#their theme is freedom

[opbackgrounds]

Thematically, this is one of the most important things Luffy says in the entire series, and Oda emphasizes it by having the panel take up a full third of the page and being entirely focused on Luffy and no one else.

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[dykealloy]

i really hate recommending things on the grounds of "yeah just put 1000 hours into it and it'll start getting crazy good" but you should watch one piece

[beaulesbian]

"The world should have protected you, but you have been asked to protect it. What an honor. What an injustice." - NADDPOD, Bahumia campaign ep. 97 (x)

[tidetower]

The Prince of the Hightower and the Heir to High Tide

Artist: erchitos

[imminent-danger-came]

"Well, it was nice seeing you bud, just run off like you always do-"

"-No that's YOU!"

"You're the one always running off!"

[aventurineswife]

So idk how to make a request. So I hope this is ok??

https://vm.tiktok.com/ZNeT75Hpt/

Hear me out a fic about this Aventurine with mermaid reader , and he captures her. I’ll leave the rest to you, so you have your freedom when writing 🫶

Don’t fell pressured :)

Beneath the Waves, Beyond the Game

Summary: Aventurine, a flamboyant and cunning pirate, thrives on risk and games of chance, but his life takes an unexpected turn when he captures you—a mysterious, defiant being of the sea—after your haunting song lures his ship to wreckage. What begins as a clash of wills slowly evolves into a fragile bond, as shared vulnerabilities and unspoken understanding unravel the masks you both wear. Amid storms, trust, and bittersweet goodbyes, the game between the gambler and the mermaid changes them both in ways neither anticipated.

Tags: Pirate!Aventurine x Mermaid!Reader, Enemies to Lovers, Slow Burn Romance, Captivity & Freedom, Pirate/Mermaid Dynamic, Forbidden Connection, Emotional Vulnerability, Found Family Themes, Bittersweet Ending.

Warnings: Themes of Captivity and Loss of Autonomy, Emotional Manipulation (Light), Storm/Peril Scenes, Brief Mentions of Betrayal and Guilt, Melancholy/Bittersweet Tones.

A/N: Y'ALL ARE FAST AFF!! 😭😭

[Part 2]

Aventurine had always thrived on risk, gambling with lives, fortunes, and fate itself. The sea, for all its temperamental fury, had always been his ally—a rolling canvas of danger and opportunity. Yet nothing in his decades of games and gambles had prepared him for you.

You were sprawled across the floor of his private quarters, your tail shimmering with iridescent hues as seawater pooled beneath you. The moment he'd heard your song—a haunting melody that echoed through the mists and lured his ship to the wreckage of a treasure-laden galleon—he knew he couldn’t let you slip back into the ocean’s embrace.

You glared at him now, your once-melodic voice reduced to silence, replaced by a defiant scowl. Aventurine lounged in his throne-like chair, one leg crossed over the other, his flamboyant coat draped behind him like a cape.

"Do you make it a habit to lure ships to their doom, or am I just special?" he drawled, adjusting his jeweled eyepatch with deliberate flair.

You said nothing, your shimmering tail flicking once against the wooden floor, splashing droplets onto his polished boots.

He chuckled, leaning forward, the feather in his hat catching the low lamplight. "Silent treatment, is it? Fair enough. I've always enjoyed a challenge."

You clenched your fists, your lips pressed into a thin line. Your freedom was gone, and this man—this gaudy, insufferable pirate—seemed to delight in your captivity.

Weeks passed aboard the ship, and the game between you and Aventurine began in earnest.

He spoke to you daily, spinning tales of his exploits, offering you trinkets from his plunder, and even playing games of chance where the stakes were your freedom. You refused every gamble, your pride unyielding even as your curiosity grew.

In turn, you sang only when you thought he couldn’t hear—a mournful tune carried by the waves. But Aventurine always listened, his sharp mind piecing together fragments of your story.

"You sing of loss," he said one night, his voice unusually soft. He stood at the door to your makeshift prison, his silhouette framed by moonlight. "Of betrayal. You’ve felt it too, haven’t you?"

You flinched at his words but said nothing.

He stepped closer, his voice dropping to a near whisper. "You think I don’t know what it’s like to be trapped, to have your fate decided by others?" He tilted his head, his eyes glinting like twin flames. "But I broke free. And so will you—if you’re clever enough to play the game."

For the first time, you spoke. "You don’t understand the sea’s bindings, pirate. My freedom isn’t yours to give."

The slow burn of trust began with small acts. Aventurine loosened your chains, allowing you to roam the deck under guard. You, in turn, offered him warnings of treacherous waters ahead, saving his ship from disaster more than once.

"You’re not like the stories," you admitted one evening, your voice hesitant.

"Flattered," he replied, grinning. "But you’d be wise to keep your guard up. I play to win, and I always do."

"Always?" you challenged, meeting his gaze.

His grin faltered for the briefest moment, but he recovered quickly. "Luck’s been kind to me so far."

Yet you saw through his bravado. Behind the jewels and theatrics was a man haunted by choices, a survivor who carried his guilt like a hidden scar.

The breaking point came during a storm. The ship was battered by relentless waves, its crew scrambling to secure the sails. Aventurine himself took the wheel, his usual calm replaced by a rare intensity.

When a rogue wave threatened to sweep you overboard, he abandoned his post to pull you to safety, his hand gripping yours with a desperation that surprised you both.

"Don’t you dare die on me." he hissed, his voice cracking.

For the first time, you saw him without his mask—a man terrified of loss.

The aftermath of the storm left the ship battered but intact. Aventurine found you sitting on the edge of the deck, your tail dangling in the water.

"You saved me..." you said softly.

He shrugged, his usual grin forced. "Couldn’t let you take all my secrets to the deep, now could I?"

But you weren’t fooled. Slowly, you reached for his hand, your touch tentative but firm. "Thank you."

He stared at your joined hands, his guarded expression faltering. "You’re not supposed to thank me," he muttered. "I’m the villain here, remember?"

"Villains don’t bleed for their captives," you countered, your voice steady.

The ending was bittersweet.

Aventurine kept his promise, releasing you near a hidden cove where the sea glittered like liquid sapphire.

As you slipped into the water, you turned back one last time. "You’ll always be playing, won’t you?"

He smirked, though it didn’t reach his eyes. "What can I say? The game’s the only thing keeping me afloat."

"Then I hope you win, pirate." you said softly, your voice carrying the weight of unspoken understanding.

And with that, you disappeared beneath the waves, leaving Aventurine standing alone on the shore, the ocean stretching endlessly before him.

[bonefall]

I haven’t read these books in years WHAT is the angel fetuses. What is happening

LMAO yeah there's actually been three instances where Warrior Cats made fetuses into StarClan characters. We're joking about Moonpaw's absorbed fetus twin (Starpaw/The Voice) meeting with Clear Sky's first dead wife's unborn kids.

The first time they did this was in the last book of DOTC, on Gray Wing's deathbed. Bright Stream, last seen in early pregnancy and being carried off by eagles to be gruesomely eaten alive, shows up accompanied by Tiger Tail and Pale Sky. Her embryos.

Because they show up in this big fanservicey montauge of all DOTC's fridged wives happily living as eternal mothers in StarClan, I sardonically call them the Dead Angel Fetus Children.

(It's dark humor to cope with how much the concept freaks me out)

And with Moonpaw, I have to explain how fusion chimerism works.

There are a few types of chimeras, but when a single individual is created from the combination of two fully fertilized zygotes, that is called fusion chimerism. That's what Moonpaw is.

And you have to understand, we're talking zygotes as in cells. The fusion of haploid gametes. NOT embryos (developing major organs) or fetuses (has major organs). When multiple embryos or fetuses are detected during pregnancy, but one vanishes, that is called Vanishing Twin syndrome (VTS).

There is actually very little linkage between VTS and the chance of a baby being born with fusion chimerism. At best it's an overstated link. At worst, it is a general misconception of Vanishing Twin syndrome.

Fusion Chimeras can happen in a lot of different ways, most of them fertilization errors, very few of them involving the multiple embryos of VTS. Likewise, the vast majority of VTS cases do not result in fusion chimeras. I explained Chimerism in-depth over in this post, and I encourage you to follow my citations to learn more if you're interested.

Sooooo... we're not even talking fetuses for Starpaw and Moonpaw. If they ever were separate, it would have been as embryos at best.

Which means that Moonpaw is haunted by cells that hadn't even developed major organs.

Ergo, we're joking around about how peculiar it is that Supernatural Utero Ghosts have happened thrice.

[trappedinafantasy37]

One of the things that had my mind spinning for a while is that in the Shadowheart origin, if you reject Shar, Minthara will apologize. She will believe that she and the rest of the companions held Shadowheart back from achieving her destiny. She blames herself for Shadowheart making a choice completely on her own, thinking that Shadowheart's concern for herself and others held her back. Minthara feels it to be her fault that Shadowheart is not as powerful as she could be and she is to blame for Shadowheart walking away from her destiny. Minthara sees herself as having failed for Shadowheart making the choice that she did.

I know it is cut content and cannot really be considered canon, but she does something similar in the breakup. Where she's yelling at Durge and asking why they rejected Bhaal. And Durge can tell her it's cause they love her. When the breakup was slipped in, I was initially so angry because Minthara calls Durge stupid for choosing love over power (when Minthara herself chooses love over power). Especially since the breakup happens like 10 minutes after the alurlssrin confession where she says the two of you have an unbreakable bond. I used to be so confused on why she would be so upset that you actually loved her. Then I realized that she's not upset that you love her. She's upset cause she fears that your love for her held you back.

Even though she sees you as her equal, she keeps putting herself as less than you. Where your wants and desires are more important than her own, and your greatness should be put above any affection you have for her. She wants you to love her of course, but she does not want to be what holds you back from reaching for power. To Minthara, power is safety and she has never felt safe. She wants you to keep elevating yourself cause the stronger you are, the safer you will be and by extension, the safer she will be. So you picking her over power means you are less safe and by consequence, she is less safe. And as much as Minthara loves loves, she needs to be safe first. It's why it seems like she keeps making the same dumb mistakes over and over, getting herself into precarious situations. It isn't because she's necessarily blinded by love, but she feels her proximity to power should keep her safe.

I also had a discussion with someone on Reddit, talking where it almost seems like Minthara keeps putting herself in positions of servitude, despite having some pretty ambitious goals involving world domination. We are talking about someone who has been a servant of Lolth her entire life. She tells us she was raised to be a soldier in Lolth's army and that was all she was meant to be. For 200+ years she was a servant and has never been anything else and doesn't know how to be anything else, and I believe she is too afraid to try to be anything else.

As a paladin, she was responsible for keeping social order, follow the word of whatever Priestess was in charge and enacting Lolth's will, partake in surface raids, and kill any of Lolth's enemies. There was very little room for her to achieve what she wanted, because Lolth had to come first. And even if there were things she wanted for herself, they still ultimately had to please Lolth in the end. Her time in the Absolute is no different. She just swaps the Absolute for Lolth and keeps up with the same shit (although she is too brainwashed to tell). So of course she is stunned when Lolth abandons her and the Absolute attempts to kill her and throws her deep into a crisis of faith. 200+ years of service has always bought her safety, until it didn't. So when you come along, she just swaps you for the Absolute. Telling herself, "I just need to be better than I was for the Absolute, better than I was for Lolth, and I should be okay." And her little rant about the gods, Lolth, Bhaal, the Absolute. Minthara is not anti-god. Minthara is anti-gods who do not reward their followers for their service. Because to her, service should be rewarded with something (other than death). She plays both sides when it comes to Shar because although she does think Shar is a poison in Shadowheart's life and believes Shadowheart is better off without Shar, at least Shar did reward Shadowheart for her service by making her a Dark Justiciar and elevating her to Chosen.

You would think she'd learn, but she doesn't. Not because she's stupid, but because her basic need for safety isn't being met. And so be fair, her "mistakes" with Lolth and the Absolute were relatively recent. So she keeps pushing people down the path of ruin and never going down the path herself directly, thinking that if she helps you become powerful, she will be safe. Where if she stands beside as you walk down this path, you will reward her for her service. Where she does not believe you would betray her because she helped you get that power. Where she thinks her service to you should buy her safety. Because to her, the most important thing she can be to you is useful. And she is terrified of being useless. So she provides you with unbreakable loyalty, devotion, and servitude, (and perhaps love). Where she will help you achieve your ambitions, whether it be to become a Dark Justiciar, the Vampire Ascended, the Slayer, or a god. Her path to safety, and greatness, and true power is forever lost to her down in the Underdark. So all she can do is help you walk down yours.

She keeps doing the same stupid shit over and over, making the same mistakes with people over and over, cause her fundamental need to safety is never being satisfied. And her service to various gods and entities technically did buy her safety, but only for an unknown period of time. And when she loses that safety, she thinks that the problem is her. That she was punished because she was not a good enough servant. That if she was a truly good servant, she won't lose your safety and your protection. And she thinks love interferes with your perception of her as a servant. She wants you to see her as a loyal servant first, lover second, because the only things in her life to be truly rewarded was her service, whereas her love got punished.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[opbackgrounds]

If there's a thesis statement for this fight, it's this. Hogback isn't judged for generally being a shit stain of a human being, but for taking away the freedom of others, and life without freedom isn't really life.

[raayllum]

Aaravos saying that he set humanity free by giving them dark magic when we Know that using dark magic allows him to possess/control them

[mellarked-katnisseverdeen]

There is an endless amount I love the last chapter of Mockingjay and the Epilouge. Genuinely sometimes I feel like I could write a whole novel sized thesis about it and still not quite be satisfied I got to talk about everything.

But I think on this list of my favorite details (which is a mile long) is that Katniss describes her daughter as dancing and playing. And her son as haveing 'chubby toddler legs' that he uses to follow after his older sis.

There could be no clearer way to show to me how happy and loved these children are. How loved and wanted and surrounded by safety and peace. Unloved children don't dance and play like this, children didn't have chubby toddler legs when Katniss grew up. To see these little details paints such a picture of how these children live, and prove their whole point of existence in the narrative from a writing perspective. It shows what the scars were for, what the pain that still lingers paid for. It assures us, even if it's vague, Katniss got to get out of this confusion.

She ended up being able to find and create what she wanted in the freedom she and others paid so high a price for. And while the loss it took will never go away and will always sting, that she got what she had coming to her, the peace and freedom she so craved and spends the rest of her life enjoying along with healing from the cost.

[herbofgraceandpeace]

Re: Flavian’s outburst to Christopher about how he (Christopher) has been an unfeeling, stuck-up brat—Flavian’s not exactly right or wrong here. I think Jones is demonstrating that Christopher is so caught up in his (very real) powerlessness to control his situation, he doesn’t realize that he DOES have the power to really and truly hurt others. He’s so caught up in his own misery that he (selfishly) forgets that others might be miserable too.

This is part of growing up! Christopher hasn’t really been taught empathy, and he hasn’t really had it modeled for him either, outside of Tacroy caring for him, but that doesn’t excuse his behavior. He’s so focused on how the people at the castle aren’t caring for his conscious wants that he entirely ignores the ways they ARE intentionally and deliberately attempting to care for him (I think at least a little classism privilege is at play in him ignoring the maids—he’s only ever known his parents’ mistreatment of servants, but presumably he should have been paying attention to how the castle folk treat the maids differently)

However, I think the adults at Chrestomanci Castle are guilty of the exact same kind of blindness and self-focus as Christopher. They HAVEN’T been meeting his needs emotionally (which has led to their inability to physically protect him either), and whatever their intentions throughout his stay, they did not try to get to know or understand Christopher as a person at his arrival, and they’re paying for that first impression. He’s a CHILD. a child from an unloving and neglectful home, who’s just been ripped away from his friends and his home at school, a child’s just DIED for the second time, and he’s a child with hopes and dreams and self-will, all of which have just been casually, thoughtlessly stripped from him. The castle folk are so focused on their OWN need of a successor for Gabriel that they treat Christopher as an object to be formed to meet their needs instead of a person with needs of his own. They’re so focused on their search for the Wraith and the hell he’s wreaking on others that they miss the very real hell they’re imposing on Christopher. All of their attempts at care are based solely on their perception of what he SHOULD need and want because! They never! Ask him! What he needs or wants!!!!!

What’s that post about how some people act like “if you don’t give me the respect I think I deserve as an authority figure, I won’t give you the respect you deserve as a person”? I think that’s basically how the otherwise decent and well-meaning adults of Chrestomanci Castle treat little Christopher Chant. Confident in their own virtue, they presume that of course this boy who doesn’t know them will trust them immediately. Confident in their work for the greater good, they are indifferent to the suffering of the individual before them. It’s clear that they care about him and his well-being, but without treating him like a real person at all, and it’s never more obvious than in the scene where Gabriel takes his spare life away. They are taking tangible, drastic steps to protect him because they are very worried on his behalf, but throughout the whole process they have no real knowledge of the horror and terror he is experiencing because they are too busy making choices for him to ask him why he’s making the choices he does (and again, Christopher doesn’t TRUST them. But they never empathize with him enough to realize that.) Another example is how Miss Rosalie and the others keep chasing Throgmorton away from Christopher when he’s laid up. They’re so focused on how uncomfortable Throgmorton makes them feel that they don’t care at all they’re isolating Christopher and depriving him of his only companionship.

But none of their bad conduct exonerates Christopher of Flavian’s charges of being rude and unfeeling towards them, even though Flavian is STILL presuming to know and understand Christopher’s motivations and choices despite being completely in the dark about them. The very personhood Christopher wants the others to acknowledge in him is the reason that Christopher is responsible for his own actions towards the castle folk.

And that’s the tea on human responsibility in The Lives of Christopher Chant. (thanks for coming to my ted talk)

[palettepainter]

(shows up to the MHA fandom after disappearing for more then a year with starbucks) Oh sisters I'm back~

They'll never make me hate you Cementoss, underrated king. I wanted to have a crack at drawing a height chart with the Chiktoss family to settle how I want to draw Cementoss's proportions and I'm pretty happy with it!

I altered some things like removing his square kneecaps and gave his body more shape around the stomach, I like to think he's got a dad bod rather then just being...well, a cube with limbs

Text screenshot in the second drawing was from @90s-belladonna

!!Suggestive doodle under the cut!! (nothing explicit)

(This was originally just going to be practise for Cementoss and drawing him in certain poses to practise his new proportions, but this was funny to me and I drew it instead. Chikara is shameless, but in an oblivious kind of way)

[kradogsrats]

Revisiting the Arc 2 Opening

So particularly @raayllum had done some detailed analysis and predictions based on the comparison of Viren and Callum's variant arc 2 openings, but I want to return in the post-s6 space now that we have Claudia's opening as a third point of comparison because that addition has an impact on how the original two relate to one another and what each one is saying.

The basic sequence of each opening is the same: from the initial star-map zoom (associated with destiny/time-blind vision of future events) the camera circles the principal character, placed at the celestial Sea of the Castout, as they turn to stone. Aaravos's giant hand swoops down and plucks up the statue, now contextualized by size as a pawn or other game piece, to admire from within his prison with a satisfied smile.

The most important point to understand about this sequence is that Aaravos doesn't personally turn Viren, Callum, and Claudia to stone, but is able to capture and manipulate them as pawns because of it:

This doesn't seem like much of a distinction at all, particularly because the petrification that results in Aaravos's satisfied claim on each mage is a representation of dark magic, which is... what allows Aaravos to influence/control those who resort to using it.

We get the direct link between the heart, dark magic, and Aaravos's influence/control explicitly spelled out by s6, and (as many noticed before)... go figure, in all three openings the corruption petrification begins at the heart.

Now, Callum is actually the only one who knows explicitly about the connection between dark magic and influence/control by Aaravos. Viren has sort of intuited it by the end of s5, in that we can see by portions of his dream that he's aware on at least a subconscious level that he was not in his right mind during at least the latter half of s3. This is why the distinction between the petrification being a factor allowing Aaravos's control, rather than an effect of it, is important—the conflicts and dynamics being represented are more complex than that. For example: Viren's opening, it turns out, isn't about Aaravos at all.

That's a Reach

When the primary arc 2 opening, featuring Viren, was revealed as part of the lead-up to the s4 release, there was a decent amount of speculation as to what it meant—the connection with Avizandum's death was recognized immediately, but what did that signify? Would there be further-reaching direct consequences of Viren's involvement and the archdragon-killing spell? Would Avizandum himself somehow have expanded significance? What is Viren reaching for: Aaravos, redemption, another chance at life?

Mostly, it set the tone for s4 and arc 2 in general, particularly regarding Viren's character arc, with strong mood and themes of helplessness, the past, regret and consequences, cyclic harm, and (of course) death. Not even to mention the looming presence of Aaravos and his relationship with Viren as his pawn. It was a vibe.

It wasn't until after s5 and/or s6 that the opening came into full context: Avizandum, in his final moments, turns his back on the battle with Harrow—the cycle of violence that he, himself, has contributed to perpetuating—and reaches for the child he will now be unable to protect from that violence.

Viren, as it turns out, does the exact same, as we see explicitly in s5 and continued implicitly in s6. Like Avizandum, he reaches for his children, unable to save them from the damage he has already done—all of it through dark magic.

On its own, it's an elegant implementation of the parallels TDP is so fond of to demonstrate that both sides of this long-time conflict have inflicted harm on each other and themselves in very similar ways for generations. Even at the time of s4, however, we had Callum's opening obviously derived from Viren's, and after s6 we have Claudia's, as well—both of which come with their own context that builds off of Viren's in different ways.

Lost Child

So while Viren's opening actually has very little to do with Aaravos (prior to Aaravos's actual appearance grasping him as a literal pawn), Claudia's (and Callum's, which we'll come back to in a bit) is difficult to interpret as not being related to her personal dynamic with Aaravos.

Interestingly, Claudia's opening places her at a very specific point in time, since it's visibly between two major physical changes to her body/appearance—her lower leg is missing, severed by Rayla in the Sea of the Castout at the end of s5, but she still has her long hair from before prompting Terry to cut it off for her early in s6. Even more specifically, she has the half-and-half split of black and white hair, which is already majority-white in s6e1:

This is Claudia in a moment we don't see on-screen—when, having failed to collect Aaravos's prison and not knowing that Viren has been offered and rejected the Infantis Sanguine spell, she turns to Aaravos in the dark of night and is willing to do anything to save her father.

I could do a whole thing here about the nature of Claudia's perception of Aaravos as both a paternal and divine figure, but the relevant part is that her only association between dark magic and Aaravos is a positive one—as far as she's concerned, Aaravos gave humanity dark magic as a benevolent gift, and her main reason (at least that she's willing to voice) for hesitating to give it up is that Aaravos kept his promises to her and it would be right to keep her promise to free him. In her opening, she goes from pained and defeated to looking upward with total trust and hope—looking to Aaravos the way she would have looked to Viren.

Her petrification shares the single tear with Viren and Avizandum, really cementing her place as another loop in the cycle of harm between humanity and Xadia that has dark magic at its heart. That callback to Viren's opening also puts hers in dialogue with him as much as with Aaravos, placing her in the same position as he is in a reflection of his horror and dismay that she has followed his path and example so closely.

Given that Claudia dramatically changes appearance (and, to an extent, attitude) immediately after this opening is introduced, it's possible that we'll see a different variant for s7... but given the end of s6, she actually hasn't really changed all that much. She has doubts about how to proceed with her life after Viren leaves, but as soon as Aaravos re-enters the picture, her conviction is back. She may not have done any dark magic after s6e1, but I don't think that's because she's decided to give it up.

Key Framing

Given the context of Claudia's opening, Callum's opening becomes unusual because it references Viren's without tying back to Avizandum and that cycle of harm. It's still on some level about dark magic, but Callum's relationship with dark magic isn't tied up in family and inheritance like Claudia's and Viren's are—instead it's focused entirely on fate vs. freedom, and on Aaravos specifically.

Callum's opening appears only for s4e4 ("Through the Looking Glass"), where he is possessed by Aaravos and it is established that his single use of dark magic is what allows that control, and for s5e8 ("Finnegrin's Wake") when he uses dark magic a second time. The shared opening puts those two episodes in obvious dialogue with each other, since s5e8 never makes explicit that the danger of dark magic for Callum is control by Aaravos—something he has already asked Rayla to end his life in order to avoid.

The focus in Callum's opening, both by its visual prominence and Callum's own gaze directed at it, is the Key. While Viren and Claudia's petrifications end the way Avizandum's does—with the single tear—Callum's ends with the Key in a blaze of light.

I expect we will see Callum's opening return for s7, possibly even as a primary opening, but it will almost certainly be recontextualized at some point and possibly even changed to a variant that reflects that new context. The Key is an element that will contribute to Callum's doom or salvation—or both, as a key can both lock and unlock—and its prominence in his opening reflects that and will likely be informed by how that resolution develops.

All of Us, Stardust

Speaking of alterations to the openings:

The final, altered version of the Viren opening kicks off s6, acting as a last, fun little extension of the "is Viren dead?" cliffhanger of s5. Aaravos's hand reaches down as usual, but instead of firmly grasping the petrified Viren, he very briefly hesitates before pushing it slightly, instead. The petrified Viren then crumbles and collapses into dust.

We first saw (or rather, had described to us via frantic convention attendee note-taking) this opening at the first reveal of s6e1, which was originally shown without any of the scenes revealing Viren to be alive. There are a lot of ways it could be interpreted, from a straightforward "he'd dead, Jim," to my own kind of fanciful theory from the time regarding Viren, dead or alive, having been made unusable by Aaravos as a pawn.

One way to contextualize this opening is with this old illustration from Patience, which ties in closely with the Aaravos chess/pawns motif (and was a significant part of contextualizing the arc 2 opening as "pawns"):

Now, there are a lot of things about this image that are important, not least the confirmation/reinforcement of the chain of manipulation of dark mages by Aaravos across thousands of years from Ziard to Viren, with the implication of Callum in the future. What I'd like to call attention to is that in chess, tipping over a piece is a gesture specifically used only with the king, and specifically to indicate that you are resigning the game and the opponent is victorious.

I don't think there's anywhere we've seen Aaravos truly lose, except for possibly when he was imprisoned, because his plans have levels of redundancy that mean they don't depend on any given individual—a game of chess hinges on the king, but Aaravos is essentially playing six or eight interconnected games at once, and a loss on one board only reinforces his remaining pieces on another. Losing Viren, deliberately or not, empowers his influence over Claudia... exactly as we see in the sequence of arc 2 openings. It would be difficult for them to have replicated the tipped-over/toppled king imagery with the petrified Viren without having to do some labor-intensive camera work on the existing opening pattern (e.g. do they show the ground when he falls? What even is the ground?)—so I think there's a strong likelihood that him crumbling to dust is meant to have a similar resonance.

Anyway, I'm kind of dancing around some complex theorizing and analysis of Viren's death that I go back and forth on depending on the day, but basically I do still think the important takeaway from this opening variant is that as far as Aaravos is concerned, Viren is off the board. That it's the opening for s6e1, rather than a special use for s6e8 (as Callum's variant openings are handled) is also IMO a positive sign regarding Aaravos's loss of control and direct manipulation of Viren over the course of s6. I don't think we've heard the last about Viren, and between Claudia, Soren, and Kpp'Ar there will definitely be a multifaceted interpretation of his legacy with significance in s7.

Opening the Final Season

Ultimately, given the dialogue between the three (four?) variant openings we have seen so far for arc 2, I think for s7 we can expect:

the Callum variant will appear at least once

at least one new Claudia- or Callum-based variant, OR possibly even an Aaravos variant

a new variant (possibly one of the ones from the previous point) to close out the arc for at least s7e9

That's my fevered ramblings about this 20-second repeated sequence, thanks for coming to my continuing insane TED talks on this and other ridiculous topics.