that the anger has faded. He's become better at many things, they discuss among themselves. An excellent writer, a brilliant fencer. A very strong debater. Peter, they conclude, makes sure things get done. The makings of a leader.

Peter likes languages. He's the one that remembers Narnian the best, uses it to learn a few other tongues. He likes sailing, and riding horses. His academic performances always improve after physical exercise, he can feel his brain speed up when the blood is flowing. Stories about who taught him that, who taught ALL the Pevensies that, circulate widly. Peter smiles when he hears he must've been recruited by MI6. He doesn't fight the allegations.

Women take a liking to him as he ages. He has "old-time charm", they say, even though they don't understand exactly what that means.

Chivalrous. That's the word they look for often. When they find out he can dance too, all of them fall head over heels. Peter is never smug about it, always remains polite. He doesn't kiss and tell.

He talks to his sisters and brother often.

Edmund seems like his shadow, but Peter never treats him like a little brother. He respects his input, often asks him for advice. Many are astonished when they find out Edmund is only 11 years old. They don't bicker. He dances with Lucy, talks deeply and seriously with Susan.

The Pevensies are close, and Peter is the oldest brother. He behaves like that, too.

He is the first to sign up for the war effort, eager to defend his nation and his family. But despite doing very well in selection, he doesn't get a frontline position. His skills, his supervisors decide, are better put to use elsewhere. He's too good to be cannon fodder.

Lucy and Edmund are secretely somewhat glad when he leaves to work with Susan in the States after he turns 19. Getting a date is very hard when Peter Pevensie is your older brother. And the States are safe.

Potential partners tend to be a little ... intimidated around him. Golden child, blond hair, 6"3, built like a brick, VERY protective of them, and fencing champion; Peter is a lot. He's disarming when you get to know him, but still.

They never liked Peter in the front lines, anyway.

Narnia never leaves his mind. Back from America with a BA in History and work experience from a secret service, he has dinner with the Friends of Narnia, sees the spectre, goes to find the rings.

He dies happy.

[dandelionjack]

how much more obvious can they get? the foreshadowing is practically plain text now. it’s all been cosplay — a game, a LARP, a parody of the doctor’s life and adventures. the TV signals of the show “Doctor Who” beam out across the stars and everybody wants to watch. everybody wants to feast their eyes on the drama and outrage and tragedy. everybody wants to play, and it’s almost time for the season finale!

bonus — Ruby peering through the bookshelves at the Bridgerton-esque scandal unfolding in front of her, almost exactly as if she were watching the events through a screen:

there it is. the Doctor has been unwittingly trapped in a TV show since god knows when (The Church on Ruby Road? maybe even Wild Blue Yonder?). Susan Twist is a recurring extra, or the showrunner, or the director, or a member of the crew trying to warn them by repeatedly appearing in the simulation.

the TV show is called The Legend of Ruby Sunday. and what a game we are playing, what a wonderful, wonderful game

[siriusblack-the-third]

Matching Misfortunes: Peter Pevensie

I binged read and watched the Narnia books and films, and idk what possessed me but I wrote. so. Let's go. Please check out the other parts for the other siblings!

.

Peter’s skin itches.

He heaves even breaths through his nose as he leans back to avoid the sloppy punch Easton throws at him, and stops himself from going for the throat for the third time in half as many seconds.

This is the fourth fight he has gotten himself dragged into since term began on Monday. It is Wednesday today, and Peter’s blood pounds in his ears, through his limbs and his flexing fingers as he holds back; doesn’t hit hard, doesn’t go for the liver or the heart or the head, does not give into the bloodlust that whispers siren songs of battle and blood-covered blades in his ears. He stops himself, clenching his fists and dodging the abysmal hits from the three boys that surround him, and refuses to lift a hand against these insolent children.

He is a King.

He is a boy stuck in a schoolyard brawl he did not start.

Peter’s skin itches.

He wants to claw it off— he imagines that this is what snakes must feel when their body gets much too big for their scales, and they have to go through the painful process of shedding their outer layer and come out stronger and larger. He suppresses a grim twist of his lips as he kicks out— harmlessly, wrestling against the lust that sings a song of death in his ears— at that idiot Michael’s knee to send him sprawling to the ground with a yelp, and thinks that what he went through was rather the opposite, really. He grew up, and then was forced into a body too unfamiliar, too awkward, too inexperienced. Too young.

He was a King.

He is a boy stuck in a body too unscarred to be a King’s.

Kenneth lunges forward to try and grab him around the waist. Peter easily steps out of the way, the part of him that is a seasoned warrior clawing to the forefront of his mind simply to scoff at the graceless flailing of limbs that these children call fighting. Lucy could do better.

Lucy did do better, twelve years ago. Or maybe it was five years ago.

The timelines blur together, in his mind; he can no longer tell whether he is in England or Narnia. He is wearing his school uniform and he is wearing his royal garments, he is walking the halls of Westbrook County Boarding School and he is walking the halls of Cair Paravel. He holds the blunted school practice broadsword in his hand and he holds the razor-sharp Rhindon in his calloused hands, he is a boy and he is a King.

“Fight back,” Easton snarls, dark brown hair falling out of its previously carefully styled place, and Peter thinks of how he has seen scarier Mice dig their teeth into the throats of Minotaurs and suck them dry of blood. He blinks, and the image of him sinking his own teeth into Easton’s throat flashes across his mind’s eye. He blinks again, and he’s back on this makeshift battleground where the mice are gone and his sword is gone and he is in clothes too uncomfortable and the skin is stretched taut over a body that is not really his—

“Fight back, Pevensie, you coward!”

High King Peter the Magnificent of Narnia, Commander of the Armies, Emperor of the Lone Islands, the Lionheart Warrior King, Protector of the People, wants to grab him by the throat and shatter his jaw into a thousand pieces for that grave insult upon his character. Instead, he laughs in his face and sticks out his tongue, like a small child.

He is nineteen, and he is thirty-three. He is not a child, in either world.

Sometimes, he wishes he was. Sometimes, he wishes he was thirteen and in his mother’s home, he wishes he had never left for Professor Diggory’s mansion.

Most times, however, he wishes for something he has almost given up hope for, something he was forced to give up five and a half years ago. He wishes, oh so dearly, for a faithful sword made of mithril in his hand and a heavy crown woven out of golden flowers on his head. He wishes for one last chance to step out of this world that was once his but no longer is, and into a world where he was once High King Peter the Magnificent, Commander of the Armies, Emperor of the Lone Islands, the Lionheart Warrior King, First of the Beloved Four, Protector of the Narnian People.

Easton yells as he lumbers forward, and Peter, too embroiled in old memories of running his fingers through the unicorn Ethrys’ snow-white mane while galloping through grassy fields, does not see the punch coming until it is too late. The loud smack of knuckles against flesh echoes through the school courtyard, and the impact of the heavy fist on his cheek is like an electric shock to his senses.

For a second, he blinks dazedly. And then his brain registers it properly. The pain flares, and with it so does blinding hot bloodlust.

‘Fine,’ he thinks as he lifts a hand to wrap his fingers around Easton’s forearm in a death grip, a high-pitched whistle echoing in his ears and red creeping into the edges of his vision as it zeroes in on the many weaknesses in the three boys’ defenses. ‘You want a fight? You’ll get one.’

It takes him four seconds to get the three imbeciles on their backs, one howling in pain from a dislocated shoulder, the other because of a broken nose and the third from a bruised kidney. His fingers flex around the hilt of a sword that he no longer owns, and he reminds himself that he is not allowed to kill, not in this world where he is not a King and does not lead wars.

He stares down at Easton, the image of a blood covered sword and a slain warrior at his feet flashing behind his eyelids when he blinks. He opens his eyes and the boy stares back, hand clutching his shoulder and face becoming paler and paler the longer Peter holds his terrified brown gaze.

“Don’t bother me again,” he says flatly to the three of them, and turns away, ignoring the teachers that are hurrying across the lawn with yells of his name tumbling from their lips. He lifts his gaze and locks it with Edmund’s for a second, brilliant blue meeting identical brilliant blue, before both of them turn away. One royal brother melts into the crowd of students without a whisper, and the other stalks off towards the dorms with blood on his ever-bruised knuckles and memories of a different world singing through the veins of a body that is too young for the mind it contains.

He is a King, celebrated and honoured for his services to a hallowed land.

He is a mere boy sitting on the roof of the boarding school, fingers flexing around the hilt of a sword that no longer belongs to him, nothing more than a memory he cannot let go of: a memory he refuses to let go of even after five and a half years.

[imperiuswrecked]

So I was browsing through some of your old posts and one of them mentioned that Namor was r*ped? When did that happen? Would you ever consider writing something that deals with the fallout of that? Hope you're doing well btw

Thank you, I am doing fine, and I hope you are too! CW for Heavy/Dark Themes, Rape, Sexual Assault.

(During the 90s Reed Richards was written out of Fantastic Four comics, and presumed dead by literally everyone in the comic world except for Susan who believed he was still alive. In real world time Reed was gone for years, and this was really unheard of for one of Marvel's important characters because the Fantastic Four were Marvel's big team. So it really looked like Reed wasn't going to come back. I say this to let you know why Reed wasn't around in these comics, and to mention that Susan never cheated on Reed.)

So I was browsing through some of your old posts and one of them mentioned that Namor was r*ped? When did that happen?

Yes, Namor was canonically raped in Namor, the Sub-Mariner (1990) #49-50; Empress Llyra (the shapeshifting half Human/Lemurian woman who poisoned Namora, killed Lady Dorma, and helped Tiger Shark kill Namor's father, and tried killing Namor) shapeshifted into Susan (The Invisible Woman) and raped Namor. The next day Namor finds out that Susan never slept with him and that it was Llyra, he snaps and tries to kill her but is stopped by Susan, and the text is very explicit in saying "There's a word for what she did to me, Susan. Had it been committed against you, would you not feel justified?", and this was confirmed by the writer Glenn Herdling in an interview by Twomorrows Back Issue #91.

Back Issue #91: Namor #50 (May 1994) deals with a touchy subject, as Herdling points out. "My friend Chris Cooper, a former Marvel editor and author of Songs of the Metamythos, recently reminded me that Namor was raped in an issue I wrote. In her attempt to spawn an heir to the throne of Atlantis, Namor's nemesis Llyra seduced him by disguising herself as Sue Richards. Chris asked me if I regretted writing that scene. I told him that I thought it was a powerful story, and if I had to tell it all over again, I wouldn't change a thing. People don't think a strong, virile hero like Namor - who represents the essence of masculinity - could ever be a victim of rape. Namor is a attractive, stalwart individual with a magnetic personality who has always been portrayed as having an insatiable appetite for the fairer sex. When a female adversary takes sexual advantage of such a man, a common reaction is, 'So what?' Sue Richards illustrates this double standard when she demands to know why Namor was in a homicidal rage. Namor retorts, 'If the act had been committed upon you, Susan Richards, it would be called something else.' At the time if I had proposed such a story and the victim had been female, it would have never seen the light of day."

Would you ever consider writing something that deals with the fallout of that?

I have written many scenes that deal with the fallout of Llyra's actions towards Namor, and a have planned a big portion of my fic, Sub-Mariner: Ascension around the 90s and all that happens. Is any of it published on my Ao3 yet? No, but it will be sometime in the future.

Unfortunately I don't have a set date for when I update fics, it depends on my schedule, and my ability/energy to write. I've been struggling a lot with writing lately so I am working on trying to finish my other works before devoting myself back to my Sub-Mariner: Ascension fic as that's really my long time pet project, it's a fic that is more of a novel, or several novels, that chronical Namor's life through the comics but with a more in depth look at his adventures and his character, it's darker at some points than the comics ever go, and deal with a lot of heavy subjects like the above mentioned incident, as well as Namor's time growing up, his time in the war, with each team he's been on, and each loss he's endured. It's supposed to flesh out and connect a lot of threads that the comics never pick up on while including new original elements. I did commission a fanart of for this too, and I hope over time to commission more arts for this story, as well as finish writing it.

I have toyed with several ideas of a stand alone fics that covers what happened to Namor, this time and other instances*, but I was never sure if anyone would be interested in dark fics that has heavy angst/whump as well as dealing with this topic for Namor.

*This also isn't the first time Namor was raped, or sexually assaulted, however it's always played off, never spoken of again, or turned into "well he wanted it".

The first time a shapeshifter seduced and tricked Namor into sexual relations was in The Defenders (1972) #93; The dead Lady Dorma seemingly comes back to life and places a spell/mind control on Namor to do her bidding and attack the surface world. The Defenders figure out something is wrong with Namor and "Dorma" reveals herself as Nebulon, The Celestial Man. He was recurring enemy of The Defenders, and when Namor finds out that "Lady Dorma" was Nebulon he fights him and says, "You have violated my very consciousness, Nebulon -- defiled the memory of the fairest creature I have ever known! You have used me scum -- and The Sub-Mariner is not lightly used!" -- "When I think that I... held you in my arms -- let my lips brush yours... I am sickened."

(So while Herdling thinks he's written this happening to Namor for the first time, it's not, however Herdling does point out in no uncertain terms what it is. Which is a far better writing than what Johnny Storm (The Human Torch) got stuck with. It's actually so interesting that both Namor & Johnny got a story arc about a green skinned shape-shifter Llyra & Lyja who takes on the shape of other women to trick the men into sleeping with or marrying them only for the truth to come out. In fact Namor in these issues even thinks it's Lyja who raped him before figuring out it's Llyra.

While Namor got to say what happened to him was rape, Johnny doesn't. Johnny gets made fun of for Lyja. More about this subject in this post by @/ Traincat) )

Marvel Comics Presents (1988) #58 - Just an issue ago Namor was thinking suicidal thoughts over losing his wife, Marrina, and gets roped into helping some humans. Sandra touches and kisses Namor thinking that him being annoyed by her is just a front for unresolved sexual tension between them, but Namor rebuffs her and tells her that his affections are not so easily won. Later a mysterious old man tells Namor he needs to relax and to appreciate the pleasures life offers him.

Basically the comic dismisses Namor being uncomfortable with a strange woman who came onto him, and tells him he needs to enjoy himself. Nothing romantic happens between Namor & Sandra in later comics.

Namor, the Sub-Mariner (1990) Annual 3 - Namor is visiting a friend in Tokyo, and the friend's (wife? girlfriend? text just says woman) woman comes to Namor in the middle of the night seeking to sleep with him. He tells her this is improper, and she leaves, she returns more dressed, and seduces Namor again, against his protests, touching, kissing him, before a panel shows Namor giving in. It's later revealed the woman is a cyborg assassin.

The framing of this pretty much shows how uncomfortable Namor is with the whole situation.

Namor, the Sub-Mariner (1990) #36 - The Neried seek to seduce Namor by shifting their forms to look like Lady Dorma & Marrina, his dead wives, but he rejects him, and just like in The Defenders, he is enraged someone would take on the forms of women he loved so deeply and dearly.

The Invaders (1975) Annual 1 - The Shark, knocks Namor out, ties him up, changes his clothing to steal his speedos. While it's played for comedic effect, this isn't the first or last time a villain has tied Namor up, but I make special mention of this because of the fact that at one point while unconscious Namor was stripped naked against his will.

Villains often admire Namor's body, and remark on it. Honestly the amount of times Namor's been tied up, abused, experimented on, etc. happens so many times that it'd need it's own post.

One more I'd like to mention because of the implications is Dark X-Men: The Beginning #1 - Norman wants Namor on his side, and has a talk with Namor while he's in the shower (full comic) and while Namor definitely has the strength to defend himself, this is more of a psychological play by Norman, talking to a person while they are naked is a very vulnerable moment, the hand touch, etc. Norman knows he can't control Namor through brute strength so he positions himself in a way that gives him power over Namor while also offering Namor things he wants, a mention of how he can give Namor a place to belong, with Emma, a home on his team.

As many Namor fans know, Namor does not like to be touched without consent, even if its a tap on the shoulder, and while the comics have often implied it's because Namor is royal, he's arrogant, he doesn't want peasant hands to touch him, etc. honestly I personally just headcanon that after years of people touching him when he doesn't want to be touched he's just put up a wall of arrogance to defend himself from further molestation. It wouldn't be too far fetched to think so because even as a kid he was (physically & verbally abused) by his grandfather (Namor: The First Mutant (2010) #4), beat up by other Atlantean kids, etc. so why would he want people he doesn't trust touching him. He's unclothed a lot, and people think that means it's ok to touch when it's not. Even when it's just a person he knows, he doesn't like it.

Defenders (2001) #7

I know this is a long reply, but it's just a subject that I don't think gets discussed enough tbh. Also to make one final point is bringing this back to what Herdling said in his interview: When a female adversary takes sexual advantage of such a man, a common reaction is, 'So what?'

While I'm not a fan of Herdling's writing, his run on Namor, the Sub-Mariner (1990) had so many issues with plot, etc. I do think he makes an interesting point in this interview (that took place in 2016? I think) about the double standard male characters face when it comes to Rape, Sexual Assault, and on another note Domestic Abuse, or any time of crime that we typically associate with men doing to women, how there's a general lack of care. It's turned into a joke when a woman abuses a man, or how the man is treated as something less if he doesn't perform masculinity to societies standards. Namor + Masculinity is a topic that could be discussed further, because he is one of the characters that many people think has toxic masculinity but they just haven't read his comics. While Namor definitely has some bad qualities, he's also very confident in himself and his masculinity, so by Herdling not shying away from the subject that "yes, Namor was raped, no I don't regret writing it", it's so interesting. A lot of creators often just shy away from confirming anything or try to defend their choice to have a male character raped/sexually assaulted, or excuse it, or ignore it, or make fun of it, or blame the male character. ESPICALLY when a character is, like Namor, a lover, a flirt, probably promiscuous, they are blamed for what women do to them. One example that drives me so insane is Gambit. I'll put the rest under a cut since it's more graphic than what I've shared so far, and further down I analyze Namor, the Sub-Mariner (1990) #49-50 in more depth.

I think the only male character who's depiction of rape (twice) is actually done differently and not brushed off or treated as a joke is Captain Britain. (Of course there's probably other stories out there with other characters but I'm just going off what I know in the big 2, Marvel & DC comics). You can read this post that goes more into Brian's experiences by @/ Thisiswhatwereupagainst.

CW for Heavy/Dark Themes, Rape, Sexual Assault, Incestuous implications.

If you haven't read X-Men (1991) #171-173, then I'd warn you about how bad the writing is; a student, Foxx, propositions Gambit, comes onto him while he's in the shower, he rejects her. He's blamed for taking advantage of a student (why do characters think the worst of Remy, he's not a bad guy!), then he finds out Foxx is actually Mystique who claims to want to sleep with Remy for the sake of her daughter. He rejects her again, but doesn't tell anyone about it, and when it gets out that it's Mystique then Rogue is mad at Remy for keeping it a secret. The sexual assault isn't ever brought up again and is ignored, but again it was framed as "Remy is a sexual dude, he would be ok with it, besides who cares?" Just because a character is promiscuous doesn't mean they want/deserve something like this to happen to them.

Both Namor and Remy are seen as charming, they get the girls, "so what if they are subject to unwanted attention? They should enjoy it..."

It doesn't help that both Remy & Namor have had moments of queer writing, with Remy & Namor nearly being made Bisexual/Gay, (Namor's was in an AU) but they were barred from being canon lgbtq characters in Marvel by the bosses, even though there are times throughout their 616 comics where you can interpret them as not just cis straight men.

--- At the time if I had proposed such a story and the victim had been female, it would have never seen the light of day."

Nightwing (1996) #93 - Nightwing is raped while in an emotionally compromised state, but if he had been a woman would that issue have seen the light of day?

Wonder Woman (1987) #214 - The Flash (Wally West) is beaten and sexually assaulted by Cheetah.

He's a married man, but Cheetah calls him lover as she beats him, and is about to rape him before she's stopped. If it was reversed would this have been allowed to see the light of day?

Flash brushes off this experience.

I'm not saying that women in comics haven't been raped or assaulted but I'm just pointing to a few examples of how differently male vs female characters are treated, "because it's not acceptable for it to have happened to a woman but it's ok for a man" Herdling basically says.

A more in depth look at Namor, the Sub-Mariner (1990) #48-49.

First off the cover is just Bad. Like really bad, like "What on earth possessed you to make THAT cover?!" The theme of one man with a haram of sexy ladies isn't unheard of, that's not why it's bad though I do side eye it anyways, but the reason it's bad is because of who the women are.

Andromeda - Namor's friend, a proud a fierce Atlantean warrior, the daughter of Attuma, who has Namor's trust and confidence. Namor appointed her as Peacelord, she's basically become the captain of Namor's guard. While Andromeda has/had a crush Namor, nothing ever came of it and Namor never viewed her in a romantic light, only as a friend.

Marrina - Namor's second wife, they were happily married for a short time before Marrina turned into a sea monster, she breifely turns back into herself only to beg Namor to promise to end her life so that she no longer harms anyone else, and Namor honors her wish after she turns back into a sea monster, killing her with a magic sword. It makes sense for her to be on the cover.

Princess Fen - Namor's mother. Yes. His mother. Do I need to say more? Like why the fuck would you put Namor's MOM in a sexy lady Haram group shot with a title card that reads "Haunted by memories of lost love!" we know the writer intended romantic love, not platonic or familial love. Namor & his mom have never had an incestuous relationship ever.

Lady Dorma - Namor's first wife, who was murdered by Empress Llyra. He loved her very much. (I know people will always point out that Dorma was Namor's "cousin" but honestly the comics never state they are blood/close cousins, only a loose term of "cousins", Dorma was a Lady of the Altantean Court, a noble family.) They grew up as friends in court, and she was one of the only people who treated Namor kindly, and he doesn't even realize his true feelings for her until they are both adults. It makes sense for her to be on the cover.

Namorita - Namor's younger cousin. While I know there's people who will point out that Nita had a crush on Namor when she first knew who he was, I will also point out that Nita was like 16 years old, a stupid horny teenager who was raised alone (and probably abused) in the court of Empress Llyra after Llyra poisoned her mother, and Namor was the first person to defend her when she needed it, AND I will also point out her "crush" lasted barely a comic before she found a cute human sailor boy her age to crush on instead. Namor's only ever treated her like a little sister and again not in an incestuous manner. So again, why do we have her in a sexual position here?

Susan Richards - a married woman who long ago told Namor she doesn't love him several times, the Namor/Sue ship was dead in the water, and Namor had moved on from his infatuation, and was married twice. He never had his feelings reciprocated. I understand why she's on the cover but I just don't like it. lol.

The comic promises to dive into Namor's lost romances of the past, but out of all the women featured here the only 2 who loved Namor & he returned their love were Marrina & Dorma. For Andromeda it was a one sided crush on her end, and for Susan it was a unhealthy obsessive infatuation on Namor's end. It really feels like they just wanted to have sexy ladies on the cover and that's why its framed this way. Furthermore Namor is chained to the bed, while his arm is around Lady Dorma, he is staring blankly past everyone.

Namor is haunted by nightmares of losing his mother, of the Witch-Queen Artys-Gran, and of his dead wives.

He awakens and learns he's in a decompression chamber to stablize him. Susan and Namor talk about their lost spouses, and rekindle their friendship. However nothing romantic has happened between them. Later in the comic Namor is in bed, reading a book, at Oracle Inc. the company that he owns and runs, he has personal rooms, and a private pool, because he was living there most of the time, when a mysterious shrouded female figure enters in a short robe.

The comic ends in a cliff hanger, and the next comic it's revealed that it was Susan (Storm) Richards. Or is it?

The cover shows Namor kissing Susan while Johnny, Ben, and Lyja look on in shock and horror. The tagline on the inner splash page reads "Someone's been sleeping in my bed".

Namor and Susan get dressed for the day while discussing what happened last night. Namor feels uneasy but doesn't know why.

Namor goes off to his company for a meeting before going to Hydrobase to speak with Andromeda, and the off to see Nita who gives him some advice about dating, a tux, and flowers. Namor's happy but nervous, however when he gets to Fantastic Four and gives the flowers to Susan, Susan is confused and angrily snaps at Namor for touching her.

Ben punches Namor, everyone thinks Namor is trying to make a sleazy move on Susan for some reason, and while Namor's trying to explain and say it's between him and Susan, still believing that she was with him last night, all four of them battle, in the end Lyja shapeshifts into a monster to join the fight, and Namor seeing her change her form realizes that it wasn't Susan who slept with him last night. Mistakenly he believes that Lyja was the woman who came to him last night and attacks her. However he realizes it's not her, but that it was another shapeshifter. He leaves the Fantastic Four, and they follow.

Phoebe Marrs, an employee who took over running Oracle, and a recurring character from the series (earlier on in the series it was implied that her son's father was her twin brother Desmond, and Desmond died by suicide, however she's been seeing his "ghost") Namor figures out that the "ghost" is real, and it was a shapeshifter, his theory is right and it's revealed that Llyra has been around for ages posing as both Desmond and Phoebe on occasion. Also Llyra (as Phoebe) slept with both Jim Hammond (earlier in the series Jim thought he was sleeping with Phoebe who came onto him, so he was shocked to learn that it was Llyra, so she had raped him as she had Namor), and Leon McKenzie (*sigh* a secret son of Leonard McKenzie/his second wife, who then had a son named Leon, who would be Namor's nephew and works at Oracle, no one cares or remembers him).

At this reveal and the realization that he slept with his most hated enemy, again the woman who has poisoned his cousin Namora, who killed Lady Dorma, and helped kill his father, a woman he despises. A woman who since day 1 has wanted Namor romantically even though he never wanted her in that way. A woman Namor has vowed to kill in revenge for Dorma's death. Llyra raped him because he would have never slept with her if he knew. He snapped, and tries to kill her, and demands to know "why?", and Llyra spits on him as an answer. Namor tries to kill her, but is stopped by Susan. His hurt, his pain, his abuse, his rape is met with a "so what?" "no matter what she did to you, you can't kill her". Namor can't kill his rapist because Susan says he can't. Llyra then says he can't because she is pregnant with his child (She's not, it's Leon's child) and Namor is shocked, he lets her go, calls her a sick woman, Namor chooses not to press charges against Llyra and let's her go.

Then Namor loses it, like he starts laughing manically, and it makes the Fantastic Four uncomfortable so they just leave. Namor doesn't tell the rest of the Fantastic Four that he is sterile (this has since been retconned), and he can't have children, so he doesn't believe Llyra is pregnant with his child.

Later Susan shows up to check up on Namor, and he tells her he wanted to be alone with his shame, and they discuss how they could never be.

Then for some stupid reason Herdling has Susan and Namor kiss. It makes no sense, but Herdling liked the idea of Namor/Sue, but though the writer wanted, he knew he couldn't go further than a kiss. (Back Issue interview) I suppose people could look at it as a "a comfort/pity kiss" but honestly I hate the Namor/Sue ship too much to see it as anything but a writer's ship preference. People point to it to say Susan cheated on Reed by kissing Namor (this is the ONE time this happens) but at this point in the comics Reed is "dead". I hate when people try to say Susan is a cheating slut so it feels so disingenuous to say this was a kiss made of love or lust or whatever, instead of acknowledging that the writer really wanted to get a Namor/Sue kiss in.

Personally I think the issue of what happened to Namor is very overlooked by fans and creators, that Namor is a victim of rape, and how although it is acknowledged in it's moment, people still don't give it the gravitas it deserved, especially for a character like Namor. True this comic didn't brush off or ignore what Llyra did to Namor, but by the end of it, the Namor/Sue kiss, it really does feel like "ok, Namor is a little sad but he's ok once Susan REALLY gave him a kiss" so it does feel like the writer brushed off the effects of his abuse.

What's more, why? why would Namor ever feel comfortable kissing Susan when her likeness was used to hurt him? Why would be ok with any physical touch or sex or kissing when just a day before he was raped? Again, comics do not handle the fall out of rape well at all.

Now with Aaron writing Namor, and underwater politics, and a war for the Atlantean throne, I suppose we'll see if Llyra will ever return to make a play for the throne that she wants so badly, but I won't be surprised if Aaron doesn't ever use Llyra, because then he'd have to actually write about Namor confronting his rapist after Namor left Llyra to die in Fantastic Four Unlimited (1993) #11 (she survived somehow of course, but she hasn't interacted with Namor since.)

Anyways like Namor's canon PTSD, we won't get much depth into heavy subject matter and deeper characterization unless a good writer really wants to write it. And that's the full story of Namor's rape in Namor, the Sub-Mariner (1990) #49-50.

[bring-cringe-back]

Okay I might just be reading too much into this. But while I was watching the episode *cough cough* procrastinating *cough cough I realised that they don't show how the Doctor and Ruby got there.

And I know that it's probably just meant to be vaguely like 'they just went for fun'.

BUT this is the third episode in a row where we haven't seen them arrive. And for 73 yards it was clearly a doctor who episode when it started but it immediately gets rid of the doctor. ( I know that for 73 yards and for dot and bubble it was because Ncuti Gatwa was filming other stuff but let me cook) In Dot and Bubble you could effectively be forgiven for assuming that it was a random Black Mirror episode or something similar until the Doctor turns up, and tbh if you were just flicking through channels and haven't been watching Doctor Who you could probably basically not know for much longer. In Rogue they are just there, except for the title screen (the same for dot and bubble) you could basically watch it as a Bridgerton episode until the Chuldur turn up.

(And there's whole other rant about how the Chuldur fits into the theory about this basically being a TV show within a TV show, I don't know the name for this theory)

But anyway these episodes are increasingly separated from the Doctor and Ruby as plot points particularly in the beginning of episodes. They are more and more like an excuse to tell the story or explore the topic that the writers want to explore. Which isn't totally different from the occasional episode of previous series, but this is a lot more in my memory at least from previous series. So it feels a lot like they are skimming over the more sci-fi doctor who elements. Which fits in in my mind to the idea that the 'One who waits' is a representation of story telling. I've seen theories that it's Ruby but she doesn't know it which makes sense, I think it would also make sense for it to be her parent(s) who left her, or alternatively just it's own thing all together. But it feels very like that bit where Amy is living a life and starts to realise it's all fake.

The narrowing down of these episodes into not showing them arriving, and at least in Rogue - I can't remember in the others - not showing them leaving the story, feels very different.

It feels more and more like story telling. They have covered fairy tales, Period pieces/Romance, Dystopia, War/SciFi, Musicals, Political Drama. They are also showing the doctor playing his role, something that we see companions doing often enough but we seldom see the doctor doing it.

In Space Babies he is scared of a new creature. In the Devil's Code he sings a song that makes little sense in the story, he doesn't question the road making noise. In Boom he's more himself but it's also the closes to his 'normal' environment. In 73 Yards they just fully remove him from the story, which I realise was done for filming requirements but would have been so interesting to see the doctor in a Political drama. In Dot and Bubble he plays the role of the outsider bringing information to those living under a Dystopia, how is he UNABLE to access the inside, sure he plays a role that's fairly similar to himself but Doctor Who is really Dystopian.

In Rogue he is becoming more and more his role, he is playing the role of a sort of Elizabeth Bennet style character, a strong romantic interest for the brooding man. Which is great, he makes fun of the genre, but he is hyper aware of the genre and still ends up in its pitfalls. He trusts a man so quickly he ends up handing over his sonic, he gets proposed to and basically immediately accepts. Now I am really hoping that Rogue gets to stay around I really liked him as a character, regardless of which theory of his identity if any are true. But the Doctors reaction to him is still a little out of character, he is feeling what he is SUPPOSED to feel and he is acting how he is SUPPOSED to act.

It just feels to me like an increasing number of these episodes are more and more story like and more and more separated from the more Doctor Who elements. And the lack of an introduction of how they get there, and the lack of them leaving in the TARDIS is so unusual to me and stands out to my brain so much.

It feels like they are removing elements that don't fit the genre. Anyway not sure if that makes any sense but I'm vibing with it.