#the sad's the conflict

[choccy-milky]

sometimes you gotta lure your overly-studious ravenclaw gf into spending time with you 🥰 📚 ( from 'Every Teardrop is a Waterfall' by Kat_12739 on ao3, GO READ IT!!! the first story is about seb falling sick and still pushing himself/not admitting he's sick until he ends up in the hospital, the second story is about the birth of seb and clora's daughter and seb's reaction to clora almost dying in childbirth, and the third is about dealing with a fussy newborn lewis😭🥹THEY'RE SO GOOD AND SWEET AND SOMEWHAT SAD (not to mention beautifully written) so go check it out!!💖💖 )

[nellasbookplanet]

The tragic idea that the Betrayers loved their siblings so much that it ended up being what drove them apart. They didn't want to settle for anything that could hurt their family, and mortals were doing so, either directly (a mortal usurping one of them) or indirectly (emotionally hurting them during the Schism by just. dying so much). To the Betrayers, it wasn't worth it. They wanted their beloved family to leave and go somewhere that wouldn’t hurt them.

To them, it's the primes who are the betrayers. The primes were motivated by more than just love for their immediate family - they loved their creation, too, and more than that, felt a responsibility for it. They would rather fight their own siblings than leave it.

We saw all the gods love and protect each other during the opening of Downfall. The Betrayers were not uniquely evil from the start. They wanted to save themselves and their family from hardship and suffering, even if it meant leaving their creation, their game, and in response their siblings locked them away. Not only do they not love mortals, they view mortals as this corruptive force that somehow turned their family against them. Do they think that, if they succeed in exterminating them, the Primes will be freed from their influence? Maybe - perhaps some of them are waiting to forgive and embrace their siblings, but far from all, I suspect. Asmodeus certainly expressed during Calamity that he didn’t so much want to be reunited with his siblings as he wanted to punish them. He was betrayed by the ones he loved most for the sake of a game! Maybe togetherness and forgiveness was once an obtainable goal, but not anymore. Even if the Betrayers succeeded in ending Exandria, the Primes would never forgive them, and they would never forgive the primes. Their family can never be whole again because of, as they see it, the toxic influence of mortals. So they hate mortals for this influence, but more than that, they hate their siblings for being so weak as to fall for it.

[maturiin]

my favorite bg3 npcs

[sergle]

man, you know, nobody asked me, but I have such conflicting opinions on some of the fat falin art, where on one hand: it's always nice to see A Fat Body in fanart anywhere + it's being done in positive ways, for funsies and on the other hand, there is something so familiar about how you are automatically The Fat One if you are a woman simply standing next to a more petite woman, bc I've had a 0% hitrate in seeing people change Marcille's body type and keep Falin's, or change both of them. it's just Falin

[goldetrash]

Nightmares (LMK Comic/storyboard/fake screenshots?)

Content warning: Blood, character death, sad monkeys

[flintbian]

There's a disabled angel in good omens 🥺

[itslilacokay]

ns?ava au ft some kingdark ?

[royalarchivist]

Jaiden: Cucurucho, you have a lot of power, right?

Cucurucho: ...I don't know. Maybe.

Roier: Ah... Yes, you know, don't act like a dumbass, you have it. You have it, man. Eh?

Jaiden: Is there a way for us to protect all the Eggs? Do you know? I don't want anything to happen to the Eggs that happened to Bobby.

Cucurucho: Ha ha ha

Roier: WHAT? [Smacks Cucurucho]

Jaiden: [Bops him] Headpats.

Cucurucho: Maybe.

Jaiden: [Continues to bop him] Headpats. C'mon, I can get it out of you! Headpats! Chin scratches! Belly rubs!

Roier: [Joins Jaiden in bopping Cucurucho, chuckling and laughs]

Jaiden: Yeah? He's comin' around!

[Jaiden and Roier both laugh]

[anyahita]

Middle Eastern kids deserve to wake up to the sounds of birds chirping, not bombs and airstrikes

Middle Eastern kids should be carrying books and flowers, not the dead bodies of their loved ones

Middle Eastern kids deserve to run the streets in joy and laughter, not run away from bombs

[samwwise]

2x02 vs. 2x06

[scrambledslut]

bella and pedro will fucking DESTROY US with this scene

[staruie]

an eternity left behind

[sad-leon]

hi i'm so good at making aus :D

i cannot be stopped

anyways, meet my new son!! his name is yoshi and i care about him very much

When F!Leo went back in time he went back to the day they were mutated and stole the little slider away to raise him as a fighter so he can jump in and prevent disaster from destroying his family in this timeline

Leo names the little slider Yoshi after Splinter and they live in an abandoned farmhouse outside the city. Yoshi is friends with almost all the wildlife and loves taking naps in the woods

[tunemyart]

The thing about Alex Cabot that I keep coming back to is that even in her earliest, most "I must follow the letter of the law" blonde bob and power suit days, she still has an enormous reputation with judges for finding loopholes that she can twist to suit her arguments and her own sense of justice, to the point that they call her out on it! That is in fact one of the biggest points of her character! Right there from the beginning!

So say, just for example, that you're watching one of her earliest episodes: Season 2, episode 11, "Abuse." If you haven't watched it recently, this is the one where Olivia Benson becomes attached to a superstar singer's daughter who is hurting herself as a cry for attention due to her parents' neglect. Alex gets involved because Olivia asks her to and Alex is, as always, unable to resist a direct appeal from Olivia.* She finagles a perfectly legal way for the daughter to be removed from the home - bypassing family court, which, when they end up there as planned, does not earn her any favors with the judge.

Again, to reiterate: this is eleven whole episodes into Alex Cabot's entire character.

*another longstanding character trait, by the way, that I can't believe I don't see discussed more often because it makes me insane - and which is similarly seeded right here at the very beginning of Alex's character, before Alex and Olivia could even really be called friends!

[wavesoutbeingtossed]

I know you don't like discussing the muses but i love your takes and perspectives and i had to ask you about this. after listening to ttpd, did you have the impression that she really loved matty more than any of her exes/previous relationships?. And listening to the whole album as a whole would you call it the ''matty album'' or do you think there are more prominent themes in there than their period together?. (hope this doesn't bother you, feel free to delete if you don't feel like answering it)

hey anon! You're right, I don't really like to get into the muses as I don't really think there's anything to add to the conversation at this point, and ultimately I don't think it matters.

That being said, and with the caveat that I am not Taylor and I do not know Taylor so I cannot speak to her thoughts and can only make relatively educated guesses based on being an avid consumer of her work and a student of the human condition (lol), no I do not think Taylor loved Matty more than anyone else. I think there was maybe a brief period in the thick of things where she *thought* she did because she was not thinking clearly and was in full-on denial, but to me the message that is loud and clear in the album (and more or less explicitly stated in the epilogue) is that it was not any kind of real love affair. It was certainly infatuation and lust and the promise of something more, and there may have been some love as well, but he was in no way the love of her life by any measure.

I would call it a "Matty album" insofar as they're about events in which he was present, sure. But I feel it much more as a Taylor album, if that makes sense, even though I know that's a cop out because every album is to a degree. I can't explain it well, but I don't see TTPD as a Matty (or Joe) album in the way that I would maybe say Red is a "Jake" album or 1989 may be a "Harry" album or even Lover being a "Joe" album whatever, because even if they don't figure in all the songs, that kind of heartbreak permeates so much of the material.

The thing about TTPD and the Matty situation is that the Matty situation is really a Joe situation (which in some ways is actually partially a Jake situation). I always say I hate treating Taylor like a character so I hate speaking about her and her work in this way, but you don't get the Matty situation without the Joe situation precipitating it. It's @taylortruther's now-infamous donut vs. hole analogy. The reason Taylor makes the choices she does with Matty is directly tied to what happened with Joe that made her feel she needed to. Which is not to say Taylor isn't responsible for her own actions or doesn't have agency in her own life, but I mean it in that the situation in which she found herself with Joe, and the pain it caused, is what made the alternative so comforting and perhaps even necessary in her mind. It's why it makes it so hard to "paternity test" the album, because the stories are inherently intertwined and you don't get the former without the latter.

The major "theme" of the album to me is the loss of a very specific, very personal dream, and the way in which she lost it, and the way in which grieving that loss drove her to make the choices she did. We're all talking very delicately about it because it's a sensitive topic, but it's late on Friday and few people are going to see this, so I'm going to say it: it's the give you my wild, give you a child of it all. The yearning she expresses both overtly and sub-textually for having a family in the album is palpable in a very iykyk kind of way, and it's the realization that those plans are not going to come to fruition in the way she had once imagined that drives a lot of the pain she experiences, and makes her jump at the chance to find that again with someone else.

I started a draft post about the theme of womanhood and motherhood on TTPD three months ago that I never finished because I ran out of time and ran out of steam, but it was the most striking thing to me on the album, not because I didn't know that she wanted those things because that's been obvious for years (definitely since Lover, and again, peace put it all on the table), but because the vulnerability she expressed about it on the album is incredibly moving, and it's so generous of her to trust listeners with those feelings and experiences.

Again, it's the thirtysomething of it all.

She is in relationship A which she at one point believes is forever, one which she at one point believes is going to lead to marriage and children. She is so committed to that dream that she either ignores or tries to fix serious issues that may otherwise lead others to think the two people in the relationship are incompatible, both because she loves the person deeply and because she feels that this is meant to be the way she achieves that dream. She gives it her everything, and it still dies a slow, painful, onerous death, and she feels like it may take her along with it. The dream of getting married and presumably having a family gets taken off the table: how we don't know and will likely never know because that is private between the parties involved. All that matters in the context of the album is that those plans never come to fruition and never would.

Then you have relationship B, an old flame who knows just enough buttons to push both to trigger and to flatter. A person who she presumably trusts with very sensitive, personal information as her life slowly crumbles, and this person is telling her all the things she wants to hear because he knows about what is happening in relationship A because she's told him. Person in relationship B doesn't get an "in" with her and sell her this dream unless what happens in relationship A precedes it. It's not a grand love affair for the ages, it's not a mutual decision on building their own dream together. It's Person B learning about what is happening with Person A and saying "I can do that!" even if he can't or doesn't. The dream he sells her is a rental car; it's not his own, he's just borrowing it from someone else and selling it back to her.

And the reason she falls for it is because it is what she aches for the most in her personal life, and she is grappling with it disintegrating, so she (unfortunately for her) falls for the easy way out, and in turn sells herself a story about how this must be fated, and this must be meant to be, because this person wants all the same things she does and she didn't even have to bargain for it! Well, yes, because she fed him the dream in the first place. (Like a mark falling for a sleeper cell spy.) It's too good to be true because it isn't true. IMO Person B doesn't come running out of the gate with the marriage/baby/dream life promises unless he knows that is what she most desires. But what's left unsaid out of all of it is that: those dreams were her dreams because they were her dreams with Person A. It was a whole life they had together, and a whole life they had planned for in some fashion, and a whole life that has to be dismantled in the aftermath.

So all this to say, yes, on the surface, Matty is a "main character" on the album, but truly he's a side character to Taylor as the narrator and person experiencing it and Joe as the ghost bit-player-who-haunts-every-scene. (Again, I hate referring to real people as characters, it gives me the absolute ick, but in this case it's the only way to answer the question.) I jokingly call it the Matty album for shorthand or when I want to say something out of pocket, but really, it's a disservice to the album to say that because it's not a muse album as in it's about the romance (like, say, Red often is), it's about a soul-crushing heartbreak that goes beyond it. The romance is the symptom, not the cause.

The loss of youth is tied in with all this: she's not 22 anymore. She isn't even 32 anymore. She had a very specific idea of what her life was going to look like at this point and had planned for that life, and it goes up in smoke. But again, to bring the womanhood into it all: there is, unfortunately, a deadline for these things. You're with someone for over half a decade you think is going to be your life partner and father of your children and and then he's not. You spent half a decade building this relationship for it to crumble, but now you're in your mid-30s and you don't necessarily have another half-decade to build that trust and faith in someone else before being ready to start a family. And maybe you're scared that anyone else who may become your partner will need that much time to build that trust and faith, because that's kind of all you've ever know in relationships. But lo and behold, someone comes into your life you once had feelings for and maybe now do again and is offering you everything you want and thought you'd have by this point in your life right now. It feels like an elixir that as we find out is actually poison.

That youth is not just the chance for motherhood, but it's also the hopes and idealism and belief in the future that often gradually erodes as we age. But for Taylor as well, it's also tied into the trauma of what she went through particularly in 2016, which kicks off a lot of things on the album as well (her retreat, her relationship with Joe, the pivoting in her career, etc.). That event caused a pretty clear before/after in her life (like a few other events, I suspect), and another major theme in the album is her finally grappling with the full weight of that. They're all different branches of the same tree of the story of TTPD and her life.

I could talk about this stuff forever, but I'm going to stop here because it's long enough and I should save stuff for one of the dozens of drafts I have half-baked lol. But this is just something I needed to get off my chest perhaps.

[nineshrike]

Call me a Stolas apologist if you'd like, but Stolas wasn't wrong to portal Blitzø out.

Blitzø had basically just challenged Stolas to take his turn at insulting him, let's go, let's have everything out, let's make this breakup a fight to remember, remind me why I don't deserve you -- and Stolas. Doesn't.

Because that's not how fights like this have ever gone for him. Stolas's past relationship wasn't like Blitzø and Verosika trading insults in Spring Broken; it was standing still and quiet while Stella hurled abuse at him. He's stood up for himself against her, yes, but how can he stand up against Blitzø? When Blitzø's right, and when Stolas is seeing Blitzø through such rose-tinted glasses?

From Stolas's perspective, there really isn't anywhere the conversation can go after that. Anything else that is said will just make the situation worse. So he ends it. And, honestly, even if Blitzø was reaching out at the end there, he still hadn't had time to process, and I can't really see an emotional reconciliation happening that quickly. It probably would've just devolved into another argument. At this point, space and time are the best things for both of them.