#the innocent intern

[in4newz]

[robby-bobby-tommy]

The parallels that hurt so much

They both jinxed the most important event in their lives trying to help...

They both lost their closest friends to this....

And both were abandoned and hurt in the worst way possible by the sibling they've looked up to....

They had good intentions, they were so young......

And they're the monsters others have created.

[jeonglixx]

the tradegy of charles finding out that the first major decision he had made in his life was an orchestrated test by his father that his mother knowingly let him walk into because she knew she could only save one of her sons from their father

[awkward-sultana]

Magnificent Century + Parallels: Ibrahim Pasha & Hürrem Sultan

[terezis]

i do not want to make a NEW oc. i want to reuse the same backstory over and over again with slight tweaks to personality and appearance. but i'm also attached to the old version of the character. so i cannot throw that version in the trash bin. they must coexist. but i do not want them to. there can only be one. but now there's two

[haliaiii]

Tatsuya what the fuck are you talking about

[roselius]

some people don’t realize how serious this really is.

he’s a pig fat on bills and we’re all starving.

[the-crooked-library]

On Horror, Queerness, Mirrors, and Dracula

Your wish is my command (you may or may not regret this). 

Here’s the thing - I love horror, and I love patterns, and I think the best horror is always in some sense symmetrical.  It might not be obvious, but what’s the point of staring into an abyss if you can’t see your own face reflected back?  The symmetry itself comes in any number of different twists, whether it is familial, communal, erotic, or individual, and most of these apply to Bram Stoker’s Dracula. 

The centre of our novel rests on the Harkers.  So, starting with Jonathan - his experience in Transylvania is a twisted version of his life back home.  Dracula is reserved but eloquent, seemingly caring and occasionally affectionate, he reads train schedules and they spend hours upon hours in conversation; which is a dark mirror to Jonathan’s train schedule-loving, passionate but serious Mina.  It may even be said that the Count is re-enacting a caricature of traditional heteronormative domesticity - he maintains the household, waits on his guest himself, and blows him kisses from the stairs.  His possessiveness of Jonathan is the only way a vampire like Dracula is capable of understanding the bond Jonathan shares with Mina.  The Count states that he, too, feels love; but he is written by a closeted gay man in the late 19th century, so his imitation of married life is both a lie and a tragedy.  He is a shorthand for forbidden, wrong, and corrupting desires. 

At the same time, Mina herself also has a same-sex connection in the beginning of the story, and her relationship with Lucy mirrors the relationship between Jonathan and Dracula.  They cling to each other, in a sense; despite being excited about the prospect of their impending marriages, there is some trepidation associated with this new stage in life.  A common part of a dowry used to be a shroud, simply due to the frequency at which Victorian wives died in childbirth soon after the wedding; and even provided a survival, the transition to married life was still a loss of innocence.  As such, Lucy’s affection for Mina is the last expression of her girlhood, and she herself is the personification of Mina’s.  Lucy is, therefore, the direct antithesis of the Count; her death and subsequent rising change Mina the same way that Dracula does Jonathan, establishing a firm duality between the Harkers and their respective vampires. 

The other characters are reflections of each other, as well; the suitors defend while the brides terrify, Van Helsing wants to preserve life while Renfield wishes to consume it - and even further, the old Hungarian lady cares enough about  a stranger to give Jonathan a cross for protection, while Lucy’s own mother lets Dracula into the house herself, selfishly ignorant of her daughter’s needs and the doctor’s orders.  Another parallel is drawn again between Jonathan and Renfield, who represents directly what he could have been, had he not escaped from Dracula’s grasp; which makes Renfield’s vehement, last-ditch attempt to protect Mina perhaps all the more poignant.  In him, she sees the resilience of Jonathan’s humanity; while he gets to see exactly what she could become after her turning  - in Dracula himself.  These dualities are integral to the story’s thematic structure, and therefore inextricable from each character’s development. 

There is really too much to say about each individual dynamic to fit into one rant, but for the current purposes, I can forgo the details.  They all converge as it is on Jonathan and Mina, and thus, the central theme of this story is devotion.  If Jonathan had truly broken, like Renfield, Mina would have stayed by his side; and if she had fully turned, like Dracula, he would have adored whatever shred of her still remained.  In madness and in death, in happiness and sorrow, in sickness and in health - until the echoes start to sound like wedding vows. 

@stripedshirtgay​

@bluberimufim​

[callowmooree]

i’m sorry y’all, but do you see the name of my page?? of course i’m gonna be absolutely FERAL after the crumbs we got from tal and ash tonight. FINALLY SOME CUDDLES FOR THE ROCK BOY AND GOAT GIRL😭🫶

[the-spooky-children]

I have a very specific image of fireskulls in my head and it's

Skid:

(just pretend it doesn't say girls lol, Skid is forever a trans guy in my mind)

Pump:

OR

[bumblingbabooshka]

B'Elanna, Neelix, Tuvok and Chakotay needed to star in an episode where they just talked about their different beliefs and approaches to spirituality/religion. Paired off and all together. I need to gain more insight. I need characterization and I need it to be messy.

[ashadowofburnedoutstardust]

Happy International Dog Day to our boy Dodger

Let's have a good day today, Dodger deserves it 💜 and so do we 🙏

💜🪽🌟

[freepalestinebastard]

Daily reminder that being pro Palestine is not a reason to anti Jewish

[cavalierzee]

Over 30,000 Orphans In Gaza

The Palestinians should initiate legal action against Israel so it would be held responsible for all the deaths it caused, all the orphans, all the destroyed residential buildings, schools, hospitals, universities and the rebuilding, the torture in camps, the kidnappings, etc.

Israel MUST pay reparations to the Palestinians.

[widowshill]

— But it's almost midnight. — Oh, that's the point! At the stroke of twelve, he turns into Dracula. C'mon, Vicki – he won't bite.

pose ref.

[bibibbon]

I've seen a take where you say that Hawks thinks he didn't have a choice and HAD to kill Twice, and you mention in ( ) that he actually DID have a choice and that confuses me.

Hawks gave Twice TWO chances to change and go with Hawks and leave the LOV behind him and change his way of life and when he refused BOTH chances, he posed as a potential (MASSIVE) threat to the hero's, so Hawks had to kill him so he wouldn't risk others lives.

So, with my maybe-not-very-analysed take, why do you think this? Have I missed a crucial part of his character? Did he actually have any other options? And how different would they be then what he ended up doing?

I am assuming you're talking about this paragraph from one of my posts about Hawks👇

Now it is true that Hawk's did indeed give Twice two (possibly 3) chances to back down and surrender. The first time it happens is when Hawk's corners twice, with all the feathers pointing at twice, ready to strike him, saying that he shouldn't resist and come calmly. The second time is when Hawk's explains his reasoning for offering twice this chance, and the 3rd is after Hawk's killed the first set of twice clones and reaches out saying that there's a way forward if he comes calmly and that he would personally help twice start over after he gets punished for his crimes.

However, I still think there's an interesting way in how Hawk's approaches Twice. He doesn't choose to position his feathers far away, but he quite literally corners him, almost trapping Twice in one place and offering him one option which is to surrender himself and come quietly or else. Now, while from an incredibly detached prespective this may seem as a mercy option that Twice should be grateful for I think that there needs to be acknowledgement as to how Hawk's own hpsc teachings and hero experiences have shaped him in approaching a situation like this and before Hawk's offers anything to Twice he feels and acts on the urge to be in control to be above Twice in this conversation to make sure that he has more power. All of this is summed up to Hawk's experiences, and we see how this is a flaw because in reality Hawk's is an incredibly fast man he did not need to corner Twice in such a way and essentially give him one option he could have approached the situation differently (yes it doesn't mean that he would have succeeded but there's still a point to be made in the way Hawk's approached the situation from the beginning)

When horikoshi first introduces Hawk's to us in the series, he makes it a very clear point that Hawk's is fast and that he is a powerful hero.

Hawk's is fast in every sense of the word,he is shown to quickly climb up the ranks at an incredible speed becoming the number 3 hero, he is fast enough to stop a criminal without batting an eye, he is fast enough to evacuate everyone from a falling building and to try and stabilise the building. Hawk's is also quick in being able to mentally recognise what's going on and quickly act on it. With the series reinforcing this message consistently it seems weird for Hawk's to not be fast enough to knock twice out instead going for the kill.

Now you can chalk this up to a writing mistake or an ooc moment, but I personally think there is symbolism in it. Hawk's failure concerning the MVA was foreshadowed the moment he came into play and said "I am too late" this to me shows the small downward spiral that Hawk's is then sent to by the narrative. It's essentially tragic that the fastest hero or man was too late or too slow to stop tragedy from occurring. In other words, Hawk's heavily reminds me of minato namikaze from Naruto.

@doodlegirl1998 even points this out

So, how does this link into Hawk's killing twice, you might ask?

Horikoshi establishing that Hawk's main trait is his speed and agility highlights (to me) the ability that Hawk's had to simply knock Twice out and get him out of the area.

Again, this didn't occur due to the tragedy and reoccurring theme of the fastest hero being too late. Hawk's was too late to apprehend Twice, he was too late in escaping from Dabi's flames. He was too late in many things, and it resulted in horrible consequences.

However, while this string of events is played for the tragic irony, it also highlights just how corrupted Hawk's has become by the hpsc teachings and how he at the end of the day is still a bird trapped in a cage both mentally and physically. This is because you can clearly tell throughout that scene that Hawk's doesn't really want to kill twice. He keeps on bringing the fact that Twice is a good man at heart and that he believes that Twice can be redeemed, but after Twice's rejection, he believes that he must kill him saying that he didn't come this far for mere sentiment to trip him up.

However, even with that being said, when fighting Twice Hawk's doesn't aim to kill him. He could have. He had Twice cornered. He could have killed him in one hit but didn't because he couldn't because mere sentiment was indeed tripping him up and he was so clearly trying to justify his actions, trying to be logical but failing. This is further highlighted when Hawk's ends up saving both himself and Twice from Dabi's flames in chapter 266. Hawk's didn't want to kill Twice but after a string of events, he believed that it was the only way to resort to his hpsc teachings.

Personally, I believe the brief fight between them heavily shows Hawk's internal struggle with his own beliefs, his own desires to save as a hero, and actually help all of that clashing with his hpsc teachings and the belief that killing Twice would be easier and safer.

Hawk's ending up killing Twice narratively shows us the failings of the system and could have been great in showing us Hawk's further questioning the system he feels trapped in and straying fat from it as he does end up acknowledging in the final arc that jin was a good man (I think it's symbolic that he calls him by his citizen name and not villain one) and it could build up to him creating a completely different one but alas that fails due to various reasons which are too long for me to list out.