#the bullshit is very real

[sortanonymous]

Goddamnit.

So just to start, at least this was another serviceable Phoenix finale, even if we shouldn't be here for the finale! It was awesome seeing Truex going out up front for all of about one stage in that beautiful throwback scheme! Okay, now time for the word vomit.

I could go off on this system, but I know for sure that people way more talented than me are going to talk about that way better over the next few weeks. So I'll just say this. The playoffs may be a historically bad system, but it's a system that none of the drivers make and all of them have to play by, and Logano arguably plays by them better than everyone else. Just like how Jimmie ran with the Chase format, Gordon and Earnhardt excelled under the Winston Cup format, and the Petty's somehow won under whatever the hell NASCAR was smoking before that. I'm not even saying Logano's nearly as great as them (especially since this run was so lucky and Mickey Mousey even by playoff standards), but he's perfected playing by his system just as they did with theirs, no matter how much better their systems were. (Except for the pre-Latford systems, those were fucking terrifying.) This playoff format should have been torn down years ago and NASCAR is only hurting itself by keeping it around, but for as long as it's still shifting along, everyone has to win under it. And I think I'm done doubting Logano can do just that until he's written every last signature on his retirement papers, at least in even-numbered years anyway.

And hey, it could have been worse. It could have been Byron and Chevy. I'd rather see a driver win far and square under a crappy-ass system than a driver benefit off (his manufacturer) using the crappy-ass system to manipulate their way into a title. At least that's how I see it.

[theywontletmebeprincipal]

“[splatterpunk movie] is just a legal snuff film!” i djont think you know what a snuff film is .

[demadogs]

some of you need to hate ai way more than you currently do

[gods-perfect-idiots]

something something blood-soaked hands cradling your face something something

anyway here's the post btw

[stop-breaking-my-heart-telltale]

I think for all the discussions we have of "everyone hears the jokes and the piano; after that, they stop listening" surrounding Louis, we tend to still simplify his connection to the piano.

Yes, it's very cute that he sings Clementine a little song when they first meet, and it's very cute that he plays a little prank on her while "tuning" the piano. It's super cute that they carve their initials into the piano and Clementine carves a heart around them. It's mega cute that he names his song he wrote after her when she confesses her feelings. Louis playing Don't Be Afraid at the party is, in my opinion, one of the best moments in all of TFS.

But here's the thing: That piano is Louis' heart.

I don't mean to go all metaphorical on you, but I'm dead serious—the piano is Louis' heart, and when you think about his arc and his romance route with that in mind...?

That piano is his one comfort in a world where the dead walk. It's been with him from the beginning of the outbreak. We know from his backstory that Louis wanted to take singing lessons so he could be a real musician, and his father denying him of that was what set him off to be a "vindictive fuckhead." Louis never got those singing lessons, and it's a very real possibility that Louis taught himself how to play.

Sure, others could've taught him; we know Minerva was musically talented, perhaps she showed him a thing or two. But learning piano, or any instrument, is brutal even with professional guidance. It takes hours of practice until numbness wears fingertips raw; dedication to memorize every key and finger placement to make music pleasing to the ear; self-discipline to keep going through every fumble, every failure, every single cruel thought of self-doubt; intelligence and a creative ear to write his own songs.

And yet, it's severely under-appreciated by everyone. It's annoying. It's distracting. It's unimportant. It's an excuse for Louis to mess around and not do any real work. He doesn't have any actual talent. The music and the piano are brushed off, unheard.

Yet, Louis keeps playing. He keeps singing. He keeps making jokes.

Creating music, the one thing he wanted so badly as a kid that he destroyed his parents marriage, was possibly the greatest comfort he had... a welcome distraction to disassociate from the horror and death happening around him.

It's bittersweet, like a purpling bruise that you can't stop pressing on; it hurts, but there's something else below the pain. The piano is out of tune and it's something that brings him joy... but will always act as a constant reminder of who he was and what he did, why he's at Ericson to begin with.

We first meet him while he's playing; Louis' heart is exposed, but is it really? Is he playing to his true potential? Louis hides behind the mask of a charming, charismatic goof. It's what is expected of him, so he plays a silly song intended to poke and prod at Clementine, to gauge a reaction. That's something we see him do at multiple points in episode one. In fact, we can consider a majority of episode one to be like the song he's playing when we meet him; it's mostly cheery or fast-paced.

Louis is able to soothe AJ with his "alluring" music after the kid bit Ruby is an indication that the two of them will share a bond. Louis is a natural at communicating and bonding with the younger kids [another talent that's overlooked] so it's interesting that he praises AJ for being a natural at piano, as well.

But the song stutters just a bit when Louis and Clementine are in the woods together, though; "There's only one guarantee: this moment. That's the only you got, only thing any of us got. Might as well enjoy it." ...Only for Louis to compose himself and send her away.

It's only when Clementine has a gun in her face, held by Marlon, that the music isn't fun anymore; it's rainfall and thunder and the words "I thought you were more than that" sung through the wind in a melody only Louis can hear.

Then Marlon's dead. The song is over, and reality has arrived.

I've talked at length about Louis in ep2 and his vote in the past. It's one of the most compelling things about Louis' arc and romantic route. It's a tragic mistake driven by trauma and guilt. It's people simultaneously telling him to shut up and telling him to be angrier than he is. Telling him to stop burying his head in the sand when he's never been more aware of everything happening. It's AJ peering up at him with pleading eyes that Louis can't stand to look at. It's Clementine wrapping his heartstrings around her fingers and tugging just enough to hurt, but not break.

Louis missed Clementine. He says as much when Clementine admits she missed him first. I don't even know where to begin with that! I can think of no other way to describe it other than they are half agony, half hope over this... and if you get that reference, you get a gold star. I just- the ache, the tension, the conflicting feelings of finally having a quiet moment to talk but Louis not being ready yet.

Y'know how someone carved "you suck at playing" in the side of the piano? It's something you might not initially notice while playing the game, just as Louis' insecurities aren't apparent at first.. but they're carved in him; never fully healed, still scabbed and bleeding... Until Clementine offers him a bandage.

She won't clean the wound for him, but she'll be there. She'll help him figure out how to do it himself so he can heal. She'll listen to him, not belittle his feelings or pain. She'll make an effort to know his keys and notes and practice playing his song until she understands.

When Clementine chooses him to spend time with him, it's a mirror of their first time meeting... but this time, Louis plays something real: a song he wrote, one that I believe he crafted during the two week time skip... a song he wrote with Clementine on his mind, for better or worse.

If the piano is Louis' heart, he literally asks her to sit there and try to tune it, which ends up being a joke but I say she's already tuned your heart, my guy. It's there before them, changed in the warm candlelight. He plays for her and opens up about how no one actually listens, but Clementine did.

And remember, this is the night of the raid. They don't know it's coming, but they know it'll be soon. Louis understands that he could very well die, so what does he do? He carves his initial into the one thing he's always had, and he asks Clementine to do the same.

I'm sorry, how are we NOT more feral about this? Prior to this scene, the only thing we see carved into the piano, into Louis' heart, is an insult. This thing that Louis cares so deeply about, this instrument that's become so intertwined with who he is... he wants to leave his mark on it just in case he dies. A reminder that it was his and he belonged to it just as much. Something so important, and he asks Clementine to carve herself into his heart where no matter what, they will be immortalized together in this moment.

And when Clementine carves a heart around their initials? Yes, his reaction is very cute and that's great... but she's not ashamed of him, or her feelings for him. She wants everyone who looks upon his heart to know that. She tells him how she feels and Louis is so giddy, and warm, and he names the song after her and I am going to start biting anything that moves, I can't-

Oh, and let's discuss the party scene in episode three, shall we? Y'know, where the heart covered initials are on full display? Where Louis tells the story of why he was sent to Ericson to everyone?

Louis is so... vulnerable. Sincere. Ashamed of what he did. This is the exposed nerve, the one he was so afraid of showing Clementine but there it is... and she doesn't reject him. Sure, she can say it's fucked up if you choose to, but she doesn't break up with him over it.

Also the fact that everyone sitting around him finally listens when he's at his most unshielded only for Tenn to ask him to play Don't Be Afraid for them after...? How do you not see the connection? Are you trying to make me cry? In that moment, Louis' heart was heard and appreciated and beautiful and strong and-

Listen. I am fine. I'm so normal about this. And fine. I'm fine.

But I also have to add that during the walk in episode four, if you let Louis choose what to add to the imaginary house, he picks a brand new piano because he wants a new heart to reflect the confidence and growth Clementine helped him achieve and because he loves her and AJ so much that wants the new heart to not just be his but also theirs and I am so fine with this, okay.

[autisticrosewilson]

So do you guys actually think that Jason's entire story, relationship to the others, and philosophy amounts to him being a rebellious teen who wants his dad's attention? Like are you 100% serious? I thought you were joking about that but too many of you are saying it with your whole chest.

And what the fuck is this "Bruce antagonizing Jason is fanon!" Shit I've been seeing? You guys are aware that a parent can love their kid and still be a shit parent right? I know you guys don't want to fathom the thought that maybe your blorbo might also occasionally have to face responsibility for consistently endangering children but let's not start being delusional now.

Bruce does love his kids, that doesn't mean that he hasn't hurt them. And I'd also argue that for the most part he feels in the right for it, and he's said multiple times that he believes it's for their own good, so you can't even argue that he's sorry about it. It's okay for you guys to admit that your PERSONAL INTERPRETATION of the character wouldn't do that but don't sit here and pretend that it's not a facet of the source.

[legobiwan]

The use of the octatonic scale here is driving me insane, if for no other reason than that I want to know why this scale in particular was chosen, because it is a deliberate decision. (I have a whole post ready to go with some bat-shit music theory (over)analysis that I may or may not put up later today).

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[yardsards]

the main adventure zone trios and their ability to survive the dungeon meshi dungeon:

tres horny bois: they'd take to the dungeon pretty naturally. these motherfuckers are eating monsters, touden party style, without it even being necessary. magnus "double barrel unicorn special" "ate a rock once" burnsides would be like "hey taako i bet you can't make walking mushroom taste good" and taako "sizzle it up with taako" taaco would be like "BET". these guys are used to exploring and surviving in unfamiliar worlds. they're also used to dying and being revived but that means they might get a bit reckless. also either taako or magnus would need to learn a healing spell bc merle cannot stop getting got by dryads or man eating plants. thus is the struggle of such a small party.

pine guard: the dungeon is just as much about survival as it is about fighting, and this group is pretty skilled at survival. exactly how well they fare is contingent on if they have ned or if they have thacker here, though. thacker would be an absolute natural in this environment cuz exploring unknown weird magical environments is His Whole Deal, but ned wouldn't do so well without his social connections or access to his base.

thundermen llc: they're not super cut out for this kind of thing, as their skills lie more in interpersonal and business, but they still ARE powerful fighters in their own right, and have good teamwork. the firbolg would absolutely be carrying the other two survival-wise though. also fitzroy would complain the whole time.

coriolis crew: not great. they're adapted for ocean adventures, not dungeon crawls. also, zoox would keep trying to mind-meld with monsters, and amber and devo would get into a huge fight over who would get to be king if they reach the bottom of the dungeon and if the prophesy is true.

poppy's pals: these are just guys. they might be able to survive like cockroaches on the first floor by doing some shady business deals but any deeper and they'd fuckin beef it

vs dracula: honestly not totally caught up with this season but i have on good authority (my friends in my phone who ARE fully caught up) that these three would do reasonably well. makes sense from the episodes i did listen to, they seem like a strong and balanced party and mutt's survival skills could come in handy.

feel free to add or disagree

[cryptocism]

yoohoo, I just need you to know you've ruined my life✌️ /j but like. finished reading frequency, what three days ago now? and since the moment I put it down, I have been. directionless. listless. I am consumed by, not DESPAIR, because despair is too passionate a word but. dissatisfaction? I miss the life I lived while I was still reading it. which is honestly rather appropriate considering some of the themes in the fic. I miss the person I was when half of my mind existed in the realm of the au. I fear I may never get over it and I may never recover the life I once had before this fic ruined me for all others, but I also cannot bring myself to regret reading it even if I never feel satisfaction again. I have tasted ambrosia, and the bread and wine of men shall forever be ash upon my tongue. pay my therapy bill.

i know these asks were sent in july but i love them and want to immortalize before they get buried in my inbox

first of all thank you so much!!! frequency has been one of my favourite projects to do over the past couple years i love that ppl are so into this absurdly niche fic. (i cannot pay ur therapy u simply must reread it forever rip (i mean writing it was like 50/50 self-indulgence and catharsis which means maybe reading it does the same thing lmaoo))

second yes! yeah it was Six who changed the timeline. a big old theme, possibly the main theme, of the whole fic is about change and who gets to create it. Six mirrors Thad in the ways that he believes himself unworthy of importance, and that the capacity to create change is inherently barred from him because of who and what he is.

so it was really important that Six was the one to make the choice to try change things - the guy whos entire powerset relies on being as inconsequential as possible. it shatters the original timeline, it results in his death, it causes a lot of very bad ripple effects, but he also saves Nathaniel. who saves Jude. who together both save Thad - who saves Bart and CRAYDL and defeats Three and discovers his own capacity for change in the process.

that was sort of the point of the whole "the spectrum of change is a horizon, not a tower" litany. there's no hierarchy. anybody can go towards it, they just gotta choose where they're going.

Six doesn't really save the day, but by wrenching the prewritten tragedy off its course, he creates the opportunity for Thad & co. to save it themselves.

[violentlyexplosive]

it's always so funny to me when i get a new follower and they have shit like "proship DNI!!11!1!1" in their bio or pinned post. like brother my blog is not a safe space for you (neither is the entirety of the real world, but I don't think you people are ready for that conversation. on account of being probably 12 years old. cus that's what you're acting like.)

"censorship is bad" should not be a radical take in the year 2024. stop trying to sanitise the internet into some uber-puritan, ultra-virtuous, squeaky clean space. like what are you, catholic? i beg of you- grow up.

[sortanonymous]

[gareleia]

THE KNITTING SAGA CONTINUES

update: my co-writer friend FINALLY got a tumblr account, so I can tag them now!!

previously: part 1

next: part 3 part 4 part 5

a continuation because I have no impulse control and am in dire need of more Aeolus content

first of all, let's establish one thing - and I think we can all agree on that - Aeolus loves to fuck with people. they are a benevolent(-ish?) trickster deity, and they revel in harmless pranks

as a consequence, they are on pretty good terms with Hermes. while Hermes doesn't care much for the 'small fry' and doesn't pay that much attention to the wind god most of the time, Aeolus has their winions follow the messenger god religiously (pun intended), because? where Hermes goes, shenanigans always follow.

so when they get the tea that he's apparently hanging out on that one random Greek island, playing nanny? oh, they know it's gotta be good. so naturally, they go to check it out.

well, turns out that Athena is also there, and both of them are sooo bad with babies, it's hilarious

Athena, holding baby!Telemachus: Ehhh, shouldn't it be eating more meat? it's body is so weak, it can't even hold a spear! Hermes, exasperated: oh my me, 'thena, that's not how humans work!! babies eat liquids first!! how can you not know that!! here you go, champ, drink some wine!! Aeolus, hiding in the leaves: holy shit these guys are dumb

so now they can't just leave Telemachus alone with Athena and Hermes! they might not be an expert on child rearing, but surely they can do better than those two dorks! and the baby is adorable.

so they decide to stick around. just for a little bit. a week tops.

fast forward a few years, and they have been raising the prince of Ithaca

Aeolus: *shocked pikachu face*

and Aeolus is the much needed chaotic good influence to Hermes' chaotic neutral and Athena's lawful neutral.

the thing is, Aeolus is really good at hiding. so good, in fact, that no one but Telemachus had even realized they are here. everyone else just thinks that the prince has an invisible friend which, well… they're not wrong?.. and it's not like other kids are exactly lining up to be his friends anyway, cause everyone thinks he's weird (or their parents don't want to catch the attention of the suitors)

and the gods think that it's because they hang around too much and Telemachus can't make friends because of them. so maybe they try to spend less time in Ithaca, for his own good. which only makes things worse, because now the boy is upset, and Aeolus and winions have to try extra hard to cheer him up, which pisses them off.

Athena & Hermes: oh, goodness us, we shall try not to interfere too much with the mortal affairs, so that the young prince grows up healthy and happy ¯_(ツ)_/¯ Telemachus: (T⌓T) Aeolus: ヾ( ･`⌓´･)ﾉﾞ

and then they have to subtle bully the two dumb fucks to come back.

on a less serious note, Aeolus also has a sweet tooth, especially for marshmallows (idgaf there weren't any marshmallows in Mycenaean Greece, they're a god. they can make all the damn marshmallows they want)

and of course, since they are sooo generous, they always share with Telemachus.

what they don't know(?) is that winions, who all get their own treats, also collectively share them with the baby, because they are secretly evil adorable little freaks.

which results in a very hyper prince sugar rushing seemingly out of nowhere.

Telemachus, running all around the palace and crackling madly: I AM SPEED- Penelope, unimpressed: and who, pray tell, had given my son sweets right before dinner? Athena, equally unimpressed: yes, I would also like to know. Hermes, sweating nervously: heyyyy, why are you all looking at me like that???? ( ಠ‿ಠ ) Aeolus, from behind a tree, unseen by anyone: (｡•̀U-)┘

Hermes always gets blamed.

It's the only time he doesn't do the thing

and he's seething, because nobody believes him.

[lost-romantique]

Just a thought...

Sometimes I wish I could enjoy Helluva Boss like any normal person, without the need to talk and communicate with others about it.

Sometimes, I just want to enjoy the show for the sake of enjoyment.

Because seeing the characters interact:

Seeing Blitzø trying his damndest for his company and for the people he loves, despite his self-hatred seething out at every opportunity.

Seeing Stolas love so hard despite living a privileged and sheltered life devoid of the very love he rightfully deserves.

Seeing Moxxie finally have the guts to stand up to his abusive father, who tried to raise him as a ruthless leader.

Seeing Millie fiercely protect the love of her life, because the very thought of losing that special someone would destroy her.

Seeing Loona learn to love and appreciate her dad, and fit in as a young adult who was raised in the system.

Seeing Octavia try her best to go through and navigate her mother and father's tumultuous divorce, and learn how to cope.

Seeing Fizz stand up and escape his toxic and horrible boss that treated him like ass.

I just genuinely have such a strong love for the show, and I want to share it with people.

Of course, I have a favorite (as if it wasn't obvious), and yeah I like to yap, but I simply like to yap about the things I love, and I simply want to discuss it with people that genuinely love the show with all their heart.

~~~

It's scary how quickly a Fandom can grow toxic, how people look at a piece of media and enjoy it just as much as you do, but in a different way.

Those differences breed hatred and twist your words like a knife, but such is life.

Our thoughts and feelings are weapons, and in someone else's story, we are the enemy for simply sharing a difference of opinion.

At the same time...

Our thoughts and feelings are words of affirmation, signs that we're not alone in this way of thinking.

Sometimes just having people agree with you, is comforting. And by finding people that think the way you think, validates your thoughts in ways you don't expect.

Therefore, our thoughts and feelings can also save people.

In conclusion, I love this show a lot, and I just want to talk to people about it.

~~~

Also, like look at this red lizard.

I love him. I hope you do too.

He's so misunderstood.

But I love him.

He's an asshole.

But I adore him.

He's an idiot.

But I want to give him a hug.

[junebugtwin]

even while it was happening, you knew it wasn't going to last

[eebie]

dawgs