#the role she was cast.

[fuckyeah-beringandwellsfics]

the role she was cast.

submitted by: anonymous

the role she was cast. (3721 words) by ellabell / @ellabellbee Chapters: 2/2 Fandom: Warehouse 13 Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Myka Bering/Helena "H. G." Wells Characters: Myka Bering, Helena "H. G." Wells, Pete Lattimer Summary: Takes place as if written between S4 and S5. Cancer arc. Helena returns to the Warehouse to help, but doesn't quite know how to talk to Myka. Pete entertains a recovering Myka by being silly. (This was supposed to be a one-shot, but I've added a second chapter.)

Please tell us why you like this fic so much!

The psychology, Helena's twisted reasoning in this makes so much sense. It is heart wrenching because it is so realistic. All the characters are! But all the heart ache gets soothed so well and soon, so this one is healing.

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[vriskan8or]

let her go

[acriticalfoal]

I don't get how critters aren't constantly on their hands and knees praying and giving tribute to Creative Director Marisha Ray daily, in fact I don't get how all of the constant hate she gets doesn't get immediately ratioed; the live shows the sets the production has jumped and improved to a level that is theatre stage quality and elevated the entirety of the show with it and while I understand there are a lot of talented artists are behind it, its marisha's vision that is constantly keeping shit in line and you can SEE it. wherever there is fun, magic, mystery and whimsy I always see her hand behind it. she deserves the world

[booasaur]

Renegade Nell (2024) - 1x06

[bread-wizards]

Ashley's face when Dorian says "We'll talk about that later 😐😒"

[lyinginthesnow]

thinking abt that line in dundee when logan says shiv makes boogie men out of the clothes she dumps on her bedroom floor. always has.

[sonknuxadow]

whenever i see people talking about rouge as if shes some sort of responsible motherly figure type character i think about how in sonic battle she openly said onscreen that she never wants to be a mother. and also about the time in idw sonic where her and amy and cream went on a mission together and she was complaining about how nobody at the resort they were at had any gems worth stealing and amy was like Umm .. is that really the best example to be setting for cream ? and rouge was like Youre so right . cream if you ever try to rob a hotel make sure the guests are rich first ^_^ . mom friend rouge isnt real it cant hurt you ................

[samcarter34]

Since people seem to once again be having trouble remembering the order of operations, let me just remind everyone:

The ability Laudna possesses to feed Delilah is Hunger of the Shadow. In the fight with Bor’dor, Laudna used that BEFORE Orym’s head nod. Bor’dor attacked them and her response was to do the thing she knew would give power to Delilah. Matt even makes the sound of Delilah’s heartbeat.

The spell she used after the head nod? Whither and Bloom. The same spell she later attacked Orym with, which isn’t even a warlock spell.

And speaking of the head nod, you want to know what’s it’s prefaced with? ‘Laudna you can do whatever you want.’ And Marisha responds by saying that Laudna is ‘barely present’ because she’s having ptsd flashbacks to all of the times something horrible happened to her and she couldn’t do anything about it. So she kills Bor’dor because it makes her feel in control of the situation.

And yeah, the 4SD where Liam says Orym thought Delilah might come back. Except y’all somehow took that and made it seem like he’s the one who shoved Laudna over the edge when what actually happened is that Laudna flung herself off it because betrayal is triggering to her.

And the sword. The sword which apparently wasn’t triggering enough that Imogen contemplating whether the Vanguard were good guys didn’t cause any reaction. Or for that matter, make her object to Ashton’s ‘this is permission statement.’ But she saw Orym wearing it, got uncomfortable and then all it took was one sentence from Delilah for her to decide to steal it. Delilah, who mutilated her, murdered her, has been possessing her for decades, and who basically held her soul hostage when BH wanted VM to resurrect Laudna. But what Delilah didn’t do? Tell Laudna to steal the sword.

I wasn’t around for campaign 1, but in campaign 2 I definitely noticed a trend that people who were all ‘I love women! Female characters rock!’ would, the second one of their alleged faves did something controversial (or just something they didn’t like) would find a way to shift the onus onto someone else so she could remain blameless. And that is definitely continuing this campaign, and if anything is getting worse (which, not to get into speculation, but I wonder if it’s because all of the female characters this go round are more traditionally feminine than last campaign.)

I think the reason Orym’s been getting raked across the coals so hard by certain parts of the fandom is actually because of this. Because Imogen’s repeatedly gone ‘what if the Vanguard have a point’ and Laudna agrees with everything she says, whereas Orym’s been pretty consistently ‘no, the murder cult that murdered my family are bad guys.’ And well, can’t go around admitting that our faves did something wrong.’

And so we have a situation where Laudna attacks Orym, but somehow that’s Orym’s fault because the possibility of Laudna doing something wrong ruins people’s lesbian cottegecore fantasy. But the thing is, that whole thing was all Laudna. She chose to listen to her first murderer when Delilah said ‘maybe it’s cursed’ and then she chose to blanket the room in magical darkness (sorcerer ability, not warlock) chose to cast an area of effect spell to destroy the thing Orym was using to sheath the sword (sorcerer spell, not warlock) and, upon hurting Orym, chose not to drop said darkness, which meant Orym couldn’t see who attacked him. And when she got caught, she tried to downplay what she did, tried to say that because she didn’t mean to hurt him it didn’t count, refused to apologize for actually hurting him, kept shifting her argument (and even low key got called out on it by Imogen when she asked Laudna why she’s want its power inside her if she thinks it’s so evil.)

There is an alternate universe where Laudna wakes Orym up and they have what probably would have been an intense discussion about the sword (and that might even have been what Marisha was aiming for before Delilah got involved) and THAT truly would have been the ‘both sides are equally right’ scenario, but that’s not what we got. And you can say Orym shouldn’t have taken the sword unilaterally (but somehow Laudna’s allowed to unilaterally steal and absorb it?) or that she’s being manipulated by Delilah, but the fact is that Laudna’s an adult and is responsible for her own decisions. Yes, Delilah is a powerful and malign presence that they all downplayed/ignored, but, to use Marisha’s addiction metaphor, making amends with those you’ve harmed is a part of recovery for a reason. Because ultimately, you are the one who did that. Yes, it does immensely suck for Laudna that she’s been handed the cards she has been, but it’s up to her to make the best play she can.

Wow this got long, but my overall point is that Laudna is a character with her own agency and makes her own decisions (well, Marisha makes them, but at this point y’all should know she’s not conflict averse and is willing to have her characters make controversial character choices). And really, take all that away, what’s left? How much onus can you take from a character before you might as well go look at a painting?

[leahthedreamer]

This has to be the most egregious miscasting of the century

[novelconcepts]

The more the show progresses, the more I want to see the 90s cast infiltrating the modern timeline. We've gotten hints of it with Shauna and her younger self, her Jackie hauntings. We've gotten a little more with adult Lottie seeing teenage Nat (and Laura Lee), and with Natalie getting teenage Lottie in her final moments. I want more. I want the teen cast to be absolutely invasive on pivotal adult moments, infecting their adult counterparts when least expected. I want Taissa's argument with Van to dissolve into their teenage selves, their bond endless and timeless and inescapable. I want Misty absolutely wrecked by young Natalie lurking around corners, watching from mirrors. I want to see these women unable to navigate adulthood without the specters of their teenage selves cropping up absolutely everywhere, more and more as they let the memories in, as they stop being able to repress the trauma. They didn't grow up. They never could. You are always doomed to regress around your high school teammates. You are haunted by the phantom elements of your misspent youth. It is a comfort, and it is a gift, and it is a trial, and it is a curse. I would love to see that reflected with greater intensity, until the lines blur, until the timelines have no choice but to intersect. They haven't escaped themselves at all. They didn't grow up. They just got older.

[criticalyasha]

C3E74 - 「 You got this, baby 」

[buggiesnax]

Hello Critical Role and/or EXU Calamity fandom!!

[yashley]

I turn and I leave.

[pocketgalaxies]

matt: is anyone proficient in nature?

everyone: *crickets*

sam: wow. well we all know that's a DUMP stat

marisha:

liam: sorry kiki lol

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[tomaturtles]

:3✌️!!!!